{ "metadata": { "name": "", "signature": "sha256:1a53b27ca788ebddade23f2a296172fc118f48d9c0011423a303ef3ffa685dbc" }, "nbformat": 3, "nbformat_minor": 0, "worksheets": [ { "cells": [ { "cell_type": "code", "collapsed": false, "input": [ "import urllib2\n", "from bs4 import BeautifulSoup\n", "\n", "request = urllib2.Request(\"http://www.imdb.com/list/ls055592025/\")\n", "response = urllib2.urlopen(request)\n", "soup = BeautifulSoup(response, \"html.parser\")\n" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 2 }, { "cell_type": "code", "collapsed": false, "input": [ "type(soup)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 3, "text": [ "bs4.BeautifulSoup" ] } ], "prompt_number": 3 }, { "cell_type": "code", "collapsed": false, "input": [ "for div in soup.findAll('div', {'class': 'info'}):\n", " for b in soup.findAll('b'):\n", " for a in b.findAll('a'):\n", " print a.text" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n", "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n", "Top 100 Greatest Actors of All Time (The Ultimate List)\n", "Top 10 Greatest Actors of All Time (The Ultimate List)\n", "Top 20 Greatest War Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Crime Movies of All Time (The Ultimate List)\n", "Top 20 Greatest Adventure Movies of All Time (The Ultimate List)\n" ] } ], "prompt_number": 4 }, { "cell_type": "code", "collapsed": false, "input": [ "links = []\n", "titles = []\n", "\n", "for div in soup.findAll('div', {'class': 'info'}):\n", " for b in div.findAll('b'):\n", " for a in b.findAll('a'):\n", " titles.append(a.text)\n", " links.append(a['href'])\n", " print a.text" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "The Godfather\n", "The Shawshank Redemption\n", "Schindler's List\n", "Raging Bull\n", "Casablanca\n", "One Flew Over the Cuckoo's Nest\n", "Gone with the Wind\n", "Citizen Kane\n", "The Wizard of Oz\n", "Titanic\n", "Lawrence of Arabia\n", "The Godfather: Part II\n", "Psycho\n", "Sunset Blvd.\n", "Vertigo\n", "On the Waterfront\n", "Forrest Gump\n", "The Sound of Music\n", "West Side Story\n", "Star Wars\n", "E.T. the Extra-Terrestrial\n", "2001: A Space Odyssey\n", "The Silence of the Lambs\n", "Chinatown\n", "The Bridge on the River Kwai\n", "Singin' in the Rain\n", "It's a Wonderful Life\n", "Some Like It Hot\n", "12 Angry Men\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "Amadeus\n", "Apocalypse Now\n", "Gandhi\n", "The Lord of the Rings: The Return of the King\n", "Gladiator\n", "From Here to Eternity\n", "Saving Private Ryan\n", "Unforgiven\n", "Raiders of the Lost Ark\n", "Rocky\n", "A Streetcar Named Desire\n", "The Philadelphia Story\n", "To Kill a Mockingbird\n", "An American in Paris\n", "The Best Years of Our Lives\n", "My Fair Lady\n", "Ben-Hur\n", "Doctor Zhivago\n", "Patton\n", "Jaws\n", "Braveheart\n", "The Good, the Bad and the Ugly\n", "Butch Cassidy and the Sundance Kid\n", "The Treasure of the Sierra Madre\n", "The Apartment\n", "Platoon\n", "High Noon\n", "Dances with Wolves\n", "The Pianist\n", "Goodfellas\n", "The Exorcist\n", "The Deer Hunter\n", "All Quiet on the Western Front\n", "The French Connection\n", "City Lights\n", "The King's Speech\n", "It Happened One Night\n", "A Place in the Sun\n", "Midnight Cowboy\n", "Mr. Smith Goes to Washington\n", "Rain Man\n", "Annie Hall\n", "Out of Africa\n", "Good Will Hunting\n", "Terms of Endearment\n", "Tootsie\n", "Fargo\n", "Giant\n", "The Grapes of Wrath\n", "Shane\n", "The Green Mile\n", "Close Encounters of the Third Kind\n", "Network\n", "Nashville\n", "The Graduate\n", "American Graffiti\n", "Pulp Fiction\n", "The African Queen\n", "Stagecoach\n", "Mutiny on the Bounty\n", "The Maltese Falcon\n", "A Clockwork Orange\n", "Taxi Driver\n", "Wuthering Heights\n", "Double Indemnity\n", "Rebel Without a Cause\n", "Rear Window\n", "The Third Man\n", "North by Northwest\n", "Yankee Doodle Dandy\n" ] } ], "prompt_number": 6 }, { "cell_type": "code", "collapsed": false, "input": [ "print 'you collected ' + str(len(links)) + ' links.'\n", "print\n", "print 'you collected ' + str(len(titles)) + ' titles.'" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "you collected 100 links.\n", "\n", "you collected 100 titles.\n" ] } ], "prompt_number": 8 }, { "cell_type": "code", "collapsed": false, "input": [ "str(links[0])" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 7, "text": [ "'/title/tt0068646/'" ] } ], "prompt_number": 7 }, { "cell_type": "code", "collapsed": false, "input": [ "from HTMLParser import HTMLParser\n", "\n", "class MLStripper(HTMLParser):\n", " def __init__(self):\n", " self.reset()\n", " self.fed = []\n", " def handle_data(self, d):\n", " self.fed.append(d)\n", " def get_data(self):\n", " return ''.join(self.fed)\n", "\n", "def strip_tags(html):\n", " s = MLStripper()\n", " s.feed(html)\n", " return s.get_data()" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 9 }, { "cell_type": "code", "collapsed": false, "input": [ "import pandas as pd\n", "\n", "titles_films = pd.Series(titles, index=titles)" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 10 }, { "cell_type": "code", "collapsed": false, "input": [ "#titles_films['Casablanca'] = 'Casablanca_(film)'\n", "#titles_films['One Flew Over the Cuckoo\\'s Nest'] = 'One Flew Over the Cuckoo\\'s Nest_(film)'\n", "#titles_films['Gone with the Wind'] = 'Gone with the Wind_(film)'\n", "titles_films['The Wizard of Oz'] = 'The Wizard of Oz_(1939_film)'\n", "titles_films = titles_films.tolist()" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 166 }, { "cell_type": "code", "collapsed": false, "input": [ "str(titles_films)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 11, "text": [ "\"The Godfather The Godfather\\nThe Shawshank Redemption The Shawshank Redemption\\nSchindler's List Schindler's List\\nRaging Bull Raging Bull\\nCasablanca Casablanca\\nOne Flew Over the Cuckoo's Nest One Flew Over the Cuckoo's Nest\\nGone with the Wind Gone with the Wind\\nCitizen Kane Citizen Kane\\nThe Wizard of Oz The Wizard of Oz\\nTitanic Titanic\\nLawrence of Arabia Lawrence of Arabia\\nThe Godfather: Part II The Godfather: Part II\\nPsycho Psycho\\nSunset Blvd. Sunset Blvd.\\nVertigo Vertigo\\n...\\nAmerican Graffiti American Graffiti\\nPulp Fiction Pulp Fiction\\nThe African Queen The African Queen\\nStagecoach Stagecoach\\nMutiny on the Bounty Mutiny on the Bounty\\nThe Maltese Falcon The Maltese Falcon\\nA Clockwork Orange A Clockwork Orange\\nTaxi Driver Taxi Driver\\nWuthering Heights Wuthering Heights\\nDouble Indemnity Double Indemnity\\nRebel Without a Cause Rebel Without a Cause\\nRear Window Rear Window\\nThe Third Man The Third Man\\nNorth by Northwest North by Northwest\\nYankee Doodle Dandy Yankee Doodle Dandy\\nLength: 100, dtype: object\"" ] } ], "prompt_number": 11 }, { "cell_type": "code", "collapsed": false, "input": [ "import google\n", "g = google.doGoogleSearch('Titanic film wikipedia')\n", "g.pages = 5\n", "print '*Found %s results*'%(g.get_result_count())\n", "g.get_urls()" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "Usage: -c [options] [querytype] query\n", "\n", "options:\n", " -k, --key= Google license key (see important note below)\n", " -1, -l, --lucky show only first hit\n", " -m, --meta show meta information\n", " -r, --reverse show results in reverse order\n", " -x, --proxy= use HTTP proxy\n", " -h, --help print this help\n", " -v, --version print version and copyright information\n", " -t, --test run test queries\n", "\n", "querytype:\n", " -s, --search= search (default)\n", " -c, --cache= retrieve cached page\n", " -p, --spelling= check spelling\n", "\n", "IMPORTANT NOTE: all Google functions require a valid license key;\n", "visit http://www.google.com/apis/ to get one. -c will look in\n", "these places (in order) and use the first license key it finds:\n", " * the key specified on the command line\n", " * an environment variable called GOOGLE_LICENSE_KEY\n", " * .googlekey in the current directory\n", " * googlekey.txt in the current directory\n", " * .googlekey in your home directory\n", " * googlekey.txt in your home directory\n", " * .googlekey in the google.py directory\n", " * googlekey.txt in the google.py directory\n" ] }, { "ename": "NoLicenseKey", "evalue": "get a license key at http://www.google.com/apis/", "output_type": "pyerr", "traceback": [ "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m\n\u001b[0;31mNoLicenseKey\u001b[0m Traceback (most recent call last)", "\u001b[0;32m\u001b[0m in \u001b[0;36m\u001b[0;34m()\u001b[0m\n\u001b[1;32m 1\u001b[0m \u001b[0;32mimport\u001b[0m \u001b[0mgoogle\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m----> 2\u001b[0;31m \u001b[0mg\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mgoogle\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mdoGoogleSearch\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m'Titanic film wikipedia'\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 3\u001b[0m \u001b[0mg\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mpages\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;36m5\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 4\u001b[0m \u001b[0;32mprint\u001b[0m \u001b[0;34m'*Found %s results*'\u001b[0m\u001b[0;34m%\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mg\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mget_result_count\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 5\u001b[0m \u001b[0mg\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mget_urls\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", "\u001b[0;32m/Users/brandomr/anaconda/lib/python2.7/site-packages/pygoogle/google.pyc\u001b[0m in \u001b[0;36mdoGoogleSearch\u001b[0;34m(q, start, maxResults, filter, restrict, safeSearch, language, inputencoding, outputencoding, license_key, http_proxy)\u001b[0m\n\u001b[1;32m 409\u001b[0m \u001b[0;34m@\u001b[0m\u001b[0mrtype\u001b[0m\u001b[0;34m:\u001b[0m \u001b[0mL\u001b[0m\u001b[0;34m{\u001b[0m\u001b[0mSearchReturnValue\u001b[0m\u001b[0;34m}\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 410\u001b[0m \"\"\"\n\u001b[0;32m--> 411\u001b[0;31m \u001b[0mlicense_key\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mgetLicense\u001b[0m\u001b[0;34m(\u001b[0m \u001b[0mlicense_key\u001b[0m \u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 412\u001b[0m \u001b[0mhttp_proxy\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mgetProxy\u001b[0m\u001b[0;34m(\u001b[0m \u001b[0mhttp_proxy\u001b[0m \u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 413\u001b[0m \u001b[0mremoteserver\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0m_getRemoteServer\u001b[0m\u001b[0;34m(\u001b[0m \u001b[0mhttp_proxy\u001b[0m \u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", "\u001b[0;32m/Users/brandomr/anaconda/lib/python2.7/site-packages/pygoogle/google.pyc\u001b[0m in \u001b[0;36mgetLicense\u001b[0;34m(license_key)\u001b[0m\n\u001b[1;32m 179\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0mrc\u001b[0m\u001b[0;34m:\u001b[0m \u001b[0;32mreturn\u001b[0m \u001b[0mrc\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 180\u001b[0m \u001b[0m_usage\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 181\u001b[0;31m \u001b[0;32mraise\u001b[0m \u001b[0mNoLicenseKey\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m'get a license key at http://www.google.com/apis/'\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 182\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 183\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n", "\u001b[0;31mNoLicenseKey\u001b[0m: get a license key at http://www.google.com/apis/" ] } ], "prompt_number": 15 }, { "cell_type": "code", "collapsed": false, "input": [ "links_wiki = []" ], "language": "python", "metadata": {}, "outputs": [] }, { "cell_type": "code", "collapsed": false, "input": [ "len(titles)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 97, "text": [ "100" ] } ], "prompt_number": 97 }, { "cell_type": "code", "collapsed": false, "input": [ "titles[0]" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 100, "text": [ "u'The Godfather'" ] } ], "prompt_number": 100 }, { "cell_type": "code", "collapsed": false, "input": [ "import urllib\n", "import simplejson\n", "\n", "for i in titles[86:100]:\n", " print i\n", " query = urllib.urlencode({'q' : i + 'Film' + 'Wikipedia'})\n", " url = 'https://ajax.googleapis.com/ajax/services/search/web?v=1.0&' + query\n", " search_results = urllib.urlopen(url)\n", " json = simplejson.loads(search_results.read())\n", " results = json['responseData']['results']\n", " links_wiki.append(results[0]['url'])\n", " print results[0]['url']\n", " print" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "Pulp Fiction\n", "http://en.wikipedia.org/wiki/Pulp_Fiction" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "The African Queen\n", "http://en.wikipedia.org/wiki/The_African_Queen_(film)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "Stagecoach\n", "http://en.wikipedia.org/wiki/Stagecoach_(1939_film)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "Mutiny on the Bounty\n", "http://en.wikipedia.org/wiki/Mutiny_on_the_Bounty_(1962_film)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "The Maltese Falcon\n", "http://en.wikipedia.org/wiki/The_Maltese_Falcon_(1941_film)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "A Clockwork Orange\n", "http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "Taxi Driver\n", "http://en.wikipedia.org/wiki/Taxi_Driver" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "Wuthering Heights\n", "http://en.wikipedia.org/wiki/Wuthering_Heights_(2011_film)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "Double Indemnity\n", "http://en.wikipedia.org/wiki/Double_Indemnity_(film)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "Rebel Without a Cause\n", "http://en.wikipedia.org/wiki/Rebel_Without_a_Cause" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "Rear Window\n", "http://en.wikipedia.org/wiki/Window_film" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "The Third Man\n", "http://en.wikipedia.org/wiki/The_Third_Man" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "North by Northwest\n", "http://en.wikipedia.org/wiki/North_by_Northwest" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "Yankee Doodle Dandy\n", "http://en.wikipedia.org/wiki/Yankee_Doodle_Dandy" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n" ] } ], "prompt_number": 94 }, { "cell_type": "code", "collapsed": false, "input": [ "titles" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 127, "text": [ "[u'The Godfather',\n", " u'The Shawshank Redemption',\n", " u\"Schindler's List\",\n", " u'Raging Bull',\n", " u'Casablanca',\n", " u\"One Flew Over the Cuckoo's Nest\",\n", " u'Gone with the Wind',\n", " u'Citizen Kane',\n", " u'The Wizard of Oz',\n", " u'Titanic',\n", " u'Lawrence of Arabia',\n", " u'The Godfather: Part II',\n", " u'Psycho',\n", " u'Sunset Blvd.',\n", " u'Vertigo',\n", " u'On the Waterfront',\n", " u'Forrest Gump',\n", " u'The Sound of Music',\n", " u'West Side Story',\n", " u'Star Wars',\n", " u'E.T. the Extra-Terrestrial',\n", " u'2001: A Space Odyssey',\n", " u'The Silence of the Lambs',\n", " u'Chinatown',\n", " u'The Bridge on the River Kwai',\n", " u\"Singin' in the Rain\",\n", " u\"It's a Wonderful Life\",\n", " u'Some Like It Hot',\n", " u'12 Angry Men',\n", " u'Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb',\n", " u'Amadeus',\n", " u'Apocalypse Now',\n", " u'Gandhi',\n", " u'The Lord of the Rings: The Return of the King',\n", " u'Gladiator',\n", " u'From Here to Eternity',\n", " u'Saving Private Ryan',\n", " u'Unforgiven',\n", " u'Raiders of the Lost Ark',\n", " u'Rocky',\n", " u'A Streetcar Named Desire',\n", " u'The Philadelphia Story',\n", " u'To Kill a Mockingbird',\n", " u'An American in Paris',\n", " u'The Best Years of Our Lives',\n", " u'My Fair Lady',\n", " u'Ben-Hur',\n", " u'Doctor Zhivago',\n", " u'Patton',\n", " u'Jaws',\n", " u'Braveheart',\n", " u'The Good, the Bad and the Ugly',\n", " u'Butch Cassidy and the Sundance Kid',\n", " u'The Treasure of the Sierra Madre',\n", " u'The Apartment',\n", " u'Platoon',\n", " u'High Noon',\n", " u'Dances with Wolves',\n", " u'The Pianist',\n", " u'Goodfellas',\n", " u'The Exorcist',\n", " u'The Deer Hunter',\n", " u'All Quiet on the Western Front',\n", " u'The French Connection',\n", " u'City Lights',\n", " u\"The King's Speech\",\n", " u'It Happened One Night',\n", " u'A Place in the Sun',\n", " u'Midnight Cowboy',\n", " u'Mr. Smith Goes to Washington',\n", " u'Rain Man',\n", " u'Annie Hall',\n", " u'Out of Africa',\n", " u'Good Will Hunting',\n", " u'Terms of Endearment',\n", " u'Tootsie',\n", " u'Fargo',\n", " u'Giant',\n", " u'The Grapes of Wrath',\n", " u'Shane',\n", " u'The Green Mile',\n", " u'Close Encounters of the Third Kind',\n", " u'Network',\n", " u'Nashville',\n", " u'The Graduate',\n", " u'American Graffiti',\n", " u'Pulp Fiction',\n", " u'The African Queen',\n", " u'Stagecoach',\n", " u'Mutiny on the Bounty',\n", " u'The Maltese Falcon',\n", " u'A Clockwork Orange',\n", " u'Taxi Driver',\n", " u'Wuthering Heights',\n", " u'Double Indemnity',\n", " u'Rebel Without a Cause',\n", " u'Rear Window',\n", " u'The Third Man',\n", " u'North by Northwest',\n", " u'Yankee Doodle Dandy']" ] } ], "prompt_number": 127 }, { "cell_type": "code", "collapsed": false, "input": [ "for i in range(len(titles)):\n", " print links_wiki_new[i]\n", " print titles[i]\n", " print\n", " print" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "http://en.wikipedia.org/wiki/The_Godfather\n", "The Godfather\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Shawshank_Redemption\n", "The Shawshank Redemption\n", "\n", "\n", "http://en.wikipedia.org/wiki/Schindler%27s_List\n", "Schindler's List\n", "\n", "\n", "http://en.wikipedia.org/wiki/Raging_Bull\n", "Raging Bull\n", "\n", "\n", "http://en.wikipedia.org/wiki/Casablanca_(film)\n", "Casablanca\n", "\n", "\n", "http://en.wikipedia.org/wiki/One_Flew_Over_the_Cuckoo%27s_Nest_(film)\n", "One Flew Over the Cuckoo's Nest\n", "\n", "\n", "http://en.wikipedia.org/wiki/Gone_with_the_Wind_(film)\n", "Gone with the Wind\n", "\n", "\n", "http://en.wikipedia.org/wiki/Citizen_Kane\n", "Citizen Kane\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Wizard_of_Oz_(1939_film)\n", "The Wizard of Oz\n", "\n", "\n", "http://en.wikipedia.org/wiki/Titanic_(1997_film)\n", "Titanic\n", "\n", "\n", "http://en.wikipedia.org/wiki/Lawrence_of_Arabia_(film)\n", "Lawrence of Arabia\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Godfather_Part_II\n", "The Godfather: Part II\n", "\n", "\n", "http://en.wikipedia.org/wiki/American_Psycho_(film)\n", "Psycho\n", "\n", "\n", "http://en.wikipedia.org/wiki/Sunset_Boulevard_(film)\n", "Sunset Blvd.\n", "\n", "\n", "http://en.wikipedia.org/wiki/Vertigo_(film)\n", "Vertigo\n", "\n", "\n", "http://en.wikipedia.org/wiki/On_the_Waterfront\n", "On the Waterfront\n", "\n", "\n", "http://en.wikipedia.org/wiki/Forrest_Gump\n", "Forrest Gump\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Sound_of_Music_(film)\n", "The Sound of Music\n", "\n", "\n", "http://en.wikipedia.org/wiki/West_Side_Story_(film)\n", "West Side Story\n", "\n", "\n", "http://en.wikipedia.org/wiki/Star_Wars_(film)\n", "Star Wars\n", "\n", "\n", "http://en.wikipedia.org/wiki/E.T._the_Extra-Terrestrial\n", "E.T. the Extra-Terrestrial\n", "\n", "\n", "http://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(film)\n", "2001: A Space Odyssey\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Silence_of_the_Lambs_(film)\n", "The Silence of the Lambs\n", "\n", "\n", "http://en.wikipedia.org/wiki/Chinatown_(1974_film)\n", "Chinatown\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Bridge_on_the_River_Kwai\n", "The Bridge on the River Kwai\n", "\n", "\n", "http://en.wikipedia.org/wiki/Singin%27_in_the_Rain\n", "Singin' in the Rain\n", "\n", "\n", "http://en.wikipedia.org/wiki/It%27s_a_Wonderful_Life\n", "It's a Wonderful Life\n", "\n", "\n", "http://en.wikipedia.org/wiki/Some_Like_It_Hot\n", "Some Like It Hot\n", "\n", "\n", "http://en.wikipedia.org/wiki/12_Angry_Men_(1957_film)\n", "12 Angry Men\n", "\n", "\n", "http://en.wikipedia.org/wiki/Dr._Strangelove\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\n", "\n", "\n", "http://en.wikipedia.org/wiki/Amadeus_(film)\n", "Amadeus\n", "\n", "\n", "http://en.wikipedia.org/wiki/Apocalypse_Now\n", "Apocalypse Now\n", "\n", "\n", "http://en.wikipedia.org/wiki/Gandhi_(film)\n", "Gandhi\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Lord_of_the_Rings:_The_Return_of_the_King\n", "The Lord of the Rings: The Return of the King\n", "\n", "\n", "http://en.wikipedia.org/wiki/Gladiator_(2000_film)\n", "Gladiator\n", "\n", "\n", "http://en.wikipedia.org/wiki/From_Here_to_Eternity\n", "From Here to Eternity\n", "\n", "\n", "http://en.wikipedia.org/wiki/Saving_Private_Ryan\n", "Saving Private Ryan\n", "\n", "\n", "http://en.wikipedia.org/wiki/Unforgiven\n", "Unforgiven\n", "\n", "\n", "http://en.wikipedia.org/wiki/Raiders_of_the_Lost_Ark\n", "Raiders of the Lost Ark\n", "\n", "\n", "http://en.wikipedia.org/wiki/Rocky\n", "Rocky\n", "\n", "\n", "http://en.wikipedia.org/wiki/A_Streetcar_Named_Desire_(1951_film)\n", "A Streetcar Named Desire\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Philadelphia_Story_(film)\n", "The Philadelphia Story\n", "\n", "\n", "http://en.wikipedia.org/wiki/To_Kill_a_Mockingbird_(film)\n", "To Kill a Mockingbird\n", "\n", "\n", "http://en.wikipedia.org/wiki/An_American_in_Paris_(film)\n", "An American in Paris\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Best_Years_of_Our_Lives\n", "The Best Years of Our Lives\n", "\n", "\n", "http://en.wikipedia.org/wiki/My_Fair_Lady_(film)\n", "My Fair Lady\n", "\n", "\n", "http://en.wikipedia.org/wiki/Ben-Hur_(1959_film)\n", "Ben-Hur\n", "\n", "\n", "http://en.wikipedia.org/wiki/Doctor_Zhivago_(film)\n", "Doctor Zhivago\n", "\n", "\n", "http://en.wikipedia.org/wiki/Patton_(film)\n", "Patton\n", "\n", "\n", "http://en.wikipedia.org/wiki/Jaws_(film)\n", "Jaws\n", "\n", "\n", "http://en.wikipedia.org/wiki/Braveheart\n", "Braveheart\n", "\n", "\n", "http://en.wikipedia.org/wiki/Coyote_Ugly_(film)\n", "The Good, the Bad and the Ugly\n", "\n", "\n", "http://en.wikipedia.org/wiki/Butch_Cassidy_and_the_Sundance_Kid\n", "Butch Cassidy and the Sundance Kid\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Treasure_of_the_Sierra_Madre_(film)\n", "The Treasure of the Sierra Madre\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Apartment\n", "The Apartment\n", "\n", "\n", "http://en.wikipedia.org/wiki/Platoon_(film)\n", "Platoon\n", "\n", "\n", "http://en.wikipedia.org/wiki/High_Noon\n", "High Noon\n", "\n", "\n", "http://en.wikipedia.org/wiki/Dances_with_Wolves\n", "Dances with Wolves\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Pianist_(2002_film)\n", "The Pianist\n", "\n", "\n", "http://en.wikipedia.org/wiki/Goodfellas\n", "Goodfellas\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Exorcist_(film)\n", "The Exorcist\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Deer_Hunter\n", "The Deer Hunter\n", "\n", "\n", "http://en.wikipedia.org/wiki/All_Quiet_on_the_Western_Front_(1930_film)\n", "All Quiet on the Western Front\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_French_Connection_(film)\n", "The French Connection\n", "\n", "\n", "http://en.wikipedia.org/wiki/Friday_Night_Lights_(film)\n", "City Lights\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_King%27s_Speech\n", "The King's Speech\n", "\n", "\n", "http://en.wikipedia.org/wiki/It_Happened_One_Night\n", "It Happened One Night\n", "\n", "\n", "http://en.wikipedia.org/wiki/A_Place_in_the_Sun_(film)\n", "A Place in the Sun\n", "\n", "\n", "http://en.wikipedia.org/wiki/Midnight_Cowboy\n", "Midnight Cowboy\n", "\n", "\n", "http://en.wikipedia.org/wiki/Mr._Smith_Goes_to_Washington\n", "Mr. Smith Goes to Washington\n", "\n", "\n", "http://en.wikipedia.org/wiki/Rain_Man\n", "Rain Man\n", "\n", "\n", "http://en.wikipedia.org/wiki/Annie_Hall\n", "Annie Hall\n", "\n", "\n", "http://en.wikipedia.org/wiki/Out_of_Africa_(film)\n", "Out of Africa\n", "\n", "\n", "http://en.wikipedia.org/wiki/Good_Will_Hunting\n", "Good Will Hunting\n", "\n", "\n", "http://en.wikipedia.org/wiki/Terms_of_Endearment\n", "Terms of Endearment\n", "\n", "\n", "http://en.wikipedia.org/wiki/Tootsie\n", "Tootsie\n", "\n", "\n", "http://en.wikipedia.org/wiki/Fargo_(film)\n", "Fargo\n", "\n", "\n", "http://en.wikipedia.org/wiki/Giant_(1956_film)\n", "Giant\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Grapes_of_Wrath_(film)\n", "The Grapes of Wrath\n", "\n", "\n", "http://en.wikipedia.org/wiki/Shane_(film)\n", "Shane\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Green_Mile_(film)\n", "The Green Mile\n", "\n", "\n", "http://en.wikipedia.org/wiki/Close_Encounters_of_the_Third_Kind\n", "Close Encounters of the Third Kind\n", "\n", "\n", "http://en.wikipedia.org/wiki/Network_(film)\n", "Network\n", "\n", "\n", "http://en.wikipedia.org/wiki/Nashville_(film)\n", "Nashville\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Graduate\n", "The Graduate\n", "\n", "\n", "http://en.wikipedia.org/wiki/American_Graffiti\n", "American Graffiti\n", "\n", "\n", "http://en.wikipedia.org/wiki/Pulp_Fiction\n", "Pulp Fiction\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_African_Queen_(film)\n", "The African Queen\n", "\n", "\n", "http://en.wikipedia.org/wiki/Stagecoach_(1939_film)\n", "Stagecoach\n", "\n", "\n", "http://en.wikipedia.org/wiki/Mutiny_on_the_Bounty_(1962_film)\n", "Mutiny on the Bounty\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Maltese_Falcon_(1941_film)\n", "The Maltese Falcon\n", "\n", "\n", "http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)\n", "A Clockwork Orange\n", "\n", "\n", "http://en.wikipedia.org/wiki/Taxi_Driver\n", "Taxi Driver\n", "\n", "\n", "http://en.wikipedia.org/wiki/Wuthering_Heights_(2011_film)\n", "Wuthering Heights\n", "\n", "\n", "http://en.wikipedia.org/wiki/Double_Indemnity_(film)\n", "Double Indemnity\n", "\n", "\n", "http://en.wikipedia.org/wiki/Rebel_Without_a_Cause\n", "Rebel Without a Cause\n", "\n", "\n", "http://en.wikipedia.org/wiki/Window_film\n", "Rear Window\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Third_Man\n", "The Third Man\n", "\n", "\n", "http://en.wikipedia.org/wiki/North_by_Northwest\n", "North by Northwest\n", "\n", "\n", "http://en.wikipedia.org/wiki/Yankee_Doodle_Dandy\n", "Yankee Doodle Dandy\n", "\n", "\n" ] } ], "prompt_number": 131 }, { "cell_type": "code", "collapsed": false, "input": [ "titles[0:30]" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 109, "text": [ "[u'The Godfather',\n", " u'The Shawshank Redemption',\n", " u\"Schindler's List\",\n", " u'Raging Bull',\n", " u'Casablanca',\n", " u\"One Flew Over the Cuckoo's Nest\",\n", " u'Gone with the Wind',\n", " u'Citizen Kane',\n", " u'The Wizard of Oz',\n", " u'Titanic',\n", " u'Lawrence of Arabia',\n", " u'The Godfather: Part II',\n", " u'Psycho',\n", " u'Sunset Blvd.',\n", " u'Vertigo',\n", " u'On the Waterfront',\n", " u'Forrest Gump',\n", " u'The Sound of Music',\n", " u'West Side Story',\n", " u'Star Wars',\n", " u'E.T. the Extra-Terrestrial',\n", " u'2001: A Space Odyssey',\n", " u'The Silence of the Lambs',\n", " u'Chinatown',\n", " u'The Bridge on the River Kwai',\n", " u\"Singin' in the Rain\",\n", " u\"It's a Wonderful Life\",\n", " u'Some Like It Hot',\n", " u'12 Angry Men',\n", " u'Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb']" ] } ], "prompt_number": 109 }, { "cell_type": "code", "collapsed": false, "input": [ "links_wiki_new = links_wiki[0:29]" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 120 }, { "cell_type": "code", "collapsed": false, "input": [ "links_wiki_new.append('')" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 121 }, { "cell_type": "code", "collapsed": false, "input": [ "links_wiki_new" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 122, "text": [ "['http://en.wikipedia.org/wiki/The_Godfather',\n", " 'http://en.wikipedia.org/wiki/The_Shawshank_Redemption',\n", " 'http://en.wikipedia.org/wiki/Schindler%27s_List',\n", " 'http://en.wikipedia.org/wiki/Raging_Bull',\n", " 'http://en.wikipedia.org/wiki/Casablanca_(film)',\n", " 'http://en.wikipedia.org/wiki/One_Flew_Over_the_Cuckoo%27s_Nest_(film)',\n", " 'http://en.wikipedia.org/wiki/Gone_with_the_Wind_(film)',\n", " 'http://en.wikipedia.org/wiki/Citizen_Kane',\n", " 'http://en.wikipedia.org/wiki/The_Wizard_of_Oz_(1939_film)',\n", " 'http://en.wikipedia.org/wiki/Titanic_(1997_film)',\n", " 'http://en.wikipedia.org/wiki/Lawrence_of_Arabia_(film)',\n", " 'http://en.wikipedia.org/wiki/The_Godfather_Part_II',\n", " 'http://en.wikipedia.org/wiki/American_Psycho_(film)',\n", " 'http://en.wikipedia.org/wiki/Sunset_Boulevard_(film)',\n", " 'http://en.wikipedia.org/wiki/Vertigo_(film)',\n", " 'http://en.wikipedia.org/wiki/On_the_Waterfront',\n", " 'http://en.wikipedia.org/wiki/Forrest_Gump',\n", " 'http://en.wikipedia.org/wiki/The_Sound_of_Music_(film)',\n", " 'http://en.wikipedia.org/wiki/West_Side_Story_(film)',\n", " 'http://en.wikipedia.org/wiki/Star_Wars_(film)',\n", " 'http://en.wikipedia.org/wiki/E.T._the_Extra-Terrestrial',\n", " 'http://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(film)',\n", " 'http://en.wikipedia.org/wiki/The_Silence_of_the_Lambs_(film)',\n", " 'http://en.wikipedia.org/wiki/Chinatown_(1974_film)',\n", " 'http://en.wikipedia.org/wiki/The_Bridge_on_the_River_Kwai',\n", " 'http://en.wikipedia.org/wiki/Singin%27_in_the_Rain',\n", " 'http://en.wikipedia.org/wiki/It%27s_a_Wonderful_Life',\n", " 'http://en.wikipedia.org/wiki/Some_Like_It_Hot',\n", " 'http://en.wikipedia.org/wiki/12_Angry_Men_(1957_film)',\n", " '']" ] } ], "prompt_number": 122 }, { "cell_type": "code", "collapsed": false, "input": [ "links_wiki_new.extend(links_wiki[29:])" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 123 }, { "cell_type": "code", "collapsed": false, "input": [ "len(links_wiki_new)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 130, "text": [ "100" ] } ], "prompt_number": 130 }, { "cell_type": "code", "collapsed": false, "input": [ "results[0]['url']" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 33, "text": [ "'http://en.wikipedia.org/wiki/Titanic_(1997_film)'" ] } ], "prompt_number": 33 }, { "cell_type": "code", "collapsed": false, "input": [ "import urllib\n", "import simplejson\n", "\n", "\n", "\n", "import re\n", "\n", "synopses_wiki_plot = []\n", "\n", "for i in links_wiki_new:\n", "\n", " print i\n", " link = i\n", " request = urllib2.Request(link)\n", " response = urllib2.urlopen(request)\n", " \n", " soup = BeautifulSoup(response, \"html.parser\")\n", " #soup = soup.decode('utf-8','strip').encode('utf-8', 'ignore')\n", " \n", " inner_synopses = ''\n", " \n", " \n", " patterns = ['Plot', 'Plot_summary', 'Plot_synopsis', 'Synopsis', 'Story']\n", " \n", " for pattern in patterns:\n", " print pattern\n", " if soup.find('span', {'id': pattern}):\n", " next = soup.find('span', {'id': pattern}).next\n", " break\n", "\n", " #try:\n", " # next = soup.find('span', {'id': 'Plot'}).next\n", " #else:\n", " # next = soup.find('span', {'id': 'Plot_summary'}).next\n", " #except:\n", " # next = soup.find('span', {'id': 'Plot_synopsis'}).next\n", " while next.name != \"h2\":\n", " newnext = ''\n", " print strip_tags(unicode(newnext).encode('utf-8','ignore')) \n", " try: \n", " inner_synopses = inner_synopses + ' ' + strip_tags(unicode(next).encode('utf-8', 'ignore')) + ' '\n", " except:\n", " innter_synopses = ''\n", " next = next.next\n", " \n", " print inner_synopses\n", " \n", " synopses_wiki_plot.append(inner_synopses)" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "http://en.wikipedia.org/wiki/The_Godfather\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " On the day of his only daughter's wedding, Vito Corleone hears requests in his role as the Godfather, the Don of a New York crime family. Vito's youngest son, Michael, in a Marine Corps uniform, introduces his girlfriend, Kay Adams, to his family at the sprawling reception. Vito's godson Johnny Fontane, a popular singer, pleads for help in securing a coveted movie role, so Vito dispatches his consigliere, Tom Hagen, to Los Angeles to influence the abrasive studio head, Jack Woltz. Woltz is unmoved until the morning he wakes up in bed with the severed head of his prized stallion. On the day of his only daughter's wedding, Vito Corleone Vito Corleone hears requests in his role as the Godfather, the Don Don of a New York crime family. Vito's youngest son, Michael Michael , in a Marine Corps Marine Corps uniform, introduces his girlfriend, Kay Adams Kay Adams , to his family at the sprawling reception. Vito's godson Johnny Fontane Johnny Fontane , a popular singer, pleads for help in securing a coveted movie role, so Vito dispatches his consigliere consigliere , Tom Hagen Tom Hagen , to Los Angeles to influence the abrasive studio head, Jack Woltz Jack Woltz . Woltz is unmoved until the morning he wakes up in bed with the severed head of his prized stallion stallion . \n", " Shortly before Christmas 1945, drug baron Virgil \"The Turk\" Sollozzo, backed by the Corleones' rivals, the Tattaglias, asks Vito for investment in the emerging drug trade and protection through his political connections. Vito disapproves of drug dealers, so he sends his enforcer, Luca Brasi, to spy on them. The family then receives two fish wrapped in Brasi's vest, imparting that he \"sleeps with the fishes\". An assassination attempt by Sollozzo's men lands Vito in the hospital, so his eldest son, Sonny, takes command. Sollozzo kidnaps Hagen to pressure Sonny to accept his deal. Michael thwarts a second assassination attempt on his father at the hospital; his jaw is broken by Police Captain McCluskey, who is also Sollozzo's bodyguard. Sonny retaliates for the attacks on his father by having Tattaglia's son killed. Michael comes up with a plan to hit Sollozzo and McCluskey: on the pretext of settling the dispute, Michael accepts their offer to meet in a Bronx restaurant and, retrieving a planted handgun, murders them. Shortly before Christmas 1945, drug baron Virgil \"The Turk\" Sollozzo Virgil \"The Turk\" Sollozzo , backed by the Corleones' rivals, the Tattaglias, asks Vito for investment in the emerging drug trade and protection through his political connections. Vito disapproves of drug dealers, so he sends his enforcer, Luca Brasi Luca Brasi , to spy on them. The family then receives two fish wrapped in Brasi's vest, imparting that he \"sleeps with the fishes\". An assassination attempt by Sollozzo's men lands Vito in the hospital, so his eldest son, Sonny Sonny , takes command. Sollozzo kidnaps Hagen to pressure Sonny to accept his deal. Michael thwarts a second assassination attempt on his father at the hospital; his jaw is broken by Police Captain McCluskey, who is also Sollozzo's bodyguard. Sonny retaliates for the attacks on his father by having Tattaglia's son killed. Michael comes up with a plan to hit Sollozzo and McCluskey: on the pretext of settling the dispute, Michael accepts their offer to meet in a Bronx restaurant and, retrieving a planted handgun, murders them. \n", " Despite a clampdown from the authorities, the Five Families erupt in open warfare and the brothers fear for their safety. Michael takes refuge in Sicily, and Fredo Corleone is sheltered by associate Moe Greene in Las Vegas. Sonny attacks his brother-in-law Carlo on the street for abusing his sister Connie and threatens to kill him if he abuses her again. When it happens again, Sonny speeds for her home but assassins ambush him at a highway toll booth and riddle him with submachine gun fire. Michael's time abroad has led to marriage to Apollonia Vitelli. Their euphoria is shattered when a car bomb intended for him takes her life. Despite a clampdown from the authorities, the Five Families Five Families erupt in open warfare and the brothers fear for their safety. Michael takes refuge in Sicily, and Fredo Corleone Fredo Corleone is sheltered by associate Moe Greene Moe Greene in Las Vegas Las Vegas . Sonny attacks his brother-in-law Carlo Carlo on the street for abusing his sister Connie and threatens to kill him if he abuses her again. When it happens again, Sonny speeds for her home but assassins ambush him at a highway toll booth and riddle him with submachine gun fire. Michael's time abroad has led to marriage to Apollonia Vitelli. Their euphoria is shattered when a car bomb intended for him takes her life. \n", " Devastated by Sonny's death, Vito decides to end the feuds. Realising that the Tattaglias were under orders of the now dominant Don Emilio Barzini, he promises, before the heads of the Five Families, to withdraw his opposition to their heroin business and forgo revenge for his son's murder. His safety guaranteed, Michael returns home to a father saddened by his involvement in the family business and marries Kay the next year. Devastated by Sonny's death, Vito decides to end the feuds. Realising that the Tattaglias were under orders of the now dominant Don Emilio Barzini Emilio Barzini , he promises, before the heads of the Five Families, to withdraw his opposition to their heroin business and forgo revenge for his son's murder. His safety guaranteed, Michael returns home to a father saddened by his involvement in the family business and marries Kay the next year. \n", " With his father at the end of his career and his surviving brother too weak, Michael takes the reins of the family, promising Kay that he will make the business legitimate within five years. To that end, he insists Hagen relocate to Las Vegas and relinquish his role to Vito because Tom is not a \"wartime consigliere\"; the older man agrees Tom should \"have no part in what will happen\" in the coming battles with rival families. When Michael travels to Las Vegas to buy out Greene's stake in the family's casinos, Greene derides the Corleones as a fading power. To add injury to insult, Michael sees Fredo falling under Greene's sway. With his father at the end of his career and his surviving brother too weak, Michael takes the reins of the family, promising Kay that he will make the business legitimate within five years. To that end, he insists Hagen relocate to Las Vegas and relinquish his role to Vito because Tom is not a \"wartime consigliere\"; the older man agrees Tom should \"have no part in what will happen\" in the coming battles with rival families. When Michael travels to Las Vegas to buy out Greene's stake in the family's casinos, Greene derides the Corleones as a fading power. To add injury to insult, Michael sees Fredo falling under Greene's sway. \n", " Vito collapses and dies in his garden while playing with Michael's son, Anthony. At the funeral, Salvatore Tessio arranges a meeting between Michael and Don Barzini, signalling his treachery as Vito had warned. The meeting is set for the same day as the christening of Connie's son, to whom Michael will stand as godfather. As the christening proceeds, Corleone assassins, acting on Michael's orders, murder the other New York dons and Moe Greene. Tessio is told that Michael is aware of his betrayal and taken off to his death. After Carlo is questioned by Michael on his involvement in setting up Sonny's murder and confesses he was contacted by Barzini, Peter Clemenza kills him with a wire garrote. Michael is confronted by Connie, who accuses him of having her husband killed. He denies killing Carlo when questioned by Kay, an answer she accepts. As Kay watches warily, Michael receives his capos, who address him as the new Don Corleone. Vito collapses and dies in his garden while playing with Michael's son, Anthony Anthony . At the funeral, Salvatore Tessio Salvatore Tessio arranges a meeting between Michael and Don Barzini, signalling his treachery as Vito had warned. The meeting is set for the same day as the christening of Connie's son, to whom Michael will stand as godfather. As the christening proceeds, Corleone assassins, acting on Michael's orders, murder the other New York dons and Moe Greene. Tessio is told that Michael is aware of his betrayal and taken off to his death. After Carlo is questioned by Michael on his involvement in setting up Sonny's murder and confesses he was contacted by Barzini, Peter Clemenza Peter Clemenza kills him with a wire garrote garrote . Michael is confronted by Connie, who accuses him of having her husband killed. He denies killing Carlo when questioned by Kay, an answer she accepts. As Kay watches warily, Michael receives his capos capos , who address him as the new Don Corleone. \n", " \n", "http://en.wikipedia.org/wiki/The_Shawshank_Redemption\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1947, banker Andy Dufresne is convicted of murdering his wife and her lover and sentenced to two consecutive life sentences at the fictional Shawshank State Penitentiary in the state of Maine. Andy befriends contraband smuggler Ellis \"Red\" Redding, an inmate serving a life sentence. Red procures a rock hammer and later a large poster of Rita Hayworth for Andy. Working in the prison laundry, Andy is regularly assaulted by the \"bull queer\" gang \"the Sisters\" and their leader, Bogs. In 1947, banker Andy Dufresne is convicted of murdering his wife and her lover and sentenced to two consecutive life sentences at the fictional Shawshank State Penitentiary in the state of Maine. Andy befriends contraband contraband smuggler Ellis \"Red\" Redding, an inmate serving a life sentence. Red procures a rock hammer rock hammer and later a large poster of Rita Hayworth Rita Hayworth for Andy. Working in the prison laundry, Andy is regularly assaulted by the \" bull queer bull queer \" gang \"the Sisters\" and their leader, Bogs. \n", " In 1949, Andy overhears the brutal captain of the guards, Byron Hadley, complaining about being taxed on an inheritance and offers to help him legally shelter the money. After a vicious assault by the Sisters nearly kills Andy, Hadley beats Bogs severely. Bogs is sent to another prison and Andy is never attacked again. Warden Samuel Norton meets with Andy and reassigns him to the prison library to assist elderly inmate Brooks Hatlen. Andy's new job is a pretext for him to begin managing financial matters for the prison employees. As time passes, the warden begins using Andy to handle matters for a variety of people including guards from other prisons and the warden himself. Andy begins writing weekly letters to the state government for funds to improve the decaying library. In 1949, Andy overhears the brutal captain of the guards, Byron Hadley, complaining about being taxed on an inheritance and offers to help him legally shelter the money. After a vicious assault by the Sisters nearly kills Andy, Hadley beats Bogs severely. Bogs is sent to another prison and Andy is never attacked again. Warden Samuel Norton meets with Andy and reassigns him to the prison library to assist elderly inmate Brooks Hatlen. Andy's new job is a pretext for him to begin managing financial matters for the prison employees. As time passes, the warden begins using Andy to handle matters for a variety of people including guards from other prisons and the warden himself. Andy begins writing weekly letters to the state government for funds to improve the decaying library. \n", " In 1954, Brooks is paroled, but cannot adjust to the outside world after fifty years in prison and hangs himself. Andy receives a library donation that includes a recording of The Marriage of Figaro. He plays an excerpt over the public address system, resulting in his receiving solitary confinement. After his release from solitary Andy explains that hope is what gets him through his time, a concept that Red dismisses. In 1963, Norton begins exploiting prison labor for public works, profiting by undercutting skilled labor costs and receiving kickbacks. He has Andy launder the money using the alias Randall Stephens. In 1954, Brooks is paroled paroled , but cannot adjust to the outside world after fifty years in prison and hangs himself hangs himself . Andy receives a library donation that includes a recording of The Marriage of Figaro The Marriage of Figaro The Marriage of Figaro . He plays an excerpt an excerpt over the public address system, resulting in his receiving solitary confinement solitary confinement . After his release from solitary Andy explains that hope is what gets him through his time, a concept that Red dismisses. In 1963, Norton begins exploiting prison labor for public works, profiting by undercutting skilled labor costs and receiving kickbacks kickbacks . He has Andy launder launder the money using the alias Randall Stephens. \n", " In 1965, Tommy Williams is incarcerated for burglary. He joins Andy's and Red's circle of friends, and Andy helps him pass his G.E.D. exam. In 1966, Tommy reveals to Red and Andy that an inmate at another prison claimed responsibility for the murders Andy was convicted of, implying Andy's innocence. Andy approaches Warden Norton with this information, but the warden refuses to listen and sends Andy back to solitary when he mentions the money laundering. Norton then has Captain Hadley murder Tommy under the guise of an escape attempt. Andy refuses to continue the money laundering, but relents after Norton threatens to burn the library, remove Andy's protection from the guards, and move him out of his cell into worse conditions. Andy is released from solitary confinement and tells Red of his dream of living in Zihuatanejo, a Mexican coastal town. Red feels Andy is being unrealistic, but promises Andy that if he is ever released he will visit a specific hayfield near Buxton, Maine and retrieve a package Andy buried there. Red becomes worried about Andy's state of mind, especially when he learns Andy asked another inmate to supply him with six feet of rope. In 1965, Tommy Williams is incarcerated for burglary burglary . He joins Andy's and Red's circle of friends, and Andy helps him pass his G.E.D. G.E.D. exam. In 1966, Tommy reveals to Red and Andy that an inmate at another prison claimed responsibility for the murders Andy was convicted of, implying Andy's innocence. Andy approaches Warden Norton with this information, but the warden refuses to listen and sends Andy back to solitary when he mentions the money laundering. Norton then has Captain Hadley murder Tommy under the guise of an escape attempt. Andy refuses to continue the money laundering, but relents after Norton threatens to burn the library, remove Andy's protection from the guards, and move him out of his cell into worse conditions. Andy is released from solitary confinement and tells Red of his dream of living in Zihuatanejo Zihuatanejo , a Mexican coastal town. Red feels Andy is being unrealistic, but promises Andy that if he is ever released he will visit a specific hayfield near Buxton, Maine Buxton, Maine and retrieve a package Andy buried there. Red becomes worried about Andy's state of mind, especially when he learns Andy asked another inmate to supply him with six feet of rope. \n", " The next day at roll call the guards find Andy's cell empty. An irate Warden Norton throws a rock at the poster of Raquel Welch hanging on the wall, and the rock tears through the poster. Removing the poster, the warden discovers a tunnel that Andy dug with his rock hammer over the previous two decades. The previous night, Andy escaped through the tunnel and used the prison's sewage pipe to reach freedom. Andy escapes with Norton's suit, shoes, and the ledger containing details of the money laundering. While guards search for him the following morning, Andy poses as Randall Stephens and visits several banks to withdraw the laundered money. Finally, he mails the ledger and evidence of the corruption and murders at Shawshank to a local newspaper. The police arrive at Shawshank and take Hadley into custody, while Norton commits suicide to avoid arrest. The next day at roll call roll call the guards find Andy's cell empty. An irate Warden Norton throws a rock at the poster of Raquel Welch Raquel Welch hanging on the wall, and the rock tears through the poster. Removing the poster, the warden discovers a tunnel that Andy dug with his rock hammer over the previous two decades. The previous night, Andy escaped through the tunnel and used the prison's sewage pipe to reach freedom. Andy escapes with Norton's suit, shoes, and the ledger containing details of the money laundering. While guards search for him the following morning, Andy poses as Randall Stephens and visits several banks to withdraw the laundered money. Finally, he mails the ledger and evidence of the corruption and murders at Shawshank to a local newspaper. The police arrive at Shawshank and take Hadley into custody, while Norton commits suicide to avoid arrest. \n", " After serving 40 years, Red is finally paroled. He struggles to adapt to life outside prison and fears he never will. Remembering his promise to Andy, he visits Buxton and finds a cache containing money and a letter asking him to come to Zihuatanejo. Red violates his parole and travels to Fort Hancock, Texas to cross the border to Mexico, admitting he finally feels hope. On a beach in Zihuatanejo he finds Andy, and the two friends are happily reunited. After serving 40 years, Red is finally paroled. He struggles to adapt to life outside prison and fears he never will. Remembering his promise to Andy, he visits Buxton and finds a cache containing money and a letter asking him to come to Zihuatanejo. Red violates his parole and travels to Fort Hancock, Texas Fort Hancock, Texas to cross the border to Mexico, admitting he finally feels hope. On a beach in Zihuatanejo he finds Andy, and the two friends are happily reunited. \n", " \n", "http://en.wikipedia.org/wiki/Schindler%27s_List\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1939, the Germans move Polish Jews into the Krak\u00f3w Ghetto as World War II begins. Oskar Schindler, an ethnic German, arrives in the city hoping to make his fortune. A member of the Nazi Party, Schindler lavishes bribes on Wehrmacht (German armed forces) and SS officials and acquires a factory to produce enamelware. To help him run the business, Schindler enlists the aid of Itzhak Stern, a local Jewish official who has contacts with black marketeers and the Jewish business community. Stern helps Schindler arrange loans to finance the factory. Schindler maintains friendly relations with the Nazis and enjoys wealth and status as \"Herr Direktor\", and Stern handles administration. Schindler hires Jewish workers because they cost less, while Stern ensures that as many people as possible are deemed essential to the German war effort, which saves them from being transported to concentration camps or killed. In 1939, the Germans move Polish Jews Polish Jews into the Krak\u00f3w Ghetto Krak\u00f3w Ghetto as World War II World War II begins. Oskar Schindler Oskar Schindler , an ethnic German ethnic German , arrives in the city hoping to make his fortune. A member of the Nazi Party Nazi Party , Schindler lavishes bribes on Wehrmacht Wehrmacht (German armed forces) and SS SS officials and acquires a factory to produce enamelware enamelware . To help him run the business, Schindler enlists the aid of Itzhak Stern Itzhak Stern , a local Jewish official who has contacts with black marketeers black marketeers and the Jewish business community. Stern helps Schindler arrange loans to finance the factory. Schindler maintains friendly relations with the Nazis and enjoys wealth and status as \"Herr Direktor\", and Stern handles administration. Schindler hires Jewish workers because they cost less, while Stern ensures that as many people as possible are deemed essential to the German war effort, which saves them from being transported to concentration camps or killed. \n", " SS-Untersturmf\u00fchrer (second lieutenant) Amon Goeth arrives in Krak\u00f3w to oversee construction of P\u0142asz\u00f3w concentration camp. When the camp is completed, he orders the ghetto liquidated. Many people are shot and killed in the process of emptying the ghetto. Schindler witnesses the massacre and is profoundly affected. He particularly notices a tiny girl in a red coat \u2013 one of the few splashes of color in the black-and-white film \u2013 as she hides from the Nazis. When he later sees the red coat on a wagon loaded with bodies being taken away to be burned, he knows the girl is dead. Schindler is careful to maintain his friendship with Goeth and, through bribery and lavish gifts, continues to enjoy SS support. Goeth brutally mistreats his maid and randomly shoots people from the balcony of his villa, and the prisoners are in constant daily fear for their lives. As time passes, Schindler's focus shifts from making money to trying to save as many lives as possible. He bribes Goeth into allowing him to build a sub-camp for his workers so that he can better protect them. SS- Untersturmf\u00fchrer Untersturmf\u00fchrer Untersturmf\u00fchrer (second lieutenant) Amon Goeth Amon Goeth arrives in Krak\u00f3w to oversee construction of P\u0142asz\u00f3w concentration camp P\u0142asz\u00f3w concentration camp . When the camp is completed, he orders the ghetto liquidated. Many people are shot and killed in the process of emptying the ghetto. Schindler witnesses the massacre and is profoundly affected. He particularly notices a tiny girl in a red coat \u2013 one of the few splashes of color in the black-and-white film \u2013 as she hides from the Nazis. When he later sees the red coat on a wagon loaded with bodies being taken away to be burned, he knows the girl is dead. Schindler is careful to maintain his friendship with Goeth and, through bribery and lavish gifts, continues to enjoy SS support. Goeth brutally mistreats his maid and randomly shoots people from the balcony of his villa, and the prisoners are in constant daily fear for their lives. As time passes, Schindler's focus shifts from making money to trying to save as many lives as possible. He bribes Goeth into allowing him to build a sub-camp for his workers so that he can better protect them. \n", " As the Germans begin to lose the war, Goeth is ordered to ship the remaining Jews at P\u0142asz\u00f3w to Auschwitz concentration camp. Schindler asks Goeth to allow him to move his workers to a new munitions factory he plans to build in his home town of Zwittau-Brinnlitz. Goeth agrees, but charges a huge bribe. Schindler and Stern create \"Schindler's List\" \u2013 a list of people to be transferred to Brinnlitz and thus saved from transport to Auschwitz. As the Germans begin to lose the war, Goeth is ordered to ship the remaining Jews at P\u0142asz\u00f3w to Auschwitz concentration camp Auschwitz concentration camp . Schindler asks Goeth to allow him to move his workers to a new munitions factory he plans to build in his home town of Zwittau-Brinnlitz Zwittau-Brinnlitz . Goeth agrees, but charges a huge bribe. Schindler and Stern create \"Schindler's List\" \u2013 a list of people to be transferred to Brinnlitz and thus saved from transport to Auschwitz. \n", " As the train carrying women and children is accidentally redirected to Auschwitz-Birkenau, Schindler bribes the commandant of Auschwitz with a bag of diamonds to win their release. At the new factory, Schindler forbids the SS guards to enter the production rooms and encourages the Jews to observe Shabbat (the Jewish Sabbath). To keep his workers alive, he spends much of his fortune bribing Nazi officials and buying shell casings from other companies; his factory does not produce any usable armaments during its seven months of operation. Schindler runs out of money in 1945, just as Germany surrenders, ending the war in Europe. As the train carrying women and children is accidentally redirected to Auschwitz-Birkenau, Schindler bribes the commandant of Auschwitz with a bag of diamonds to win their release. At the new factory, Schindler forbids the SS guards to enter the production rooms and encourages the Jews to observe Shabbat Shabbat (the Jewish Sabbath). To keep his workers alive, he spends much of his fortune bribing Nazi officials and buying shell casings from other companies; his factory does not produce any usable armaments during its seven months of operation. Schindler runs out of money in 1945, just as Germany surrenders, ending the war in Europe. \n", " As a Nazi Party member and war profiteer, Schindler must flee the advancing Red Army to avoid capture. The SS guards have been ordered to kill the Jews, but Schindler persuades them not to so they can \"return to their families as men, not murderers\". He bids farewell to his workers and prepares to head west, hoping to surrender to the Americans. The workers give Schindler a signed statement attesting to his role saving Jewish lives, together with a ring engraved with a Talmudic quotation: \"Whoever saves one life saves the world entire.\" Schindler is touched but is also deeply ashamed, as he feels he should have done even more. As the Schindlerjuden (Schindler Jews) wake up the next morning, a Soviet soldier announces that they have been liberated. The Jews leave the factory and walk to a nearby town. As a Nazi Party member and war profiteer, Schindler must flee the advancing Red Army Red Army to avoid capture. The SS guards have been ordered to kill the Jews, but Schindler persuades them not to so they can \"return to their families as men, not murderers\". He bids farewell to his workers and prepares to head west, hoping to surrender to the Americans. The workers give Schindler a signed statement attesting to his role saving Jewish lives, together with a ring engraved with a Talmudic Talmudic quotation: \"Whoever saves one life saves the world entire.\" Schindler is touched but is also deeply ashamed, as he feels he should have done even more. As the Schindlerjuden Schindlerjuden Schindlerjuden (Schindler Jews) wake up the next morning, a Soviet soldier announces that they have been liberated. The Jews leave the factory and walk to a nearby town. \n", " After some scenes depicting Goeth's execution and a summary of Schindler's later life events after the war, the black-and-white frame changes to a color shot of actual Schindlerjuden at Schindler's grave in Jerusalem. Accompanied by the actors who portrayed them, the Schindlerjuden place stones on the grave. In the final scene, Neeson places a pair of roses on the grave. After some scenes depicting Goeth's execution and a summary of Schindler's later life events after the war, the black-and-white frame changes to a color shot of actual Schindlerjuden Schindlerjuden at Schindler's grave in Jerusalem Jerusalem . Accompanied by the actors who portrayed them, the Schindlerjuden Schindlerjuden place stones on the grave. In the final scene, Neeson places a pair of roses on the grave. \n", " \n", "http://en.wikipedia.org/wiki/Raging_Bull\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In a brief scene in 1964, an aging, overweight Italian American, Jake LaMotta (Robert De Niro), practices a comedy routine. The rest of the film then occurs in flashback. In 1941, LaMotta is in a major boxing match against Jimmy Reeves, where he received his first loss. Jake's brother Joey LaMotta (Joe Pesci) discusses a potential shot for the middleweight title with one of his Mafia connections, Salvy Batts (Frank Vincent). Some time thereafter, Jake spots a 15-year-old girl named Vickie (Cathy Moriarty) at an open-air swimming pool in his Bronx neighborhood. He eventually pursues a relationship with her, even though he is already married. In 1943, Jake defeats Sugar Ray Robinson, and has a rematch three weeks later. Despite the fact that Jake dominates Robinson during the bout, the judges surprisingly rule in favor of Robinson and Joey feels Robinson won only because he was enlisting into the US Army the following week. By 1947, Jake marries Vickie. In a brief scene in 1964, an aging, overweight Italian American Italian American , Jake LaMotta Jake LaMotta ( Robert De Niro Robert De Niro ), practices a comedy routine. The rest of the film then occurs in flashback flashback . In 1941, LaMotta is in a major boxing match against Jimmy Reeves, where he received his first loss. Jake's brother Joey LaMotta Joey LaMotta ( Joe Pesci Joe Pesci ) discusses a potential shot for the middleweight title with one of his Mafia Mafia connections, Salvy Batts ( Frank Vincent Frank Vincent ). Some time thereafter, Jake spots a 15-year-old girl named Vickie ( Cathy Moriarty Cathy Moriarty ) at an open-air swimming pool in his Bronx Bronx neighborhood. He eventually pursues a relationship with her, even though he is already married. In 1943, Jake defeats Sugar Ray Robinson Sugar Ray Robinson , and has a rematch three weeks later. Despite the fact that Jake dominates Robinson during the bout, the judges surprisingly rule in favor of Robinson and Joey feels Robinson won only because he was enlisting into the US Army US Army the following week. By 1947, Jake marries Vickie. \n", " Jake constantly worries about Vickie having feelings for other men, particularly when she makes an off-hand comment about Tony Janiro, Jake's opponent in his next fight. His jealousy is evident when he brutally defeats Janiro in front of the local Mob boss, Tommy Como (Nicholas Colasanto), and Vickie. As Joey discusses the victory with journalists at the Copacabana, he is distracted by seeing Vickie approach a table with Salvy and his crew. Joey speaks with Vickie, who says she is giving up on his brother. Blaming Salvy, Joey viciously attacks him in a fight that spills outside of the club. Como later orders them to apologize, and has Joey tell Jake that if he wants a chance at the championship title, which Como controls, he will have to take a dive first. In a match against Billy Fox, after briefly pummeling his opponent, Jake does not even bother to put up a fight. He is suspended shortly thereafter from the board on suspicion of throwing the fight, though he realizes the error of his judgment when it is too late. He is eventually reinstated, and in 1949, wins the middleweight championship title against Marcel Cerdan. Jake constantly worries about Vickie having feelings for other men, particularly when she makes an off-hand comment about Tony Janiro Tony Janiro , Jake's opponent in his next fight. His jealousy is evident when he brutally defeats Janiro in front of the local Mob boss Mob boss , Tommy Como ( Nicholas Colasanto Nicholas Colasanto ), and Vickie. As Joey discusses the victory with journalists at the Copacabana Copacabana , he is distracted by seeing Vickie approach a table with Salvy and his crew. Joey speaks with Vickie, who says she is giving up on his brother. Blaming Salvy, Joey viciously attacks him in a fight that spills outside of the club. Como later orders them to apologize, and has Joey tell Jake that if he wants a chance at the championship title, which Como controls, he will have to take a dive first. In a match against Billy Fox Billy Fox , after briefly pummeling his opponent, Jake does not even bother to put up a fight. He is suspended shortly thereafter from the board on suspicion of throwing the fight, though he realizes the error of his judgment when it is too late. He is eventually reinstated, and in 1949, wins the middleweight championship title against Marcel Cerdan Marcel Cerdan . \n", " A year later, Jake asks Joey if he fought with Salvy at the Copacabana because of Vickie. Jake then asks if Joey had an affair with her; Joey refuses to answer, insults Jake, and leaves. Jake directly asks Vickie about the affair, and when she hides from him in the bathroom, he breaks down the door, prompting her to sarcastically state that she had sex with the entire neighborhood (including his brother, Salvy, and Tommy Como). Jake angrily walks to Joey's house, with Vickie following him, and assaults Joey in front of his wife and children. After defending his championship belt in a grueling fifteen round bout against Laurent Dauthuille in 1950,[2] he makes a call to his brother after the fight, but when Joey assumes Salvy is on the other end and starts insulting and cursing at him, Jake says nothing and hangs up. Estranged from Joey, Jake's career begins to decline slowly and he eventually loses his title to Sugar Ray Robinson in their final encounter in 1951.[3] A year later, Jake asks Joey if he fought with Salvy at the Copacabana because of Vickie. Jake then asks if Joey had an affair with her; Joey refuses to answer, insults Jake, and leaves. Jake directly asks Vickie about the affair, and when she hides from him in the bathroom, he breaks down the door, prompting her to sarcastically state that she had sex with the entire neighborhood (including his brother, Salvy, and Tommy Como). Jake angrily walks to Joey's house, with Vickie following him, and assaults Joey in front of his wife and children. After defending his championship belt in a grueling fifteen round bout against Laurent Dauthuille Laurent Dauthuille in 1950, [2] [2] [ [ 2 ] ] he makes a call to his brother after the fight, but when Joey assumes Salvy is on the other end and starts insulting and cursing at him, Jake says nothing and hangs up. Estranged from Joey, Jake's career begins to decline slowly and he eventually loses his title to Sugar Ray Robinson in their final encounter in 1951. [3] [3] [ [ 3 ] ] \n", " By 1956, Jake and his family have moved to Miami. After he stays out all night at his new nightclub there, Vickie tells him she wants a divorce (which she has been planning since his retirement) as well as full custody of their kids. She also threatens to call the cops if he comes anywhere near them. He is later arrested for introducing under-age girls to men in his club. He tries and fails to bribe his way out of his criminal case using the jewels from his championship belt instead of selling the belt itself. In 1957 he goes to jail where he pounds the walls, sorrowfully questioning his misfortune and crying in despair. Upon returning to New York City in 1958, he happens upon his estranged brother Joey, who forgives him but is elusive. Returning to the opening scene in 1964, Jake refers to the \"I coulda been a contender\" scene from the 1954 film On the Waterfront starring Marlon Brando, complaining that his brother should have been there for him but is also keen enough to give himself some slack. After a stagehand informs him that the auditorium where he is about to perform is crowded, Jake starts to chant \"I'm the boss\" while shadowboxing. By 1956, Jake and his family have moved to Miami Miami . After he stays out all night at his new nightclub there, Vickie tells him she wants a divorce (which she has been planning since his retirement) as well as full custody of their kids. She also threatens to call the cops if he comes anywhere near them. He is later arrested for introducing under-age girls to men in his club. He tries and fails to bribe his way out of his criminal case using the jewels from his championship belt instead of selling the belt itself. In 1957 he goes to jail where he pounds the walls, sorrowfully questioning his misfortune and crying in despair. Upon returning to New York City New York City in 1958, he happens upon his estranged brother Joey, who forgives him but is elusive. Returning to the opening scene in 1964, Jake refers to the \"I coulda been a contender\" scene from the 1954 film On the Waterfront On the Waterfront On the Waterfront starring Marlon Brando Marlon Brando , complaining that his brother should have been there for him but is also keen enough to give himself some slack. After a stagehand informs him that the auditorium where he is about to perform is crowded, Jake starts to chant \"I'm the boss\" while shadowboxing shadowboxing . \n", " The film cuts to black with the following Biblical quote filling the screen: The film cuts to black with the following Biblical quote filling the screen: \n", " \n", "\n", "So, for the second time, [the Pharisees] summoned the man who had been blind and said:\n", "\"Speak the truth before God. We know this fellow is a sinner.\"\n", "\"Whether or not he is a sinner, I do not know,\" the man replied.\n", "\"All I know is this: Once I was blind and now I can see.\"\n", "John IX. 24\u201326, The New English Bible\n", "\n", " \n", " \n", "So, for the second time, [the Pharisees] summoned the man who had been blind and said:\n", "\"Speak the truth before God. We know this fellow is a sinner.\"\n", "\"Whether or not he is a sinner, I do not know,\" the man replied.\n", "\"All I know is this: Once I was blind and now I can see.\"\n", "John IX. 24\u201326, The New English Bible\n", " \n", " So, for the second time, [the Pharisees] summoned the man who had been blind and said:\n", "\"Speak the truth before God. We know this fellow is a sinner.\"\n", "\"Whether or not he is a sinner, I do not know,\" the man replied.\n", "\"All I know is this: Once I was blind and now I can see.\"\n", "John IX. 24\u201326, The New English Bible So, for the second time, [the Pharisees Pharisees ] summoned the man who had been blind and said: \n", "\"Speak the truth before God. We know this fellow is a sinner.\" \n", "\"Whether or not he is a sinner, I do not know,\" the man replied. \n", "\"All I know is this: Once I was blind and now I can see.\" \n", " John IX. 24\u201326, The New English Bible John IX. 24\u201326, The New English Bible \n", " \n", " \n", " The film subsequently ends with an on-screen dedication to Scorsese's New York University film professor, Haig P. Manoogian: The film subsequently ends with an on-screen dedication to Scorsese's New York University New York University film professor, Haig P. Manoogian Haig P. Manoogian : \n", " \n", "Remembering Haig P. Manoogian, teacher. May 23, 1916\u2014May 26, 1980. With Love and resolution, Marty.\n", " \n", " Remembering Haig P. Manoogian, teacher. May 23, 1916\u2014May 26, 1980. With Love and resolution, Marty. Remembering Haig P. Manoogian, teacher. May 23, 1916\u2014May 26, 1980. With Love and resolution, Marty. \n", " \n", " \n", "http://en.wikipedia.org/wiki/Casablanca_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " It is early December 1941. American expatriate Rick Blaine is the proprietor of an upscale nightclub and gambling den in Casablanca. \"Rick's Caf\u00e9 Am\u00e9ricain\" attracts a varied clientele: Vichy French, Italian, and German officials; refugees desperate to reach the still neutral United States; and those who prey on them. Although Rick professes to be neutral in all matters, it is later revealed he ran guns to Ethiopia during its war with Italy and fought on the Loyalist side against the fascist Nationalists in the Spanish Civil War. It is early December 1941. American expatriate expatriate Rick Blaine is the proprietor of an upscale nightclub and gambling den in Casablanca Casablanca . \"Rick's Caf\u00e9 Am\u00e9ricain\" attracts a varied clientele: Vichy French Vichy French , Italian, and German officials; refugees refugees desperate to reach the still neutral United States; and those who prey on them. Although Rick professes to be neutral in all matters, it is later revealed he ran guns ran guns to Ethiopia Ethiopia during its war with Italy its war with Italy and fought on the Loyalist Loyalist side against the fascist fascist Nationalists Nationalists in the Spanish Civil War Spanish Civil War . \n", " \n", "\n", "\n", "\n", "From left to right: Henreid, Bergman, Rains and Bogart\n", "\n", " \n", " \n", "\n", "\n", "From left to right: Henreid, Bergman, Rains and Bogart\n", " \n", " \n", "\n", "From left to right: Henreid, Bergman, Rains and Bogart \n", " \n", "From left to right: Henreid, Bergman, Rains and Bogart \n", " \n", " \n", " Petty crook Ugarte shows up and boasts to Rick of \"letters of transit\" obtained by murdering two German couriers. The papers allow the bearer to travel freely around German-controlled Europe and to neutral Portugal, and are thus almost priceless to the refugees stranded in Casablanca. Ugarte plans to sell them at the club later that night. Before he can, he is arrested by the local police under the command of Vichy Captain Louis Renault, an unabashedly corrupt official. Ugarte dies in custody without revealing that he had entrusted the letters to Rick. Petty crook Ugarte shows up and boasts to Rick of \"letters of transit\" obtained by murdering two German couriers. The papers allow the bearer to travel freely around German-controlled Europe and to neutral Portugal Portugal , and are thus almost priceless to the refugees stranded in Casablanca. Ugarte plans to sell them at the club later that night. Before he can, he is arrested by the local police under the command of Vichy Captain Louis Renault, an unabashedly corrupt official. Ugarte dies in custody without revealing that he had entrusted the letters to Rick. \n", " At this point, the reason for Rick's bitterness\u2014his former lover, Ilsa Lund\u2014walks into his establishment. Upon spotting Rick's friend and house pianist, Sam, Ilsa implores him to play \"As Time Goes By\". Rick storms over, furious that Sam has disobeyed his order never to perform that song, and is stunned to see Ilsa. She is accompanied by her husband, Victor Laszlo, a renowned fugitive Czech Resistance leader. They need the letters to escape to America, where he can continue his work. German Major Strasser has come to Casablanca to see that Laszlo does not succeed. At this point, the reason for Rick's bitterness\u2014his former lover, Ilsa Lund\u2014walks into his establishment. Upon spotting Rick's friend and house pianist, Sam, Ilsa implores him to play \"As Time Goes By\" \"As Time Goes By\" . Rick storms over, furious that Sam has disobeyed his order never to perform that song, and is stunned to see Ilsa. She is accompanied by her husband, Victor Laszlo, a renowned fugitive Czech Resistance Czech Resistance leader. They need the letters to escape to America, where he can continue his work. German Major Strasser has come to Casablanca to see that Laszlo does not succeed. \n", " When Laszlo makes inquiries, Ferrari, a major underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters. In private, Rick refuses to sell at any price, telling Laszlo to ask his wife the reason. They are interrupted when Strasser leads a group of officers in singing \"Die Wacht am Rhein\". Laszlo orders the house band to defiantly play \"La Marseillaise\". When the band looks to Rick, he nods his head. Laszlo starts singing, alone at first, then patriotic fervor grips the crowd and everyone joins in, drowning out the Germans. In retaliation, Strasser has Renault close the club. When Laszlo makes inquiries, Ferrari, a major underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters. In private, Rick refuses to sell at any price, telling Laszlo to ask his wife the reason. They are interrupted when Strasser leads a group of officers in singing \" Die Wacht am Rhein Die Wacht am Rhein \". Laszlo orders the house band to defiantly play \" La Marseillaise La Marseillaise \". When the band looks to Rick, he nods his head. Laszlo starts singing, alone at first, then patriotic fervor grips the crowd and everyone joins in, drowning out the Germans. In retaliation, Strasser has Renault close the club. \n", " \n", "\n", "\n", "\n", "Bogart and Bergman\n", "\n", " \n", " \n", "\n", "\n", "Bogart and Bergman\n", " \n", " \n", "\n", "Bogart and Bergman \n", " \n", "Bogart and Bergman \n", " \n", " \n", " That night, Ilsa confronts Rick in the deserted caf\u00e9. When he refuses to give her the letters, she threatens him with a gun, but then confesses that she still loves him. She explains that when they first met and fell in love in Paris in 1940, she believed that her husband had been killed attempting to escape from a concentration camp. Later, while preparing to flee with Rick from the imminent fall of the city to the German army, she learned that Laszlo was alive and in hiding. She left Rick without explanation to tend her ill husband. That night, Ilsa confronts Rick in the deserted caf\u00e9. When he refuses to give her the letters, she threatens him with a gun, but then confesses that she still loves him. She explains that when they first met and fell in love in Paris in 1940, she believed that her husband had been killed attempting to escape from a concentration camp concentration camp . Later, while preparing to flee with Rick from the imminent fall of the city fall of the city to the German army, she learned that Laszlo was alive and in hiding. She left Rick without explanation to tend her ill husband. \n", " Rick's bitterness dissolves. He agrees to help, leading her to believe that she will stay with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl spirit Ilsa away. Laszlo, aware of Rick's love for Ilsa, tries to persuade him to use the letters to take her to safety. When the police arrest Laszlo on a minor, trumped-up charge, Rick convinces Renault to release him by promising to set him up for a much more serious crime: possession of the letters of transit. To allay Renault's suspicions, Rick explains he and Ilsa will be leaving for America. When Renault tries to arrest Laszlo as arranged, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon with her husband, telling her she would regret it if she stayed \u2013 \"Maybe not today, maybe not tomorrow, but soon and for the rest of your life.\" Rick's bitterness dissolves. He agrees to help, leading her to believe that she will stay with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl spirit Ilsa away. Laszlo, aware of Rick's love for Ilsa, tries to persuade him to use the letters to take her to safety. When the police arrest Laszlo on a minor, trumped-up charge, Rick convinces Renault to release him by promising to set him up for a much more serious crime: possession of the letters of transit. To allay Renault's suspicions, Rick explains he and Ilsa will be leaving for America. When Renault tries to arrest Laszlo as arranged, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon Lisbon with her husband, telling her she would regret it if she stayed \u2013 \"Maybe not today, maybe not tomorrow, but soon and for the rest of your life.\" \n", " Strasser, tipped off by Renault, drives up alone. Rick kills him when he tries to intervene. When the police arrive, Renault pauses, then tells them to \"round up the usual suspects.\" Renault suggests to Rick that they join the Free French in Brazzaville. As they walk away into the fog, Rick says, \"Louis, I think this is the beginning of a beautiful friendship.\" Strasser, tipped off by Renault, drives up alone. Rick kills him when he tries to intervene. When the police arrive, Renault pauses, then tells them to \"round up the usual suspects.\" Renault suggests to Rick that they join the Free French Free French in Brazzaville Brazzaville . As they walk away into the fog, Rick says, \"Louis, I think this is the beginning of a beautiful friendship.\" \n", " \n", "http://en.wikipedia.org/wiki/One_Flew_Over_the_Cuckoo%27s_Nest_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1963 Oregon, Randle Patrick \"Mac\" McMurphy (Jack Nicholson), a recidivist anti-authoritarian criminal serving a short sentence on a prison farm for statutory rape of a 15-year-old girl, is transferred to a mental institution for evaluation. Although he does not show any overt signs of mental illness, he hopes to avoid hard labor and serve the rest of his sentence in a more relaxed hospital environment. In 1963 Oregon, Randle Patrick \"Mac\" McMurphy Randle Patrick \"Mac\" McMurphy ( Jack Nicholson Jack Nicholson ), a recidivist recidivist anti-authoritarian criminal serving a short sentence on a prison farm for statutory rape statutory rape of a 15-year-old girl, is transferred to a mental institution mental institution for evaluation. Although he does not show any overt signs of mental illness mental illness , he hopes to avoid hard labor hard labor and serve the rest of his sentence in a more relaxed hospital environment. \n", " McMurphy's ward is run by steely, unyielding Nurse Mildred Ratched (Louise Fletcher), who employs subtle humiliation, unpleasant medical treatments and a mind-numbing daily routine to suppress the patients. McMurphy finds that they are more fearful of Ratched than they are focused on becoming functional in the outside world. McMurphy establishes himself immediately as the leader; his fellow patients include Billy Bibbit (Brad Dourif), a nervous, stuttering young man; Charlie Cheswick (Sydney Lassick), a man disposed to childish fits of temper; Martini (Danny DeVito), who is delusional; Dale Harding (William Redfield), a high-strung, well-educated paranoid; Max Taber (Christopher Lloyd), who is belligerent and profane; Jim Sefelt (William Duell), who is epileptic; and \"Chief\" Bromden (Will Sampson), a silent American Indian of imposing stature believed to be deaf and mute. McMurphy's ward is run by steely, unyielding Nurse Mildred Ratched Nurse Mildred Ratched ( Louise Fletcher Louise Fletcher ), who employs subtle humiliation, unpleasant medical treatments and a mind-numbing daily routine to suppress the patients. McMurphy finds that they are more fearful of Ratched than they are focused on becoming functional in the outside world. McMurphy establishes himself immediately as the leader; his fellow patients include Billy Bibbit ( Brad Dourif Brad Dourif ), a nervous, stuttering stuttering young man; Charlie Cheswick ( Sydney Lassick Sydney Lassick ), a man disposed to childish fits of temper; Martini ( Danny DeVito Danny DeVito ), who is delusional; Dale Harding ( William Redfield William Redfield ), a high-strung, well-educated paranoid; Max Taber ( Christopher Lloyd Christopher Lloyd ), who is belligerent and profane; Jim Sefelt ( William Duell William Duell ), who is epileptic; and \"Chief\" Bromden ( Will Sampson Will Sampson ), a silent American Indian American Indian of imposing stature believed to be deaf and mute. \n", " McMurphy's and Ratched's battle of wills escalates rapidly. When McMurphy's card games win away everyone's cigarettes, Ratched confiscates the cigarettes and rations them out. McMurphy calls for votes on ward policy changes to challenge her. He makes a show of betting the other patients he can escape by lifting an old hydrotherapy console\u2014a massive marble plumbing fixture\u2014off the floor and sending it through the window; when he fails to do so, he turns to them and says, \"But I tried goddammit. At least I did that.\" McMurphy's and Ratched's battle of wills escalates rapidly. When McMurphy's card games win away everyone's cigarettes, Ratched confiscates the cigarettes and rations them out. McMurphy calls for votes on ward policy changes to challenge her. He makes a show of betting the other patients he can escape by lifting an old hydrotherapy hydrotherapy console\u2014a massive marble plumbing fixture\u2014off the floor and sending it through the window; when he fails to do so, he turns to them and says, \"But I tried tried goddammit. At least I did that.\" \n", " McMurphy steals a hospital bus, herds his colleagues aboard, stops to pick up Candy (Marya Small), a party girl, and takes the group deep sea fishing on a commandeered boat. He tells them: \"You're not nuts, you're fishermen!\" and they begin to feel faint stirrings of self-determination. McMurphy steals a hospital bus, herds his colleagues aboard, stops to pick up Candy ( Marya Small Marya Small ), a party girl, and takes the group deep sea fishing on a commandeered boat. He tells them: \"You're not nuts, you're fishermen!\" and they begin to feel faint stirrings of self-determination. \n", " Soon after, however, McMurphy learns that Ratched and the doctors have the power to keep him committed indefinitely. Sensing a rising tide of insurrection among the group, Ratched tightens her grip on everyone. During one of her group therapy sessions, Cheswick's agitation boils over and he, McMurphy and the Chief wind up brawling with the orderlies. They are sent up to the \"shock shop\" for electroconvulsive therapy. While McMurphy and the Chief wait their turn, McMurphy offers Chief a piece of gum, and Chief murmurs \"Thank you...Ah, Juicy Fruit.\" McMurphy is delighted to find that Bromden is neither deaf nor mute, and that he stays silent to deflect attention. After the electroshock therapy, McMurphy shuffles back onto the ward feigning brain damage, before humorously animating his face and loudly greeting his fellow patients, assuring everyone that the ECT only charged him up all the more and that the next woman to take him on will \"light up like a pinball machine and pay off in silver dollars.\" Soon after, however, McMurphy learns that Ratched and the doctors have the power to keep him committed indefinitely. Sensing a rising tide of insurrection among the group, Ratched tightens her grip on everyone. During one of her group therapy sessions, Cheswick's agitation boils over and he, McMurphy and the Chief wind up brawling with the orderlies. They are sent up to the \"shock shop\" for electroconvulsive therapy electroconvulsive therapy . While McMurphy and the Chief wait their turn, McMurphy offers Chief a piece of gum, and Chief murmurs \"Thank you...Ah, Juicy Fruit.\" McMurphy is delighted to find that Bromden is neither deaf nor mute, and that he stays silent to deflect attention. After the electroshock therapy, McMurphy shuffles back onto the ward feigning brain damage, before humorously animating his face and loudly greeting his fellow patients, assuring everyone that the ECT only charged him up all the more and that the next woman to take him on will \"light up like a pinball machine and pay off in silver dollars.\" \n", " But the struggle with Ratched is taking its toll, and with his release date no longer a certainty, McMurphy plans an escape. He phones Candy to bring her friend Rose (Louisa Moritz) and some booze to the hospital late one night. They enter through a window after McMurphy bribes the night orderly, Mr. Turkle (Scatman Crothers). McMurphy and Candy invite the patients into the day room for a Christmas party; the group breaks into the drug locker, puts on music, and enjoys a bacchanalian rampage. At the end of the night, McMurphy and Bromden prepare to climb out the window with the girls. McMurphy says goodbye to everyone, and invites an emotional Billy to escape with them; he declines, saying he is not yet ready to leave the hospital\u2014though he would like to date Candy in the future. McMurphy insists Billy have sex with Candy right then and there. Billy and Candy agree and they retire to a private room. The effects of the alcohol and pilfered medication take their toll on everyone, including McMurphy and the Chief, whose eyes slowly close in fatigue. But the struggle with Ratched is taking its toll, and with his release date no longer a certainty, McMurphy plans an escape. He phones Candy to bring her friend Rose ( Louisa Moritz Louisa Moritz ) and some booze to the hospital late one night. They enter through a window after McMurphy bribes the night orderly, Mr. Turkle ( Scatman Crothers Scatman Crothers ). McMurphy and Candy invite the patients into the day room for a Christmas party; the group breaks into the drug locker, puts on music, and enjoys a bacchanalian bacchanalian rampage. At the end of the night, McMurphy and Bromden prepare to climb out the window with the girls. McMurphy says goodbye to everyone, and invites an emotional Billy to escape with them; he declines, saying he is not yet ready to leave the hospital\u2014though he would would like to date Candy in the future. McMurphy insists Billy have sex with Candy right then and there. Billy and Candy agree and they retire to a private room. The effects of the alcohol and pilfered medication take their toll on everyone, including McMurphy and the Chief, whose eyes slowly close in fatigue. \n", " Ratched arrives the following morning and discovers the scene: the ward completely upended and patients passed out all over the floor. She orders the attendants to lock the window, clean up, and conduct a head count. When they find Billy and Candy, the other patients applaud and, buoyed, Billy speaks for the first time without a stutter. Ratched then announces that she will tell Billy's mother what he has done. Billy panics, his stutter returns, and he starts punching himself; locked in the doctor's office, he kills himself. McMurphy, enraged at Ratched, chokes her nearly to death until orderly Washington knocks him out. Ratched arrives the following morning and discovers the scene: the ward completely upended and patients passed out all over the floor. She orders the attendants to lock the window, clean up, and conduct a head count. When they find Billy and Candy, the other patients applaud and, buoyed, Billy speaks for the first time without a stutter. Ratched then announces that she will tell Billy's mother what he has done. Billy panics, his stutter returns, and he starts punching himself; locked in the doctor's office, he kills himself. McMurphy, enraged at Ratched, chokes her nearly to death until orderly Washington knocks him out. \n", " Some time later, the patients in the ward play cards and gamble for cigarettes as before, only now with Harding dealing and delivering a pale imitation of McMurphy's patter. Ratched, still recovering from the neck injury sustained during McMurphy's attack, wears a neck brace and speaks in a thin, reedy voice. The patients pass a whispered rumor that McMurphy dramatically escaped the hospital rather than being taken \"upstairs\". Some time later, the patients in the ward play cards and gamble for cigarettes as before, only now with Harding dealing and delivering a pale imitation of McMurphy's patter. Ratched, still recovering from the neck injury sustained during McMurphy's attack, wears a neck brace and speaks in a thin, reedy voice. The patients pass a whispered rumor that McMurphy dramatically escaped the hospital rather than being taken \"upstairs\". \n", " Late that night, Bromden sees McMurphy being escorted back to his bed, and initially believes that he has returned so they can escape together, which he is now ready to do since McMurphy has made him feel \"as big as a mountain\". However, when he looks closely at McMurphy's unresponsive face, he is horrified to see lobotomy scars on his forehead. Unwilling to allow McMurphy to live in such a state, the Chief smothers McMurphy to death with his pillow. He then carries out McMurphy's escape plan by lifting the hydrotherapy console off the floor and hurling the massive fixture through a grated window. Chief climbs through the window and runs off into the distance, with Taber waking up just in time to see him escape and cheering as the others awake. Late that night, Bromden sees McMurphy being escorted back to his bed, and initially believes that he has returned so they can escape together, which he is now ready to do since McMurphy has made him feel \"as big as a mountain\". However, when he looks closely at McMurphy's unresponsive face, he is horrified to see lobotomy lobotomy scars on his forehead. Unwilling to allow McMurphy to live in such a state, the Chief smothers McMurphy to death with his pillow. He then carries out McMurphy's escape plan by lifting the hydrotherapy console off the floor and hurling the massive fixture through a grated window. Chief climbs through the window and runs off into the distance, with Taber waking up just in time to see him escape and cheering as the others awake. \n", " \n", "http://en.wikipedia.org/wiki/Gone_with_the_Wind_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "Part 1\n", " \n", " Part 1 Part 1 \n", " \n", " On the eve of the American Civil War in 1861, Scarlett O'Hara lives at Tara, her family's cotton plantation in Georgia, with her parents and two sisters. Scarlett learns that Ashley Wilkes\u2014whom she secretly loves\u2014is to be married to his cousin, Melanie Hamilton, and the engagement is to be announced the next day at a barbecue at Ashley's home, the nearby plantation Twelve Oaks. On the eve of the American Civil War American Civil War in 1861, Scarlett O'Hara Scarlett O'Hara lives at Tara Tara , her family's cotton plantation plantation in Georgia Georgia , with her parents and two sisters. Scarlett learns that Ashley Wilkes Ashley Wilkes \u2014whom she secretly loves\u2014is to be married to his cousin married to his cousin , Melanie Hamilton Melanie Hamilton , and the engagement is to be announced the next day at a barbecue at Ashley's home, the nearby plantation Twelve Oaks Twelve Oaks . \n", " At the Twelve Oaks party, Scarlett notices that she is being admired by Rhett Butler, who has been disowned by his family. Rhett finds himself in further disfavor among the male guests when, during a discussion of the probability of war, he states that the South has no chance against the superior numbers and industrial might of the North. Scarlett secretly confesses to Ashley that she loves him, but he rebuffs her by responding that he and the sweet Melanie are more compatible. Rhett overhears their conversation, but promises Scarlett he will keep her secret. The barbecue is disrupted by the declaration of war and the men rush to enlist. As Scarlett watches Ashley kiss Melanie goodbye, Melanie's younger brother Charles proposes to her. Although she does not love him Scarlett consents and they are married before he leaves to fight. At the Twelve Oaks party, Scarlett notices that she is being admired by Rhett Butler Rhett Butler , who has been disowned by his family. Rhett finds himself in further disfavor among the male guests when, during a discussion of the probability of war, he states that the South has no chance against the superior numbers and industrial might of the North. Scarlett secretly confesses to Ashley that she loves him, but he rebuffs her by responding that he and the sweet Melanie are more compatible. Rhett overhears their conversation, but promises Scarlett he will keep her secret. The barbecue is disrupted by the declaration of war and the men rush to enlist. As Scarlett watches Ashley kiss Melanie goodbye, Melanie's younger brother Charles proposes to her. Although she does not love him Scarlett consents and they are married before he leaves to fight. \n", " Scarlett is quickly widowed when Charles dies from a bout of pneumonia and measles while serving in the Confederate Army. Scarlett's mother sends her to the Hamilton home in Atlanta to cheer her up, although the O'Haras' outspoken housemaid Mammy tells Scarlett she knows she is going there only to wait for Ashley's return. Scarlett, who should not attend a party while in deep mourning, attends a charity bazaar in Atlanta with Melanie. There, Scarlett is the object of shocked comments on the part of the elderly women who represent proper Atlanta society. Rhett, now a blockade runner for the Confederacy, makes a surprise appearance. To raise money for the Confederate war effort, gentlemen are invited to offer bids for ladies to dance with them. Rhett makes an inordinately large bid for Scarlett and, to the disapproval of the guests, Scarlett agrees to dance with him. As they dance, Rhett tells her he intends to win her, which she says will never happen. Scarlett is quickly widowed when Charles dies from a bout of pneumonia and measles while serving in the Confederate Army Confederate Army . Scarlett's mother sends her to the Hamilton home in Atlanta Atlanta to cheer her up, although the O'Haras' outspoken housemaid Mammy tells Scarlett she knows she is going there only to wait for Ashley's return. Scarlett, who should not attend a party while in deep mourning, attends a charity bazaar in Atlanta with Melanie. There, Scarlett is the object of shocked comments on the part of the elderly women who represent proper Atlanta society. Rhett, now a blockade runner blockade runner for the Confederacy Confederacy , makes a surprise appearance. To raise money for the Confederate war effort, gentlemen are invited to offer bids for ladies to dance with them. Rhett makes an inordinately large bid for Scarlett and, to the disapproval of the guests, Scarlett agrees to dance with him. As they dance, Rhett tells her he intends to win her, which she says will never happen. \n", " The tide of war turns against the Confederacy after the Battle of Gettysburg in which many of the men of Scarlett's town are killed. Scarlett makes another unsuccessful appeal to Ashley while he is visiting on Christmas furlough, although they do share a private and passionate kiss in the parlor on Christmas Day, just before he returns to war. The tide of war turns against the Confederacy after the Battle of Gettysburg Battle of Gettysburg in which many of the men of Scarlett's town are killed. Scarlett makes another unsuccessful appeal to Ashley while he is visiting on Christmas furlough furlough , although they do share a private and passionate kiss in the parlor on Christmas Day, just before he returns to war. \n", " Eight months later, as the city is besieged by the Union Army in the Atlanta Campaign, Melanie goes into premature and difficult labor. Keeping her promise to Ashley to take care of Melanie, Scarlett and her young house servant Prissy must deliver the child without medical assistance. Scarlett calls upon Rhett to bring her home to Tara immediately with Melanie, Prissy, and the baby. He appears with a horse and wagon and takes them out of the city through the burning depot and warehouse district. Instead of accompanying her all the way to Tara, he sends her on her way with a nearly dead horse, helplessly frail Melanie, her baby, and tearful Prissy, and with a passionate kiss as he goes off to fight. On her journey home, Scarlett finds Twelve Oaks burned, ruined and deserted. She is relieved to find Tara still standing but deserted by all except her parents, her sisters, and two servants: Mammy and Pork. Scarlett learns that her mother has just died of typhoid fever and her father's mind has begun to fail under the strain. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself. Eight months later, as the city is besieged by the Union Army Union Army in the Atlanta Campaign Atlanta Campaign , Melanie goes into premature and difficult labor. Keeping her promise to Ashley to take care of Melanie, Scarlett and her young house servant Prissy must deliver the child without medical assistance. Scarlett calls upon Rhett to bring her home to Tara immediately with Melanie, Prissy, and the baby. He appears with a horse and wagon and takes them out of the city through the burning depot and warehouse district. Instead of accompanying her all the way to Tara, he sends her on her way with a nearly dead horse, helplessly frail Melanie, her baby, and tearful Prissy, and with a passionate kiss as he goes off to fight. On her journey home, Scarlett finds Twelve Oaks burned, ruined and deserted. She is relieved to find Tara still standing but deserted by all except her parents, her sisters, and two servants: Mammy and Pork. Scarlett learns that her mother has just died of typhoid fever typhoid fever and her father's mind has begun to fail under the strain. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself. \n", " \n", "Part 2\n", " \n", " Part 2 Part 2 \n", " \n", " Scarlett sets her family and servants to work in the cotton fields, facing many hardships along the way, including the death of her father after he is thrown from his horse in an attempt to chase away a scalawag from his land. With the defeat of the Confederacy Ashley has also returned, but finds he is of little help at Tara. When Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately, but says he cannot leave Melanie. Unable to pay the taxes on Tara implemented by Reconstructionists, Scarlett dupes her sister's fianc\u00e9, the middle-aged and wealthy Frank Kennedy, into marrying her, by saying Suellen got tired of waiting and married another beau. Scarlett sets her family and servants to work in the cotton fields, facing many hardships along the way, including the death of her father after he is thrown from his horse in an attempt to chase away a scalawag scalawag from his land. With the defeat of the Confederacy Ashley has also returned, but finds he is of little help at Tara. When Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately, but says he cannot leave Melanie. Unable to pay the taxes on Tara implemented by Reconstructionists Reconstructionists , Scarlett dupes her sister's fianc\u00e9, the middle-aged and wealthy Frank Kennedy, into marrying her, by saying Suellen got tired of waiting and married another beau. \n", " Frank, Ashley, Rhett and several other accomplices make a night raid on a shanty town after Scarlett narrowly escapes an attempted gang rape while driving through it alone, resulting in Frank's death. With Frank's funeral barely over, Rhett visits Scarlett and proposes marriage, and she accepts. They have a daughter whom Rhett names Bonnie Blue, but Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure, lets Rhett know that she wants no more children and that they will no longer share a bed. Frank, Ashley, Rhett and several other accomplices make a night raid on a shanty town shanty town after Scarlett narrowly escapes an attempted gang rape gang rape while driving through it alone, resulting in Frank's death. With Frank's funeral barely over, Rhett visits Scarlett and proposes marriage, and she accepts. They have a daughter whom Rhett names Bonnie Blue, but Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure, lets Rhett know that she wants no more children and that they will no longer share a bed. \n", " One day, Scarlett calls upon Ashley, who has taken over managing Frank's lumber mill, and they are spied in an embrace by Ashley's sister, India. Harboring an intense dislike of Scarlett she eagerly spreads rumors, and Scarlett's reputation is again sullied. Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley; incapable of believing anything bad of her beloved sister-in-law, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false. After returning home from the party, Scarlett finds Rhett downstairs drunk, and they argue about Ashley. Seething with jealousy, Rhett grabs Scarlett's head and threatens to smash in her skull. When she taunts him that he has no honor Rhett retaliates by forcing himself onto her, kissing Scarlett against her will, and states his intent to have sex with her that night. Frightened, she attempts to physically resist him, but Rhett overpowers her and carries the struggling Scarlett to the bedroom. The next day, Rhett apologizes for his behavior and offers Scarlett a divorce, which she rejects, saying that it would be a disgrace. One day, Scarlett calls upon Ashley, who has taken over managing Frank's lumber mill, and they are spied in an embrace by Ashley's sister, India. Harboring an intense dislike of Scarlett she eagerly spreads rumors, and Scarlett's reputation is again sullied. Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley; incapable of believing anything bad of her beloved sister-in-law, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false. After returning home from the party, Scarlett finds Rhett downstairs drunk, and they argue about Ashley. Seething with jealousy, Rhett grabs Scarlett's head and threatens to smash in her skull. When she taunts him that he has no honor Rhett retaliates by forcing himself onto her, kissing Scarlett against her will, and states his intent to have sex with her that night. Frightened, she attempts to physically resist him, but Rhett overpowers her and carries the struggling Scarlett to the bedroom. The next day, Rhett apologizes for his behavior and offers Scarlett a divorce, which she rejects, saying that it would be a disgrace. \n", " When Rhett returns from an extended trip to London, Scarlett's attempts at reconciliation are rebuffed. She informs him that she is pregnant, but an argument ensues which results in Scarlett falling down a flight of stairs and suffering a miscarriage. As Scarlett is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony. Melanie visits their home to comfort them, but collapses due to complications arising from her pregnancy. When Rhett returns from an extended trip to London, Scarlett's attempts at reconciliation are rebuffed. She informs him that she is pregnant, but an argument ensues which results in Scarlett falling down a flight of stairs and suffering a miscarriage miscarriage . As Scarlett is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony. Melanie visits their home to comfort them, but collapses due to complications arising from her pregnancy. \n", " After visiting Melanie on her deathbed, Scarlett consoles Ashley, resulting in Rhett returning home. Realizing that Ashley only ever truly loved Melanie, Scarlett dashes after Rhett to find him preparing to leave for good. She pleads with him, telling him she realizes now that she has loved him all along, and that she never really loved Ashley. However, he rebuffs her, saying that with Bonnie's death went any chance of reconciliation. Scarlett begs him to stay but to no avail, and Rhett walks out the door and into the early morning fog, leaving her weeping on the staircase and vowing to one day win back his love. After visiting Melanie on her deathbed, Scarlett consoles Ashley, resulting in Rhett returning home. Realizing that Ashley only ever truly loved Melanie, Scarlett dashes after Rhett to find him preparing to leave for good. She pleads with him, telling him she realizes now that she has loved him all along, and that she never really loved Ashley. However, he rebuffs her, saying that with Bonnie's death went any chance of reconciliation. Scarlett begs him to stay but to no avail, and Rhett walks out the door and into the early morning fog, leaving her weeping on the staircase and vowing to one day win back his love. \n", " \n", "http://en.wikipedia.org/wiki/Citizen_Kane\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "Orson Welles as Charles Foster Kane\n", "\n", " \n", " \n", "\n", "\n", "Orson Welles as Charles Foster Kane\n", " \n", " \n", "\n", "Orson Welles as Charles Foster Kane \n", " \n", "Orson Welles as Charles Foster Kane \n", " \n", " \n", " The film opens with shots of Xanadu, a vast palatial estate in Florida with a \"No Trespassing\" sign on the gate. Inside the estate's mansion an elderly man on his deathbed holds a snow globe and utters the single word, \"Rosebud\", before dying; the globe slips from his hand and smashes on the floor. The film opens with shots of Xanadu Xanadu , a vast palatial estate in Florida with a \"No Trespassing\" sign on the gate. Inside the estate's mansion an elderly man on his deathbed holds a snow globe snow globe and utters the single word, \"Rosebud\", before dying; the globe slips from his hand and smashes on the floor. \n", " A newsreel obituary tells the life story of Charles Foster Kane, an enormously wealthy newspaper publisher. The newsreel recounts Kane's entire life, including his mysterious last words. Kane's death becomes sensational news around the world. The newsreel's producer tasks reporter Jerry Thompson with discovering the meaning of \"Rosebud\". A newsreel obituary newsreel obituary tells the life story of Charles Foster Kane Charles Foster Kane , an enormously wealthy newspaper publisher. The newsreel recounts Kane's entire life, including his mysterious last words. Kane's death becomes sensational news around the world. The newsreel's producer tasks reporter Jerry Thompson with discovering the meaning of \"Rosebud\". \n", " Thompson sets out to interviews Kane's friends and associates. Thompson approaches Kane's second wife, Susan Alexander Kane, now an alcoholic who runs her own nightclub, but she refuses to tell him anything and demands that he leave. Thompson sets out to interviews Kane's friends and associates. Thompson approaches Kane's second wife, Susan Alexander Kane, now an alcoholic alcoholic who runs her own nightclub, but she refuses to tell him anything and demands that he leave. \n", " Thompson then goes to the private archive of the late Walter Parks Thatcher, a banker who served as Kane's guardian during his childhood and adolescence. Through Thatcher's written memoirs, Thompson learns about Kane's childhood, which began in poverty in Colorado (his parents ran a boarding house), until \"the world's third largest gold mine\" was discovered on the seemingly worthless property his mother had acquired. His mother, Mary, sends him away to the East to live with Thatcher, so that he may be properly educated. After gaining full control over his trust fund at the age of 25, Kane enters the newspaper business and embarks on a career of yellow journalism. He takes control of the newspaper, the New York Inquirer and begins publishing scandalous articles that attack Thatcher's business interests. Thompson then goes to the private archive of the late Walter Parks Thatcher, a banker who served as Kane's guardian during his childhood and adolescence. Through Thatcher's written memoirs, Thompson learns about Kane's childhood, which began in poverty in Colorado (his parents ran a boarding house), until \"the world's third largest gold mine\" was discovered on the seemingly worthless property his mother had acquired. His mother, Mary, sends him away to the East East to live with Thatcher, so that he may be properly educated. After gaining full control over his trust fund at the age of 25, Kane enters the newspaper business and embarks on a career of yellow journalism yellow journalism . He takes control of the newspaper, the New York Inquirer New York Inquirer and begins publishing scandalous articles that attack Thatcher's business interests. \n", " Thompson then interviews Kane's personal business manager, Mr. Bernstein. Berstein recalls how Kane hired the best journalists available to build The Inquirer's circulation. Kane then rises to power by successfully manipulating public opinion regarding the Spanish American War and marrying Emily Norton, the niece of a President of the United States. Thompson then interviews Kane's personal business manager, Mr. Bernstein. Berstein recalls how Kane hired the best journalists available to build The Inquirer' The Inquirer' s circulation. Kane then rises to power by successfully manipulating public opinion regarding the Spanish American War Spanish American War and marrying Emily Norton, the niece of a President of the United States President of the United States . \n", " Thompson then interviews Kane's estranged best friend, Jedediah Leland. Leland recalls Kane campaigning for the office of Governor of New York. Kane's marriage disintegrates over the years, and he begins an affair with Susan Alexander, a singer. Both his wife and his political opponent discover the affair and this brings an abrupt end to both his marriage and his political aspirations. Kane marries Susan, and forces her into a humiliating operatic career for which she has neither the talent nor the ambition. Thompson then interviews Kane's estranged best friend, Jedediah Leland. Leland recalls Kane campaigning for the office of Governor of New York New York . Kane's marriage disintegrates over the years, and he begins an affair with Susan Alexander, a singer. Both his wife and his political opponent discover the affair and this brings an abrupt end to both his marriage and his political aspirations. Kane marries Susan, and forces her into a humiliating operatic career for which she has neither the talent nor the ambition. \n", " Thompson then returns to interview Susan, successfully this time. Susan recalls her failed opera career. Kane finally allows her to abandon her singing career after she attempts suicide. After years spent in boredom and isolation on the Xanadu estate, constantly under his dominance, Susan ultimately leaves Kane. Kane spends his last years building his vast estate and lives alone, interacting only with his staff. Thompson then returns to interview Susan, successfully this time. Susan recalls her failed opera career. Kane finally allows her to abandon her singing career after she attempts suicide. After years spent in boredom and isolation on the Xanadu estate, constantly under his dominance, Susan ultimately leaves Kane. Kane spends his last years building his vast estate and lives alone, interacting only with his staff. \n", " Finally Thompson interviews Kane's butler Raymond at the Xanadu estate. Raymond recounts that Kane had said \"Rosebud\" after Susan left him, right after seeing and pocketing a snow globe. Finally Thompson interviews Kane's butler Raymond at the Xanadu estate. Raymond recounts that Kane had said \"Rosebud\" after Susan left him, right after seeing and pocketing a snow globe. \n", " Back at Xanadu, Kane's vast number of belongings are catalogued: priceless works of art are intermingled with worthless pieces of modern furniture. Thompson finds that he is unable to solve the mystery and concludes that the meaning of \"Rosebud\" will forever remain an enigma. He theorizes that \"Mr. Kane was a man who got everything he wanted, and then lost it. Maybe Rosebud was something he couldn't get, or something he lost.\" As the film ends, the camera reveals that Rosebud was the name of a sled from Kane's childhood\u2013an allusion to the only time in his life that he was truly happy. The sled, thought to be junk, is burned in a basement furnace by Xanadu's departing staff. Back at Xanadu, Kane's vast number of belongings are catalogued: priceless works of art are intermingled with worthless pieces of modern furniture. Thompson finds that he is unable to solve the mystery and concludes that the meaning of \"Rosebud\" will forever remain an enigma. He theorizes that \"Mr. Kane was a man who got everything he wanted, and then lost it. Maybe Rosebud was something he couldn't get, or something he lost.\" As the film ends, the camera reveals that Rosebud was the name of a sled sled from Kane's childhood\u2013an allusion to the only time in his life that he was truly happy. The sled, thought to be junk, is burned in a basement furnace by Xanadu's departing staff. \n", " \n", "http://en.wikipedia.org/wiki/The_Wizard_of_Oz_(1939_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The film starts in sepia-tinted Kansas in the early 1900s. Dorothy Gale lives with her dog Toto on the farm of her Aunt Em and Uncle Henry. Dorothy and Toto get in trouble with a cruel neighbor, Miss Almira Gulch, when Toto bites her. However, Dorothy's family and the farmhands are all too busy to pay attention to her. Miss Gulch arrives with permission from the sheriff to have Toto be euthanized. He is taken away, but escapes and returns to Dorothy; she then decides to run away from home with Toto to escape Miss Gulch. They meet Professor Marvel, a phony fortune teller, who realizes Dorothy has run away and tricks her via his crystal ball into believing that her aunt is ill so that she may return home. She races home as a powerful tornado develops. Unable to get into the storm cellar, she seeks safety in her bedroom. A wind-blown window sash hits her head and she falls unconscious on her bed. She wakes to find the house spinning in the air, held aloft by the twister. In the storm outside the window she sees Aunt Em in a chair, several farm animals, two of the farmhands rowing a boat, as well as Miss Gulch pedaling her bicycle, who transforms into a cackling witch flying on a broomstick. The film starts in sepia-tinted Kansas Kansas in the early 1900s. Dorothy Gale Dorothy Gale lives with her dog Toto Toto on the farm of her Aunt Em Aunt Em and Uncle Henry Uncle Henry . Dorothy and Toto get in trouble with a cruel neighbor, Miss Almira Gulch, when Toto bites her. However, Dorothy's family and the farmhands are all too busy to pay attention to her. Miss Gulch arrives with permission from the sheriff to have Toto be euthanized. He is taken away, but escapes and returns to Dorothy; she then decides to run away from home with Toto to escape Miss Gulch. They meet Professor Marvel, a phony fortune teller, who realizes Dorothy has run away and tricks her via his crystal ball into believing that her aunt is ill so that she may return home. She races home as a powerful tornado tornado develops. Unable to get into the storm cellar storm cellar , she seeks safety in her bedroom. A wind-blown window sash hits her head and she falls unconscious on her bed. She wakes to find the house spinning in the air, held aloft by the twister. In the storm outside the window she sees Aunt Em in a chair, several farm animals, two of the farmhands rowing a boat, as well as Miss Gulch pedaling her bicycle, who transforms into a cackling witch flying on a broomstick. \n", " \n", "\n", "\n", "\n", "Dorothy (Judy Garland, right) with Glinda, the Good Witch of the North (Billie Burke).\n", "\n", " \n", " \n", "\n", "\n", "Dorothy (Judy Garland, right) with Glinda, the Good Witch of the North (Billie Burke).\n", " \n", " \n", "\n", "Dorothy (Judy Garland, right) with Glinda, the Good Witch of the North (Billie Burke). \n", " \n", "Dorothy (Judy Garland, right) with Glinda, the Good Witch of the North (Billie Burke). \n", " \n", " \n", " The farm house crashes in Munchkinland in the world of Oz, where the film changes to Technicolor. Glinda, the Good Witch of the North, and the Munchkins, welcome her as a heroine because the house has landed on and killed the Wicked Witch of the East, leaving only her feet exposed. Her sister, the Wicked Witch of the West, arrives to claim the magic ruby slippers worn on her sister's feet. Glinda transfers them off her feet to Dorothy's feet instead. The Witch of the West swears revenge on Dorothy and Toto for her sister's death. Glinda tells Dorothy to follow the yellow brick road to the Emerald City, where the Wizard of Oz might be able to help her get back home. The farm house crashes in Munchkinland Munchkinland in the world of Oz world of Oz , where the film changes to Technicolor. Glinda, the Good Witch of the North Glinda, the Good Witch of the North , and the Munchkins Munchkins , welcome her as a heroine because the house has landed on and killed the Wicked Witch of the East Wicked Witch of the East , leaving only her feet exposed. Her sister, the Wicked Witch of the West Wicked Witch of the West , arrives to claim the magic ruby slippers worn on her sister's feet. Glinda transfers them off her feet to Dorothy's feet instead. The Witch of the West swears revenge on Dorothy and Toto for her sister's death. Glinda tells Dorothy to follow the yellow brick road yellow brick road to the Emerald City Emerald City , where the Wizard of Oz Wizard of Oz might be able to help her get back home. \n", " On her way to the Emerald City, Dorothy meets and befriends the Scarecrow who wants a brain, the Tin Woodman who desires a heart, and the Cowardly Lion who is in need of courage. Their faces resemble the farmhands, which Dorothy notices. They join Dorothy to ask the Wizard for their respective consciously declared quality: brain, heart, and courage. After encountering the Witch who attempts to deter them from reaching their destination, they finally reach the Emerald City. Inside, after being initially rejected, they are permitted to see the Wizard (appearing to them in the form of a large head surrounded by fire) who agrees to grant their wishes when they bring him the Witch of the West's broom. On her way to the Emerald City, Dorothy meets and befriends the Scarecrow Scarecrow who wants a brain, the Tin Woodman Tin Woodman who desires a heart, and the Cowardly Lion Cowardly Lion who is in need of courage. Their faces resemble the farmhands, which Dorothy notices. They join Dorothy to ask the Wizard for their respective consciously declared quality: brain, heart, and courage. After encountering the Witch who attempts to deter them from reaching their destination, they finally reach the Emerald City. Inside, after being initially rejected, they are permitted to see the Wizard (appearing to them in the form of a large head surrounded by fire) who agrees to grant their wishes when they bring him the Witch of the West's broom. \n", " On their quest to the Witch's castle, the group make through their way through the Haunted Forest whilst the Witch continues to view their progress through a crystal ball. She then sends her flying monkeys to ambush the four and capture Dorothy and Toto. At the castle, the Witch again fails to get the slippers off of Dorothy due to a magical barrier, and remembers that Dorothy first has to be killed. Toto then escapes and leads her friends to the castle. After defeating three Winkie Guards and stealing their uniforms, they march inside and free her, but the Witch and her guards eventually trap them. After Scarecrow drops a chandelier onto the Winkies, the group is chased across the battlements, before being trapped on both sides. The Witch then sets fire to the Scarecrow, and Dorothy instinctively splashes a nearby bucket of water onto the flames; the Witch is also hit by it and melts. The guards unexpectedly rejoice now that she is dead, and they give Dorothy the charred broom in gratitude. On their quest to the Witch's castle, the group make through their way through the Haunted Forest whilst the Witch continues to view their progress through a crystal ball. She then sends her flying monkeys flying monkeys to ambush the four and capture Dorothy and Toto. At the castle, the Witch again fails to get the slippers off of Dorothy due to a magical barrier, and remembers that Dorothy first has to be killed. Toto then escapes and leads her friends to the castle. After defeating three Winkie Guards and stealing their uniforms, they march inside and free her, but the Witch and her guards eventually trap them. After Scarecrow drops a chandelier onto the Winkies, the group is chased across the battlements, before being trapped on both sides. The Witch then sets fire to the Scarecrow, and Dorothy instinctively splashes a nearby bucket of water onto the flames; the Witch is also hit by it and melts. The guards unexpectedly rejoice now that she is dead, and they give Dorothy the charred broom in gratitude. \n", " Back at the Emerald City, the Wizard refuses to grant their wishes at that time, and Toto exposes the \"Wizard\" as a normal middle-aged man (who resembles Professor Marvel) that has been operating and controlling the wizard; he admits to being a humbug and a bad wizard. Nonetheless, he grants their wishes by giving the Scarecrow a diploma, the Lion a medal, and the Tin Man a heart-shaped watch, and that is enough to convince themselves that what they sought has been achieved. He then prepares to get Dorothy home in his hot air balloon, but as Toto runs away to chase a cat, Dorothy follows, and it leaves without her. Glinda soon arrives and tells her that she can still return home by tapping her heels together three times and repeating, \"There's no place like home.\"[7] After bidding a tearful goodbye to her friends, Dorothy \"returns\" home, coming to consciousness on her bed surrounded by her family, the farmhands, Professor Marvel, and Toto. Back at the Emerald City, the Wizard refuses to grant their wishes at that time, and Toto exposes the \"Wizard\" as a normal middle-aged man (who resembles Professor Marvel) that has been operating and controlling the wizard; he admits to being a humbug humbug and a bad wizard. Nonetheless, he grants their wishes by giving the Scarecrow a diploma diploma , the Lion a medal, and the Tin Man a heart-shaped watch, and that is enough to convince themselves that what they sought has been achieved. He then prepares to get Dorothy home in his hot air balloon, but as Toto runs away to chase a cat, Dorothy follows, and it leaves without her. Glinda soon arrives and tells her that she can still return home by tapping her heels together three times and repeating, \"There's no place like home.\" [7] [7] [ [ 7 ] ] After bidding a tearful goodbye to her friends, Dorothy \"returns\" home, coming to consciousness on her bed surrounded by her family, the farmhands, Professor Marvel, and Toto. \n", " \n", "http://en.wikipedia.org/wiki/Titanic_(1997_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1996, treasure hunter Brock Lovett and his team aboard the research vessel Keldysh search the wreck of RMS Titanic for a necklace with a rare diamond, the Heart of the Ocean. They recover a safe containing a drawing of a young woman wearing the necklace dated April 14, 1912, the day the ship struck the iceberg.[Note 1] Rose Dawson Calvert, the woman in the drawing, is brought aboard the Keldysh and tells Lovett of her experiences aboard the Titanic. In 1996, treasure hunter Brock Lovett and his team aboard the research vessel Keldysh Keldysh search the wreck of RMS Titanic RMS Titanic Titanic for a necklace with a rare diamond, the Heart of the Ocean Heart of the Ocean . They recover a safe containing a drawing of a young woman wearing the necklace dated April 14, 1912, the day the ship struck the iceberg. [Note 1] [Note 1] [ [ Note 1 ] ] Rose Dawson Calvert, the woman in the drawing, is brought aboard the Keldysh Keldysh and tells Lovett of her experiences aboard the Titanic Titanic . \n", " In 1912 Southampton, 17-year-old first-class passenger Rose DeWitt Bukater, her fianc\u00e9 Cal Hockley, and her mother Ruth board the Titanic. Ruth emphasizes that Rose's marriage will resolve the DeWitt Bukaters' financial problems. Distraught over the engagement, Rose considers jumping from the stern; Jack Dawson, a penniless artist, convinces her not to. Discovered with Jack, Rose tells Cal that she was peering over the edge and Jack saved her from falling. She suggests to an indifferent Cal that Jack deserves a reward. He invites Jack to dine with them in first class the following night. Jack and Rose develop a tentative friendship, though Cal and Ruth are wary of him. Following dinner, Rose secretly joins Jack at a party in third class. In 1912 Southampton Southampton , 17-year-old first-class passenger Rose DeWitt Bukater, her fianc\u00e9 Cal Hockley, and her mother Ruth board the Titanic Titanic . Ruth emphasizes that Rose's marriage will resolve the DeWitt Bukaters' financial problems. Distraught over the engagement, Rose considers jumping from the stern; Jack Dawson, a penniless artist, convinces her not to. Discovered with Jack, Rose tells Cal that she was peering over the edge and Jack saved her from falling. She suggests to an indifferent Cal that Jack deserves a reward. He invites Jack to dine with them in first class the following night. Jack and Rose develop a tentative friendship, though Cal and Ruth are wary of him. Following dinner, Rose secretly joins Jack at a party in third class. \n", " Aware of Cal and Ruth's disapproval, Rose rebuffs Jack's advances, but realizes she prefers him over Cal. After rendezvousing on the bow at sunset, Rose takes Jack to her state room; at her request, Jack sketches Rose posing nude wearing Cal's engagement present, the Heart of the Ocean necklace. They evade Cal's bodyguard and have sex in an automobile inside the cargo hold. On the forward deck, they witness a collision with an iceberg and overhear the officers and designer discussing its seriousness. Aware of Cal and Ruth's disapproval, Rose rebuffs Jack's advances, but realizes she prefers him over Cal. After rendezvousing on the bow at sunset, Rose takes Jack to her state room; at her request, Jack sketches Rose posing nude wearing Cal's engagement present, the Heart of the Ocean necklace. They evade Cal's bodyguard and have sex in an automobile inside the cargo hold. On the forward deck, they witness a collision with an iceberg and overhear the officers and designer discussing its seriousness. \n", " Cal discovers Jack's sketch of Rose and a mocking note from her in his safe along with the necklace. When Jack and Rose attempt to tell Cal of the collision, he has his butler slip the necklace into Jack's pocket and accuses him of theft. Jack is arrested, taken to the Master-at-arms' office, and handcuffed to a pipe. Cal puts the necklace in his own coat pocket. Cal discovers Jack's sketch of Rose and a mocking note from her in his safe along with the necklace. When Jack and Rose attempt to tell Cal of the collision, he has his butler slip the necklace into Jack's pocket and accuses him of theft. Jack is arrested, taken to the Master-at-arms Master-at-arms ' office, and handcuffed to a pipe. Cal puts the necklace in his own coat pocket. \n", " With the ship sinking, Rose flees Cal and her mother, who has boarded a lifeboat, and rescues Jack. On the boat deck, Cal and Jack encourage her to board a lifeboat; Cal claims he can get himself and Jack off safely. After Rose boards one, Cal tells Jack the arrangement is only for himself. As her boat lowers, Rose decides that she cannot leave Jack and jumps back on board. Cal takes his bodyguard's pistol and chases Rose and Jack into the flooding first class dining saloon. After using up his ammunition, Cal realizes he gave his coat and consequently the necklace to Rose. He later boards a collapsible lifeboat by carrying a lost child. With the ship sinking, Rose flees Cal and her mother, who has boarded a lifeboat, and rescues Jack. On the boat deck, Cal and Jack encourage her to board a lifeboat; Cal claims he can get himself and Jack off safely. After Rose boards one, Cal tells Jack the arrangement is only for himself. As her boat lowers, Rose decides that she cannot leave Jack and jumps back on board. Cal takes his bodyguard's pistol and chases Rose and Jack into the flooding first class dining saloon. After using up his ammunition, Cal realizes he gave his coat and consequently the necklace to Rose. He later boards a collapsible lifeboat by carrying a lost child. \n", " After braving several obstacles, Jack and Rose return to the boat deck. The lifeboats have departed and passengers are falling to their deaths as the stern rises out of the water. The ship breaks in half, lifting the stern into the air. Jack and Rose ride it into the ocean and he helps her onto a wooden panel only buoyant enough for one person. He assures her that she will die an old woman, warm in her bed. He dies of hypothermia but she is saved. After braving several obstacles, Jack and Rose return to the boat deck. The lifeboats have departed and passengers are falling to their deaths as the stern rises out of the water. The ship breaks in half, lifting the stern into the air. Jack and Rose ride it into the ocean and he helps her onto a wooden panel only buoyant enough for one person. He assures her that she will die an old woman, warm in her bed. He dies of hypothermia hypothermia but she is saved. \n", " With Rose hiding from Cal en route, the RMS Carpathia takes the survivors to New York City where Rose gives her name as Rose Dawson. She later learns that Cal committed suicide after losing everything in the 1929 Wall Street Crash. With Rose hiding from Cal en route, the RMS Carpathia RMS Carpathia Carpathia takes the survivors to New York City where Rose gives her name as Rose Dawson. She later learns that Cal committed suicide after losing everything in the 1929 Wall Street Crash 1929 Wall Street Crash . \n", " Lovett abandons his search after hearing Rose's story. Alone on the stern of the Keldysh, Rose takes out the Heart of the Ocean \u2014 in her possession all along \u2014 and drops it into the sea over the wreck site. While she is seemingly asleep in her bed, photos on her dresser depict a life of freedom and adventure inspired by Jack. A young Rose reunites with Jack at the Titanic's Grand Staircase, applauded by those who perished. Lovett abandons his search after hearing Rose's story. Alone on the stern of the Keldysh Keldysh , Rose takes out the Heart of the Ocean \u2014 in her possession all along \u2014 and drops it into the sea over the wreck site. While she is seemingly asleep in her bed, photos on her dresser depict a life of freedom and adventure inspired by Jack. A young Rose reunites with Jack at the Titanic Titanic 's Grand Staircase Grand Staircase , applauded by those who perished. \n", " \n", "http://en.wikipedia.org/wiki/Lawrence_of_Arabia_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_summary" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot summary [edit] [ [ edit edit ] ] \n", " The film is presented in two parts, separated by an intermission. The film is presented in two parts, separated by an intermission. \n", " Part I[edit] Part I Part I [edit] [ [ edit edit ] ] \n", " In 1935, T. E. Lawrence is killed in a motorcycle accident. At his memorial service at St Paul's Cathedral, a reporter tries to gain insights into this remarkable, enigmatic man from those who knew him, with little success. In 1935, T. E. Lawrence T. E. Lawrence is killed in a motorcycle accident. At his memorial service at St Paul's Cathedral St Paul's Cathedral , a reporter tries to gain insights into this remarkable, enigmatic man from those who knew him, with little success. \n", " During the First World War, Lawrence is a misfit British Army lieutenant stationed in Cairo, notable for his insolence and knowledge. Over the objections of General Murray, he is sent by Mr. Dryden of the Arab Bureau to assess the prospects of British ally Prince Faisal in his revolt against the Turks. During the First World War First World War , Lawrence is a misfit British Army British Army lieutenant lieutenant stationed in Cairo Cairo , notable for his insolence and knowledge. Over the objections of General Murray General Murray , he is sent by Mr. Dryden Mr. Dryden of the Arab Bureau Arab Bureau to assess the prospects of British ally Prince Faisal Prince Faisal in his revolt revolt against the Turks Turks . \n", " On the journey, his Bedouin guide is killed by Sherif Ali, for drinking from a well without permission. Lawrence later meets Colonel Brighton, who orders him to keep quiet, make his assessment of Faisal's intentions, and leave. Lawrence promptly ignores Brighton's commands when he meets Faisal. His knowledge, attitude and outspokenness pique the Prince's interest. On the journey, his Bedouin Bedouin guide is killed by Sherif Ali, for drinking from a well without permission. Lawrence later meets Colonel Brighton, who orders him to keep quiet, make his assessment of Faisal's intentions, and leave. Lawrence promptly ignores Brighton's commands when he meets Faisal. His knowledge, attitude and outspokenness pique the Prince's interest. \n", " Brighton advises Faisal to retreat to Yenbo after a major defeat, but Lawrence proposes a daring surprise attack on Aqaba which, if successful, would provide a port from which the British could offload much-needed supplies. While strongly fortified against a naval assault, the town is lightly defended on the landward side. He convinces Faisal to provide fifty men, led by a sceptical Sherif Ali. Two teenage orphans, Daud and Farraj, attach themselves to Lawrence as his servants. Brighton advises Faisal to retreat to Yenbo Yenbo after a major defeat, but Lawrence proposes a daring surprise attack on Aqaba Aqaba which, if successful, would provide a port from which the British could offload much-needed supplies. While strongly fortified against a naval assault, the town is lightly defended on the landward side. He convinces Faisal to provide fifty men, led by a sceptical Sherif Ali. Two teenage orphans, Daud and Farraj, attach themselves to Lawrence as his servants. \n", " They cross the Nefud Desert, considered impassable even by the Bedouins, travelling day and night on the last stage to reach water. Gasim (I. S. Johar) succumbs to fatigue and falls off his camel unnoticed during the night. The rest make it to an oasis, but Lawrence turns back for the lost man and against all odds brings him back. Sherif Ali, won over, burns Lawrence's British uniform and gives him Arab robes to wear. They cross the Nefud Desert Nefud Desert , considered impassable even by the Bedouins, travelling day and night on the last stage to reach water. Gasim ( I. S. Johar I. S. Johar ) succumbs to fatigue and falls off his camel unnoticed during the night. The rest make it to an oasis, but Lawrence turns back for the lost man and against all odds brings him back. Sherif Ali, won over, burns Lawrence's British uniform and gives him Arab robes to wear. \n", " Lawrence persuades Auda abu Tayi, the leader of the powerful local Howeitat tribe, to turn against the Turks. Lawrence's plan is almost derailed when one of Ali's men kills one of Auda's because of a blood feud. Since Howeitat retaliation would shatter the fragile alliance, Lawrence declares that he will execute the murderer himself. Stunned to discover that the culprit is Gasim, he shoots him anyway. The next morning, the intact alliance overruns the Turkish garrison. Lawrence persuades Auda abu Tayi Auda abu Tayi , the leader of the powerful local Howeitat Howeitat tribe, to turn against the Turks. Lawrence's plan is almost derailed when one of Ali's men kills one of Auda's because of a blood feud blood feud . Since Howeitat retaliation would shatter the fragile alliance, Lawrence declares that he will execute the murderer himself. Stunned to discover that the culprit is Gasim, he shoots him anyway. The next morning, the intact alliance overruns the Turkish garrison garrison . \n", " Lawrence heads to Cairo to inform Dryden and the new commander, General Allenby, of his victory. During the crossing of the Sinai Desert, Daud dies when he stumbles into quicksand. Lawrence is promoted to major and given arms and money to support the Arabs. He is deeply disturbed, confessing that he enjoyed executing Gasim, but Allenby brushes aside his qualms. He asks Allenby whether there is any basis for the Arabs' suspicions that the British have designs on Arabia. Pressed, the general states they have no such designs. Lawrence heads to Cairo to inform Dryden and the new commander, General Allenby General Allenby , of his victory. During the crossing of the Sinai Desert Sinai Desert , Daud dies when he stumbles into quicksand quicksand . Lawrence is promoted to major major and given arms and money to support the Arabs. He is deeply disturbed, confessing that he enjoyed executing enjoyed executing Gasim, but Allenby brushes aside his qualms. He asks Allenby whether there is any basis for the Arabs' suspicions that the British have designs on Arabia British have designs on Arabia . Pressed, the general states they have no such designs. \n", " Part II[edit] Part II Part II [edit] [ [ edit edit ] ] \n", " Lawrence launches a guerrilla war, blowing up trains and harassing the Turks at every turn. American war correspondent Jackson Bentley publicises his exploits, making him world famous. On one raid, Farraj is badly injured. Unwilling to leave him to be tortured, Lawrence is forced to shoot him before fleeing. Lawrence launches a guerrilla war guerrilla war , blowing up trains and harassing the Turks at every turn. American war correspondent war correspondent Jackson Bentley publicises his exploits, making him world famous. On one raid, Farraj is badly injured. Unwilling to leave him to be tortured, Lawrence is forced to shoot him before fleeing. \n", " When Lawrence scouts the enemy-held city of Daraa with Ali, he is taken, along with several Arab residents, to the Turkish Bey. Lawrence is stripped, ogled, and prodded. For striking out at the Bey, he is severely flogged, and possibly raped, which is implied. He is then thrown out into the street. It is an emotional turning point for Lawrence. He is so traumatised by the experience that he abandons all of his exploits, going from having proclaimed himself almost a god, to insisting he is merely a man. He attempts to return to the British forces and swear off the desert, but he never fits in there. In Jerusalem, Allenby urges him to support his \"big push\" on Damascus, but Lawrence is a changed, tormented man, unwilling to return. After Allenby insists that Lawrence has a destiny, he finally relents. Lawrence naively believes that the warriors will come for him rather than for money. When Lawrence scouts the enemy-held city of Daraa Daraa with Ali, he is taken, along with several Arab residents, to the Turkish Bey Bey . Lawrence is stripped, ogled, and prodded. For striking out at the Bey, he is severely flogged flogged , and possibly raped, which is implied. He is then thrown out into the street. It is an emotional turning point for Lawrence. He is so traumatised by the experience that he abandons all of his exploits, going from having proclaimed himself almost a god, to insisting he is merely a man. He attempts to return to the British forces and swear off the desert, but he never fits in there. In Jerusalem Jerusalem , Allenby urges him to support his \"big push\" on Damascus Damascus , but Lawrence is a changed, tormented man, unwilling to return. After Allenby insists that Lawrence has a destiny, he finally relents. Lawrence naively believes that the warriors will come for him rather than for money. \n", " He recruits an army, mainly killers, mercenaries, and cutthroats motivated by money, rather than the Arab cause. They sight a column of retreating Turkish soldiers who have just slaughtered the people of the village of Tafas. One of Lawrence's men from the village demands, \"No prisoners!\" When Lawrence hesitates, the man charges the Turks alone and is killed. Lawrence takes up the dead man's cry, resulting in a massacre in which Lawrence himself fully participates, with disturbing relish. Afterward, he realises the horrible consequences of what he has done. He recruits an army, mainly killers, mercenaries mercenaries , and cutthroats motivated by money, rather than the Arab cause. They sight a column of retreating Turkish soldiers who have just slaughtered the people of the village of Tafas Tafas . One of Lawrence's men from the village demands, \"No prisoners!\" When Lawrence hesitates, the man charges the Turks alone and is killed. Lawrence takes up the dead man's cry, resulting in a massacre in which Lawrence himself fully participates, with disturbing relish. Afterward, he realises the horrible consequences of what he has done. \n", " His men then take Damascus ahead of Allenby's forces. The Arabs set up a council to administer the city, but they are desert tribesmen, ill-suited for such a task. The various tribes argue among themselves and in spite of Lawrence's insistence, cannot unite against the British, who in the end take the city back under their bureaucracy. Unable to maintain the utilities and bickering constantly with each other, they soon abandon most of the city to the British. Promoted to colonel and immediately ordered home, his usefulness at an end to both Faisal and the British diplomats, a dejected Lawrence is driven away in a staff car. His men then take Damascus ahead of Allenby's forces. The Arabs set up a council to administer the city, but they are desert tribesmen, ill-suited for such a task. The various tribes argue among themselves and in spite of Lawrence's insistence, cannot unite against the British, who in the end take the city back under their bureaucracy. Unable to maintain the utilities and bickering constantly with each other, they soon abandon most of the city to the British. Promoted to colonel colonel and immediately ordered home, his usefulness at an end to both Faisal and the British diplomats, a dejected Lawrence is driven away in a staff car. \n", " \n", "http://en.wikipedia.org/wiki/The_Godfather_Part_II\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "In 1901 Corleone, Sicily, nine-year-old Vito Andolini\u2019s family is killed after his father insults local Mafia chieftain Don Ciccio. He escapes to New York and is registered as \"Vito Corleone\" on Ellis Island.\n", " \n", " In 1901 Corleone, Sicily, nine-year-old Vito Andolini\u2019s family is killed after his father insults local Mafia chieftain Don Ciccio. He escapes to New York and is registered as \"Vito Corleone\" on Ellis Island. In 1901 Corleone, Sicily, nine-year-old Vito Andolini\u2019s family is killed after his father insults local Mafia chieftain Don Ciccio. He escapes to New York and is registered as \"Vito Corleone\" on Ellis Island. In 1901 Corleone Corleone , Sicily Sicily , nine-year-old Vito Andolini\u2019s family is killed after his father insults local Mafia Mafia chieftain Don Ciccio. He escapes to New York New York and is registered as \" Vito Corleone Vito Corleone \" on Ellis Island Ellis Island . \n", " \n", " On the occasion of the 1958 first communion party for his son, Michael Corleone has a series of meetings in his role as the Don of his crime family. With Nevada Senator Pat Geary, he discusses the terms of a fourth state gaming license for the Corleones, but the two only trade insults and demand payoffs. Johnny Ola arrives to express support for Michael on behalf of Florida gangster Hyman Roth. At the same time as the Don tries to manage his depressed sister Connie and older brother Fredo, Corleone caporegime Frank Pentangeli is upset that his boss will not help him defend New York against the Rosato brothers, who work for the Jewish Roth. That night, Michael survives an assassination attempt at his home and puts consigliere Tom Hagen in charge, reassuring him of their fraternal bond. On the occasion of the 1958 first communion first communion party for his son, Michael Corleone Michael Corleone has a series of meetings in his role as the Don Don of his crime family. With Nevada Senator Senator Pat Geary Pat Geary , he discusses the terms of a fourth state gaming license for the Corleones, but the two only trade insults and demand payoffs. Johnny Ola Johnny Ola arrives to express support for Michael on behalf of Florida gangster Hyman Roth Hyman Roth . At the same time as the Don tries to manage his depressed sister Connie and older brother Fredo Fredo , Corleone caporegime caporegime Frank Pentangeli Frank Pentangeli is upset that his boss will not help him defend New York against the Rosato brothers, who work for the Jewish Roth. That night, Michael survives an assassination attempt at his home and puts consigliere consigliere Tom Hagen Tom Hagen in charge, reassuring him of their fraternal bond. \n", " \n", "In 1917, Vito Corleone (Robert De Niro) lives in a tenement with his wife Carmela and son Sonny, and works in a New York grocery store owned by the father of a close friend. A member of the Black Hand, Don Fanucci, who extorts protection payments from local businesses, forces the store owner to fire Vito and give his job to Fanucci's nephew. As a favor to his neighbor, Peter Clemenza, Vito hides a stash of guns; in return, he is invited to the burglary of a rich apartment. His share of the loot is a plush rug, which he lays in his own living room.\n", " \n", " In 1917, Vito Corleone (Robert De Niro) lives in a tenement with his wife Carmela and son Sonny, and works in a New York grocery store owned by the father of a close friend. A member of the Black Hand, Don Fanucci, who extorts protection payments from local businesses, forces the store owner to fire Vito and give his job to Fanucci's nephew. As a favor to his neighbor, Peter Clemenza, Vito hides a stash of guns; in return, he is invited to the burglary of a rich apartment. His share of the loot is a plush rug, which he lays in his own living room. In 1917, Vito Corleone (Robert De Niro) lives in a tenement with his wife Carmela and son Sonny, and works in a New York grocery store owned by the father of a close friend. A member of the Black Hand, Don Fanucci, who extorts protection payments from local businesses, forces the store owner to fire Vito and give his job to Fanucci's nephew. As a favor to his neighbor, Peter Clemenza, Vito hides a stash of guns; in return, he is invited to the burglary of a rich apartment. His share of the loot is a plush rug, which he lays in his own living room. In 1917, Vito Corleone ( Robert De Niro Robert De Niro ) lives in a tenement with his wife Carmela Carmela and son Sonny Sonny , and works in a New York grocery store owned by the father of a close friend. A member of the Black Hand Black Hand , Don Fanucci Don Fanucci , who extorts extorts protection payments from local businesses, forces the store owner to fire Vito and give his job to Fanucci's nephew. As a favor to his neighbor, Peter Clemenza Peter Clemenza , Vito hides a stash of guns; in return, he is invited to the burglary of a rich apartment. His share of the loot is a plush rug, which he lays in his own living room. \n", " \n", " In Miami, Michael tells Roth that Pentangeli was behind the assassination attempt; he then tells Pentangeli that Roth ordered it and asks him to cooperate. Pentangeli meets the Rosatos; their men ambush him, saying they act on Michael's orders, but a passing policeman interrupts them and they flee, leaving Pentangeli for dead. In Miami Miami , Michael tells Roth that Pentangeli was behind the assassination attempt; he then tells Pentangeli that Roth ordered it and asks him to cooperate. Pentangeli meets the Rosatos; their men ambush him, saying they act on Michael's orders, but a passing policeman interrupts them and they flee, leaving Pentangeli for dead. \n", " Geary finds himself in Fredo's brothel with a dead prostitute and no memory of how he got there; he accepts Tom's offer of \"friendship\" to cover up the incident. Geary finds himself in Fredo's brothel with a dead prostitute and no memory of how he got there; he accepts Tom's offer of \"friendship\" to cover up the incident. \n", " After witnessing a rebel suicide bombing in Havana, Cuba, Michael becomes convinced of the rebels' resolve to overthrow the dictator Fulgencio Batista. Fredo brings Michael the money for a deal with Roth, but instead of turning it over to Roth, Michael asks who put out the hit on Pentangeli. Roth is reminded of his late friend Moe Greene\u2014dead in a spate of Corleone killing\u2014saying, \"This is the business we've chosen. I didn't ask who gave the order because it had nothing to do with business!\" As they go to the President's New Year's Eve party, Michael tells Fredo that he knows Roth plans to kill him as he leaves the party and later Fredo reveals that he knew Johnny Ola, despite his previous denial. Michael's bodyguard strangles Ola but is killed by police before he can finish off the ailing Roth. Michael embraces his brother, revealing that he knows he was behind the plot on his life but the party breaks up as word spreads that the rebels are taking over; Fredo flees in the chaos. Back home, Tom informs Michael that Roth is recovering in Miami and that Kay's pregnancy has miscarried. After witnessing a rebel suicide bombing suicide bombing in Havana Havana , Cuba Cuba , Michael becomes convinced of the rebels' resolve to overthrow the dictator Fulgencio Batista Fulgencio Batista . Fredo brings Michael the money for a deal with Roth, but instead of turning it over to Roth, Michael asks who put out the hit on Pentangeli. Roth is reminded of his late friend Moe Greene Moe Greene \u2014dead in a spate of Corleone killing\u2014saying, \"This is the business we've chosen. I didn't ask who gave the order because it had nothing to do with business business !\" As they go to the President's New Year's Eve party, Michael tells Fredo that he knows Roth plans to kill him as he leaves the party and later Fredo reveals that he knew Johnny Ola, despite his previous denial. Michael's bodyguard strangles Ola but is killed by police before he can finish off the ailing Roth. Michael embraces his brother, revealing that he knows he was behind the plot on his life but the party breaks up as word spreads that the rebels are taking over; Fredo flees in the chaos. Back home, Tom informs Michael that Roth is recovering in Miami and that Kay's pregnancy has miscarried. \n", " \n", "Three years later, two more sons\u2014Fredo and Michael\u2014have been born to Vito. He and his partners (Clemenza and Sal Tessio) face extortion by Don Fanucci, who demands they let him \"wet his beak\" from their recent burglary or he will have the police ruin the Corleone family. Vito persuades his partners to pay Fanucci less than he asks and promises he will \"make him an offer he won't refuse\" as a favor to them. During a neighborhood festa, Vito meets with Fanucci and earns his respect. He then follows Fanucci, surprises him in his apartment foyer, shoots and kills him, takes back his partners' money and escapes.\n", " \n", " Three years later, two more sons\u2014Fredo and Michael\u2014have been born to Vito. He and his partners (Clemenza and Sal Tessio) face extortion by Don Fanucci, who demands they let him \"wet his beak\" from their recent burglary or he will have the police ruin the Corleone family. Vito persuades his partners to pay Fanucci less than he asks and promises he will \"make him an offer he won't refuse\" as a favor to them. During a neighborhood festa, Vito meets with Fanucci and earns his respect. He then follows Fanucci, surprises him in his apartment foyer, shoots and kills him, takes back his partners' money and escapes. Three years later, two more sons\u2014Fredo and Michael\u2014have been born to Vito. He and his partners (Clemenza and Sal Tessio) face extortion by Don Fanucci, who demands they let him \"wet his beak\" from their recent burglary or he will have the police ruin the Corleone family. Vito persuades his partners to pay Fanucci less than he asks and promises he will \"make him an offer he won't refuse\" as a favor to them. During a neighborhood festa, Vito meets with Fanucci and earns his respect. He then follows Fanucci, surprises him in his apartment foyer, shoots and kills him, takes back his partners' money and escapes. Three years later, two more sons\u2014Fredo and Michael\u2014have been born to Vito. He and his partners (Clemenza and Sal Tessio Sal Tessio ) face extortion by Don Fanucci, who demands they let him \"wet his beak\" from their recent burglary or he will have the police ruin the Corleone family. Vito persuades his partners to pay Fanucci less than he asks and promises he will \"make him an offer he won't refuse\" as a favor to them. During a neighborhood festa festa , Vito meets with Fanucci and earns his respect. He then follows Fanucci, surprises him in his apartment foyer, shoots and kills him, takes back his partners' money and escapes. \n", " \n", " In Washington, D.C., a Senate committee investigating the Corleone family cannot find evidence to implicate Michael until a surprise witness is called. Pentangeli, ensconced in FBI witness protection and ready to avenge the attempt on his life, is prepared to confirm accusations against Michael until his Sicilian brother attends the hearing at the Don's side; Pentangeli denies his sworn statements and the hearing dissolves in an uproar. Afterwards, Michael violently prevents Kay from leaving with their children; she retaliates with the revelation that her miscarriage was actually an abortion. In Washington, D.C. Washington, D.C. , a Senate Senate committee investigating the Corleone family cannot find evidence to implicate Michael until a surprise witness is called. Pentangeli, ensconced in FBI witness protection and ready to avenge the attempt on his life, is prepared to confirm accusations against Michael until his Sicilian brother attends the hearing at the Don's side; Pentangeli denies his sworn statements and the hearing dissolves in an uproar. Afterwards, Michael violently prevents Kay from leaving with their children; she retaliates with the revelation that her miscarriage was actually an abortion. \n", " \n", "Vito has become a respected figure in his New York community. He confronts a landlord who doesn't know him, offering extra money to let a widow keep her apartment. The landlord says he has already leased it and becomes angry when Vito demands that he allow her to keep her dog. Later the landlord learns that he may have offended the wrong person. Terrified, he returns to assure Vito that the widow can stay, along with her dog, at a reduced rent.\n", " \n", " Vito has become a respected figure in his New York community. He confronts a landlord who doesn't know him, offering extra money to let a widow keep her apartment. The landlord says he has already leased it and becomes angry when Vito demands that he allow her to keep her dog. Later the landlord learns that he may have offended the wrong person. Terrified, he returns to assure Vito that the widow can stay, along with her dog, at a reduced rent. Vito has become a respected figure in his New York community. He confronts a landlord who doesn't know him, offering extra money to let a widow keep her apartment. The landlord says he has already leased it and becomes angry when Vito demands that he allow her to keep her dog. Later the landlord learns that he may have offended the wrong person. Terrified, he returns to assure Vito that the widow can stay, along with her dog, at a reduced rent. Vito has become a respected figure in his New York community. He confronts a landlord who doesn't know him, offering extra money to let a widow keep her apartment. The landlord says he has already leased it and becomes angry when Vito demands that he allow her to keep her dog. Later the landlord learns that he may have offended the wrong person. Terrified, he returns to assure Vito that the widow can stay, along with her dog, at a reduced rent. \n", " \n", " Michael and Tom observe that Roth's strategy to destroy Michael is well planned. Fredo is returned to Nevada, where he privately explains himself to Michael. He was upset about being passed over to head the family, and helped Roth, thinking there would be something in it for him, unaware, he swears, of their plans on Michael's life. He informs his brother that the Senate Committee's chief counsel is on Roth's payroll. Michael disowns Fredo and instructs Al Neri that \"I don't want anything to happen to him while my mother's alive.\" Michael and Tom observe that Roth's strategy to destroy Michael is well planned. Fredo is returned to Nevada, where he privately explains himself to Michael. He was upset about being passed over to head the family, and helped Roth, thinking there would be something in it for him, unaware, he swears, of their plans on Michael's life. He informs his brother that the Senate Committee's chief counsel is on Roth's payroll. Michael disowns Fredo and instructs Al Neri Al Neri that \"I don't want anything to happen to him while my mother's alive.\" \n", " \n", "Vito, together with his young family, visits Sicily for the first time. He is introduced to the elderly Don Ciccio by Don Tommasino as the man who imports their olive oil to America, and who wants his blessing. When Ciccio asks Vito who his father was, Vito says, \"My father's name was Antonio Andolini, and this is for you!\" He then plunges a large knife into the old man's stomach and carves it open. As they flee, Tommasino is shot and injured.\n", " \n", " Vito, together with his young family, visits Sicily for the first time. He is introduced to the elderly Don Ciccio by Don Tommasino as the man who imports their olive oil to America, and who wants his blessing. When Ciccio asks Vito who his father was, Vito says, \"My father's name was Antonio Andolini, and this is for you!\" He then plunges a large knife into the old man's stomach and carves it open. As they flee, Tommasino is shot and injured. Vito, together with his young family, visits Sicily for the first time. He is introduced to the elderly Don Ciccio by Don Tommasino as the man who imports their olive oil to America, and who wants his blessing. When Ciccio asks Vito who his father was, Vito says, \"My father's name was Antonio Andolini, and this is for you!\" He then plunges a large knife into the old man's stomach and carves it open. As they flee, Tommasino is shot and injured. Vito, together with his young family, visits Sicily for the first time. He is introduced to the elderly Don Ciccio by Don Tommasino Don Tommasino as the man who imports their olive oil to America, and who wants his blessing. When Ciccio asks Vito who his father was, Vito says, \"My father's name was Antonio Andolini, and this is for you!\" He then plunges a large knife into the old man's stomach and carves it open. As they flee, Tommasino is shot and injured. \n", " \n", " Carmela Corleone dies. At the funeral, a reformed Connie implores Michael to forgive Fredo. Michael relents and embraces Fredo, but stares intently at Al Neri. Roth is refused asylum and even entry to Israel. Over Tom's dissent, Michael plans his revenge. Tom visits Pentangeli and offers to spare his family, reminding him that failed plotters against the Roman Emperor took their own lives. Carmela Corleone dies. At the funeral, a reformed Connie implores Michael to forgive Fredo. Michael relents and embraces Fredo, but stares intently at Al Neri. Roth is refused asylum asylum and even entry to Israel entry to Israel . Over Tom's dissent, Michael plans his revenge. Tom visits Pentangeli and offers to spare his family, reminding him that failed plotters against the Roman Emperor took their own lives. \n", " Connie helps Kay visit her children, but Michael closes the door on any forgiveness. Connie helps Kay visit her children, but Michael closes the door on any forgiveness. \n", " As he arrives in Miami to be taken into custody, Hyman Roth is shot in the stomach and killed by Rocco Lampone, who is immediately shot dead by FBI agents. Frank Pentangeli is discovered dead in his bathtub with slit wrists. Al shoots Fredo while they are fishing on Lake Tahoe. As he arrives in Miami to be taken into custody, Hyman Roth is shot in the stomach and killed by Rocco Lampone Rocco Lampone , who is immediately shot dead by FBI agents. Frank Pentangeli is discovered dead in his bathtub with slit wrists. Al shoots Fredo while they are fishing on Lake Tahoe. \n", " \n", "On December 7, 1941, the Corleone family gathers to surprise Vito for his fiftieth birthday. Sonny introduces Carlo Rizzi to Connie. Tessio comes in with the cake, and they discuss the attack on Pearl Harbor. Michael announces he has left college to enlist in the United States Marine Corps, leaving Sonny furious, Tom incredulous, and Fredo the only brother supportive. Vito is heard at the door and all but Michael leave the room to greet him.\n", " \n", " On December 7, 1941, the Corleone family gathers to surprise Vito for his fiftieth birthday. Sonny introduces Carlo Rizzi to Connie. Tessio comes in with the cake, and they discuss the attack on Pearl Harbor. Michael announces he has left college to enlist in the United States Marine Corps, leaving Sonny furious, Tom incredulous, and Fredo the only brother supportive. Vito is heard at the door and all but Michael leave the room to greet him. On December 7, 1941, the Corleone family gathers to surprise Vito for his fiftieth birthday. Sonny introduces Carlo Rizzi to Connie. Tessio comes in with the cake, and they discuss the attack on Pearl Harbor. Michael announces he has left college to enlist in the United States Marine Corps, leaving Sonny furious, Tom incredulous, and Fredo the only brother supportive. Vito is heard at the door and all but Michael leave the room to greet him. On December 7, 1941, the Corleone family gathers to surprise Vito for his fiftieth birthday. Sonny Sonny introduces Carlo Rizzi Carlo Rizzi to Connie. Tessio comes in with the cake, and they discuss the attack on Pearl Harbor attack on Pearl Harbor . Michael announces he has left college to enlist in the United States Marine Corps United States Marine Corps , leaving Sonny furious, Tom incredulous, and Fredo the only brother supportive. Vito is heard at the door and all but Michael leave the room to greet him. \n", " \n", " Michael sits alone by the lake at the family compound. Michael sits alone by the lake at the family compound. \n", " \n", "http://en.wikipedia.org/wiki/American_Psycho_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Patrick Bateman is a wealthy investment banker living in Manhattan in the late 1980s. His life revolves around dining at trendy restaurants while keeping up appearances for his fianc\u00e9e, Evelyn, and for his circle of equally wealthy and shallow friends, most of whom he dislikes. However, he also leads a secret life as a serial killer. Throughout the film, Bateman describes the material accoutrements of his lifestyle: his daily morning exercise and beautification routine, his music collection, including performers such as Huey Lewis and the News, Phil Collins, and Whitney Houston, his taste for expensive designer clothes, and the lavish couture of his apartment. In one scene, Bateman and his associates flaunt their business cards in a display of utter vanity. After becoming embarrassed by the superiority of coworker Paul Allen's card, he murders a homeless man and his dog in an alleyway in a fit of frustrated rage. At a Christmas party, Bateman makes plans to have dinner with Paul, who had earlier mistaken him for a comparable associate named Marcus Halberstram. Bateman gets Paul drunk and lures him back to his apartment. Patrick Bateman Patrick Bateman is a wealthy investment banker living in Manhattan Manhattan in the late 1980s. His life revolves around dining at trendy restaurants while keeping up appearances for his fianc\u00e9e, Evelyn, and for his circle of equally wealthy and shallow friends, most of whom he dislikes. However, he also leads a secret life as a serial killer serial killer . Throughout the film, Bateman describes the material accoutrements of his lifestyle: his daily morning exercise and beautification routine, his music collection, including performers such as Huey Lewis and the News Huey Lewis and the News , Phil Collins Phil Collins , and Whitney Houston Whitney Houston , his taste for expensive designer clothes, and the lavish couture of his apartment. In one scene, Bateman and his associates flaunt their business cards business cards in a display of utter vanity. After becoming embarrassed by the superiority of coworker Paul Allen's card, he murders a homeless man and his dog in an alleyway in a fit of frustrated rage. At a Christmas party, Bateman makes plans to have dinner with Paul, who had earlier mistaken him for a comparable associate named Marcus Halberstram. Bateman gets Paul drunk and lures him back to his apartment. \n", " While playing \"Hip to Be Square\", Bateman ambushes Paul and murders him with an axe. Bateman disposes of Paul's body, then goes to Paul's apartment to stage the situation so that others believe Paul has run off to London. After Paul's family becomes suspicious of his disappearance, Bateman is met by Donald Kimball, a detective searching for the truth regarding his whereabouts. Bateman has a violent threesome with two prostitutes, whom he names \"Christie\" and \"Sabrina\", while lecturing them about the improvement he saw in the band Genesis after Phil Collins replaced Peter Gabriel as the lead member. The two women leave his apartment bruised and bloodied. The next day, his colleague, Luis Carruthers, reveals his new business card, sending Bateman over the edge. Bateman tries to kill Luis in the restroom of an expensive restaurant, but cannot bring himself to strangle him. Luis mistakes the attempted murder for a sexual advance and declares his love for Bateman, who flees in panic and disgust. After murdering a model, Bateman invites his infatuated secretary, Jean, to dinner, suggesting she meet him at his apartment for drinks beforehand. When Jean arrives, Bateman, unbeknownst to Jean, holds a nail gun to the back of her head while the two converse. While playing \" Hip to Be Square Hip to Be Square \", Bateman ambushes Paul and murders him with an axe. Bateman disposes of Paul's body, then goes to Paul's apartment to stage the situation so that others believe Paul has run off to London. After Paul's family becomes suspicious of his disappearance, Bateman is met by Donald Kimball, a detective searching for the truth regarding his whereabouts. Bateman has a violent threesome with two prostitutes, whom he names \"Christie\" and \"Sabrina\", while lecturing them about the improvement he saw in the band Genesis Genesis after Phil Collins Phil Collins replaced Peter Gabriel Peter Gabriel as the lead member. The two women leave his apartment bruised and bloodied. The next day, his colleague, Luis Carruthers, reveals his new business card, sending Bateman over the edge. Bateman tries to kill Luis in the restroom of an expensive restaurant, but cannot bring himself to strangle him. Luis mistakes the attempted murder for a sexual advance and declares his love for Bateman, who flees in panic and disgust. After murdering a model, Bateman invites his infatuated secretary, Jean, to dinner, suggesting she meet him at his apartment for drinks beforehand. When Jean arrives, Bateman, unbeknownst to Jean, holds a nail gun to the back of her head while the two converse. \n", " However, upon receiving an answering machine message from his fianc\u00e9e, he decides not to kill Jean and asks her to leave before she gets \"hurt\". Following another luncheon with Kimball, Patrick has a threesome with Christie and his old friend Elizabeth at Paul's apartment. Bateman kills Elizabeth during sex, and Christie runs out of the apartment in horror, along the way discovering multiple female corpses and the phrase \"Die Yuppie Scum\" scrawled on the walls in blood. Bateman murders her dropping a chainsaw down a flight of stairs and onto her, as she flees the building. A few months later, Bateman abruptly breaks off his engagement with Evelyn because \"You're just not that important to me\", which leaves her shattered and in tears. That night, Bateman finds a kitten as he uses an ATM, then imagines that the display reads \"Feed me a stray cat.\" A woman sees him and tries to stop him. Bateman shoots her instead and lets the cat go. A police chase ensues, but Bateman destroys the police cars by shooting out their gas tanks, causing explosions that kill the pursuing officers. Fleeing to his office, Bateman accidentally enters the wrong office building, where he murders a security guard and a janitor. However, upon receiving an answering machine message from his fianc\u00e9e, he decides not to kill Jean and asks her to leave before she gets \"hurt\". Following another luncheon with Kimball, Patrick has a threesome threesome with Christie and his old friend Elizabeth at Paul's apartment. Bateman kills Elizabeth during sex, and Christie runs out of the apartment in horror, along the way discovering multiple female corpses and the phrase \"Die Yuppie Yuppie Scum\" scrawled on the walls in blood. Bateman murders her dropping a chainsaw down a flight of stairs and onto her, as she flees the building. A few months later, Bateman abruptly breaks off his engagement with Evelyn because \"You're just not that important to me\", which leaves her shattered and in tears. That night, Bateman finds a kitten as he uses an ATM, then imagines that the display reads \"Feed me a stray cat.\" A woman sees him and tries to stop him. Bateman shoots her instead and lets the cat go. A police chase ensues, but Bateman destroys the police cars by shooting out their gas tanks, causing explosions that kill the pursuing officers. Fleeing to his office, Bateman accidentally enters the wrong office building, where he murders a security guard and a janitor. \n", " Upon reaching his office, Bateman calls his lawyer Harold. He leaves a lengthy message on Harold's answering machine, confessing most of his murders in detail. The following morning, Bateman visits Paul's apartment to find it vacant and up for sale. The real estate broker views him as an intruder and tells him to leave immediately. As Bateman goes to meet with his colleagues and lawyer, Jean finds detailed drawings of murder and rape in Bateman's office journal. At the same time, Bateman sees Harold at a restaurant with his friends. Patrick tries to convince him that he is a serial killer. However, Harold mistakes him for another colleague named Davis, and laughs off the confession as a joke. He also denies that Paul was murdered, claiming to have had dinner with him in London only 10 days before. Bateman realizes that he will continue to escape the punishment he deserves (or his crimes may not have occurred). He laments that there has been no catharsis and that he still remains a mystery to himself. Although he regrets that nothing has been gained, he still wants his pain to be inflicted on others. He finishes his inner monologue by stating, \"This confession has meant nothing\". Upon reaching his office, Bateman calls his lawyer Harold. He leaves a lengthy message on Harold's answering machine, confessing most of his murders in detail. The following morning, Bateman visits Paul's apartment to find it vacant and up for sale. The real estate broker views him as an intruder and tells him to leave immediately. As Bateman goes to meet with his colleagues and lawyer, Jean finds detailed drawings of murder and rape in Bateman's office journal. At the same time, Bateman sees Harold at a restaurant with his friends. Patrick tries to convince him that he is a serial killer. However, Harold mistakes him for another colleague named Davis, and laughs off the confession as a joke. He also denies that Paul was murdered, claiming to have had dinner with him in London only 10 days before. Bateman realizes that he will continue to escape the punishment he deserves (or his crimes may not have occurred). He laments that there has been no catharsis catharsis and that he still remains a mystery to himself. Although he regrets that nothing has been gained, he still wants his pain to be inflicted on others. He finishes his inner monologue by stating, \"This confession has meant nothing\". \n", " \n", "http://en.wikipedia.org/wiki/Sunset_Boulevard_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " At a Sunset Boulevard mansion, the body of Joe Gillis floats in the swimming pool. In a flashback, Joe relates the events leading to his death. At a Sunset Boulevard Sunset Boulevard mansion, the body of Joe Gillis floats in the swimming pool. In a flashback flashback , Joe relates the events leading to his death. \n", " Six months earlier, down-on-his-luck screenwriter Joe tries selling Paramount Pictures producer Sheldrake on a story he submitted. Script reader Betty Schaefer harshly critiques it, unaware that Joe is listening. Later, while fleeing from repossession men seeking his car, Joe turns into the driveway of a seemingly deserted mansion. After concealing the car, he hears a woman calling him, apparently mistaking him for someone else. Ushered in by Max, the butler, Joe recognizes the woman as long-forgotten silent film star Norma Desmond. Learning he is a writer, she asks his opinion of a script she has written for a film about Salome. She plans to play the role herself in a comeback. Joe finds her script abysmal but flatters her into hiring him as a script doctor. Six months earlier, down-on-his-luck screenwriter Joe tries selling Paramount Pictures Paramount Pictures producer Sheldrake on a story he submitted. Script reader Script reader Betty Schaefer harshly critiques it, unaware that Joe is listening. Later, while fleeing from repossession repossession men seeking his car, Joe turns into the driveway of a seemingly deserted mansion. After concealing the car, he hears a woman calling him, apparently mistaking him for someone else. Ushered in by Max, the butler, Joe recognizes the woman as long-forgotten silent film star Norma Desmond. Learning he is a writer, she asks his opinion of a script she has written for a film about Salome Salome . She plans to play the role herself in a comeback. Joe finds her script abysmal but flatters her into hiring him as a script doctor script doctor . \n", " Moved into Norma's mansion at her insistence, Joe resents but gradually accepts his dependent situation. He sees that Norma refuses to face the fact that her fame has evaporated and learns the fan letters she still receives are secretly written by Max, who tells him Norma is subject to depression and has made suicide attempts. Moved into Norma's mansion at her insistence, Joe resents but gradually accepts his dependent situation. He sees that Norma refuses to face the fact that her fame has evaporated and learns the fan letters she still receives are secretly written by Max, who tells him Norma is subject to depression and has made suicide attempts. \n", " Norma lavishes attention on Joe and buys him expensive clothes. At her New Year's Eve party, he discovers he is the only guest and realizes she has fallen in love with him. He tries to let her down gently, but she slaps him and retreats to her room. Joe visits his friend Artie Green to ask about staying at his place. At Artie's party he again meets Betty, whom he learns is Artie's girl. Betty thinks a scene in one of Joe's scripts has potential, but Joe is uninterested. When Joe phones Max to have him pack his things, Max tells him Norma cut her wrists with his razor. Joe returns to Norma. Norma lavishes attention on Joe and buys him expensive clothes. At her New Year's Eve party, he discovers he is the only guest and realizes she has fallen in love with him. He tries to let her down gently, but she slaps him and retreats to her room. Joe visits his friend Artie Green to ask about staying at his place. At Artie's party he again meets Betty, whom he learns is Artie's girl. Betty thinks a scene in one of Joe's scripts has potential, but Joe is uninterested. When Joe phones Max to have him pack his things, Max tells him Norma cut her wrists with his razor. Joe returns to Norma. \n", " Norma has Max deliver the edited Salome script to her former director Cecil B. DeMille at Paramount. She starts getting calls from Paramount executive Gordon Cole but petulantly refuses to speak to anyone except DeMille. Eventually, she has Max drive her and Joe to Paramount in her 1929 Isotta Fraschini.[2] The older studio employees recognize her and warmly greet her. DeMille receives her affectionately and treats her with great respect, tactfully evading her questions about Salome. Meanwhile, Max learns that Cole merely wants to rent her unusual car for a film. Norma has Max deliver the edited Salome Salome script to her former director Cecil B. DeMille Cecil B. DeMille at Paramount. She starts getting calls from Paramount executive Gordon Cole but petulantly refuses to speak to anyone except DeMille. Eventually, she has Max drive her and Joe to Paramount in her 1929 Isotta Fraschini Isotta Fraschini . [2] [2] [ [ 2 ] ] The older studio employees recognize her and warmly greet her. DeMille receives her affectionately and treats her with great respect, tactfully evading her questions about Salome Salome . Meanwhile, Max learns that Cole merely wants to rent her unusual car for a film. \n", " Preparing for her imagined comeback, Norma undergoes rigorous beauty treatments. Joe secretly works nights at Betty's Paramount office, collaborating on an original screenplay. His moonlighting is found out by Max, who reveals that he was a respected film director, discovered Norma as a teenage girl, made her a star and was her first husband. After she divorced him, he found life without her unbearable and abandoned his career to become her servant. Preparing for her imagined comeback, Norma undergoes rigorous beauty treatments. Joe secretly works nights at Betty's Paramount office, collaborating on an original screenplay. His moonlighting is found out by Max, who reveals that he was a respected film director, discovered Norma as a teenage girl, made her a star and was her first husband. After she divorced him, he found life without her unbearable and abandoned his career to become her servant. \n", " Although Betty is engaged to Artie, she and Joe fall in love. Norma discovers a manuscript with Joe's and Betty's names on it. She phones Betty and insinuates what sort of man Joe really is. Joe, overhearing, invites Betty to come see for herself. When she arrives, he pretends he is satisfied being a kept man, but after she tearfully leaves, he packs for a return to his old Ohio newspaper job. He disregards Norma's threat to kill herself and the gun she shows him to back it up. He bluntly tells her the public has forgotten her, there will be no comeback, the fan letters are from Max. As Joe walks away from the house, Norma shoots him three times and he falls into the pool. Although Betty is engaged to Artie, she and Joe fall in love. Norma discovers a manuscript with Joe's and Betty's names on it. She phones Betty and insinuates what sort of man Joe really is. Joe, overhearing, invites Betty to come see for herself. When she arrives, he pretends he is satisfied being a kept man kept man , but after she tearfully leaves, he packs for a return to his old Ohio newspaper job. He disregards Norma's threat to kill herself and the gun she shows him to back it up. He bluntly tells her the public has forgotten her, there will be no comeback, the fan letters are from Max. As Joe walks away from the house, Norma shoots him three times and he falls into the pool. \n", " The flashback ends. The house is filled with police and reporters. Norma, having lost touch with reality, believes the newsreel cameras are there to film Salome. Max and the police play along. Max sets up a scene for her and calls \"Action!\" As the cameras roll, Norma dramatically descends her grand staircase. She pauses and makes an impromptu speech about how happy she is to be making a film again, ending with \"All right, Mr. DeMille, I'm ready for my close-up.\"[3] The flashback ends. The house is filled with police and reporters. Norma, having lost touch with reality, believes the newsreel newsreel cameras are there to film Salome Salome . Max and the police play along. Max sets up a scene for her and calls \"Action!\" As the cameras roll, Norma dramatically descends her grand staircase. She pauses and makes an impromptu speech about how happy she is to be making a film again, ending with \"All right, Mr. DeMille, I'm ready for my close-up.\" [3] [3] [ [ 3 ] ] \n", " \n", "http://en.wikipedia.org/wiki/Vertigo_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot \n", " \n", "\n", "\n", "\n", "\"Madeleine\" at Golden Gate Bridge, Fort Point\n", "\n", " \n", " \n", "\n", "\n", "\"Madeleine\" at Golden Gate Bridge, Fort Point\n", " \n", " \n", "\n", "\"Madeleine\" at Golden Gate Bridge, Fort Point \n", " \n", "\"Madeleine\" at Golden Gate Bridge, Fort Point \n", " \n", " \n", " After a rooftop chase, where his acrophobia and vertigo result in the death of a policeman, San Francisco detective John \"Scottie\" Ferguson retires. Scottie tries to conquer his fear, but his friend and ex-fianc\u00e9e Midge Wood suggests another severe emotional shock may be the only cure. After a rooftop chase, where his acrophobia and vertigo result in the death of a policeman, San Francisco San Francisco detective John \"Scottie\" Ferguson retires. Scottie tries to conquer his fear, but his friend and ex-fianc\u00e9e Midge Wood suggests another severe emotional shock may be the only cure. \n", " An acquaintance from college, Gavin Elster, asks Scottie to follow his wife, Madeleine, claiming she has been possessed. Scottie reluctantly agrees, and follows Madeleine: to a florist where she buys a bouquet of flowers; to the grave of Carlotta Valdes at Mission Dolores; to an art museum where she gazes at Portrait of Carlotta, which resembles her. Lastly, she enters the McKittrick Hotel, but when Scottie investigates, she is not there. An acquaintance from college, Gavin Elster, asks Scottie to follow his wife, Madeleine, claiming she has been possessed possessed . Scottie reluctantly agrees, and follows Madeleine: to a florist where she buys a bouquet of flowers; to the grave of Carlotta Valdes at Mission Dolores Mission Dolores ; to an art museum an art museum where she gazes at Portrait of Carlotta Portrait of Carlotta , which resembles her. Lastly, she enters the McKittrick Hotel, but when Scottie investigates, she is not there. \n", " A local historian explains that Carlotta Valdes tragically committed suicide. Gavin reveals that Carlotta (who Gavin fears is possessing Madeleine) is Madeleine's great-grandmother, although Madeleine has no knowledge of this, and does not remember where she has visited. Scottie tails Madeleine to Fort Point, and she leaps into San Francisco Bay. Scottie rescues her. A local historian explains that Carlotta Valdes tragically committed suicide suicide . Gavin reveals that Carlotta (who Gavin fears is possessing Madeleine) is Madeleine's great-grandmother, although Madeleine has no knowledge of this, and does not remember where she has visited. Scottie tails Madeleine to Fort Point Fort Point , and she leaps into San Francisco Bay San Francisco Bay . Scottie rescues her. \n", " The next day Scottie follows Madeleine; they meet and spend the day together. They travel to Muir Woods and Cypress Point on 17-Mile Drive, where Madeleine runs down towards the ocean. Scottie grabs her and they embrace. Scottie identifies the setting of Madeleine's nightmare as Mission San Juan Bautista. He drives her there and they express their love for each other. Madeleine suddenly runs into the church and up the bell tower. Scottie, halted on the steps by his vertigo, sees Madeleine plunge to her death. The next day Scottie follows Madeleine; they meet and spend the day together. They travel to Muir Woods Muir Woods and Cypress Point on 17-Mile Drive 17-Mile Drive , where Madeleine runs down towards the ocean. Scottie grabs her and they embrace. Scottie identifies the setting of Madeleine's nightmare as Mission San Juan Bautista Mission San Juan Bautista . He drives her there and they express their love for each other. Madeleine suddenly runs into the church and up the bell tower. Scottie, halted on the steps by his vertigo, sees Madeleine plunge to her death. \n", " The death is declared a suicide. Gavin does not fault Scottie, but Scottie breaks down, becomes clinically depressed and is in a sanatorium, almost catatonic. After release, Scottie frequents the places that Madeleine visited, often imagining that he sees her. One day, he notices a woman who reminds him of Madeleine, despite her different appearance. Scottie follows her and she identifies herself as Judy Barton, from Salina, Kansas. The death is declared a suicide. Gavin does not fault Scottie, but Scottie breaks down breaks down , becomes clinically depressed clinically depressed and is in a sanatorium sanatorium , almost catatonic catatonic . After release, Scottie frequents the places that Madeleine visited, often imagining that he sees her. One day, he notices a woman who reminds him of Madeleine, despite her different appearance. Scottie follows her and she identifies herself as Judy Barton, from Salina, Kansas Salina, Kansas . \n", " A flashback reveals that Judy was the person Scottie knew as \"Madeleine Elster\"; she was impersonating Gavin's wife as part of a murder plot. Judy writes to Scottie explaining her involvement with Gavin's murder of his wife. Gavin had deliberately taken advantage of Scottie's acrophobia to substitute his wife's freshly killed body in the apparent \"suicide jump\". Judy rips up the letter and decides to continue the charade, because she loves Scottie. A flashback flashback reveals that Judy was the person Scottie knew as \"Madeleine Elster\"; she was impersonating Gavin's wife as part of a murder plot. Judy writes to Scottie explaining her involvement with Gavin's murder of his wife. Gavin had deliberately taken advantage of Scottie's acrophobia to substitute his wife's freshly killed body in the apparent \"suicide jump\". Judy rips up the letter and decides to continue the charade, because she loves Scottie. \n", " They begin seeing each other, but Scottie remains obsessed with \"Madeleine\" and asks Judy to change her clothes and hair so that she once more resembles Madeleine. After Judy complies, hoping that they may finally find happiness together, he notices her wearing the necklace portrayed in the painting of Carlotta and realizes the truth. He insists on driving her to the Mission. They begin seeing each other, but Scottie remains obsessed with \"Madeleine\" and asks Judy to change her clothes and hair so that she once more resembles Madeleine. After Judy complies, hoping that they may finally find happiness together, he notices her wearing the necklace portrayed in the painting of Carlotta and realizes the truth. He insists on driving her to the Mission. \n", " There, he tells her he must re-enact the event that led to his madness, admitting he now understands that \"Madeleine\" and Judy are the same. Scottie forces her up the bell tower and makes her admit her deceit. Scottie reaches the top, finally conquering his acrophobia. Judy confesses that Gavin paid her to impersonate a \"possessed\" Madeleine; Gavin faked the suicide by throwing the body of his wife from the bell tower. There, he tells her he must re-enact the event that led to his madness, admitting he now understands that \"Madeleine\" and Judy are the same. Scottie forces her up the bell tower and makes her admit her deceit. Scottie reaches the top, finally conquering his acrophobia. Judy confesses that Gavin paid her to impersonate a \"possessed\" Madeleine; Gavin faked the suicide by throwing the body of his wife from the bell tower. \n", " Judy begs Scottie to forgive her, because she loves him. He embraces her, but a nun rises from the trapdoor of the tower, startling Judy, who steps backward and falls to her death. Scottie, bereft again, stands on the ledge, while the horrified nun rings the mission bell. Judy begs Scottie to forgive her, because she loves him. He embraces her, but a nun rises from the trapdoor of the tower, startling Judy, who steps backward and falls to her death. Scottie, bereft again, stands on the ledge, while the horrified nun rings the mission bell. \n", " \n", "http://en.wikipedia.org/wiki/On_the_Waterfront\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Mob-connected union boss Johnny Friendly (Lee J. Cobb) gloats about his iron-fisted control of the waterfront. The police and the Waterfront Crime Commission know that Friendly is behind a number of murders, but witnesses play \"D and D\" (\"deaf and dumb\"), accepting their subservient position rather than risking the danger and shame of informing. Mob Mob -connected union boss Johnny Friendly ( Lee J. Cobb Lee J. Cobb ) gloats about his iron-fisted control of the waterfront. The police and the Waterfront Crime Commission Waterfront Crime Commission know that Friendly is behind a number of murders, but witnesses play \"D and D\" (\"deaf and dumb\"), accepting their subservient position rather than risking the danger and shame of informing. \n", " Terry Malloy (Marlon Brando) is a dockworker whose brother Charley \"The Gent\" (Rod Steiger) is Friendly's right-hand man. Some years earlier, Terry had been a promising boxer, until Friendly had Charley instruct him to deliberately lose a fight that he could have won, so that Friendly could win money betting against him. Terry Malloy ( Marlon Brando Marlon Brando ) is a dockworker whose brother Charley \"The Gent\" ( Rod Steiger Rod Steiger ) is Friendly's right-hand man. Some years earlier, Terry had been a promising boxer, until Friendly had Charley instruct him to deliberately lose a fight that he could have won, so that Friendly could win money betting against him. \n", " Terry meets and is smitten by Edie (Eva Marie Saint), the sister of Joey Doyle (Ben Wagner). She has shamed \"waterfront priest\" Father Barry (Karl Malden) into fomenting action against the mob-controlled union. Terry is used to coax Joey, a popular dockworker, into an ambush, preventing him from testifying against Friendly before the Crime Commission. Terry assumed that Friendly's enforcers were only going to \"lean\" on Joey in an effort to pressure him to avoid talking, and is surprised when Joey is killed. Although Terry resents being used as a tool in Joey's death, and despite Father Barry's impassioned \"sermon on the docks\" reminding the longshoremen that Christ walks among them and that every murder is a Calvary, Terry is nevertheless willing to remain \"D and D\". Terry meets and is smitten by Edie ( Eva Marie Saint Eva Marie Saint ), the sister of Joey Doyle (Ben Wagner). She has shamed \"waterfront priest\" Father Barry ( Karl Malden Karl Malden ) into fomenting action against the mob-controlled union. Terry is used to coax Joey, a popular dockworker, into an ambush, preventing him from testifying against Friendly before the Crime Commission. Terry assumed that Friendly's enforcers were only going to \"lean\" on Joey in an effort to pressure him to avoid talking, and is surprised when Joey is killed. Although Terry resents being used as a tool in Joey's death, and despite Father Barry's impassioned \"sermon on the docks\" reminding the longshoremen that Christ walks among them and that every murder is a Calvary, Terry is nevertheless willing to remain \"D and D\". \n", " Soon both Edie and Father Barry urge Terry to testify. Another dockworker, Timothy J. \"Kayo\" Dugan (Pat Henning), who agrees to testify after Father Barry's promise of unwavering support, ends up dead after Friendly arranges for him to be crushed by a load of whiskey in a staged accident. Soon both Edie and Father Barry urge Terry to testify. Another dockworker, Timothy J. \"Kayo\" Dugan (Pat Henning), who agrees to testify after Father Barry's promise of unwavering support, ends up dead after Friendly arranges for him to be crushed by a load of whiskey in a staged accident. \n", " As Terry, tormented by his awakening conscience, increasingly leans toward testifying, Friendly decides that Terry must be killed unless Charley can coerce him into keeping quiet. Charley tries bribing Terry with a good job and finally threatens Terry by holding a gun against him, but recognizes that he has failed to sway Terry, who places the blame for his own downward spiral on his well-off brother. In what has become an iconic scene, Terry reminds Charley that had it not been for the fixed fight, Terry's career would have bloomed. \"I coulda' been a contender\", laments Terry to his brother, \"Instead of a bum, which is what I am \u2013 let's face it.\" Charley gives Terry the gun and advises him to run. Friendly, having had Charley watched, has Charley murdered, his body hanged in an alley as bait to get at Terry. Terry sets out to shoot Friendly, but Father Barry obstructs that course of action and finally convinces Terry to fight Friendly by testifying. As Terry, tormented by his awakening conscience, increasingly leans toward testifying, Friendly decides that Terry must be killed unless Charley can coerce him into keeping quiet. Charley tries bribing Terry with a good job and finally threatens Terry by holding a gun against him, but recognizes that he has failed to sway Terry, who places the blame for his own downward spiral on his well-off brother. In what has become an iconic scene, Terry reminds Charley that had it not been for the fixed fight, Terry's career would have bloomed. \"I coulda' been a contender\", laments Terry to his brother, \"Instead of a bum, which is what I am \u2013 let's face it.\" Charley gives Terry the gun and advises him to run. Friendly, having had Charley watched, has Charley murdered, his body hanged in an alley as bait to get at Terry. Terry sets out to shoot Friendly, but Father Barry obstructs that course of action and finally convinces Terry to fight Friendly by testifying. \n", " After the testimony, Friendly announces that Terry will not find employment anywhere on the waterfront. Edie tries persuading him to leave the waterfront with her, but he nonetheless shows up during recruitment at the docks. When he is the only man not hired, Terry openly confronts Friendly, calling him out and proclaiming that he is proud of what he did. After the testimony, Friendly announces that Terry will not find employment anywhere on the waterfront. Edie tries persuading him to leave the waterfront with her, but he nonetheless shows up during recruitment at the docks. When he is the only man not hired, Terry openly confronts Friendly, calling him out and proclaiming that he is proud of what he did. \n", " Finally the confrontation develops into a vicious brawl, with Terry getting the upper hand until Friendly's thugs gang up on Terry and nearly beat him to death. The dockworkers, who witnessed the confrontation, declare their support for Terry and refuse to work unless Terry is working too. Finally, the badly wounded Terry forces himself to his feet and enters the dock, followed by the other longshoremen despite Friendly's threats. Finally the confrontation develops into a vicious brawl, with Terry getting the upper hand until Friendly's thugs gang up on Terry and nearly beat him to death. The dockworkers, who witnessed the confrontation, declare their support for Terry and refuse to work unless Terry is working too. Finally, the badly wounded Terry forces himself to his feet and enters the dock, followed by the other longshoremen despite Friendly's threats. \n", " \n", "http://en.wikipedia.org/wiki/Forrest_Gump\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " While waiting at a bus stop in 1981, Forrest Gump (Tom Hanks) begins telling his life story to strangers who sit next to him on the bench. His story begins with his being named for a relative, Nathan Bedford Forrest, and proceeds to the leg braces he had to wear as a child in the 1950s, which resulted in other children bullying him. He lives with his mother (Sally Field), who tells him that \"stupid is as stupid does.\" His mother runs a rooming house and Forrest teaches one of their guests, a young Elvis Presley (Peter Dobson), a hip-swinging dance. On a bus for his first day of school, Forrest meets Jenny, with whom he immediately falls in love, and they become best friends. One day, while fleeing from bullies, Forrest's leg braces break apart and he discovers that he can run very fast. Despite his below-average intelligence, his speed earns him an athletic scholarship to the University of Alabama. While in college, he witnesses George Wallace's Stand in the Schoolhouse Door, is named an All-American football player, and meets President John F. Kennedy. While waiting at a bus stop in 1981, Forrest Gump Forrest Gump ( Tom Hanks Tom Hanks ) begins telling his life story to strangers who sit next to him on the bench. His story begins with his being named for a relative, Nathan Bedford Forrest Nathan Bedford Forrest , and proceeds to the leg braces he had to wear as a child in the 1950s, which resulted in other children bullying him. He lives with his mother ( Sally Field Sally Field ), who tells him that \"stupid is as stupid does.\" His mother runs a rooming house and Forrest teaches one of their guests, a young Elvis Presley Elvis Presley ( Peter Dobson Peter Dobson ), a hip-swinging dance. On a bus for his first day of school, Forrest meets Jenny, with whom he immediately falls in love, and they become best friends. One day, while fleeing from bullies, Forrest's leg braces break apart and he discovers that he can run very fast. Despite his below-average intelligence, his speed earns him an athletic scholarship to the University of Alabama University of Alabama . While in college, he witnesses George Wallace George Wallace 's Stand in the Schoolhouse Door Stand in the Schoolhouse Door , is named an All-American All-American football player, and meets President John F. Kennedy John F. Kennedy . \n", " After graduating, Forrest enlists in the United States Army, where he befriends former shrimp fisherman Benjamin Buford \"Bubba\" Blue (Mykelti Williamson), and they agree to go into the shrimping business together once they end their service. They are sent to Vietnam, and while on patrol their platoon is ambushed. Forrest saves four of the men in his platoon, including platoon leader First Lieutenant Dan Taylor (Gary Sinise), but Bubba is killed. Forrest himself is wounded and receives the Medal of Honor from President Lyndon B. Johnson. While recovering from his injuries, Forrest meets Lieutenant Dan, who has had both of his legs amputated due to his injuries. He is furious at Forrest for leaving him a \"cripple\" and cheating him out of his destiny to die in battle. After graduating, Forrest enlists in the United States Army United States Army , where he befriends former shrimp fisherman Benjamin Buford \"Bubba\" Blue ( Mykelti Williamson Mykelti Williamson ), and they agree to go into the shrimping business together once they end their service. They are sent to Vietnam Vietnam , and while on patrol their platoon is ambushed. Forrest saves four of the men in his platoon, including platoon leader platoon leader First Lieutenant Dan Taylor ( Gary Sinise Gary Sinise ), but Bubba is killed. Forrest himself is wounded and receives the Medal of Honor Medal of Honor from President Lyndon B. Johnson Lyndon B. Johnson . While recovering from his injuries, Forrest meets Lieutenant Dan, who has had both of his legs amputated due to his injuries. He is furious at Forrest for leaving him a \"cripple\" and cheating him out of his destiny to die in battle. \n", " Forrest discovers an aptitude for ping pong and begins playing for the U.S. Army team, eventually competing against Chinese teams on a goodwill tour. He visits the White House again and meets President Richard Nixon, who provides him a room at the Watergate hotel, where Forrest inadvertently helps expose the Watergate scandal. He again encounters Lieutenant Dan, now an embittered drunk living on welfare. Dan is scornful of Forrest's plans to enter the shrimping business and mockingly promises to be Forrest's first mate if he ever succeeds. Forrest discovers an aptitude for ping pong ping pong and begins playing for the U.S. Army team, eventually competing against Chinese teams on a goodwill tour goodwill tour . He visits the White House again and meets President Richard Nixon Richard Nixon , who provides him a room at the Watergate hotel Watergate hotel , where Forrest inadvertently helps expose the Watergate scandal Watergate scandal . He again encounters Lieutenant Dan, now an embittered drunk living on welfare. Dan is scornful of Forrest's plans to enter the shrimping business and mockingly promises to be Forrest's first mate first mate if he ever succeeds. \n", " Forrest is discharged from the military and uses money from a ping pong endorsement to buy a shrimping boat, fulfilling his wartime promise to Bubba. Lieutenant Dan keeps his own promise and joins Forrest as first mate. They initially have little luck, but after Hurricane Carmen wrecks every other shrimping boat in the region, the Bubba Gump Shrimp Company becomes a huge success. Forrest returns home to care for his ailing mother, who dies soon afterwards. He leaves the company in the hands of Dan, who invests the proceeds of the company in shares of Apple Computer, making them both wealthy. Forrest is discharged from the military and uses money from a ping pong endorsement to buy a shrimping shrimping boat, fulfilling his wartime promise to Bubba. Lieutenant Dan keeps his own promise and joins Forrest as first mate. They initially have little luck, but after Hurricane Carmen Hurricane Carmen wrecks every other shrimping boat in the region, the Bubba Gump Shrimp Company becomes a huge success. Forrest returns home to care for his ailing mother, who dies soon afterwards. He leaves the company in the hands of Dan, who invests the proceeds of the company in shares of Apple Computer Apple Computer , making them both wealthy. \n", " Jenny returns to visit Forrest and stays with him. He proposes but she turns him down. They make love, but she quietly slips away the next morning. Distraught, Forrest decides to go for a run, which turns into a three-year coast-to-coast marathon. Forrest becomes a celebrity, attracting a band of followers. One day he stops his marathon suddenly and returns home, where he receives a letter from Jenny asking to meet. Jenny returns to visit Forrest and stays with him. He proposes but she turns him down. They make love, but she quietly slips away the next morning. Distraught, Forrest decides to go for a run, which turns into a three-year coast-to-coast marathon. Forrest becomes a celebrity, attracting a band of followers. One day he stops his marathon suddenly and returns home, where he receives a letter from Jenny asking to meet. \n", " This brings Forrest to the bus stop where he began telling his story at the start of the film. He tells the woman he is talking to at this point that he is trying to get to Henry Street. She tells him he does not need to take a bus because it is only 6 blocks away. Forrest gets up and leaves, and this ends the narration part of the film, as well as the comedy part. During his reunion with Jenny, Forrest discovers they have a young son, also named Forrest (Haley Joel Osment). Jenny reveals that she is suffering from an unspecified viral illness, presumably HIV/AIDS. She proposes and he accepts, and they return to Alabama with Forrest Jr. and marry. At his wedding, he meets Lieutenant Dan, who now has titanium alloy prosthetic legs and can walk (although he still has a cane at this point), as well as his fiancee. This brings Forrest to the bus stop where he began telling his story at the start of the film. He tells the woman he is talking to at this point that he is trying to get to Henry Street. She tells him he does not need to take a bus because it is only 6 blocks away. Forrest gets up and leaves, and this ends the narration part of the film, as well as the comedy part. During his reunion with Jenny, Forrest discovers they have a young son, also named Forrest ( Haley Joel Osment Haley Joel Osment ). Jenny reveals that she is suffering from an unspecified viral illness, presumably HIV/AIDS HIV/AIDS . She proposes and he accepts, and they return to Alabama with Forrest Jr. and marry. At his wedding, he meets Lieutenant Dan, who now has titanium alloy prosthetic legs and can walk (although he still has a cane at this point), as well as his fiancee. \n", " Eventually, Jenny dies of her illness. Forrest waits with Forrest Jr. for the bus to pick him up for his first day of school, and watches his feather bookmark float off in the wind. Eventually, Jenny dies of her illness. Forrest waits with Forrest Jr. for the bus to pick him up for his first day of school, and watches his feather bookmark float off in the wind. \n", " \n", "http://en.wikipedia.org/wiki/The_Sound_of_Music_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1938, while living as a young postulant at Nonnberg Abbey in Salzburg, Austria, Maria is constantly getting into mischief to the consternation of the nuns and the Mother Abbess. After receiving a request from a widowed Austrian naval captain for a governess for his seven children, Mother Abbess asks Maria to accept the position, and Maria reluctantly agrees. When she arrives at the von Trapp estate, Maria discovers that Captain Georg von Trapp keeps it in strict shipshape order. He uses a whistle to summon his children, issues orders, and dresses his children in sailor-suit uniforms. Although initially hostile toward her, the children eventually warm to her and she teaches them how to sing and allows them to play. In 1938, while living as a young postulant postulant at Nonnberg Abbey Nonnberg Abbey in Salzburg, Austria, Maria Maria is constantly getting into mischief to the consternation of the nuns and the Mother Abbess Abbess . After receiving a request from a widowed Austrian naval captain for a governess governess for his seven children, Mother Abbess asks Maria to accept the position, and Maria reluctantly agrees. When she arrives at the von Trapp estate, Maria discovers that Captain Georg von Trapp Captain Georg von Trapp keeps it in strict shipshape order. He uses a whistle to summon his children, issues orders, and dresses his children in sailor-suit uniforms. Although initially hostile toward her, the children eventually warm to her and she teaches them how to sing and allows them to play. \n", " The Captain takes an extended visit to a lady friend, Baroness Elsa Schraeder, a wealthy socialite from Vienna, who accompanies him upon his return. While taking a boat ride on the lake, the children become excited at their father's return and cause the boat to capsize, precipitating an argument between the Captain and Maria. The Captain is displeased with the activities she has arranged for the children and furiously orders her to return to the abbey. However, the Captain later relents when he hears the children singing for the Baroness, and apologizes to Maria and asks her to stay. Max Detweiler\u2014a mutual friend of the Captain and the Baroness\u2014who is searching for a novel musical act to enter into the upcoming Salzburg Festival, is impressed by the children's singing, but the Captain forbids their participation. The Captain takes an extended visit to a lady friend, Baroness Elsa Schraeder, a wealthy socialite from Vienna, who accompanies him upon his return. While taking a boat ride on the lake, the children become excited at their father's return and cause the boat to capsize, precipitating an argument between the Captain and Maria. The Captain is displeased with the activities she has arranged for the children and furiously orders her to return to the abbey. However, the Captain later relents when he hears the children singing for the Baroness, and apologizes to Maria and asks her to stay. Max Detweiler\u2014a mutual friend of the Captain and the Baroness\u2014who is searching for a novel musical act to enter into the upcoming Salzburg Festival Salzburg Festival , is impressed by the children's singing, but the Captain forbids their participation. \n", " At a banquet the Captain has organized in honor of Baroness Schraeder, eleven-year-old Kurt watches the guests dancing the L\u00e4ndler and he asks Maria to teach him the steps. When the Captain sees Maria dancing in the moonlight, he cuts in and partners her in a graceful performance, culminating in a close embrace; Maria breaks away and blushes, confused about her feelings. At the end of the evening, the Baroness, noticing the Captain's attraction to Maria, convinces her to return to the abbey. Back at the abbey, Maria keeps herself in seclusion until Mother Abbess persuades her to return to the von Trapp family. When she discovers that the Captain is now engaged to the Baroness, she agrees to stay until they find a replacement governess. Realizing that he is in love with Maria, the Captain breaks off the engagement, and they subsequently declare their love for each other; soon after, the two are married in an elaborate ceremony. At a banquet the Captain has organized in honor of Baroness Schraeder, eleven-year-old Kurt watches the guests dancing the L\u00e4ndler L\u00e4ndler L\u00e4ndler and he asks Maria to teach him the steps. When the Captain sees Maria dancing in the moonlight, he cuts in and partners her in a graceful performance, culminating in a close embrace; Maria breaks away and blushes, confused about her feelings. At the end of the evening, the Baroness, noticing the Captain's attraction to Maria, convinces her to return to the abbey. Back at the abbey, Maria keeps herself in seclusion until Mother Abbess persuades her to return to the von Trapp family. When she discovers that the Captain is now engaged to the Baroness, she agrees to stay until they find a replacement governess. Realizing that he is in love with Maria, the Captain breaks off the engagement, and they subsequently declare their love for each other; soon after, the two are married in an elaborate ceremony. \n", " While the Captain and Maria are on their honeymoon in Paris, Max enters the children in the Salzburg Music Festival against their father's wishes. Austria is annexed into the Third Reich in the Anschluss, and upon their return the Captain is informed by telegram that he must report as soon as possible to the German Naval Headquarters in Bremerhaven to accept a commission in the German navy. Strongly opposed to Nazism, the Captain tells his family they must leave Austria. As the von Trapp family attempts to leave during the night, they are stopped by Nazi guards outside their estate. They lie to the guards, claiming they are performing in the Salzburg Festival, so Hans Zeller, the recently appointed Nazi Gauleiter, agrees to accompany them to the hall, but insists that the Captain depart for Germany immediately after the performance. The family takes part in the contest and slip away during their final number, seeking shelter from the patrolling guards at the abbey cemetery. They are discovered hiding by Rolfe (a former messenger boy enamoured of the Captain's sixteen-year-old daughter, Liesl, but now a proud Nazi) who threatens to shoot the Captain. The Captain is able to disarm the boy and tries to persuade him to escape with them, but Rolfe calls for assistance. After the family escapes in a waiting car, the Nazis try to pursue but their cars fail to start, having been sabotaged by the nuns. The von Trapp family hikes over the Alps into Switzerland and to freedom. While the Captain and Maria are on their honeymoon in Paris, Max enters the children in the Salzburg Music Festival against their father's wishes. Austria is annexed into the Third Reich Third Reich in the Anschluss Anschluss , and upon their return the Captain is informed by telegram that he must report as soon as possible to the German Naval Headquarters in Bremerhaven Bremerhaven to accept a commission in the German navy. Strongly opposed to Nazism, the Captain tells his family they must leave Austria. As the von Trapp family attempts to leave during the night, they are stopped by Nazi guards outside their estate. They lie to the guards, claiming they are performing in the Salzburg Festival, so Hans Zeller, the recently appointed Nazi Gauleiter Gauleiter , agrees to accompany them to the hall, but insists that the Captain depart for Germany immediately after the performance. The family takes part in the contest and slip away during their final number, seeking shelter from the patrolling guards at the abbey cemetery. They are discovered hiding by Rolfe (a former messenger boy enamoured of the Captain's sixteen-year-old daughter, Liesl, but now a proud Nazi) who threatens to shoot the Captain. The Captain is able to disarm the boy and tries to persuade him to escape with them, but Rolfe calls for assistance. After the family escapes in a waiting car, the Nazis try to pursue but their cars fail to start, having been sabotaged by the nuns. The von Trapp family hikes over the Alps into Switzerland and to freedom. \n", " \n", "http://en.wikipedia.org/wiki/West_Side_Story_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_summary" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_synopsis" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot synopsis [edit] [ [ edit edit ] ] \n", " In the West Side's Lincoln Square neighborhood in Manhattan, there is tension between a Caucasian gang, the Jets, led by Riff, and a Puerto Rican gang of immigrants, the Sharks, led by Bernardo. After a brawl erupts (\"Prologue\"), Lieutenant Schrank and Officer Krupke arrive and break it up. The Jets decide to challenge the Sharks to a rumble at an upcoming dance for neighborhood control. In the West Side West Side 's Lincoln Square Lincoln Square neighborhood in Manhattan Manhattan , there is tension between a Caucasian gang, the Jets, led by Riff, and a Puerto Rican Puerto Rican gang of immigrants, the Sharks, led by Bernardo. After a brawl erupts (\"Prologue\"), Lieutenant Schrank and Officer Krupke arrive and break it up. The Jets decide to challenge the Sharks to a rumble at an upcoming dance for neighborhood control. \n", " Riff decides that his best friend Tony, the co-founder of the Jets who left the gang, should fight (\"Jet Song\"). Riff invites Tony to the dance, but Tony is uninterested. He tells Riff that he senses something important will happen, which Riff suggests could have correlation with the dance (\"Something's Coming\"). Riff decides that his best friend Tony, the co-founder of the Jets who left the gang, should fight (\"Jet Song\"). Riff invites Tony to the dance, but Tony is uninterested. He tells Riff that he senses something important will happen, which Riff suggests could have correlation with the dance (\"Something's Coming\"). \n", " Bernardo's younger sister, Maria, tells her best friend and Bernardo's girlfriend, Anita, how excited she is about the dance. Anita jokes that Maria has only moved to America to marry Chino, and Maria confesses that she doesn't love Chino. Bernardo's younger sister, Maria, tells her best friend and Bernardo's girlfriend, Anita, how excited she is about the dance. Anita jokes that Maria has only moved to America to marry Chino, and Maria confesses that she doesn't love Chino. \n", " At the dance, the gangs and girls refuse to intermingle (\"Dance at the Gym\"). Tony arrives and he and Maria fall in love at first sight and briefly kiss. However, Bernardo angrily demands that Tony stay away from her. Riff proposes a meeting with Bernardo at Doc's drug store. Tony leaves the dance alone and wanders the neighborhood streets, lovestruck (\"Maria\"). At the dance, the gangs and girls refuse to intermingle (\"Dance at the Gym\"). Tony arrives and he and Maria fall in love at first sight and briefly kiss. However, Bernardo angrily demands that Tony stay away from her. Riff proposes a meeting with Bernardo at Doc's drug store. Tony leaves the dance alone and wanders the neighborhood streets, lovestruck (\" Maria Maria \"). \n", " Maria is sent home, and Anita argues that Bernardo is overprotective of Maria, and they compare the advantages of Puerto Rico and the United States (\"America\"). Maria is sent home, and Anita argues that Bernardo is overprotective of Maria, and they compare the advantages of Puerto Rico and the United States (\" America America \"). \n", " Tony discreetly visits Maria on her fire escape, where they reaffirm their love (\"Tonight\"). Krupke, who suspects the Jets are planning something, visits them and warns them not to cause trouble, for which the Jets mock him after he leaves (\"Gee, Officer Krupke\"). When the Sharks arrive, both groups agree to have the showdown the following evening under the highway, with a one-on-one fist fight. When Schrank arrives, the gangs feign friendship. Schrank orders the Sharks out and unsuccessfully tries to divulge information about the fight from the Jets. Tony discreetly visits Maria on her fire escape, where they reaffirm their love (\" Tonight Tonight \"). Krupke, who suspects the Jets are planning something, visits them and warns them not to cause trouble, for which the Jets mock him after he leaves (\"Gee, Officer Krupke\"). When the Sharks arrive, both groups agree to have the showdown the following evening under the highway, with a one-on-one fist fight. When Schrank arrives, the gangs feign friendship. Schrank orders the Sharks out and unsuccessfully tries to divulge information about the fight from the Jets. \n", " The next day at the bridal shop, Maria's friends notice that she is acting strangely, and she explains that she is in love (\"I Feel Pretty\"). Anita accidentally tells Maria about the rumble while they close shop for the night. Tony arrives to see Maria, which shocks Anita. They profess their love and Anita warns them about the consequences if Bernardo learns of their relationship. Maria makes Tony promise that he'll prevent the rumble. Tony and Maria fantasize about their wedding ceremony (\"One Hand, One Heart\"). The next day at the bridal shop, Maria's friends notice that she is acting strangely, and she explains that she is in love (\" I Feel Pretty I Feel Pretty \"). Anita accidentally tells Maria about the rumble while they close shop for the night. Tony arrives to see Maria, which shocks Anita. They profess their love and Anita warns them about the consequences if Bernardo learns of their relationship. Maria makes Tony promise that he'll prevent the rumble. Tony and Maria fantasize about their wedding ceremony (\"One Hand, One Heart\"). \n", " The Jets and Sharks approach the area under the highway (\"Quintet\"). Tony arrives to stop the fight, but Bernardo antagonizes him. Unwilling to watch Tony be humiliated, Riff initiates a knife fight. Tony tries to intervene, which leads to Bernardo stabbing Riff, killing him. Tony kills Bernardo with Riff's knife and a melee ensues. Police sirens blare and everyone flees, leaving behind the dead bodies of Riff and Bernardo. The Jets and Sharks approach the area under the highway (\" Quintet Quintet \"). Tony arrives to stop the fight, but Bernardo antagonizes him. Unwilling to watch Tony be humiliated, Riff initiates a knife fight. Tony tries to intervene, which leads to Bernardo stabbing Riff, killing him. Tony kills Bernardo with Riff's knife and a melee ensues. Police sirens blare and everyone flees, leaving behind the dead bodies of Riff and Bernardo. \n", " Maria waits for Tony on the rooftop of her apartment building, when Chino arrives and tells her about the fight. When she asks if Tony was hurt, Chino angrily shouts that Tony has killed Bernardo, and leaves. Tony arrives and explains what transpired and asks for her forgiveness before he turns himself in to the police. Maria confirms her love for him and asks Tony to stay with her (\"Somewhere\"). Maria waits for Tony on the rooftop of her apartment building, when Chino arrives and tells her about the fight. When she asks if Tony was hurt, Chino angrily shouts that Tony has killed Bernardo, and leaves. Tony arrives and explains what transpired and asks for her forgiveness before he turns himself in to the police. Maria confirms her love for him and asks Tony to stay with her (\" Somewhere Somewhere \"). \n", " The Jets have reassembled outside a garage, with their new leader, Ice, having them focus on reacting to the police (\"Cool\"). Anybodys arrives and warns them that Chino is now after Tony, and has a gun. Ice sends the Jets to warn Tony. The Jets have reassembled outside a garage, with their new leader, Ice, having them focus on reacting to the police (\" Cool Cool \"). Anybodys arrives and warns them that Chino is now after Tony, and has a gun. Ice sends the Jets to warn Tony. \n", " Anita enters the apartment while Tony and Maria are in the bedroom. Tony and Maria arrange to meet at Doc's, where they will pick up getaway money to elope. Anita spots Tony leaving through the window and chides Maria for the relationship (\"A Boy Like That\"), but Maria convinces her to help them elope (\"I Have a Love\"). Anita enters the apartment while Tony and Maria are in the bedroom. Tony and Maria arrange to meet at Doc's, where they will pick up getaway money to elope. Anita spots Tony leaving through the window and chides Maria for the relationship (\" A Boy Like That A Boy Like That \"), but Maria convinces her to help them elope (\"I Have a Love\"). \n", " Schrank arrives and questions Maria about the rumble. To cover for Tony, Maria sends Anita to Doc's in her stead to tell him that Maria has been delayed from meeting him. When Anita reaches Doc's, the Jets harass her, until Doc intervenes. Shaken and angered, Anita declares that Bernardo was right about them and that Chino has killed Maria in a jealous rage. Disgusted with their behavior, Doc banishes the Jets and delivers Tony his getaway money and Anita's message. Tony runs into the streets, shouting for Chino to find him and kill him as well. Schrank arrives and questions Maria about the rumble. To cover for Tony, Maria sends Anita to Doc's in her stead to tell him that Maria has been delayed from meeting him. When Anita reaches Doc's, the Jets harass her, until Doc intervenes. Shaken and angered, Anita declares that Bernardo was right about them and that Chino has killed Maria in a jealous rage. Disgusted with their behavior, Doc banishes the Jets and delivers Tony his getaway money and Anita's message. Tony runs into the streets, shouting for Chino to find him and kill him as well. \n", " In the playground next to Doc's, Tony spots Maria and they run toward each other, only for Chino to emerge and shoot Tony. The Jets and Sharks arrive to find Maria holding Tony, who dies (\"Somewhere (Reprise)\"). Maria stops the gangs from fighting and takes the gun from Chino and threatens everyone, blaming their hate for the deaths of Riff, Bernardo, and Tony. Schrank, Krupke, and Doc arrive. When the Jets raise Tony's body, the Sharks rush forward to help them, and together with Maria they form a funeral procession. The police arrest Chino and lead him away (\"Finale\"). In the playground next to Doc's, Tony spots Maria and they run toward each other, only for Chino to emerge and shoot Tony. The Jets and Sharks arrive to find Maria holding Tony, who dies (\"Somewhere (Reprise)\"). Maria stops the gangs from fighting and takes the gun from Chino and threatens everyone, blaming their hate for the deaths of Riff, Bernardo, and Tony. Schrank, Krupke, and Doc arrive. When the Jets raise Tony's body, the Sharks rush forward to help them, and together with Maria they form a funeral procession. The police arrest Chino and lead him away (\"Finale\"). \n", " \n", "http://en.wikipedia.org/wiki/Star_Wars_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The galaxy is in a civil war, and spies for the Rebel Alliance have stolen plans to the Galactic Empire's Death Star, a heavily armed and armored space station capable of destroying an entire planet. Rebel leader Princess Leia is in possession of the plans, but her ship is captured by Imperial forces under the command of the evil lord Darth Vader. Before she is captured, Leia hides the plans in the memory of an astromech droid called R2-D2, along with a holographic recording. The small droid flees to the surface of the desert planet Tatooine with fellow protocol droid C-3PO. The galaxy is in a civil war civil war , and spies for the Rebel Alliance Rebel Alliance have stolen plans to the Galactic Empire Galactic Empire 's Death Star Death Star , a heavily armed and armored space station space station capable of destroying an entire planet. Rebel leader Princess Leia Princess Leia is in possession of the plans, but her ship is captured by Imperial forces under the command of the evil lord Darth Vader Darth Vader . Before she is captured, Leia hides the plans in the memory of an astromech droid astromech droid called R2-D2 R2-D2 , along with a holographic holographic recording. The small droid flees to the surface of the desert planet Tatooine Tatooine with fellow protocol droid C-3PO C-3PO . \n", " The droids are captured by Jawa traders, who sell the pair to moisture farmers Owen and Beru and their nephew, Luke Skywalker. While Luke is cleaning R2-D2, he accidentally triggers part of Leia's message, in which she requests help from Obi-Wan Kenobi. The only \"Kenobi\" Luke knows of is an old hermit named Ben Kenobi who lives in the nearby hills. The next morning, Luke finds R2-D2 searching for Obi-Wan, and meets Ben Kenobi, who reveals himself to be Obi-Wan. Obi-Wan tells Luke of his days as a Jedi Knight, one of a faction of former galactic peacekeepers with supernatural powers derived from an energy field called the Force, who were wiped out by the Empire. Contrary to his uncle's statements, Luke learns that his father fought alongside Obi-Wan as a Jedi Knight before he was betrayed and killed by Vader, Obi-Wan's former pupil who turned to the dark side of the Force. Obi-Wan then offers Luke his father's lightsaber. The droids are captured by Jawa Jawa traders, who sell the pair to moisture farmers Owen Owen and Beru Beru and their nephew, Luke Skywalker Luke Skywalker . While Luke is cleaning R2-D2, he accidentally triggers part of Leia's message, in which she requests help from Obi-Wan Kenobi Obi-Wan Kenobi . The only \"Kenobi\" Luke knows of is an old hermit named Ben Kenobi who lives in the nearby hills. The next morning, Luke finds R2-D2 searching for Obi-Wan, and meets Ben Kenobi, who reveals himself to be Obi-Wan. Obi-Wan tells Luke of his days as a Jedi Knight Jedi Knight , one of a faction of former galactic peacekeepers with supernatural powers derived from an energy field called the Force Force , who were wiped out by the Empire. Contrary to his uncle's statements, Luke learns that his father fought alongside Obi-Wan as a Jedi Knight before he was betrayed and killed by Vader, Obi-Wan's former pupil who turned to the dark side of the Force dark side of the Force . Obi-Wan then offers Luke his father's lightsaber lightsaber . \n", " Obi-Wan views Leia's complete message in which she begs him to take the Death Star plans to her home planet of Alderaan and give them to her father for analysis. Obi-Wan invites Luke to accompany him to Alderaan and learn the ways of the Force. Luke initially declines, but changes his mind after discovering that Imperial stormtroopers searching for C-3PO and R2-D2 have destroyed his home and killed his aunt and uncle. Obi-Wan and Luke hire smuggler Han Solo and his Wookiee first mate Chewbacca to transport them on their ship, the Millennium Falcon. Upon the Falcon\u200a'\u200bs arrival at Alderaan, they find out that the planet has been destroyed by order of the Death Star's commanding officer, Grand Moff Tarkin, as a demonstration of the Death Star's power. The Falcon is captured by the Death Star's tractor beam and brought into its hangar bay. While Obi-Wan goes to disable the tractor beam, Luke discovers that Leia is imprisoned aboard and, with the help of Han and Chewbacca, rescues her. After several harrowing escapes, the group makes its way back to the Falcon. Obi-Wan engages in a lightsaber duel with Darth Vader and is killed. The Falcon escapes the Death Star, unknowingly carrying a tracking device that enables the Empire to follow it to the rebels' hidden base on Yavin IV. Obi-Wan views Leia's complete message in which she begs him to take the Death Star plans to her home planet of Alderaan Alderaan and give them to her father for analysis. Obi-Wan invites Luke to accompany him to Alderaan and learn the ways of the Force. Luke initially declines, but changes his mind after discovering that Imperial stormtroopers stormtroopers searching for C-3PO and R2-D2 have destroyed his home and killed his aunt and uncle. Obi-Wan and Luke hire smuggler Han Solo Han Solo and his Wookiee Wookiee first mate Chewbacca Chewbacca to transport them on their ship, the Millennium Falcon Millennium Falcon Millennium Falcon . Upon the Falcon Falcon \u200a'\u200bs arrival at Alderaan, they find out that the planet has been destroyed by order of the Death Star's commanding officer, Grand Moff Tarkin Grand Moff Tarkin , as a demonstration of the Death Star's power. The Falcon Falcon is captured by the Death Star's tractor beam tractor beam and brought into its hangar bay. While Obi-Wan goes to disable the tractor beam, Luke discovers that Leia is imprisoned aboard and, with the help of Han and Chewbacca, rescues her. After several harrowing escapes, the group makes its way back to the Falcon Falcon . Obi-Wan engages in a lightsaber duel with Darth Vader and is killed. The Falcon Falcon escapes the Death Star, unknowingly carrying a tracking device that enables the Empire to follow it to the rebels' hidden base on Yavin IV Yavin IV . \n", " The rebels analyze the Death Star plans and identify a vulnerable exhaust port that connects to the station's main reactor. Luke joins the rebel assault squadron, while Han collects his payment for the transport and intends to leave despite Luke's request that he stay and help. In the ensuing battle, the rebels suffer heavy losses after several unsuccessful attack runs, leaving Luke one of the few surviving pilots. Vader leads a squad of TIE fighters and prepares to attack Luke's X-wing ship, but Han returns and fires on the Imperials, sending Vader spiraling away. Helped by spiritual guidance from Obi-Wan to use the Force, Luke successfully destroys the Death Star seconds before it can fire on the rebel base. Leia later awards Luke and Han with medals for their heroism. The rebels analyze the Death Star plans and identify a vulnerable exhaust port that connects to the station's main reactor. Luke joins the rebel assault squadron, while Han collects his payment for the transport and intends to leave despite Luke's request that he stay and help. In the ensuing battle, the rebels suffer heavy losses after several unsuccessful attack runs, leaving Luke one of the few surviving pilots. Vader leads a squad of TIE fighters TIE fighters and prepares to attack Luke's X-wing X-wing ship, but Han returns and fires on the Imperials, sending Vader spiraling away. Helped by spiritual guidance from Obi-Wan to use the Force, Luke successfully destroys the Death Star seconds before it can fire on the rebel base. Leia later awards Luke and Han with medals for their heroism. \n", " \n", "http://en.wikipedia.org/wiki/E.T._the_Extra-Terrestrial\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In a California forest, a group of alien botanists collect flora samples. When government agents appear on the scene, the aliens flee in their spaceship, leaving one of their own behind. The scene shifts to a suburban home, where a 10-year-old boy named Elliott is trying to hang out with his 16-year-old brother Michael and his friends. As he returns from picking up a pizza, Elliott discovers that something is hiding in their tool shed. The creature promptly flees upon being discovered. Despite his family's disbelief, Elliott lures the alien from the forest to his bedroom using a trail of Reese's Pieces. Before he goes to sleep, Elliott realizes the alien is imitating his movements. Elliott feigns illness the next morning to stay home from school and play with the alien. Later that day, Michael and their five-year-old sister Gertie meet the alien. They decide to keep him hidden from their mother. When they ask it about its origin, the alien levitates several balls to represent its solar system and then demonstrates its powers by reviving a dead plant. In a California forest, a group of alien alien botanists collect flora flora samples. When government agents appear on the scene, the aliens flee in their spaceship, leaving one of their own behind. The scene shifts to a suburban home, where a 10-year-old boy named Elliott is trying to hang out with his 16-year-old brother Michael and his friends. As he returns from picking up a pizza, Elliott discovers that something is hiding in their tool shed. The creature promptly flees upon being discovered. Despite his family's disbelief, Elliott lures the alien from the forest to his bedroom using a trail of Reese's Pieces Reese's Pieces . Before he goes to sleep, Elliott realizes the alien is imitating his movements. Elliott feigns illness the next morning to stay home from school and play with the alien. Later that day, Michael and their five-year-old sister Gertie meet the alien. They decide to keep him hidden from their mother. When they ask it about its origin, the alien levitates several balls to represent its solar system and then demonstrates its powers by reviving a dead plant. \n", " At school the next day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication due to the alien drinking beer, and he begins freeing all the frogs in a biology class. As the alien watches John Wayne kiss Maureen O'Hara in The Quiet Man, Elliott kisses a girl he likes. At school the next day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication due to the alien drinking beer, and he begins freeing all the frogs in a biology class. As the alien watches John Wayne John Wayne kiss Maureen O'Hara Maureen O'Hara in The Quiet Man The Quiet Man The Quiet Man , Elliott kisses a girl he likes. \n", " \n", "\n", "\n", "\n", "Makeshift communicator used by E.T. to phone home. Among its parts is a Speak Spell, an umbrella lined with tinfoil, and a coffee can filled with other electronics.\n", "\n", " \n", " \n", "\n", "\n", "Makeshift communicator used by E.T. to phone home. Among its parts is a Speak Spell, an umbrella lined with tinfoil, and a coffee can filled with other electronics.\n", " \n", " \n", "\n", "Makeshift communicator used by E.T. to phone home. Among its parts is a Speak Spell, an umbrella lined with tinfoil, and a coffee can filled with other electronics. \n", " \n", "Makeshift communicator used by E.T. to phone home. Among its parts is a Speak & Spell, an umbrella lined with tinfoil, and a coffee can filled with other electronics. \n", " \n", " \n", " The alien learns to speak English by repeating what Gertie says as she watches Sesame Street and, at Elliott's urging, dubs itself \"E.T.\" E.T. reads a comic strip where Buck Rogers, stranded, calls for help by building a makeshift communication device, and is inspired to try it himself. He gets Elliott's help in building a device to \"phone home\" by using a Speak Spell toy. Michael notices that E.T.'s health is declining and that Elliott is referring to himself as \"we\". The alien learns to speak English by repeating what Gertie says as she watches Sesame Street Sesame Street Sesame Street and, at Elliott's urging, dubs itself \"E.T.\" E.T. reads a comic strip where Buck Rogers Buck Rogers , stranded, calls for help by building a makeshift communication device, and is inspired to try it himself. He gets Elliott's help in building a device to \"phone home\" by using a Speak Spell Speak & Spell toy. Michael notices that E.T.'s health is declining and that Elliott is referring to himself as \"we\". \n", " On Halloween, Michael and Elliott dress E.T. as a ghost so they can sneak him out of the house. Elliott and E.T. ride a bicycle to the forest, where E.T. makes a successful call home. The next morning, Elliott wakes up in the field, only to find E.T. gone, so he returns home to his distressed family. Michael searches for and finds E.T. dying in a ditch and takes him to Elliott, who is also dying. Mary becomes frightened when she discovers her son's illness and the dying alien, just as government agents invade the house. Scientists set up a medical facility there, quarantining Elliott and E.T. Their link disappears and E.T. then appears to die while Elliott recovers. A grief-stricken Elliott is left alone with the motionless alien when he notices a dead flower, the plant E.T. had previously revived, coming back to life. E.T. reanimates and reveals that his people are returning. Elliott and Michael steal a van that E.T. had been loaded into and a chase ensues, with Michael's friends joining them as they attempt to evade the authorities by bicycle. Suddenly facing a police roadblock, they escape as E.T. uses telekinesis to lift them into the air and toward the forest. On Halloween, Michael and Elliott dress E.T. as a ghost so they can sneak him out of the house. Elliott and E.T. ride a bicycle to the forest, where E.T. makes a successful call home. The next morning, Elliott wakes up in the field, only to find E.T. gone, so he returns home to his distressed family. Michael searches for and finds E.T. dying in a ditch and takes him to Elliott, who is also dying. Mary becomes frightened when she discovers her son's illness and the dying alien, just as government agents invade the house. Scientists set up a medical facility there, quarantining Elliott and E.T. Their link disappears and E.T. then appears to die while Elliott recovers. A grief-stricken Elliott is left alone with the motionless alien when he notices a dead flower, the plant E.T. had previously revived, coming back to life. E.T. reanimates and reveals that his people are returning. Elliott and Michael steal a van that E.T. had been loaded into and a chase ensues, with Michael's friends joining them as they attempt to evade the authorities by bicycle. Suddenly facing a police roadblock, they escape as E.T. uses telekinesis telekinesis to lift them into the air and toward the forest. \n", " Standing near the spaceship, E.T.'s heart glows as he prepares to return home. Mary, Gertie and \"Keys,\" a government agent, show up. E.T. says goodbye to Michael and Gertie, as she presents E.T. with the flower that he had revived. Before entering the spaceship, E.T. tells Elliott \"I'll be right here,\" pointing his glowing finger to his forehead. He then picks up the flower Gertie gave him, walks into the spaceship and takes off, leaving a rainbow in the sky as Elliott and the rest of them watches the ship leave. Standing near the spaceship, E.T.'s heart glows as he prepares to return home. Mary, Gertie and \"Keys,\" a government agent, show up. E.T. says goodbye to Michael and Gertie, as she presents E.T. with the flower that he had revived. Before entering the spaceship, E.T. tells Elliott \"I'll be right here,\" pointing his glowing finger to his forehead. He then picks up the flower Gertie gave him, walks into the spaceship and takes off, leaving a rainbow in the sky as Elliott and the rest of them watches the ship leave. \n", " \n", "http://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The film consists of four major sections, all of which, except the second, are introduced by superimposed titles. The film consists of four major sections, all of which, except the second, are introduced by superimposed titles. \n", " The Dawn of Man[edit] The Dawn of Man The Dawn of Man [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "The match cut[18] spanning four million years\n", "\n", " \n", " \n", "\n", "\n", "The match cut[18] spanning four million years\n", " \n", " \n", "\n", "The match cut[18] spanning four million years \n", " \n", "The match cut match cut [18] [18] [ [ 18 ] ] spanning four million years \n", " \n", " \n", " A tribe of herbivorous early hominids is foraging for food in the African desert with some tapirs alongside it. A leopard kills one member, and another tribe of man-apes drives them from their water hole. Defeated, they sleep overnight in a small exposed rock crater, and awake to find a black monolith has appeared in front of them. They approach it shrieking and jumping, and eventually touch it cautiously. Soon after, one of the man-apes, \"Moonwatcher\"[note 1] (played by Daniel Richter), realizes how to use a bone as both a tool and a weapon, which they start using to kill prey for their food. Growing increasingly capable and assertive, they reclaim control of the water hole from the other tribe by killing its leader. Triumphant, the tribe's leader throws his weapon-tool into the air as the scene shifts via match cut.[20][21] A tribe of herbivorous herbivorous early hominids early hominids is foraging for food in the African desert with some tapirs tapirs alongside it. A leopard leopard kills one member, and another tribe of man-apes drives them from their water hole. Defeated, they sleep overnight in a small exposed rock crater, and awake to find a black monolith monolith has appeared in front of them. They approach it shrieking and jumping, and eventually touch it cautiously. Soon after, one of the man-apes, \"Moonwatcher\" [note 1] [note 1] [ [ note 1 ] ] (played by Daniel Richter Daniel Richter ), realizes how to use a bone bone as both a tool and a weapon weapon , which they start using to kill prey for their food. Growing increasingly capable and assertive, they reclaim control of the water hole from the other tribe by killing its leader. Triumphant, the tribe's leader throws his weapon-tool into the air as the scene shifts via match cut match cut . [20] [20] [ [ 20 ] ] [21] [21] [ [ 21 ] ] \n", " TMA-1[edit] TMA-1 TMA-1 [edit] [ [ edit edit ] ] \n", " A Pan Am space plane carries Dr. Heywood R. Floyd (William Sylvester) to a space station orbiting Earth for a layover on his trip to Clavius Base, a Lunar US outpost. After making a videophone call from the station to his daughter (Vivian Kubrick), he encounters his friend Elena (Margaret Tyzack), a Soviet scientist, and her colleague Dr. Smyslov (Leonard Rossiter), who ask Floyd about \"odd things\" occurring at Clavius, and the rumor of a mysterious epidemic at the base. Floyd politely but firmly declines to answer questions about the epidemic, claiming he is \"not at liberty to discuss this\". A Pan Am Pan Am space plane space plane carries Dr. Heywood R. Floyd Heywood R. Floyd ( William Sylvester William Sylvester ) to a space station orbiting Earth for a layover layover on his trip to Clavius Base Clavius Base , a Lunar US outpost. After making a videophone videophone call from the station to his daughter ( Vivian Kubrick Vivian Kubrick ), he encounters his friend Elena ( Margaret Tyzack Margaret Tyzack ), a Soviet scientist, and her colleague Dr. Smyslov ( Leonard Rossiter Leonard Rossiter ), who ask Floyd about \"odd things\" occurring at Clavius, and the rumor of a mysterious epidemic at the base. Floyd politely but firmly declines to answer questions about the epidemic, claiming he is \"not at liberty to discuss this\". \n", " At Clavius, Floyd heads a meeting of base personnel, apologizing for the epidemic cover story but stressing secrecy. His mission is to investigate a recently found artifact\u2014\"Tycho Magnetic Anomaly One\" (TMA-1)\u2014\"deliberately buried\" four million years ago. Floyd and others ride in a Moonbus to the artifact, a black monolith identical to the one encountered by the apes. The visitors examine the monolith, and pose for a photo in front of it. While doing so, they hear a very loud high-pitched radio signal emanating from within the monolith. At Clavius, Floyd heads a meeting of base personnel, apologizing for the epidemic cover story cover story but stressing secrecy. His mission is to investigate a recently found artifact\u2014\" Tycho Tycho Magnetic Anomaly One\" (TMA-1)\u2014\"deliberately buried\" four million years ago. Floyd and others ride in a Moonbus Moonbus to the artifact, a black monolith identical to the one encountered by the apes. The visitors examine the monolith, and pose for a photo in front of it. While doing so, they hear a very loud high-pitched radio signal emanating from within the monolith. \n", " Jupiter Mission[edit] Jupiter Mission Jupiter Mission [edit] [ [ edit edit ] ] \n", " Eighteen months later, the U.S. spacecraft Discovery One is bound for Jupiter. On board are mission pilots and scientists Dr. David Bowman (Keir Dullea) and Dr. Frank Poole (Gary Lockwood), and three other scientists who are in cryogenic hibernation. Most of Discovery's operations are controlled by the ship's computer, HAL 9000 (voiced by Douglas Rain), referred to by the crew as \"Hal\". Bowman and Poole watch Hal and themselves being interviewed in a BBC show about the mission, in which the computer states that he is \"foolproof and incapable of error.\" Hal also speaks of his enthusiasm for the mission, and how he enjoys working with humans. When asked by the host if Hal has genuine emotions, Bowman replies that he appears to, but that the truth is unknown. Eighteen months later, the U.S. spacecraft Discovery One Discovery One Discovery One is bound for Jupiter Jupiter . On board are mission pilots and scientists Dr. David Bowman ( Keir Dullea Keir Dullea ) and Dr. Frank Poole ( Gary Lockwood Gary Lockwood ), and three other scientists who are in cryogenic hibernation cryogenic hibernation . Most of Discovery's Discovery's operations are controlled by the ship's computer, HAL 9000 HAL 9000 (voiced by Douglas Rain Douglas Rain ), referred to by the crew as \"Hal\". Bowman and Poole watch Hal and themselves being interviewed in a BBC BBC show about the mission, in which the computer states that he is \"foolproof and incapable of error.\" Hal also speaks of his enthusiasm for the mission, and how he enjoys working with humans. When asked by the host if Hal has genuine emotions, Bowman replies that he appears to, but that the truth is unknown. \n", " Hal asks Bowman about the unusual mystery and secrecy surrounding the mission, but then interrupts himself to report the imminent failure of a device which controls the ship's main antenna. After retrieving the component with an EVA pod, the astronauts cannot find anything wrong with it. Hal suggests reinstalling the part and letting it fail so the problem can be found. Mission control concurs, but advises the astronauts that results from their twin HAL 9000 indicate the ship's Hal is in error predicting the fault. When queried, Hal insists that the problem, like all previous issues with the HAL series, is due to \"human error\". Concerned about Hal's behavior, Bowman and Poole enter one of the EVA pods to talk without the computer overhearing them. They both have suspicions about Hal, despite the perfect reliability of the HAL series, but they decide to follow his suggestion to replace the unit. The astronauts agree to disconnect Hal if he is proven to be wrong. During the conversation between Bowman and Poole, HAL is able to view the astronauts through the portal of the EVA pod and read their lips as they discuss their plan. Hal asks Bowman about the unusual mystery and secrecy surrounding the mission, but then interrupts himself to report the imminent failure of a device which controls the ship's main antenna. After retrieving the component with an EVA pod EVA pod , the astronauts cannot find anything wrong with it. Hal suggests reinstalling the part and letting it fail so the problem can be found. Mission control concurs, but advises the astronauts that results from their twin HAL 9000 indicate the ship's Hal is in error predicting the fault. When queried, Hal insists that the problem, like all previous issues with the HAL series, is due to \"human error\". Concerned about Hal's behavior, Bowman and Poole enter one of the EVA EVA pods to talk without the computer overhearing them. They both have suspicions about Hal, despite the perfect reliability of the HAL series, but they decide to follow his suggestion to replace the unit. The astronauts agree to disconnect Hal if he is proven to be wrong. During the conversation between Bowman and Poole, HAL is able to view the astronauts through the portal of the EVA pod and read their lips as they discuss their plan. \n", " While Poole is attempting to replace the unit during a space-walk, his EVA pod, controlled by Hal, severs his oxygen hose and sets him adrift. Bowman, not realizing the computer is responsible for this, takes another pod to attempt a rescue, leaving his helmet behind. While he is gone, Hal turns off the life-support functions of the crewmen in suspended animation. When Bowman returns to the ship with Poole's body, Hal refuses to let him in, revealing that he had monitored their lip movements during their conversation about disconnecting him. He states that the astronaut's plan to deactivate him jeopardizes the mission. Having to let go of Poole, Bowman manually opens the ship's emergency airlock and enters the ship risking death from exposure to vacuum but survives. After donning a helmet, Bowman proceeds to Hal's processor core intent on disconnecting most of the functions of the computer. Hal first tries to reassure Dave, then pleads with him to stop, and finally begins to express fear\u2014all in a steady monotone voice. Dave ignores him and disconnects most of the computer's memory and processor modules. Hal eventually regresses to his earliest programmed memory, the song \"Daisy Bell\", which he sings for Bowman. While Poole is attempting to replace the unit during a space-walk space-walk , his EVA pod, controlled by Hal, severs his oxygen hose and sets him adrift. Bowman, not realizing the computer is responsible for this, takes another pod to attempt a rescue, leaving his helmet behind. While he is gone, Hal turns off the life-support functions of the crewmen in suspended animation. When Bowman returns to the ship with Poole's body, Hal refuses to let him in, revealing that he had monitored their lip movements during their conversation about disconnecting him. He states that the astronaut's plan to deactivate him jeopardizes the mission. Having to let go of Poole, Bowman manually opens the ship's emergency airlock and enters the ship risking death from exposure to vacuum exposure to vacuum but survives. After donning a helmet, Bowman proceeds to Hal's processor core intent on disconnecting most of the functions of the computer. Hal first tries to reassure Dave, then pleads with him to stop, and finally begins to express fear\u2014all in a steady monotone voice. Dave ignores him and disconnects most of the computer's memory and processor modules. Hal eventually regresses to his earliest programmed memory, the song \" Daisy Bell Daisy Bell \", which he sings for Bowman. \n", " When the computer is finally disconnected, a prerecorded video message from Floyd plays. In it, he reveals the existence of the four million-year-old black monolith on the Moon, \"its origin and purpose still a total mystery\". Floyd adds that it has remained completely inert, except for a single, very powerful radio emission aimed at Jupiter. When the computer is finally disconnected, a prerecorded video message from Floyd plays. In it, he reveals the existence of the four million-year-old black monolith on the Moon, \"its origin and purpose still a total mystery\". Floyd adds that it has remained completely inert, except for a single, very powerful radio emission aimed at Jupiter. \n", " Jupiter and Beyond the Infinite[edit] Jupiter and Beyond the Infinite Jupiter and Beyond the Infinite [edit] [ [ edit edit ] ] \n", " At Jupiter, Bowman leaves Discovery One in an EVA pod to investigate another monolith discovered in orbit around the planet. Approaching it, the pod is suddenly pulled into a vortex of colored light,[22] and a disoriented and terrified Bowman finds himself racing at great speed across vast distances of space, viewing bizarre cosmological phenomena and strange landscapes of unusual colors. He finds himself, middle-aged and still in his spacesuit, standing in a bedroom appointed in the Louis XVI-style. Bowman sees progressively older versions of himself, his point of view switching each time, alternately appearing formally dressed and eating dinner, and finally as a very elderly man lying in a bed. A black monolith appears at the foot of the bed, and as Bowman reaches for it, he is transformed into a fetal being enclosed in a transparent orb of light.[23] The new being floats in space beside the Earth, gazing at it. At Jupiter, Bowman leaves Discovery One Discovery One in an EVA pod to investigate another monolith discovered in orbit around the planet. Approaching it, the pod is suddenly pulled into a vortex of colored light, [22] [22] [ [ 22 ] ] and a disoriented and terrified Bowman finds himself racing at great speed across vast distances of space, viewing bizarre cosmological phenomena and strange landscapes of unusual colors. He finds himself, middle-aged and still in his spacesuit, standing in a bedroom appointed in the Louis XVI-style Louis XVI-style . Bowman sees progressively older versions of himself, his point of view switching each time, alternately appearing formally dressed and eating dinner, and finally as a very elderly man lying in a bed. A black monolith appears at the foot of the bed, and as Bowman reaches for it, he is transformed into a fetal fetal being enclosed in a transparent orb orb of light. [23] [23] [ [ 23 ] ] The new being floats in space beside the Earth, gazing at it. \n", " \n", "http://en.wikipedia.org/wiki/The_Silence_of_the_Lambs_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot \n", " Clarice Starling (Jodie Foster) is pulled from her training at the FBI Academy at Quantico, Virginia by Jack Crawford (Scott Glenn) of the Bureau's Behavioral Science Unit. He assigns her to interview Hannibal Lecter, a former psychiatrist and incarcerated cannibalistic serial killer, whose insight might prove useful in the pursuit of a serial killer nicknamed \"Buffalo Bill\", who skins his female victims' corpses. Clarice Starling Clarice Starling ( Jodie Foster Jodie Foster ) is pulled from her training at the FBI Academy FBI Academy at Quantico, Virginia Quantico, Virginia by Jack Crawford Jack Crawford ( Scott Glenn Scott Glenn ) of the Bureau's Behavioral Science Unit Behavioral Science Unit . He assigns her to interview Hannibal Lecter Hannibal Lecter , a former psychiatrist and incarcerated cannibalistic serial killer, whose insight might prove useful in the pursuit of a serial killer nicknamed \" Buffalo Bill Buffalo Bill \", who skins skins his female victims' corpses. \n", " Starling travels to the Baltimore State Hospital for the Criminally Insane, where she is led by Frederick Chilton (Anthony Heald) to Lecter's solitary quarters. Although initially pleasant and courteous, Lecter grows impatient with Starling's attempts at \"dissecting\" him and rebuffs her. As she is leaving, one of the prisoners flicks semen at her. Lecter, who considers this act \"unspeakably ugly\", calls Starling back and tells her to seek out an old patient of his. This leads her to a storage shed where she discovers a man's severed head with a sphinx moth lodged in its throat. She returns to Lecter, who tells her that the man is linked to Buffalo Bill. He offers to profile Buffalo Bill on the condition that he be transferred away from Chilton, whom he detests. Starling travels to the Baltimore State Hospital for the Criminally Insane, where she is led by Frederick Chilton Frederick Chilton ( Anthony Heald Anthony Heald ) to Lecter's solitary quarters. Although initially pleasant and courteous, Lecter grows impatient with Starling's attempts at \"dissecting\" him and rebuffs her. As she is leaving, one of the prisoners flicks semen semen at her. Lecter, who considers this act \"unspeakably ugly\", calls Starling back and tells her to seek out an old patient of his. This leads her to a storage shed where she discovers a man's severed head with a sphinx moth sphinx moth lodged in its throat. She returns to Lecter, who tells her that the man is linked to Buffalo Bill. He offers to profile profile Buffalo Bill on the condition that he be transferred away from Chilton, whom he detests. \n", " Buffalo Bill abducts a U.S. Senator's daughter, Catherine Martin (Brooke Smith). Crawford authorizes Starling to offer Lecter a fake deal promising a prison transfer if he provides information that helps them find Buffalo Bill and rescue Catherine. Instead, Lecter demands a quid pro quo from Starling, offering clues about Buffalo Bill in exchange for personal information. Starling tells Lecter about the murder of her father when she was ten years old. Chilton secretly records the conversation and reveals Starling's deceit before offering Lecter a deal of Chilton's own making. Lecter agrees and is flown to Memphis, Tennessee, where he verbally torments Senator Ruth Martin (Diane Baker) and gives her misleading information on Buffalo Bill including the name \"Louis Friend\". Buffalo Bill abducts a U.S. Senator U.S. Senator 's daughter, Catherine Martin ( Brooke Smith Brooke Smith ). Crawford authorizes Starling to offer Lecter a fake deal promising a prison transfer if he provides information that helps them find Buffalo Bill and rescue Catherine. Instead, Lecter demands a quid pro quo quid pro quo quid pro quo from Starling, offering clues about Buffalo Bill in exchange for personal information. Starling tells Lecter about the murder of her father when she was ten years old. Chilton secretly records the conversation and reveals Starling's deceit before offering Lecter a deal of Chilton's own making. Lecter agrees and is flown to Memphis, Tennessee Memphis, Tennessee , where he verbally torments Senator Ruth Martin ( Diane Baker Diane Baker ) and gives her misleading information on Buffalo Bill including the name \"Louis Friend\". \n", " Starling notices that \"Louis Friend\" is an anagram of \"iron sulfide\"\u2014fool's gold. She visits Lecter, who is now being held in a cage-like cell in a Tennessee courthouse, and asks for the truth. Lecter tells her that all the information she needs is contained in the case file. Rather than give her the real name, he insists that they continue their quid pro quo and she recounts a traumatic childhood incident where she was woken by the sound of spring lambs being slaughtered on a relative's farm in Montana. Starling admits that she still sometimes wakes thinking she can hear lambs screaming, and Lecter speculates that she is motivated to save Catherine in the hope that it will end the nightmares. Lecter gives her back the case files on Buffalo Bill after their conversation is interrupted by Chilton and the police who escort her from the building. Later that evening, Lecter kills his guards, escapes from his cell and disappears. Starling notices that \"Louis Friend\" is an anagram anagram of \" iron sulfide iron sulfide \"\u2014 fool's gold fool's gold . She visits Lecter, who is now being held in a cage-like cell in a Tennessee courthouse, and asks for the truth. Lecter tells her that all the information she needs is contained in the case file. Rather than give her the real name, he insists that they continue their quid pro quo quid pro quo and she recounts a traumatic childhood incident where she was woken by the sound of spring lambs spring lambs being slaughtered on a relative's farm in Montana Montana . Starling admits that she still sometimes wakes thinking she can hear lambs screaming, and Lecter speculates that she is motivated to save Catherine in the hope that it will end the nightmares. Lecter gives her back the case files on Buffalo Bill after their conversation is interrupted by Chilton and the police who escort her from the building. Later that evening, Lecter kills his guards, escapes from his cell and disappears. \n", " Starling analyzes Lecter's annotations to the case files and realizes that Buffalo Bill knew his first victim personally. Starling travels to the victim's hometown and discovers that Buffalo Bill was a tailor, with dresses and dress patterns identical to the patches of skin removed from each of his victims. She telephones Crawford to inform him that Buffalo Bill is trying to fashion a \"woman suit\" of real skin, but Crawford is already en route to make an arrest, having cross-referenced Lecter's notes with hospital archives and finding a man named Jame Gumb, who once applied unsuccessfully for a sex-change operation. Starling continues interviewing friends of Buffalo Bill's first victim in Ohio while Crawford leads an F.B.I. tactical team to Gumb's address in Illinois. The house in Illinois is empty, and Starling is led to the house of \"Jack Gordon\", who she realizes is actually Jame Gumb, again by finding a sphinx moth. She pursues him into his multi-room basement, where she discovers that Catherine is still alive, but trapped in a dry well. After turning off the basement lights, Gumb stalks Starling in the dark with night-vision goggles but gives his position away when he cocks his revolver. Starling turns around just in time and kills him, firing the whole magazine of her pistol onto him. Starling analyzes Lecter's annotations to the case files and realizes that Buffalo Bill knew his first victim personally. Starling travels to the victim's hometown and discovers that Buffalo Bill was a tailor, with dresses and dress patterns identical to the patches of skin removed from each of his victims. She telephones Crawford to inform him that Buffalo Bill is trying to fashion a \"woman suit\" of real skin, but Crawford is already en route to make an arrest, having cross-referenced Lecter's notes with hospital archives and finding a man named Jame Gumb, who once applied unsuccessfully for a sex-change operation sex-change operation . Starling continues interviewing friends of Buffalo Bill's first victim in Ohio Ohio while Crawford leads an F.B.I. tactical team to Gumb's address in Illinois Illinois . The house in Illinois is empty, and Starling is led to the house of \"Jack Gordon\", who she realizes is actually Jame Gumb, again by finding a sphinx moth. She pursues him into his multi-room basement, where she discovers that Catherine is still alive, but trapped in a dry well. After turning off the basement lights, Gumb stalks Starling in the dark with night-vision goggles night-vision goggles but gives his position away when he cocks his revolver. Starling turns around just in time and kills him, firing the whole magazine of her pistol onto him. \n", " Some time later at her FBI Academy graduation party, Starling receives a phone call from Lecter, who is at an airport in Bimini. He assures her that he does not plan to pursue her and asks her to return the favor, which she says she cannot do. Lecter then hangs up the phone, saying that he is \"having an old friend for dinner\" and starts following a newly arrived Chilton before disappearing into the crowd. Some time later at her FBI Academy graduation party, Starling receives a phone call from Lecter, who is at an airport in Bimini Bimini . He assures her that he does not plan to pursue her and asks her to return the favor, which she says she cannot do. Lecter then hangs up the phone, saying that he is \"having an old friend for dinner\" and starts following a newly arrived Chilton before disappearing into the crowd. \n", " \n", "http://en.wikipedia.org/wiki/Chinatown_(1974_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " A woman identifying herself as Evelyn Mulwray (Ladd) hires private investigator J.J. \"Jake\" Gittes (Nicholson) to carry out surveillance on her husband Hollis I. Mulwray (Zwerling), the chief engineer for the Los Angeles Department of Water and Power. Gittes tails him, hears him publicly oppose the creation of a new reservoir, and shoots photographs of him with a young woman (Palmer) which are published on the front page of the following day's paper. Upon his return to his office, Gittes is confronted by a beautiful woman who, after establishing that the two of them have never met, irately informs him she is the real Evelyn Mulwray (Dunaway) and that he can expect a lawsuit. A woman identifying herself as Evelyn Mulwray (Ladd) hires private investigator private investigator J.J. \"Jake\" Gittes (Nicholson) to carry out surveillance on her husband Hollis I. Mulwray (Zwerling), the chief engineer for the Los Angeles Department of Water and Power Los Angeles Department of Water and Power . Gittes tails him, hears him publicly oppose the creation of a new reservoir, and shoots photographs of him with a young woman (Palmer) which are published on the front page of the following day's paper. Upon his return to his office, Gittes is confronted by a beautiful woman who, after establishing that the two of them have never met, irately informs him she is the real Evelyn Mulwray (Dunaway) and that he can expect a lawsuit. \n", " Realizing he was set up, Gittes figures whoever did it wants to get Mulwray, but, before he can question the husband, Lieutenant Lou Escobar (Lopez) fishes Mulwray, drowned, from a freshwater reservoir. Suspicious of murder, Gittes investigates and notices that, although huge quantities of water are released from the reservoir every night, the land is almost completely dry. Gittes is confronted by Water Department Security Chief Claude Mulvihill (Jenson) with a henchman (Polanski) who slashes the investigator's nose. Back at his office, he receives a call from Ida Sessions, an actress whom he recognizes as the bogus Mrs. Mulwray. She is afraid to identify her employer, but provides a clue: the name of one of \"those people\" is in that day's obituaries. Realizing he was set up, Gittes figures whoever did it wants to get Mulwray, but, before he can question the husband, Lieutenant Lou Escobar (Lopez) fishes Mulwray, drowned, from a freshwater reservoir. Suspicious of murder, Gittes investigates and notices that, although huge quantities of water are released from the reservoir every night, the land is almost completely dry. Gittes is confronted by Water Department Security Chief Claude Mulvihill (Jenson) with a henchman (Polanski) who slashes the investigator's nose. Back at his office, he receives a call from Ida Sessions, an actress whom he recognizes as the bogus Mrs. Mulwray. She is afraid to identify her employer, but provides a clue: the name of one of \"those people\" is in that day's obituaries. \n", " Gittes learns that Mrs. Mulwray's husband was once the business partner of her father, Noah Cross (Huston), so he meets Cross for lunch at the latter's personal club. Cross offers to double Gittes' fee to search for Mulwray's missing girlfriend, plus a bonus if he succeeds. Gittes visits the hall of records where he discovers that a large amount of acreage in the \"northwest valley\" has changed ownership. Further investigation there leads to an attack on him by angry landowners; they believe he is an agent of the water department, attempting to force them out by demolishing their water tanks and poisoning their wells. Gittes learns that Mrs. Mulwray's husband was once the business partner of her father, Noah Cross (Huston), so he meets Cross for lunch at the latter's personal club. Cross offers to double Gittes' fee to search for Mulwray's missing girlfriend, plus a bonus if he succeeds. Gittes visits the hall of records where he discovers that a large amount of acreage in the \"northwest valley\" has changed ownership. Further investigation there leads to an attack on him by angry landowners; they believe he is an agent of the water department, attempting to force them out by demolishing their water tanks and poisoning their wells. \n", " Gittes's review of the obituaries uncovers a former resident of the Mar Vista Inn retirement home, who is one of the valley's new landowners. He infers that Mulwray was murdered when he learned that the new reservoir would be used to irrigate the newly purchased properties. Evelyn and Gittes bluff their way into Mar Vista and confirm that the real estate deals are surreptitiously completed in the names of some of its residents. After fleeing from Mulvihill and his thugs, they hide at Evelyn's house, where they nurse each other's wounds and end up in bed together. Gittes's review of the obituaries uncovers a former resident of the Mar Vista Inn retirement home, who is one of the valley's new landowners. He infers that Mulwray was murdered when he learned that the new reservoir would be used to irrigate the newly purchased properties. Evelyn and Gittes bluff their way into Mar Vista and confirm that the real estate deals are surreptitiously completed in the names of some of its residents. After fleeing from Mulvihill and his thugs, they hide at Evelyn's house, where they nurse each other's wounds and end up in bed together. \n", " Early morning, Evelyn has to leave suddenly; she warns him that her father is dangerous and crazy. Gittes manages to follow her car to a house where he observes her with Mulwray's girlfriend. He confronts Evelyn, who finally confesses that the woman is her sister. Early morning, Evelyn has to leave suddenly; she warns him that her father is dangerous and crazy. Gittes manages to follow her car to a house where he observes her with Mulwray's girlfriend. He confronts Evelyn, who finally confesses that the woman is her sister. \n", " The next day, an anonymous call draws Gittes to Ida Sessions' apartment; he finds her murdered, with Escobar waiting for his arrival. Escobar pressures him because the coroner's report found salt water in Mulwray's lungs, indicating that the body was moved after death. Escobar suspects Evelyn of the murder, and insists Gittes produce her quickly or he'll face charges of his own. The next day, an anonymous call draws Gittes to Ida Sessions' apartment; he finds her murdered, with Escobar waiting for his arrival. Escobar pressures him because the coroner's report found salt water in Mulwray's lungs, indicating that the body was moved after death. Escobar suspects Evelyn of the murder, and insists Gittes produce her quickly or he'll face charges of his own. \n", " Gittes returns to Evelyn's mansion. There, he discovers a pair of bifocals in her salt water garden pond and finds her servants packing her bags. His suspicions aroused, he confronts Evelyn about her \"sister\", whom she then claims is her daughter, Katherine. Gittes slaps her repeatedly until she cries out \"She's my sister and my daughter!\", then tearfully asks Gittes if it is \"too tough\" for him to understand what happened with her father. She points out that the eyeglasses are not her husband's, as he did not wear bifocals. Gittes returns to Evelyn's mansion. There, he discovers a pair of bifocals in her salt water garden pond and finds her servants packing her bags. His suspicions aroused, he confronts Evelyn about her \"sister\", whom she then claims is her daughter, Katherine. Gittes slaps her repeatedly until she cries out \"She's my sister and and my daughter!\", then tearfully asks Gittes if it is \"too tough\" for him to understand what happened with her father. She points out that the eyeglasses are not her husband's, as he did not wear bifocals. \n", " Gittes makes plans for the two women to flee to Mexico. He instructs Evelyn to meet him at her butler's home in Chinatown. Gittes summons Cross to the Mulwray home to settle their deal for the girl. Cross admits his intention to annex to the City of Los Angeles the northwest valley, then irrigate and develop it. Gittes produces Cross's bifocals \u2014 a link to Mulwray's murder. Mulvihill appears and confiscates the glasses, then forces Jake to drive him with Cross to the women. Gittes makes plans for the two women to flee to Mexico. He instructs Evelyn to meet him at her butler's home in Chinatown Chinatown . Gittes summons Cross to the Mulwray home to settle their deal for the girl. Cross admits his intention to annex to the City of Los Angeles the northwest valley, then irrigate and develop it. Gittes produces Cross's bifocals \u2014 a link to Mulwray's murder. Mulvihill appears and confiscates the glasses, then forces Jake to drive him with Cross to the women. \n", " When the three reach the Chinatown hiding place, the police are already there and detain Gittes. Evelyn will not allow Cross to approach Katherine, and when he is undeterred she shoots him in the arm and drives away with Katherine. As the car speeds off, the police open fire, killing Evelyn. Cross clutches Katherine and leads her away, while Escobar orders Gittes released, along with his associates. One of them urges \"Forget it, Jake. It's Chinatown.\" When the three reach the Chinatown hiding place, the police are already there and detain Gittes. Evelyn will not allow Cross to approach Katherine, and when he is undeterred she shoots him in the arm and drives away with Katherine. As the car speeds off, the police open fire, killing Evelyn. Cross clutches Katherine and leads her away, while Escobar orders Gittes released, along with his associates. One of them urges \"Forget it, Jake. It's Chinatown.\" \n", " \n", "http://en.wikipedia.org/wiki/The_Bridge_on_the_River_Kwai\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In World War II, British prisoners arrive at a Japanese prison camp in western Burma.[5] The commandant, Colonel Saito (Sessue Hayakawa), informs them that all prisoners, regardless of rank, are to work on the construction of a railway bridge over the River Kwai. The senior British officer, Lieutenant Colonel Nicholson (Alec Guinness), reminds Saito that the Geneva Conventions exempt officers from manual labour. In World War II World War II , British prisoners arrive at a Japanese Japanese prison camp prison camp in western Burma Burma . [5] [5] [ [ 5 ] ] The commandant commandant , Colonel Colonel Saito ( Sessue Hayakawa Sessue Hayakawa ), informs them that all prisoners, regardless of rank, are to work on the construction of a railway bridge over the River Kwai River Kwai . The senior British officer, Lieutenant Colonel Nicholson ( Alec Guinness Alec Guinness ), reminds Saito that the Geneva Conventions Geneva Conventions exempt officers from manual labour. \n", " At the following morning's assembly, Nicholson orders his officers to remain behind when the enlisted men are sent off to work. Saito slaps him across the face with his copy of the conventions and threatens to have them shot, but Nicholson refuses to back down. When Major Clipton (James Donald), the British medical officer, intervenes, Saito leaves the officers standing all day in the intense tropical heat. That evening, the officers are placed in a punishment hut, while Nicholson is locked in an iron box. At the following morning's assembly, Nicholson orders his officers to remain behind when the enlisted men are sent off to work. Saito slaps him across the face with his copy of the conventions and threatens to have them shot, but Nicholson refuses to back down. When Major Major Clipton ( James Donald James Donald ), the British medical officer medical officer , intervenes, Saito leaves the officers standing all day in the intense tropical heat. That evening, the officers are placed in a punishment hut, while Nicholson is locked in an iron box. \n", " Meanwhile, three prisoners attempt to escape. Two are shot dead, but United States Navy Commander Shears (William Holden), gets away, although badly wounded. He stumbles into a village. The villagers help him escape by boat. Meanwhile, three prisoners attempt to escape. Two are shot dead, but United States Navy United States Navy Commander Commander Shears ( William Holden William Holden ), gets away, although badly wounded. He stumbles into a village. The villagers help him escape by boat. \n", " Nicholson refuses to compromise. Meanwhile, the prisoners are working as little as possible and sabotaging whatever they can. Should Saito fail to meet his deadline, he would be obliged to commit ritual suicide. Desperate, Saito uses the anniversary of Japan's victory in the Russo-Japanese War as an excuse to save face and announces a general amnesty, releasing Nicholson and his officers. Nicholson refuses to compromise. Meanwhile, the prisoners are working as little as possible and sabotaging whatever they can. Should Saito fail to meet his deadline, he would be obliged to commit ritual suicide ritual suicide . Desperate, Saito uses the anniversary of Japan's victory in the Russo-Japanese War Russo-Japanese War as an excuse to save face face and announces a general amnesty, releasing Nicholson and his officers. \n", " Nicholson conducts an inspection and is shocked by the poor job being done by his men. Over the protests of some of his officers, he orders Captain Reeves (Peter Williams) and Major Hughes (John Boxer) to design and build a proper bridge, despite its military value to the Japanese, for the sake of maintaining his men's morale. The Japanese engineers had chosen a poor site, so the original construction is abandoned and a new bridge is begun downstream. Nicholson conducts an inspection and is shocked by the poor job being done by his men. Over the protests of some of his officers, he orders Captain Captain Reeves (Peter Williams) and Major Major Hughes ( John Boxer John Boxer ) to design and build a proper bridge, despite its military value to the Japanese, for the sake of maintaining his men's morale. The Japanese engineers had chosen a poor site, so the original construction is abandoned and a new bridge is begun downstream. \n", " Shears is enjoying his hospital stay in Ceylon, when British Major Warden (Jack Hawkins) asks him to volunteer for a commando mission to destroy the bridge before it's completed. Shears is appalled at the idea and reveals that he is not an officer at all. He switched uniforms with a dead officer after the sinking of their cruiser as a ploy to get better treatment. Warden already knows this. Faced with the prospect of being charged with impersonating an officer, Shears volunteers. Shears is enjoying his hospital stay in Ceylon, when British Major Warden ( Jack Hawkins Jack Hawkins ) asks him to volunteer for a commando mission to destroy the bridge before it's completed. Shears is appalled at the idea and reveals that he is not an officer at all. He switched uniforms with a dead officer after the sinking of their cruiser as a ploy to get better treatment. Warden already knows this. Faced with the prospect of being charged with impersonating an officer, Shears volunteers. \n", " Meanwhile, Nicholson drives his men hard to complete the bridge on time. For him, its completion will exemplify the ingenuity and hard work of the British Army for generations. When he asks that their Japanese counterparts join in as well, a resigned Saito replies that he has already given the order. Meanwhile, Nicholson drives his men hard to complete the bridge on time. For him, its completion will exemplify the ingenuity and hard work of the British Army British Army for generations. When he asks that their Japanese counterparts join in as well, a resigned Saito replies that he has already given the order. \n", " The commandos parachute in, with one man being killed on landing. Later, Warden is wounded in an encounter with a Japanese patrol and has to be carried on a litter. He, Shears, and Canadian Lieutenant Joyce (Geoffrey Horne) reach the river in time with the assistance of Siamese women bearers and their village chief, Khun Yai. Under cover of darkness, Shears and Joyce plant explosives on the bridge towers below the water line. The commandos commandos parachute in, with one man being killed on landing. Later, Warden is wounded in an encounter with a Japanese patrol and has to be carried on a litter. He, Shears, and Canadian Canadian Lieutenant Joyce ( Geoffrey Horne Geoffrey Horne ) reach the river in time with the assistance of Siamese women bearers and their village chief, Khun Yai. Under cover of darkness, Shears and Joyce plant explosives on the bridge towers below the water line. \n", " A train carrying soldiers and important dignitaries is scheduled to be the first to cross the bridge the following day, so Warden waits to destroy both. However, at daybreak the commandos are horrified to see that the water level has dropped, exposing the wire connecting the explosives to the detonator. Making a final inspection, Nicholson spots the wire and brings it to Saito's attention. As the train is heard approaching, they hurry down to the riverbank to investigate. A train carrying soldiers and important dignitaries is scheduled to be the first to cross the bridge the following day, so Warden waits to destroy both. However, at daybreak the commandos are horrified to see that the water level has dropped, exposing the wire connecting the explosives to the detonator. Making a final inspection, Nicholson spots the wire and brings it to Saito's attention. As the train is heard approaching, they hurry down to the riverbank to investigate. \n", " Joyce, manning the detonator, breaks cover and stabs Saito to death. Aghast, Nicholson yells for help, while attempting to stop Joyce from reaching the detonator. When Joyce is shot dead by Japanese fire, Shears swims across the river, but is fatally wounded as he reaches Nicholson. Recognizing the dying Shears, Nicholson exclaims, \"What have I done?\" Warden fires his mortar, mortally wounding Nicholson. The dazed colonel stumbles towards the detonator and collapses on the plunger, just in time to blow up the bridge and send the train hurtling into the river below. Witnessing the carnage, Clipton shakes his head uttering, \"Madness!\u00a0... Madness!\" Joyce, manning the detonator, breaks cover and stabs Saito to death. Aghast, Nicholson yells for help, while attempting to stop Joyce from reaching the detonator. When Joyce is shot dead by Japanese fire, Shears swims across the river, but is fatally wounded as he reaches Nicholson. Recognizing the dying Shears, Nicholson exclaims, \"What have I done?\" Warden fires his mortar mortar , mortally wounding Nicholson. The dazed colonel stumbles towards the detonator and collapses on the plunger, just in time to blow up the bridge and send the train hurtling into the river below. Witnessing the carnage, Clipton shakes his head uttering, \"Madness!\u00a0... Madness!\" \n", " \n", "http://en.wikipedia.org/wiki/Singin%27_in_the_Rain\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Don Lockwood is a popular silent film star with humble roots as a singer, dancer and stuntman. Don barely tolerates his vapid, shallow leading lady, Lina Lamont, though their studio, Monumental Pictures, links them romantically to increase their popularity. Lina herself is convinced they are in love, despite Don's protestations otherwise. Don Lockwood is a popular silent film star with humble roots as a singer, dancer and stuntman. Don barely tolerates his vapid, shallow leading lady, Lina Lamont, though their studio, Monumental Pictures, links them romantically to increase their popularity. Lina herself is convinced they are in love, despite Don's protestations otherwise. \n", " At the premiere of his newest film, The Royal Rascal, Don tells the gathered crowd an exaggerated version of his life story, including his motto, which is \"Dignity. Always dignity\". His words are humorously contradicted by flashbacks showing him taking on a wide range of menial and humiliating roles on stage and in film alongside his best friend Cosmo Brown. At the premiere of his newest film, The Royal Rascal The Royal Rascal , Don tells the gathered crowd an exaggerated version of his life story, including his motto, which is \"Dignity. Always dignity\". His words are humorously contradicted by flashbacks flashbacks showing him taking on a wide range of menial and humiliating roles on stage and in film alongside his best friend Cosmo Brown. \n", " To escape from his fans after the premiere, Don jumps into a passing car driven by Kathy Selden. She drops him off, but not before claiming to be a stage actress and sneering at his \"undignified\" accomplishments. Later, at a party, the head of Don's studio, R.F. Simpson, shows a short demonstration of a Vitaphone talking picture[4] but his guests are unimpressed. To Don's amusement and Kathy's embarrassment, she pops out of a mock cake right in front of him as part of the entertainment; Kathy, it turns out, is a chorus girl. Furious at Don's teasing, she throws a real cake at him, only to hit Lina right in the face. Don is smitten with her, but she runs off into the night. Don searches for her for weeks after discovering she was fired, believing himself to be responsible, but Lina tells him while filming a love scene that she made sure Kathy lost her job as an act of revenge and jealousy. Later, Don finds Kathy working in another Monumental Pictures production and they apologize to each other. She confesses to having been a fan of Don all along and they begin to fall in love. To escape from his fans after the premiere, Don jumps into a passing car driven by Kathy Selden. She drops him off, but not before claiming to be a stage actress and sneering at his \"undignified\" accomplishments. Later, at a party, the head of Don's studio, R.F. Simpson, shows a short demonstration of a Vitaphone Vitaphone talking picture talking picture [4] [4] [ [ 4 ] ] but his guests are unimpressed. To Don's amusement and Kathy's embarrassment, she pops out of a mock cake right in front of him as part of the entertainment; Kathy, it turns out, is a chorus girl. Furious at Don's teasing, she throws a real cake at him, only to hit Lina right in the face. Don is smitten with her, but she runs off into the night. Don searches for her for weeks after discovering she was fired, believing himself to be responsible, but Lina tells him while filming a love scene that she made sure Kathy lost her job as an act of revenge and jealousy. Later, Don finds Kathy working in another Monumental Pictures production and they apologize to each other. She confesses to having been a fan of Don all along and they begin to fall in love. \n", " After a rival studio has an enormous hit with its first talking picture, 1927's The Jazz Singer, R.F. decides he has no choice but to convert the next Lockwood and Lamont film, The Dueling Cavalier, into a talkie. The production is beset with difficulties in capturing sound, but by far the worst problem is Lina's grating voice. An exasperated diction coach tries to teach her how to speak properly, but to no avail. Don also takes diction lessons (albeit with much better results). The Dueling Cavalier's test screening is a disaster; the actors' speaking is barely audible thanks to the awkward placing of the microphones, Don repeats the line \"I love you\" to Lina over and over, to the audience's derisive laughter,[5] and in the middle of the film, the sound goes out of synchronization, with hilarious results. After a rival studio has an enormous hit with its first talking picture, 1927's The Jazz Singer The Jazz Singer The Jazz Singer , R.F. decides he has no choice but to convert the next Lockwood and Lamont film, The Dueling Cavalier The Dueling Cavalier , into a talkie. The production is beset with difficulties in capturing sound, but by far the worst problem is Lina's grating voice. An exasperated diction coach tries to teach her how to speak properly, but to no avail. Don also takes diction lessons (albeit with much better results). The Dueling Cavalier's The Dueling Cavalier's test screening is a disaster; the actors' speaking is barely audible thanks to the awkward placing of the microphones, Don repeats the line \"I love you\" to Lina over and over, to the audience's derisive laughter, [5] [5] [ [ 5 ] ] and in the middle of the film, the sound goes out of synchronization, with hilarious results. \n", " After the premiere, Don, Kathy and Cosmo come up with the idea to turn The Dueling Cavalier into a musical called The Dancing Cavalier, complete with a modern musical number called \"Broadway Melody\". Don will be able to show off his natural singing and dancing talent, but they are stumped when they must think about what to do with Lina. Cosmo, inspired by a scene in \"The Dueling Cavalier\" where Lina's voice was out of sync, suggests they dub Lina's voice with Kathy's. They bring the idea to R.F., who goes ahead with it. When Lina finds out, she is infuriated. She becomes even angrier when she discovers that R.F. intends to give Kathy a screen credit and a big publicity promotion. Lina, after consulting lawyers, threatens to sue R.F. unless he cancels Kathy's buildup and orders her to continue working uncredited as Lina's voice. R.F. reluctantly agrees to her demands. After the premiere, Don, Kathy and Cosmo come up with the idea to turn The Dueling Cavalier The Dueling Cavalier into a musical called The Dancing Cavalier The Dancing Cavalier , complete with a modern musical number called \"Broadway Melody\". Don will be able to show off his natural singing and dancing talent, but they are stumped when they must think about what to do with Lina. Cosmo, inspired by a scene in \"The Dueling Cavalier\" where Lina's voice was out of sync, suggests they dub Lina's voice with Kathy's. They bring the idea to R.F., who goes ahead with it. When Lina finds out, she is infuriated. She becomes even angrier when she discovers that R.F. intends to give Kathy a screen credit and a big publicity promotion. Lina, after consulting lawyers, threatens to sue R.F. unless he cancels Kathy's buildup and orders her to continue working uncredited as Lina's voice. R.F. reluctantly agrees to her demands. \n", " The premiere of The Dancing Cavalier is a tremendous success. When the audience clamors for Lina to sing live, Don, Cosmo, and R.F. improvise and get her to lip sync into the microphone while Kathy, hidden behind the stage curtain, sings into a second one. While Lina is \"singing\", Don, Cosmo and R.F. gleefully raise the curtain. When Cosmo replaces Kathy at the microphone, the sham becomes obvious. Embarrassed, Lina flees in humiliation. A distressed Kathy tries to run away as well, but not before Don proudly announces to the audience that she's \"the real star of the film\". The final shot shows Kathy and Don kissing in front of a billboard for their new film, Singin' in the Rain. The premiere of The Dancing Cavalier The Dancing Cavalier is a tremendous success. When the audience clamors for Lina to sing live, Don, Cosmo, and R.F. improvise and get her to lip sync lip sync into the microphone while Kathy, hidden behind the stage curtain, sings into a second one. While Lina is \"singing\", Don, Cosmo and R.F. gleefully raise the curtain. When Cosmo replaces Kathy at the microphone, the sham becomes obvious. Embarrassed, Lina flees in humiliation. A distressed Kathy tries to run away as well, but not before Don proudly announces to the audience that she's \"the real star of the film\". The final shot shows Kathy and Don kissing in front of a billboard for their new film, Singin' in the Rain. Singin' in the Rain. \n", " \n", "http://en.wikipedia.org/wiki/It%27s_a_Wonderful_Life\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "Donna Reed (as Mary Bailey) and James Stewart (playing George Bailey)\n", "\n", " \n", " \n", "\n", "\n", "Donna Reed (as Mary Bailey) and James Stewart (playing George Bailey)\n", " \n", " \n", "\n", "Donna Reed (as Mary Bailey) and James Stewart (playing George Bailey) \n", " \n", " Donna Reed Donna Reed (as Mary Bailey) and James Stewart James Stewart (playing George Bailey) \n", " \n", " \n", " In Bedford Falls, New York,[N 2] on Christmas Eve, George Bailey is deeply troubled and suicidal. Prayers for his well-being from friends and family reach Heaven. Clarence Odbody, Angel 2nd Class, is assigned to visit Earth to save George, thereby earning his wings. God the Father and St. Joseph review George's life with Clarence. In Bedford Falls Bedford Falls , New York New York , [N 2] [N 2] [ [ N 2 ] ] on Christmas Eve, George Bailey is deeply troubled and suicidal. Prayers for his well-being from friends and family reach Heaven. Clarence Odbody, Angel 2nd Class, is assigned to visit Earth to save George, thereby earning his wings. God the Father and St. Joseph review George's life with Clarence. \n", " As a 12-year-old boy in 1919, George saved the life of his younger brother Harry, who had fallen through the ice on a frozen pond, and because of his heroic action, George lost the hearing in his left ear. Later, while working in the local pharmacy, George noticed that the druggist, Mr. Gower, despondent over receiving a telegram that his son had died from influenza, had mistakenly filled a child's prescription with poison; George stopped Gower and saved him from killing the child and irrevocably ruining his own life. As a 12-year-old boy in 1919, George saved the life of his younger brother Harry, who had fallen through the ice on a frozen pond, and because of his heroic action, George lost the hearing in his left ear. Later, while working in the local pharmacy pharmacy , George noticed that the druggist, Mr. Gower, despondent over receiving a telegram that his son had died from influenza, had mistakenly filled a child's prescription with poison; George stopped Gower and saved him from killing the child and irrevocably ruining his own life. \n", " George grows up and dreams of travelling the world. In 1928, he waits for Harry to graduate from high school and replace him at the Bailey Building and Loan Association, vital to the townspeople. On Harry's graduation night, George, now 21 and preparing to travel before attending college, discusses his future with Mary Hatch, who has long had a crush on him. Later that evening, George's absent-minded Uncle Billy interrupts them to tell George that his father has had a stroke, which proves fatal. George grows up and dreams of travelling the world. In 1928, he waits for Harry to graduate from high school high school and replace him at the Bailey Building and Loan Association Building and Loan Association , vital to the townspeople. On Harry's graduation night, George, now 21 and preparing to travel before attending college, discusses his future with Mary Hatch, who has long had a crush crush on him. Later that evening, George's absent-minded absent-minded Uncle Billy interrupts them to tell George that his father has had a stroke stroke , which proves fatal. \n", " George gives up his summer travel plans to stay in Bedford Falls and sort out the firm's affairs, and a few months later, Mr. Henry F. Potter, a rapacious slumlord and a member of the Building and Loan Association board, tries to persuade the board of directors to dissolve the Building and Loan. His main objection is to their providing home loans for the working poor. George talks them into rejecting Potter's proposal, but they agree only on condition that George run the Building and Loan. Giving his college money to Harry, George delays his plans with the understanding that his younger brother, Harry, will take over upon graduation. George gives up his summer travel plans to stay in Bedford Falls and sort out the firm's affairs, and a few months later, Mr. Henry F. Potter Mr. Henry F. Potter , a rapacious slumlord slumlord and a member of the Building and Loan Association board, tries to persuade the board of directors to dissolve the Building and Loan. His main objection is to their providing home loans for the working poor. George talks them into rejecting Potter's proposal, but they agree only on condition that George run the Building and Loan. Giving his college money to Harry, George delays his plans with the understanding that his younger brother, Harry, will take over upon graduation. \n", " When Harry graduates from college, he unexpectedly brings home a wife, whose father has offered Harry an excellent job. Although Harry vows to decline the offer out of respect for his brother, George cannot deny Harry such a fine opportunity and decides to keep running the Building and Loan, knowing that this will kill his dream to travel the world. When Harry graduates from college, he unexpectedly brings home a wife, whose father has offered Harry an excellent job. Although Harry vows to decline the offer out of respect for his brother, George cannot deny Harry such a fine opportunity and decides to keep running the Building and Loan, knowing that this will kill his dream to travel the world. \n", " George calls on Mary, who has recently returned home from college. After several arguments, they reveal their love for each other, and marry soon after. As they depart for their honeymoon, they witness a run on the bank that leaves the Building and Loan in danger of collapse. The couple quell the panic by using the $2,000 set aside for their honeymoon to satisfy the depositors' immediate needs. Mary enlists the help of George's two best friends, Bert, a policeman, and Ernie, a cab driver, to create a faux tropical setting for a substitute honeymoon. The newlywed couple embrace while Bert and Ernie sing in the background. George calls on Mary, who has recently returned home from college. After several arguments, they reveal their love for each other, and marry soon after. As they depart for their honeymoon, they witness a run on the bank run on the bank that leaves the Building and Loan in danger of collapse collapse . The couple quell the panic by using the $2,000 set aside for their honeymoon to satisfy the depositors' immediate needs. Mary enlists the help of George's two best friends, Bert, a policeman, and Ernie, a cab driver, to create a faux tropical setting for a substitute honeymoon. The newlywed couple embrace while Bert and Ernie sing in the background. \n", " George never manages to leave Bedford Falls, but does start Bailey Park, an affordable housing project. With his own interests compromised, Potter tries to hire him away, offering him a $20,000 salary,[N 3] along with the promise of business trips to Europe, something that George always wanted to do. George, initially tempted, turns Potter down after realizing that Potter intends to close down the Building and Loan and take full control of Bedford Falls. He and Mary then raise four children: Pete, Janie, Tommy and Zuzu. George never manages to leave Bedford Falls, but does start Bailey Park, an affordable housing affordable housing project. With his own interests compromised, Potter tries to hire him away, offering him a $20,000 salary, [N 3] [N 3] [ [ N 3 ] ] along with the promise of business trips to Europe, something that George always wanted to do. George, initially tempted, turns Potter down after realizing that Potter intends to close down the Building and Loan and take full control of Bedford Falls. He and Mary then raise four children: Pete, Janie, Tommy and Zuzu. \n", " When World War II erupts, George is unable to enlist, because of his bad ear. Harry becomes a Navy fighter pilot and shoots down 15 enemy planes, two of which were targeting a ship full of troops in the Pacific. For his bravery, Harry is awarded the Medal of Honor. When World War II World War II erupts, George is unable to enlist unable to enlist , because of his bad ear. Harry becomes a Navy Navy fighter pilot and shoots down 15 enemy planes, two of which were targeting a ship full of troops in the Pacific. For his bravery, Harry is awarded the Medal of Honor Medal of Honor . \n", " On Christmas Eve morning, as the town prepares a hero's welcome for Harry, Uncle Billy is on his way to Potter's bank to deposit $8,000 of the Building and Loan's cash funds. He greets Potter (who has the newspaper reporting Harry's heroics) and taunts him by reading the headlines aloud. Potter angrily snatches the paper, but Billy inattentively allows the money to be snatched with it. Potter opens the paper, notices the money and keeps it, knowing that misplacement of bank money would result in bankruptcy for the Building and Loan and criminal charges for George. Uncle Billy can't remember what happened to the money, and with a bank examiner present, he and George frantically search the town which turns up nothing. George is devastated that he is apparently destined to face scandal and jail and takes his anger and frustrations out on his family. On Christmas Eve morning, as the town prepares a hero's welcome for Harry, Uncle Billy is on his way to Potter's bank to deposit $8,000 of the Building and Loan's cash funds. He greets Potter (who has the newspaper reporting Harry's heroics) and taunts him by reading the headlines aloud. Potter angrily snatches the paper, but Billy inattentively allows the money to be snatched with it. Potter opens the paper, notices the money and keeps it, knowing that misplacement of bank money would result in bankruptcy bankruptcy for the Building and Loan and criminal charges for George. Uncle Billy can't remember what happened to the money, and with a bank examiner present, he and George frantically search the town which turns up nothing. George is devastated that he is apparently destined to face scandal and jail and takes his anger and frustrations out on his family. \n", " \n", "\n", "\n", "\n", "George with his guardian angel Clarence (Henry Travers)\n", "\n", " \n", " \n", "\n", "\n", "George with his guardian angel Clarence (Henry Travers)\n", " \n", " \n", "\n", "George with his guardian angel Clarence (Henry Travers) \n", " \n", "George with his guardian angel Clarence ( Henry Travers Henry Travers ) \n", " \n", " \n", " A desperate George appeals to Potter for a loan. Potter sarcastically turns George down, and then swears out a warrant for his arrest for bank fraud. George, now completely depressed, gets drunk at the bar owned by his friend, Giuseppe Martini, where he silently prays for help. After crashing his car into a tree, George staggers to a bridge, intending to commit suicide, feeling he is \"worth more dead than alive\" because of a life insurance policy. Before he can leap, Clarence jumps in first and pretends to be drowning. After George rescues him, Clarence reveals himself to be George's guardian angel. A desperate George appeals to Potter for a loan. Potter sarcastically turns George down, and then swears out a warrant for his arrest for bank fraud bank fraud . George, now completely depressed, gets drunk at the bar owned by his friend, Giuseppe Martini, where he silently prays for help. After crashing his car into a tree, George staggers to a bridge, intending to commit suicide, feeling he is \"worth more dead than alive\" because of a life insurance policy. Before he can leap, Clarence jumps in first and pretends to be drowning. After George rescues him, Clarence reveals himself to be George's guardian angel guardian angel . \n", " George does not believe him and bitterly wishes he had never been born. Inspired by this comment, Clarence shows George what the town would have been like without him. In this alternate scenario, Bedford Falls is instead named Pottersville, and is home to sleazy nightclubs, pawn shops, and immoral people. Bailey Park has never been built, and remains an old cemetery. George notices that he can now hear in his left ear, that his lip is not bleeding, his clothes are dry and that he does not have Zuzu's flower petals, as he never existed in the alternate reality. George does not believe him and bitterly wishes he had never been born. Inspired by this comment, Clarence shows George what the town would have been like without him. In this alternate scenario, Bedford Falls is instead named Pottersville, and is home to sleazy nightclubs nightclubs , pawn shops pawn shops , and immoral people. Bailey Park has never been built, and remains an old cemetery cemetery . George notices that he can now hear in his left ear, that his lip is not bleeding, his clothes are dry and that he does not have Zuzu's flower petals, as he never existed in the alternate reality. \n", " Mr. Gower was sent to prison for poisoning the child and is despised and homeless. Martini does not own the bar. Martini's bartender Nick owns the bar, and runs it in a more reckless manner. George's friend Violet Bick is a taxi-dancer and is being arrested as George passes the location of the Building and Loan, now the location of the dance hall where Violet works. Ernie is helplessly poor, with his family having forsaken him. Uncle Billy has been in an insane asylum for many years since he lost his brother and the family business. Harry is dead as a result of George not being there to save him from drowning, and the servicemen he would have saved also died. George's mother is a bitter widow, and Mary is a shy, single spinster librarian. Clarence then explains how George single-handedly prevented this dire fate. He, and he alone, kept Potter in check, preventing the town from descending into squalor and vice. Mr. Gower was sent to prison for poisoning the child and is despised and homeless. Martini does not own the bar. Martini's bartender Nick owns the bar, and runs it in a more reckless manner. George's friend Violet Bick is a taxi-dancer taxi-dancer and is being arrested as George passes the location of the Building and Loan, now the location of the dance hall where Violet works. Ernie is helplessly poor, with his family having forsaken him. Uncle Billy has been in an insane asylum insane asylum for many years since he lost his brother and the family business. Harry is dead as a result of George not being there to save him from drowning, and the servicemen he would have saved also died. George's mother is a bitter widow, and Mary is a shy, single spinster spinster librarian. Clarence then explains how George single-handedly prevented this dire fate. He, and he alone, kept Potter in check, preventing the town from descending into squalor and vice. \n", " George runs back to the bridge and begs to be allowed to live again. His prayer is answered, and he runs home joyously, where the authorities are waiting to arrest him. Mary, Uncle Billy, and a flood of townspeople arrive with more than enough donations to save George and the Building and Loan. George's friend Sam Wainwright sends him a $25,000 line of credit by telegram. George runs back to the bridge and begs to be allowed to live again. His prayer is answered, and he runs home joyously, where the authorities are waiting to arrest him. Mary, Uncle Billy, and a flood of townspeople arrive with more than enough donations to save George and the Building and Loan. George's friend Sam Wainwright sends him a $25,000 line of credit by telegram telegram . \n", " Harry also arrives to support his brother, and toasts George as \"the richest man in town\". In the pile of donated funds, George finds a copy of The Adventures of Tom Sawyer inscribed, \"Dear George: Remember no man is a failure who has friends. P.S. Thanks for the wings! Love, Clarence.\" A bell on the Christmas tree rings, and his daughter, Zuzu, remembers aloud that it means an angel has just earned his wings. George realizes that he truly has a wonderful life. Harry also arrives to support his brother, and toasts George as \"the richest man in town\". In the pile of donated funds, George finds a copy of The Adventures of Tom Sawyer The Adventures of Tom Sawyer The Adventures of Tom Sawyer inscribed, \"Dear George: Remember no man is a failure who has friends. P.S. Thanks for the wings! Love, Clarence.\" \"Dear George: Remember no man is a failure who has friends. P.S. Thanks for the wings! Love, Clarence.\" A bell on the Christmas tree rings, and his daughter, Zuzu, remembers aloud that it means an angel has just earned his wings. George realizes that he truly has a wonderful life. \n", " \n", "http://en.wikipedia.org/wiki/Some_Like_It_Hot\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " It is February 1929 in the city of Chicago. Joe is a jazz saxophone player, irresponsible gambler and ladies' man; his friend Jerry is a sensible jazz double-bass player. They accidentally witness the Saint Valentine's Day Massacre. When the gangsters, led by \"Spats\" Colombo, spot them, the two run for their lives. It is February 1929 in the city of Chicago Chicago . Joe is a jazz saxophone saxophone player, irresponsible gambler and ladies' man; his friend Jerry is a sensible jazz double-bass double-bass player. They accidentally witness the Saint Valentine's Day Massacre Saint Valentine's Day Massacre . When the gangsters, led by \" Spats Spats \" Colombo, spot them, the two run for their lives. \n", " Penniless and in a mad rush to get out of town, the two musicians take a job with Sweet Sue and her Society Syncopators, an all-female band headed to Miami. Disguised as women and calling themselves Josephine and Daphne, they board a train with the band and their male manager, Bienstock. Before they board the train, Joe and Jerry notice Sugar Kane, the band's vocalist and ukulele player. Penniless and in a mad rush to get out of town, the two musicians take a job with Sweet Sue and her Society Syncopators, an all-female band headed to Miami Miami . Disguised as women and calling themselves Josephine and Daphne, they board a train with the band and their male manager, Bienstock. Before they board the train, Joe and Jerry notice Sugar Kane, the band's vocalist and ukulele ukulele player. \n", " Joe and Jerry become enamored of Sugar and compete for her affection while maintaining their disguises. Sugar confides that she has sworn off male saxophone players, who have stolen her heart in the past and left her with \"the fuzzy end of the lollipop\". She has set her sights on finding a sweet, bespectacled millionaire in Florida. During the forbidden drinking and partying on the train, Josephine and Daphne become intimate friends with Sugar, and have to struggle to remember that they are supposed to be girls and cannot make a pass at her. Joe and Jerry become enamored of Sugar and compete for her affection while maintaining their disguises. Sugar confides that she has sworn off male saxophone players, who have stolen her heart in the past and left her with \"the fuzzy end of the lollipop\". She has set her sights on finding a sweet, bespectacled millionaire in Florida. During the forbidden drinking forbidden drinking and partying on the train, Josephine and Daphne become intimate friends with Sugar, and have to struggle to remember that they are supposed to be girls and cannot make a pass at her. \n", " Once in Miami, Joe woos Sugar by assuming a second disguise as a millionaire named Junior, the heir to Shell Oil, while feigning disinterest in Sugar. An actual millionaire, an aging mama's boy, the much-married Osgood Fielding III, tries repeatedly to pick up Daphne, who rebuffs him. Osgood invites Daphne for a champagne supper on his yacht. Joe convinces Daphne to keep Osgood occupied onshore so that Junior can take Sugar to Osgood's yacht, passing it off as his. Once on the yacht, Junior explains to Sugar that, due to psychological trauma, he is impotent and frigid, but that he would marry anyone who could change that. Sugar tries to arouse some sexual response in Junior, and begins to succeed. Meanwhile, Daphne and Osgood dance the tango till dawn. Once in Miami, Joe woos Sugar by assuming a second disguise as a millionaire named Junior, the heir to Shell Oil Shell Oil , while feigning disinterest in Sugar. An actual millionaire, an aging mama's boy, the much-married Osgood Fielding III, tries repeatedly to pick up Daphne, who rebuffs him. Osgood invites Daphne for a champagne supper on his yacht. Joe convinces Daphne to keep Osgood occupied onshore so that Junior can take Sugar to Osgood's yacht, passing it off as his. Once on the yacht, Junior explains to Sugar that, due to psychological trauma, he is impotent and frigid, but that he would marry anyone who could change that. Sugar tries to arouse some sexual response in Junior, and begins to succeed. Meanwhile, Daphne and Osgood dance the tango tango till dawn. \n", " When Joe and Jerry get back to the hotel, Jerry explains that Osgood has proposed marriage to Daphne and that he, as Daphne, has accepted, anticipating an instant divorce and huge cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot actually marry Osgood. When Joe and Jerry get back to the hotel, Jerry explains that Osgood has proposed marriage to Daphne and that he, as Daphne, has accepted, anticipating an instant divorce and huge cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot actually marry Osgood. \n", " The hotel hosts a conference for \"Friends of Italian Opera\", who are actually mobsters. Spats and his gang from Chicago recognize Joe and Jerry as the witnesses to the Valentine's Day murders. Joe and Jerry, fearing for their lives, realize they must quit the band and leave the hotel. Joe breaks Sugar's heart by telling her that he, Junior, has to marry a woman of his father's choosing and move to Venezuela. The hotel hosts a conference for \"Friends of Italian Opera Italian Opera \", who are actually mobsters. Spats and his gang from Chicago recognize Joe and Jerry as the witnesses to the Valentine's Day murders. Joe and Jerry, fearing for their lives, realize they must quit the band and leave the hotel. Joe breaks Sugar's heart by telling her that he, Junior, has to marry a woman of his father's choosing and move to Venezuela Venezuela . \n", " After several chases, Joe and Jerry witness additional mob killings, this time of Spats and his crew. Joe, dressed as Josephine, sees Sugar onstage singing that she will never love again. He kisses her before he leaves, and Sugar realizes that Joe is both Josephine and Junior. After several chases, Joe and Jerry witness additional mob killings, this time of Spats and his crew. Joe, dressed as Josephine, sees Sugar onstage singing that she will never love again. He kisses her before he leaves, and Sugar realizes that Joe is both Josephine and Junior. \n", " Sugar runs from the stage at the end of her performance and is able to jump into the launch from Osgood's yacht just as it is leaving the dock with Joe, Jerry, and Osgood. Joe tells Sugar that he is not good enough for her, that she would be getting the \"fuzzy end of the lollipop\" yet again, but Sugar wants him anyway. Jerry, for his part, comes up with a list of reasons why he and Osgood cannot get married, ranging from a smoking habit to infertility. Osgood dismisses them all; he loves Daphne and is determined to go through with the marriage. Exasperated, Jerry removes his wig and shouts, \"I'm a man!\" Osgood simply responds, \"Well, nobody's perfect.\" Sugar runs from the stage at the end of her performance and is able to jump into the launch from Osgood's yacht just as it is leaving the dock with Joe, Jerry, and Osgood. Joe tells Sugar that he is not good enough for her, that she would be getting the \"fuzzy end of the lollipop\" yet again, but Sugar wants him anyway. Jerry, for his part, comes up with a list of reasons why he and Osgood cannot get married, ranging from a smoking habit to infertility. Osgood dismisses them all; he loves Daphne and is determined to go through with the marriage. Exasperated, Jerry removes his wig and shouts, \"I'm a man!\" Osgood simply responds, \"Well, nobody's perfect.\" \n", " \n", "http://en.wikipedia.org/wiki/12_Angry_Men_(1957_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_summary" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_synopsis" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Synopsis" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Story" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Story [edit] [ [ edit edit ] ] \n", " The story begins in a New York City courthouse, where an 18-year-old Hispanic boy from a slum is on trial for allegedly stabbing his father to death. Final closing arguments having been presented, a visibly tired judge instructs the jury to decide whether the boy is guilty of murder. The judge further informs them that a guilty verdict will be accompanied by a mandatory death sentence.[7] The story begins in a New York City New York City courthouse, where an 18-year-old Hispanic boy from a slum is on trial for allegedly stabbing his father to death. Final closing arguments having been presented, a visibly tired judge instructs the jury to decide whether the boy is guilty of murder. The judge further informs them that a guilty verdict will be accompanied by a mandatory death sentence. [7] [7] [ [ 7 ] ] \n", " The jury retires to a private room, where the jurors spend a short while getting acquainted before they begin deliberating. It is immediately apparent that the jurors have already decided that the boy is guilty, and that they plan to return their verdict without taking time for discussion\u2014with the sole exception of Juror 8 (Henry Fonda), who is the only \"not guilty\" vote in a preliminary tally. He explains that there is too much at stake for him to go along with the verdict without at least talking about it first. His vote annoys the other jurors, especially Juror 7 (Jack Warden), who has tickets to a baseball game that evening; and Juror 10 (Ed Begley), who believes that most people from slum backgrounds are more likely to commit crimes. The jury retires to a private room, where the jurors spend a short while getting acquainted before they begin deliberating. It is immediately apparent that the jurors have already decided that the boy is guilty, and that they plan to return their verdict without taking time for discussion\u2014with the sole exception of Juror 8 ( Henry Fonda Henry Fonda ), who is the only \"not guilty\" vote in a preliminary tally. He explains that there is too much at stake for him to go along with the verdict without at least talking about it first. His vote annoys the other jurors, especially Juror 7 ( Jack Warden Jack Warden ), who has tickets to a baseball game that evening; and Juror 10 ( Ed Begley Ed Begley ), who believes that most people from slum backgrounds are more likely to commit crimes. \n", " The rest of the film's focus is the jury's difficulty in reaching a unanimous verdict. While several of the jurors harbor personal prejudices, Juror 8 maintains that the evidence presented in the case is circumstantial, and that the boy deserves a fair deliberation. He calls into question the accuracy and reliability of the only two witnesses to the murder, the \"rarity\" of the murder weapon (a common switchblade, of which he has an identical copy), and the overall questionable circumstances. He further argues that he cannot in good conscience vote \"guilty\" when he feels there is reasonable doubt of the boy's guilt. The rest of the film's focus is the jury's difficulty in reaching a unanimous verdict. While several of the jurors harbor personal prejudices, Juror 8 maintains that the evidence presented in the case is circumstantial, and that the boy deserves a fair deliberation. He calls into question the accuracy and reliability of the only two witnesses to the murder, the \"rarity\" of the murder weapon (a common switchblade switchblade , of which he has an identical copy), and the overall questionable circumstances. He further argues that he cannot in good conscience vote \"guilty\" when he feels there is reasonable doubt reasonable doubt of the boy's guilt. \n", " Having argued several points and gotten no favorable response from the others, Juror 8 reluctantly agrees that he has only succeeded in hanging the jury. Instead, he requests another vote, this time by secret ballot. He proposes that he will abstain from voting, and if the other 11 jurors are still unanimous in a guilty vote, then he will acquiesce to their decision. The secret ballot is held, and a new \"not guilty\" vote appears. This earns intense criticism from Juror 3 (Lee J. Cobb), who blatantly accuses Juror 5 (Jack Klugman) \u2013 who had grown up in a slum \u2013 of switching out of sympathy toward slum children. However, Juror 9 (Joseph Sweeney) reveals that he himself changed his vote, feeling that Juror 8's points deserve further discussion. Having argued several points and gotten no favorable response from the others, Juror 8 reluctantly agrees that he has only succeeded in hanging the jury hanging the jury . Instead, he requests another vote, this time by secret ballot. He proposes that he will abstain from voting, and if the other 11 jurors are still unanimous in a guilty vote, then he will acquiesce to their decision. The secret ballot is held, and a new \"not guilty\" vote appears. This earns intense criticism from Juror 3 ( Lee J. Cobb Lee J. Cobb ), who blatantly accuses Juror 5 ( Jack Klugman Jack Klugman ) \u2013 who had grown up in a slum \u2013 of switching out of sympathy toward slum children. However, Juror 9 ( Joseph Sweeney Joseph Sweeney ) reveals that he himself changed his vote, feeling that Juror 8's points deserve further discussion. \n", " Juror 8 presents a convincing argument that one of the witnesses, an elderly man, who claimed to have heard the boy yell \"I'm going to kill you\" shortly before the murder took place, could not have heard the voices as clearly as he had testified due to an elevated train passing by at the time; as well as stating that \"I'm going to kill you,\" is often said by people who do not literally mean it. Juror 5 changes his vote to \"not guilty\". Soon afterward, Juror 11 (George Voskovec) questions whether the defendant would have reasonably fled the scene before cleaning the knife of fingerprints, then come back three hours later to retrieve the knife (which had been left in his father's chest); then changes his vote. Juror 8 presents a convincing argument that one of the witnesses, an elderly man, who claimed to have heard the boy yell \"I'm going to kill you\" shortly before the murder took place, could not have heard the voices as clearly as he had testified due to an elevated train passing by at the time; as well as stating that \"I'm going to kill you,\" is often said by people who do not literally mean it. Juror 5 changes his vote to \"not guilty\". Soon afterward, Juror 11 ( George Voskovec George Voskovec ) questions whether the defendant would have reasonably fled the scene before cleaning the knife of fingerprints, then come back three hours later to retrieve the knife (which had been left in his father's chest); then changes his vote. \n", " Juror 8 then mentions the man's second claim: upon hearing the father's body hit the floor, he had gone to the door of his apartment and seen the defendant running out of the building from his front door in 15 seconds. Jurors 5, 6 and 8 question whether this is true, as the witness in question had had a stroke, limiting his ability to walk. Upon the end of an experiment, the jury finds that the witness would not have made it to the door in enough time to actually see the killer running out. Juror 8 concludes that, judging from what he claims to have heard earlier, the witness must have merely assumed it was the defendant running. Juror 3, growing more irritated throughout the process, explodes in a rant: \"He's got to burn! He's slipping through our fingers!\" Juror 8 takes him to task, calling him a \"self-appointed public avenger\" and a sadist, saying he wants the defendant to die purely for personal reasons, not the facts. Juror 3 shouts \"I'll kill him!\" and starts lunging at Juror 8, but is restrained by two others. Juror 8 calmly retorts, \"You don't really mean you'll kill me, do you?\", proving his previous point.[6] Juror 8 then mentions the man's second claim: upon hearing the father's body hit the floor, he had gone to the door of his apartment and seen the defendant running out of the building from his front door in 15 seconds. Jurors 5, 6 and 8 question whether this is true, as the witness in question had had a stroke stroke , limiting his ability to walk. Upon the end of an experiment, the jury finds that the witness would not have made it to the door in enough time to actually see the killer running out. Juror 8 concludes that, judging from what he claims to have heard earlier, the witness must have merely assumed it was the defendant running. Juror 3, growing more irritated throughout the process, explodes in a rant: \"He's got got to burn! He's slipping through our fingers!\" Juror 8 takes him to task, calling him a \"self-appointed public avenger\" and a sadist sadist , saying he wants the defendant to die purely for personal reasons, not the facts. Juror 3 shouts \"I'll kill him!\" and starts lunging at Juror 8, but is restrained by two others. Juror 8 calmly retorts, \"You don't really mean you'll kill me, do you?\", proving his previous point. [6] [6] [ [ 6 ] ] \n", " Jurors 2 (John Fiedler) and 6 (Edward Binns) also decide to vote \"not guilty\", tying the vote at 6\u20136. Soon after, a rainstorm hits the city, threatening to cancel the baseball game Juror 7 has tickets to. Jurors 2 ( John Fiedler John Fiedler ) and 6 ( Edward Binns Edward Binns ) also decide to vote \"not guilty\", tying the vote at 6\u20136. Soon after, a rainstorm hits the city, threatening to cancel the baseball game Juror 7 has tickets to. \n", " Juror 4 (E. G. Marshall) states that he doesn't believe the boy's alibi, which was being at the movies with a few friends at the time of the murder, because the boy could not remember what movie he had seen three hours later. Juror 8 explains that being under emotional stress can make you forget certain things, and tests how well Juror 4 can remember the events of previous days. Juror 4 remembers, with some difficulty, the events of the previous five days, and Juror 8 points out that he had not been under emotional stress at that time, thus there was no reason to think the boy could remember the movie that he had seen.[8] Juror 4 ( E. G. Marshall E. G. Marshall ) states that he doesn't believe the boy's alibi, which was being at the movies with a few friends at the time of the murder, because the boy could not remember what movie he had seen three hours later. Juror 8 explains that being under emotional stress can make you forget certain things, and tests how well Juror 4 can remember the events of previous days. Juror 4 remembers, with some difficulty, the events of the previous five days, and Juror 8 points out that he had not been under emotional stress at that time, thus there was no reason to think the boy could remember the movie that he had seen. [8] [8] [ [ 8 ] ] \n", " Juror 2 calls into question the prosecution's claim that the accused, nearly a foot shorter than the victim, was able to inflict the downward stab wound found on the body. Jurors 3 and 8 conduct an experiment to see if it's possible for a shorter person to stab downward into a taller person. The experiment proves the possibility, but Juror 5 then explains that he had grown up amidst knife fights in his neighborhood, and shows, through demonstrating the correct use of a switchblade, that no one so much shorter than his opponent would have held a switchblade in such a way as to stab downward, as the grip would have been too awkward and the act of changing hands too time-consuming. Rather, someone that much shorter than his opponent would stab underhanded at an upwards angle. This revelation augments the certainty of several of the jurors in their belief that the defendant is not guilty. Juror 2 calls into question the prosecution's claim that the accused, nearly a foot shorter than the victim, was able to inflict the downward stab wound found on the body. Jurors 3 and 8 conduct an experiment to see if it's possible for a shorter person to stab downward into a taller person. The experiment proves the possibility, but Juror 5 then explains that he had grown up amidst knife fights in his neighborhood, and shows, through demonstrating the correct use of a switchblade, that no one so much shorter than his opponent would have held a switchblade in such a way as to stab downward, as the grip would have been too awkward and the act of changing hands too time-consuming. Rather, someone that much shorter than his opponent would stab underhanded at an upwards angle. This revelation augments the certainty of several of the jurors in their belief that the defendant is not guilty. \n", " Increasingly impatient, Juror 7 changes his vote just so that the deliberation may end, which earns him the ire of Jurors 3 and 11, both on opposite sides of the discussion. Juror 11, an immigrant who has repeatedly displayed strong patriotic pride, presses Juror 7 hard about using his vote frivolously, and eventually Juror 7 claims that he now truly believes the defendant is not guilty.[9] Increasingly impatient, Juror 7 changes his vote just so that the deliberation may end, which earns him the ire of Jurors 3 and 11, both on opposite sides of the discussion. Juror 11, an immigrant who has repeatedly displayed strong patriotic pride, presses Juror 7 hard about using his vote frivolously, and eventually Juror 7 claims that he now truly believes the defendant is not guilty. [9] [9] [ [ 9 ] ] \n", " The next jurors to change their votes are Jurors 12 (Robert Webber) and 1 (Martin Balsam), making the vote 9\u20133 and leaving only three dissenters: Jurors 3, 4 and 10. Outraged at how the proceedings have gone, Juror 10 goes into a rage on why people from the slums cannot be trusted, of how they are little better than animals who gleefully kill each other off for fun. His speech offends Juror 5, who turns his back to him, and one by one the rest of the jurors start turning away from him. Confused and disturbed by this reaction to his diatribe, Juror 10 continues in a steadily fading voice and manner, slowing to a stop with \"Listen to me. Listen...\" Juror 4, the only man still facing him, tersely responds, \"I have. Now sit down and don't open your mouth again.\" As Juror 10 moves to sit in a corner by himself, Juror 8 speaks quietly about the evils of prejudice, and the other jurors slowly resume their seats. The next jurors to change their votes are Jurors 12 ( Robert Webber Robert Webber ) and 1 ( Martin Balsam Martin Balsam ), making the vote 9\u20133 and leaving only three dissenters: Jurors 3, 4 and 10. Outraged at how the proceedings have gone, Juror 10 goes into a rage on why people from the slums cannot be trusted, of how they are little better than animals who gleefully kill each other off for fun. His speech offends Juror 5, who turns his back to him, and one by one the rest of the jurors start turning away from him. Confused and disturbed by this reaction to his diatribe, Juror 10 continues in a steadily fading voice and manner, slowing to a stop with \"Listen to me. Listen...\" Juror 4, the only man still facing him, tersely responds, \"I have. Now sit down and don't open your mouth again.\" As Juror 10 moves to sit in a corner by himself, Juror 8 speaks quietly about the evils of prejudice, and the other jurors slowly resume their seats. \n", " When those remaining in favor of a guilty vote are pressed as to why they still maintain that there is no reasonable doubt, Juror 4 states his belief that despite all the other evidence that has been called into question, the fact remains that the woman who saw the murder from her bedroom window across the street (through the passing train) still stands as solid evidence. After he points this out, Juror 12 changes his vote back to \"guilty\", making the vote 8\u20134. When those remaining in favor of a guilty vote are pressed as to why they still maintain that there is no reasonable doubt, Juror 4 states his belief that despite all the other evidence that has been called into question, the fact remains that the woman who saw the murder from her bedroom window across the street (through the passing train) still stands as solid evidence. After he points this out, Juror 12 changes his vote back to \"guilty\", making the vote 8\u20134. \n", " Then Juror 9, after seeing Juror 4 rub his nose (which is being irritated by his glasses), realizes that, like Juror 4, the woman who allegedly saw the murder had impressions in the sides of her nose which she rubbed, indicating that she wore glasses, but did not wear them to court out of vanity. Juror 8 cannily asks Juror 4 if he wears his eyeglasses to sleep, and Juror 4 admits he doesn't \u2013 nobody does.[10] Juror 8 explains that there was thus no logical reason to expect that the witness happened to be wearing her glasses while trying to sleep, and he points out that the attack happened so swiftly that she would not have had time to put them on. After he points this out, Jurors 12, 10 and 4 all change their vote to \"not guilty\". Then Juror 9, after seeing Juror 4 rub his nose (which is being irritated by his glasses), realizes that, like Juror 4, the woman who allegedly saw the murder had impressions in the sides of her nose which she rubbed, indicating that she wore glasses, but did not wear them to court out of vanity. Juror 8 cannily asks Juror 4 if he wears his eyeglasses to sleep, and Juror 4 admits he doesn't \u2013 nobody does. [10] [10] [ [ 10 ] ] Juror 8 explains that there was thus no logical reason to expect that the witness happened to be wearing her glasses while trying to sleep, and he points out that the attack happened so swiftly that she would not have had time to put them on. After he points this out, Jurors 12, 10 and 4 all change their vote to \"not guilty\". \n", " At this point, the only remaining juror with a guilty vote is Juror 3. Juror 3 gives a long and increasingly tortured string of arguments, ending with, \"Rotten kids, you work your life out\u2014!\" This builds on a more emotionally ambivalent earlier revelation that his relationship with his own son is deeply strained, and his anger over this fact is the main reason that he wants the defendant to be guilty. Juror 3 finally loses his temper and tears up a photo of himself and his son, then suddenly breaks down crying and changes his vote to \"not guilty\", making the vote unanimous. At this point, the only remaining juror with a guilty vote is Juror 3. Juror 3 gives a long and increasingly tortured string of arguments, ending with, \"Rotten kids, you work work your life life out\u2014!\" This builds on a more emotionally ambivalent earlier revelation that his relationship with his own son is deeply strained, and his anger over this fact is the main reason that he wants the defendant to be guilty. Juror 3 finally loses his temper and tears up a photo of himself and his son, then suddenly breaks down crying and changes his vote to \"not guilty\", making the vote unanimous. \n", " As the jurors leave the room, Juror 8 helps the distraught Juror 3 with his coat in a show of compassion. The film ends when the friendly Jurors 8 (Davis) and 9 (McCardle) exchange names, and all of the jurors descend the courthouse steps to return to their individual lives.[11] As the jurors leave the room, Juror 8 helps the distraught Juror 3 with his coat in a show of compassion. The film ends when the friendly Jurors 8 (Davis) and 9 (McCardle) exchange names, and all of the jurors descend the courthouse steps to return to their individual lives. [11] [11] [ [ 11 ] ] \n", " \n", "http://en.wikipedia.org/wiki/Dr._Strangelove\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " United States Air Force Brigadier General Jack D. Ripper (Sterling Hayden) is commander of Burpelson Air Force Base, which houses the SAC 843rd Bomb Wing equipped with B-52 bombers. The 843rd is currently on airborne alert, in flight just hours from the Soviet border. United States Air Force United States Air Force Brigadier General Brigadier General Jack D. Ripper (Sterling Hayden) is commander of Burpelson Air Force Base, which houses the SAC SAC 843rd Bomb Wing equipped with B-52 B-52 bombers. The 843rd is currently on airborne alert, in flight just hours from the Soviet border. \n", " \n", "\n", "\n", "\n", "General Ripper explains to Group Captain Mandrake how he first discovered the Communist plot to pollute Americans' \"precious bodily fluids.\"\n", "\n", " \n", " \n", "\n", "\n", "General Ripper explains to Group Captain Mandrake how he first discovered the Communist plot to pollute Americans' \"precious bodily fluids.\"\n", " \n", " \n", "\n", "General Ripper explains to Group Captain Mandrake how he first discovered the Communist plot to pollute Americans' \"precious bodily fluids.\" \n", " \n", "General Ripper explains to Group Captain Mandrake how he first discovered the Communist plot to pollute Americans' \"precious bodily fluids.\" \n", " \n", " \n", " General Ripper orders his executive officer, Group Captain Lionel Mandrake of the UK Royal Air Force, to put the base on alert. Ripper also issues 'Wing Attack Plan R' to the patrolling aircraft, one of which is commanded by Major T. J. \"King\" Kong (Slim Pickens). All of the aircraft commence an attack flight on Russia, and set their radios to allow communications only through the CRM 114 discriminator, which is programmed to transmit only communications preceded by a secret three-letter code known only to General Ripper. General Ripper orders his executive officer executive officer , Group Captain Group Captain Lionel Mandrake of the UK Royal Air Force Royal Air Force , to put the base on alert. Ripper also issues 'Wing Attack Plan R' to the patrolling aircraft, one of which is commanded by Major T. J. \"King\" Kong (Slim Pickens). All of the aircraft commence an attack flight on Russia, and set their radios to allow communications only through the CRM 114 CRM 114 discriminator, which is programmed to transmit only communications preceded by a secret three-letter code known only to General Ripper. \n", " Mandrake discovers that no order for war has been issued by the Pentagon, and tries to stop Ripper, who locks them both in his office. Ripper tells Mandrake that he believes the Soviets have been using fluoridation of United States' water supplies to pollute the \"precious bodily fluids\" of Americans. Mandrake realizes that General Ripper is insane. Mandrake discovers that no order for war has been issued by the Pentagon, and tries to stop Ripper, who locks them both in his office. Ripper tells Mandrake that he believes the Soviets have been using fluoridation fluoridation of United States' water supplies to pollute the \"precious bodily fluids\" of Americans. to pollute the \"precious bodily fluids\" of Americans. Mandrake realizes that General Ripper is insane. \n", " At the Pentagon, General Buck Turgidson briefs President Merkin Muffley and other officers and aides about the attack in the \"War Room\". President Muffley is shocked to learn that such orders could be given without his authorization, but Turgidson reminds him that Plan R \u2013 enabling a senior officer to launch a strike against the Soviets if all superiors have been killed in a first strike on Washington D.C. \u2013 allows such an action. Turgidson reports that his men are trying every possible three-letter CRM code to issue the stand-down order; but that this could take over two days, and the planes are due to reach their targets in about an hour. Muffley orders the Army chief to storm the base and arrest General Ripper. At the Pentagon, General Buck Turgidson briefs President Merkin Muffley and other officers and aides about the attack in the \" War Room War Room \". President Muffley is shocked to learn that such orders could be given without his authorization, but Turgidson reminds him that Plan R \u2013 enabling a senior officer to launch a strike against the Soviets if all superiors have been killed in a first strike on Washington D.C. \u2013 allows such an action. Turgidson reports that his men are trying every possible three-letter CRM code to issue the stand-down order; but that this could take over two days, and the planes are due to reach their targets in about an hour. Muffley orders the Army chief to storm the base and arrest General Ripper. \n", " Turgidson attempts to convince Muffley to let the attack continue, and to use the element of surprise to annihilate the Soviet military altogether before they can strike back; but Muffley refuses to be party to a nuclear first strike. Instead, he brings Soviet ambassador Alexei de Sadeski (Peter Bull) into the War Room, to telephone Soviet premier Dimitri Kissov on the \"Hot Line\". Muffley warns the Premier of the impending attack, and offers to reveal the planes' positions and targets so that the Russians can protect themselves. Turgidson attempts to convince Muffley to let the attack continue, and to use the element of surprise to annihilate the Soviet military altogether before they can strike back; but Muffley refuses to be party to a nuclear first strike first strike . Instead, he brings Soviet ambassador Alexei de Sadeski ( Peter Bull Peter Bull ) into the War Room, to telephone Soviet premier Soviet premier Dimitri Kissov on the \" Hot Line Hot Line \". Muffley warns the Premier of the impending attack, and offers to reveal the planes' positions and targets so that the Russians can protect themselves. \n", " After a heated discussion in Russian with the Premier, the ambassador informs President Muffley that the Soviet Union has created a doomsday device, which consists of many buried bombs jacketed with \"Cobalt Thorium G\" connected to a computer network set to detonate them automatically, should any nuclear attack strike their country. Within two months after detonation, the Cobalt Thorium G would encircle the earth in a radioactive cloud, wiping out all human and animal life and rendering the surface of the earth uninhabitable for 93 years. When the President's wheelchair-bound scientific advisor, former Nazi Dr. Strangelove, points out that such a doomsday device would only be an effective deterrent if everyone knew about it, de Sadeski replies that the Russian Premier had planned to reveal its existence to the world the following week. After a heated discussion in Russian with the Premier, the ambassador informs President Muffley that the Soviet Union has created a doomsday device doomsday device , which consists of many buried bombs jacketed with \"Cobalt Thorium G\" bombs jacketed with \"Cobalt Thorium G\" connected to a computer network set to detonate them automatically, should any nuclear attack strike their country. Within two months after detonation, the Cobalt Thorium G would encircle the earth in a radioactive cloud, wiping out all human and animal life and rendering the surface of the earth uninhabitable for 93 years. When the President's wheelchair-bound scientific advisor, former Nazi Nazi Dr. Strangelove, points out that such a doomsday device would only be an effective deterrent if everyone knew about it, de Sadeski replies that the Russian Premier had planned to reveal its existence to the world the following week. \n", " \n", "\n", "\n", "\n", "Aircraft commander Major T. J. \"King\" Kong riding the bomb.\n", "\n", " \n", " \n", "\n", "\n", "Aircraft commander Major T. J. \"King\" Kong riding the bomb.\n", " \n", " \n", "\n", "Aircraft commander Major T. J. \"King\" Kong riding the bomb. \n", " \n", "Aircraft commander Major T. J. \"King\" Kong riding the bomb. \n", " \n", " \n", " Meanwhile, United States Army forces arrive at Burpelson, which is still sealed by General Ripper's order. A bloody battle ensues, and the Army forces eventually take over the base. Ripper kills himself, fearing he will be tortured into revealing the recall code. A US soldier named Colonel \"Bat\" Guano forces his way into Ripper's office, where Mandrake identifies Ripper's CRM code from his desk blotter (\"OPE,\" a variant of both \"Peace on Earth\" and \"Purity of Essence\"). Mandrake relays this code to the Pentagon with difficulty via payphone, the only working method of communication. Using the recall code, SAC successfully recalls most of the aircraft. However, President Muffley learns that a surface to air missile has ruptured the fuel tank of Major Kong's plane and destroyed its communications device, making it impossible to recall this particular plane, even with the correct recall code. President Muffley tells the Soviets the plane's target to help them find it; but he does not realize that because of the shortened range of the crippled aircraft, Major Kong has selected a closer target. When the plane approaches the new target, its damaged bomb doors fail to open at first. Major Kong adjusts the wiring, whereupon the doors open and the nuclear bomb falls, with Kong straddling it, and detonates, triggering the doomsday machine. Meanwhile, United States Army United States Army forces arrive at Burpelson, which is still sealed by General Ripper's order. A bloody battle ensues, and the Army forces eventually take over the base. Ripper kills himself, fearing he will be tortured into revealing the recall code. A US soldier named Colonel \"Bat\" Guano forces his way into Ripper's office, where Mandrake identifies Ripper's CRM code from his desk blotter (\"OPE,\" a variant of both \"Peace on Earth\" and \"Purity of Essence\"). Mandrake relays this code to the Pentagon with difficulty via payphone, the only working method of communication. Using the recall code, SAC successfully recalls most of the aircraft. However, President Muffley learns that a surface to air missile surface to air missile has ruptured the fuel tank of Major Kong's plane and destroyed its communications device, making it impossible to recall this particular plane, even with the correct recall code. President Muffley tells the Soviets the plane's target to help them find it; but he does not realize that because of the shortened range of the crippled aircraft, Major Kong has selected a closer target. When the plane approaches the new target, its damaged bomb doors fail to open at first. Major Kong adjusts the wiring, whereupon the doors open and the nuclear bomb falls, with Kong straddling it, and detonates, triggering the doomsday machine. \n", " Dr. Strangelove recommends that the President gather several hundred thousand people, with a high female-to-male ratio (10 to 1), to live in deep mineshafts where the radiation would not penetrate, and to then institute a breeding program to repopulate the Earth when the radiation has subsided. Turgidson warns that the Soviets will likely do the same, and worries about a \"mineshaft gap\". In the middle of this discussion, Dr. Strangelove miraculously rises from his wheelchair, takes a few small steps, and shouts, \"Mein F\u00fchrer! I can walk!\". The film then cuts to a montage of nuclear detonations, accompanied by Vera Lynn's recording of \"We'll Meet Again\". Dr. Strangelove recommends that the President gather several hundred thousand people, with a high female-to-male ratio (10 to 1), to live in deep mineshafts where the radiation would not penetrate, and to then institute a breeding program to repopulate the Earth when the radiation has subsided. Turgidson warns that the Soviets will likely do the same, and worries about a \"mineshaft gap\". In the middle of this discussion, Dr. Strangelove miraculously rises from his wheelchair, takes a few small steps, and shouts, \"Mein F\u00fchrer! I can walk!\". The film then cuts to a montage of nuclear detonations, accompanied by Vera Lynn Vera Lynn 's recording of \" We'll Meet Again We'll Meet Again \". \n", " \n", "http://en.wikipedia.org/wiki/Amadeus_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The story begins in 1823 as the elderly Antonio Salieri (F. Murray Abraham) attempts suicide by slitting his throat while loudly begging forgiveness for having killed Mozart (Tom Hulce) in 1791. Placed in a lunatic asylum for the act, Salieri is visited by Father Vogler (Richard Frank), a young priest who seeks to take his confession. Salieri is sullen and uninterested but eventually warms to the priest and launches into a long \"confession\" about his relationship with Mozart. The story begins in 1823 as the elderly Antonio Salieri Antonio Salieri ( F. Murray Abraham F. Murray Abraham ) attempts suicide by slitting his throat while loudly begging forgiveness for having killed Mozart Mozart ( Tom Hulce Tom Hulce ) in 1791. Placed in a lunatic asylum lunatic asylum for the act, Salieri is visited by Father Vogler ( Richard Frank Richard Frank ), a young priest who seeks to take his confession confession . Salieri is sullen and uninterested but eventually warms to the priest and launches into a long \"confession\" about his relationship with Mozart. \n", " Salieri's tale goes on through the night and into the next day. He reminisces about his youth, particularly about his devotion to God and his love for music and how he pledges to God to remain celibate as a sacrifice if he can somehow devote his life to music. He describes how his father's plans for him were to go into commerce, but suggests that the sudden death of his father, who choked to death during a meal, was \"a miracle\" that allowed him to pursue a career in music. In his narrative, he is suddenly an adult joining the 18th-century cultural elite in Vienna, the \"city of musicians\". Salieri begins his career as a devout, God-fearing man who believes his success and talent as a composer are God\u2019s rewards for his piety. He is content as the respected, financially well-off, court composer for Holy Roman Emperor Joseph II (Jeffrey Jones). Salieri's tale goes on through the night and into the next day. He reminisces about his youth, particularly about his devotion to God and his love for music and how he pledges to God to remain celibate as a sacrifice if he can somehow devote his life to music. He describes how his father's plans for him were to go into commerce, but suggests that the sudden death of his father, who choked to death during a meal, was \"a miracle\" that allowed him to pursue a career in music. In his narrative, he is suddenly an adult joining the 18th-century cultural elite in Vienna Vienna , the \"city of musicians\". Salieri begins his career as a devout, God-fearing man who believes his success and talent as a composer are God\u2019s rewards for his piety. He is content as the respected, financially well-off, court composer for Holy Roman Emperor Holy Roman Emperor Joseph II Joseph II ( Jeffrey Jones Jeffrey Jones ). \n", " Mozart arrives in Vienna with his patron, Count Hieronymus von Colloredo (Nicholas Kepros), the Prince-Archbishop of Salzburg. Salieri goes to a performance at the Archbishop's palace hoping to meet Mozart. He is convinced that Mozart's genius must be a gift from God. Salieri secretly observes Mozart at the Archbishop's palace, but they are not properly introduced. He is shocked to discover that rather than the paragon of virtue that he has imagined, Mozart is in fact boorish, irreverent, and lewd. In 1781, when Mozart meets the Emperor, Salieri presents Mozart with a \"March of Welcome,\" which he toiled to create. After hearing the march only once, Mozart plays it from memory, tactlessly critiques it, and effortlessly improvises a variation, transforming Salieri's \"trifle\" into the Non pi\u00f9 andrai march from his 1786 opera The Marriage of Figaro. Mozart arrives in Vienna with his patron, Count Hieronymus von Colloredo Count Hieronymus von Colloredo (Nicholas Kepros), the Prince-Archbishop of Salzburg Prince-Archbishop of Salzburg . Salieri goes to a performance at the Archbishop's palace hoping to meet Mozart. He is convinced that Mozart's genius must be a gift from God. Salieri secretly observes Mozart at the Archbishop's palace, but they are not properly introduced. He is shocked to discover that rather than the paragon of virtue that he has imagined, Mozart is in fact boorish, irreverent, and lewd. In 1781, when Mozart meets the Emperor, Salieri presents Mozart with a \"March of Welcome,\" which he toiled to create. After hearing the march only once, Mozart plays it from memory, tactlessly critiques it, and effortlessly improvises a variation, transforming Salieri's \"trifle\" into the Non pi\u00f9 andrai Non pi\u00f9 andrai Non pi\u00f9 andrai march from his 1786 opera The Marriage of Figaro The Marriage of Figaro The Marriage of Figaro . \n", " Salieri reels at the notion of God speaking through the childish, petulant Mozart: nevertheless, he regards his music as miraculous. Gradually, Salieri\u2019s faith is shaken. He believes that God, through Mozart's genius, is cruelly laughing at Salieri's own musical mediocrity. Salieri's struggles with God are intercut with scenes showing Mozart's own trials and tribulations with life in Vienna: pride at the initial reception of his music, anger and disbelief over his subsequent snubbing by the Italians of the Emperor's court, happiness with his wife Constanze (Elizabeth Berridge) and his son Karl, and grief at the death of his father Leopold (Roy Dotrice). Mozart becomes more desperate as the family's expenses increase and his commissions decrease. When Salieri learns of Mozart's financial straits, he sees his chance to avenge himself, using \"God's Beloved\" (the literal meaning of \"Amadeus\") as the instrument. Salieri reels at the notion of God speaking through the childish, petulant Mozart: nevertheless, he regards his music as miraculous. Gradually, Salieri\u2019s faith is shaken. He believes that God, through Mozart's genius, is cruelly laughing at Salieri's own musical mediocrity. Salieri's struggles with God are intercut with scenes showing Mozart's own trials and tribulations with life in Vienna: pride at the initial reception of his music, anger and disbelief over his subsequent snubbing by the Italians of the Emperor's court, happiness with his wife Constanze Constanze ( Elizabeth Berridge Elizabeth Berridge ) and his son Karl Karl , and grief at the death of his father Leopold Leopold ( Roy Dotrice Roy Dotrice ). Mozart becomes more desperate as the family's expenses increase and his commissions decrease. When Salieri learns of Mozart's financial straits, he sees his chance to avenge himself, using \"God's Beloved\" (the literal meaning of \"Amadeus\") as the instrument. \n", " Salieri hatches a complex plot to gain ultimate victory over Mozart and God. He disguises himself in a mask and costume similar to one he saw Leopold wear at a party, and commissions Mozart to write a requiem mass, giving him a down payment and the promise of an enormous sum upon completion. Mozart begins to write the piece, the Requiem Mass in D minor, unaware of the true identity of his mysterious patron and oblivious of his murderous intentions. Glossing over any details of how he might commit the murder, Salieri dwells on the anticipation of the admiration of his peers and the court, when they applaud the magnificent Requiem, and he claims to be the music's composer. Only Salieri and God would know the truth\u2014that Mozart wrote his own requiem mass, and that God could only watch while Salieri finally receives the fame and renown that he deserves. Salieri hatches a complex plot to gain ultimate victory over Mozart and God. He disguises himself in a mask and costume similar to one he saw Leopold wear at a party, and commissions Mozart to write a requiem mass requiem mass , giving him a down payment and the promise of an enormous sum upon completion. Mozart begins to write the piece, the Requiem Mass in D minor Requiem Mass in D minor , unaware of the true identity of his mysterious patron and oblivious of his murderous intentions. Glossing over any details of how he might commit the murder, Salieri dwells on the anticipation of the admiration of his peers and the court, when they applaud the magnificent Requiem, and he claims to be the music's composer. Only Salieri and God would know the truth\u2014that Mozart wrote his own requiem mass, and that God could only watch while Salieri finally receives the fame and renown that he deserves. \n", " Mozart's financial situation worsens due to his spendthrift lifestyle. This, combined with his heavy drinking, continued grief over the death of his father, and the composing demands of the Requiem and The Magic Flute drive him to the point of exhaustion as he alternates work between the two pieces. After a violent argument, Constanze leaves him and takes their son with her. His health worsens, and he collapses during the premiere performance of The Magic Flute. Salieri takes the stricken Mozart home and convinces him to work on the Requiem. Mozart dictates while Salieri transcribes throughout the night. When Constanze returns in the morning, she tells Salieri to leave. Constanze locks the manuscript away despite Salieri's objections, but as she goes to wake her husband, she finds that Mozart is dead. The Requiem is left unfinished, and Salieri is left powerless as Mozart's body is hauled out of Vienna for burial in a pauper's mass grave. Mozart's financial situation worsens due to his spendthrift lifestyle. This, combined with his heavy drinking, continued grief over the death of his father, and the composing demands of the Requiem and The Magic Flute The Magic Flute The Magic Flute drive him to the point of exhaustion as he alternates work between the two pieces. After a violent argument, Constanze leaves him and takes their son with her. His health worsens, and he collapses during the premiere performance of The Magic Flute The Magic Flute . Salieri takes the stricken Mozart home and convinces him to work on the Requiem. Mozart dictates while Salieri transcribes throughout the night. When Constanze returns in the morning, she tells Salieri to leave. Constanze locks the manuscript away despite Salieri's objections, but as she goes to wake her husband, she finds that Mozart is dead. The Requiem is left unfinished, and Salieri is left powerless as Mozart's body is hauled out of Vienna for burial in a pauper's mass grave mass grave . \n", " The film ends as Salieri finishes recounting his story to the visibly shaken young priest. Salieri concludes that God killed Mozart rather than allow Salieri to share in even an ounce of his glory, and that he is consigned to be the \"patron saint of mediocrity\". Salieri absolves the priest of his own mediocrity and blesses his fellow patients as he is taken away in his wheelchair. The last sound heard before the credits roll is Mozart's high-pitched laughter. The film ends as Salieri finishes recounting his story to the visibly shaken young priest. Salieri concludes that God killed Mozart rather than allow Salieri to share in even an ounce of his glory, and that he is consigned to be the \" patron saint patron saint of mediocrity\". Salieri absolves absolves the priest of his own mediocrity and blesses his fellow patients as he is taken away in his wheelchair. The last sound heard before the credits roll is Mozart's high-pitched laughter. \n", " \n", "http://en.wikipedia.org/wiki/Apocalypse_Now\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1969, U.S. Army Captain and special operations veteran Benjamin L. Willard (Martin Sheen), returns to Saigon since his involvement in the Vietnam War, drinks heavily and hallucinates alone in his room. One day military intelligence officers Lt. General Corman (G. D. Spradlin) and Colonel Lucas (Harrison Ford) approach him with a top-secret assignment to follow the Nung River into the remote jungle, find rogue Special Forces Colonel Walter E. Kurtz and kill him. Kurtz apparently went insane and now commands his own Montagnard troops inside neutral Cambodia. In 1969, U.S. Army Captain and special operations special operations veteran Benjamin L. Willard Benjamin L. Willard ( Martin Sheen Martin Sheen ), returns to Saigon Saigon since his involvement in the Vietnam War Vietnam War , drinks heavily and hallucinates alone in his room. One day military intelligence military intelligence officers Lt. General Corman ( G. D. Spradlin G. D. Spradlin ) and Colonel Lucas ( Harrison Ford Harrison Ford ) approach him with a top-secret assignment to follow the Nung River Nung River into the remote jungle, find rogue Special Forces Colonel Walter E. Kurtz Walter E. Kurtz and kill him. Kurtz apparently went insane and now commands his own Montagnard Montagnard troops inside neutral neutral Cambodia Cambodia . \n", " Willard joins a Navy PBR commanded by \"Chief\" (Albert Hall) and crewmen Lance (Sam Bottoms), \"Chef\" (Frederic Forrest) and \"Mr. Clean\" (Larry Fishburne). They rendezvous with reckless Lieutenant Colonel Bill Kilgore (Robert Duvall), a commander of an attack helicopter squadron, who initially scoffs at them. Kilgore befriends Lance, both being keen surfers, and agrees to escort them through the Viet Cong-filled coastal mouth of the Nung River due to the surfing conditions there. Amid napalm air strikes on the locals and Ride of the Valkyries playing over the helicopter loudspeakers, the beach is taken and Kilgore orders others to surf it amid enemy fire. While Kilgore nostalgically regales about a previous strike, Willard gathers his men to the PBR, transported via helicopter, and begins the journey upriver. Willard joins a Navy PBR PBR commanded by \"Chief\" ( Albert Hall Albert Hall ) and crewmen Lance ( Sam Bottoms Sam Bottoms ), \"Chef\" ( Frederic Forrest Frederic Forrest ) and \"Mr. Clean\" ( Larry Fishburne Larry Fishburne ). They rendezvous with reckless Lieutenant Colonel Lieutenant Colonel Bill Kilgore ( Robert Duvall Robert Duvall ), a commander of an attack helicopter attack helicopter squadron, who initially scoffs at them. Kilgore befriends Lance, both being keen surfers, and agrees to escort them through the Viet Cong Viet Cong -filled coastal mouth of the Nung River due to the surfing conditions there. Amid napalm air strikes on the locals and Ride of the Valkyries Ride of the Valkyries Ride of the Valkyries playing over the helicopter loudspeakers, the beach is taken and Kilgore orders others to surf it amid enemy fire. While Kilgore nostalgically regales about a previous strike, Willard gathers his men to the PBR, transported via helicopter, and begins the journey upriver. \n", " Willard sifts through files on Kurtz, learning that he was a model officer and possible future General. The crew later encounters a tiger and visit a supply depot USO show featuring Playboy Playmates which goes awry. Afterwards, the crew inspect a civilian sampan for weapons but Mr. Clean panics and machine-guns everyone on board. Willard coldly shoots dead the only severely wounded survivor to prevent any further delay of his mission. Tension arises between Chief and Willard as Willard believes himself to be in command of the PBR, while Chief prioritizes other objectives over Willard's secret mission. Reaching the chaos of a US outpost at a bridge under attack, Willard learns that the missing commanding officer, Captain Colby (Scott Glenn), was sent on an earlier mission to kill Kurtz. Willard sifts through files on Kurtz, learning that he was a model officer and possible future General. The crew later encounters a tiger tiger and visit a supply depot USO USO show featuring Playboy Playmates Playboy Playmates which goes awry. Afterwards, the crew inspect a civilian sampan sampan for weapons but Mr. Clean panics and machine-guns everyone on board. Willard coldly shoots dead the only severely wounded survivor to prevent any further delay of his mission. Tension arises between Chief and Willard as Willard believes himself to be in command of the PBR, while Chief prioritizes other objectives over Willard's secret mission. Reaching the chaos of a US outpost at a bridge under attack, Willard learns that the missing commanding officer commanding officer , Captain Colby ( Scott Glenn Scott Glenn ), was sent on an earlier mission to kill Kurtz. \n", " Meanwhile, Lance and Chef are continually under the influence of drugs. Lance in particular smears his face with camouflage paint and becomes withdrawn. The next day, while reading mail that was delivered to the PBR earlier, Lance pops open a purple smoke grenade for fun, but catches the attention of an unseen enemy in the trees and as a direct result, the boat is fired upon, killing Mr. Clean and making Chief even more hostile toward Willard. Ambushed again, by Montagnard warriors, they return fire despite Willard's objections. Eventually, the crew cease fire immediately when Chief is impaled with a spear and tries to pull Willard onto the spearhead before dying. Afterwards, Willard confides in the two surviving crew members about the mission, which initially infuriates Chef and a short-lived tirade ensues, but they reluctantly agree to continue upriver, where they find the banks littered with mutilated bodies. Arriving at Kurtz's outpost at last, Willard takes Lance with him to the village, leaving Chef behind with orders to call an airstrike on the village if they do not return. Meanwhile, Lance and Chef are continually under the influence of drugs. Lance in particular smears his face with camouflage paint and becomes withdrawn. The next day, while reading mail that was delivered to the PBR earlier, Lance pops open a purple smoke grenade for fun, but catches the attention of an unseen enemy in the trees and as a direct result, the boat is fired upon, killing Mr. Clean and making Chief even more hostile toward Willard. Ambushed again, by Montagnard warriors Montagnard warriors , they return fire despite Willard's objections. Eventually, the crew cease fire immediately when Chief is impaled with a spear and tries to pull Willard onto the spearhead before dying. Afterwards, Willard confides in the two surviving crew members about the mission, which initially infuriates Chef and a short-lived tirade ensues, but they reluctantly agree to continue upriver, where they find the banks littered with mutilated bodies. Arriving at Kurtz's outpost at last, Willard takes Lance with him to the village, leaving Chef behind with orders to call an airstrike airstrike on the village if they do not return. \n", " In the camp, the two soldiers are met by an American freelance photographer (Dennis Hopper), who manically praises Kurtz's genius. As they proceed, Willard and Lance see corpses and severed heads scattered about the temple that serves as Kurtz's living quarters and encounter Colby, who is nearly catatonic. Willard is bound and brought before Kurtz (Marlon Brando) in the darkened temple, where Kurtz derides him as an errand boy. Meanwhile, Chef prepares to call in the airstrike but is kidnapped. Later imprisoned, Willard screams helplessly as Kurtz drops Chef's severed head into his lap. After some time, Willard is released and given the freedom of the compound. Kurtz lectures him on his theories of war, humanity and civilization while praising the ruthlessness and dedication of the Viet Cong. Kurtz discusses his son and asks that Willard tell his son everything about him in the event of his death. In the camp, the two soldiers are met by an American freelance photographer ( Dennis Hopper Dennis Hopper ), who manically praises Kurtz's genius. As they proceed, Willard and Lance see corpses and severed heads scattered about the temple that serves as Kurtz's living quarters and encounter Colby, who is nearly catatonic catatonic . Willard is bound and brought before Kurtz ( Marlon Brando Marlon Brando ) in the darkened temple, where Kurtz derides him as an errand boy. Meanwhile, Chef prepares to call in the airstrike but is kidnapped. Later imprisoned, Willard screams helplessly as Kurtz drops Chef's severed head into his lap. After some time, Willard is released and given the freedom of the compound. Kurtz lectures him on his theories of war, humanity humanity and civilization civilization while praising the ruthlessness and dedication of the Viet Cong Viet Cong . Kurtz discusses his son and asks that Willard tell his son everything about him in the event of his death. \n", " That night, as the villagers ceremonially slaughter a water buffalo, Willard enters Kurtz's chamber as Kurtz is making a tape recording, and attacks him with a machete. Lying mortally wounded on the ground, Kurtz whispers his final words \"The horror ... the horror ...\" before dying. Willard discovers substantial typed work of Kurtz's writings and takes it with him before exiting. Willard descends the stairs from Kurtz's chamber and drops his weapon. The villagers do likewise and allow Willard to take Lance by the hand and lead him to the boat. The two of them ride away as Kurtz's final words echo eerily. That night, as the villagers ceremonially slaughter a water buffalo water buffalo , Willard enters Kurtz's chamber as Kurtz is making a tape recording, and attacks him with a machete machete . Lying mortally wounded on the ground, Kurtz whispers his final words \"The horror ... the horror ...\" before dying. Willard discovers substantial typed work of Kurtz's writings and takes it with him before exiting. Willard descends the stairs from Kurtz's chamber and drops his weapon. The villagers do likewise and allow Willard to take Lance by the hand and lead him to the boat. The two of them ride away as Kurtz's final words echo eerily. \n", " \n", "http://en.wikipedia.org/wiki/Gandhi_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The screenplay of Gandhi is available as a published book.[4][5] The film opens with a statement from the filmmakers explaining their approach to the problem of filming Gandhi's complex life story: The screenplay of Gandhi Gandhi is available as a published book. [4] [4] [ [ 4 ] ] [5] [5] [ [ 5 ] ] The film opens with a statement from the filmmakers explaining their approach to the problem of filming Gandhi's complex life story: \n", " \n", "\n", "\u201c\n", "No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record and to try to find one's way to the heart of the man...[6]\n", "\u201d\n", "\n", " \n", " \n", "\u201c\n", "No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record and to try to find one's way to the heart of the man...[6]\n", "\u201d\n", " \n", " \u201c \u201c \n", " No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record and to try to find one's way to the heart of the man...[6] No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record and to try to find one's way to the heart of the man... [6] [6] [ [ 6 ] ] \n", " \u201d \u201d \n", " \n", " \n", " The film begins on the day of Gandhi's assassination on 30 January 1948,.[5]:18\u201321 After an evening prayer, an elderly Gandhi is helped out for his evening walk to meet a large number of greeters and admirers. One of these visitors, Nathuram Godse, shoots him point blank in the chest. Gandhi exclaims, \"Oh, God!\" (\"H\u0113 Ram!\" historically), and then falls dead. The film then cuts to a huge procession at his funeral, which is attended by dignitaries from around the world. The film begins on the day of Gandhi's assassination on 30 January 1948 assassination on 30 January 1948 ,. [5] [5] [ [ 5 ] ] :18\u201321 :18\u201321 After an evening prayer, an elderly Gandhi is helped out for his evening walk to meet a large number of greeters and admirers. One of these visitors, Nathuram Godse Nathuram Godse , shoots him point blank in the chest. Gandhi exclaims, \"Oh, God!\" (\"H\u0113 Ram Ram !\" historically), and then falls dead. The film then cuts to a huge procession at his funeral, which is attended by dignitaries from around the world. \n", " The early life of Gandhi is not depicted in the film. Instead, the story flashes back 55 years to a life-changing event: in 1893, the 24-year-old Gandhi is thrown off a South African train for being an Indian sitting in a first-class compartment despite having a first-class ticket.[7] Realising the laws are biased against Indians, he then decides to start a nonviolent protest campaign for the rights of all Indians in South Africa. After numerous arrests and unwelcome international attention, the government finally relents by recognising some rights for Indians.[8] The early life of Gandhi early life of Gandhi is not depicted in the film. Instead, the story flashes back 55 years to a life-changing event: in 1893, the 24-year-old Gandhi is thrown off a South African South African train for being an Indian sitting in a first-class compartment despite having a first-class ticket. [7] [7] [ [ 7 ] ] Realising the laws are biased against Indians, he then decides to start a nonviolent protest campaign nonviolent protest campaign for the rights of all Indians in South Africa Indians in South Africa . After numerous arrests and unwelcome international attention, the government finally relents by recognising some rights for Indians. [8] [8] [ [ 8 ] ] \n", " After this victory, Gandhi is invited back to India, where he is now considered something of a national hero. He is urged to take up the fight for India's independence, (Swaraj, Quit India) from the British Empire. Gandhi agrees, and mounts a nonviolent non-cooperation campaign of unprecedented scale, coordinating millions of Indians nationwide. There are some setbacks, such as violence against the protesters and Gandhi's occasional imprisonment. The Jallianwala Bagh massacre is also depicted in the film. After this victory, Gandhi is invited back to India, where he is now considered something of a national hero. He is urged to take up the fight for India's independence, ( Swaraj Swaraj , Quit India Quit India ) from the British Empire British Empire . Gandhi agrees, and mounts a nonviolent non-cooperation campaign nonviolent non-cooperation campaign of unprecedented scale, coordinating millions of Indians nationwide. There are some setbacks, such as violence against the protesters and Gandhi's occasional imprisonment. The Jallianwala Bagh massacre Jallianwala Bagh massacre is also depicted in the film. \n", " Nevertheless, the campaign generates great attention, and Britain faces intense public pressure. After World War II[9] Britain finally grants Indian independence.[10] Indians celebrate this victory, but their troubles are far from over. Religious tensions between Hindus and Muslims erupt into nationwide violence. Horrified, Gandhi declares a hunger strike, saying he will not eat until the fighting stops.[11] Nevertheless, the campaign generates great attention, and Britain faces intense public pressure. After World War II World War II [9] [9] [ [ 9 ] ] Britain finally grants Indian independence Indian independence . [10] [10] [ [ 10 ] ] Indians celebrate this victory, but their troubles are far from over. Religious tensions between Hindus Hindus and Muslims Muslims erupt into nationwide violence. Horrified, Gandhi declares a hunger strike, saying he will not eat until the fighting stops. [11] [11] [ [ 11 ] ] \n", " The fighting does stop eventually, but the country is subsequently divided by religion. It is decided that the northwest area and the eastern part of India (current-day Bangladesh), both places where Muslims are in the majority, will become a new country called Pakistan. It is hoped that by encouraging the Muslims to live in a separate country, violence will abate. Gandhi is opposed to the idea, and is even willing to allow Muhammad Ali Jinnah to become the first prime minister of India,[12] but the Partition of India is carried out nevertheless. The fighting does stop eventually, but the country is subsequently divided by religion. It is decided that the northwest area and the eastern part of India (current-day Bangladesh Bangladesh ), both places where Muslims are in the majority, will become a new country called Pakistan Pakistan . It is hoped that by encouraging the Muslims to live in a separate country, violence will abate. Gandhi is opposed to the idea, and is even willing to allow Muhammad Ali Jinnah Muhammad Ali Jinnah to become the first prime minister of India, [12] [12] [ [ 12 ] ] but the Partition of India Partition of India is carried out nevertheless. \n", " Gandhi spends his last days trying to bring about peace between both nations. He thereby angers many dissidents on both sides, one of whom assassinates him in a scene at the end of the film that recalls the opening.[13] Gandhi spends his last days trying to bring about peace between both nations. He thereby angers many dissidents on both sides, one of whom assassinates him in a scene at the end of the film that recalls the opening. [13] [13] [ [ 13 ] ] \n", " As Godse shoots Gandhi, the film fades to black and Gandhi is heard in a voiceover, saying \"Oh, God\". The audience then sees Gandhi's cremation; the film ending with a scene of Gandhi's ashes being scattered on the holy Ganga.[14] As this happens, viewers hear Gandhi in another voiceover:[15] As Godse shoots Gandhi, the film fades to black and Gandhi is heard in a voiceover, saying \"Oh, God\". The audience then sees Gandhi's cremation; the film ending with a scene of Gandhi's ashes being scattered on the holy Ganga Ganga . [14] [14] [ [ 14 ] ] As this happens, viewers hear Gandhi in another voiceover: [15] [15] [ [ 15 ] ] \n", " \n", "\n", "\u201c\n", "When I despair, I remember that all through history the way of truth and love has always won. There have been tyrants, and murderers, and for a time they can seem invincible, but in the end they always fall. Think of it. Always.\n", "\u201d\n", "\n", " \n", " \n", "\u201c\n", "When I despair, I remember that all through history the way of truth and love has always won. There have been tyrants, and murderers, and for a time they can seem invincible, but in the end they always fall. Think of it. Always.\n", "\u201d\n", " \n", " \u201c \u201c \n", " When I despair, I remember that all through history the way of truth and love has always won. There have been tyrants, and murderers, and for a time they can seem invincible, but in the end they always fall. Think of it. Always. When I despair, I remember that all through history the way of truth and love has always won. There have been tyrants, and murderers, and for a time they can seem invincible, but in the end they always fall. Think of it. Always. \n", " \u201d \u201d \n", " \n", " \n", " As the list of actors is seen at the end, the hymn \"Vaishnava Jana To\" is heard. As the list of actors is seen at the end, the hymn \" Vaishnava Jana To Vaishnava Jana To \" is heard. \n", " \n", "http://en.wikipedia.org/wiki/The_Lord_of_the_Rings:_The_Return_of_the_King\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In a flashback, the Hobbits D\u00e9agol and Sm\u00e9agol are fishing near the Gladden Fields when D\u00e9agol accidentally goes overboard and discovers the One Ring in the river bed. Sm\u00e9agol, immediately corrupted by the Ring, murders D\u00e9agol for it and is later exiled into the wilderness where he eventually becomes the creature \"Gollum\". In the present, Gollum is leading Frodo Baggins and Samwise Gamgee to an entrance near Minas Morgul. In a flashback, the Hobbits Hobbits D\u00e9agol D\u00e9agol and Sm\u00e9agol Sm\u00e9agol are fishing near the Gladden Fields Gladden Fields when D\u00e9agol accidentally goes overboard and discovers the One Ring One Ring in the river bed. Sm\u00e9agol, immediately corrupted by the Ring, murders D\u00e9agol for it and is later exiled into the wilderness where he eventually becomes the creature \"Gollum\". In the present, Gollum is leading Frodo Baggins Frodo Baggins and Samwise Gamgee Samwise Gamgee to an entrance near Minas Morgul Minas Morgul . \n", " King Th\u00e9oden, Aragorn, Gandalf the White and the other heroes of Helm's Deep reunite with Merry and Pippin as Treebeard and the Ents have secured Isengard with Saruman a prisoner within his tower. In the extended edition, Saruman attempts to negotiate with Th\u00e9oden and Gandalf for his freedom, but rejects Gandalf's conditional offer and shoots a fireball at him. Gandalf repels the attack and breaks Saruman's staff, taking away his powers. Meanwhile Gr\u00edma, fed up with Saruman's abuse, fatally stabs him from behind before he is killed by Legolas. A dying Saruman falls from the tower where he is then impaled on a spiked waterwheel. His palant\u00edr is quickly recovered by Pippin before Gandalf confiscates it. King Th\u00e9oden Th\u00e9oden , Aragorn Aragorn , Gandalf the White Gandalf the White and the other heroes of Helm's Deep Helm's Deep reunite with Merry Merry and Pippin Pippin as Treebeard Treebeard and the Ents Ents have secured Isengard Isengard with Saruman Saruman a prisoner within his tower. In the extended edition, Saruman attempts to negotiate with Th\u00e9oden and Gandalf for his freedom, but rejects Gandalf's conditional offer and shoots a fireball at him. Gandalf repels the attack and breaks Saruman's staff, taking away his powers. Meanwhile Gr\u00edma Gr\u00edma , fed up with Saruman's abuse, fatally stabs him from behind before he is killed by Legolas Legolas . A dying Saruman falls from the tower where he is then impaled on a spiked waterwheel. His palant\u00edr palant\u00edr palant\u00edr is quickly recovered by Pippin before Gandalf confiscates it. \n", " Later that night, however, Pippin's curiosity for the palant\u00edr results with Sauron attacking the Hobbit's mind. But knowing Pippin would have a glimpse of Sauron\u2019s plans, Gandalf deduces that he is planning to attack Minas Tirith, and rides there with Pippin. They find Denethor, the Steward of Gondor, full of grief for his lost son Boromir and paranoid over Aragorn\u2019s claim to the throne. To compensate for Boromir's death defending him, Pippin swears service to Denethor. The armies of Mordor, led by the Witch-king and the Nazg\u00fbl, drive Faramir and his men from their final stronghold of Osgiliath. At Gandalf's instruction, Pippin secretly lights the distress beacon to signal Th\u00e9oden to assemble the Rohirrim for battle. Later that night, however, Pippin's curiosity for the palant\u00edr palant\u00edr results with Sauron Sauron attacking the Hobbit's mind. But knowing Pippin would have a glimpse of Sauron\u2019s plans, Gandalf deduces that he is planning to attack Minas Tirith Minas Tirith , and rides there with Pippin. They find Denethor Denethor , the Steward of Gondor Gondor , full of grief for his lost son Boromir Boromir and paranoid over Aragorn\u2019s claim to the throne. To compensate for Boromir's death defending him, Pippin swears service to Denethor. The armies of Mordor Mordor , led by the Witch-king Witch-king and the Nazg\u00fbl Nazg\u00fbl , drive Faramir Faramir and his men from their final stronghold of Osgiliath Osgiliath . At Gandalf's instruction, Pippin secretly lights the distress beacon to signal Th\u00e9oden to assemble the Rohirrim Rohirrim for battle. \n", " On the way, Aragorn is informed by Elrond that Arwen did not go to the Undying Lands, and is now dying. He gives Aragorn the sword And\u00faril to acquire the service of the Army of the Dead, who owe allegiance to the heir of Isildur. Aragorn, with Legolas and Gimli, ventures into the Paths of the Dead and demands the loyalty of the King of the Dead. Th\u00e9oden rides to war, unaware that \u00c9owyn and Merry have secretly joined his forces. On the way, Aragorn is informed by Elrond Elrond that Arwen Arwen did not go to the Undying Lands Undying Lands , and is now dying. He gives Aragorn the sword And\u00faril And\u00faril to acquire the service of the Army of the Dead Army of the Dead , who owe allegiance to the heir of Isildur Isildur . Aragorn, with Legolas and Gimli Gimli , ventures into the Paths of the Dead Paths of the Dead and demands the loyalty of the King of the Dead. Th\u00e9oden rides to war, unaware that \u00c9owyn and Merry have secretly joined his forces. \n", " After being sent by Denethor on a fruitless mission to reclaim Osgiliath, Faramir is mortally wounded as his horse drags his unconscious body back to Minas Tirith with Sauron's armies at its heels. Believing he has lost both sons, Denethor descends into madness with Gandalf forced to organize the city defenses. As the siege rages on, Denethor loses all hope for Minas Tirith and intends to burn himself and Faramir, expelling Pippin from his service when he tries to stop him. Pippin and Gandalf manage to save Faramir, but watch as a burning Denethor falls off a ledge to his death. Th\u00e9oden's army arrives and decimates the Orcs before being overwhelmed by Haradrim riding on Oliphaunts while the Witch-king singles out and kills Th\u00e9oden. \u00c9owyn desperately stands before the Witch-King, but is overpowered by the Nazg\u00fbl as he proclaims that no man can kill him. However, Merry stabs him from behind and \u00c9owyn slays him, causing him to be undone not by a man, but a woman and Hobbit. Finally, Aragorn arrives with the Army of the Dead and routs Sauron's forces, ending the battle. Aragorn frees the Army of the Dead and their souls go to the afterlife. After being sent by Denethor on a fruitless mission to reclaim Osgiliath, Faramir is mortally wounded as his horse drags his unconscious body back to Minas Tirith with Sauron's armies at its heels. Believing he has lost both sons, Denethor descends into madness with Gandalf forced to organize the city defenses. As the siege rages on, Denethor loses all hope for Minas Tirith and intends to burn himself and Faramir, expelling Pippin from his service when he tries to stop him. Pippin and Gandalf manage to save Faramir, but watch as a burning Denethor falls off a ledge to his death. Th\u00e9oden's army arrives and decimates the Orcs Orcs before being overwhelmed by Haradrim Haradrim riding on Oliphaunts Oliphaunts while the Witch-king singles out and kills Th\u00e9oden. \u00c9owyn desperately stands before the Witch-King, but is overpowered by the Nazg\u00fbl as he proclaims that no man can kill him. However, Merry stabs him from behind and \u00c9owyn slays him, causing him to be undone not by a man, but a woman and Hobbit. Finally, Aragorn arrives with the Army of the Dead and routs Sauron's forces, ending the battle. Aragorn frees the Army of the Dead and their souls go to the afterlife. \n", " As the events occur, on the way to Minas Morgul, Sam overhears Gollum's plans to murder them and take the Ring yet Frodo refuses to believe him. Hoping to remove Sam as an obstacle as they climb up the cliff to the secret way to Mordor, Gollum manipulates Frodo into driving Sam off before leaving him at the mercy of the giant spider Shelob. Though Frodo manages to dispose of Gollum, he is paralyzed as Sam arrives to drive Shelob off. Believing Frodo to be dead, he takes Sting and the Ring, then learns of his friend's condition as he follows an Orc patrol that takes Frodo's body to the nearby watchtower guarding the entrance to Mordor. Taking advantage of the Orcs warring amongst themselves, Sam sneaks in and rescues Frodo while returning the Ring to him. The two continue the journey to Mount Doom. As the events occur, on the way to Minas Morgul, Sam overhears Gollum's plans to murder them and take the Ring yet Frodo refuses to believe him. Hoping to remove Sam as an obstacle as they climb up the cliff to the secret way to Mordor, Gollum manipulates Frodo into driving Sam off before leaving him at the mercy of the giant spider Shelob Shelob . Though Frodo manages to dispose of Gollum, he is paralyzed as Sam arrives to drive Shelob off. Believing Frodo to be dead, he takes Sting Sting and the Ring, then learns of his friend's condition as he follows an Orc patrol that takes Frodo's body to the nearby watchtower guarding the entrance to Mordor watchtower guarding the entrance to Mordor . Taking advantage of the Orcs warring amongst themselves, Sam sneaks in and rescues Frodo while returning the Ring to him. The two continue the journey to Mount Doom Mount Doom . \n", " Meanwhile, Aragorn leads his remaining men to the Black Gate of Mordor to distract Sauron\u2019s forces for Frodo to reach Mount Doom. As Sam carries the weakened Frodo up the volcano, Gollum reappears and attacks them. Though Frodo succumbs to the Ring's power as he reaches the Crack of Doom, Gollum bites off the Hobbit's finger to reclaim the Ring. In the resulting struggle, Gollum falls into the lava while Sam saves Frodo as the Ring is destroyed. As a result, Sauron is obliterated and most of Mordor collapses while the surviving Orcs flee. Frodo and Sam are saved from the erupting volcano by Gandalf and the Eagles. Meanwhile, Aragorn leads his remaining men to the Black Gate of Mordor to distract Sauron\u2019s forces for Frodo to reach Mount Doom. As Sam carries the weakened Frodo up the volcano volcano , Gollum reappears and attacks them. Though Frodo succumbs to the Ring's power as he reaches the Crack of Doom Crack of Doom , Gollum bites off the Hobbit's finger to reclaim the Ring. In the resulting struggle, Gollum falls into the lava while Sam saves Frodo as the Ring is destroyed. As a result, Sauron is obliterated and most of Mordor collapses while the surviving Orcs flee. Frodo and Sam are saved from the erupting volcano by Gandalf and the Eagles Eagles . \n", " Soon after, Aragorn is crowned king and marries Arwen while the four Hobbits are honoured for their deeds. Four years after they return home to the Shire, Frodo departs Middle-earth for the Undying Lands alongside Bilbo, Gandalf and the Elves, bringing an end to the Fellowship while giving Sam his book detailing their adventures together. Soon after, Aragorn is crowned king and marries Arwen while the four Hobbits are honoured for their deeds. Four years after they return home to the Shire Shire , Frodo departs Middle-earth for the Undying Lands alongside Bilbo Bilbo , Gandalf and the Elves, bringing an end to the Fellowship while giving Sam his book book detailing their adventures together. \n", " \n", "http://en.wikipedia.org/wiki/Gladiator_(2000_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In AD 180, Spanish-Roman General Maximus Decimus Meridius leads the Roman army to a decisive victory against the Germanic tribes near Vindobona, ending a long war on the Roman frontier and winning the favor of Emperor Marcus Aurelius. The emperor is already old and dying, and although he has a son, Commodus, he asks Maximus to succeed him as a regent and turn Rome back into a republic. The emperor speaks with Commodus afterwards and attempts to explain his decision. A weeping Commodus retorts that Marcus Aurelius never valued his son, and strangles the emperor. In AD AD 180, Spanish Spanish - Roman Roman General General Maximus Decimus Meridius leads the Roman army Roman army to a decisive victory against the Germanic Germanic tribes near Vindobona Vindobona , ending a long war on the Roman frontier and winning the favor of Emperor Emperor Marcus Aurelius Marcus Aurelius . The emperor is already old and dying, and although he has a son, Commodus Commodus , he asks Maximus to succeed him as a regent and turn Rome back into a republic. The emperor speaks with Commodus afterwards and attempts to explain his decision. A weeping Commodus retorts that Marcus Aurelius never valued his son, and strangles the emperor. \n", " Maximus is confronted by Commodus, who asks for Maximus' loyalty, but the general suspects his plot and refuses. General Quintus, a subordinate and old friend to Maximus, chooses to follow Commodus' orders and sends men to the Roman province of Spain to kill Maximus's wife and son on their farm estate. Maximus manages to escape his own execution and makes the long journey to his farm on horseback, but finds his family already dead and their bodies crucified. He buries them and collapses. A passing slave caravan captures Maximus, assuming that he is a deserter. Maximus is taken to \"Zucchabar\" (Roman province of Mauretania) in North Africa and sold to a man named Proximo, who uses him as a gladiator. Maximus is confronted by Commodus, who asks for Maximus' loyalty, but the general suspects his plot and refuses. General Quintus, a subordinate and old friend to Maximus, chooses to follow Commodus' orders and sends men to the Roman Roman province province of Spain Spain to kill Maximus's wife and son on their farm estate. Maximus manages to escape his own execution and makes the long journey to his farm on horseback, but finds his family already dead and their bodies crucified. He buries them and collapses. A passing slave caravan captures Maximus, assuming that he is a deserter. Maximus is taken to \"Zucchabar\" (Roman province of Mauretania Mauretania ) in North Africa North Africa and sold to a man named Proximo, who uses him as a gladiator. \n", " Maximus is forced to fight in local tournaments, and wins every match because of his military skills and traumatized indifference to death. He makes friends with Proximo's other gladiators, including a Numidian named Juba and a German named Hagen. His successes allow Proximo to bring the team to the Roman Colosseum, where Commodus has organized 150 days of games to honor his late father. Proximo explains to Maximus that he was himself a gladiator who fought well enough in the Colosseum to win his freedom, granted to him by Marcus Aurelius himself. Maximus realizes that if he fights well enough in the Colosseum he may have a chance to personally meet the Emperor, giving him his chance to kill Commodus. Maximus is forced to fight in local tournaments, and wins every match because of his military skills and traumatized indifference to death. He makes friends with Proximo's other gladiators, including a Numidian Numidian named Juba and a German German named Hagen. His successes allow Proximo to bring the team to the Roman Colosseum Colosseum , where Commodus has organized 150 days of games to honor his late father. Proximo explains to Maximus that he was himself a gladiator who fought well enough in the Colosseum to win his freedom, granted to him by Marcus Aurelius himself. Maximus realizes that if he fights well enough in the Colosseum he may have a chance to personally meet the Emperor, giving him his chance to kill Commodus. \n", " Having arrived at the Colosseum, Proximo's team is put in a match that is meant to be a reenactment of the Battle of Zama. Maximus and his teammates are on foot, armed with spears and shields, against a cohesive and well-equipped force of mounted fighters and archers in chariots. Through Maximus's leadership, however, the team is able to destroy their opponents. Commodus comes into the arena to personally congratulate \"the Spaniard\" (Maximus) on his victory. Maximus braces himself to kill Commodus, but at the last moment decides against it, apparently because of the presence of the young Lucius Verus. At this point, Maximus removes his helmet and reveals himself to the startled Commodus as \"commander of the armies of the north, general of the Felix legions, loyal servant of the true emperor Marcus Aurelius, father to a murdered son, husband to a murdered wife\". Maximus promises to exact vengeance against Commodus, who is still in shock to learn that the general is still alive. While Commodus longs to execute the former general on the spot, he cannot as the vast arena crowd chants \"Live!\" repeatedly, demonstrating their support for Maximus. Having arrived at the Colosseum, Proximo's team is put in a match that is meant to be a reenactment of the Battle of Zama Battle of Zama . Maximus and his teammates are on foot, armed with spears and shields, against a cohesive and well-equipped force of mounted fighters and archers in chariots. Through Maximus's leadership, however, the team is able to destroy their opponents. Commodus comes into the arena to personally congratulate \"the Spaniard\" (Maximus) on his victory. Maximus braces himself to kill Commodus, but at the last moment decides against it, apparently because of the presence of the young Lucius Verus. At this point, Maximus removes his helmet and reveals himself to the startled Commodus as \"commander of the armies of the north, general of the Felix legions, loyal servant of the true emperor Marcus Aurelius, father to a murdered son, husband to a murdered wife\". Maximus promises to exact vengeance against Commodus, who is still in shock to learn that the general is still alive. While Commodus longs to execute the former general on the spot, he cannot as the vast arena crowd chants \"Live!\" repeatedly, demonstrating their support for Maximus. \n", " Commodus tries to have Maximus killed by paying Tigris of Gaul, a former gladiator, to come back and fight Maximus. Tigris is well known, having earned his freedom by never being defeated. During the match, Colosseum staff approach Maximus from behind, holding tigers by the leash, in order to put Maximus at a disadvantage. Against all expectations, Maximus still wins, but he spares Tigris's life and is declared by the crowd as \"Maximus the Merciful\" and this further angers Commodus. Face to face, the emperor taunts Maximus with harrowing details of how his family died. Maximus responds by turning his back on Commodus and walking away. The emperor's own Praetorians show respect to the former general by stepping aside. Commodus tries to have Maximus killed by paying Tigris of Gaul, a former gladiator, to come back and fight Maximus. Tigris is well known, having earned his freedom by never being defeated. During the match, Colosseum staff approach Maximus from behind, holding tigers by the leash, in order to put Maximus at a disadvantage. Against all expectations, Maximus still wins, but he spares Tigris's life and is declared by the crowd as \"Maximus the Merciful\" and this further angers Commodus. Face to face, the emperor taunts Maximus with harrowing details of how his family died. Maximus responds by turning his back on Commodus and walking away. The emperor's own Praetorians show respect to the former general by stepping aside. \n", " As Maximus is being escorted back to the gladiator's quarters, his former orderly Cicero approaches him and says that Maximus still has the loyalty of the Legion, encamped near Rome. Commodus's sister Lucilla and the senator Gracchus secure a meeting with Maximus, and Maximus obtains their promise to help him escape Rome, rejoin his soldiers, topple Commodus by force, and hand over power to the Senate. Commodus, however, suspects a plot against him, and forces Lucilla to confess it by threatening to kill her son. Praetorians close in upon the gladiator quarters before Maximus can leave. Proximo refuses to open the gate in order to enable Maximus to escape. When the Praetorians break through, Proximo's gladiators assault them in order to give Maximus more time. The Praetorians kill Hagen and execute Proximo. Maximus reaches the rendezvous place but more Praetorians are waiting. Cicero is killed and Maximus is captured. As Maximus is being escorted back to the gladiator's quarters, his former orderly Cicero approaches him and says that Maximus still has the loyalty of the Legion, encamped near Rome. Commodus's sister Lucilla and the senator Gracchus secure a meeting with Maximus, and Maximus obtains their promise to help him escape Rome, rejoin his soldiers, topple Commodus by force, and hand over power to the Senate. Commodus, however, suspects a plot against him, and forces Lucilla to confess it by threatening to kill her son. Praetorians close in upon the gladiator quarters before Maximus can leave. Proximo refuses to open the gate in order to enable Maximus to escape. When the Praetorians break through, Proximo's gladiators assault them in order to give Maximus more time. The Praetorians kill Hagen and execute Proximo. Maximus reaches the rendezvous place but more Praetorians are waiting. Cicero is killed and Maximus is captured. \n", " Commodus, angered by his sister's betrayal, explains that if she disobeys him or kills herself he will kill Lucius. Desperate to kill Maximus and to restore his own standing, arranges a public duel between the two. Before the fight begins, Commodus stabs the chained Maximus in the side, leaving him severely weakened, but also admits obliquely to killing his own father, in Quintus's presence. During the fight, Maximus still manages to evade Commodus's blows and disarm him. Commodus asks the Praetorians to give him a sword, but Quintus orders the guards to sheathe their weapons. Commodus produces a hidden stiletto, but Maximus turns the blade back into Commodus's throat, killing him. Commodus, angered by his sister's betrayal, explains that if she disobeys him or kills herself he will kill Lucius. Desperate to kill Maximus and to restore his own standing, arranges a public duel between the two. Before the fight begins, Commodus stabs the chained Maximus in the side, leaving him severely weakened, but also admits obliquely to killing his own father, in Quintus's presence. During the fight, Maximus still manages to evade Commodus's blows and disarm him. Commodus asks the Praetorians to give him a sword, but Quintus orders the guards to sheathe their weapons. Commodus produces a hidden stiletto, but Maximus turns the blade back into Commodus's throat, killing him. \n", " Maximus succumbs to the stab wound asking with his last words that reforms be made, his gladiator allies freed, and that Senator Gracchus be reinstated. As he dies, he has a vision of walking through a gate into a field of grain and of being finally reunited with his wife and son in an afterlife which resembles his country estate. The gladiators has the body of Maximus carried out for an honorable funeral as a soldier and a good man, leaving Commodus in the dirt. Some time later, Juba revisits the Colosseum at night, and he buries Maximus's two small figurines of his wife and son at the spot where the gladiator/general died. Juba promises that he will see Maximus again, \"but not yet\". Maximus succumbs to the stab wound asking with his last words that reforms be made, his gladiator allies freed, and that Senator Gracchus be reinstated. As he dies, he has a vision of walking through a gate into a field of grain and of being finally reunited with his wife and son in an afterlife which resembles his country estate. The gladiators has the body of Maximus carried out for an honorable funeral as a soldier and a good man, leaving Commodus in the dirt. Some time later, Juba revisits the Colosseum at night, and he buries Maximus's two small figurines of his wife and son at the spot where the gladiator/general died. Juba promises that he will see Maximus again, \"but not yet\". \n", " \n", "http://en.wikipedia.org/wiki/From_Here_to_Eternity\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1941, bugler and career soldier Private Robert E. Lee Prewitt (Montgomery Clift) transfers to a rifle company at Schofield Barracks on the island of Oahu. Captain Dana \"Dynamite\" Holmes (Philip Ober) has heard he is a talented middleweight boxer and wants him to join his regimental boxing team in order to secure a promotion. Prewitt refuses, having stopped fighting because he blinded his sparring partner and close friend over a year before. Holmes is adamant, but so is Prewitt. In 1941, bugler and career soldier Private Robert E. Lee Prewitt ( Montgomery Clift Montgomery Clift ) transfers to a rifle company at Schofield Barracks Schofield Barracks on the island of Oahu Oahu . Captain Dana \"Dynamite\" Holmes ( Philip Ober Philip Ober ) has heard he is a talented middleweight boxer and wants him to join his regimental boxing team in order to secure a promotion. Prewitt refuses, having stopped fighting because he blinded his sparring partner and close friend over a year before. Holmes is adamant, but so is Prewitt. \n", " Holmes makes life as miserable as possible for Prewitt, hoping he will give in. Holmes orders First Sergeant Milton Warden (Burt Lancaster) to prepare general court-martial papers after Sergeant Galovitch (John Dennis) first insults Prewitt, then gives an unreasonable order which Prewitt refuses to obey. Warden, however, suggests that he try to get Prewitt to change his mind by doubling up on company punishment. Warden's goal is not to punish Prewitt, but to prevent a court-martial for a career soldier. The other non-commissioned officers assist in the conspiracy. Prewitt is supported only by his friend, Private Angelo Maggio (Frank Sinatra). Holmes makes life as miserable as possible for Prewitt, hoping he will give in. Holmes orders First Sergeant First Sergeant Milton Warden ( Burt Lancaster Burt Lancaster ) to prepare general court-martial court-martial papers after Sergeant Galovitch (John Dennis) first insults Prewitt, then gives an unreasonable order which Prewitt refuses to obey. Warden, however, suggests that he try to get Prewitt to change his mind by doubling up on company punishment. Warden's goal is not to punish Prewitt, but to prevent a court-martial for a career soldier. The other non-commissioned officers non-commissioned officers assist in the conspiracy. Prewitt is supported only by his friend, Private Angelo Maggio ( Frank Sinatra Frank Sinatra ). \n", " \n", "\n", "\n", "\n", "Lancaster and Kerr in the beach scene at Halona Cove, Oahu, Hawaii.\n", "\n", " \n", " \n", "\n", "\n", "Lancaster and Kerr in the beach scene at Halona Cove, Oahu, Hawaii.\n", " \n", " \n", "\n", "Lancaster and Kerr in the beach scene at Halona Cove, Oahu, Hawaii. \n", " \n", "Lancaster and Kerr in the beach scene at Halona Cove, Oahu, Hawaii. \n", " \n", " \n", " Meanwhile, Warden begins an affair with Holmes' neglected wife Karen (Deborah Kerr). Warden tells Karen the penalty for their affair is a twenty-year prison sentence. Sergeant Maylon Stark (George Reeves) has told Warden about Karen's many previous affairs at Fort Bliss, including with him. As their relationship develops, Warden asks Karen about her affairs to test her sincerity. Karen relates that Holmes has been unfaithful to her most of their marriage. She miscarried one night when Holmes returned home from seeing a hat-check girl, drunk and unable to call a doctor, resulting in her being unable to bear any more children. She then affirms her love for Warden. Meanwhile, Warden begins an affair with Holmes' neglected wife Karen ( Deborah Kerr Deborah Kerr ). Warden tells Karen the penalty for their affair is a twenty-year prison sentence. Sergeant Maylon Stark ( George Reeves George Reeves ) has told Warden about Karen's many previous affairs at Fort Bliss Fort Bliss , including with him. As their relationship develops, Warden asks Karen about her affairs to test her sincerity. Karen relates that Holmes has been unfaithful to her most of their marriage. She miscarried one night when Holmes returned home from seeing a hat-check girl, drunk and unable to call a doctor, resulting in her being unable to bear any more children. She then affirms her love for Warden. \n", " Prewitt and Maggio spend their liberty at the New Congress Club, a gentlemen's club where Prewitt falls for Lorene (Donna Reed). She wants to marry a \"proper\" man with a \"proper\" job and live a \"proper\" life. Maggio and Staff Sergeant James R. Judson (Ernest Borgnine) nearly come to blows at the club over Judson's loud piano playing, which interferes with Maggio's dancing. Prewitt and Maggio spend their liberty at the New Congress Club, a gentlemen's club gentlemen's club where Prewitt falls for Lorene ( Donna Reed Donna Reed ). She wants to marry a \"proper\" man with a \"proper\" job and live a \"proper\" life. Maggio and Staff Sergeant James R. Judson ( Ernest Borgnine Ernest Borgnine ) nearly come to blows at the club over Judson's loud piano playing, which interferes with Maggio's dancing. \n", " Later, Judson provokes Maggio by taking his photograph of his sister from him, kissing it, and whispering in Prewitt's ear. Maggio smashes a barstool over Judson's head. Judson pulls a switchblade, but Warden intervenes. When Judson advances on Warden, Warden breaks a beer bottle to make a makeshift weapon, causing Judson to back down. However, Judson warns Maggio that sooner or later he will end up in the stockade, where Judson is the Sergeant of the Guard. Later, Judson provokes Maggio by taking his photograph of his sister from him, kissing it, and whispering in Prewitt's ear. Maggio smashes a barstool over Judson's head. Judson pulls a switchblade, but Warden intervenes. When Judson advances on Warden, Warden breaks a beer bottle to make a makeshift weapon, causing Judson to back down. However, Judson warns Maggio that sooner or later he will end up in the stockade, where Judson is the Sergeant of the Guard. \n", " Karen tells Warden that if he became an officer, she could divorce Holmes and marry him. Warden reluctantly agrees to consider it. Warden gives Prewitt a weekend pass. He goes to see Lorene. Maggio then walks in drunk, having deserted his post. The military police arrest Maggio, and he is sentenced to six months in the stockade where Judson is waiting. Karen tells Warden that if he became an officer, she could divorce Holmes and marry him. Warden reluctantly agrees to consider it. Warden gives Prewitt a weekend pass. He goes to see Lorene. Maggio then walks in drunk, having deserted his post. The military police arrest Maggio, and he is sentenced to six months in the stockade where Judson is waiting. \n", " Then Sergeant Galovitch picks a fight with Prewitt. At first, Prewitt refuses to fight back, then resorts to only body blows. His fighting spirit re-emerges, and Prewitt comes close to knocking Galovitch out before Holmes finally stops the fight. Galovitch accuses Prewitt of starting the fight, but the man in charge of the detail says that it was Galovitch. Holmes lets him off the hook and disperses the crowd. The entire incident is witnessed by the base commander, who orders an investigation by the Inspector General. After Holmes' motives are revealed, the base commander orders a court-martial. When Holmes begs for an alternative, an aide suggests that Holmes resign his commission. Holmes' replacement, Captain Ross (John Bryant), reprimands the others involved and has the boxing team's framed photographs and trophies removed. He then demotes Galovitch to private and puts him in charge of the latrine. Then Sergeant Galovitch picks a fight with Prewitt. At first, Prewitt refuses to fight back, then resorts to only body blows. His fighting spirit re-emerges, and Prewitt comes close to knocking Galovitch out before Holmes finally stops the fight. Galovitch accuses Prewitt of starting the fight, but the man in charge of the detail says that it was Galovitch. Holmes lets him off the hook and disperses the crowd. The entire incident is witnessed by the base commander, who orders an investigation by the Inspector General Inspector General . After Holmes' motives are revealed, the base commander orders a court-martial. When Holmes begs for an alternative, an aide suggests that Holmes resign his commission. Holmes' replacement, Captain Ross (John Bryant), reprimands the others involved and has the boxing team's framed photographs and trophies removed. He then demotes Galovitch to private and puts him in charge of the latrine latrine . \n", " Maggio escapes the stockade and dies in Prewitt's arms after telling of the abuse he suffered at Judson's hands. Prewitt tracks Judson down and kills him with the same switchblade Judson pulled on Maggio earlier, but sustains a serious stomach wound. Prewitt goes into hiding at Lorene's house. Maggio escapes the stockade and dies in Prewitt's arms after telling of the abuse he suffered at Judson's hands. Prewitt tracks Judson down and kills him with the same switchblade Judson pulled on Maggio earlier, but sustains a serious stomach wound. Prewitt goes into hiding at Lorene's house. \n", " When the Japanese attack Pearl Harbor, Prewitt attempts to rejoin his company under cover of darkness, but is shot dead by a patrol. Warden notes the irony that the boxing tournament has been canceled because of the attack. When the Japanese Japanese attack Pearl Harbor Pearl Harbor , Prewitt attempts to rejoin his company under cover of darkness, but is shot dead by a patrol. Warden notes the irony that the boxing tournament has been canceled because of the attack. \n", " When Karen finds out that Warden did not apply for officer training, she realizes they have no future together. She returns to the mainland with her husband. Lorene and Karen meet on the ship. Lorene tells Karen that Lorene's fianc\u00e9 was a bomber pilot who was heroically killed during the attack. Karen recognizes Prewitt's name, but says nothing. When Karen finds out that Warden did not apply for officer training, she realizes they have no future together. She returns to the mainland with her husband. Lorene and Karen meet on the ship. Lorene tells Karen that Lorene's fianc\u00e9 was a bomber pilot who was heroically killed during the attack. Karen recognizes Prewitt's name, but says nothing. \n", " \n", "http://en.wikipedia.org/wiki/Saving_Private_Ryan\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " On the morning of June 6, 1944, the beginning of the Normandy Invasion, American soldiers prepare to land on Omaha Beach. They struggle against German infantry, machine gun nests, and artillery fire. Captain John H. Miller, a company commander of the 2nd Ranger Battalion, survives the initial landing and assembles a group of his Rangers to penetrate the German defences, leading to a breakout from the beach. In Washington, D.C, at the U.S. War Department, General George Marshall is informed that three of the four brothers of the Ryan family were killed in action and that their mother is to receive all three telegrams in the same day. He learns that the fourth son, Private First Class James Francis Ryan, is a paratrooper, and is missing in action somewhere in Normandy. Marshall, after reading Abraham Lincoln's Bixby letter, orders that Ryan be found and sent home immediately. On the morning of June 6, 1944, the beginning of the Normandy Invasion Normandy Invasion , American soldiers prepare to land on Omaha Beach Omaha Beach . They struggle against German infantry, machine gun nests, and artillery fire. Captain John H. Miller, a company commander of the 2nd Ranger Battalion, survives the initial landing and assembles a group of his Rangers to penetrate the German defences, leading to a breakout from the beach. In Washington, D.C Washington, D.C , at the U.S. War Department, General George Marshall George Marshall is informed that three of the four brothers of the Ryan family were killed in action killed in action and that their mother is to receive all three telegrams telegrams in the same day. He learns that the fourth son, Private First Class James Francis Ryan, is a paratrooper paratrooper , and is missing in action missing in action somewhere in Normandy. Marshall, after reading Abraham Lincoln Abraham Lincoln 's Bixby letter Bixby letter , orders that Ryan be found and sent home immediately. \n", " Three days after D-Day, Miller receives orders to find Ryan and bring him back from the front. He assembles six men from his company\u2014 TSgt. Mike Horvath, Privates Richard Reiben, Stanley Mellish, Adrian Caparzo, Danny Jackson, medic Irwin Wade\u2014and T/5 Timothy Upham, a cartographer who speaks French and German, loaned from another unit. Miller and his men move out to Neuville; there, they meet a platoon from the 101st Airborne Division, and Caparzo dies after being shot by a sniper. Eventually, they locate a Private James Ryan, but soon learn that he is not their man. They find a member of Ryan's regiment who informs them that his drop zone was at Vierville and that his and Ryan's companies had the same rally point. Once they reach it, Miller meets a friend of Ryan's, who reveals that Ryan is defending a strategically important bridge over the Merderet River in the town of Ramelle. On the way to Ramelle, Miller decides to neutralize a German machine gun position, despite the misgivings of his men. Wade is fatally wounded in the ensuing skirmish, but Miller prevents a surviving German from being executed and sets him free. No longer confident in Miller's leadership, Reiben declares his intention to desert the squad and the mission, prompting a confrontation with Horvath. The argument heats up until Miller defuses the situation by revealing his origins, which the squad had earlier set up a betting pool upon. Reiben then reluctantly decides to stay. Three days after D-Day, Miller receives orders to find Ryan and bring him back from the front. He assembles six men from his company\u2014 TSgt. Mike Horvath, Privates Richard Reiben, Stanley Mellish, Adrian Caparzo, Danny Jackson, medic Irwin Wade\u2014and T/5 Timothy Upham, a cartographer cartographer who speaks French and German, loaned from another unit. Miller and his men move out to Neuville; there, they meet a platoon from the 101st Airborne Division 101st Airborne Division , and Caparzo dies after being shot by a sniper. Eventually, they locate a Private James Ryan, but soon learn that he is not their man. They find a member of Ryan's regiment who informs them that his drop zone drop zone was at Vierville Vierville and that his and Ryan's companies had the same rally point. Once they reach it, Miller meets a friend of Ryan's, who reveals that Ryan is defending a strategically important bridge over the Merderet River Merderet River in the town of Ramelle. On the way to Ramelle, Miller decides to neutralize a German machine gun position, despite the misgivings of his men. Wade is fatally wounded in the ensuing skirmish, but Miller prevents a surviving German from being executed and sets him free. No longer confident in Miller's leadership, Reiben declares his intention to desert the squad and the mission, prompting a confrontation with Horvath. The argument heats up until Miller defuses the situation by revealing his origins, which the squad had earlier set up a betting pool upon. Reiben then reluctantly decides to stay. \n", " Upon arrival at Ramelle, Miller and the squad come upon a small group of paratroopers, one of whom is Ryan. Ryan is told of his brothers' deaths, the mission to bring him home, and that two men had been lost in the quest to find him. He is distressed at the loss of his brothers, but does not feel it is fair to go home, asking Miller to tell his mother that he intends to stay \"with the only brothers [he has] left.\" Miller decides to take command and defend the bridge with what little manpower and resources are available. Elements of the 2nd SS Panzer Division arrive with infantry and armor. In the ensuing battle, while inflicting heavy German casualties, most of the Americans\u2014including Jackson, Mellish, and Horvath\u2014are killed. While attempting to blow the bridge, Miller is shot and mortally wounded by the German prisoner set free earlier, who has returned to battle alongside the SS. Just before a Tiger tank reaches the bridge, an American P-51 Mustang flies over and destroys it, followed by American reinforcements who rout the remaining Germans. Upham executes the German who shot Miller and allows the rest to flee. Upon arrival at Ramelle, Miller and the squad come upon a small group of paratroopers, one of whom is Ryan. Ryan is told of his brothers' deaths, the mission to bring him home, and that two men had been lost in the quest to find him. He is distressed at the loss of his brothers, but does not feel it is fair to go home, asking Miller to tell his mother that he intends to stay \"with the only brothers [he has] left.\" Miller decides to take command and defend the bridge with what little manpower and resources are available. Elements of the 2nd SS Panzer Division 2nd SS Panzer Division arrive with infantry and armor. In the ensuing battle, while inflicting heavy German casualties, most of the Americans\u2014including Jackson, Mellish, and Horvath\u2014are killed. While attempting to blow the bridge, Miller is shot and mortally wounded by the German prisoner set free earlier, who has returned to battle alongside the SS. Just before a Tiger tank Tiger tank reaches the bridge, an American P-51 Mustang P-51 Mustang flies over and destroys it, followed by American reinforcements who rout the remaining Germans. Upham executes the German who shot Miller and allows the rest to flee. \n", " Reiben and Ryan are with Miller as he dies and says his last words, \"James ... earn this. Earn it.\" In the present day, the elderly Ryan and his family visit the Normandy American Cemetery and Memorial. Ryan stands at Miller's grave and asks his wife to confirm that he has led a good life, that he is a \"good man\" and thus worthy of the sacrifice of Miller and the others. His wife replies \"You are.\" At this point, Ryan stands at attention and delivers a military salute towards Miller's grave. Reiben and Ryan are with Miller as he dies and says his last words, \"James ... earn this. Earn it.\" In the present day, the elderly Ryan and his family visit the Normandy American Cemetery and Memorial Normandy American Cemetery and Memorial . Ryan stands at Miller's grave and asks his wife to confirm that he has led a good life, that he is a \"good man\" and thus worthy of the sacrifice of Miller and the others. His wife replies \"You are.\" At this point, Ryan stands at attention and delivers a military salute salute towards Miller's grave. \n", " \n", "http://en.wikipedia.org/wiki/Unforgiven\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " A group of prostitutes in Big Whiskey, Wyoming, led by Strawberry Alice, offer a $1,000 reward to whoever can kill Quick Mike and \"Davey-Boy\" Bunting, two cowboys who disfigured Delilah Fitzgerald. The local sheriff, Little Bill Daggett, a former gunfighter and keeper of the peace, is worried about their incentive, as he does not allow guns or criminals in his town. Little Bill had given the two men leniency, despite their crime. A group of prostitutes in Big Whiskey, Wyoming, led by Strawberry Alice, offer a $1,000 reward to whoever can kill Quick Mike and \"Davey-Boy\" Bunting, two cowboys who disfigured Delilah Fitzgerald. The local sheriff, Little Bill Daggett, a former gunfighter and keeper of the peace, is worried about their incentive, as he does not allow guns or criminals in his town. Little Bill had given the two men leniency, despite their crime. \n", " Miles away in Kansas, the Schofield Kid, a boastful young man, visits the pig farm of William Munny, seeking to recruit him to kill the cowboys. In his youth, Munny was a bandit notorious as a cold-blooded murderer. Now a repentant widower raising two children, he has sworn off alcohol and killing. Though Munny initially refuses to help with the execution, his farm is failing, putting his children's future in jeopardy. Munny reconsiders a few days later and sets off to catch up with the Kid. On his way, Munny recruits Ned Logan, another retired gunfighter, who leaves his wife to go along. Miles away in Kansas, the Schofield Kid, a boastful young man, visits the pig farm of William Munny, seeking to recruit him to kill the cowboys. In his youth, Munny was a bandit notorious as a cold-blooded murderer. Now a repentant widower raising two children, he has sworn off alcohol and killing. Though Munny initially refuses to help with the execution, his farm is failing, putting his children's future in jeopardy. Munny reconsiders a few days later and sets off to catch up with the Kid. On his way, Munny recruits Ned Logan, another retired gunfighter, who leaves his wife to go along. \n", " Back in Wyoming, gunfighter English Bob, and old acquaintance and rival of Little Bill, is also seeking the reward and arrives in Big Whiskey with a biographer, W. W. Beauchamp. Little Bill and his deputies disarm Bob, and Bill beats him savagely, hoping to discourage other would-be killers. That night in the town jail, Little Bill begins to dissect the boastful stories that Bob has been telling Mr. Beauchamp, revealing him to be a cowardly backshooter rather than the heroic figure he has made himself out to be to his biographer. The next morning he ejects Bob from town, but Beauchamp decides to stay and write about Bill. He has impressed the biographer with his tales of old gunfights and seeming knowledge of the inner workings of a gunfighter's psyche. Back in Wyoming, gunfighter English Bob, and old acquaintance and rival of Little Bill, is also seeking the reward and arrives in Big Whiskey with a biographer, W. W. Beauchamp. Little Bill and his deputies disarm Bob, and Bill beats him savagely, hoping to discourage other would-be killers. That night in the town jail, Little Bill begins to dissect the boastful stories that Bob has been telling Mr. Beauchamp, revealing him to be a cowardly backshooter rather than the heroic figure he has made himself out to be to his biographer. The next morning he ejects Bob from town, but Beauchamp decides to stay and write about Bill. He has impressed the biographer with his tales of old gunfights and seeming knowledge of the inner workings of a gunfighter's psyche. \n", " Munny, Logan and the Kid arrive later during a rain storm; they go to the saloon/whorehouse to discover the cowboys' location. With a bad fever after riding in the rain, Munny is sitting alone in the saloon when Little Bill and his deputies arrive to confront him. With no idea of Munny's past, Little Bill beats him and kicks him out of the saloon after finding a pistol on him. Logan and the Kid, upstairs getting \"advances\" on their payment from the prostitutes, escape out a back window. The three regroup at a barn outside of town, where they nurse Munny back to health. Munny, Logan and the Kid arrive later during a rain storm; they go to the saloon/whorehouse to discover the cowboys' location. With a bad fever after riding in the rain, Munny is sitting alone in the saloon when Little Bill and his deputies arrive to confront him. With no idea of Munny's past, Little Bill beats him and kicks him out of the saloon after finding a pistol on him. Logan and the Kid, upstairs getting \"advances\" on their payment from the prostitutes, escape out a back window. The three regroup at a barn outside of town, where they nurse Munny back to health. \n", " Three days later, they ambush a group of cowboys and kill Bunting. Logan and Munny no longer have much stomach for murder. Logan decides to return home while Munny feels they must finish what they started. Munny and the Kid head to the cowboys' ranch, where the Kid ambushes Quick Mike in an outhouse and kills him. After they escape, a distraught Kid confesses he had never killed anyone before. Munny advises him to drink more whiskey to numb the pain of realizing that when you kill someone, you take everything they have, and ever will have. The Kid renounces life as a gunfighter and plans to return home. Three days later, they ambush a group of cowboys and kill Bunting. Logan and Munny no longer have much stomach for murder. Logan decides to return home while Munny feels they must finish what they started. Munny and the Kid head to the cowboys' ranch, where the Kid ambushes Quick Mike in an outhouse and kills him. After they escape, a distraught Kid confesses he had never killed anyone before. Munny advises him to drink more whiskey to numb the pain of realizing that when you kill someone, you take everything they have, and ever will have. The Kid renounces life as a gunfighter and plans to return home. \n", " When Little Sue meets the two men to give them the reward, they learn that Logan was captured by Little Bill's men and tortured to death. He had revealed the names of his two accomplices before dying, after which his corpse was displayed outside the saloon. After this, The Kid heads back to Kansas to deliver the reward money to Munny's children and Logan's wife. Munny takes Ned's whiskey bottle from the kid, takes a few gulps, and heads into town to take revenge on Little Bill. When Little Sue meets the two men to give them the reward, they learn that Logan was captured by Little Bill's men and tortured to death. He had revealed the names of his two accomplices before dying, after which his corpse was displayed outside the saloon. After this, The Kid heads back to Kansas to deliver the reward money to Munny's children and Logan's wife. Munny takes Ned's whiskey bottle from the kid, takes a few gulps, and heads into town to take revenge on Little Bill. \n", " That night, Munny arrives and sees that Logan's corpse is indeed displayed in a coffin outside the saloon. Inside, Little Bill has assembled a posse to pursue Munny and the Kid. Munny walks in alone and kills Skinny Dubois, the saloon owner and pimp. After some tense dialogue, a gunfight ensues, leaving Bill wounded and several of his deputies dead. Munny orders everyone out if they didn't want to get killed. Just as a wounded Little Bill weakly lifts his pistol and cocks it, Munny turns and kicks it from his hand. Bill says he doesn't deserve this and curses Munny before the latter finishes him with a final gunshot, telling Bill that \"deserve's got nothing to do with it\". Munny threatens the townsfolk before finally leaving town, warning that he will return if Logan is not buried properly or if any prostitutes are further harmed. That night, Munny arrives and sees that Logan's corpse is indeed displayed in a coffin outside the saloon. Inside, Little Bill has assembled a posse to pursue Munny and the Kid. Munny walks in alone and kills Skinny Dubois, the saloon owner and pimp. After some tense dialogue, a gunfight ensues, leaving Bill wounded and several of his deputies dead. Munny orders everyone out if they didn't want to get killed. Just as a wounded Little Bill weakly lifts his pistol and cocks it, Munny turns and kicks it from his hand. Bill says he doesn't deserve this and curses Munny before the latter finishes him with a final gunshot, telling Bill that \"deserve's got nothing to do with it\". Munny threatens the townsfolk before finally leaving town, warning that he will return if Logan is not buried properly or if any prostitutes are further harmed. \n", " A brief epilogue states that Munny was rumored to have moved to San Francisco, where he prospered in dry goods. A brief epilogue states that Munny was rumored to have moved to San Francisco, where he prospered in dry goods dry goods . \n", " \n", "http://en.wikipedia.org/wiki/Raiders_of_the_Lost_Ark\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1936, archaeologist Indiana Jones braves an ancient booby-trapped temple in Peru and retrieves a golden idol. He is confronted by rival archaeologist Ren\u00e9 Belloq and the indigenous Hovito people. Surrounded and outnumbered, Jones is forced to surrender the idol to Belloq and escapes aboard a waiting floatplane. In 1936, archaeologist Indiana Jones Indiana Jones braves an ancient booby-trapped temple in Peru Peru and retrieves a golden idol golden idol . He is confronted by rival archaeologist Ren\u00e9 Belloq Ren\u00e9 Belloq and the indigenous Hovito Hovito people. Surrounded and outnumbered, Jones is forced to surrender the idol to Belloq and escapes aboard a waiting floatplane floatplane . \n", " Jones returns to his teaching position at Marshall College, where he is interviewed by two Army Intelligence agents. They inform him that the Nazis, who are obsessed with the occult, are searching for his old mentor Abner Ravenwood. The Nazis know that Ravenwood is the leading expert on the ancient Egyptian city of Tanis, and that he possesses the headpiece of the Staff of Ra. Jones deduces that the Nazis are searching for the location of the Ark of the Covenant; the Nazis believe that if they acquire the Ark their armies will become invincible. The Staff of Ra is the key to finding the Well of Souls, a secret chamber in which the Ark is buried. Jones returns to his teaching position at Marshall College, where he is interviewed by two Army Intelligence Army Intelligence agents. They inform him that the Nazis Nazis , who are obsessed with the occult occult , are searching for his old mentor Abner Ravenwood. The Nazis know that Ravenwood is the leading expert on the ancient Egyptian city of Tanis Tanis , and that he possesses the headpiece of the Staff of Ra Ra . Jones deduces that the Nazis are searching for the location of the Ark of the Covenant Ark of the Covenant ; the Nazis believe that if they acquire the Ark their armies will become invincible. The Staff of Ra is the key to finding the Well of Souls Well of Souls , a secret chamber in which the Ark is buried. \n", " The agents authorize Jones to recover the Ark to prevent the Nazis from obtaining it. He travels to Nepal and discovers that Abner has died, and the headpiece is in the possession of Ravenwood's daughter Marion. Jones visits Marion at her tavern, where she reveals her bitter feelings toward him from a previous romantic affair. She rebuffs his offer to buy the headpiece, and Jones leaves. Shortly after, a group of Nazi soldiers arrive with their commander, Arnold Toht. They threaten Marion to get the headpiece, and her bar is set on fire when Jones comes back to intervene. Toht severely burns his hand trying to pick up the hot headpiece and flees the tavern screaming. Jones and Marion escape with the headpiece, and Marion decides to accompany Jones in his search for the Ark so she can repay his debt. The agents authorize Jones to recover the Ark to prevent the Nazis from obtaining it. He travels to Nepal Nepal and discovers that Abner has died, and the headpiece is in the possession of Ravenwood's daughter Marion Marion . Jones visits Marion at her tavern, where she reveals her bitter feelings toward him from a previous romantic affair. She rebuffs his offer to buy the headpiece, and Jones leaves. Shortly after, a group of Nazi soldiers arrive with their commander, Arnold Toht Arnold Toht . They threaten Marion to get the headpiece, and her bar is set on fire when Jones comes back to intervene. Toht severely burns his hand trying to pick up the hot headpiece and flees the tavern screaming. Jones and Marion escape with the headpiece, and Marion decides to accompany Jones in his search for the Ark so she can repay his debt. \n", " The pair travel to Cairo, where they meet up with Jones's friend Sallah, a skilled excavator. Sallah informs them that Belloq and the Nazis are digging for the Well of Souls with a replica of the headpiece, created from the scar on Toht's hand. They quickly realize the Nazi headpiece is incomplete and that the Nazis are digging in the wrong place. The Nazis kidnap Marion and it appears to Jones that she is killed in an explosion. After a confrontation with Belloq in a local bar, Jones and Sallah infiltrate the Nazi dig site and use their staff to correctly locate the Ark. Jones, Sallah, and a small group of diggers unearth the Well of Souls and Jones is forced to face his fear of snakes to acquire the Ark. Belloq and the Nazis arrive, seize the Ark from Jones, and throw Marion into the Well of Souls with him before sealing it back up. Jones and Marion escape to a local airstrip, where Jones has a brutal fistfight with a Nazi mechanic before blowing up a flying wing. The panicked Nazis remove the Ark in a truck and set off for Berlin, but Jones catches them and retakes it. He makes arrangements to take the Ark to London aboard a tramp steamer. The pair travel to Cairo Cairo , where they meet up with Jones's friend Sallah Sallah , a skilled excavator excavator . Sallah informs them that Belloq and the Nazis are digging for the Well of Souls with a replica of the headpiece, created from the scar on Toht's hand. They quickly realize the Nazi headpiece is incomplete and that the Nazis are digging in the wrong place. The Nazis kidnap Marion and it appears to Jones that she is killed in an explosion. After a confrontation with Belloq in a local bar, Jones and Sallah infiltrate the Nazi dig site and use their staff to correctly locate the Ark. Jones, Sallah, and a small group of diggers unearth the Well of Souls and Jones is forced to face his fear of snakes fear of snakes to acquire the Ark. Belloq and the Nazis arrive, seize the Ark from Jones, and throw Marion into the Well of Souls with him before sealing it back up. Jones and Marion escape to a local airstrip, where Jones has a brutal fistfight with a Nazi mechanic before blowing up a flying wing flying wing . The panicked Nazis remove the Ark in a truck and set off for Berlin, but Jones catches them and retakes it. He makes arrangements to take the Ark to London aboard a tramp steamer tramp steamer . \n", " The next day the Nazis arrive and intercept the boat. Belloq and the Nazis seize the Ark and Marion but cannot locate Jones, who stows away aboard the Nazi U-boat and travels with them to an island in the Aegean Sea. Once there, Belloq plans to test the power of the Ark before presenting it to Hitler. Jones reveals himself and threatens to destroy the Ark with a bazooka, but Belloq calls the bluff and Jones surrenders rather than destroy such an important historical artifact. The Nazis take Jones and Marion to an area where the Ark will be opened and tie them to a post to observe. Belloq performs a ceremonial opening of the Ark, which appears to contain nothing but sand. Suddenly, angelic, ghost-like beings emerge from the Ark and float around the assembly. Jones cautions Marion to keep her eyes tightly closed and not to observe what happens next. Belloq and the others look on in astonishment as the apparitions are suddenly revealed to be angels of death. A vortex of flame forms above the opened Ark and energy surges out into the gathered Nazi soldiers, killing them all. As Belloq, Toht and Dietrich all scream in terror, the Ark turns its fury on them: Dietrich's head shrivels up, Toht's face is melted off his skull and Belloq's head explodes. Flames then engulf the remains of the doomed assembly, save for Jones and Marion. The Ark's lid is blasted high into the air before dropping back down onto the Ark and sealing it. Jones and Marion find their ropes burned off and embrace. The next day the Nazis arrive and intercept the boat. Belloq and the Nazis seize the Ark and Marion but cannot locate Jones, who stows away aboard the Nazi U-boat U-boat and travels with them to an island in the Aegean Sea Aegean Sea . Once there, Belloq plans to test the power of the Ark before presenting it to Hitler. Jones reveals himself and threatens to destroy the Ark with a bazooka, but Belloq calls the bluff and Jones surrenders rather than destroy such an important historical artifact. The Nazis take Jones and Marion to an area where the Ark will be opened and tie them to a post to observe. Belloq performs a ceremonial opening of the Ark, which appears to contain nothing but sand. Suddenly, angelic, ghost-like beings emerge from the Ark and float around the assembly. Jones cautions Marion to keep her eyes tightly closed and not to observe what happens next. Belloq and the others look on in astonishment as the apparitions are suddenly revealed to be angels of death. A vortex of flame vortex of flame forms above the opened Ark and energy surges out into the gathered Nazi soldiers, killing them all. As Belloq, Toht and Dietrich all scream in terror, the Ark turns its fury on them: Dietrich's head shrivels up, Toht's face is melted off his skull and Belloq's head explodes. Flames then engulf the remains of the doomed assembly, save for Jones and Marion. The Ark's lid is blasted high into the air before dropping back down onto the Ark and sealing it. Jones and Marion find their ropes burned off and embrace. \n", " In Washington, D.C., the Army Intelligence agents inform Jones and Brody that the Ark is someplace safe and will be studied by \"top men\". The Ark is shown being permanently stored in a giant government warehouse among countless similar crates. In Washington, D.C. Washington, D.C. , the Army Intelligence agents inform Jones and Brody that the Ark is someplace safe and will be studied by \"top men\". The Ark is shown being permanently stored in a giant government warehouse among countless similar crates. \n", " \n", "http://en.wikipedia.org/wiki/Rocky\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " On November 25, 1975, Rocky Balboa (Sylvester Stallone) is introduced as a small-time boxer and collector for a loan shark named Anthony Gazzo (Joe Spinell) and is living in the Kensington neighborhood of Philadelphia. The World Heavyweight Championship bout, with undefeated heavyweight champion Apollo Creed (Carl Weathers) defending against Mac Lee Green, is scheduled to take place at the Philadelphia Spectrum on New Year's Day 1976, the year of the United States Bicentennial. When Green drops out because of an injured hand, Creed and his entourage are stymied on what to do. Other contenders say there is not enough time to get into shape. On November 25, 1975, Rocky Balboa Rocky Balboa ( Sylvester Stallone Sylvester Stallone ) is introduced as a small-time boxer boxer and collector for a loan shark loan shark named Anthony Gazzo ( Joe Spinell Joe Spinell ) and is living in the Kensington Kensington neighborhood of Philadelphia Philadelphia . The World Heavyweight Championship bout bout , with undefeated heavyweight champion heavyweight champion Apollo Creed Apollo Creed ( Carl Weathers Carl Weathers ) defending against Mac Lee Green, is scheduled to take place at the Philadelphia Spectrum Philadelphia Spectrum on New Year's Day New Year's Day 1976, the year of the United States Bicentennial United States Bicentennial . When Green drops out because of an injured hand, Creed and his entourage are stymied on what to do. Other contenders say there is not enough time to get into shape. \n", " Creed comes up with the idea of giving a local underdog a shot at the title and, because he likes Rocky's nickname \"The Italian Stallion,\" he selects the relatively unknown fighter. He puts it in lights by proclaiming \"Apollo Creed Meets The Italian Stallion.\" The fight promoter George Jergens (Thayer David) says the decision is \"very American\"; but Creed says, rather, that it is \"very smart.\" Creed comes up with the idea of giving a local underdog a shot at the title and, because he likes Rocky's nickname \"The Italian Stallion,\" he selects the relatively unknown fighter. He puts it in lights by proclaiming \"Apollo Creed Meets The Italian Stallion.\" The fight promoter George Jergens ( Thayer David Thayer David ) says the decision is \"very American\"; but Creed says, rather, that it is \"very smart.\" \n", " To prepare for the fight Rocky trains with a 1920s-era ex-bantamweight fighter and gym owner, Mickey Goldmill (Burgess Meredith). Mickey always considered Rocky's potential to be better than his effort\u2014telling him he had heart but also calling him a \"tomato\" and \"leg breaker for some cheap second-rate loan shark\" among other endearments, and putting Rocky out of his gym locker preceding the \"freak luck\" opportunity that comes Rocky's way, and Rocky is initially skeptical of Mickey's motives and timing for wanting to train Rocky for the big fight. Rocky's good friend Paulie (Burt Young), a meat-packing-plant worker, lets him practice his punches on the carcasses hanging in the freezers. To prepare for the fight Rocky trains with a 1920s-era ex- bantamweight bantamweight fighter and gym owner, Mickey Goldmill Mickey Goldmill ( Burgess Meredith Burgess Meredith ). Mickey always considered Rocky's potential to be better than his effort\u2014telling him he had heart but also calling him a \"tomato\" and \"leg breaker for some cheap second-rate loan shark\" among other endearments, and putting Rocky out of his gym locker preceding the \"freak luck\" opportunity that comes Rocky's way, and Rocky is initially skeptical of Mickey's motives and timing for wanting to train Rocky for the big fight. Rocky's good friend Paulie ( Burt Young Burt Young ), a meat-packing-plant worker, lets him practice his punches on the carcasses hanging in the freezers. \n", " Rocky courts and eventually dates Paulie's shy, quiet sister, Adrian (Talia Shire), who works as a clerk in a local pet store. He draws Adrian out of her shell and, as Rocky's girlfriend, she begins to gain in confidence. Paulie, however, is jealous of the relationship. The night before the fight, Rocky privately tours the Spectrum and notices the photograph of him wearing the wrong colored shorts. Mr. Jergens tells Rocky the incorrect photograph doesn't really matter. Dejected, Rocky confides to Adrian that he does not expect to beat Creed and that all he wants is to go the distance because no one had ever gone the distance with Creed. Rocky courts and eventually dates Paulie's shy, quiet sister, Adrian ( Talia Shire Talia Shire ), who works as a clerk in a local pet store. He draws Adrian out of her shell and, as Rocky's girlfriend, she begins to gain in confidence. Paulie, however, is jealous of the relationship. The night before the fight, Rocky privately tours the Spectrum and notices the photograph of him wearing the wrong colored shorts. Mr. Jergens tells Rocky the incorrect photograph doesn't really matter. Dejected, Rocky confides to Adrian that he does not expect to beat Creed and that all he wants is to go the distance go the distance because no one had ever gone the distance with Creed. \n", " On New Year's Day, the climactic boxing match begins. Apollo Creed has never taken the fight seriously, and Rocky unexpectedly knocks him down in the first round (the first time Creed has been knocked down in his professional career), embarrassing Creed, and the match turns intense. Creed's prediction that he would knockout Rocky in three rounds is quickly erased as the two fighters engage in a brutal match. Creed realizes that he has underestimated his opponent and desperately defends his title. The fight indeed lasts 15 rounds, with both fighters sustaining many injuries; Rocky suffers his first broken nose and debilitating trauma around the eye, and Creed sustains brutal blows to his ribs with substantial internal bleeding. As the match progresses, Creed's superior skill is countered by Rocky's apparently unlimited ability to absorb punishment, and his dogged refusal to be knocked out. As the final round bell sounds, with both fighters locked in each other's arms, an exhausted Creed vows \"Ain't gonna be no re-match,\" to which an equally spent Rocky replies, \"Don't want one.\" On New Year's Day, the climactic boxing match begins. Apollo Creed has never taken the fight seriously, and Rocky unexpectedly knocks him down in the first round (the first time Creed has been knocked down in his professional career), embarrassing Creed, and the match turns intense. Creed's prediction that he would knockout Rocky in three rounds is quickly erased as the two fighters engage in a brutal match. Creed realizes that he has underestimated his opponent and desperately defends his title. The fight indeed lasts 15 rounds, with both fighters sustaining many injuries; Rocky suffers his first broken nose and debilitating trauma around the eye, and Creed sustains brutal blows to his ribs with substantial internal bleeding. As the match progresses, Creed's superior skill is countered by Rocky's apparently unlimited ability to absorb punishment, and his dogged refusal to be knocked out. As the final round bell sounds, with both fighters locked in each other's arms, an exhausted Creed vows \"Ain't gonna be no re-match,\" to which an equally spent Rocky replies, \"Don't want one.\" \n", " After the fight, multiple layers of drama are played out: sportscasters and audience are going wild; the promoter/ring announcer George Jergens announces over the loudspeaker that the match was \"the greatest exhibition of guts and stamina in the history of the ring\"; Rocky calls out repeatedly for Adrian, who runs down and comes into the ring as Paulie distracts the security personnel. As Jergens declares Apollo Creed the winner by virtue of a split decision (8:7, 7:8, 9:6), Adrian and Rocky embrace while they profess their love to one another, not caring about the result of the fight. After the fight, multiple layers of drama are played out: sportscasters and audience are going wild; the promoter/ring announcer George Jergens announces over the loudspeaker that the match was \"the greatest exhibition of guts and stamina in the history of the ring\"; Rocky calls out repeatedly for Adrian, who runs down and comes into the ring as Paulie distracts the security personnel. As Jergens declares Apollo Creed the winner by virtue of a split decision (8:7, 7:8, 9:6), Adrian and Rocky embrace while they profess their love to one another, not caring about the result of the fight. \n", " \n", "http://en.wikipedia.org/wiki/A_Streetcar_Named_Desire_(1951_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Blanche DuBois is a fading but still attractive Southern belle, whose manners and pretension of virtue thinly mask her alcoholism and delusions of grandeur. She clings to the illusions of beauty and her meager possessions, both to shield herself from reality and to attract new suitors. Blanche leaves her hometown of Laurel, Mississippi to visit her sister, Stella Kowalski, in the French Quarter of New Orleans. She is told \"to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at \u2013 Elysian Fields!\" The steamy, urban ambiance is a shock to Blanche's nerves. Blanche DuBois Blanche DuBois is a fading but still attractive Southern belle Southern belle , whose manners and pretension of virtue thinly mask her alcoholism and delusions of grandeur. She clings to the illusions of beauty and her meager possessions, both to shield herself from reality and to attract new suitors. Blanche leaves her hometown of Laurel, Mississippi Mississippi to visit her sister, Stella Kowalski Stella Kowalski , in the French Quarter of New Orleans New Orleans . She is told \"to take a streetcar streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at \u2013 Elysian Fields!\" The steamy, urban ambiance is a shock to Blanche's nerves. \n", " Stella is thrilled to see Blanche but dismayed at how her husband Stanley will react when he learns that her family's plantation, Belle Reve, was lost due to the \"epic debauchery\" of her ancestors, according to Blanche. Blanche says she has taken a leave from her job as an English teacher because of her nerves, but in reality she was fired for having an affair with a 17-year-old male student. An early marriage left emotional scars after the suicide of her husband, Allan Grey, and now she plans to stay with Stella and Stanley in their cramped apartment indefinitely. Stella is thrilled to see Blanche but dismayed at how her husband Stanley Stanley will react when he learns that her family's plantation, Belle Reve, was lost due to the \"epic debauchery\" of her ancestors, according to Blanche. Blanche says she has taken a leave from her job as an English teacher because of her nerves, but in reality she was fired for having an affair with a 17-year-old male student. An early marriage left emotional scars after the suicide of her husband, Allan Grey, and now she plans to stay with Stella and Stanley in their cramped apartment indefinitely. \n", " Blanche comments freely on her perceptions of Stanley, and his relationship with Stella. He is a force of nature: primal, rough-hewn, brutish and sensual, who dominates Stella in every way, including physical and emotional abuse. When they fight she runs upstairs to the neighbors but she always comes back. Stella's attraction to him overwhelms her breeding and sensitivity, and is compounded by the knowledge that she is now pregnant. Blanche's prolonged presence in their home upsets their routine, and Stella's concern for her sister's well-being emboldens Blanche to hold court in the Kowalski apartment, infuriating Stanley. One of Stanley's friends, Harold \"Mitch\" Mitchell, is smitten with Blanche and indulges her, accepting her stories at face value. But Stanley sets out to discover the truth behind her embellished tales, and cruelly confronts her after he learns what happened back in Laurel. He ridicules her marriage, her string of affairs with young men and students, and her conduct in the loss of the plantation. Blanche comments freely on her perceptions of Stanley, and his relationship with Stella. He is a force of nature: primal, rough-hewn, brutish and sensual, who dominates Stella in every way, including physical and emotional abuse. When they fight she runs upstairs to the neighbors but she always comes back. Stella's attraction to him overwhelms her breeding and sensitivity, and is compounded by the knowledge that she is now pregnant. Blanche's prolonged presence in their home upsets their routine, and Stella's concern for her sister's well-being emboldens Blanche to hold court in the Kowalski apartment, infuriating Stanley. One of Stanley's friends, Harold \"Mitch\" Mitchell, is smitten with Blanche and indulges her, accepting her stories at face value. But Stanley sets out to discover the truth behind her embellished tales, and cruelly confronts her after he learns what happened back in Laurel. He ridicules her marriage, her string of affairs with young men and students, and her conduct in the loss of the plantation. \n", " Their final confrontation \u2013 a rape \u2013 results in Blanche's nervous breakdown. Stanley has her committed to a mental institution, and as the doctor takes Blanche away Mitch tries to assault Stanley. But Mitch is restrained by their other friends, and begins to weep. As the other men look on, Stanley claims he \"never once touched her\". Devastated by her sister's fate, Stella rejects Stanley and pushes him away. She runs out to see Blanche off, but is too late, as the car has already gone. Stanley calls out for Stella, and as he cries her name once more (\"Stella! Hey, Stella!\"), she vows that she is never going back to Stanley, and runs upstairs again, with their baby, to seek refuge with her neighbors. Their final confrontation \u2013 a rape \u2013 results in Blanche's nervous breakdown. Stanley has her committed to a mental institution, and as the doctor takes Blanche away Mitch tries to assault Stanley. But Mitch is restrained by their other friends, and begins to weep. As the other men look on, Stanley claims he \"never once touched her\". Devastated by her sister's fate, Stella rejects Stanley and pushes him away. She runs out to see Blanche off, but is too late, as the car has already gone. Stanley calls out for Stella, and as he cries her name once more (\"Stella! Hey, Stella!\"), she vows that she is never going back to Stanley, and runs upstairs again, with their baby, to seek refuge with her neighbors. \n", " \n", "http://en.wikipedia.org/wiki/The_Philadelphia_Story_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", " \n", " Play media Play media Play media Play media \n", " \n", "\n", "The film's trailer \n", " \n", "The film's trailer \n", " \n", " \n", " Tracy Lord (Katharine Hepburn) is a wealthy Main Line Philadelphia socialite who had divorced C. K. Dexter Haven (Cary Grant), a member of her social set, because he did not measure up to her exacting standards. (He was an alcoholic, and her lack of faith in him exacerbated his condition.) She is about to marry nouveau riche \"man of the people\" George Kittredge (John Howard). Tracy Lord ( Katharine Hepburn Katharine Hepburn ) is a wealthy Main Line Main Line Philadelphia Philadelphia socialite socialite who had divorced C. K. Dexter Haven ( Cary Grant Cary Grant ), a member of her social set, because he did not measure up to her exacting standards. (He was an alcoholic, and her lack of faith in him exacerbated his condition.) She is about to marry nouveau riche nouveau riche nouveau riche \"man of the people\" George Kittredge ( John Howard John Howard ). \n", " Spy magazine publisher Sidney Kidd (Henry Daniell) is eager to cover the wedding, and he enlists Dexter, one of his former employees, to introduce reporter Macaulay \"Mike\" Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey) as friends of the family so they can report on the wedding. Tracy is not fooled but reluctantly agrees to let them stay\u2014after Dexter explains that Sidney has an innuendo-laden article about Tracy's father, Seth (John Halliday), who, she believes, is having an affair with a dancer. Though he is separated from her mother, Margaret (Mary Nash), and Tracy harbors great resentment against him, she wants to protect her family's reputation. Spy Spy magazine publisher Sidney Kidd ( Henry Daniell Henry Daniell ) is eager to cover the wedding, and he enlists Dexter, one of his former employees, to introduce reporter Macaulay \"Mike\" Connor ( James Stewart James Stewart ) and photographer Liz Imbrie ( Ruth Hussey Ruth Hussey ) as friends of the family so they can report on the wedding. Tracy is not fooled but reluctantly agrees to let them stay\u2014after Dexter explains that Sidney has an innuendo-laden article about Tracy's father, Seth ( John Halliday John Halliday ), who, she believes, is having an affair with a dancer. Though he is separated from her mother, Margaret ( Mary Nash Mary Nash ), and Tracy harbors great resentment against him, she wants to protect her family's reputation. \n", " Dexter is welcomed back with open arms by Margaret and Dinah (Virginia Weidler), Tracy's teenage sister, much to her annoyance. In addition, she gradually discovers that Mike has admirable qualities, and she even takes the trouble to find his published stories in the library. Thus, as the wedding nears, she finds herself torn between George, Dexter, and Mike. Dexter is welcomed back with open arms by Margaret and Dinah ( Virginia Weidler Virginia Weidler ), Tracy's teenage sister, much to her annoyance. In addition, she gradually discovers that Mike has admirable qualities, and she even takes the trouble to find his published stories in the library. Thus, as the wedding nears, she finds herself torn between George, Dexter, and Mike. \n", " The night before the wedding, Tracy gets drunk for only the second time in her life and takes an innocent swim with Mike. When George sees Mike carrying an intoxicated Tracy into the house afterward, he thinks the worst. The next day, he tells her that he was shocked and feels entitled to an explanation before going ahead with the wedding. She takes exception to his lack of faith in her and breaks off the engagement. Then she realizes that all the guests have arrived and are waiting for the ceremony to begin. Mike volunteers to marry her (much to Liz's distress), but she graciously declines. At this point, Dexter makes his bid for her hand, which she accepts. The night before the wedding, Tracy gets drunk for only the second time in her life and takes an innocent swim with Mike. When George sees Mike carrying an intoxicated Tracy into the house afterward, he thinks the worst. The next day, he tells her that he was shocked and feels entitled to an explanation before going ahead with the wedding. She takes exception to his lack of faith in her and breaks off the engagement. Then she realizes that all the guests have arrived and are waiting for the ceremony to begin. Mike volunteers to marry her (much to Liz's distress), but she graciously declines. At this point, Dexter makes his bid for her hand, which she accepts. \n", " \n", "\n", "\n", "\n", "Katharine Hepburn, Cary Grant, James Stewart and Ruth Hussey in the film\n", "\n", " \n", " \n", "\n", "\n", "Katharine Hepburn, Cary Grant, James Stewart and Ruth Hussey in the film\n", " \n", " \n", "\n", "Katharine Hepburn, Cary Grant, James Stewart and Ruth Hussey in the film \n", " \n", " Katharine Hepburn Katharine Hepburn , Cary Grant Cary Grant , James Stewart James Stewart and Ruth Hussey Ruth Hussey in the film \n", " \n", " \n", " \n", "http://en.wikipedia.org/wiki/To_Kill_a_Mockingbird_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The film's young protagonists, Jean Louise \"Scout\" Finch (Mary Badham) and her brother Jem (Phillip Alford), live in the fictional town of Maycomb, Alabama, during the 1930s. The story covers three years, during which Scout and Jem undergo changes in their lives. They begin as innocent children, who spend their days happily playing games with each other and spying on Arthur \"Boo\" Radley (Robert Duvall), who has not been seen for many years by anybody as a result of never leaving his house and about whom many rumors circulate. Their widowed father, Atticus (Gregory Peck), is a town lawyer and has a strong belief that all people are to be treated fairly, to turn the other cheek, and to stand for what you believe. He also allows his children to call him by his first name. Early in the film, the children see their father accept hickory nuts, and other produce, from Mr. Cunningham for legal work because the client has no money.[3] Through their father's work as a lawyer, Scout and Jem begin to learn of the racism and evil in their town, aggravated by poverty; they mature quickly as they are exposed to it. The film's young protagonists, Jean Louise \"Scout\" Finch ( Mary Badham Mary Badham ) and her brother Jem ( Phillip Alford Phillip Alford ), live in the fictional town of Maycomb, Alabama Alabama , during the 1930s. The story covers three years, during which Scout and Jem undergo changes in their lives. They begin as innocent children, who spend their days happily playing games with each other and spying on Arthur \"Boo\" Radley ( Robert Duvall Robert Duvall ), who has not been seen for many years by anybody as a result of never leaving his house and about whom many rumors circulate. Their widowed father, Atticus ( Gregory Peck Gregory Peck ), is a town lawyer and has a strong belief that all people are to be treated fairly, to turn the other cheek, and to stand for what you believe. He also allows his children to call him by his first name. Early in the film, the children see their father accept hickory nuts, and other produce, from Mr. Cunningham for legal work because the client has no money. [3] [3] [ [ 3 ] ] Through their father's work as a lawyer, Scout and Jem begin to learn of the racism racism and evil in their town, aggravated by poverty; they mature quickly as they are exposed to it. \n", " The local judge appoints Atticus to defend a black man, Tom Robinson (Brock Peters), against an accusation of rape of a white teenaged girl, Mayella Ewell. Atticus accepts the case. Jem and Scout experience schoolyard taunts for their father's decision. Later, a lynch mob, led by Mr. Cunningham, tries to lynch Robinson over Atticus' objections. Scout, Jem and their friend, Dill, interrupt the confrontation. Scout, unaware of the mob's purpose, recognizes Cunningham as the man who paid her father in hickory nuts and tells him to say hello to his son, who is her schoolmate. Cunningham becomes embarrassed and the mob disperses. It is undisputed that Tom came to Mayella's home, at her request, to assist her with chopping up a chifforobe. It is also undisputed that Mayella showed signs of having been beaten around that time. Among Atticus' chief arguments, he points out that Tom is crippled in his left arm, and that the supposed rapist would have had to make extensive use of his left hand in assaulting Mayella before raping her. At the same time Atticus demonstrates that Mayella's father, Bob Ewell, is left handed, implying that he - rather than Tom - was the one who beat Mayella. Atticus also states that the girl had not even been examined by a doctor to check for signs of rape after the supposed assault. In his closing argument Atticus asks the all white, male jury to cast aside their prejudices and instead focus on Tom's obvious innocence. In taking the stand in his own defense, Tom testifies he assisted Mayella because he felt pity for her due to her circumstances. In a town where whites are viewed as superior to blacks, Tom's sympathy for Mayella dooms his case. The local judge appoints Atticus to defend a black man, Tom Robinson ( Brock Peters Brock Peters ), against an accusation of rape of a white teenaged girl, Mayella Ewell. Atticus accepts the case. Jem and Scout experience schoolyard taunts for their father's decision. Later, a lynch mob, led by Mr. Cunningham, tries to lynch Robinson over Atticus' objections. Scout, Jem and their friend, Dill, interrupt the confrontation. Scout, unaware of the mob's purpose, recognizes Cunningham as the man who paid her father in hickory nuts and tells him to say hello to his son, who is her schoolmate. Cunningham becomes embarrassed and the mob disperses. It is undisputed that Tom came to Mayella's home, at her request, to assist her with chopping up a chifforobe chifforobe . It is also undisputed that Mayella showed signs of having been beaten around that time. Among Atticus' chief arguments, he points out that Tom is crippled in his left arm, and that the supposed rapist would have had to make extensive use of his left hand in assaulting Mayella before raping her. At the same time Atticus demonstrates that Mayella's father, Bob Ewell, is left handed, implying that he - rather than Tom - was the one who beat Mayella. Atticus also states that the girl had not even been examined by a doctor to check for signs of rape after the supposed assault. In his closing argument Atticus asks the all white, male jury to cast aside their prejudices and instead focus on Tom's obvious innocence. In taking the stand in his own defense, Tom testifies he assisted Mayella because he felt pity for her due to her circumstances. In a town where whites are viewed as superior to blacks, Tom's sympathy for Mayella dooms his case. \n", " Atticus arrives home to find out that Tom has been killed by a deputy during Tom's transportation to prison. This deputy characterizes the event surrounding his death as an escape attempt. The deputy reported that Tom ran like a \"crazy\" man before he was shot. A short time later, Scout and Jem attend an evening Halloween pageant at their school. Scout wears a ham costume, portraying one of Maycomb county's products. During the pageant, Scout misplaces her dress and her shoes. Scout is forced to walk home without shoes in her ham costume. On their way home, Scout and Jem are attacked by an unidentified man who has been following them in the woods. Scout's costume, like an awkward suit of armor, protects her from the attack but restricts her movement and severely circumscribes her vision. Their attacker is thwarted and overcome by another unidentified man. Jem is knocked unconscious and Scout escapes unharmed in a brief but violent struggle. Scout escapes her costume in time to see a man carrying Jem home. Scout follows and finds Jem unconscious. Jem is later diagnosed with a broken arm. Sheriff Tate says that the attacker was the vengeful Bob Ewell, the drunkard father of Mayella, the girl Tom Robinson allegedly raped. Atticus arrives home to find out that Tom has been killed by a deputy during Tom's transportation to prison. This deputy characterizes the event surrounding his death as an escape attempt. The deputy reported that Tom ran like a \"crazy\" man before he was shot. A short time later, Scout and Jem attend an evening Halloween pageant at their school. Scout wears a ham costume, portraying one of Maycomb county's products. During the pageant, Scout misplaces her dress and her shoes. Scout is forced to walk home without shoes in her ham costume. On their way home, Scout and Jem are attacked by an unidentified man who has been following them in the woods. Scout's costume, like an awkward suit of armor, protects her from the attack but restricts her movement and severely circumscribes her vision. Their attacker is thwarted and overcome by another unidentified man. Jem is knocked unconscious and Scout escapes unharmed in a brief but violent struggle. Scout escapes her costume in time to see a man carrying Jem home. Scout follows and finds Jem unconscious. Jem is later diagnosed with a broken arm. Sheriff Tate says that the attacker was the vengeful Bob Ewell, the drunkard father of Mayella, the girl Tom Robinson allegedly raped. \n", " The sheriff arrives to report that he has found Bob Ewell dead with a knife in his ribs. Scout notices Arthur \"Boo\" Radley standing in corner of the room and recognizes him as the person who came to their aid against Ewell in the woods. Atticus assumes Jem killed Ewell in self-defense. Sheriff Tate, however, believes that Boo has justifiably killed Ewell and tells Atticus that to drag the shy and reserved Boo into the spotlight for his heroism would be \"a sin\". To protect Boo, Sheriff Tate suggests the conclusion that Ewell \"fell on his knife\". Scout draws a startlingly precocious analogy to an earlier lesson from the film (hence its title) when she likens public recognition of Boo to killing a mockingbird. The film ends with Scout considering events from Boo's point of view, and Atticus watching over the unconscious Jem. The sheriff arrives to report that he has found Bob Ewell dead with a knife in his ribs. Scout notices Arthur \"Boo\" Radley standing in corner of the room and recognizes him as the person who came to their aid against Ewell in the woods. Atticus assumes Jem killed Ewell in self-defense. Sheriff Tate, however, believes that Boo has justifiably killed Ewell and tells Atticus that to drag the shy and reserved Boo into the spotlight for his heroism would be \"a sin\". To protect Boo, Sheriff Tate suggests the conclusion that Ewell \"fell on his knife\". Scout draws a startlingly precocious analogy to an earlier lesson from the film (hence its title) when she likens public recognition of Boo to killing a mockingbird. The film ends with Scout considering events from Boo's point of view, and Atticus watching over the unconscious Jem. \n", " \n", "http://en.wikipedia.org/wiki/An_American_in_Paris_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " American World War II veteran Jerry Mulligan (Gene Kelly) is now an exuberant expatriate in Paris trying to make a reputation as a painter. His friend and neighbor, Adam Cook (Oscar Levant), is a struggling concert pianist who is a longtime associate of a French singer, Henri Baurel (Georges Gu\u00e9tary). At the ground-floor bar, Henri tells Adam about his cultured girlfriend. Jerry joins them later, before going out to sell his art. American World War II veteran Jerry Mulligan ( Gene Kelly Gene Kelly ) is now an exuberant expatriate in Paris trying to make a reputation as a painter painter . His friend and neighbor, Adam Cook ( Oscar Levant Oscar Levant ), is a struggling concert pianist who is a longtime associate of a French singer, Henri Baurel ( Georges Gu\u00e9tary Georges Gu\u00e9tary ). At the ground-floor bar, Henri tells Adam about his cultured girlfriend. Jerry joins them later, before going out to sell his art. \n", " A lonely society woman and heiress, Milo Roberts (Nina Foch), finds Jerry displaying his art on the street and takes in an interest in him and his art. She brings him to her apartment to pay for his works, and invites him to dinner party she is throwing later that night. After singing with French children on the way home, Jerry shows up to Milo's apartment. He quickly finds out that the \"party\" is actually a one-on-one date, and tells Milo he has no interest in being a paid escort. When he attempts to leave after giving her money back, she insists that she is only interested in his art. A lonely society woman and heiress, Milo Roberts ( Nina Foch Nina Foch ), finds Jerry displaying his art on the street and takes in an interest in him and his art. She brings him to her apartment to pay for his works, and invites him to dinner party she is throwing later that night. After singing with French children on the way home, Jerry shows up to Milo's apartment. He quickly finds out that the \"party\" is actually a one-on-one date, and tells Milo he has no interest in being a paid escort. When he attempts to leave after giving her money back, she insists that she is only interested in his art. \n", " They go to a crowded bar, and she offers to sponsor an art show for Jerry as a friendly gesture. Some of Milo's friends arrive, and while sitting with them, he sees Lise Bouvier (Leslie Caron), a French girl seated at the next table. Jerry ignores Milo and her acquaintances, and instead pretends to know Lise already and dances with her. She is standoffish and gives Jerry a wrong phone number, but she is innocently corrected by someone at her table. Heading home, Milo tells Jerry he was very rude cavorting with a girl he does not know while in her presence, but he gets out of the car and bids her farewell. They go to a crowded bar, and she offers to sponsor an art show for Jerry as a friendly gesture. Some of Milo's friends arrive, and while sitting with them, he sees Lise Bouvier ( Leslie Caron Leslie Caron ), a French girl seated at the next table. Jerry ignores Milo and her acquaintances, and instead pretends to know Lise already and dances with her. She is standoffish and gives Jerry a wrong phone number, but she is innocently corrected by someone at her table. Heading home, Milo tells Jerry he was very rude cavorting with a girl he does not know while in her presence, but he gets out of the car and bids her farewell. \n", " The next day, Jerry calls Lise at her work, but she tells him to never call her again. Jerry and Milo meet at a cafe, and she informs him that a collector is interested in his paintings and she arranged a showing later that day. Before going to the showing, he goes to the parfumerie where Lise works and she consents to dinner with him. She does not want to be seen eating with him in public, but they share a romantic song and dance on the banks of the Seine River in the shadows on Notre Dame. The next day, Jerry calls Lise at her work, but she tells him to never call her again. Jerry and Milo meet at a cafe, and she informs him that a collector is interested in his paintings and she arranged a showing later that day. Before going to the showing, he goes to the parfumerie parfumerie where Lise works and she consents to dinner with him. She does not want to be seen eating with him in public, but they share a romantic song and dance on the banks of the Seine Seine River in the shadows on Notre Dame Notre Dame . \n", " Later, Adam humorously daydreams that he is performing Gershwin's Concerto in F for Piano and Orchestra for a gala audience in a concert hall. As the scene progresses, Adam is also revealed to be the conductor, other members of the orchestra, and even an enthusiastic audience member applauding himself at the end. Later, Adam humorously daydreams that he is performing Gershwin's Concerto in F for Piano and Orchestra Concerto in F for Piano and Orchestra Concerto in F for Piano and Orchestra for a gala audience in a concert hall. As the scene progresses, Adam is also revealed to be the conductor, other members of the orchestra, and even an enthusiastic audience member applauding himself at the end. \n", " Milo gets Jerry an art studio and tells him she has planned an exhibition of his work in three months. He initially refuses the studio because he does not have the money for it, but eventually accepts it under the condition that he pay Milo back when his art proceeds allow him. Roughly a month later and after much courting, Lise abruptly runs off when she and Jerry arrive by taxi at his apartment. When Jerry complains to Adam, he is shocked to realize that both Henri and Jerry are involved with the same woman. Henri and Jerry discuss the woman they each love, unaware she is the same woman. Milo gets Jerry an art studio art studio and tells him she has planned an exhibition of his work in three months. He initially refuses the studio because he does not have the money for it, but eventually accepts it under the condition that he pay Milo back when his art proceeds allow him. Roughly a month later and after much courting, Lise abruptly runs off when she and Jerry arrive by taxi at his apartment. When Jerry complains to Adam, he is shocked to realize that both Henri and Jerry are involved with the same woman. Henri and Jerry discuss the woman they each love, unaware she is the same woman. \n", " That night, Jerry and Lise reunite in the same place under the Notre Dame and she informs him that she is marrying Henri the next day out of a sense of duty and going to America. Out of a sense of duty to Henri, she feels indebted for keeping her safe during World War II. They both proclaim their love for each other. Feeling slighted, Jerry invites Milo to the art students' masked ball and kisses her. At the raucous masked ball, with everyone in black-and-white costumes, Milo learns from Adam that Jerry is not interested in her, and Henri overhears Jerry and Lise saying goodbye to each other. When Henri and Lise drive away, Jerry daydreams about being with her all over Paris to the tune of the George Gershwin composition An American in Paris. His reverie is broken by a car horn, the sound of Henri bringing Lise back to him. They embrace as the Gershwin composition (and the film) ends. That night, Jerry and Lise reunite in the same place under the Notre Dame and she informs him that she is marrying Henri the next day out of a sense of duty and going to America. Out of a sense of duty to Henri, she feels indebted for keeping her safe during World War II. They both proclaim their love for each other. Feeling slighted, Jerry invites Milo to the art students' masked ball and kisses her. At the raucous masked ball, with everyone in black-and-white costumes, Milo learns from Adam that Jerry is not interested in her, and Henri overhears Jerry and Lise saying goodbye to each other. When Henri and Lise drive away, Jerry daydreams about being with her all over Paris to the tune of the George Gershwin composition An American in Paris An American in Paris An American in Paris . His reverie is broken by a car horn, the sound of Henri bringing Lise back to him. They embrace as the Gershwin composition (and the film) ends. \n", " \n", "http://en.wikipedia.org/wiki/The_Best_Years_of_Our_Lives\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " After World War II, Fred Derry (Dana Andrews), Homer Parrish (Harold Russell), and Al Stephenson (Fredric March) meet while flying home to Boone City (a fictional city patterned after Cincinnati, Ohio[3]). Fred was a decorated Army Air Forces captain and bombardier in Europe. Homer lost both hands from burns suffered when his aircraft carrier was sunk, and now uses mechanical hook prostheses. Al served as an infantry platoon sergeant in the Pacific. All three have trouble adjusting to civilian life. After World War II, Fred Derry ( Dana Andrews Dana Andrews ), Homer Parrish ( Harold Russell Harold Russell ), and Al Stephenson ( Fredric March Fredric March ) meet while flying home to Boone City (a fictional city patterned after Cincinnati Cincinnati , Ohio Ohio [3] [3] [ [ 3 ] ] ). Fred was a decorated Army Air Forces captain and bombardier bombardier in Europe. Homer lost both hands from burns suffered when his aircraft carrier aircraft carrier was sunk, and now uses mechanical hook prostheses prostheses . Al served as an infantry platoon sergeant platoon sergeant in the Pacific. All three have trouble adjusting to civilian life. \n", " Al has a comfortable home and a loving family: wife Milly (Myrna Loy), adult daughter Peggy (Teresa Wright, who was only thirteen years Loy's junior), and college freshman son Rob (Michael Hall, who is absent after the first one-third of the film). He returns to his old job as a bank loan officer. The bank president views his military experience as valuable in dealing with other returning servicemen. When Al approves a loan (without collateral) to a young Navy veteran, however, the president advises him against making a habit of it. Later, at a banquet held in his honor, a slightly inebriated Al expounds his belief that the bank (and America) must stand with the vets who risked everything to defend the country and give them every chance to rebuild their lives. Al has a comfortable home and a loving family: wife Milly ( Myrna Loy Myrna Loy ), adult daughter Peggy ( Teresa Wright Teresa Wright , who was only thirteen years Loy's junior), and college freshman son Rob (Michael Hall, who is absent after the first one-third of the film). He returns to his old job as a bank loan officer. The bank president views his military experience as valuable in dealing with other returning servicemen. When Al approves a loan (without collateral collateral ) to a young Navy veteran, however, the president advises him against making a habit of it. Later, at a banquet held in his honor, a slightly inebriated Al expounds his belief that the bank (and America) must stand with the vets who risked everything to defend the country and give them every chance to rebuild their lives. \n", " \n", "\n", "\n", "\n", "Homer playing piano. Note the in-focus figure of Fred in the phone booth in the background, while maintaining clear focus on Homer, Butch, and Al, showing Gregg Toland's use of deep focus photography.\n", "\n", " \n", " \n", "\n", "\n", "Homer playing piano. Note the in-focus figure of Fred in the phone booth in the background, while maintaining clear focus on Homer, Butch, and Al, showing Gregg Toland's use of deep focus photography.\n", " \n", " \n", "\n", "Homer playing piano. Note the in-focus figure of Fred in the phone booth in the background, while maintaining clear focus on Homer, Butch, and Al, showing Gregg Toland's use of deep focus photography. \n", " \n", "Homer playing piano. Note the in-focus figure of Fred in the phone booth in the background, while maintaining clear focus on Homer, Butch, and Al, showing Gregg Toland's use of deep focus deep focus photography. \n", " \n", " \n", " Before the war, Fred had been an unskilled drugstore soda jerk. He wants something better, but the tight postwar job market forces him to return to his old job. Fred had met Marie (Virginia Mayo) while in flight training and married her shortly afterward, before shipping out less than a month later. She became a nightclub waitress while Fred was overseas. Marie makes it clear she does not enjoy being married to a lowly soda jerk. Before the war, Fred had been an unskilled drugstore soda jerk soda jerk . He wants something better, but the tight postwar job market forces him to return to his old job. Fred had met Marie ( Virginia Mayo Virginia Mayo ) while in flight training and married her shortly afterward, before shipping out less than a month later. She became a nightclub nightclub waitress while Fred was overseas. Marie makes it clear she does not enjoy being married to a lowly soda jerk. \n", " Homer was a football quarterback and became engaged to Wilma (Cathy O'Donnell) before joining the Navy. Both Homer and his parents now have trouble dealing with his disability. He does not want to burden Wilma with his handicap and so pushes her away, although she still wants to marry him. Homer was a football quarterback quarterback and became engaged to Wilma ( Cathy O'Donnell Cathy O'Donnell ) before joining the Navy. Both Homer and his parents now have trouble dealing with his disability. He does not want to burden Wilma with his handicap and so pushes her away, although she still wants to marry him. \n", " Peggy meets Fred while bringing her father home from a bar where the three men meet once again. They are attracted to each other. Peggy dislikes Marie, and informs her parents she intends to end Fred and Marie's marriage, but they tell her that their own marriage overcame similar problems. Concerned, Al demands that Fred stop seeing his daughter. Fred agrees, but the friendship between the two men is strained. Peggy meets Fred while bringing her father home from a bar where the three men meet once again. They are attracted to each other. Peggy dislikes Marie, and informs her parents she intends to end Fred and Marie's marriage, but they tell her that their own marriage overcame similar problems. Concerned, Al demands that Fred stop seeing his daughter. Fred agrees, but the friendship between the two men is strained. \n", " At the drugstore, an obnoxious customer, who claims that the war was fought against the wrong enemies, gets into a fight with Homer. Fred intervenes and knocks the man into a glass counter, costing him his job. Later, Fred encourages Homer to put his misgivings behind him and marry Wilma, offering to be his best man. At the drugstore, an obnoxious customer, who claims that the war was fought against the wrong enemies, gets into a fight with Homer. Fred intervenes and knocks the man into a glass counter, costing him his job. Later, Fred encourages Homer to put his misgivings behind him and marry Wilma, offering to be his best man. \n", " One evening, Wilma visits Homer and tells him that her parents want her to leave Boone City for an extended period to try to forget him. Homer bluntly demonstrates to her how hard life with him would be. When Wilma is undaunted, Homer reconsiders. One evening, Wilma visits Homer and tells him that her parents want her to leave Boone City for an extended period to try to forget him. Homer bluntly demonstrates to her how hard life with him would be. When Wilma is undaunted, Homer reconsiders. \n", " On arriving home, Fred discovers his wife with another veteran (Steve Cochran). After complaining to Fred that she has \"given up the best years of my life,\" Marie tells him that she is getting a divorce. Fred decides to leave town, and gives his father his medals and citations. His father is unable to persuade Fred to stay. After Fred leaves, his father reads the citation for his Distinguished Flying Cross as composed by General Doolittle. At the airport, Fred books space on the first outbound aircraft, without regard for the destination. While waiting, he wanders into a vast aircraft boneyard. Inside the nose of a B-17, he relives the intense memories of combat. The boss of a work crew rouses him from his flashback. When the man says the aluminum from the aircraft is being salvaged to build housing, Fred persuades the boss to hire him. On arriving home, Fred discovers his wife with another veteran ( Steve Cochran Steve Cochran ). After complaining to Fred that she has \"given up the best years of my life,\" Marie tells him that she is getting a divorce. Fred decides to leave town, and gives his father his medals and citations. His father is unable to persuade Fred to stay. After Fred leaves, his father reads the citation for his Distinguished Flying Cross Distinguished Flying Cross as composed by General Doolittle General Doolittle . At the airport, Fred books space on the first outbound aircraft, without regard for the destination. While waiting, he wanders into a vast aircraft boneyard aircraft boneyard . Inside the nose of a B-17 B-17 , he relives the intense memories of combat. The boss of a work crew rouses him from his flashback. When the man says the aluminum from the aircraft is being salvaged to build housing, Fred persuades the boss to hire him. \n", " Homer and Wilma's wedding takes place in the Parrish home, with the now-divorced Fred as Homer's best man. Fred and Peggy watch each other from across the room. After the ceremony, he approaches and holds her, telling her that it will be a struggle before they become comfortable. She smiles, and they kiss and embrace. Homer and Wilma's wedding takes place in the Parrish home, with the now-divorced Fred as Homer's best man. Fred and Peggy watch each other from across the room. After the ceremony, he approaches and holds her, telling her that it will be a struggle before they become comfortable. She smiles, and they kiss and embrace. \n", " \n", "http://en.wikipedia.org/wiki/My_Fair_Lady_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In Edwardian London, in the Covent Garden area on a rainy night after the opera, a poor Cockney flower seller, Eliza Doolittle, overhears Professor Henry Higgins, an arrogant, irascible teacher of elocution, boast of his knowledge of the English language. He opines that the accent and tone of voice determine a person's prospects in society. He boasts to a new acquaintance, Colonel Hugh Pickering, himself an expert in phonetics, that he could teach the flower seller to speak so \"properly\" that he could pass her off as a duchess at an embassy ball or an assistant in a flower shop. Eliza listens carefully and the next day shows up unannounced at the professor's flat, willing to pay for elocution lessons. He has piqued in her an ambition to work in a flower shop, but her thick accent excludes her from that social class of work. Higgins takes up the challenge, Pickering offers to pay for her elocution lessons, and the bet is on. Eliza is dragged upstairs by housekeeper Mrs. Pearce and the maids to have her first bath. She will live in the house while she learns the ways of the upper class. In Edwardian Edwardian London London , in the Covent Garden area on a rainy night after the opera, a poor Cockney flower seller, Eliza Doolittle, overhears Professor Henry Higgins, an arrogant, irascible teacher of elocution, boast of his knowledge of the English language. He opines that the accent and tone of voice determine a person's prospects in society. He boasts to a new acquaintance, Colonel Hugh Pickering, himself an expert in phonetics, that he could teach the flower seller to speak so \"properly\" that he could pass her off as a duchess at an embassy ball ball or an assistant in a flower shop. Eliza listens carefully and the next day shows up unannounced at the professor's flat, willing to pay for elocution lessons. He has piqued in her an ambition to work in a flower shop, but her thick accent excludes her from that social class of work. Higgins takes up the challenge, Pickering offers to pay for her elocution lessons, and the bet is on. Eliza is dragged upstairs by housekeeper Mrs. Pearce and the maids to have her first bath. She will live in the house while she learns the ways of the upper class. \n", " Eliza's father, Alfred P. Doolittle, an alcoholic dustman, shows up three days later, ostensibly to protect his daughter's virtue in what he assumes to be a sexual situation. He actually wants to extract \u00a35 from Higgins in exchange for Eliza. Higgins, though horrified, is impressed by the man's honesty and natural gift of rhetoric, and amused by his brazen argument for a lack of morals. Higgins suggests that Doolittle's original ideas might be of interest to a wealthy American he knows. Eliza undergoes exhausting forms of speech training, such as speaking with marbles in her mouth, enduring Higgins' harsh approach to teaching and his dismissive treatment of her personally. She makes little progress at first. Just as she, Higgins, and Pickering are about to give up, though, Eliza finally is able to pronounce vowels without her Cockney accent\u2014the beginning of her vocal transformation. She soon begins to speak with an impeccable upper class accent. Eliza's father, Alfred P. Doolittle, an alcoholic dustman dustman , shows up three days later, ostensibly to protect his daughter's virtue in what he assumes to be a sexual situation. He actually wants to extract \u00a35 from Higgins in exchange for Eliza. Higgins, though horrified, is impressed by the man's honesty and natural gift of rhetoric, and amused by his brazen argument for a lack of morals. Higgins suggests that Doolittle's original ideas might be of interest to a wealthy American he knows. Eliza undergoes exhausting forms of speech training, such as speaking with marbles in her mouth, enduring Higgins' harsh approach to teaching and his dismissive treatment of her personally. She makes little progress at first. Just as she, Higgins, and Pickering are about to give up, though, Eliza finally is able to pronounce vowels without her Cockney accent\u2014the beginning of her vocal transformation. She soon begins to speak with an impeccable upper class accent upper class accent . \n", " As a test, Higgins takes her to the Ascot Racecourse, where Higgins' mother tells him to go home, saying he will probably insult her friends, as usual. Higgins persists, however, and Eliza is introduced to the small assembled group, having been admonished to discuss only the weather and everybody's general health. She at first makes a good impression with her magnificent gown and picture hat, ramrod-straight posture, perfect elocution and exaggeratedly genteel manners. Higgins covers her lapses by suggesting that Eliza is speaking the new \"small talk.\" Freddy Eynsford-Hill is instantly smitten, gives Eliza his betting ticket, and is further delighted when she erupts with a screaming vulgarity while encouraging that horse to win the race. Higgins, who dislikes the pretentiousness of the upper class, partly conceals a grin behind his hand, while Colonel Pickering covers his face with his hat. A woman faints. As a test, Higgins takes her to the Ascot Racecourse Ascot Racecourse , where Higgins' mother tells him to go home, saying he will probably insult her friends, as usual. Higgins persists, however, and Eliza is introduced to the small assembled group, having been admonished to discuss only the weather and everybody's general health. She at first makes a good impression with her magnificent gown and picture hat, ramrod-straight posture, perfect elocution and exaggeratedly genteel manners. Higgins covers her lapses by suggesting that Eliza is speaking the new \"small talk.\" Freddy Eynsford-Hill is instantly smitten, gives Eliza his betting ticket, and is further delighted when she erupts with a screaming vulgarity while encouraging that horse to win the race. Higgins, who dislikes the pretentiousness of the upper class, partly conceals a grin behind his hand, while Colonel Pickering covers his face with his hat. A woman faints. \n", " After several more weeks of coaching, Eliza is ready for the embassy ball, descending Higgins' staircase like a queen. At the ball, she is introduced as a cousin of Colonel Pickering's and makes a great splash with her regal demeanor and the express approval of the queen of Transylvania, who allows the mysterious young woman to dance with her son, the prince. Zoltan Karpathy, a pompous Hungarian phonetics expert once trained by Higgins, vows to uncover the identity of the elegant stranger. Higgins allows Eliza to dance with him, after which he announces to the hostess that Eliza must be a Hungarian princess\u2014a finding that Higgins openly laughs at. After several more weeks of coaching, Eliza is ready for the embassy ball, descending Higgins' staircase like a queen. At the ball, she is introduced as a cousin of Colonel Pickering's and makes a great splash with her regal demeanor and the express approval of the queen of Transylvania, who allows the mysterious young woman to dance with her son, the prince. Zoltan Karpathy, a pompous Hungarian phonetics expert once trained by Higgins, vows to uncover the identity of the elegant stranger. Higgins allows Eliza to dance with him, after which he announces to the hostess that Eliza must be a Hungarian princess\u2014a finding that Higgins openly laughs at. \n", " Back home in Higgins' flat, Eliza is given hardly any credit, as Higgins and the Colonel praise each other. This, and his callous treatment towards her afterwards, especially his indifference to her future, make her furious. To add insult to injury, he gives her instructions about his morning coffee and stalks out, returning only to ask for his slippers. She throws them at him, and angrily asks him what she may take with her when she leaves. Higgins is mystified by her behavior, thinking she ought to be grateful. As she leaves with her suitcase, she finds Freddy outside the flat. He professes his love, but she is indifferent to his meek advances. With him, Eliza returns to Covent Garden, the site of her flower-selling days. She buys flowers from a flower vendor, hoping to be recognized, but people see her only as a fine lady. She no longer fits in there, either. Then she runs into her father in formal clothes, enjoying one last night of merriment before marrying Eliza's stepmother. He has been left a large fortune by the wealthy American and complains that Higgins has ruined him, since he is now bound unwillingly by middle-class morals and responsibility. Back home in Higgins' flat, Eliza is given hardly any credit, as Higgins and the Colonel praise each other. This, and his callous treatment towards her afterwards, especially his indifference to her future, make her furious. To add insult to injury, he gives her instructions about his morning coffee and stalks out, returning only to ask for his slippers. She throws them at him, and angrily asks him what she may take with her when she leaves. Higgins is mystified by her behavior, thinking she ought to be grateful. As she leaves with her suitcase, she finds Freddy outside the flat. He professes his love, but she is indifferent to his meek advances. With him, Eliza returns to Covent Garden, the site of her flower-selling days. She buys flowers from a flower vendor, hoping to be recognized, but people see her only as a fine lady. She no longer fits in there, either. Then she runs into her father in formal clothes, enjoying one last night of merriment before marrying Eliza's stepmother. He has been left a large fortune by the wealthy American and complains that Higgins has ruined him, since he is now bound unwillingly by middle-class morals and responsibility. \n", " Higgins misses Eliza and goes searching for her, eventually ending up at his mother's house. There he unexpectedly finds Eliza. Mrs. Higgins has sided entirely with Eliza and against her son. After an unsuccessful attempt at persuading Eliza to return to his flat, Higgins is outraged when Eliza announces that she will marry Freddy and become Karpathy's assistant in teaching what Higgins taught her. He explodes and Eliza is satisfied that she has enjoyed a small measure of retaliation. Higgins has to admit that rather than being \"a millstone around my neck... now you're a tower of strength, a consort battleship. I like you this way.\" Eliza leaves, saying they will never meet again. After an argument with his mother\u2014in which he asserts that he does not need Eliza or anyone else\u2014Higgins makes his way home, stubbornly predicting that Eliza will come crawling back. However, he comes to the realization that he has \"grown accustomed to her face.\" Then, to his surprise, Eliza reappears in Higgins' study. He realizes Eliza's worth and that he loves her and she has discovered that, despite all his bluster, he deeply cares for her after all. Higgins misses Eliza and goes searching for her, eventually ending up at his mother's house. There he unexpectedly finds Eliza. Mrs. Higgins has sided entirely with Eliza and against her son. After an unsuccessful attempt at persuading Eliza to return to his flat, Higgins is outraged when Eliza announces that she will marry Freddy and become Karpathy's assistant in teaching what Higgins taught her. He explodes and Eliza is satisfied that she has enjoyed a small measure of retaliation. Higgins has to admit that rather than being \"a millstone around my neck... now you're a tower of strength, a consort battleship. I like you this way.\" Eliza leaves, saying they will never meet again. After an argument with his mother\u2014in which he asserts that he does not need Eliza or anyone else\u2014Higgins makes his way home, stubbornly predicting that Eliza will come crawling back. However, he comes to the realization that he has \"grown accustomed to her face.\" Then, to his surprise, Eliza reappears in Higgins' study. He realizes Eliza's worth and that he loves her and she has discovered that, despite all his bluster, he deeply cares for her after all. \n", " \n", "http://en.wikipedia.org/wiki/Ben-Hur_(1959_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In AD 26, Judah Ben-Hur (Charlton Heston) is a wealthy prince and merchant in Jerusalem; who lives with his mother, Miriam (Martha Scott); his sister, Tirzah (Cathy O'Donnell); their loyal slave, Simonides (Sam Jaffe); and his daughter, Esther (Haya Harareet), who loves Ben-Hur but is betrothed to another. His childhood friend, the Roman citizen Messala (Stephen Boyd), is now a tribune. After several years away from Jerusalem, Messala returns as the new commander of the Roman garrison. Messala believes in the glory of Rome and its imperial power, while Ben-Hur is devoted to his faith and the freedom of the Jewish people. In AD 26, Judah Ben-Hur ( Charlton Heston Charlton Heston ) is a wealthy prince and merchant in Jerusalem Jerusalem ; who lives with his mother, Miriam ( Martha Scott Martha Scott ); his sister, Tirzah ( Cathy O'Donnell Cathy O'Donnell ); their loyal slave, Simonides ( Sam Jaffe Sam Jaffe ); and his daughter, Esther ( Haya Harareet Haya Harareet ), who loves Ben-Hur but is betrothed to another. His childhood friend, the Roman citizen Roman citizen Messala ( Stephen Boyd Stephen Boyd ), is now a tribune tribune . After several years away from Jerusalem, Messala returns as the new commander of the Roman garrison Roman garrison . Messala believes in the glory of Rome and its imperial power Rome and its imperial power , while Ben-Hur is devoted to his faith and the freedom of the Jewish people. \n", " \n", "\n", "\n", "\n", "Charlton Heston as Judah Ben-Hur\n", "\n", " \n", " \n", "\n", "\n", "Charlton Heston as Judah Ben-Hur\n", " \n", " \n", "\n", "Charlton Heston as Judah Ben-Hur \n", " \n", "Charlton Heston as Judah Ben-Hur \n", " \n", " \n", " During the parade for the new governor of Judea, Valerius Gratus, some loose tiles fall from the roof of Ben-Hur's house. Gratus is thrown from his spooked horse and nearly killed. Although Messala knows this was an accident, he condemns Ben-Hur to the galleys and imprisons Miriam and Tirzah. By punishing a known friend and prominent citizen, he hopes to intimidate the Jewish populace. Ben-Hur swears to take revenge. During the parade for the new governor governor of Judea Judea , Valerius Gratus Valerius Gratus , some loose tiles fall from the roof of Ben-Hur's house. Gratus is thrown from his spooked horse and nearly killed. Although Messala knows this was an accident, he condemns Ben-Hur to the galleys galleys and imprisons Miriam and Tirzah. By punishing a known friend and prominent citizen, he hopes to intimidate the Jewish populace. Ben-Hur swears to take revenge. \n", " After three years as a galley slave, Ben-Hur is assigned to the flagship of the Roman Consul Quintus Arrius (Jack Hawkins), who has been charged with destroying a fleet of Macedonian pirates. Arrius admires Ben-Hur's determination and self-discipline and offers to train him as a gladiator or charioteer. Ben-Hur declines the offer, declaring that God will aid him in his quest for vengeance. When the Roman fleet encounters the Macedonians, Arrius orders all the rowers except Ben-Hur to be chained to their oars. Arrius' galley is rammed and sunk, but Ben-Hur unchains the other rowers, and rescues Arrius. In despair, Arrius wrongly believes the battle ended in defeat and atones in the Roman way by \"falling on his sword\", but Ben-Hur stops him. They are rescued, and Arrius is credited with the Roman fleet's victory. After three years as a galley slave, Ben-Hur is assigned to the flagship of the Roman Consul Roman Consul Quintus Arrius ( Jack Hawkins Jack Hawkins ), who has been charged with destroying a fleet of Macedonian Macedonian pirates pirates . Arrius admires Ben-Hur's determination and self-discipline and offers to train him as a gladiator gladiator or charioteer charioteer . Ben-Hur declines the offer, declaring that God will aid him in his quest for vengeance. When the Roman fleet encounters the Macedonians, Arrius orders all the rowers except Ben-Hur to be chained to their oars. Arrius' galley is rammed and sunk, but Ben-Hur unchains the other rowers, and rescues Arrius. In despair, Arrius wrongly believes the battle ended in defeat and atones in the Roman way by \"falling on his sword\", but Ben-Hur stops him. They are rescued, and Arrius is credited with the Roman fleet's victory. \n", " Arrius successfully petitions Emperor Tiberius (George Relph) to free Ben-Hur, and adopts him as his son. Another year passes. Wealthy again, Ben-Hur learns Roman ways and becomes a champion charioteer, but still longs for his family and homeland. Arrius successfully petitions Emperor Tiberius Tiberius ( George Relph George Relph ) to free Ben-Hur, and adopts him as his son adopts him as his son . Another year passes. Wealthy again, Ben-Hur learns Roman ways Roman ways and becomes a champion charioteer, but still longs for his family and homeland. \n", " \n", "\n", "\n", "\n", "Hugh Griffith as Arab sheik, Ilderim\n", "\n", " \n", " \n", "\n", "\n", "Hugh Griffith as Arab sheik, Ilderim\n", " \n", " \n", "\n", "Hugh Griffith as Arab sheik, Ilderim \n", " \n", "Hugh Griffith as Arab sheik, Ilderim \n", " \n", " \n", " Ben-Hur returns to Judea. Along the way, he meets Balthasar (Finlay Currie) and an Arab sheik, Ilderim (Hugh Griffith). The sheik has heard of Ben-Hur's prowess as a charioteer, and asks him to drive his quadriga in a race before the new Judean governor Pontius Pilate (Frank Thring). Ben-Hur declines, even after he learns that Messala will also compete. Ben-Hur returns to Judea. Along the way, he meets Balthasar Balthasar ( Finlay Currie Finlay Currie ) and an Arab sheik, Ilderim ( Hugh Griffith Hugh Griffith ). The sheik has heard of Ben-Hur's prowess as a charioteer, and asks him to drive his quadriga quadriga in a race before the new Judean governor Pontius Pilate Pontius Pilate ( Frank Thring Frank Thring ). Ben-Hur declines, even after he learns that Messala will also compete. \n", " Ben-Hur returns to his home in Jerusalem. He meets Esther, and learns her arranged marriage did not occur and that she is still in love with him. He visits Messala and demands his mother and sister's freedom. The Romans discover that Miriam and Tirzah contracted leprosy in prison, and expel them from the city. The women beg Esther to conceal their condition from Ben-Hur so that he may remember them as they were before, so she tells him that they died. It is then that he changes his mind and decides to seek vengeance on Messala by competing against him in the chariot race. Ben-Hur returns to his home in Jerusalem. He meets Esther, and learns her arranged marriage did not occur and that she is still in love with him. He visits Messala and demands his mother and sister's freedom. The Romans discover that Miriam and Tirzah contracted leprosy leprosy in prison, and expel them from the city. The women beg Esther to conceal their condition from Ben-Hur so that he may remember them as they were before, so she tells him that they died. It is then that he changes his mind and decides to seek vengeance on Messala by competing against him in the chariot race. \n", " During the chariot race, Messala drives a chariot with blades on the hubs to tear apart competing vehicles; he attempts to destroy Ben-Hur's chariot but destroys his own instead. Messala is fatally injured, while Ben-Hur wins the race. Before dying, Messala tells Ben-Hur that \"the race is not over\" and that he can find his family \"in the Valley of the Lepers, if you can recognize them.\" Ben-Hur visits the nearby leper colony, where (hidden from their view) he sees his mother and sister. During the chariot race, Messala drives a chariot with blades on the hubs to tear apart competing vehicles; he attempts to destroy Ben-Hur's chariot but destroys his own instead. Messala is fatally injured, while Ben-Hur wins the race. Before dying, Messala tells Ben-Hur that \"the race is not over\" and that he can find his family \"in the Valley of the Lepers, if you can recognize them.\" Ben-Hur visits the nearby leper colony, where (hidden from their view) he sees his mother and sister. \n", " Blaming Roman rule for his family's fate, Ben-Hur rejects his patrimony and Roman citizenship. Learning that Tirzah is dying, Ben-Hur and Esther take her and Miriam to see Jesus, but the trial of Jesus before Pontius Pilate has begun. Ben-Hur witnesses the crucifixion of Jesus, and Miriam and Tirzah are miraculously healed during the rainstorm following the crucifixion. Blaming Roman rule for his family's fate, Ben-Hur rejects his patrimony patrimony and Roman citizenship. Learning that Tirzah is dying, Ben-Hur and Esther take her and Miriam to see Jesus, but the trial of Jesus the trial of Jesus before Pontius Pilate has begun. Ben-Hur witnesses the crucifixion of Jesus crucifixion of Jesus , and Miriam and Tirzah are miraculously healed during the rainstorm following the crucifixion. \n", " \n", "http://en.wikipedia.org/wiki/Doctor_Zhivago_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The film takes place mostly against a backdrop of World War I and the Russian Revolution. A narrative framing device, set in the late 1940s to early 1950s, involves KGB Lieutenant General Yevgraf Andreyevich Zhivago (Alec Guinness) searching for the daughter of his half brother, Doctor Yuri Andreyevich Zhivago (Omar Sharif), and Larissa (\"Lara\") Antipova (Julie Christie). Yevgraf believes a young woman, Tonya Komarova (Rita Tushingham), may be his niece and tells her the story of her father's life. The film takes place mostly against a backdrop of World War I World War I and the Russian Revolution Russian Revolution . A narrative framing device framing device , set in the late 1940s to early 1950s, involves KGB KGB Lieutenant General Lieutenant General Yevgraf Andreyevich Zhivago ( Alec Guinness Alec Guinness ) searching for the daughter of his half brother, Doctor Yuri Andreyevich Zhivago ( Omar Sharif Omar Sharif ), and Larissa (\"Lara\") Antipova ( Julie Christie Julie Christie ). Yevgraf believes a young woman, Tonya Komarova ( Rita Tushingham Rita Tushingham ), may be his niece and tells her the story of her father's life. \n", " When Yuri Zhivago is orphaned after his mother's death, he is taken in by his mother's friends, Alexander \"Pasha\" (Ralph Richardson) and Anna (Siobh\u00e1n McKenna) Gromeko, and grows up with their daughter Tonya (Geraldine Chaplin). When Yuri Zhivago is orphaned after his mother's death, he is taken in by his mother's friends, Alexander \"Pasha\" ( Ralph Richardson Ralph Richardson ) and Anna ( Siobh\u00e1n McKenna Siobh\u00e1n McKenna ) Gromeko, and grows up with their daughter Tonya ( Geraldine Chaplin Geraldine Chaplin ). \n", " In 1913, Zhivago, as a medical student in training, but a poet at heart, meets Tonya as she returns to Moscow after a long trip to Paris. Lara, meanwhile, is involved in an affair with the older and well-connected Victor Ipolitovich Komarovsky (Rod Steiger), a friend of her mother's (Adrienne Corri). That night, the idealistic reformer Pavel Pavlovich (\"Pasha\") Antipov (Tom Courtenay) drifts into left-wing extremism after being wounded by sabre-wielding Cossacks during a peaceful demonstration. Pasha runs to Lara, whom he wants to marry, to treat his wound. He asks her to hide a gun he picked up at the demonstration. Lara's mother discovers her affair with Komarovsky and attempts suicide. Komarovsky summons help from the physician. Zhivago arrives as the physician's assistant. When Komarovsky learns of Lara's intentions to marry Pasha, he tries to dissuade Lara, and then rapes her. In revenge, Lara takes the pistol she has been hiding for Pasha and shoots Komarovsky at a Christmas Eve party, wounding him. Komarovsky insists no action be taken against Lara, who is escorted out by Pasha. Zhivago tends Komarovsky's wound. Although enraged and devastated by Lara's affair with Komarovsky, Pasha marries Lara, and they have a daughter named Katya. In 1913, Zhivago, as a medical student in training, but a poet at heart, meets Tonya as she returns to Moscow after a long trip to Paris. Lara, meanwhile, is involved in an affair with the older and well-connected Victor Ipolitovich Komarovsky ( Rod Steiger Rod Steiger ), a friend of her mother's ( Adrienne Corri Adrienne Corri ). That night, the idealistic reformer Pavel Pavlovich (\"Pasha\") Antipov ( Tom Courtenay Tom Courtenay ) drifts into left-wing extremism after being wounded by sabre-wielding Cossacks Cossacks during a peaceful demonstration. Pasha runs to Lara, whom he wants to marry, to treat his wound. He asks her to hide a gun he picked up at the demonstration. Lara's mother discovers her affair with Komarovsky and attempts suicide. Komarovsky summons help from the physician. Zhivago arrives as the physician's assistant. When Komarovsky learns of Lara's intentions to marry Pasha, he tries to dissuade Lara, and then rapes her. In revenge, Lara takes the pistol she has been hiding for Pasha and shoots Komarovsky at a Christmas Eve party, wounding him. Komarovsky insists no action be taken against Lara, who is escorted out by Pasha. Zhivago tends Komarovsky's wound. Although enraged and devastated by Lara's affair with Komarovsky, Pasha marries Lara, and they have a daughter named Katya. \n", " During World War I, Yevgraf Zhivago is sent by the Russian Social Democratic Labour Party to subvert the Imperial Russian Army for the Bolsheviks. Pasha is reported missing in action following a daring charge attack on German forces. Lara enlists as a nurse to search for him. Yuri Zhivago is drafted and becomes a battlefield doctor. During World War I World War I , Yevgraf Zhivago is sent by the Russian Social Democratic Labour Party Russian Social Democratic Labour Party to subvert the Imperial Russian Army Imperial Russian Army for the Bolsheviks. Pasha is reported missing in action missing in action following a daring charge attack on German forces German forces . Lara enlists as a nurse to search for him. Yuri Zhivago is drafted and becomes a battlefield doctor. \n", " During the February Revolution, Zhivago enlists Lara's help to tend to the wounded. Together they run a field hospital for six months, during which time radical changes ensue throughout Russia as Vladimir Lenin arrives in Moscow. Before their departure, Yuri and Lara fall in love, but Yuri remains loyal to Tonya, whom he already married. During the February Revolution February Revolution , Zhivago enlists Lara's help to tend to the wounded. Together they run a field hospital for six months, during which time radical changes ensue throughout Russia as Vladimir Lenin Vladimir Lenin arrives in Moscow. Before their departure, Yuri and Lara fall in love, but Yuri remains loyal to Tonya, whom he already married. \n", " After the war, Yuri returns to his wife Tonya, son Sasha, and Alexander, whose house in Moscow has been divided into tenements by the new Soviet government. Yevgraf, now a member of the CHEKA, informs him his poems have been condemned by Soviet censors as antagonistic to Communism. Yevgraf arranges for passes and documents in order for Yuri and his family to escape from the new political capital of Moscow to the far away Gromeko estate at Varykino, in the Ural Mountains. Zhivago, Tonya, Sasha and Alexander now board a heavily guarded cattle train, at which time they are informed that they will be travelling through contested territory, which is being secured by the infamous Bolshevik commander named Strelnikov. After the war, Yuri returns to his wife Tonya, son Sasha, and Alexander, whose house in Moscow has been divided into tenements tenements by the new Soviet government. Yevgraf, now a member of the CHEKA CHEKA , informs him his poems have been condemned by Soviet censors as antagonistic to Communism. Yevgraf arranges for passes and documents in order for Yuri and his family to escape from the new political capital of Moscow to the far away Gromeko estate at Varykino, in the Ural Mountains. Zhivago, Tonya, Sasha and Alexander now board a heavily guarded cattle train, at which time they are informed that they will be travelling through contested territory, which is being secured by the infamous Bolshevik commander named Strelnikov. \n", " While the train is stopped, Zhivago wanders away. He stumbles across the armoured train of Strelnikov himself sitting on a hidden siding. Yuri recognises Strelnikov as the former Pasha Antipov. After a tense interview, Strelnikov informs Yuri that Lara is now living in the town of Yuriatin, then occupied by anti-Communist White Army. He allows Zhivago to return to his family, although it is hinted by Strelnikov's right-hand man most people interrogated by Strelnikov end up being shot. While the train is stopped, Zhivago wanders away. He stumbles across the armoured train of Strelnikov himself sitting on a hidden siding. Yuri recognises Strelnikov as the former Pasha Antipov. After a tense interview, Strelnikov informs Yuri that Lara is now living in the town of Yuriatin, then occupied by anti-Communist White Army White Army . He allows Zhivago to return to his family, although it is hinted by Strelnikov's right-hand man most people interrogated by Strelnikov end up being shot. \n", " The family lives a peaceful life in Varykino until Zhivago finds Lara in nearby Yuriatin, at which point they surrender to their long-repressed feelings. When Tonya becomes pregnant, Yuri breaks off with Lara, only to be abducted and conscripted into service by Communist partisans. The family lives a peaceful life in Varykino until Zhivago finds Lara in nearby Yuriatin, at which point they surrender to their long-repressed feelings. When Tonya becomes pregnant, Yuri breaks off with Lara, only to be abducted and conscripted into service by Communist partisans partisans . \n", " After two years, Zhivago at last deserts and trudges through the deep snow to Yuriatin where he finds Lara. Lara tells Yuri that Tonya had found her while searching for him, and that his family is now in Moscow. She reveals a sealed letter Tonya had mailed to Lara 6 months ago to give to Yuri: Tonya, her father, and their children are being deported. Yuri and Lara renew their relationship. After two years, Zhivago at last deserts and trudges through the deep snow to Yuriatin where he finds Lara. Lara tells Yuri that Tonya had found her while searching for him, and that his family is now in Moscow. She reveals a sealed letter Tonya had mailed to Lara 6 months ago to give to Yuri: Tonya, her father, and their children are being deported. Yuri and Lara renew their relationship. \n", " One night, Komarovsky arrives and informs them they are being watched by the CHEKA due to Lara's marriage to Strelnikov and Yuri's \"counter-revolutionary\" poetry and desertion. Komarovsky offers Yuri and Lara his help in leaving Russia. They refuse. Instead, they go to the isolated Varykino estate, where Yuri begins writing the \"Lara\" poems, which will later make him famous but incur government displeasure. Komarovsky reappears and tells Yuri that Strelnikov was captured while returning to Lara and committed suicide en route to his own execution. Therefore, Lara is in immediate danger, as the CHEKA had only left her free to lure Strelnikov into the open. Zhivago sends Lara away with Komarovsky, who has become an official in the Far East. Refusing to leave with a man he despises, Yuri remains behind. One night, Komarovsky arrives and informs them they are being watched by the CHEKA due to Lara's marriage to Strelnikov and Yuri's \"counter-revolutionary\" poetry and desertion. Komarovsky offers Yuri and Lara his help in leaving Russia. They refuse. Instead, they go to the isolated Varykino estate, where Yuri begins writing the \"Lara\" poems, which will later make him famous but incur government displeasure. Komarovsky reappears and tells Yuri that Strelnikov was captured while returning to Lara and committed suicide en route to his own execution. Therefore, Lara is in immediate danger, as the CHEKA had only left her free to lure Strelnikov into the open. Zhivago sends Lara away with Komarovsky, who has become an official in the Far East. Refusing to leave with a man he despises, Yuri remains behind. \n", " Years later, Yevgraf finds a destitute Yuri in Moscow during the Stalinist era and gives him a new suit and a job. While riding a tram, Yuri spots a woman he surely thinks is Lara walking on a nearby street. Unable to call her from the tram, Yuri struggles to get off at the next stop. Yuri runs after her but suffers a fatal heart attack before he can even signal to her, and the woman walks away oblivious to Yuri's presence. Yuri's funeral is well attended, as his poetry is already being published openly due to shifts in politics. Lara informs Yevgraf she had given birth to Yuri's daughter, but lost her in the collapse of the White-controlled government in Mongolia. After vainly looking over hundreds of orphans with Yevgraf's help, Lara disappears during Joseph Stalin's Great Purge, and \"died or vanished somewhere...in one of the labour camps,\" according to Yevgraf. Years later, Yevgraf finds a destitute Yuri in Moscow during the Stalinist era Stalinist era and gives him a new suit and a job. While riding a tram, Yuri spots a woman he surely thinks is Lara walking on a nearby street. Unable to call her from the tram, Yuri struggles to get off at the next stop. Yuri runs after her but suffers a fatal heart attack before he can even signal to her, and the woman walks away oblivious to Yuri's presence. Yuri's funeral is well attended, as his poetry is already being published openly due to shifts in politics. Lara informs Yevgraf she had given birth to Yuri's daughter, but lost her in the collapse of the White-controlled government in Mongolia White-controlled government in Mongolia . After vainly looking over hundreds of orphans with Yevgraf's help, Lara disappears during Joseph Stalin Joseph Stalin 's Great Purge Great Purge , and \"died or vanished somewhere...in one of the labour camps,\" according to Yevgraf. \n", " While Yevgraf strongly believes that Tonya Komarova is Yuri's and Lara's daughter, he is still not convinced. Yevgraf notices that Tonya carries with her a balalaika, an instrument that Yuri's mother was renowned for playing. Finding Tonya learned to play the balalaika by herself, he smiles, \"Ah, then, it's a gift,\" thereby implying she truly must be their daughter after all. While Yevgraf strongly believes that Tonya Komarova is Yuri's and Lara's daughter, he is still not convinced. Yevgraf notices that Tonya carries with her a balalaika balalaika , an instrument that Yuri's mother was renowned for playing. Finding Tonya learned to play the balalaika by herself, he smiles, \"Ah, then, it's a gift,\" thereby implying she truly must be their daughter after all. \n", " \n", "http://en.wikipedia.org/wiki/Patton_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The film's beginning has General George S. Patton (George C. Scott) giving a speech to an unseen audience of American troops (based on his speech to the Third Army), with a huge American flag in the background. The scene then shifts to North Africa at the start of 1943, where Patton takes charge of the demoralized American II Corps in North Africa after the humiliating defeat at the Battle of the Kasserine Pass. After instilling discipline in his soldiers, he leads them to victory at the Battle of El Guettar, though he is bitterly disappointed to learn afterward that Erwin Rommel (Karl Michael Vogler), whom he respects greatly as a general, was not his opponent. Patton's aide, Captain Jenson, is killed in the battle. Shortly after the battle, a new member of his staff, Lieutenant Colonel Codman assures Patton that, though Rommel was absent, that if Patton defeated Rommel's plan, then he defeated Rommel. The film's beginning has General George S. Patton George S. Patton ( George C. Scott George C. Scott ) giving a speech to an unseen audience of American troops (based on his speech to the Third Army his speech to the Third Army ), with a huge American flag in the background. The scene then shifts to North Africa North Africa at the start of 1943, where Patton takes charge of the demoralized American II Corps in North Africa after the humiliating defeat at the Battle of the Kasserine Pass Battle of the Kasserine Pass . After instilling discipline in his soldiers, he leads them to victory at the Battle of El Guettar Battle of El Guettar , though he is bitterly disappointed to learn afterward that Erwin Rommel Erwin Rommel ( Karl Michael Vogler Karl Michael Vogler ), whom he respects greatly as a general, was not his opponent. Patton's aide, Captain Jenson, is killed in the battle. Shortly after the battle, a new member of his staff, Lieutenant Colonel Codman Lieutenant Colonel Codman assures Patton that, though Rommel was absent, that if Patton defeated Rommel's plan, then he defeated Rommel. \n", " Patton is shown to believe in reincarnation, while remaining a devout Christian. At one point during the North Africa campaign, he takes his staff on an unexpected detour to the site of the ancient Battle of Zama. There he reminisces about the battle, insisting to his second in command, General Omar Bradley (Karl Malden) that he was there. Patton is shown to believe in reincarnation reincarnation , while remaining a devout Christian Christian . At one point during the North Africa campaign, he takes his staff on an unexpected detour to the site of the ancient Battle of Zama Battle of Zama . There he reminisces about the battle, insisting to his second in command, General Omar Bradley Omar Bradley ( Karl Malden Karl Malden ) that he was there. \n", " After North Africa is secured, Patton is involved in the Allied invasion of Sicily. His proposal to land his Seventh Army in the northwest of the island is rejected in favor of the more cautious plan of British General Bernard Law Montgomery, in which the British and American armies are to land side-by-side in the southeast. Frustrated at the slow progress of the campaign, Patton defies orders, racing northwest to capture the city of Palermo and then narrowly beats Montgomery in a race to capture the port of Messina in the northeast. However, Patton's aggression is regarded with increasing disquiet by his subordinates Bradley and Truscott, and he is eventually relieved of command for slapping and threatening to shoot a shell-shocked soldier, whom he accuses of cowardice, in an Army hospital. After North Africa is secured, Patton is involved in the Allied invasion of Sicily Allied invasion of Sicily . His proposal to land his Seventh Army in the northwest of the island is rejected in favor of the more cautious plan of British British General Bernard Law Montgomery Bernard Law Montgomery , in which the British and American armies are to land side-by-side in the southeast. Frustrated at the slow progress of the campaign, Patton defies orders, racing northwest to capture the city of Palermo Palermo and then narrowly beats Montgomery in a race to capture the port of Messina Messina in the northeast. However, Patton's aggression is regarded with increasing disquiet by his subordinates Bradley and Truscott, and he is eventually relieved of command for slapping and threatening to shoot a shell-shocked shell-shocked soldier, whom he accuses of cowardice, in an Army hospital. \n", " For this incident and for his tendency to speak his mind to the press, he is sidelined during the long-anticipated D-Day landings, being placed in command of the fictional First United States Army Group in southeast England as a decoy. German General Alfred Jodl (Richard M\u00fcnch) is convinced that Patton will lead the invasion of Europe. For this incident and for his tendency to speak his mind to the press, he is sidelined during the long-anticipated D-Day D-Day landings, being placed in command of the fictional First United States Army Group First United States Army Group in southeast England as a decoy. German General Alfred Jodl Alfred Jodl ( Richard M\u00fcnch Richard M\u00fcnch ) is convinced that Patton will lead the invasion of Europe invasion of Europe . \n", " Fearing he will miss out on his destiny, he begs his former subordinate, General Omar Bradley, for a command before the war ends. He is given the Third Army and distinguishes himself by rapidly sweeping across France until his tanks are halted by lack of fuel. He later relieves the vital town of Bastogne during the Battle of the Bulge. He then smashes through the Siegfried Line and drives into Germany itself. Fearing he will miss out on his destiny, he begs his former subordinate, General Omar Bradley, for a command before the war ends. He is given the Third Army Third Army and distinguishes himself by rapidly sweeping across France until his tanks are halted by lack of fuel. He later relieves the vital town of Bastogne Bastogne during the Battle of the Bulge Battle of the Bulge . He then smashes through the Siegfried Line Siegfried Line and drives into Germany itself. \n", " Patton has previously remarked to a British crowd that the United States and Great Britain would dominate the post-war world, which is viewed as a slight to the Russians. After the Germans capitulate, he insults a Russian officer at a celebration; fortunately, the Russian insults Patton right back, defusing the situation. Patton then makes an offhand remark comparing the Nazi Party to the political parties in the US. In the end, Patton's outspokenness loses him his command once again, though he is kept on to see to the rebuilding of Germany. Patton has previously remarked to a British British crowd that the United States United States and Great Britain Great Britain would dominate the post-war world, which is viewed as a slight to the Russians Russians . After the Germans capitulate, he insults a Russian officer at a celebration; fortunately, the Russian insults Patton right back, defusing the situation. Patton then makes an offhand remark comparing the Nazi Party to the political parties in the US. In the end, Patton's outspokenness loses him his command once again, though he is kept on to see to the rebuilding of Germany. \n", " The film ends with Patton walking his dog, a bull terrier named Willie, and Scott relating in a voice over that a returning hero of ancient Rome was honored with a triumph, a victory parade in which \"a slave stood behind the conqueror, holding a golden crown, and whispering in his ear a warning: that all glory ... is fleeting.\" The film ends with Patton walking his dog, a bull terrier bull terrier named Willie, and Scott relating in a voice over voice over that a returning hero of ancient Rome was honored with a triumph triumph , a victory parade in which \"a slave stood behind the conqueror, holding a golden crown, and whispering in his ear a warning: that all glory ... is fleeting.\" \n", " \n", "http://en.wikipedia.org/wiki/Jaws_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " A young woman named Chrissie Watkins leaves an evening beach party on New England's Amity Island to go skinny dipping in the Atlantic Ocean, only to be dragged back and forth and then pulled under the water. Amity's police chief, Martin Brody, is notified that Chrissie is missing, and Deputy Hendricks finds her remains on the beach. The medical examiner informs Brody that she was killed by a shark. Brody plans to close the beaches but is overruled by Mayor Larry Vaughan, who fears that reports of a shark attack will ruin the summer tourist season, the town's primary source of income. The medical examiner consequently attributes the death to a boating accident. Brody reluctantly goes along with the explanation. A young woman named Chrissie Watkins leaves an evening beach party on New England New England 's Amity Island to go skinny dipping skinny dipping in the Atlantic Ocean, only to be dragged back and forth and then pulled under the water. Amity's police chief, Martin Brody, is notified that Chrissie is missing, and Deputy Hendricks finds her remains on the beach. The medical examiner informs Brody that she was killed by a shark. Brody plans to close the beaches but is overruled by Mayor Larry Vaughan, who fears that reports of a shark attack will ruin the summer tourist season, the town's primary source of income. The medical examiner consequently attributes the death to a boating accident. Brody reluctantly goes along with the explanation. \n", " A short time later, a boy is killed by a shark at the beach. The boy's mother places a bounty on the shark, sparking an amateur shark-hunting frenzy and attracting the attention of local professional shark hunter Quint. Marine biologist Matt Hooper examines Chrissie's remains and determines that she was unquestionably killed by a shark, not a boat. A short time later, a boy is killed by a shark at the beach. The boy's mother places a bounty on the shark, sparking an amateur shark-hunting frenzy and attracting the attention of local professional shark hunter Quint. Marine biologist Matt Hooper examines Chrissie's remains and determines that she was unquestionably killed by a shark, not a boat. \n", " A large tiger shark is caught by fishermen, leading the townspeople to believe the problem is solved, but Hooper is unconvinced and asks to examine its stomach contents. Vaughan refuses to make the autopsy public, so Brody and Hooper return after dark and discover the dead shark does not contain human remains. They come across the half-sunken wreckage of a boat belonging to local fisherman Ben Gardner. Hooper explores the vessel underwater and discovers a sizable shark's tooth protruding from the damaged hull before he is startled by Gardner's remains. Vaughan refuses to close the beaches, and on the Fourth of July many tourists arrive. A children's practical joke causes panic at the main beach while the shark enters a nearby estuary, killing a man; Brody's son, who witnesses the attack, goes into shock. Brody persuades Vaughan to hire Quint, who reluctantly allows Hooper to join the hunt along with Brody. The three set out to catch and kill the shark aboard Quint's vessel, the Orca. A large tiger shark tiger shark is caught by fishermen, leading the townspeople to believe the problem is solved, but Hooper is unconvinced and asks to examine its stomach contents. Vaughan refuses to make the autopsy public, so Brody and Hooper return after dark and discover the dead shark does not contain human remains. They come across the half-sunken wreckage of a boat belonging to local fisherman Ben Gardner. Hooper explores the vessel underwater and discovers a sizable shark's tooth protruding from the damaged hull hull before he is startled by Gardner's remains. Vaughan refuses to close the beaches, and on the Fourth of July many tourists arrive. A children's practical joke causes panic at the main beach while the shark enters a nearby estuary estuary , killing a man; Brody's son, who witnesses the attack, goes into shock. Brody persuades Vaughan to hire Quint, who reluctantly allows Hooper to join the hunt along with Brody. The three set out to catch and kill the shark aboard Quint's vessel, the Orca Orca . \n", " Brody is given the task of laying a chum line while Quint uses fishing tackle to try to hook the shark. An enormous great white shark looms up behind the boat, and the trio watch it circle the Orca while Hooper takes pictures for research. Quint harpoons it with a line attached to a flotation barrel, but the shark pulls the barrel under and disappears. Brody is given the task of laying a chum chum line while Quint uses fishing tackle to try to hook the shark. An enormous great white shark great white shark looms up behind the boat, and the trio watch it circle the Orca Orca while Hooper takes pictures for research. Quint harpoons it with a line attached to a flotation barrel, but the shark pulls the barrel under and disappears. \n", " The men retire to the boat's cabin, where Quint relates his experience with sharks as a survivor of the sinking of the warship USS\u00a0Indianapolis during the War in the Pacific in 1945. The shark reappears, damaging the boat's hull before slipping away. In the morning, Brody attempts to call the Coast Guard, but Quint destroys the radio. After a long chase, Quint harpoons another barrel to the shark. The men tie it to the stern, but the shark drags the boat backward, forcing water onto the deck and flooding the engine. Quint heads toward shore, hoping to draw it into shallow waters and suffocate it. Intent to kill the shark, Quint overtaxes and stalls the Orca's engines. The men retire to the boat's cabin, where Quint relates his experience with sharks as a survivor of the sinking of the warship USS\u00a0Indianapolis USS\u00a0 Indianapolis Indianapolis during the War in the Pacific War in the Pacific in 1945. The shark reappears, damaging the boat's hull before slipping away. In the morning, Brody attempts to call the Coast Guard Coast Guard , but Quint destroys the radio. After a long chase, Quint harpoons another barrel to the shark. The men tie it to the stern, but the shark drags the boat backward, forcing water onto the deck and flooding the engine. Quint heads toward shore, hoping to draw it into shallow waters and suffocate suffocate it. Intent to kill the shark, Quint overtaxes and stalls the Orca' Orca' s engines. \n", " With the boat immobilized, the trio attempt a desperate approach: Hooper dons scuba gear and enters the ocean inside a shark proof cage, aiming to stab the shark with a hypodermic spear filled with strychnine. When the shark attacks the cage, Hooper drops his spear but manages to escape to the seabed. As Quint and Brody raise the mangled cage, the shark leaps onto the boat, crushing the transom. Quint slips down the deck into the shark's mouth and is eaten alive. When the shark attacks Brody, he shoves a pressurized scuba tank into its mouth, then takes Quint's rifle and climbs the sinking Orca\u200a'\u200bs mast. Brody shoots at the scuba tank, blowing it and the shark to pieces. Hooper emerges, and the two make rafts out of the Orca\u200a'\u200bs remains to paddle back to Amity Island. With the boat immobilized, the trio attempt a desperate approach: Hooper dons scuba gear scuba gear and enters the ocean inside a shark proof cage shark proof cage , aiming to stab the shark with a hypodermic spear filled with strychnine strychnine . When the shark attacks the cage, Hooper drops his spear but manages to escape to the seabed. As Quint and Brody raise the mangled cage, the shark leaps onto the boat, crushing the transom transom . Quint slips down the deck into the shark's mouth and is eaten alive. When the shark attacks Brody, he shoves a pressurized scuba tank into its mouth, then takes Quint's rifle and climbs the sinking Orca Orca \u200a'\u200bs mast. Brody shoots at the scuba tank, blowing it and the shark to pieces. Hooper emerges, and the two make rafts out of the Orca Orca \u200a'\u200bs remains to paddle back to Amity Island. \n", " \n", "http://en.wikipedia.org/wiki/Braveheart\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1280, King Edward \"Longshanks\" (Patrick Mcgoohan) invades and conquers Scotland following the death of Alexander III of Scotland who left no heir to the throne. Young William Wallace witnesses the treachery of Longshanks, survives the death of his father and brother, and is taken abroad to Rome by his Uncle Argyle (Brian Cox) where he is educated. Years later, Longshanks grants his noblemen land and privileges in Scotland, including \"Prima Nocte\", or the right of the lord to have sex with female subjects on their wedding nights. When he returns home, (his Uncle Argyle is presumably deceased by this point) Wallace (Mel Gibson) falls in love with his childhood friend, Murron MacClannough (Catherine McCormack), and they marry in secret so she does not have to spend a night in the bed with the English lord. Wallace rescues Murron from being raped by English soldiers; as a consequence, Murron is captured and publicly executed. In retribution, Wallace slaughters the English garrison and sends the occupying garrison at Lanark back to England. In 1280, King Edward \"Longshanks\" King Edward \"Longshanks\" ( Patrick Mcgoohan Patrick Mcgoohan ) invades and conquers Scotland Scotland following the death of Alexander III of Scotland Alexander III of Scotland who left no heir to the throne. Young William Wallace witnesses the treachery of Longshanks, survives the death of his father and brother, and is taken abroad to Rome Rome by his Uncle Argyle ( Brian Cox Brian Cox ) where he is educated. Years later, Longshanks grants his noblemen land and privileges in Scotland, including \"Prima Nocte\", or the right of the lord to have sex with female subjects on their wedding nights the right of the lord to have sex with female subjects on their wedding nights . When he returns home, (his Uncle Argyle is presumably deceased by this point) Wallace ( Mel Gibson Mel Gibson ) falls in love with his childhood friend, Murron MacClannough ( Catherine McCormack Catherine McCormack ), and they marry in secret so she does not have to spend a night in the bed with the English lord. Wallace rescues Murron from being raped by English soldiers; as a consequence, Murron is captured and publicly executed. In retribution, Wallace slaughters the English garrison slaughters the English garrison and sends the occupying garrison at Lanark Lanark back to England. \n", " This enrages Longshanks, who orders his son, Prince Edward, to stop Wallace by any means necessary. Wallace rebels against the English, and as his legend spreads, hundreds of Scots from the surrounding clans join him. On September 11, 1297, Wallace leads his army to victory at Stirling and then sacked the city of York, killing Longshanks' nephew and sending his head back. Wallace seeks the assistance of Robert the Bruce (Angus Macfadyen), the son of nobleman Robert the Elder (Ian Bannen) and a contender for the Scottish crown. Robert is dominated by his father, who wishes to secure the throne for his son by submitting to the English. Worried by the threat of the rebellion, Longshanks sends his son's wife, Isabella of France (Sophie Marceau) to try to negotiate with Wallace, hoping that Wallace will kill her in order to draw the French king to declare war. Wallace refuses the bribe sent with Isabella by Longshanks, but after meeting him in person, Isabella becomes enamored with him. Meanwhile, Longshanks prepares an army to invade Scotland. This enrages Longshanks, who orders his son, Prince Edward Prince Edward , to stop Wallace by any means necessary. Wallace rebels against the English, and as his legend spreads, hundreds of Scots from the surrounding clans join him. On September 11, 1297, Wallace leads his army to victory at Stirling Stirling and then sacked the city of York York , killing Longshanks' nephew and sending his head back. Wallace seeks the assistance of Robert the Bruce Robert the Bruce ( Angus Macfadyen Angus Macfadyen ), the son of nobleman Robert the Elder Robert the Elder ( Ian Bannen Ian Bannen ) and a contender for the Scottish crown. Robert is dominated by his father, who wishes to secure the throne for his son by submitting to the English. Worried by the threat of the rebellion, Longshanks sends his son's wife, Isabella of France Isabella of France ( Sophie Marceau Sophie Marceau ) to try to negotiate with Wallace, hoping that Wallace will kill her in order to draw the French king to declare war. Wallace refuses the bribe sent with Isabella by Longshanks, but after meeting him in person, Isabella becomes enamored with him. Meanwhile, Longshanks prepares an army to invade Scotland. \n", " Warned of the coming invasion by Isabella, Wallace implores the Scottish nobility that immediate action is needed to counter the threat and to take back the country. Leading the English army himself, Longshanks confronts the Scots at Falkirk on July 22, 1298 where noblemen Lochlan and Mornay betray Wallace. The Scots lose the battle, Morrison and Hamish's father die at the battle. As he charges toward the departing Longshanks on horseback, Wallace is intercepted by one of the king's lancers, who turns out to be Robert. Remorseful, he gets Wallace to safety before the English can capture him. Wallace kills Mornay and Lochlan for their betrayal, and wages a guerrilla war against the English for the next seven years, assisted by Isabella, with whom he eventually has an affair. Robert, intending to join Wallace and commit troops to the war, sets up a meeting with him in Edinburgh. However, Robert's father has conspired with other nobles to capture and hand over Wallace to the English. Learning of his treachery, Robert disowns his father. Isabella exacts revenge on the now terminally ill Longshanks by telling him she is pregnant with Wallace's child, intent on ending Longshanks' line and ruling in his son's place. Warned of the coming invasion by Isabella, Wallace implores the Scottish nobility that immediate action is needed to counter the threat and to take back the country. Leading the English army himself, Longshanks confronts the Scots at Falkirk Falkirk on July 22, 1298 where noblemen Lochlan and Mornay betray Wallace. The Scots lose the battle battle , Morrison and Hamish's father die at the battle. As he charges toward the departing Longshanks on horseback, Wallace is intercepted by one of the king's lancers, who turns out to be Robert. Remorseful, he gets Wallace to safety before the English can capture him. Wallace kills Mornay and Lochlan for their betrayal, and wages a guerrilla war against the English for the next seven years, assisted by Isabella, with whom he eventually has an affair. Robert, intending to join Wallace and commit troops to the war, sets up a meeting with him in Edinburgh Edinburgh . However, Robert's father has conspired with other nobles to capture and hand over Wallace to the English. Learning of his treachery, Robert disowns his father. Isabella exacts revenge on the now terminally ill Longshanks by telling him she is pregnant with Wallace's child, intent on ending Longshanks' line and ruling in his son's place. \n", " In London, Wallace is brought before an English magistrate, tried for high treason, and condemned to public torture and beheading. Even whilst being hanged, drawn and quartered, Wallace refuses to beg for mercy and submit to the king. As cries for mercy come from the watching crowd deeply moved by the Scotsman's valor, the magistrate offers him one final chance, asking him only to utter the word \"Mercy\" and be granted a quick death. Wallace instead shouts the word \"Freedom!\" and the judge orders his death. Moments before being decapitated, Wallace sees a vision of Murron in the crowd, smiling at him. In London London , Wallace is brought before an English magistrate, tried for high treason, and condemned to public torture and beheading. Even whilst being hanged, drawn and quartered hanged, drawn and quartered , Wallace refuses to beg for mercy and submit to the king. As cries for mercy come from the watching crowd deeply moved by the Scotsman's valor, the magistrate offers him one final chance, asking him only to utter the word \"Mercy\" and be granted a quick death. Wallace instead shouts the word \"Freedom!\" and the judge orders his death. Moments before being decapitated decapitated , Wallace sees a vision of Murron in the crowd, smiling at him. \n", " In 1314, Robert, now Scotland's king, leads a Scottish army before a ceremonial line of English troops on the fields of Bannockburn where he is to formally accept English rule. As he begins to ride toward the English, he stops and invokes Wallace's memory, imploring his men to fight with him as they did with Wallace. Robert then leads his army into battle against the stunned English, winning the Scots their freedom. In 1314, Robert, now Scotland's king, leads a Scottish army before a ceremonial line of English troops on the fields of Bannockburn Bannockburn where he is to formally accept English rule. As he begins to ride toward the English, he stops and invokes Wallace's memory, imploring his men to fight with him as they did with Wallace. Robert then leads his army into battle against the stunned English, winning the Scots their freedom. \n", " \n", "http://en.wikipedia.org/wiki/Coyote_Ugly_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "This section needs an improved plot summary. (June 2013)\n", "\n", " \n", " \n", "\n", "This section needs an improved plot summary. (June 2013)\n", " \n", " \n", " This section needs an improved plot summary. (June 2013) This section needs an improved plot summary. (June 2013) This section needs an improved plot summary plot summary . (June 2013) (June 2013) (June 2013) \n", " \n", " \n", " Violet Sanford (Piper Perabo) leaves her hometown of South Amboy, New Jersey, her father Bill (John Goodman), and best friend Gloria (Melanie Lynskey) to pursue her dreams of becoming a songwriter in nearby New York City. The pizza shop where she works has a wall covered with the autographs of employees that left, hoping to make it big, and Violet adds hers to the wall. Violet Sanford ( Piper Perabo Piper Perabo ) leaves her hometown of South Amboy, New Jersey South Amboy, New Jersey , her father Bill ( John Goodman John Goodman ), and best friend Gloria ( Melanie Lynskey Melanie Lynskey ) to pursue her dreams of becoming a songwriter songwriter in nearby New York City. The pizza shop where she works has a wall covered with the autographs autographs of employees that left, hoping to make it big, and Violet adds hers to the wall. \n", " Violet tries unsuccessfully, dozens of times, to get her demo tape noticed by the recording studios. One night, she tries to get herself noticed by a music industry scout. The bartender jokingly points out Kevin O'Donnell (Adam Garcia), making her believe that he is the bar owner. When the joke is discovered, Violet feels that Kevin was making a fool out of her. With only a few dollars left in her pocket after her apartment is robbed, she goes to an all-night diner and notices three girls, Cammie (Izabella Miko), Rachel (Bridget Moynahan), and Zoe (Tyra Banks), flaunting the hundreds of dollars in tips they earned. After inquiring, she finds out that they work at a trendy bar named Coyote Ugly. Violet tries unsuccessfully, dozens of times, to get her demo tape demo tape noticed by the recording studios. One night, she tries to get herself noticed by a music industry scout. The bartender bartender jokingly points out Kevin O'Donnell ( Adam Garcia Adam Garcia ), making her believe that he is the bar owner. When the joke is discovered, Violet feels that Kevin was making a fool out of her. With only a few dollars left in her pocket after her apartment is robbed, she goes to an all-night diner diner and notices three girls, Cammie ( Izabella Miko Izabella Miko ), Rachel ( Bridget Moynahan Bridget Moynahan ), and Zoe ( Tyra Banks Tyra Banks ), flaunting the hundreds of dollars in tips they earned. After inquiring, she finds out that they work at a trendy bar named Coyote Ugly. \n", " She finds her way to the bar and convinces the bar owner Lil (Maria Bello) to give her an audition. Violet's first audition does not go well; but after breaking up a fight between two customers, Lil agrees to give her a second audition. At her second audition, Violet douses the fire warden in water costing Lil $250. In order to keep her job, she has to make up $250 in one night. Kevin turns up at the bar, but ends up being auctioned off to one of the women in the bar. In order to pay off her debt to Kevin, Violet agrees to go on four dates with him. The two begin a relationship. She finds her way to the bar and convinces the bar owner Lil ( Maria Bello Maria Bello ) to give her an audition. Violet's first audition does not go well; but after breaking up a fight between two customers, Lil agrees to give her a second audition. At her second audition, Violet douses the fire warden in water costing Lil $250. In order to keep her job, she has to make up $250 in one night. Kevin turns up at the bar, but ends up being auctioned off to one of the women in the bar. In order to pay off her debt to Kevin, Violet agrees to go on four dates with him. The two begin a relationship. \n", " Kevin commits himself to helping Violet overcome her stage fright so that she can sell her music. It is discovered that Violet's stage fright is inherited from her mother who also came to New York to be a singer. It is also discovered that Violet can sing to songs that aren't her own. We learn this when she sings on the bar in the bar in order to save the necks of Cammie and Rachel who were trying to break up a fight between the customers. Kevin commits himself to helping Violet overcome her stage fright so that she can sell her music. It is discovered that Violet's stage fright is inherited from her mother who also came to New York to be a singer. It is also discovered that Violet can sing to songs that aren't her own. We learn this when she sings on the bar in the bar in order to save the necks of Cammie and Rachel who were trying to break up a fight between the customers. \n", " One night a patron takes a picture of Violet in the middle of a raunchy move and with water pouring on her. When the picture appears in the paper, Violet's father happens to see it and gets angry at her. She continues to pursue her dream, though, despite being sidetracked with work at the bar. She gets fired when Kevin gets into a fight at the bar. She returns to Jersey for her best friend's wedding and makes her way back to New York when her dad was in a car accident. One night a patron takes a picture of Violet in the middle of a raunchy move and with water pouring on her. When the picture appears in the paper, Violet's father happens to see it and gets angry at her. She continues to pursue her dream, though, despite being sidetracked with work at the bar. She gets fired when Kevin gets into a fight at the bar. She returns to Jersey for her best friend's wedding and makes her way back to New York when her dad was in a car accident. \n", " Later she performs at an open mic night at the Bowery Ballroom with the \"Coyotes\" from the Coyote Ugly saloon, her father, her best friend, and Kevin all there for moral support. The performance goes over very well and she finally lands a deal with a record label. Later she performs at an open mic night at the Bowery Ballroom Bowery Ballroom with the \"Coyotes\" from the Coyote Ugly saloon, her father, her best friend, and Kevin all there for moral support. The performance goes over very well and she finally lands a deal with a record label. \n", " The film concludes back at Coyote Ugly with LeAnn Rimes, as a Coyote, singing Violet's song. Violet joins in as her father and Kevin watch from the audience. The film concludes back at Coyote Ugly with LeAnn Rimes, as a Coyote, singing Violet's song. Violet joins in as her father and Kevin watch from the audience. \n", " \n", "http://en.wikipedia.org/wiki/Butch_Cassidy_and_the_Sundance_Kid\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In late 1890s Wyoming, Butch Cassidy (Paul Newman) is the affable, clever, talkative leader of the outlaw Hole in the Wall Gang. His closest companion is the laconic dead-shot \"Sundance Kid\" (Robert Redford). The two return to their hideout at Hole-in-the-Wall (Wyoming) to discover that the rest of the gang, irked at Butch's long absences, have selected Harvey Logan (Ted Cassidy) as their new leader. Harvey challenges Butch to a knife fight over the gang's leadership. Butch defeats him using trickery, but embraces Harvey's idea to rob the Union Pacific Overland Flyer train on both its eastward and westward runs, agreeing that the second robbery would be unexpected and likely reap even more money than the first. In late 1890s Wyoming Wyoming , Butch Cassidy Butch Cassidy ( Paul Newman Paul Newman ) is the affable, clever, talkative leader of the outlaw Hole in the Wall Gang Hole in the Wall Gang . His closest companion is the laconic dead-shot dead-shot \" Sundance Kid Sundance Kid \" ( Robert Redford Robert Redford ). The two return to their hideout at Hole-in-the-Wall Hole-in-the-Wall (Wyoming) to discover that the rest of the gang, irked at Butch's long absences, have selected Harvey Logan Harvey Logan ( Ted Cassidy Ted Cassidy ) as their new leader. Harvey challenges Butch to a knife fight over the gang's leadership. Butch defeats him using trickery, but embraces Harvey's idea to rob the Union Pacific Union Pacific Overland Flyer Overland Flyer train on both its eastward and westward runs, agreeing that the second robbery would be unexpected and likely reap even more money than the first. \n", " The first robbery goes well. To celebrate, Butch and Sundance visit a favorite brothel in a nearby town and watch, amused, as the town sheriff (Kenneth Mars) unsuccessfully attempts to organize a posse to track down the gang. They then visit Sundance's lover, schoolteacher Etta Place (Katharine Ross). On the second train robbery, Butch uses too much dynamite to blow open the safe, blowing up the baggage car. As the gang scrambles to gather up the money, a second train arrives carrying a six-man team of lawmen pursuing Butch and Sundance, who unsuccessfully try to hide out in the brothel and to seek amnesty from the friendly Sheriff Bledsoe (Jeff Corey). As the posse remains in pursuit despite all attempts to elude them, Butch and Sundance determine that the group includes renowned Indian tracker \"Lord Baltimore\" and relentless lawman Joe LeFors, recognizable by his white skimmer. Butch and Sundance finally elude their pursuers by jumping from a cliff into a river far below. They learn from Etta that the posse has been paid by Union Pacific head E. H. Harriman to remain on their trail until Butch and Sundance are both killed. The first robbery goes well. To celebrate, Butch and Sundance visit a favorite brothel brothel in a nearby town and watch, amused, as the town sheriff ( Kenneth Mars Kenneth Mars ) unsuccessfully attempts to organize a posse posse to track down the gang. They then visit Sundance's lover, schoolteacher Etta Place Etta Place ( Katharine Ross Katharine Ross ). On the second train robbery, Butch uses too much dynamite dynamite to blow open the safe safe , blowing up the baggage car. As the gang scrambles to gather up the money, a second train arrives carrying a six-man team of lawmen pursuing Butch and Sundance, who unsuccessfully try to hide out in the brothel and to seek amnesty amnesty from the friendly Sheriff Bledsoe ( Jeff Corey Jeff Corey ). As the posse remains in pursuit despite all attempts to elude them, Butch and Sundance determine that the group includes renowned Indian tracker tracker \"Lord Baltimore\" and relentless lawman Joe LeFors Joe LeFors , recognizable by his white skimmer skimmer . Butch and Sundance finally elude their pursuers by jumping from a cliff into a river far below. They learn from Etta that the posse has been paid by Union Pacific head E. H. Harriman E. H. Harriman to remain on their trail until Butch and Sundance are both killed. \n", " Butch persuades Sundance and Etta that the three should escape to Bolivia, which Butch envisions as a robber's paradise. On their arrival there, Sundance is dismayed by the living conditions and regards the country with contempt, but Butch remains optimistic. They discover that they know too little Spanish to pull off a bank robbery, so Etta attempts to teach them the language. With her as an accomplice, they become successful bank robbers known as Los Bandidos Yanquis. However, their confidence drops when they see a man wearing a white hat and fear that Harriman's posse is still after them. Butch persuades Sundance and Etta that the three should escape to Bolivia Bolivia , which Butch envisions as a robber's paradise. On their arrival there, Sundance is dismayed by the living conditions and regards the country with contempt, but Butch remains optimistic. They discover that they know too little Spanish Spanish to pull off a bank robbery, so Etta attempts to teach them the language. With her as an accomplice, they become successful bank robbers known as Los Bandidos Yanquis Los Bandidos Yanquis . However, their confidence drops when they see a man wearing a white hat and fear that Harriman's posse is still after them. \n", " Butch suggests \"going straight\", and he and Sundance land their first honest job as payroll guards for a mining company. However, they are ambushed by local bandits on their first run and their boss, Percy Garris (Strother Martin), is killed. Butch and Sundance ambush and kill the bandits, the first time Butch has ever shot someone. Concluding that the straight life isn't for them, they return to robbery, but Etta decides to return to the United States. Butch suggests \"going straight\", and he and Sundance land their first honest job as payroll payroll guards for a mining company. However, they are ambushed by local bandits on their first run and their boss, Percy Garris ( Strother Martin Strother Martin ), is killed. Butch and Sundance ambush and kill the bandits, the first time Butch has ever shot someone. Concluding that the straight life isn't for them, they return to robbery, but Etta decides to return to the United States. \n", " Butch and Sundance steal a payroll and the mules carrying it, and arrive in a small town. A boy recognizes the mules' brand and alerts the local police, leading to a gunfight with the outlaws. They take cover in a building but are both seriously wounded, after Butch makes a futile attempt to run to the mules in order to bring more ammunition, while Sundance provides cover fire. As dozens of Bolivian soldiers surround the area, Butch suggests the duo's next destination should be Australia. The film ends with a freeze frame shot on the pair charging out of the building, guns blazing, as the Bolivian forces fire repeatedly on them. Butch and Sundance steal a payroll and the mules carrying it, and arrive in a small town. A boy recognizes the mules' brand brand and alerts the local police, leading to a gunfight with the outlaws. They take cover in a building but are both seriously wounded, after Butch makes a futile attempt to run to the mules in order to bring more ammunition, while Sundance provides cover fire. As dozens of Bolivian soldiers surround the area, Butch suggests the duo's next destination should be Australia. The film ends with a freeze frame shot freeze frame shot on the pair charging out of the building, guns blazing, as the Bolivian forces fire repeatedly on them. \n", " \n", "http://en.wikipedia.org/wiki/The_Treasure_of_the_Sierra_Madre_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Dobbs (Humphrey Bogart) and Curtin (Tim Holt), cheated out of promised wages and down on their luck, meet old prospector Howard (Walter Huston) in the Mexican oil-town of Tampico. They set out to strike it rich by searching for gold in the remote Sierra Madre mountains. Dobbs ( Humphrey Bogart Humphrey Bogart ) and Curtin ( Tim Holt Tim Holt ), cheated out of promised wages and down on their luck, meet old prospector Howard ( Walter Huston Walter Huston ) in the Mexican oil-town of Tampico Tampico . They set out to strike it rich by searching for gold in the remote Sierra Madre Sierra Madre mountains. \n", " They ride a train into the hinterlands, surviving a bandit attack en route. In the desert, Howard proves to be the toughest and most knowledgeable; he is the one to discover the gold they seek. A mine is dug, and much gold is extracted. Greed soon sets in, and Dobbs begins to lose both his trust and his sanity, lusting to possess the entire treasure. Dobbs is also unreasonably afraid that he will be killed by his partners. They ride a train into the hinterlands, surviving a bandit attack en route. In the desert, Howard proves to be the toughest and most knowledgeable; he is the one to discover the gold they seek. A mine is dug, and much gold is extracted. Greed soon sets in, and Dobbs begins to lose both his trust and his sanity, lusting to possess the entire treasure. Dobbs is also unreasonably afraid that he will be killed by his partners. \n", " A fourth American named James Cody (Bruce Bennett) appears, which sets up a moral debate about what to do with the new stranger. The men decide to kill Cody, but just as the three confront him with pistols and prepare to kill him, the bandits reappear, crudely pretending to be Federales. (This results in a now-famous exchange between Dobbs and the bandits about not needing to show any \"stinking badges.\") After a gunfight with the bandits, in which Cody is killed, a real troop of Federales appears and chases the bandits away. A fourth American named James Cody ( Bruce Bennett Bruce Bennett ) appears, which sets up a moral debate about what to do with the new stranger. The men decide to kill Cody, but just as the three confront him with pistols and prepare to kill him, the bandits reappear, crudely pretending to be Federales Federales . (This results in a now-famous exchange between Dobbs and the bandits about not needing to show any \" stinking badges stinking badges .\") After a gunfight with the bandits, in which Cody is killed, a real troop of Federales appears and chases the bandits away. \n", " Howard is called away to assist some local villagers in saving a little boy. The next day he is asked, without the option of declining, to go back to the village to be honored. However, he leaves his goods with Dobbs and Curtin. Dobbs, whose paranoia continues, and Curtin constantly argue, until one night when Curtin falls asleep, Dobbs holds him at gunpoint, takes him behind the camp, shoots him, grabs all three shares of the gold, and leaves him for dead. However, the wounded Curtin survives and manages to crawl away during the night. Howard is called away to assist some local villagers in saving a little boy. The next day he is asked, without the option of declining, to go back to the village to be honored. However, he leaves his goods with Dobbs and Curtin. Dobbs, whose paranoia continues, and Curtin constantly argue, until one night when Curtin falls asleep, Dobbs holds him at gunpoint, takes him behind the camp, shoots him, grabs all three shares of the gold, and leaves him for dead. However, the wounded Curtin survives and manages to crawl away during the night. \n", " Dobbs is later ambushed and killed by some of the bandits. In their ignorance, the bandits believe Dobbs' bags of unrefined gold are merely filled with sand, and they scatter the gold to the winds. Curtin is discovered by indios and taken to Howard's village, where he recovers. The bandits try to sell the packing donkeys but a child recognizes the donkeys and Dobbs' clothes and reports them to the police. The bandits are captured, sentenced to death and forced to dig their own graves before being executed. Curtin and Howard miss witnessing the bandits' execution by Federales by only a few minutes as they arrive back in town, and learn that the gold is gone. Dobbs is later ambushed and killed by some of the bandits. In their ignorance, the bandits believe Dobbs' bags of unrefined gold are merely filled with sand sand , and they scatter the gold to the winds. Curtin is discovered by indios indios and taken to Howard's village, where he recovers. The bandits try to sell the packing donkeys but a child recognizes the donkeys and Dobbs' clothes and reports them to the police. The bandits are captured, sentenced to death and forced to dig their own graves before being executed. Curtin and Howard miss witnessing the bandits' execution by Federales by only a few minutes as they arrive back in town, and learn that the gold is gone. \n", " While checking the area where the bandits dropped the gold, Howard realizes that the winds must have carried the gold away. They accept the loss with equanimity, and then part ways, Howard returning to the indio village, where the natives have offered him a permanent home and position of honour within the village and its people, and Curtin returning home to the United States. While checking the area where the bandits dropped the gold, Howard realizes that the winds must have carried the gold away. They accept the loss with equanimity, and then part ways, Howard returning to the indio indio village, where the natives have offered him a permanent home and position of honour within the village and its people, and Curtin returning home to the United States. \n", " \n", "http://en.wikipedia.org/wiki/The_Apartment\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Calvin Clifford (C. C.) \"Bud\" Baxter (Jack Lemmon) is a lonely office drudge at a national insurance corporation in a high-rise building in New York City. In order to climb the corporate ladder, Bud allows four company managers, who reinforce their position over him by regularly calling him \"Buddy Boy\", to take turns borrowing his Upper West Side apartment for their various extramarital liaisons, which are so noisy that his neighbors assume that he is bringing home different women every night. Calvin Clifford (C. C.) \"Bud\" Baxter ( Jack Lemmon Jack Lemmon ) is a lonely office drudge at a national insurance corporation in a high-rise building in New York City New York City . In order to climb the corporate ladder, Bud allows four company managers, who reinforce their position over him by regularly calling him \"Buddy Boy\", to take turns borrowing his Upper West Side apartment for their various extramarital liaisons, which are so noisy that his neighbors assume that he is bringing home different women every night. \n", " The four managers (Ray Walston, David Lewis, Willard Waterman, and David White) write glowing reports about Bud, who hopes for a promotion from the personnel director, Jeff D. Sheldrake (Fred MacMurray). Sheldrake calls Bud to his office but says that he has found out why they were so enthusiastic. Then he goes on to promote him in return for exclusive privileges to borrow the apartment. He insists on using it that same night and, as compensation for such short notice, gives Baxter two company-sponsored tickets to the hit Broadway musical The Music Man. The four managers ( Ray Walston Ray Walston , David Lewis David Lewis , Willard Waterman Willard Waterman , and David White David White ) write glowing reports about Bud, who hopes for a promotion from the personnel director, Jeff D. Sheldrake ( Fred MacMurray Fred MacMurray ). Sheldrake calls Bud to his office but says that he has found out why they were so enthusiastic. Then he goes on to promote him in return for exclusive privileges to borrow the apartment. He insists on using it that same night and, as compensation for such short notice, gives Baxter two company-sponsored tickets to the hit Broadway musical The Music Man The Music Man The Music Man . \n", " After work, Bud catches Fran Kubelik (Shirley MacLaine), an elevator operator on whom he has had his eye, and asks her to go to the musical with him. They agree to meet at the theater after she has a drink with a former fling. The man whom she meets, by coincidence, is Sheldrake, who convinces her that he is about to divorce his wife for her. They go to Bud's apartment as Bud waits forlornly outside the theater. After work, Bud catches Fran Kubelik ( Shirley MacLaine Shirley MacLaine ), an elevator operator elevator operator on whom he has had his eye, and asks her to go to the musical with him. They agree to meet at the theater after she has a drink with a former fling. The man whom she meets, by coincidence, is Sheldrake, who convinces her that he is about to divorce his wife for her. They go to Bud's apartment as Bud waits forlornly outside the theater. \n", " \n", "\n", "\n", "\n", "Calvin Clifford (C. C.) \"Bud\" Baxter (Jack Lemmon) and Fran Kubelik (Shirley MacLaine), in a still from the film's final scene: \"Shut up and deal.\"\n", "\n", " \n", " \n", "\n", "\n", "Calvin Clifford (C. C.) \"Bud\" Baxter (Jack Lemmon) and Fran Kubelik (Shirley MacLaine), in a still from the film's final scene: \"Shut up and deal.\"\n", " \n", " \n", "\n", "Calvin Clifford (C. C.) \"Bud\" Baxter (Jack Lemmon) and Fran Kubelik (Shirley MacLaine), in a still from the film's final scene: \"Shut up and deal.\" \n", " \n", "Calvin Clifford (C. C.) \"Bud\" Baxter ( Jack Lemmon Jack Lemmon ) and Fran Kubelik ( Shirley MacLaine Shirley MacLaine ), in a still from the film's final scene: \"Shut up and deal.\" \n", " \n", " \n", " Several weeks later, at the company's raucous Christmas party, Sheldrake's secretary Miss Olsen (Edie Adams), drunkenly reveals to Fran that Fran is just the latest in a string of female employees whom Sheldrake has seduced into affairs with the promise of divorcing his wife, with Miss Olsen herself being one of them. At Bud's apartment, Fran confronts Sheldrake, upset with herself for believing his lies. Sheldrake maintains that he genuinely loves her but then leaves to return to his suburban family as usual. Several weeks later, at the company's raucous Christmas party, Sheldrake's secretary Miss Olsen ( Edie Adams Edie Adams ), drunkenly reveals to Fran that Fran is just the latest in a string of female employees whom Sheldrake has seduced into affairs with the promise of divorcing his wife, with Miss Olsen herself being one of them. At Bud's apartment, Fran confronts Sheldrake, upset with herself for believing his lies. Sheldrake maintains that he genuinely loves her but then leaves to return to his suburban family as usual. \n", " Meanwhile, Bud accidentally finds out about Sheldrake and Fran. Disappointed, he picks up a woman (Hope Holiday) at a local bar. When they arrive at his apartment, he is shocked to find Fran in his bed, fully clothed and unconscious from an intentional overdose of his sleeping pills. He enlists the help of his neighbor, Dr. Dreyfuss (Jack Kruschen), to revive Fran without notifying the authorities and sends his confused bar pickup home. To protect his job, he lets Dreyfuss believe that he and Fran are lovers who had fought, which he took so lightly that he was meeting another woman while she was attempting suicide. Fran spends two days recuperating at his apartment, while Bud tries entertaining and distracting her from any further suicidal thoughts, talking her into playing numerous hands of gin rummy. Meanwhile, Bud accidentally finds out about Sheldrake and Fran. Disappointed, he picks up a woman ( Hope Holiday Hope Holiday ) at a local bar. When they arrive at his apartment, he is shocked to find Fran in his bed, fully clothed and unconscious from an intentional overdose of his sleeping pills. He enlists the help of his neighbor, Dr. Dreyfuss ( Jack Kruschen Jack Kruschen ), to revive Fran without notifying the authorities and sends his confused bar pickup home. To protect his job, he lets Dreyfuss believe that he and Fran are lovers who had fought, which he took so lightly that he was meeting another woman while she was attempting suicide. Fran spends two days recuperating at his apartment, while Bud tries entertaining and distracting her from any further suicidal thoughts, talking her into playing numerous hands of gin rummy gin rummy . \n", " Since she has been missing, Fran's brother-in-law Karl Matuschka (Johnny Seven) comes to the office looking for her. She has not been there and neither has Bud. The previous day, one of the executives had seen Fran in the bedroom when he came to the apartment hoping to borrow it and mentioned it to the other executives. Resenting Bud for denying them access to his apartment, the executives direct the man there. Bud again takes responsibility for Fran's actions, and Karl punches him twice in the face. Since she has been missing, Fran's brother-in-law Karl Matuschka ( Johnny Seven Johnny Seven ) comes to the office looking for her. She has not been there and neither has Bud. The previous day, one of the executives had seen Fran in the bedroom when he came to the apartment hoping to borrow it and mentioned it to the other executives. Resenting Bud for denying them access to his apartment, the executives direct the man there. Bud again takes responsibility for Fran's actions, and Karl punches him twice in the face. \n", " Sheldrake rewards Bud with a further promotion and fires Miss Olsen for telling Fran his history of womanizing. However, Miss Olsen retaliates by telling his wife, who promptly throws him out. Sheldrake moves into a room at his athletic club but now figures that he can string Fran along while he enjoys his newfound bachelorhood. When Sheldrake asks Bud for access to the apartment on New Year's Eve, Bud refuses and quits the firm. Sheldrake tells Fran about Bud quitting at a New Years party they are attending. Fran finally realizes that Bud is the man who truly loves her. Fran then deserts Sheldrake at the party, and runs to Bud's apartment. Arriving at the door, she hears a loud noise like a gunshot. Afraid that Bud has shot himself, Fran pounds on the door. Bud, holding a bottle of overflowing champagne, finally opens the door, surprised and delighted that Fran is there. Bud has been packing for a move to another job and city. Fran insists on resuming their gin rummy game, telling Bud that she is now free as well. When he declares his love for her, her reply is the now-famous final line of the film: \"Shut up and deal\", delivered with a loving and radiant smile. Sheldrake rewards Bud with a further promotion and fires Miss Olsen for telling Fran his history of womanizing. However, Miss Olsen retaliates by telling his wife, who promptly throws him out. Sheldrake moves into a room at his athletic club but now figures that he can string Fran along while he enjoys his newfound bachelorhood. When Sheldrake asks Bud for access to the apartment on New Year's Eve New Year's Eve , Bud refuses and quits the firm. Sheldrake tells Fran about Bud quitting at a New Years party they are attending. Fran finally realizes that Bud is the man who truly loves her. Fran then deserts Sheldrake at the party, and runs to Bud's apartment. Arriving at the door, she hears a loud noise like a gunshot. Afraid that Bud has shot himself, Fran pounds on the door. Bud, holding a bottle of overflowing champagne, finally opens the door, surprised and delighted that Fran is there. Bud has been packing for a move to another job and city. Fran insists on resuming their gin rummy game, telling Bud that she is now free as well. When he declares his love for her, her reply is the now-famous final line of the film: \"Shut up and deal\", delivered with a loving and radiant smile. \n", " \n", "http://en.wikipedia.org/wiki/Platoon_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1967, Chris Taylor has dropped out of college and volunteered for combat duty in Vietnam. Assigned to Bravo Company, 25th Infantry Division near the Cambodian border, he is worn down by the exhausting conditions and his enthusiasm for the war wanes. One night his unit is set upon by a group of North Vietnamese Army (NVA) soldiers, who retreat after a brief confrontation. New recruit Gardner is killed while another soldier, Tex, is maimed by friendly fire from a grenade thrown by Sergeant \"Red\" O'Neill, with Taylor being mistakenly reprimanded by the ruthless Staff Sergeant Barnes. Taylor eventually gains acceptance from a tight-knit group in his unit who socialize and use drugs in a bunker clubhouse (the Underworld). He finds a mentor in Sergeant Elias, as well as the elder King, and becomes friends with two other soldiers, Lerner and Rhah. In 1967 1967 , Chris Taylor has dropped out of college and volunteered for combat duty in Vietnam Vietnam . Assigned to Bravo Company, 25th Infantry Division 25th Infantry Division near the Cambodian border, he is worn down by the exhausting conditions and his enthusiasm for the war wanes. One night his unit is set upon by a group of North Vietnamese Army North Vietnamese Army (NVA) soldiers, who retreat after a brief confrontation. New recruit Gardner is killed while another soldier, Tex, is maimed by friendly fire friendly fire from a grenade thrown by Sergeant \"Red\" O'Neill, with Taylor being mistakenly reprimanded by the ruthless Staff Sergeant Barnes. Taylor eventually gains acceptance from a tight-knit group in his unit who socialize and use drugs in a bunker clubhouse (the Underworld). He finds a mentor in Sergeant Elias, as well as the elder King, and becomes friends with two other soldiers, Lerner and Rhah. \n", " During one patrol, a soldier named Manny is found mutilated and tied to a post while two others, Sal and Sandy, are killed by a booby trap. As tension mounts, the platoon soon reaches a nearby village where a supply cache is discovered. Taylor finds a disabled young man and an elderly woman hiding in a spider hole. Taylor snaps, screaming and threatening the man, but is shocked to see Bunny bludgeon him to death. Using Lerner as a translator, Barnes interrogates the village chief to determine if they have been aiding the NVA. Despite the villagers' adamant denials, with Lerner also agreeing that they are telling the truth, Barnes shoots and kills the chief's wife due to her persistent arguing. Barnes then takes the child of the woman at gunpoint, threatening to shoot her if the villagers do not reveal information. Elias arrives, argues with Barnes about what he's seen. Elias gets in a fight with Barnes over the incident and one or both would have been killed had the fight kept going. Platoon commander Lieutenant Wolfe orders the men to leave with the villagers and burn the village. As they leave, Taylor stops a group of soldiers from raping two girls. During one patrol, a soldier named Manny is found mutilated and tied to a post while two others, Sal and Sandy, are killed by a booby trap booby trap . As tension mounts, the platoon soon reaches a nearby village where a supply cache is discovered. Taylor finds a disabled young man and an elderly woman hiding in a spider hole spider hole . Taylor snaps, screaming and threatening the man, but is shocked to see Bunny bludgeon him to death. Using Lerner as a translator, Barnes interrogates the village chief to determine if they have been aiding the NVA. Despite the villagers' adamant denials, with Lerner also agreeing that they are telling the truth, Barnes shoots and kills the chief's wife due to her persistent arguing. Barnes then takes the child of the woman at gunpoint, threatening to shoot her if the villagers do not reveal information. Elias arrives, argues with Barnes about what he's seen. Elias gets in a fight with Barnes over the incident and one or both would have been killed had the fight kept going. Platoon commander Lieutenant Wolfe orders the men to leave with the villagers and burn the village. As they leave, Taylor stops a group of soldiers from raping two girls. \n", " Upon returning to base, Captain Harris warns that if he finds out that an illegal killing took place, a court-martial will be ordered, which concerns Barnes as Elias might testify against him. On their next patrol, the platoon is ambushed and pinned down in a firefight, in which numerous soldiers, including Lerner and Big Harold, are wounded. Lerner is taken back to the helicopter landing area while Wolfe calls in a mortar strike on incorrect coordinates, resulting in friendly fire casualties. Elias takes Taylor, Crawford and Rhah to intercept flanking enemy troops. Barnes orders the rest of the platoon to retreat, and goes back into the jungle to find Elias' group. Barnes finds Elias and shoots him, returning to tell the others that Elias was killed by the enemy. While they are leaving, a wounded Elias emerges from the jungle, running from a group of North Vietnamese soldiers. Taylor glances over at Barnes and reads the apprehension on his face as Elias dies. At the base, Taylor attempts to talk his group into retaliation when a drunken Barnes enters the room and taunts them. Taylor attacks Barnes, but is defeated and cut near his eye with a push dagger. Upon returning to base, Captain Harris warns that if he finds out that an illegal killing took place, a court-martial court-martial will be ordered, which concerns Barnes as Elias might testify against him. On their next patrol, the platoon is ambushed and pinned down in a firefight, in which numerous soldiers, including Lerner and Big Harold, are wounded. Lerner is taken back to the helicopter landing area while Wolfe calls in a mortar strike on incorrect coordinates, resulting in friendly fire casualties. Elias takes Taylor, Crawford and Rhah to intercept flanking enemy troops. Barnes orders the rest of the platoon to retreat, and goes back into the jungle to find Elias' group. Barnes finds Elias and shoots him, returning to tell the others that Elias was killed by the enemy. While they are leaving, a wounded Elias emerges from the jungle, running from a group of North Vietnamese soldiers. Taylor glances over at Barnes and reads the apprehension on his face as Elias dies. At the base, Taylor attempts to talk his group into retaliation when a drunken Barnes enters the room and taunts them. Taylor attacks Barnes, but is defeated and cut near his eye with a push dagger push dagger . \n", " The platoon is sent back into the combat area to maintain defensive positions. King is sent home and Taylor shares a foxhole with Francis. Meanwhile, Junior makes an attempt to escape the platoon by spraying mosquito repellent on his feet, under the guise of trench foot, but it fails when Barnes immediately recognizes the attempted ruse. That night, an NVA assault occurs and the defensive lines are broken. Junior, Bunny, and Wolfe are killed, while O'Neill barely escapes death by hiding under a dead soldier. To make matters worse, an NVA sapper armed with explosives rushes into battalion headquarters, self-detonating and killing everyone inside. Meanwhile, Captain Harris orders his air support to expend all remaining ordnance inside his perimeter. During the chaos, Taylor encounters Barnes, but the wounded sergeant attacks him. Just before Barnes can pummel Taylor, both men are knocked unconscious by an air strike on the overrun base. Taylor regains consciousness the following morning, picks up an enemy Type 56 rifle, and finds an injured Barnes, who dares him to pull the trigger. Taylor shoots Barnes, killing him. Taylor then sits until reinforcements arrive and find him. The platoon is sent back into the combat area to maintain defensive positions. King is sent home and Taylor shares a foxhole with Francis. Meanwhile, Junior makes an attempt to escape the platoon by spraying mosquito repellent on his feet, under the guise of trench foot, but it fails when Barnes immediately recognizes the attempted ruse. That night, an NVA assault occurs and the defensive lines are broken. Junior, Bunny, and Wolfe are killed, while O'Neill barely escapes death by hiding under a dead soldier. To make matters worse, an NVA sapper NVA sapper armed with explosives rushes into battalion headquarters, self-detonating self-detonating and killing everyone inside. Meanwhile, Captain Harris orders his air support to expend all remaining ordnance inside his perimeter. During the chaos, Taylor encounters Barnes, but the wounded sergeant attacks him. Just before Barnes can pummel Taylor, both men are knocked unconscious by an air strike on the overrun base. Taylor regains consciousness the following morning, picks up an enemy Type 56 Type 56 rifle, and finds an injured Barnes, who dares him to pull the trigger. Taylor shoots Barnes, killing him. Taylor then sits until reinforcements arrive and find him. \n", " Francis, who survived the battle unharmed, deliberately stabs himself in the leg and reminds Taylor that because they have been twice wounded, they can return home. O'Neill, who desperately wants to go home, is told he will remain in duty and given command of the platoon. Taylor encounters Rhah one last time, apparently unscathed and returning with American armored cavalry, who bids him farewell with a battle cry. The helicopter flies away and Taylor weeps as he stares down at multiple craters full of corpses, friend and foe alike. Francis, who survived the battle unharmed, deliberately stabs himself in the leg and reminds Taylor that because they have been twice wounded, they can return home. O'Neill, who desperately wants to go home, is told he will remain in duty and given command of the platoon. Taylor encounters Rhah one last time, apparently unscathed and returning with American armored cavalry, who bids him farewell with a battle cry. The helicopter flies away and Taylor weeps as he stares down at multiple craters full of corpses, friend and foe alike. \n", " \n", "http://en.wikipedia.org/wiki/High_Noon\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Will Kane (Gary Cooper), the longtime marshal of Hadleyville, New Mexico Territory, has just married pacifist Quaker Amy Fowler (Grace Kelly) and turned in his badge. He intends to become a storekeeper elsewhere. Suddenly, the town learns that Frank Miller (Ian MacDonald), a criminal whom Kane brought to justice, is due to arrive on the noon train. Will Kane Will Kane ( Gary Cooper Gary Cooper ), the longtime marshal marshal of Hadleyville, New Mexico Territory New Mexico Territory , has just married pacifist pacifist Quaker Quaker Amy Fowler ( Grace Kelly Grace Kelly ) and turned in his badge. He intends to become a storekeeper elsewhere. Suddenly, the town learns that Frank Miller ( Ian MacDonald Ian MacDonald ), a criminal whom Kane brought to justice, is due to arrive on the noon train. \n", " Miller had been sentenced to hang, but was pardoned on an unspecified legal technicality. In court, he had vowed to get revenge on Will and anyone else who got in the way. The members of Miller's gang are his younger brother Ben (Sheb Wooley), Jack Colby (Lee Van Cleef), and Jim Pierce (Robert J. Wilke), and they wait for him at the station. Miller had been sentenced to hang, but was pardoned on an unspecified legal technicality legal technicality . In court, he had vowed to get revenge on Will and anyone else who got in the way. The members of Miller's gang are his younger brother Ben ( Sheb Wooley Sheb Wooley ), Jack Colby ( Lee Van Cleef Lee Van Cleef ), and Jim Pierce ( Robert J. Wilke Robert J. Wilke ), and they wait for him at the station. \n", " Will and Amy leave town, but fearing that the gang will both hunt him down and also be a danger to the town and its people, Will turns back. He reclaims his badge and scours the town for help, even interrupting Sunday church services, with little success. His deputy, Harvey Pell (Lloyd Bridges), resigns because Will did not recommend him as the new marshal. Harvey agrees to stay if Will will support him, but Will refuses to buy his assistance. Will goes to warn Helen Ram\u00edrez (Katy Jurado), first Miller\u2019s lover, then Will's, and now Harvey's. Helen is already aware of what Miller will do to her if he finds her and has sold her business. She prepares to leave town to avoid Miller but also to avoid seeing Kane killed. Will and Amy leave town, but fearing that the gang will both hunt him down and also be a danger to the town and its people, Will turns back. He reclaims his badge and scours the town for help, even interrupting Sunday church services, with little success. His deputy, Harvey Pell ( Lloyd Bridges Lloyd Bridges ), resigns because Will did not recommend him as the new marshal. Harvey agrees to stay if Will will support him, but Will refuses to buy his assistance. Will goes to warn Helen Ram\u00edrez ( Katy Jurado Katy Jurado ), first Miller\u2019s lover, then Will's, and now Harvey's. Helen is already aware of what Miller will do to her if he finds her and has sold her business. She prepares to leave town to avoid Miller but also to avoid seeing Kane killed. \n", " Amy gives Will an ultimatum: she is leaving on the noon train, with or without him. Amy gives Will an ultimatum: she is leaving on the noon train, with or without him. \n", " The judge who sentenced Miller is leaving and encourages Will to do the same. The marshal who preceded Will supports him, but is too old to help and tells Will to get out of town. Will tries eliciting help from the locals at a bar and then tries the church. Nobody at either place responds, and few support him. Some even desire to see Kane's probable demise. Many of the townspeople encourage Will to leave, hoping that would defuse the situation. Even Will's good friends the Fullers are at odds about how to deal with the situation. Mildred Fuller (Eve McVeagh) wants her husband, Sam (Harry Morgan), to speak with Will when he comes to their home, but he makes her claim he is not home while he hides in another room. The judge who sentenced Miller is leaving and encourages Will to do the same. The marshal who preceded Will supports him, but is too old to help and tells Will to get out of town. Will tries eliciting help from the locals at a bar and then tries the church. Nobody at either place responds, and few support him. Some even desire to see Kane's probable demise. Many of the townspeople encourage Will to leave, hoping that would defuse the situation. Even Will's good friends the Fullers are at odds about how to deal with the situation. Mildred Fuller ( Eve McVeagh Eve McVeagh ) wants her husband, Sam ( Harry Morgan Harry Morgan ), to speak with Will when he comes to their home, but he makes her claim he is not home while he hides in another room. \n", " In the end, Will faces Miller and his gang alone. Kane guns down Ben Miller and Colby, but is wounded in the process. Helen and Amy both board the train, but Amy gets off when she hears the sound of gunfire. Amy chooses her new husband's life over her religious beliefs, shooting Pierce from behind. Miller then takes her hostage to force Will into the open. However, Amy suddenly attacks Miller, giving Will a clear shot, and Will shoots Miller dead. As the townspeople emerge, Will stares at the crowd, contemptuously throws his marshal's star in the dirt, and leaves town with Amy. In the end, Will faces Miller and his gang alone. Kane guns down Ben Miller and Colby, but is wounded in the process. Helen and Amy both board the train, but Amy gets off when she hears the sound of gunfire. Amy chooses her new husband's life over her religious beliefs, shooting Pierce from behind. Miller then takes her hostage to force Will into the open. However, Amy suddenly attacks Miller, giving Will a clear shot, and Will shoots Miller dead. As the townspeople emerge, Will stares at the crowd, contemptuously throws his marshal's star in the dirt, and leaves town with Amy. \n", " The plot's sequence of events occurs in approximate real time. The plot's sequence of events occurs in approximate real time real time . \n", " \n", "http://en.wikipedia.org/wiki/Dances_with_Wolves\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1863, First Lieutenant John J. Dunbar is wounded in the American Civil War. Choosing suicide over having his leg amputated, he takes a horse and rides up to the Confederate front lines, distracting them in the process. The roused Union army then attacks and the battle ends in a Confederate rout. Dunbar survives, is allowed to recover properly, receives a citation for bravery, and is awarded Cisco, the horse who carried him, as well as his choice of posting. Dunbar requests a transfer to the western frontier so he can see its vast terrain before it disappears. Dunbar arrives at his new post, Fort Sedgwick, but finds it abandoned and in disrepair. Despite the threat of nearby Indian tribes, he elects to stay and man the post himself. He begins rebuilding and restocking the fort and prefers the solitude afforded him, recording many of his observations in his diary. In 1863, First Lieutenant First Lieutenant John J. Dunbar is wounded in the American Civil War American Civil War . Choosing suicide over having his leg amputated, he takes a horse and rides up to the Confederate Confederate front lines, distracting them in the process. The roused Union army Union army then attacks and the battle ends in a Confederate rout. Dunbar survives, is allowed to recover properly, receives a citation for bravery, and is awarded Cisco, the horse who carried him, as well as his choice of posting posting . Dunbar requests a transfer to the western frontier western frontier so he can see its vast terrain before it disappears. Dunbar arrives at his new post, Fort Sedgwick, but finds it abandoned and in disrepair. Despite the threat of nearby Indian Indian tribes, he elects to stay and man the post himself. He begins rebuilding and restocking the fort and prefers the solitude afforded him, recording many of his observations in his diary. \n", " Meanwhile, Timmons, the wagon driver who transported Dunbar to Fort Sedgwick, is killed and scalped by Pawnee Indians on his way back to Fort Hays. Timmons' death and the suicide of Major Fambrough, who had sent them there, prevents other soldiers from knowing of Dunbar's assignment to the post, effectively isolating him. Dunbar notes in his diary how strange it is that no other soldiers join him at the post. Meanwhile, Timmons, the wagon driver who transported Dunbar to Fort Sedgwick, is killed and scalped by Pawnee Pawnee Indians on his way back to Fort Hays. Timmons' death and the suicide of Major Fambrough, who had sent them there, prevents other soldiers from knowing of Dunbar's assignment to the post, effectively isolating him. Dunbar notes in his diary how strange it is that no other soldiers join him at the post. \n", " Dunbar initially encounters his Sioux neighbors when several attempts are made to steal his horse and intimidate him. In response, Dunbar decides to seek out the Sioux camp in an attempt to establish a dialogue. On his way he comes across Stands With A Fist, who is attempting suicide in mourning her deceased husband. She is the white, adopted daughter of the tribe's medicine man Kicking Bird, her original family having been killed by the aggressive Pawnee tribe when she was young. Dunbar returns her to the Sioux to be treated, which changes their attitude toward him. Eventually, Dunbar establishes a rapport with Kicking Bird and warrior Wind In His Hair who equally wish to communicate. Initially the language barrier frustrates them, so Stands With A Fist, though with difficulty remembering her English, acts as translator. Dunbar initially encounters his Sioux Sioux neighbors when several attempts are made to steal his horse and intimidate him. In response, Dunbar decides to seek out the Sioux camp in an attempt to establish a dialogue. On his way he comes across Stands With A Fist, who is attempting suicide in mourning her deceased husband. She is the white, adopted daughter of the tribe's medicine man medicine man Kicking Bird, her original family having been killed by the aggressive Pawnee tribe Pawnee tribe when she was young. Dunbar returns her to the Sioux to be treated, which changes their attitude toward him. Eventually, Dunbar establishes a rapport with Kicking Bird and warrior Wind In His Hair who equally wish to communicate. Initially the language barrier language barrier frustrates them, so Stands With A Fist, though with difficulty remembering her English English , acts as translator. \n", " Dunbar finds himself drawn to the lifestyle and customs of the tribe and begins spending most of his time with them. Learning their language, he is accepted as an honored guest by the Sioux after he locates a migrating herd of buffalo and participates in the hunt. When at Fort Sedgwick, Dunbar also befriends a wolf he dubs \"Two Socks\" for its white forepaws. When the Sioux observe Dunbar and Two Socks chasing each other, they give him the name \"Dances with Wolves\". During this time, Dunbar also forges a romantic relationship with Stands with a Fist and helps defend the village from an attack by the rival Pawnee tribe. Dunbar eventually wins Kicking Bird's approval to marry Stands with a Fist, and abandons Fort Sedgwick. Dunbar finds himself drawn to the lifestyle and customs of the tribe and begins spending most of his time with them. Learning their language, he is accepted as an honored guest by the Sioux after he locates a migrating herd of buffalo buffalo and participates in the hunt. When at Fort Sedgwick, Dunbar also befriends a wolf he dubs \"Two Socks\" for its white forepaws. When the Sioux observe Dunbar and Two Socks chasing each other, they give him the name \"Dances with Wolves\". During this time, Dunbar also forges a romantic relationship with Stands with a Fist and helps defend the village from an attack by the rival Pawnee tribe. Dunbar eventually wins Kicking Bird's approval to marry Stands with a Fist, and abandons Fort Sedgwick. \n", " Because of the growing Pawnee and white threat, Chief Ten Bears decides to move the tribe to its winter camp. Dunbar decides to accompany them but must first retrieve his diary from Fort Sedgwick as he realises that it would provide the army with the means of finding the tribe. However, when he arrives he finds the fort re-occupied by the U.S. Army. Because of his Sioux clothing, the soldiers open fire, killing Cisco and capturing Dunbar, arresting him as a traitor. Senior officers interrogate him, but Dunbar cannot prove his story, as a corporal has found and discarded his diary. Having refused to serve as an interpreter to the tribes, Dunbar is charged with desertion and transported back east as a prisoner. Soldiers of the escort shoot Two Socks when the wolf attempts to follow Dunbar, despite Dunbar's attempts to intervene. Because of the growing Pawnee and white threat, Chief Ten Bears decides to move the tribe to its winter camp. Dunbar decides to accompany them but must first retrieve his diary from Fort Sedgwick as he realises that it would provide the army with the means of finding the tribe. However, when he arrives he finds the fort re-occupied by the U.S. Army U.S. Army . Because of his Sioux clothing, the soldiers open fire, killing Cisco and capturing Dunbar, arresting him as a traitor. Senior officers interrogate him, but Dunbar cannot prove his story, as a corporal has found and discarded his diary. Having refused to serve as an interpreter to the tribes, Dunbar is charged with desertion and transported back east as a prisoner. Soldiers of the escort shoot Two Socks when the wolf attempts to follow Dunbar, despite Dunbar's attempts to intervene. \n", " Eventually, the Sioux track the convoy, killing the soldiers and freeing Dunbar. At the winter camp, Dunbar decides to leave with Stands With A Fist, since his continuing presence will put the tribe in danger. As they leave, Wind In His Hair shouts to Dunbar, reminding him of their friendship. U.S. troops are seen searching the mountains but are unable to locate them, while a lone wolf howls in the distance. An epilogue[note 1] states that thirteen years later the last remnants of the free Sioux were subjugated to the American government, ending the conquest of the Western frontier states and the livelihoods of the tribes on the plains. Eventually, the Sioux track the convoy, killing the soldiers and freeing Dunbar. At the winter camp, Dunbar decides to leave with Stands With A Fist, since his continuing presence will put the tribe in danger. As they leave, Wind In His Hair shouts to Dunbar, reminding him of their friendship. U.S. troops are seen searching the mountains but are unable to locate them, while a lone wolf howls in the distance. An epilogue [note 1] [note 1] [ [ note 1 ] ] states that thirteen years later the last remnants of the free Sioux were subjugated to the American government, ending the conquest of the Western frontier states and the livelihoods of the tribes on the plains plains . \n", " \n", "http://en.wikipedia.org/wiki/The_Pianist_(2002_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In September 1939, W\u0142adys\u0142aw Szpilman, a Polish-Jewish pianist, is playing live on the radio in Warsaw when the station is bombed during Nazi Germany's invasion of Poland which caused the outbreak of World War II. Hoping for a quick victory, Szpilman rejoices with his family at home when learning that Britain and France have declared war on Germany. But Poland's allies do not live up to their promises of aid, and with both the German and Russian armies invading Poland at the same time on different fronts, fighting lasts for just over a month. German troops soon enter Warsaw, where life for Jews deteriorates as the Nazi authorities prevent them from working or owning businesses and force them to wear blue Star of David armbands. In September 1939, W\u0142adys\u0142aw Szpilman W\u0142adys\u0142aw Szpilman , a Polish-Jewish pianist pianist , is playing live on the radio in Warsaw Warsaw when the station is bombed bombed during Nazi Germany Nazi Germany 's invasion of Poland invasion of Poland which caused the outbreak of World War II World War II . Hoping for a quick victory, Szpilman rejoices with his family at home when learning that Britain and France have declared war Britain and France have declared war on Germany. But Poland's allies do not live up to their promises of aid, and with both the German and Russian armies invading Poland at the same time on different fronts, fighting lasts for just over a month. German troops soon enter Warsaw, where life for Jews deteriorates as the Nazi authorities Nazi authorities prevent them from working or owning businesses and force them to wear blue Star of David Star of David armbands. \n", " \n", "\n", "\n", "\n", "Photograph of W\u0142adys\u0142aw Szpilman\n", "\n", " \n", " \n", "\n", "\n", "Photograph of W\u0142adys\u0142aw Szpilman\n", " \n", " \n", "\n", "Photograph of W\u0142adys\u0142aw Szpilman \n", " \n", "Photograph of W\u0142adys\u0142aw Szpilman W\u0142adys\u0142aw Szpilman \n", " \n", " \n", " By November 1940, Szpilman and his family are forced from their home into the overcrowded Warsaw Ghetto, where conditions only get worse. People starve, the guards are brutal, and dead bodies are left lying in the streets. On one occasion, the Szpilmans witness the SS kill an entire family during a round-up in an apartment across the street. By November 1940, Szpilman and his family are forced from their home into the overcrowded Warsaw Ghetto Warsaw Ghetto , where conditions only get worse. People starve, the guards are brutal, and dead bodies are left lying in the streets. On one occasion, the Szpilmans witness the SS SS kill an entire family during a round-up round-up in an apartment across the street. \n", " On 16 August 1942 the family are deported to Treblinka extermination camp, but Wladyslaw survives at the Umschlagplatz, due to an intervention from a friend in the Jewish Ghetto Police. Szpilman becomes a slave labourer and learns of a coming Jewish revolt. He helps by smuggling weapons into the ghetto, narrowly avoiding a suspicious guard. He then manages to escape and goes into hiding with help from a non-Jewish friend, Andrzej Bogucki, and his wife Janina. On 16 August 1942 the family are deported deported to Treblinka extermination camp Treblinka extermination camp , but Wladyslaw survives at the Umschlagplatz Umschlagplatz Umschlagplatz , due to an intervention from a friend in the Jewish Ghetto Police Jewish Ghetto Police . Szpilman becomes a slave labourer slave labourer and learns of a coming Jewish revolt. He helps by smuggling weapons into the ghetto, narrowly avoiding a suspicious guard. He then manages to escape and goes into hiding with help from a non-Jewish friend, Andrzej Bogucki Andrzej Bogucki , and his wife Janina. \n", " In April 1943 Szpilman watches from his window the Warsaw Ghetto Uprising that he aided and its ultimate failure. After a neighbor discovers him hiding, Szpilman is forced to flee and is provided with a second hiding place. He is shown into a room with a piano yet is compelled to keep quiet while beginning to suffer from jaundice. In April 1943 Szpilman watches from his window the Warsaw Ghetto Uprising Warsaw Ghetto Uprising that he aided and its ultimate failure. After a neighbor discovers him hiding, Szpilman is forced to flee and is provided with a second hiding place. He is shown into a room with a piano yet is compelled to keep quiet while beginning to suffer from jaundice jaundice . \n", " In August 1944, during the Warsaw Uprising, the Polish resistance attacks a German building across the street from Szpilman's hideout. A tank shells his apartment, forcing him to flee and hide elsewhere. Over the course of the following months, the city is destroyed and abandoned, leaving Szpilman alone to search desperately for shelter and supplies among the ruins. He eventually makes his way to an abandoned house, where he finds a can of pickles. While trying to open it he is discovered by the Wehrmacht officer Wilm Hosenfeld, who learns that Szpilman is a pianist and asks him to play on a grand piano in the house. The decrepit Szpilman plays Chopin's Ballade in G minor, which moves Hosenfeld enough that he allows Szpilman to hide in the attic of the empty house, where the German officer regularly brings him food. In August 1944, during the Warsaw Uprising Warsaw Uprising , the Polish resistance Polish resistance attacks a German building across the street from Szpilman's hideout. A tank shells his apartment, forcing him to flee and hide elsewhere. Over the course of the following months, the city is destroyed and abandoned, leaving Szpilman alone to search desperately for shelter and supplies among the ruins. He eventually makes his way to an abandoned house, where he finds a can of pickles. While trying to open it he is discovered by the Wehrmacht Wehrmacht Wehrmacht officer Wilm Hosenfeld Wilm Hosenfeld , who learns that Szpilman is a pianist and asks him to play on a grand piano grand piano in the house. The decrepit Szpilman plays Chopin's Ballade in G minor Chopin's Ballade in G minor Chopin's Ballade in G minor , which moves Hosenfeld enough that he allows Szpilman to hide in the attic of the empty house, where the German officer regularly brings him food. \n", " In January 1945, the Germans are forced to retreat due to the advance of the Red Army. Hosenfeld meets Szpilman for the last time and promises he will listen to him on Polish Radio after the war. He gives Szpilman his greatcoat to keep warm and leaves. However, this has almost fatal consequences for Szpilman when he is mistaken for a German officer and shot at by Polish troops liberating Warsaw, who then apprehend and save him. In Spring 1945, former inmates of a Nazi concentration camp pass a Soviet prisoner-of-war camp holding captured German soldiers and verbally abuse them. Hosenfeld, among those captured, overhears a released inmate lament over his former career as a violinist. He asks the violinist if he knows Szpilman, which he confirms. Hosenfeld wishes for Szpilman to return the favor and help release him. Sometime later, the pianist is able to bring Szpilman back to the site but they find it has been long abandoned. In January 1945, the Germans are forced to retreat due to the advance of the Red Army advance of the Red Army . Hosenfeld meets Szpilman for the last time and promises he will listen to him on Polish Radio Polish Radio after the war. He gives Szpilman his greatcoat greatcoat to keep warm and leaves. However, this has almost fatal consequences for Szpilman when he is mistaken for a German officer and shot at by Polish troops Polish troops liberating Warsaw, who then apprehend and save him. In Spring 1945, former inmates of a Nazi concentration camp Nazi concentration camp pass a Soviet prisoner-of-war camp holding captured German soldiers and verbally abuse them. Hosenfeld, among those captured, overhears a released inmate lament over his former career as a violinist. He asks the violinist if he knows Szpilman, which he confirms. Hosenfeld wishes for Szpilman to return the favor and help release him. Sometime later, the pianist is able to bring Szpilman back to the site but they find it has been long abandoned. \n", " Later, Szpilman works for Polish Radio and performs Chopin's Grand Polonaise brillante to a large and prestigious audience. An epilogue states that Szpilman died at the age of 88 in the year 2000 while Hosenfeld died in Soviet captivity in 1952. Later, Szpilman works for Polish Radio and performs Chopin's Grand Polonaise brillante Grand Polonaise brillante Grand Polonaise brillante to a large and prestigious audience. An epilogue states that Szpilman died at the age of 88 in the year 2000 while Hosenfeld died in Soviet captivity captivity in 1952. \n", " \n", "http://en.wikipedia.org/wiki/Goodfellas\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Henry Hill (Liotta) admits, \"As far back as I can remember, I always wanted to be a gangster,\" referring to his idolizing the Lucchese crime family gangsters in his blue-collar, predominantly Italian-American neighborhood in East New York, Brooklyn as a young man. Wanting to be part of something significant, Henry quits school and goes to work for them. He is able to make a living for himself, and learns the two most important lessons in life: \"Never rat on your friends, and always keep your mouth shut,\" the advice given to him after being acquitted of criminal charges early in his career. Henry Hill Henry Hill (Liotta) admits, \"As far back as I can remember, I always wanted to be a gangster,\" referring to his idolizing the Lucchese crime family Lucchese crime family gangsters in his blue-collar blue-collar , predominantly Italian-American Italian-American neighborhood in East New York, Brooklyn East New York, Brooklyn as a young man. Wanting to be part of something significant, Henry quits school and goes to work for them. He is able to make a living for himself, and learns the two most important lessons in life: \"Never rat on your friends, and always keep your mouth shut,\" the advice given to him after being acquitted of criminal charges early in his career. \n", " Henry is taken under the wing of the local mob capo, Paul \"Paulie\" Cicero (Sorvino) and his associates: James \"Jimmy the Gent\" Conway (De Niro), who loves hijacking trucks; and Tommy DeVito (Pesci), an aggressive armed robber with a temper. In late 1967, they commit the Air France Robbery. Enjoying the perks of their criminal life, they spend most of their nights at the Copacabana carousing with women. Henry meets and later marries Karen (Bracco), a Jewish woman from the Five Towns. Karen is initially troubled by Henry's criminal activities but is soon seduced by his glamorous lifestyle. Henry is taken under the wing of the local mob capo capo , Paul \"Paulie\" Cicero (Sorvino) and his associates: James \"Jimmy the Gent\" Conway James \"Jimmy the Gent\" Conway (De Niro), who loves hijacking trucks; and Tommy DeVito (Pesci), an aggressive armed robber with a temper. In late 1967, they commit the Air France Robbery Air France Robbery . Enjoying the perks of their criminal life, they spend most of their nights at the Copacabana Copacabana carousing with women. Henry meets and later marries Karen (Bracco), a Jewish woman from the Five Towns Five Towns . Karen is initially troubled by Henry's criminal activities but is soon seduced by his glamorous lifestyle. \n", " On June 11, 1970, Tommy (with Jimmy's help) brutally beats to death Billy Batts (Vincent), a mobster with the Gambino crime family, for insulting him about being a shoeshine boy in his younger days. Realizing that their murder of a made man would mean retribution from the Gambino family, Jimmy, Henry, and Tommy cover up the murder. They transport the body in the trunk of Henry's car and bury it upstate. Six months later, Jimmy learns that the burial site will be developed, forcing them to exhume the decomposing corpse and move it. On June 11, 1970, Tommy (with Jimmy's help) brutally beats to death Billy Batts (Vincent), a mobster with the Gambino crime family Gambino crime family , for insulting him about being a shoeshine boy in his younger days. Realizing that their murder of a made man made man would mean retribution from the Gambino family, Jimmy, Henry, and Tommy cover up the murder. They transport the body in the trunk of Henry's car and bury it upstate. Six months later, Jimmy learns that the burial site will be developed, forcing them to exhume exhume the decomposing corpse and move it. \n", " Henry sets his mistress, Janice Rossi (Mastrogiacomo), up in an apartment. When Karen finds out about their relationship, she tries to confront Janice at the apartment building and then threatens Henry at gunpoint at home. Henry goes to live in the apartment with Janice, but Paulie soon directs him to return to Karen after completing a job for him; Henry and Jimmy are sent to collect from an indebted gambler in Florida, which they succeed at after beating him. However, they are arrested after being turned in by the gambler's sister, a typist for the FBI. Jimmy and Henry receive ten-year prison sentences. Henry sets his mistress, Janice Rossi (Mastrogiacomo), up in an apartment. When Karen finds out about their relationship, she tries to confront Janice at the apartment building and then threatens Henry at gunpoint at home. Henry goes to live in the apartment with Janice, but Paulie soon directs him to return to Karen after completing a job for him; Henry and Jimmy are sent to collect from an indebted gambler gambler in Florida, which they succeed at after beating him. However, they are arrested after being turned in by the gambler's sister, a typist for the FBI FBI . Jimmy and Henry receive ten-year prison sentences. \n", " In prison, Henry sells drugs to support his family on the outside. After his early release in 1978, Henry further establishes himself in the drug trade, ignoring Paulie's warnings and convincing Tommy and Jimmy to join him. The crew commits the Lufthansa heist at John F. Kennedy International Airport, stealing $6 million. However, after many of the participants ignore Jimmy's command to not buy expensive luxuries with their share for fear of attracting police attention, he has them killed. Tommy is killed in retribution for Batts' murder, having been fooled into thinking that he would be made. In prison, Henry sells drugs sells drugs to support his family on the outside. After his early release in 1978, Henry further establishes himself in the drug trade, ignoring Paulie's warnings and convincing Tommy and Jimmy to join him. The crew commits the Lufthansa heist Lufthansa heist at John F. Kennedy International Airport John F. Kennedy International Airport , stealing $6 million. However, after many of the participants ignore Jimmy's command to not buy expensive luxuries with their share for fear of attracting police attention, he has them killed. Tommy is killed in retribution for Batts' murder, having been fooled into thinking that he would be made. \n", " By May 11, 1980, Henry is a nervous wreck from cocaine use and insomnia, as he tries to organize a drug deal with his associates in Pittsburgh. However, he is arrested by narcotics agents and jailed. On his release, Karen tells him that she flushed $60,000 worth of cocaine down the toilet to prevent FBI agents from finding it during their raid, leaving the family virtually penniless. Feeling betrayed by Henry's dealing drugs, Paulie gives him $3,200 and ends his association with him. Facing federal charges, Henry decides to enroll in the Witness Protection Program after realizing that Jimmy intends to have him killed. Forced out of his gangster life, he now has to face living in the real world: \"I'm an average nobody. I get to live the rest of my life like a schnook.\" By May 11, 1980, Henry is a nervous wreck from cocaine cocaine use and insomnia insomnia , as he tries to organize a drug deal with his associates in Pittsburgh Pittsburgh . However, he is arrested by narcotics agents and jailed. On his release, Karen tells him that she flushed $60,000 worth of cocaine down the toilet to prevent FBI agents from finding it during their raid, leaving the family virtually penniless. Feeling betrayed by Henry's dealing drugs, Paulie gives him $3,200 and ends his association with him. Facing federal charges, Henry decides to enroll in the Witness Protection Program Witness Protection Program after realizing that Jimmy intends to have him killed. Forced out of his gangster life, he now has to face living in the real world: \"I'm an average nobody. I get to live the rest of my life like a schnook schnook .\" \n", " Titles explain that Henry was subsequently arrested on drug charges in Seattle, Washington, but has been clean since 1987. He and Karen separated in 1989 after 25 years of marriage. Paul Cicero died in Fort Worth Federal Prison of respiratory illness in 1988 at 73. Jimmy, in 1990, was serving a 20-year-to-life sentence in a New York State prison. Titles explain that Henry was subsequently arrested on drug charges in Seattle Seattle , Washington Washington , but has been clean since 1987. He and Karen separated in 1989 after 25 years of marriage. Paul Cicero died in Fort Worth Federal Prison Fort Worth Federal Prison of respiratory illness in 1988 at 73. Jimmy, in 1990, was serving a 20-year-to-life sentence in a New York State prison. \n", " \n", "http://en.wikipedia.org/wiki/The_Exorcist_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Lankester Merrin is a veteran Catholic priest who is on an archeological dig in Iraq. In Iraq he finds an amulet which resembles the statue of Pazuzu, a demon who Merrin defeated years ago. Merrin then realizes the demon has returned to get his revenge. Lankester Merrin is a veteran Catholic priest who is on an archeological dig in Iraq Iraq . In Iraq he finds an amulet which resembles the statue of Pazuzu Pazuzu , a demon who Merrin defeated years ago. Merrin then realizes the demon has returned to get his revenge. \n", " Meanwhile in Georgetown, Washington, D.C, famous actress Chris MacNeil is living on location with her pre-teen daughter Regan. After playing with an Ouija board Regan acts strangely such as making mysterious noises, constant bad language and abnormal strength. Regan also causes her bed to shake as well, much to her and Chris's horror. Despite giving a few unpleasant operations, Dr. Klein and his assistants find nothing wrong with her, not knowing she is now possessed by Pazuzu. Meanwhile in Georgetown, Washington, D.C Georgetown, Washington, D.C , famous actress Chris MacNeil is living on location with her pre-teen daughter Regan. After playing with an Ouija board Ouija board Regan acts strangely such as making mysterious noises, constant bad language and abnormal strength. Regan also causes her bed to shake as well, much to her and Chris's horror. Despite giving a few unpleasant operations, Dr. Klein and his assistants find nothing wrong with her, not knowing she is now possessed by Pazuzu. \n", " One night Regan kills her babysitter and Chris's director Burke Dennings who Chris had a crush on (as she and Regan's father divorced). His murder is investigated by a detective named William Kinderman. He interviews both a young priest named Damien Karras, who has lost faith in God after his frail mother died, and Chris. Chris knows Regan was the only one who was in the house when Dennings died. One night Regan kills her babysitter and Chris's director Burke Dennings who Chris had a crush on (as she and Regan's father divorced). His murder is investigated by a detective named William Kinderman. He interviews both a young priest named Damien Karras, who has lost faith in God after his frail mother died, and Chris. Chris knows Regan was the only one who was in the house when Dennings died. \n", " After the doctors decide that an exorcism may be the only way to help Regan, Chris arranges a meeting with Karras. Karras at first refuses to get permission to perform an exorcism, despite Regan now being totally possessed by the demon. After getting a recording of her talking in reverse and seeing the words \"Help Me\" on her stomach Karras decides to perform an exorcism with Merrin chosen to help. After the doctors decide that an exorcism exorcism may be the only way to help Regan, Chris arranges a meeting with Karras. Karras at first refuses to get permission to perform an exorcism, despite Regan now being totally possessed by the demon. After getting a recording of her talking in reverse and seeing the words \"Help Me\" on her stomach Karras decides to perform an exorcism with Merrin chosen to help. \n", " In Regan's bedroom both men try to exorcise the demon but a stubborn Pazuzu toys with them, especially Karras, including insulting his late mother. After a break and hint of faltering, Karras is dismissed. Merrin attempts the exorcism alone. Karras enters the room and discovers Merrin has died and confronts the mocking, laughing spirit of Pazuzu. At Karras' plea, Pazuzu then possesses Karras, leaving Regan's body. In a moment of self-sacrifice, the priest throws himself out of the window and dies from a broken neck, thereby completing the exorcism of Pazuzu. In Regan's bedroom both men try to exorcise the demon but a stubborn Pazuzu toys with them, especially Karras, including insulting his late mother. After a break and hint of faltering, Karras is dismissed. Merrin attempts the exorcism alone. Karras enters the room and discovers Merrin has died and confronts the mocking, laughing spirit of Pazuzu. At Karras' plea, Pazuzu then possesses Karras, leaving Regan's body. In a moment of self-sacrifice, the priest throws himself out of the window and dies from a broken neck, thereby completing the exorcism of Pazuzu. \n", " A few days later Regan, who is now back to normal, returns home to Los Angeles with her mother. Kinderman, who narrowly misses them, befriends Father Dyer, an old friend of Karras, as he investigates how Karras died. A few days later Regan, who is now back to normal, returns home to Los Angeles with her mother. Kinderman, who narrowly misses them, befriends Father Dyer, an old friend of Karras, as he investigates how Karras died. \n", " \n", "http://en.wikipedia.org/wiki/The_Deer_Hunter\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Act I[edit] Act I Act I [edit] [ [ edit edit ] ] \n", " In Clairton, a small working-class town in western Pennsylvania, in late 1967, Russian American steel workers Michael \"Mike\" Vronsky, Steven Pushkov, and Nikonar \"Nick\" Chevotarevich, with the support of their friends and coworkers Stan and Peter \"Axel\" Axelrod and local bar owner and friend John Welsh, prepare for two rites of passage: marriage and military service. In Clairton Clairton , a small working-class town in western Pennsylvania Pennsylvania , in late 1967, Russian American Russian American steel workers Michael \"Mike\" Vronsky, Steven Pushkov, and Nikonar \"Nick\" Chevotarevich, with the support of their friends and coworkers Stan and Peter \"Axel\" Axelrod and local bar owner and friend John Welsh, prepare for two rites of passage: marriage and military service. \n", " The opening scenes set the character traits of the three main characters. Mike is the no-nonsense, serious but unassuming leader, Steven the loving, near-groom, pecked at by his mother for not wearing a scarf with his tuxedo and Nick is the quiet, introspective man who loves hunting because, he likes \". . . the trees . . . the way the trees are . . .\" The recurring theme of \"one shot\", which is how Mike prefers to take down a deer, is introduced. Before the trio ships out, Steven and his girlfriend Angela, who is pregnant by another man but loved by Steven nonetheless, marry in an Orthodox wedding. In the meantime, Mike contains his feelings for Nick's girlfriend Linda. At the wedding reception held at the local VFW bar, the guys get drunk, dance, sing, and have a good time, but then notice a soldier in a U.S. Army Special Forces uniform. Mike buys him a drink and tries starting a conversation with him to find out what Vietnam is like, but is ignored. After Mike explains that he, Steven, and Nick are going to Vietnam, the Green Beret raises his glass and says \"fuck it\". The opening scenes set the character traits of the three main characters. Mike is the no-nonsense, serious but unassuming leader, Steven the loving, near-groom, pecked at by his mother for not wearing a scarf with his tuxedo tuxedo and Nick is the quiet, introspective man who loves hunting because, he likes \". . . the trees . . . the way the trees are . . .\" The recurring theme of \"one shot\", which is how Mike prefers to take down a deer, is introduced. Before the trio ships out, Steven and his girlfriend Angela, who is pregnant by another man but loved by Steven nonetheless, marry in an Orthodox Orthodox wedding. In the meantime, Mike contains his feelings for Nick's girlfriend Linda. At the wedding reception held at the local VFW VFW bar, the guys get drunk, dance, sing, and have a good time, but then notice a soldier in a U.S. Army Special Forces U.S. Army Special Forces uniform. Mike buys him a drink and tries starting a conversation with him to find out what Vietnam is like, but is ignored. After Mike explains that he, Steven, and Nick are going to Vietnam Vietnam , the Green Beret raises his glass and says \"fuck it\". \n", " The soldier again toasts them with \"fuck it\". After being restrained by the others from starting a fight, Mike goes back to the bar and in a mocking jest to the soldier, raises his glass and toasts him with \"fuck it\". The soldier then glances over at Mike and grins. Later, Steven and Angela drink from conjoined goblets, this being a traditional ceremony, and it is believed that if they drink without spilling any wine, they will have good luck for life. A drop of blood-red wine is unknowingly spilled on her wedding gown, foreshadowing the coming events. The soldier again toasts them with \"fuck it\". After being restrained by the others from starting a fight, Mike goes back to the bar and in a mocking jest to the soldier, raises his glass and toasts him with \"fuck it\". The soldier then glances over at Mike and grins. Later, Steven and Angela drink from conjoined goblets, this being a traditional ceremony, and it is believed that if they drink without spilling any wine, they will have good luck for life. A drop of blood-red wine is unknowingly spilled on her wedding gown, foreshadowing the coming events. \n", " After Linda catches the bouquet of flowers thrown by Angela, Nick asks her to marry him, and she agrees. Later that night, a drunken Mike runs through the town, stripping himself naked along the way. After Nick chases him down he begs Mike not to leave him \"over there\" if anything happens. The next day, Mike, Nick, Stanley, John and Axel go deer hunting one last time, and Michael again kills a deer with \"one shot\". After Linda catches the bouquet of flowers thrown by Angela, Nick asks her to marry him, and she agrees. Later that night, a drunken Mike runs through the town, stripping himself naked along the way. After Nick chases him down he begs Mike not to leave him \"over there\" if anything happens. The next day, Mike, Nick, Stanley, John and Axel go deer hunting one last time, and Michael again kills a deer with \"one shot\". \n", " Act II[edit] Act II Act II [edit] [ [ edit edit ] ] \n", " The film then jumps abruptly to a war-torn village, where U.S. helicopters attack a Communist-occupied Vietnamese village with napalm. A North Vietnamese soldier throws a stick grenade into a hiding place full of civilians. An unconscious Mike (now a staff sergeant in the U.S. Army Special Forces) wakes up to see the NVA soldier shoot a woman carrying a baby. In revenge, Mike kills him with a flame thrower. Meanwhile, a unit of UH-1 \"Huey\" helicopters drops off several U.S. infantrymen, Nick and Steven among them. Michael, Steven and Nick unexpectedly find each other just before they are captured and held together in a riverside prisoner of war camp with other U.S. Army and ARVN prisoners. The film then jumps abruptly to a war-torn village, where U.S. helicopters attack a Communist-occupied Vietnamese village with napalm. A North Vietnamese North Vietnamese soldier throws a stick grenade grenade into a hiding place full of civilians. An unconscious Mike (now a staff sergeant staff sergeant in the U.S. Army Special Forces U.S. Army Special Forces ) wakes up to see the NVA NVA soldier shoot a woman carrying a baby. In revenge, Mike kills him with a flame thrower. Meanwhile, a unit of UH-1 UH-1 \"Huey\" helicopters drops off several U.S. infantrymen, Nick and Steven among them. Michael, Steven and Nick unexpectedly find each other just before they are captured and held together in a riverside prisoner of war prisoner of war camp with other U.S. Army and ARVN ARVN prisoners. \n", " For entertainment, the sadistic guards force their prisoners to play Russian roulette and gamble on the outcome. All three friends are forced to play. Steven plays against Mike, who offers moral support, but he breaks down and loses control of the gun, grazing himself with the bullet when it discharges. As punishment, the guards put Steven into an underwater cage, full of rats and the bodies of others who earlier faced the same fate. Mike and Nick end up playing against each other, and Michael convinces the guards to let them play with three bullets in the gun. After a tense match, they kill their captors and escape. For entertainment, the sadistic guards force their prisoners to play Russian roulette Russian roulette and gamble on the outcome. All three friends are forced to play. Steven plays against Mike, who offers moral support, but he breaks down and loses control of the gun, grazing himself with the bullet when it discharges. As punishment, the guards put Steven into an underwater cage, full of rats and the bodies of others who earlier faced the same fate. Mike and Nick end up playing against each other, and Michael convinces the guards to let them play with three bullets in the gun. After a tense match, they kill their captors and escape. \n", " Mike earlier argued with Nick about whether Steven could be saved, but after killing their captors, he rescues Steven. The three float downriver on a tree branch. An American helicopter accidentally finds them, but only Nick is able to climb aboard. The weakened Steven falls back into the water, and Mike plunges in the water to rescue him. Mike helps Steven to reach the river bank, but his legs are broken, so Mike carries him through the jungle to friendly lines. Approaching a caravan of locals escaping the war zone, he stops a South Vietnamese military truck and places the wounded Steven on it, asking the soldiers to take care of him. Mike earlier argued with Nick about whether Steven could be saved, but after killing their captors, he rescues Steven. The three float downriver on a tree branch. An American helicopter accidentally finds them, but only Nick is able to climb aboard. The weakened Steven falls back into the water, and Mike plunges in the water to rescue him. Mike helps Steven to reach the river bank, but his legs are broken, so Mike carries him through the jungle to friendly lines. Approaching a caravan of locals escaping the war zone, he stops a South Vietnamese military truck and places the wounded Steven on it, asking the soldiers to take care of him. \n", " Nick, who is psychologically damaged, recuperates in a military hospital in Saigon with no knowledge on the status of his friends. After being released, he aimlessly stumbles through the red-light district at night. At one point, he encounters Julien Grinda, a champagne-drinking friendly Frenchman outside a gambling den where men play Russian roulette for money. Grinda entices the reluctant Nick to participate, and leads him into the den. Mike is present in the den, watching the game, but the two friends do not notice each other at first. When Mike does see Nick, he is unable to get his attention. When Nick is introduced into the game, he grabs the gun, fires it at the current contestant, and then again at his own temple, causing the audience to riot in protest. Grinda hustles Nick outside to his car to escape the angry mob. Mike cannot catch up with Nick and Grinda as they speed away. Nick, who is psychologically damaged, recuperates in a military hospital military hospital in Saigon Saigon with no knowledge on the status of his friends. After being released, he aimlessly stumbles through the red-light district at night. At one point, he encounters Julien Grinda, a champagne-drinking friendly Frenchman Frenchman outside a gambling gambling den where men play Russian roulette for money. Grinda entices the reluctant Nick to participate, and leads him into the den. Mike is present in the den, watching the game, but the two friends do not notice each other at first. When Mike does see Nick, he is unable to get his attention. When Nick is introduced into the game, he grabs the gun, fires it at the current contestant, and then again at his own temple, causing the audience to riot in protest. Grinda hustles Nick outside to his car to escape the angry mob. Mike cannot catch up with Nick and Grinda as they speed away. \n", " Act III[edit] Act III Act III [edit] [ [ edit edit ] ] \n", " Back in the U.S., Mike returns home but maintains a low profile. He tells the cab driver to drive past the house where all his friends are assembled, as he is embarrassed by the fuss made over him by Linda and the others. He visits Linda and grows close to her but only because of the friend they both think they have lost. Mike is eventually told about Angela, whom he goes to visit at the home of Steven's mother. Angela is apathetic and barely responsive. When asked by Mike about Steven's whereabouts, she writes a phone number on a scrap of paper, which leads Mike to the local veterans' hospital where Steven has been for several months. Back in the U.S., Mike returns home but maintains a low profile. He tells the cab driver to drive past the house where all his friends are assembled, as he is embarrassed by the fuss made over him by Linda and the others. He visits Linda and grows close to her but only because of the friend they both think they have lost. Mike is eventually told about Angela, whom he goes to visit at the home of Steven's mother. Angela is apathetic and barely responsive. When asked by Mike about Steven's whereabouts, she writes a phone number on a scrap of paper, which leads Mike to the local veterans' hospital veterans' hospital where Steven has been for several months. \n", " Mike goes hunting with Axel, John and Stan one more time, and after tracking a deer across the woods, takes his \"one shot\" but pulls the rifle up and fires into the air. He then sits on a rock escarpment and yells out, \"OK?\" which echoes back at him from the opposing rock faces leading down to the river, signifying his fight with his mental demons over losing Steven and Nick. He also berates Stan for carrying around a small revolver and waving it around, not realizing it is still loaded. Mike visits Steven, who has lost both of his legs and is partially paralyzed. Steven reveals that someone in Saigon has been mailing large amounts of money to him, and Mike is convinced that it is Nick. Mike brings Steven home to Angela and then travels to Saigon just before its fall in 1975. Mike goes hunting with Axel, John and Stan one more time, and after tracking a deer across the woods, takes his \"one shot\" but pulls the rifle up and fires into the air. He then sits on a rock escarpment escarpment and yells out, \"OK?\" which echoes back at him from the opposing rock faces leading down to the river, signifying his fight with his mental demons over losing Steven and Nick. He also berates Stan for carrying around a small revolver and waving it around, not realizing it is still loaded. Mike visits Steven, who has lost both of his legs and is partially paralyzed. Steven reveals that someone in Saigon has been mailing large amounts of money to him, and Mike is convinced that it is Nick. Mike brings Steven home to Angela and then travels to Saigon just before its fall in 1975 its fall in 1975 . \n", " He tracks down Grinda, who has made a lot of money from the Russian roulette-playing Nick. He finds Nick in a crowded roulette club, but Nick appears to have no recollection of his friends or his home in Pennsylvania. Mike enters himself in a game of Russian roulette against Nick, hoping to jog Nick's memory and persuade him to come home, but Nick's mind is gone. Mike grabs Nick's arms to keep him from taking another turn, which are covered in scars (implied from using heroin). At the last moment, after Mike's attempts to remind him of their hunting trips together, he finally breaks through, and Nick recognizes Mike and smiles. Nick then tells Mike, \"one shot\", raises the gun to his temple, and pulls the trigger. The round is in the gun's top chamber, and Nick kills himself. Horrified, Mike tries reviving him, but to no avail. He tracks down Grinda, who has made a lot of money from the Russian roulette-playing Nick. He finds Nick in a crowded roulette club, but Nick appears to have no recollection of his friends or his home in Pennsylvania. Mike enters himself in a game of Russian roulette against Nick, hoping to jog Nick's memory and persuade him to come home, but Nick's mind is gone. Mike grabs Nick's arms to keep him from taking another turn, which are covered in scars (implied from using heroin heroin ). At the last moment, after Mike's attempts to remind him of their hunting trips together, he finally breaks through, and Nick recognizes Mike and smiles. Nick then tells Mike, \"one shot\", raises the gun to his temple, and pulls the trigger. The round is in the gun's top chamber, and Nick kills himself. Horrified, Mike tries reviving him, but to no avail. \n", " Epilogue[edit] Epilogue Epilogue [edit] [ [ edit edit ] ] \n", " Back home in 1975, there is a funeral for Nick, whom Michael brings home, good to his promise. The film ends with everyone at John's bar, singing \"God Bless America\". Mike toasts in Nick's honour. Back home in 1975, there is a funeral for Nick, whom Michael brings home, good to his promise. The film ends with everyone at John's bar, singing \" God Bless America God Bless America \". Mike toasts in Nick's honour. \n", " \n", "http://en.wikipedia.org/wiki/All_Quiet_on_the_Western_Front_(1930_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "\n", "This section's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2010)\n", "\n", " \n", " \n", "\n", "\n", "\n", "This section's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2010)\n", " \n", " \n", "\n", " \n", " \n", " \n", " This section's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2010) This section's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2010) This section's plot summary may be too long or excessively detailed. may be too long too long or excessively detailed excessively detailed . Please help improve it by removing unnecessary details and making it more concise. Please help improve it help improve it by removing unnecessary details and making it more concise. (December 2010) (December 2010) (December 2010) \n", " \n", " \n", " The film opens in a boys' secondary school in Germany at the beginning of World War I. The instructor, Kantorek, gives an impassioned speech about the glory of serving in the Army and \"saving the Fatherland\". On the brink of becoming men, the group of boys is moved to join the army. The young enlistees are shown in basic training, aching for \"action\" fighting in the war. Their training officer, Himmelstoss \u2014 a strict disciplinarian who is hated by all the recruits \u2014 tells them to forget everything they know; they are going to become soldiers. Rigorous training diminishes the recruits' enthusiasm some, but after little more than marching drills, suddenly the boys are told they are \"going, up front\". The film opens in a boys' secondary school in Germany Germany at the beginning of World War I World War I . The instructor, Kantorek, gives an impassioned speech about the glory of serving in the Army Army and \"saving the Fatherland\". On the brink of becoming men, the group of boys is moved to join the army. The young enlistees are shown in basic training, aching for \"action\" fighting in the war. Their training officer, Himmelstoss \u2014 a strict disciplinarian who is hated by all the recruits \u2014 tells them to forget everything they know; they are going to become soldiers. Rigorous training diminishes the recruits' enthusiasm some, but after little more than marching drills, suddenly the boys are told they are \"going, up front up front \". \n", " The new soldiers arrive by train at the combat zone, which is mayhem, with soldiers everywhere, incoming shells, horse-drawn wagons racing about, and prolonged rain. One in the group is killed before the new recruits can reach their post, to the alarm of one of the new soldiers (Behn). The new soldiers are assigned to a unit composed of older soldiers, who are not exactly accommodating. The young soldiers find that there is no food available at the moment. They have not eaten since breakfast \u2013 but the men they have joined have not had food for two days. One of them (Katczinsky) had gone to locate something to eat and he returns with a slaughtered hog. The young soldiers \"pay\" for their dinner with cigarettes. The new soldiers arrive by train at the combat zone, which is mayhem, with soldiers everywhere, incoming shells, horse-drawn wagons racing about, and prolonged rain. One in the group is killed before the new recruits can reach their post, to the alarm of one of the new soldiers (Behn). The new soldiers are assigned to a unit composed of older soldiers, who are not exactly accommodating. The young soldiers find that there is no food available at the moment. They have not eaten since breakfast \u2013 but the men they have joined have not had food for two days. One of them (Katczinsky) had gone to locate something to eat and he returns with a slaughtered hog. The young soldiers \"pay\" for their dinner with cigarettes. \n", " \"For the Fatherland\" the young soldiers' unit is sent out on night duty and they move into position packed into a flat cargo truck. As the driver drops them off at their destination, he tells them, \"If there's any of you left, there will be someone here to pick you up in the morning.\" The young recruits watch the truck intensely as it leaves. Katczinsky gives the \"schoolboys\" some real world instructions, telling them how to deal with incoming shells, \"When you see me flop, you flop. Only try to beat me to it.\" The unit strings up barbed-wire and tries to avoid shells. Flares light up the night sky as the enemy tries to spot them, machine guns hammer and a bombardment begins. Behn is killed by machine gun fire; most of the soldiers keep low in the trenches. Franz Kemmerich runs out to retrieve Behn, but, upon returning to the trench, realizes that he's carrying a corpse. He is scolded by Katczinsky for risking his life. When the truck arrives in the morning most of the unit has survived. \"For the Fatherland\" the young soldiers' unit is sent out on night duty and they move into position packed into a flat cargo truck. As the driver drops them off at their destination, he tells them, \"If there's any of you left, there will be someone here to pick you up in the morning.\" The young recruits watch the truck intensely as it leaves. Katczinsky gives the \"schoolboys\" some real world instructions, telling them how to deal with incoming shells, \"When you see me flop, you flop. Only try to beat me to it.\" The unit strings up barbed-wire and tries to avoid shells. Flares light up the night sky as the enemy tries to spot them, machine guns hammer and a bombardment bombardment begins. Behn is killed by machine gun fire; most of the soldiers keep low in the trenches. Franz Kemmerich runs out to retrieve Behn, but, upon returning to the trench, realizes that he's carrying a corpse. He is scolded by Katczinsky for risking his life. When the truck arrives in the morning most of the unit has survived. \n", " \n", "\n", "\n", "\n", "A screenshot from the film with actor Lew Ayres (right).\n", "\n", " \n", " \n", "\n", "\n", "A screenshot from the film with actor Lew Ayres (right).\n", " \n", " \n", "\n", "A screenshot from the film with actor Lew Ayres (right). \n", " \n", "A screenshot from the film with actor Lew Ayres Lew Ayres (right). \n", " \n", " \n", " Back at the bunker in the trenches, the soldiers play cards and fight off the rats who eat their food and gear. The young soldiers are showing signs of great stress: nightmares, shaking uncontrollably, and screaming about the unrelenting bombs. One recruit (Kemmerich) loses control, runs out of the trench and is injured. Some of the soldiers want to leave the trench and attack, but the enemy seems to have superior firepower. When food finally comes, the men have to fight to get their share. Then they are overcome by rats and the soldiers kill the rats with spades. Suddenly there is a break in the bombing and the men are ordered out to fight. Back at the bunker in the trenches, the soldiers play cards and fight off the rats who eat their food and gear. The young soldiers are showing signs of great stress: nightmares, shaking uncontrollably, and screaming about the unrelenting bombs. One recruit (Kemmerich) loses control, runs out of the trench and is injured. Some of the soldiers want to leave the trench and attack, but the enemy seems to have superior firepower. When food finally comes, the men have to fight to get their share. Then they are overcome by rats and the soldiers kill the rats with spades. Suddenly there is a break in the bombing and the men are ordered out to fight. \n", " A loud rumbling can be heard as the enemy approaches. The soldiers are in trenches with their rifles ready as incoming shells move closer and closer. They can do nothing but wait. The enemy French soldiers come into view, running toward the trenches, but the Germans hold their fire until the enemy is closer. Paul witnesses several soldiers die from shellfire. The Germans use machine gun fire, hand grenades and rifles to mow down the enemy. The enemy suffers great losses, but succeeds in entering the trenches, where hand-to-hand combat with bayonets begins. The Germans retreat to a second line, from where they launch a counterattack. At great cost they enter the French front line, but are unable to hold their position, and are ordered to withdraw to their original positions. A loud rumbling can be heard as the enemy approaches. The soldiers are in trenches with their rifles ready as incoming shells move closer and closer. They can do nothing but wait. The enemy French French soldiers come into view, running toward the trenches, but the Germans hold their fire until the enemy is closer. Paul witnesses several soldiers die from shellfire. The Germans use machine gun fire, hand grenades and rifles to mow down the enemy. The enemy suffers great losses, but succeeds in entering the trenches, where hand-to-hand combat with bayonets begins. The Germans retreat to a second line, from where they launch a counterattack counterattack . At great cost they enter the French front line, but are unable to hold their position, and are ordered to withdraw to their original positions. \n", " The men of Second Company return from the battle and line up for a meal. The cook refuses to feed them because he wants the entire company to arrive. The men explain that this is all that is left of the company \u2013 80 of the original 150 \u2013 and the cook refuses to give them all the food he has prepared. An argument follows and violence seems imminent when Lieutenant Bertinck arrives and orders the cook to give all the food to the men. The men of Second Company return from the battle and line up for a meal. The cook refuses to feed them because he wants the entire company to arrive. The men explain that this is all that is left of the company \u2013 80 of the original 150 \u2013 and the cook refuses to give them all the food he has prepared. An argument follows and violence seems imminent when Lieutenant Bertinck arrives and orders the cook to give all the food to the men. \n", " The men start out eating greedily, but then settle into a satiated torpor. They hear that they are to return to the front the next day and begin a semi-serious discussion about the causes of the war and of wars in general. They speculate about whether geographical entities offend each other and whether these disagreements involve them. Tjaden speaks familiarly about himself and the Kaiser. They speculate about whether it is the Kaiser or the manufacturers that need the war or whether it is the result of a fever. Katczinsky suggests roping off a field and stripping the kings and their ministers down to their underwear and letting them fight it out with clubs. It is finally decided that they should go see their friend Kemmerich, who was wounded in the battle and is in a dressing station, and bring him his things. The men start out eating greedily, but then settle into a satiated torpor. They hear that they are to return to the front the next day and begin a semi-serious discussion about the causes causes of the war and of wars in general. They speculate about whether geographical entities offend each other and whether these disagreements involve them. Tjaden speaks familiarly about himself and the Kaiser Kaiser . They speculate about whether it is the Kaiser or the manufacturers that need the war or whether it is the result of a fever. Katczinsky suggests roping off a field and stripping the kings kings and their ministers down to their underwear and letting them fight it out with clubs. It is finally decided that they should go see their friend Kemmerich, who was wounded in the battle and is in a dressing station, and bring him his things. \n", " Five of the men find Kemmerich in a very bad condition, complaining that his watch was stolen while he was under ether, and that he is in pain in his right foot. Not realizing that Kemmerich did not know, M\u00fcller lets slip that his right leg has been amputated; Kemmerich becomes upset. Kemmerich expresses regret that he would never become a forester and Paul tries to reassure him. M\u00fcller sees Kemmerich's boots under the bed and tactlessly asks him for them. Kemmerich asks Paul to give his boots to M\u00fcller and then loses consciousness. Paul tries to summon a doctor, but the doctor and the medic can do nothing. As Kemmerich finally succumbs to his wounds, Paul leaves the dressing station with Kemmerich's boots and breaks into a run. M\u00fcller is trying to talk about math to Katczinsky when Paul brings him the boots. M\u00fcller is pleased and says that he will not mind returning to the front in such fine boots. Paul describes how he reacted to Kemmerich's death by running and how it made him feel more alive and then hungry. Five of the men find Kemmerich in a very bad condition, complaining that his watch was stolen while he was under ether, and that he is in pain in his right foot. Not realizing that Kemmerich did not know, M\u00fcller lets slip that his right leg has been amputated; Kemmerich becomes upset. Kemmerich expresses regret that he would never become a forester and Paul tries to reassure him. M\u00fcller sees Kemmerich's boots under the bed and tactlessly asks him for them. Kemmerich asks Paul to give his boots to M\u00fcller and then loses consciousness. Paul tries to summon a doctor, but the doctor and the medic can do nothing. As Kemmerich finally succumbs to his wounds, Paul leaves the dressing station with Kemmerich's boots and breaks into a run. M\u00fcller is trying to talk about math to Katczinsky when Paul brings him the boots. M\u00fcller is pleased and says that he will not mind returning to the front in such fine boots. Paul describes how he reacted to Kemmerich's death by running and how it made him feel more alive and then hungry. \n", " In a sequence of battle scenes, M\u00fcller is wounded and his boots are passed on to another soldier, who is also wounded and presumed killed. One day Corporal Himmelstoss arrives to the front and is immediately spurned because of his bad reputation. In an attack on a cemetery, Paul stabs a French soldier, but finds himself trapped in a hole with the dying man in for an entire night. Throughout the night, he desperately tries to help him, bringing him water, but fails miserably to stop him from dying. He cries bitterly and begs the dead body to speak so he can be forgiven. Later, he returns to the German lines. In a sequence of battle scenes, M\u00fcller is wounded and his boots are passed on to another soldier, who is also wounded and presumed killed. One day Corporal Himmelstoss arrives to the front and is immediately spurned because of his bad reputation. In an attack on a cemetery, Paul stabs a French soldier, but finds himself trapped in a hole with the dying man in for an entire night. Throughout the night, he desperately tries to help him, bringing him water, but fails miserably to stop him from dying. He cries bitterly and begs the dead body to speak so he can be forgiven. Later, he returns to the German lines. \n", " Then the company have a day off the front line, and soon everyone gets drunk and eats as much as they can. While washing in the river, the men catch the attention of French women who invite them in their house at night. Then the company have a day off the front line, and soon everyone gets drunk and eats as much as they can. While washing in the river, the men catch the attention of French women who invite them in their house at night. \n", " Going back to the front line, Paul is severely wounded and taken to a Catholic hospital, along with his good friend Albert Kropp. Kropp's leg is amputated, but he does not find out until some time afterwards. Around this time, Paul is taken to the bandaging ward, from which, according to its reputation, nobody has ever returned alive; but he later returns to the normal rooms triumphantly, only to find Kropp in agony. Going back to the front line, Paul is severely wounded and taken to a Catholic Catholic hospital, along with his good friend Albert Kropp. Kropp's leg is amputated, but he does not find out until some time afterwards. Around this time, Paul is taken to the bandaging ward, from which, according to its reputation, nobody has ever returned alive; but he later returns to the normal rooms triumphantly, only to find Kropp in agony. \n", " Earning a furlough, Paul then takes a brief trip back to his home, where he finds his mother is ailing. The people in his town are mindlessly patriotic and ignorant about what is happening at the front. He visits Kantorek, only to find him lecturing another class about the \"glory of war.\" Disgusted, he returns to the front, where only a few men of the Second Company have survived, including an old hand, Tjaden. Paul asks Tjaden about Katczinsky, thinking that he is dead, but Tjaden reveals that Katczinsky is still alive. Paul goes looking for Kat, finds him scrounging for food, to no avail. Kat is wounded in the ankle by a bomb dropped from an airplane. So Paul decides to carry Kat to the field hospital. En route, though, the same plane drops another bomb, and the shrapnel from this explosion kills Kat, while Paul, in ignorance, continues to carry him to the field hospital. Paul is grief-stricken. Earning a furlough, Paul then takes a brief trip back to his home, where he finds his mother is ailing. The people in his town are mindlessly patriotic and ignorant about what is happening at the front. He visits Kantorek, only to find him lecturing another class about the \"glory of war.\" Disgusted, he returns to the front, where only a few men of the Second Company have survived, including an old hand, Tjaden. Paul asks Tjaden about Katczinsky, thinking that he is dead, but Tjaden reveals that Katczinsky is still alive. Paul goes looking for Kat, finds him scrounging for food, to no avail. Kat is wounded in the ankle by a bomb dropped from an airplane. So Paul decides to carry Kat to the field hospital. En route, though, the same plane drops another bomb, and the shrapnel from this explosion kills Kat, while Paul, in ignorance, continues to carry him to the field hospital. Paul is grief-stricken. \n", " In the final scene, Paul is back on the front lines. He sees a butterfly just beyond his trench. Paul reaches out towards the butterfly, but becoming too exposed, he is shot and killed by an enemy sniper. In the final scene, Paul is back on the front lines. He sees a butterfly just beyond his trench. Paul reaches out towards the butterfly, but becoming too exposed, he is shot and killed by an enemy sniper. \n", " \n", "http://en.wikipedia.org/wiki/The_French_Connection_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In Marseille, an undercover detective is following Alain Charnier (Fernando Rey), a wealthy French criminal who runs the largest heroin-smuggling syndicate in the world. The policeman is assassinated by Charnier's henchman, Pierre Nicoli (Marcel Bozzuffi). Charnier plans to smuggle $32 million worth of heroin into the United States by hiding it in the car of his unsuspecting friend, French television personality Henri Devereaux (Fr\u00e9d\u00e9ric de Pasquale). In Marseille Marseille , an undercover detective detective is following Alain Charnier ( Fernando Rey Fernando Rey ), a wealthy French criminal who runs the largest heroin heroin -smuggling syndicate in the world. The policeman is assassinated assassinated by Charnier's henchman henchman , Pierre Nicoli ( Marcel Bozzuffi Marcel Bozzuffi ). Charnier plans to smuggle $32 million worth of heroin into the United States by hiding it in the car of his unsuspecting friend, French television personality Henri Devereaux ( Fr\u00e9d\u00e9ric de Pasquale Fr\u00e9d\u00e9ric de Pasquale ). \n", " In New York City, detectives Jimmy \"Popeye\" Doyle (Gene Hackman) and Buddy \"Cloudy\" Russo (Roy Scheider) are conducting an undercover stakeout in Bedford-Stuyvesant, Brooklyn. After seeing a drug transaction take place in a bar, Cloudy goes in to make an arrest, but the suspect makes a break for it, cutting Cloudy on the arm with a knife. After catching up with their suspect and severely beating him, the detectives interrogate the man who reveals his drug connection. In New York City, detectives Jimmy \"Popeye\" Doyle Jimmy \"Popeye\" Doyle ( Gene Hackman Gene Hackman ) and Buddy \"Cloudy\" Russo ( Roy Scheider Roy Scheider ) are conducting an undercover undercover stakeout stakeout in Bedford-Stuyvesant, Brooklyn Bedford-Stuyvesant, Brooklyn . After seeing a drug transaction take place in a bar, Cloudy goes in to make an arrest, but the suspect makes a break for it, cutting Cloudy on the arm with a knife. After catching up with their suspect and severely beating him, the detectives interrogate the man who reveals his drug connection. \n", " Later, Popeye and Cloudy go out for drinks at the Copacabana, where Popeye notices Salvatore \"Sal\" Boca (Tony Lo Bianco) and his young wife Angie (Arlene Farber) entertaining mob members involved in narcotics. They decide to tail the couple, and soon learn that the Bocas, who run a modest newsstand luncheonette, have criminal records: Sal for armed robbery and murder, and Angie for shoplifting. The detectives suspect that the Bocas, who frequent several nightclubs and drive expensive cars, are involved in some criminal operation. They soon establish a link between the Bocas and lawyer Joel Weinstock (Harold Gary), who is part of the narcotics underworld. Later, Popeye and Cloudy go out for drinks at the Copacabana Copacabana , where Popeye notices Salvatore \"Sal\" Boca ( Tony Lo Bianco Tony Lo Bianco ) and his young wife Angie (Arlene Farber) entertaining mob mob members involved in narcotics. They decide to tail the couple, and soon learn that the Bocas, who run a modest newsstand luncheonette luncheonette , have criminal records: Sal for armed robbery and murder, and Angie for shoplifting shoplifting . The detectives suspect that the Bocas, who frequent several nightclubs and drive expensive cars, are involved in some criminal operation. They soon establish a link between the Bocas and lawyer Joel Weinstock (Harold Gary), who is part of the narcotics underworld. \n", " Soon after, Popeye learns from an informant that a major shipment of heroin will arrive in the New York area. The detectives convince their supervisor, Walt Simonson (Eddie Egan), to wiretap the Bocas' phones, and they use several ruses to obtain additional information. Popeye and Cloudy are joined in the investigation by a federal agent named Mulderig (Bill Hickman). Popeye and Mulderig dislike each other based on having worked together in the past, with Mulderig holding Popeye responsible for the death of a policeman. Soon after, Popeye learns from an informant that a major shipment of heroin will arrive in the New York area. The detectives convince their supervisor, Walt Simonson ( Eddie Egan Eddie Egan ), to wiretap wiretap the Bocas' phones, and they use several ruses to obtain additional information. Popeye and Cloudy are joined in the investigation by a federal agent named Mulderig ( Bill Hickman Bill Hickman ). Popeye and Mulderig dislike each other based on having worked together in the past, with Mulderig holding Popeye responsible for the death of a policeman. \n", " After Devereaux's Lincoln Continental Mark III arrives in New York City, Weinstock's chemist (Pat McDermott) tests a sample of the heroin and declares it the purest he has ever seen, establishing that the shipment could make as much as $32 million on a half-million dollar investment. Boca is impatient to make the purchase\u2014reflecting Charnier's desire to return to France as soon as possible\u2014while Weinstock, with more experience in smuggling, urges patience, knowing Boca's phone is tapped and that they are being investigated. After Devereaux's Lincoln Continental Mark III Lincoln Continental Mark III arrives in New York City, Weinstock's chemist chemist (Pat McDermott) tests a sample of the heroin and declares it the purest he has ever seen, establishing that the shipment could make as much as $32 million on a half-million dollar investment. Boca is impatient to make the purchase\u2014reflecting Charnier's desire to return to France as soon as possible\u2014while Weinstock, with more experience in smuggling, urges patience, knowing Boca's phone is tapped and that they are being investigated. \n", " Charnier soon \"makes\" Popeye and realizes he has been observed since his arrival in New York. Nicoli offers to kill Popeye, but Charnier objects, knowing that Popeye would be replaced by another policeman. Nicoli insists, however, saying they will be back in France before a replacement is assigned. Charnier soon \"makes\" Popeye and realizes he has been observed since his arrival in New York. Nicoli offers to kill Popeye, but Charnier objects, knowing that Popeye would be replaced by another policeman. Nicoli insists, however, saying they will be back in France before a replacement is assigned. \n", " Soon after, Nicoli attempts to assassinate Popeye from the roof of Doyle's apartment complex but botches the job. Popeye chases after the fleeing killer, who boards an elevated train at the Bay 50th Street Station in Bensonhurst. Doyle commandeers a car and gives chase along Stillwell Avenue. On the train, Nicoli hijacks the train, holds the driver at gunpoint, and kills a policeman who tries to intervene. When the motorman passes out, the train reaches the end of the line and slams into another train, hurling the assassin against the glass window. Popeye arrives and sees the killer descending from the platform. When he sees Popeye, he turns to run but is shot dead by the weary detective. Soon after, Nicoli attempts to assassinate Popeye from the roof of Doyle's apartment complex but botches the job. Popeye chases after the fleeing killer, who boards an elevated train elevated train at the Bay 50th Street Station Bay 50th Street Station in Bensonhurst. Doyle commandeers a car and gives chase along Stillwell Avenue. On the train, Nicoli hijacks the train, holds the driver at gunpoint, and kills a policeman who tries to intervene. When the motorman passes out, the train reaches the end of the line and slams into another train, hurling the assassin against the glass window. Popeye arrives and sees the killer descending from the platform. When he sees Popeye, he turns to run but is shot dead by the weary detective. \n", " After a lengthy stakeout, Popeye impounds Devereaux's Lincoln and takes it apart piece by piece, searching for the drugs. When Cloudy notes that the vehicle's shipping weight is 120 pounds over its listed manufacturer's weight, they realize the drugs must still be in the car. They remove the rocker panels and discover the drugs concealed in the body of the vehicle. The police restore the car to its original condition, and return it to Devereaux, who delivers the Lincoln to Charnier. After a lengthy stakeout, Popeye impounds Devereaux's Lincoln and takes it apart piece by piece, searching for the drugs. When Cloudy notes that the vehicle's shipping weight is 120 pounds over its listed manufacturer's weight, they realize the drugs must still be in the car. They remove the rocker panels and discover the drugs concealed in the body of the vehicle. The police restore the car to its original condition, and return it to Devereaux, who delivers the Lincoln to Charnier. \n", " Charnier drives to an old factory on Wards Island to meet Weinstock and make the transaction. After Charnier has the rocker panels removed, Weinstock's chemist tests one of the bags and confirms its quality. Charnier removes the bags of drugs, and hides the money; concealing it beneath the rocker panels of another car that was purchased at an auction of junk cars, which he will take back to France. With their transaction complete, Charnier and Sal drive off in the Lincoln, but soon they hit a roadblock with a large force of police led by Popeye, who playfully waves to Charnier. The police chase the Lincoln back to the old factory, where Sal is killed during a shootout with the police and most of the others surrender. Charnier drives to an old factory on Wards Island Wards Island to meet Weinstock and make the transaction. After Charnier has the rocker panels removed, Weinstock's chemist tests one of the bags and confirms its quality. Charnier removes the bags of drugs, and hides the money; concealing it beneath the rocker panels of another car that was purchased at an auction of junk cars, which he will take back to France. With their transaction complete, Charnier and Sal drive off in the Lincoln, but soon they hit a roadblock with a large force of police led by Popeye, who playfully waves to Charnier. The police chase the Lincoln back to the old factory, where Sal is killed during a shootout with the police and most of the others surrender. \n", " Charnier escapes into the old warehouse and Popeye follows after him, with Cloudy joining in the hunt. When Popeye sees a shadowy figure in the distance, he empties his revolver a split-second after shouting a warning. The man whom Popeye kills, however, is not Charnier but Mulderig. Undaunted, Popeye tells Cloudy that he will get Charnier. After reloading his gun, Popeye runs into another room, and a few seconds later, a single gunshot is heard.[Note 2] Charnier escapes into the old warehouse and Popeye follows after him, with Cloudy joining in the hunt. When Popeye sees a shadowy figure in the distance, he empties his revolver a split-second after shouting a warning. The man whom Popeye kills, however, is not Charnier but Mulderig. Undaunted, Popeye tells Cloudy that he will get Charnier. After reloading his gun, Popeye runs into another room, and a few seconds later, a single gunshot is heard. [Note 2] [Note 2] [ [ Note 2 ] ] \n", " \n", "http://en.wikipedia.org/wiki/Friday_Night_Lights_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Bissinger followed the team for the entire 1988 season. However, the book also deals with \u2014 or alludes to \u2014 a number of secondary political and social issues existing in Odessa, all of which share ties to the Permian Panthers football team. These include socioeconomic disparity; racism; segregation (and desegregation); and poverty. Bissinger followed the team for the entire 1988 season. However, the book also deals with \u2014 or alludes to \u2014 a number of secondary political and social issues social issues existing in Odessa, all of which share ties to the Permian Panthers football team. These include socioeconomic socioeconomic disparity; racism racism ; segregation segregation (and desegregation desegregation ); and poverty poverty . \n", " The coach, Gary Gaines (Billy Bob Thornton), is constantly in the hot seat. Tied to the successes and failure of the coach and the team in general are the conflicts the players struggle with on and off the gridiron. The coach overuses his star player and running back James \"Boobie\" Miles (Derek Luke) who gets seriously injured (Miles tore his ACL, missed the playoffs, and had a limp for the rest of his life). When this happens, sports radios are flooded with calls for his resignation. Miles' once-arrogant attitude vanishes as he sees his once promising chance of playing big-time college football disappear and starts to question his future after he notices his not-so promising academic standing. Recuperating on his uncle's veranda he observes the refuse collectors doing their rounds and gets a glimpse of a somewhat different future he could now face; he bursts into tears. The coach, Gary Gaines Gary Gaines ( Billy Bob Thornton Billy Bob Thornton ), is constantly in the hot seat. Tied to the successes and failure of the coach and the team in general are the conflicts the players struggle with on and off the gridiron. The coach overuses his star player and running back James \"Boobie\" Miles James \"Boobie\" Miles ( Derek Luke Derek Luke ) who gets seriously injured (Miles tore his ACL ACL , missed the playoffs, and had a limp for the rest of his life). When this happens, sports radios are flooded with calls for his resignation. Miles' once-arrogant attitude vanishes as he sees his once promising chance of playing big-time college football disappear and starts to question his future after he notices his not-so promising academic standing. Recuperating on his uncle's veranda he observes the refuse collectors doing their rounds and gets a glimpse of a somewhat different future he could now face; he bursts into tears. \n", " Quarterback Mike Winchell (Lucas Black) struggles with being able to play consistently. Fullback Don Billingsley (Garrett Hedlund) has a rocky relationship with his alcoholic and abusive father (Tim McGraw). Billingsley silently endures the abuse from his father, who won a state championship at Permian only to find himself unable to get into college and stuck working a dead-end job. Third-string running back Chris Comer (Lee Thompson Young), who takes the spot of Miles after his injury, attempts to get rid of his fear of being hit and getting injured, especially when the player who last occupied his spot suffered a season-ending injury. His obsession with fame and recognition also comes at a high price that he is at first not ready to pay. Safety Brian Chavez (Jay Hernandez) is easily the smartest player on the team, and the most confident in his future after high school football. One of the themes of the movie depicts the coach as a father-type figure for the players. Quarterback Quarterback Mike Winchell ( Lucas Black Lucas Black ) struggles with being able to play consistently. Fullback Don Billingsley ( Garrett Hedlund Garrett Hedlund ) has a rocky relationship with his alcoholic and abusive father ( Tim McGraw Tim McGraw ). Billingsley silently endures the abuse from his father, who won a state championship at Permian only to find himself unable to get into college and stuck working a dead-end job. Third-string running back Chris Comer ( Lee Thompson Young Lee Thompson Young ), who takes the spot of Miles after his injury, attempts to get rid of his fear of being hit and getting injured, especially when the player who last occupied his spot suffered a season-ending injury. His obsession with fame and recognition also comes at a high price that he is at first not ready to pay. Safety Brian Chavez ( Jay Hernandez Jay Hernandez ) is easily the smartest player on the team, and the most confident in his future after high school football. One of the themes of the movie depicts the coach as a father-type figure for the players. \n", " Coach Gaines triumphs and struggles with winning football games and connecting with his players a number of times during their tumultuous season. His job depends on the Panthers making the playoffs, and his team is in a three-way tie with two other teams at the end of the regular season. Under Texas rules for ties, the tiebreaker is a coin-toss. Permian gets a spot. Meanwhile, after he drunkenly throws away his championship ring, Don Billingsley's father breaks down and confesses his failures in life cause him to push his son as harshly as he does, pointing out that he wants his son to at least have one big moment of triumph before becoming like his dad. The team make it to the finals, where they narrowly lose against powerhouse Dallas Carter High School. The movie ends with the coach removing the departing seniors from the depth chart on his wall. Notably, the depth chart has \"Case\" at quarterback. This refers to Permian's real-life backup quarterback in 1988, Stoney Case, who would go on to lead Permian, along with Chris Comer, to the 5A state title the following year, and still later made it to the NFL. Coach Gaines triumphs and struggles with winning football games and connecting with his players a number of times during their tumultuous season. His job depends on the Panthers making the playoffs, and his team is in a three-way tie with two other teams at the end of the regular season. Under Texas rules for ties, the tiebreaker is a coin-toss. Permian gets a spot. Meanwhile, after he drunkenly throws away his championship ring, Don Billingsley's father breaks down and confesses his failures in life cause him to push his son as harshly as he does, pointing out that he wants his son to at least have one big moment of triumph before becoming like his dad. The team make it to the finals, where they narrowly lose against powerhouse Dallas Carter High School. The movie ends with the coach removing the departing seniors from the depth chart on his wall. Notably, the depth chart has \"Case\" at quarterback. This refers to Permian's real-life backup quarterback in 1988, Stoney Case Stoney Case , who would go on to lead Permian, along with Chris Comer, to the 5A state title the following year, and still later made it to the NFL NFL . \n", " \n", "http://en.wikipedia.org/wiki/The_King%27s_Speech\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Prince Albert, Duke of York, the second son of King George\u00a0V, stammers through his speech closing the 1925 British Empire Exhibition at Wembley Stadium, while the resulting ordeal is being broadcast by radio worldwide. The Duke has given up hope of a cure, but his wife Elizabeth persuades him to see Lionel Logue, an Australian speech therapist in London. During their first session, Logue breaches royal etiquette by referring to the Prince as \"Bertie,\" a name used by his family. When the Duke decides Logue's methods and manner are unsuitable, Logue wagers a shilling that the Duke can recite Hamlet's \"To be, or not to be\" soliloquy without trouble while listening to \"The Marriage of Figaro\" on headphones. Logue records his performance on an acetate record. Convinced he has stammered throughout, Prince Albert leaves in anger, declaring his condition \"hopeless\" and dismissing Logue. Logue offers him the recording as a keepsake. Prince Albert, Duke of York Prince Albert, Duke of York , the second son of King George\u00a0V King George\u00a0V , stammers through his speech closing the 1925 British Empire Exhibition British Empire Exhibition at Wembley Stadium Wembley Stadium , while the resulting ordeal is being broadcast by radio worldwide. The Duke has given up hope of a cure, but his wife Elizabeth Elizabeth persuades him to see Lionel Logue Lionel Logue , an Australian speech therapist in London. During their first session, Logue breaches royal etiquette by referring to the Prince as \"Bertie,\" a name used by his family. When the Duke decides Logue's methods and manner are unsuitable, Logue wagers a shilling shilling that the Duke can recite Hamlet Hamlet 's \" To be, or not to be To be, or not to be \" soliloquy without trouble while listening to \" The Marriage of Figaro The Marriage of Figaro \" on headphones. Logue records his performance on an acetate record acetate record . Convinced he has stammered throughout, Prince Albert leaves in anger, declaring his condition \"hopeless\" and dismissing Logue. Logue offers him the recording as a keepsake. \n", " \n", "\n", "\n", "\n", "1934 photograph of George V delivering the Royal Christmas Message; an image recreated in the film.\n", "\n", " \n", " \n", "\n", "\n", "1934 photograph of George V delivering the Royal Christmas Message; an image recreated in the film.\n", " \n", " \n", "\n", "1934 photograph of George V delivering the Royal Christmas Message; an image recreated in the film. \n", " \n", "1934 photograph of George V delivering the Royal Christmas Message; an image recreated in the film. \n", " \n", " \n", " After King George\u00a0V makes his 1934 Christmas radio address, he explains to his son the importance of broadcasting to a modern monarchy. He declares that \"David\" (Edward, Prince of Wales), Albert's older brother and the heir to the throne, will bring ruin to himself, the family, and the country when he accedes to the throne- leaving continental Europe to the mercy of Nazi Germany and Communist Russia. King George demands that Albert train himself, starting with a reading of his father's speech. He makes an agonising attempt to do so. After King George\u00a0V makes his 1934 Christmas radio address Christmas radio address , he explains to his son the importance of broadcasting to a modern monarchy. He declares that \"David\" ( Edward, Prince of Wales Edward, Prince of Wales ), Albert's older brother and the heir to the throne heir to the throne , will bring ruin to himself, the family, and the country when he accedes to the throne- leaving continental Europe to the mercy of Nazi Germany and Communist Russia. King George demands that Albert train himself, starting with a reading of his father's speech. He makes an agonising attempt to do so. \n", " Later, the Duke plays Logue's recording and hears himself unhesitatingly reciting Shakespeare. He decides to return to Logue, where he and his wife both insist that Logue focus only on physical exercises. Logue teaches his patient muscle relaxation and breath control techniques but continues to probe gently and persistently at the psychological roots of the stutter. The Duke eventually reveals some of the pressures of his childhood, and the two men start to become friends. Later, the Duke plays Logue's recording and hears himself unhesitatingly reciting Shakespeare. He decides to return to Logue, where he and his wife both insist that Logue focus only on physical exercises. Logue teaches his patient muscle relaxation and breath control techniques but continues to probe gently and persistently at the psychological roots of the stutter. The Duke eventually reveals some of the pressures of his childhood, and the two men start to become friends. \n", " In January 1936, George\u00a0V dies, and David ascends the throne as King Edward\u00a0VIII, but causes a constitutional crisis with his determination to marry Wallis Simpson, an American socialite divorc\u00e9e who is still legally married to her second husband. At a party in Balmoral Castle, Albert points out that Edward, as head of the Church of England, cannot marry Mrs. Simpson, even if she receives her second divorce; Edward accuses his brother of wanting to usurp his place. In January 1936, George\u00a0V dies, and David ascends the throne as King Edward\u00a0VIII, but causes a constitutional crisis with his determination to marry Wallis Simpson Wallis Simpson , an American socialite divorc\u00e9e who is still legally married to her second husband. At a party in Balmoral Castle Balmoral Castle , Albert points out that Edward, as head of the Church of England head of the Church of England , cannot marry Mrs. Simpson, even if she receives her second divorce; Edward accuses his brother of wanting to usurp his place. \n", " \n", "\n", "\n", "\n", "Colin Firth and Helena Bonham Carter as the Duke and Duchess of York.\n", "\n", " \n", " \n", "\n", "\n", "Colin Firth and Helena Bonham Carter as the Duke and Duchess of York.\n", " \n", " \n", "\n", "Colin Firth and Helena Bonham Carter as the Duke and Duchess of York. \n", " \n", "Colin Firth and Helena Bonham Carter as the Duke and Duchess of York. \n", " \n", " \n", " At his next session, Albert expresses his frustration that while his speech has improved when talking to most people, he still stammers when talking to his own brother, and reveals the extent of Edward VIII's folly with Mrs. Simpson. When Logue insists that Albert could be a good king instead of his brother, the latter labels such a suggestion as treason, and in his anger, mocks and dismisses Logue. When King Edward\u00a0VIII abdicates to marry Mrs. Simpson, Albert accedes as King George\u00a0VI. The new King and Queen visit Logue at his home to apologise, startling Mrs. Logue, who was unaware that the new king was her husband's patient. At his next session, Albert expresses his frustration that while his speech has improved when talking to most people, he still stammers when talking to his own brother, and reveals the extent of Edward VIII's folly with Mrs. Simpson. When Logue insists that Albert could be a good king instead of his brother, the latter labels such a suggestion as treason treason , and in his anger, mocks and dismisses Logue. When King Edward\u00a0VIII abdicates King Edward\u00a0VIII abdicates to marry Mrs. Simpson, Albert accedes as King George\u00a0VI. The new King and Queen visit Logue at his home to apologise, startling Mrs. Logue, who was unaware that the new king was her husband's patient unaware that the new king was her husband's patient . \n", " During preparations for his coronation in Westminster Abbey, George\u00a0VI learns that Logue has no formal qualifications, as initially assumed by him. When confronted, Logue explains how he was asked to help shell-shocked Australian soldiers returning from the First World War. When George VI remains unconvinced of his fitness for the throne, Logue sits in King Edward's Chair and dismisses the underlying Stone of Scone as a trifle. Goaded by Logue's seeming disrespect, the King surprises himself with his own sudden burst of outraged eloquence. During preparations for his coronation in Westminster Abbey Westminster Abbey , George\u00a0VI learns that Logue has no formal qualifications, as initially assumed by him. When confronted, Logue explains how he was asked to help shell-shocked shell-shocked Australian soldiers returning from the First World War. When George VI remains unconvinced of his fitness for the throne, Logue sits in King Edward's Chair King Edward's Chair and dismisses the underlying Stone of Scone Stone of Scone as a trifle. Goaded by Logue's seeming disrespect, the King surprises himself with his own sudden burst of outraged eloquence. \n", " Upon the declaration of war with Nazi Germany in September 1939, George\u00a0VI summons Logue to Buckingham Palace to prepare for his upcoming radio address to millions of listeners in Britain and the Empire. Knowing the challenge that lies before him, both Winston Churchill and Prime Minister Neville Chamberlain offer the King their support. The King and Logue are then left in the room. He delivers his speech somewhat competently, while Logue guides him. By the end of his speech, George VI is speaking freely with little to no guidance from Logue. Afterwards, the King and his family step onto the balcony of the palace, and are applauded by the thousands who have gathered. Upon the declaration of war war with Nazi Germany Nazi Germany in September 1939, George\u00a0VI summons Logue to Buckingham Palace Buckingham Palace to prepare for his upcoming radio address to millions of listeners in Britain Britain and the Empire the Empire . Knowing the challenge that lies before him, both Winston Churchill Winston Churchill and Prime Minister Neville Chamberlain Neville Chamberlain offer the King their support. The King and Logue are then left in the room. He delivers his speech somewhat competently, while Logue guides him. By the end of his speech, George VI is speaking freely with little to no guidance from Logue. Afterwards, the King and his family step onto the balcony of the palace, and are applauded by the thousands who have gathered. \n", " A title card explains that Logue was always present at King George\u00a0VI's speeches during the war, and that they remained friends for the rest of their lives. A title card title card explains that Logue was always present at King George\u00a0VI's speeches during the war, and that they remained friends for the rest of their lives. \n", " \n", "http://en.wikipedia.org/wiki/It_Happened_One_Night\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Spoiled heiress Ellen \"Ellie\" Andrews has eloped with pilot and fortune-hunter \"King\" Westley against the wishes of her extremely wealthy father, Alexander, who wants to have the marriage annulled. Jumping ship in Florida, she runs away, boarding a bus to New York City, to reunite with her new spouse, when she meets fellow bus passenger Peter Warne, a freshly out-of-work newspaper reporter. Soon Warne recognizes her and gives her a choice: if she will give him an exclusive on her story, he will help her reunite with Westley. If not, he will tell her father where she is. Ellie agrees to the first choice. Spoiled heiress Ellen \"Ellie\" Andrews has eloped with pilot and fortune-hunter \"King\" Westley against the wishes of her extremely wealthy father, Alexander, who wants to have the marriage annulled. Jumping ship in Florida, she runs away, boarding a bus to New York City New York City , to reunite with her new spouse, when she meets fellow bus passenger Peter Warne, a freshly out-of-work newspaper reporter. Soon Warne recognizes her and gives her a choice: if she will give him an exclusive on her story, he will help her reunite with Westley. If not, he will tell her father where she is. Ellie agrees to the first choice. \n", " Soon penniless, Ellie has to rely completely on Peter. As they go through several adventures together, Ellie loses her initial disdain for him and begins to fall in love. When they have to hitchhike, Peter claims to be an expert on the subject. As car after car passes them by, he eventually ends up thumbing his nose at them. The sheltered Ellie then shows him how it is done. She stops the next car, driven by Danker, dead in its tracks by lifting up her skirt and showing off a shapely leg. Soon penniless, Ellie has to rely completely on Peter. As they go through several adventures together, Ellie loses her initial disdain for him and begins to fall in love. When they have to hitchhike hitchhike , Peter claims to be an expert on the subject. As car after car passes them by, he eventually ends up thumbing his nose at them. The sheltered Ellie then shows him how it is done. She stops the next car, driven by Danker, dead in its tracks by lifting up her skirt and showing off a shapely leg. \n", " When they stop for a break, Danker tries to drive off with their luggage. Peter chases him down and takes his car. One night, nearing the end of their journey together, Ellie confesses her love to Peter. Peter mulls over what she has said, decides he loves her too, and leaves to make arrangements after she has fallen asleep. When the owners of the motel in which they are staying notice that Peter's car is gone, they roust Ellie out of bed and kick her out. When they stop for a break, Danker tries to drive off with their luggage. Peter chases him down and takes his car. One night, nearing the end of their journey together, Ellie confesses her love to Peter. Peter mulls over what she has said, decides he loves her too, and leaves to make arrangements after she has fallen asleep. When the owners of the motel in which they are staying notice that Peter's car is gone, they roust Ellie out of bed and kick her out. \n", " Believing Peter has deserted her, Ellie calls her father, who is so relieved to get her back that he agrees to let her marry Westley. Meanwhile, Peter has obtained money from his editor to marry Ellie, but as he drives back to tell her, they pass each other on the road. Although Ellie has no desire to be with Westley, she believes Peter has betrayed her for the reward money, so once home she agrees to have a second, formal wedding and commit to her life with Westley. Believing Peter has deserted her, Ellie calls her father, who is so relieved to get her back that he agrees to let her marry Westley. Meanwhile, Peter has obtained money from his editor to marry Ellie, but as he drives back to tell her, they pass each other on the road. Although Ellie has no desire to be with Westley, she believes Peter has betrayed her for the reward money, so once home she agrees to have a second, formal wedding and commit to her life with Westley. \n", " Ellie tries to pretend that nothing has happened, but she is unable to fool her father. On her wedding day she finally reveals the whole story (as she sees it). When Peter comes to Ellie's home, Mr. Andrews offers him the reward money, but Peter insists on being paid only his expenses: a paltry $39.60. When Ellie's father presses him for an explanation of his odd behavior, Peter admits he loves Ellie (although he thinks he is out of his mind to do so), then storms out. King Westley arrives for his wedding via Kellett K-3 Autogiro NC12691.[8] Ellie tries to pretend that nothing has happened, but she is unable to fool her father. On her wedding day she finally reveals the whole story (as she sees it). When Peter comes to Ellie's home, Mr. Andrews offers him the reward money, but Peter insists on being paid only his expenses: a paltry $39.60. When Ellie's father presses him for an explanation of his odd behavior, Peter admits he loves Ellie (although he thinks he is out of his mind to do so), then storms out. King Westley arrives for his wedding via Kellett K-3 Autogiro Autogiro NC12691. [8] [8] [ [ 8 ] ] \n", " At the wedding ceremony, as Mr. Andrews walks his daughter down the aisle, he reveals Peter's refusal of the reward money to Ellie and quietly encourages her to run off again, telling her that her car is out back for a quick get-away. At the point where she is to say \"I do\", she makes up her mind. She runs off to find Peter. Her pleased father pays Westley off, enabling Ellie to marry Peter. At the wedding ceremony, as Mr. Andrews walks his daughter down the aisle, he reveals Peter's refusal of the reward money to Ellie and quietly encourages her to run off again, telling her that her car is out back for a quick get-away. At the point where she is to say \"I do\", she makes up her mind. She runs off to find Peter. Her pleased father pays Westley off, enabling Ellie to marry Peter. \n", " \n", "http://en.wikipedia.org/wiki/A_Place_in_the_Sun_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_summary\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot summary [edit] [ [ edit edit ] ] \n", " George Eastman (Montgomery Clift), the poor nephew of rich industrialist Charles Eastman (Herbert Heyes), arrives in town following a chance encounter with his uncle while working as a bellhop in a Chicago hotel. The elder Eastman invites George to visit him if and when he ever comes to town, and the ambitious young man takes advantage of the offer. Despite George's family relationship to the Eastmans, they regard him as something of an outsider, but his uncle nevertheless offers him an entry-level job at his factory. George, uncomplaining, hopes to impress his uncle (whom he addresses as \"Mr. Eastman\") with his hard work and earn his way up. While working in the factory, George starts dating fellow factory worker Alice Tripp (Shelley Winters), in defiance of the workplace rules. Alice is a poor and inexperienced girl who is dazzled by George and slow to believe that his Eastman name brings him no advantages. George Eastman ( Montgomery Clift Montgomery Clift ), the poor nephew of rich industrialist Charles Eastman ( Herbert Heyes Herbert Heyes ), arrives in town following a chance encounter with his uncle while working as a bellhop bellhop in a Chicago hotel. The elder Eastman invites George to visit him if and when he ever comes to town, and the ambitious young man takes advantage of the offer. Despite George's family relationship to the Eastmans, they regard him as something of an outsider, but his uncle nevertheless offers him an entry-level job at his factory. George, uncomplaining, hopes to impress his uncle (whom he addresses as \"Mr. Eastman\") with his hard work and earn his way up. While working in the factory, George starts dating fellow factory worker Alice Tripp ( Shelley Winters Shelley Winters ), in defiance of the workplace rules. Alice is a poor and inexperienced girl who is dazzled by George and slow to believe that his Eastman name brings him no advantages. \n", " Over time, George begins a slow move up the corporate ladder, into a supervisory position in the department where he began. He has submitted recommendations on improving production in his department, which finally catch the attention of his uncle, who invites him to their home for a social event. At the party, George finally meets \"society girl\" Angela Vickers, played by Elizabeth Taylor, whom he has admired from afar since shortly after arriving in town, and they quickly fall in love. Being Angela's escort thrusts George into the intoxicating and carefree lifestyle of high society that his rich Eastman kin had denied him. When Alice announces that she is pregnant and makes it clear that she expects George to marry her, he puts her off, spending more and more of his time with Angela and his new well-heeled friends. An attempt to procure an abortion for Alice fails, and she renews her insistence on marriage. George is invited to join Angela at the Vickers's holiday lake house over Labor Day weekend, and excuses himself to Alice, saying that the visit will advance his career and accrue to the benefit of the coming child. Over time, George begins a slow move up the corporate ladder, into a supervisory position in the department where he began. He has submitted recommendations on improving production in his department, which finally catch the attention of his uncle, who invites him to their home for a social event. At the party, George finally meets \"society girl\" Angela Vickers, played by Elizabeth Taylor Elizabeth Taylor , whom he has admired from afar since shortly after arriving in town, and they quickly fall in love. Being Angela's escort thrusts George into the intoxicating and carefree lifestyle of high society that his rich Eastman kin had denied him. When Alice announces that she is pregnant and makes it clear that she expects George to marry her, he puts her off, spending more and more of his time with Angela and his new well-heeled friends. An attempt to procure an abortion for Alice fails, and she renews her insistence on marriage. George is invited to join Angela at the Vickers's holiday lake house over Labor Day weekend, and excuses himself to Alice, saying that the visit will advance his career and accrue to the benefit of the coming child. \n", " George and Angela spend time at secluded Loon Lake, and after hearing a story of a couple's supposed drowning there, with the man's body never being found, George hatches a plan to rid himself of Alice so that he can marry Angela. George and Angela spend time at secluded Loon Lake, and after hearing a story of a couple's supposed drowning there, with the man's body never being found, George hatches a plan to rid himself of Alice so that he can marry Angela. \n", " Meanwhile, Alice finds a picture in the newspaper of George, Angela, and their friends, and realizing that George lied to her about being forced to go to the lake. During a dinner which is attended by the Eastman and Vickers families, George appears to be on the verge of finally advancing into the business and social realm that he has long sought. However, Alice phones the house during the dinner party and asks to speak with George; she tells him that she is at the bus station, and that if he doesn't come to get her, she'll come to where he is and expose him. Visibly shaken, he contrives an excuse to the families that he must suddenly leave, but promises Angela he will return. The next morning, George and Alice drive to City Hall to get married but they find it closed for Labor Day, and George suggests spending the day at the nearby lake; Alice unsuspectingly agrees. Meanwhile, Alice finds a picture in the newspaper of George, Angela, and their friends, and realizing that George lied to her about being forced to go to the lake. During a dinner which is attended by the Eastman and Vickers families, George appears to be on the verge of finally advancing into the business and social realm that he has long sought. However, Alice phones the house during the dinner party and asks to speak with George; she tells him that she is at the bus station, and that if he doesn't come to get her, she'll come to where he is and expose him. Visibly shaken, he contrives an excuse to the families that he must suddenly leave, but promises Angela he will return. The next morning, George and Alice drive to City Hall to get married but they find it closed for Labor Day, and George suggests spending the day at the nearby lake; Alice unsuspectingly agrees. \n", " When they get to the lake, George acts visibly nervous when he rents a boat from a man who seems to deduce that George gave him a false name; the man's suspicions are aroused more when George asks him whether any other boaters are on the lake (none are). While they are out on the lake, Alice confesses her dreams about their happy future together with their child. As George apparently takes pity on her and, judging from his attitude, decides not to carry out his murderous plan, Alice tries to stand up in the boat, causing it to capsize, and Alice drowns. When they get to the lake, George acts visibly nervous when he rents a boat from a man who seems to deduce that George gave him a false name; the man's suspicions are aroused more when George asks him whether any other boaters are on the lake (none are). While they are out on the lake, Alice confesses her dreams about their happy future together with their child. As George apparently takes pity on her and, judging from his attitude, decides not to carry out his murderous plan, Alice tries to stand up in the boat, causing it to capsize, and Alice drowns. \n", " George escapes, swims to shore, and eventually drives back up to the Vickers's lodge, where he tries to relax but is increasingly tense. He says nothing to anyone about having been on the lake or about what happened there. Meanwhile, Alice's body is discovered and her death is treated as a murder investigation almost from the first moment, while an abundant amount of evidence and witness reports stack up against George. Just as Angela's father approves Angela's marriage to him, George is arrested and charged with Alice's murder. Though the audience knows that the planned murder in fact turned into an accidental drowning, George's furtive actions before and after Alice's death condemn him. His denials are futile, and he is found guilty of murder and sentenced to death in the electric chair. Near the end, he confesses in his cell that he deserves to die because although he did not kill Alice, he wanted her dead in his heart, making him just as guilty as if he had killed her. George escapes, swims to shore, and eventually drives back up to the Vickers's lodge, where he tries to relax but is increasingly tense. He says nothing to anyone about having been on the lake or about what happened there. Meanwhile, Alice's body is discovered and her death is treated as a murder investigation almost from the first moment, while an abundant amount of evidence and witness reports stack up against George. Just as Angela's father approves Angela's marriage to him, George is arrested and charged with Alice's murder. Though the audience knows that the planned murder in fact turned into an accidental drowning, George's furtive actions before and after Alice's death condemn him. His denials are futile, and he is found guilty of murder and sentenced to death in the electric chair. Near the end, he confesses in his cell that he deserves to die because although he did not kill Alice, he wanted her dead in his heart, making him just as guilty as if he had killed her. \n", " \n", "http://en.wikipedia.org/wiki/Midnight_Cowboy\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_summary" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot summary [edit] [ [ edit edit ] ] \n", " As the film opens, Joe Buck (Jon Voight), a young Texan working as a dishwasher, dresses in new cowboy clothing, packs a suitcase, and quits his job. He heads to New York City hoping to succeed as a male prostitute for women. As the film opens, Joe Buck ( Jon Voight Jon Voight ), a young Texan Texan working as a dishwasher, dresses in new cowboy clothing, packs a suitcase, and quits his job. He heads to New York City New York City hoping to succeed as a male prostitute for women. \n", " Initially unsuccessful, he succeeds in bedding a well-to-do middle-aged New Yorker (Sylvia Miles), but Joe ends up giving her money, having failed to understand she was a call girl herself, and the one expecting to get paid. Initially unsuccessful, he succeeds in bedding a well-to-do middle-aged New Yorker ( Sylvia Miles Sylvia Miles ), but Joe ends up giving her money, having failed to understand she was a call girl call girl herself, and the one expecting to get paid. \n", " Joe then meets Enrico Salvatore \"Ratso\" Rizzo (Dustin Hoffman), a street con man with a limp who takes $20 from Joe by offering to introduce him to a known pimp, who turns out to be a Bible thumper (John McGiver). Joe flees the encounter in pursuit of Ratso. Joe then meets Enrico Salvatore \"Ratso\" Rizzo ( Dustin Hoffman Dustin Hoffman ), a street con man con man with a limp who takes $20 from Joe by offering to introduce him to a known pimp, who turns out to be a Bible thumper ( John McGiver John McGiver ). Joe flees the encounter in pursuit of Ratso. \n", " Joe spends his days wandering the city and sitting in his hotel room. Soon broke, he is locked out of his hotel room and most of his belongings are impounded. Joe spends his days wandering the city and sitting in his hotel room. Soon broke, he is locked out of his hotel room and most of his belongings are impounded. \n", " He tries to make money by agreeing to receive oral sex from a young man (Bob Balaban) in a movie theater. When Joe learns that he has no money, Joe threatens him and asks for his watch, but eventually lets him go. He tries to make money by agreeing to receive oral sex from a young man ( Bob Balaban Bob Balaban ) in a movie theater. When Joe learns that he has no money, Joe threatens him and asks for his watch, but eventually lets him go. \n", " The following day, Joe spots Ratso and angrily shakes him down. Ratso offers to share his apartment in a condemned building. Joe accepts reluctantly, and they begin a \"business relationship\" as hustlers. The following day, Joe spots Ratso and angrily shakes him down. Ratso offers to share his apartment in a condemned building. Joe accepts reluctantly, and they begin a \"business relationship\" as hustlers. \n", " As they develop a bond, Ratso's health, which has never been good, grows steadily worse. As they develop a bond, Ratso's health, which has never been good, grows steadily worse. \n", " Joe's story is told through flashbacks. Joe's story is told through flashbacks. \n", " His grandmother raises him after his mother abandons him, though his grandmother frequently neglects him as well. His grandmother raises him after his mother abandons him, though his grandmother frequently neglects him as well. \n", " Ratso's back story comes through stories he tells Joe. Ratso's back story comes through stories he tells Joe. \n", " His father was an illiterate Italian immigrant shoe-shiner, who worked down in a subway station. He developed a bad back, and \"coughed his lungs out from breathin' in that wax all day\". His father was an illiterate Italian immigrant shoe-shiner, who worked down in a subway station. He developed a bad back, and \"coughed his lungs out from breathin' in that wax all day\". \n", " Ratso learned shining from his father but won't stoop to it. He dreams of moving one day to Miami. Ratso learned shining from his father but won't stoop to it. He dreams of moving one day to Miami Miami . \n", " An unusual couple approach Joe and Ratso in a diner and hand Joe a flyer, inviting him to a party. They enter a Warhol-esque party scene (with Warhol superstars in cameos). Joe smokes a joint, thinking it's a cigarette, and, after taking a pill someone offered, begins to hallucinate. He leaves the party with a socialite (Brenda Vaccaro), who agrees to pay $20 for spending the night with him, but Joe cannot perform. An unusual couple approach Joe and Ratso in a diner and hand Joe a flyer, inviting him to a party. They enter a Warhol-esque Warhol-esque party scene (with Warhol superstars Warhol superstars in cameos). Joe smokes a joint, thinking it's a cigarette, and, after taking a pill someone offered, begins to hallucinate. He leaves the party with a socialite ( Brenda Vaccaro Brenda Vaccaro ), who agrees to pay $20 for spending the night with him, but Joe cannot perform. \n", " They play Scribbage together, and Joe shows his limited academic prowess. She teasingly suggests that Joe may be gay, and he is suddenly able to perform. They play Scribbage Scribbage together, and Joe shows his limited academic prowess. She teasingly suggests that Joe may be gay gay , and he is suddenly able to perform. \n", " In the morning, the socialite sets up her friend as Joe's next customer, and it appears that his career is on its way. In the morning, the socialite sets up her friend as Joe's next customer, and it appears that his career is on its way. \n", " When Joe returns home, Ratso is bedridden and feverish. Ratso refuses medical help and begs Joe to put him on a bus to Florida. When Joe returns home, Ratso is bedridden and feverish. Ratso refuses medical help and begs Joe to put him on a bus to Florida. \n", " Desperate, Joe picks up a man in a gay bar (Barnard Hughes), and when things go wrong, robs the man when he tries to pay with a religious medallion instead of cash. Desperate, Joe picks up a man in a gay bar ( Barnard Hughes Barnard Hughes ), and when things go wrong, robs the man when he tries to pay with a religious medallion instead of cash. \n", " With the cash, Joe buys bus tickets. On the journey, Ratso's frail physical condition further deteriorates. With the cash, Joe buys bus tickets. On the journey, Ratso's frail physical condition further deteriorates. \n", " At a rest stop, Joe buys new clothing for Ratso and himself, discarding his cowboy outfit. As they near Miami, Joe talks of getting a regular job, only to realize Ratso has died. At a rest stop, Joe buys new clothing for Ratso and himself, discarding his cowboy outfit. As they near Miami, Joe talks of getting a regular job, only to realize Ratso has died. \n", " The driver tells Joe there is nothing else to do, but continue on to Miami. The driver tells Joe there is nothing else to do, but continue on to Miami. \n", " The film closes with Joe seated with his arm around his dead friend. The film closes with Joe seated with his arm around his dead friend. \n", " \n", "http://en.wikipedia.org/wiki/Mr._Smith_Goes_to_Washington\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The governor of an unnamed western state, Hubert \"Happy\" Hopper (Guy Kibbee), has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor (Edward Arnold), pressures Hopper to choose his handpicked stooge, while popular committees want a reformer, Henry Hill. The governor's children want him to select Jefferson Smith (James Stewart), the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge \u2013 and next to a newspaper story on one of Smith's accomplishments \u2013 he chooses Smith, calculating that his wholesome image will please the people while his na\u00efvet\u00e9 will make him easy to manipulate. The governor of an unnamed western state, Hubert \"Happy\" Hopper ( Guy Kibbee Guy Kibbee ), has to pick a replacement for recently deceased U.S. Senator U.S. Senator Sam Foley. His corrupt political boss political boss , Jim Taylor ( Edward Arnold Edward Arnold ), pressures Hopper to choose his handpicked stooge, while popular committees want a reformer, Henry Hill. The governor's children want him to select Jefferson Smith ( James Stewart James Stewart ), the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge \u2013 and next to a newspaper story on one of Smith's accomplishments \u2013 he chooses Smith, calculating that his wholesome image will please the people while his na\u00efvet\u00e9 na\u00efvet\u00e9 will make him easy to manipulate. \n", " Junior Senator Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine (Claude Rains), who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan (Astrid Allwyn). At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's na\u00efve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front page pictures and headlines branding him a bumpkin. Junior Senator Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine ( Claude Rains Claude Rains ), who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan ( Astrid Allwyn Astrid Allwyn ). At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's na\u00efve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front page pictures and headlines branding him a bumpkin. \n", " To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders (Jean Arthur), who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in an appropriations bill framed by the Taylor \"political machine\" and supported by Senator Paine. To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders ( Jean Arthur Jean Arthur ), who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft graft scheme included in an appropriations bill framed by the Taylor \" political machine political machine \" and supported by Senator Paine. \n", " Unwilling to crucify the worshipful Smith so that their graft plan will go through, Paine tells Taylor he wants out, but Taylor reminds him that Paine is in power primarily through Taylor's influence. Through Paine, the machine in his state accuses Smith of trying to profit from his bill by producing fraudulent evidence that Smith already owns the land in question. Smith is too shocked by Paine's betrayal to defend himself, and runs away. Unwilling to crucify the worshipful Smith so that their graft plan will go through, Paine tells Taylor he wants out, but Taylor reminds him that Paine is in power primarily through Taylor's influence. Through Paine, the machine in his state accuses Smith of trying to profit from his bill by producing fraudulent evidence that Smith already owns the land in question. Smith is too shocked by Paine's betrayal to defend himself, and runs away. \n", " Saunders, who looked down on Smith at first, but has come to believe in him, talks him into launching a filibuster to postpone the appropriations bill and prove his innocence on the Senate floor just before the vote to expel him. In his last chance to prove his innocence, he talks non-stop for about 24 hours, reaffirming the American ideals of freedom and disclosing the true motives of the dam scheme. Yet none of the Senators are convinced. Saunders, who looked down on Smith at first, but has come to believe in him, talks him into launching a filibuster filibuster to postpone the appropriations bill and prove his innocence on the Senate floor just before the vote to expel him. In his last chance to prove his innocence, he talks non-stop for about 24 hours, reaffirming the American ideals of freedom and disclosing the true motives of the dam scheme. Yet none of the Senators are convinced. \n", " The constituents try to rally around him, but the entrenched opposition is too powerful, and all attempts are crushed. Owing to the influence of Taylor's machine, newspapers and radio stations in Smith's home state, on Taylor's orders, refuse to report what Smith has to say and even distort the facts against the senator. An effort by the Boy Rangers to spread the news in support of Smith results in vicious attacks on the children by Taylor's minions. The constituents try to rally around him, but the entrenched opposition is too powerful, and all attempts are crushed. Owing to the influence of Taylor's machine, newspapers and radio stations in Smith's home state, on Taylor's orders, refuse to report what Smith has to say and even distort the facts against the senator. An effort by the Boy Rangers to spread the news in support of Smith results in vicious attacks on the children by Taylor's minions. \n", " Although all hope seems lost, the senators begin to pay attention as Smith approaches utter exhaustion. Paine has one last card up his sleeve: he brings in bins of letters and telegrams from Smith's home state, purportedly from average people demanding his expulsion. Nearly broken by the news, Smith finds a small ray of hope in a friendly smile from the President of the Senate (Harry Carey). Smith vows to press on until people believe him, but immediately collapses in a faint. Overcome with guilt, Paine leaves the Senate chamber and attempts to commit suicide, but is stopped by other senators. When he is stopped, he bursts back into the Senate chamber, loudly confessing to the whole scheme; that he should be expelled from Senate, and affirms Smith's innocence. Although all hope seems lost, the senators begin to pay attention as Smith approaches utter exhaustion. Paine has one last card up his sleeve: he brings in bins of letters and telegrams from Smith's home state, purportedly from average people demanding his expulsion. Nearly broken by the news, Smith finds a small ray of hope in a friendly smile from the President of the Senate ( Harry Carey Harry Carey ). Smith vows to press on until people believe him, but immediately collapses in a faint. Overcome with guilt, Paine leaves the Senate chamber and attempts to commit suicide, but is stopped by other senators. When he is stopped, he bursts back into the Senate chamber, loudly confessing to the whole scheme; that he should be expelled from Senate, and affirms Smith's innocence. \n", " \n", "http://en.wikipedia.org/wiki/Rain_Man\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Charlie Babbitt is in the middle of importing four Lamborghinis to Los Angeles for resale. He needs to deliver the vehicles to impatient buyers who have already made down payments in order to repay the loan he took out to buy the cars, but the EPA is holding the cars at the port due to the cars failing emissions regulations. Charlie directs an employee to lie to the buyers while he stalls his creditor. Charlie Babbitt is in the middle of importing four Lamborghinis Lamborghinis to Los Angeles Los Angeles for resale. He needs to deliver the vehicles to impatient buyers who have already made down payments in order to repay the loan he took out to buy the cars, but the EPA EPA is holding the cars at the port due to the cars failing emissions regulations emissions regulations . Charlie directs an employee to lie to the buyers while he stalls his creditor. \n", " When Charlie learns that his estranged father has died, he and his girlfriend Susanna travel to Cincinnati, Ohio in order to settle the estate. He learns he is receiving the classic 1949 Buick Roadmaster convertible, over which he and his father fought, and his father's rosebushes, but the bulk of the $3 million estate is going to an unnamed trustee. Through social engineering he learns the money is being directed to a mental institution where he meets his older brother, Raymond Babbitt, of whose existence he was previously unaware. When Charlie learns that his estranged father has died, he and his girlfriend Susanna travel to Cincinnati, Ohio Cincinnati, Ohio in order to settle the estate. He learns he is receiving the classic 1949 Buick Roadmaster Buick Roadmaster convertible, over which he and his father fought, and his father's rosebushes, but the bulk of the $3 million estate is going to an unnamed trustee trustee . Through social engineering social engineering he learns the money is being directed to a mental institution mental institution where he meets his older brother, Raymond Babbitt, of whose existence he was previously unaware. \n", " Raymond has autism and adheres to strict routines such as always watching The People's Court. He has superb recall but he shows little emotional expression except when in distress. Charlie spirits Raymond out of the mental institution and into a hotel for the night. Susanna becomes upset with the way Charlie treats his brother and leaves. Charlie asks Raymond's doctor, Dr. Gerald R. Bruner for half the estate in exchange for Raymond's return, but he refuses. Charlie decides to attempt to gain custody of his brother in order to get control of the money. Raymond has autism autism and adheres to strict routines such as always watching The People's Court The People's Court The People's Court . He has superb recall superb recall but he shows little emotional expression except when in distress. Charlie spirits Raymond out of the mental institution and into a hotel for the night. Susanna becomes upset with the way Charlie treats his brother and leaves. Charlie asks Raymond's doctor, Dr. Gerald R. Bruner for half the estate in exchange for Raymond's return, but he refuses. Charlie decides to attempt to gain custody of his brother in order to get control of the money. \n", " After Raymond refuses to fly back to Los Angeles because he remembers every airline crash and is worried about getting hurt they set out on a cross-country road trip together. During the course of the journey, Charlie learns more about Raymond, including that he is a mental calculator with the ability to instantly count hundreds of objects at once, far beyond the normal range of human subitizing abilities. He also learns that, like him, Raymond loves The Beatles. It is revealed that Raymond actually lived with the family when Charlie was young and he realizes that the comforting figure from his childhood, whom he falsely remembered as an imaginary friend named \"Rain Man\", was actually Raymond. After Raymond refuses to fly back to Los Angeles because he remembers every airline crash and is worried about getting hurt they set out on a cross-country road trip together. During the course of the journey, Charlie learns more about Raymond, including that he is a mental calculator mental calculator with the ability to instantly count hundreds of objects at once, far beyond the normal range of human subitizing subitizing abilities. He also learns that, like him, Raymond loves The Beatles The Beatles . It is revealed that Raymond actually lived with the family when Charlie was young and he realizes that the comforting figure from his childhood, whom he falsely remembered as an imaginary friend named \"Rain Man\", was actually Raymond. \n", " They make slow progress on their cross country trip because Raymond insists on sticking to his routines, which include watching Judge Wapner on television every day and getting to bed by 11:00 PM. He also objects to traveling on the interstate after they pass a bad accident. They make slow progress on their cross country trip because Raymond insists on sticking to his routines, which include watching Judge Wapner Judge Wapner on television every day and getting to bed by 11:00 PM. He also objects to traveling on the interstate interstate after they pass a bad accident. \n", " After the Lamborghinis are seized by his creditor, Charlie finds himself $80,000 in debt and hatches a plan to return to Las Vegas, which they passed the night before, and win money at blackjack by counting cards. Though the casino bosses are skeptical that anyone can count cards with a six deck shoe, after reviewing security footage they ask Charlie and Raymond to leave. However, Charlie has made enough to cover his debts and has reconciled with Susanna who rejoined them in Las Vegas. After the Lamborghinis are seized by his creditor, Charlie finds himself $80,000 in debt and hatches a plan to return to Las Vegas Las Vegas , which they passed the night before, and win money at blackjack blackjack by counting cards counting cards . Though the casino bosses are skeptical that anyone can count cards with a six deck shoe shoe , after reviewing security footage they ask Charlie and Raymond to leave. However, Charlie has made enough to cover his debts and has reconciled with Susanna who rejoined them in Las Vegas. \n", " Back in Los Angeles, Charlie meets with Dr. Bruner, who offers him $250,000 to walk away from Raymond. Charlie refuses and says that he is no longer upset about what his father left him, but he wants to have a relationship with his brother. At a meeting with a court-appointed psychiatrist (Levinson, in an uncredited cameo), Raymond is shown to be unable to decide for himself what he wants. Charlie stops the questioning and tells Raymond he is happy to have him as his brother. Back in Los Angeles, Charlie meets with Dr. Bruner, who offers him $250,000 to walk away from Raymond. Charlie refuses and says that he is no longer upset about what his father left him, but he wants to have a relationship with his brother. At a meeting with a court-appointed psychiatrist ( Levinson Levinson , in an uncredited cameo), Raymond is shown to be unable to decide for himself what he wants. Charlie stops the questioning and tells Raymond he is happy to have him as his brother. \n", " In the final scene, Charlie brings Raymond to the train station where he boards an Amtrak train with Dr. Bruner to return to the mental institution. Charlie promises Raymond that he will visit in two weeks. In the final scene, Charlie brings Raymond to the train station where he boards an Amtrak Amtrak train with Dr. Bruner to return to the mental institution. Charlie promises Raymond that he will visit in two weeks. \n", " \n", "http://en.wikipedia.org/wiki/Annie_Hall\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The comedian Alvy Singer (Woody Allen) is trying to understand why his relationship with Annie Hall (Diane Keaton) ended a year ago. Growing up in New York, he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity. The comedian Alvy Singer ( Woody Allen Woody Allen ) is trying to understand why his relationship with Annie Hall ( Diane Keaton Diane Keaton ) ended a year ago. Growing up in New York, he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity. \n", " Annie and Alvy, in a line for The Sorrow and the Pity, overhear another man deriding the work of Federico Fellini and Marshall McLuhan; McLuhan himself steps in at Alvy's invitation to criticize the man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife (Carol Kane), whose ardor gave him no pleasure. His second marriage was to a New York writer who didn't like sports and was unable to reach orgasm. Annie and Alvy, in a line for The Sorrow and the Pity, The Sorrow and the Pity The Sorrow and the Pity , overhear another man deriding the work of Federico Fellini Federico Fellini and Marshall McLuhan Marshall McLuhan ; McLuhan himself steps in at Alvy's invitation to criticize the man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife ( Carol Kane Carol Kane ), whose ardor gave him no pleasure. His second marriage was to a New York writer who didn't like sports and was unable to reach orgasm. \n", " With Annie, it is different. The two of them have fun making a meal of boiled lobster together. He teases her about the unusual men in her past. He met her playing tennis doubles with friends. Following the game, awkward small talk led her to offer him first a ride up town and then a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in \"mental subtitles\" as an escalating flirtation. Their first date follows Annie's singing audition for a night club (\"It Had to be You\"). He suggests they kiss first, to get it out of the way. After their lovemaking that night, Alvy is \"a wreck\", while she relaxes with a joint. With Annie, it is different. The two of them have fun making a meal of boiled lobster together. He teases her about the unusual men in her past. He met her playing tennis doubles tennis doubles with friends. Following the game, awkward small talk led her to offer him first a ride up town and then a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in \"mental subtitles\" as an escalating flirtation. Their first date follows Annie's singing audition for a night club (\" It Had to be You It Had to be You \"). He suggests they kiss first, to get it out of the way. After their lovemaking that night, Alvy is \"a wreck\", while she relaxes with a joint joint . \n", " Soon Annie admits she loves him, while he buys her books on death and says that his feelings for her are more than just love. When she moves in with him, things become very tense. Eventually, he finds her arm in arm with one of her college professors and the two begin to argue whether this is the \"flexibility\" they had discussed. They eventually break up, and he searches for the truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, until he casts himself in Snow White opposite Annie's Evil Queen. Soon Annie admits she loves him, while he buys her books on death and says that his feelings for her are more than just love. When she moves in with him, things become very tense. Eventually, he finds her arm in arm with one of her college professors and the two begin to argue whether this is the \"flexibility\" they had discussed. They eventually break up, and he searches for the truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, until he casts himself in Snow White Snow White opposite Annie's Evil Queen. \n", " Alvy returns to dating, but the effort is marred by neurosis, bad sex, and finally an interruption from Annie, who insists he come over immediately. It turns out she needs him to kill a spider. A reconciliation follows, coupled with a vow to stay together come what may. However, their separate discussions with their therapists make it evident there is an unspoken divide. When Alvy accepts an offer to present an award on television, they fly out to Los Angeles, with Alvy's friend, Rob (Tony Roberts). However, on the return trip, they agree that their relationship is not working. After losing her to her record producer, Tony Lacey (Paul Simon), he unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play of their relationship but changes the ending: now she accepts. Alvy returns to dating, but the effort is marred by neurosis, bad sex, and finally an interruption from Annie, who insists he come over immediately. It turns out she needs him to kill a spider. A reconciliation follows, coupled with a vow to stay together come what may. However, their separate discussions with their therapists make it evident there is an unspoken divide. When Alvy accepts an offer to present an award on television, they fly out to Los Angeles, with Alvy's friend, Rob ( Tony Roberts Tony Roberts ). However, on the return trip, they agree that their relationship is not working. After losing her to her record producer, Tony Lacey ( Paul Simon Paul Simon ), he unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play of their relationship but changes the ending: now she accepts. \n", " The last meeting for them is a wistful coda on New York's Upper West Side, when they have both moved on to someone new. Alvy's voice returns with a summation: love is essential, especially if it is neurotic. Annie torches \"Seems Like Old Times\" and the credits roll. The last meeting for them is a wistful coda on New York's Upper West Side, when they have both moved on to someone new. Alvy's voice returns with a summation: love is essential, especially if it is neurotic neurotic . Annie torches \" Seems Like Old Times Seems Like Old Times \" and the credits roll. \n", " \n", "http://en.wikipedia.org/wiki/Out_of_Africa_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The story begins in 1913 in Denmark, when Karen Dinesen (a wealthy but unmarried woman) asks her friend Baron Bror Blixen (Klaus Maria Brandauer) to enter into a marriage of convenience with her. Although Bror is a member of the aristocracy, he is no longer financially secure; therefore, he agrees to the marriage, and the two of them plan to move to Africa to begin a dairy farm. The story begins in 1913 in Denmark Denmark , when Karen Dinesen (a wealthy but unmarried woman) asks her friend Baron Bror Blixen Bror Blixen ( Klaus Maria Brandauer Klaus Maria Brandauer ) to enter into a marriage of convenience with her. Although Bror is a member of the aristocracy aristocracy , he is no longer financially secure; therefore, he agrees to the marriage, and the two of them plan to move to Africa Africa to begin a dairy farm. \n", " Upon moving to British East Africa, Karen marries Bror in a brief ceremony, thus becoming Baroness Blixen. She meets and befriends various other colonial residents of the country, most of whom are British. She also meets Denys Finch Hatton (Robert Redford), a local big-game hunter with whom she develops a close friendship. However, things turn out differently for her than anticipated, since Bror has used her money to purchase a coffee plantation rather than a dairy farm. He also shows little inclination to put any real work into it, preferring instead to become a game hunter. Although theirs was a marriage of convenience, Karen does eventually develop feelings for Bror, but she is distressed when she learns of his extramarital affairs. To make matters worse, Karen contracts syphilis from her philandering husband (at the time, cures were uncertain) and is forced to return to Denmark for a long and difficult period of treatment using the then-new medicine Salvarsan. Bror agrees to look after the plantation in her absence. Upon moving to British East Africa British East Africa , Karen marries Bror in a brief ceremony, thus becoming Baroness Blixen. She meets and befriends various other colonial residents of the country, most of whom are British. She also meets Denys Finch Hatton Denys Finch Hatton ( Robert Redford Robert Redford ), a local big-game hunter big-game hunter with whom she develops a close friendship. However, things turn out differently for her than anticipated, since Bror has used her money to purchase a coffee plantation rather than a dairy farm. He also shows little inclination to put any real work into it, preferring instead to become a game hunter. Although theirs was a marriage of convenience, Karen does eventually develop feelings for Bror, but she is distressed when she learns of his extramarital affairs. To make matters worse, Karen contracts syphilis syphilis from her philandering husband (at the time, cures were uncertain) and is forced to return to Denmark for a long and difficult period of treatment using the then-new medicine Salvarsan Salvarsan . Bror agrees to look after the plantation in her absence. \n", " After she has recovered and returns to Africa, the First World War is drawing to an end. However, it becomes clear that her marriage to the womanizing Bror has not changed, and she eventually asks him to move out of their house. No longer able to have children of her own due to the effects of the syphilis, she decides to open a school to teach reading, writing, arithmetic, and also some European customs to the African tribal children of the area. However, her coffee plantation runs into financial difficulties, and she is forced to rely on bank loans to make ends meet. Her friendship with Denys Finch Hatton develops further. After she has recovered and returns to Africa, the First World War First World War is drawing to an end. However, it becomes clear that her marriage to the womanizing Bror has not changed, and she eventually asks him to move out of their house. No longer able to have children of her own due to the effects of the syphilis, she decides to open a school to teach reading, writing, arithmetic, and also some European customs to the African tribal children of the area. However, her coffee plantation runs into financial difficulties, and she is forced to rely on bank loans to make ends meet. Her friendship with Denys Finch Hatton develops further. \n", " Despite her expectation and desire to have what begins as an affair turn into a lasting relationship, Karen realizes that Denys is as impossible to domesticate as the wild animals he hunts and often refers to. Although he moves into Karen's house, he criticizes her desire to \"own\" things; this implies even people. He refuses to commit to marriage or give up his free lifestyle and tells her that he will not love her more just because of a \"piece of paper\". Karen grudgingly continues in the relationship, knowing it will not ever be official. He decides to invite a female mutual acquaintance on one of his safaris, which exceeds Karen's ability to tolerate his justifications for his lifestyle and behavior. Karen asks him to accede to her request to not take her along, and he refuses. She asks him to move out. The plantation finally yields a good harvest at long last, but a devastating fire breaks out in the processing shed, and the crops and all of the factory equipment are destroyed. Despite her expectation and desire to have what begins as an affair turn into a lasting relationship, Karen realizes that Denys is as impossible to domesticate as the wild animals he hunts and often refers to. Although he moves into Karen's house, he criticizes her desire to \"own\" things; this implies even people. He refuses to commit to marriage or give up his free lifestyle and tells her that he will not love her more just because of a \"piece of paper\". Karen grudgingly continues in the relationship, knowing it will not ever be official. He decides to invite a female mutual acquaintance on one of his safaris, which exceeds Karen's ability to tolerate his justifications for his lifestyle and behavior. Karen asks him to accede to her request to not take her along, and he refuses. She asks him to move out. The plantation finally yields a good harvest at long last, but a devastating fire breaks out in the processing shed, and the crops and all of the factory equipment are destroyed. \n", " Now financially broke, and with her relationship with Denys over, Karen prepares to leave Africa to return home to Denmark, just as British East Africa is becoming Kenya Colony. She arranges to sell everything that she owns and empties the house of all her luxurious items for a rummage sale. In the now empty house, Denys visits her that night, and the two of them enjoy a drink and a dance. He asks her if he may escort her to Mombasa in his biplane to begin her journey home. She agrees and he promises to return after a few days. However, Denys never returns, and Karen is told that his plane has crashed and that he has been killed. Her loss now complete, Karen attends his funeral in the Ngong Hills. With Denys gone, Karen's head servant, Farah, takes her to the station, for the train to Mombasa. Now financially broke, and with her relationship with Denys over, Karen prepares to leave Africa to return home to Denmark, just as British East Africa is becoming Kenya Colony Kenya Colony . She arranges to sell everything that she owns and empties the house of all her luxurious items for a rummage sale rummage sale . In the now empty house, Denys visits her that night, and the two of them enjoy a drink and a dance. He asks her if he may escort her to Mombasa Mombasa in his biplane biplane to begin her journey home. She agrees and he promises to return after a few days. However, Denys never returns, and Karen is told that his plane has crashed and that he has been killed. Her loss now complete, Karen attends his funeral in the Ngong Hills Ngong Hills . With Denys gone, Karen's head servant, Farah, takes her to the station, for the train to Mombasa. \n", " Karen later became an author and a storyteller, writing about her experiences and letters in Africa, though she never returned there. Karen later became an author and a storyteller, writing about her experiences and letters in Africa, though she never returned there. \n", " \n", "http://en.wikipedia.org/wiki/Good_Will_Hunting\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Twenty-year-old Will Hunting (Damon) of South Boston is a self-taught, genius-level intellect with an eidetic memory, though he works simply as a janitor at the Massachusetts Institute of Technology, and spends his free time drinking with his friends Chuckie (Affleck), Billy (Cole Hauser) and Morgan (Casey Affleck). When Professor Gerald Lambeau (Skarsg\u00e5rd) posts a difficult problem taken from algebraic graph theory as a challenge for his graduate students, Will solves the problem anonymously, stunning both the graduate students and Lambeau himself. As a challenge to the unknown genius, Lambeau posts an even more difficult problem and chances upon Will solving it. Fearing he will lose his sole means of (a meager) income, Will flees and skips going into work the next day. That night, Will meets Skylar (Driver), a British orphan about to graduate from Harvard, who plans on attending medical school at Stanford. Twenty-year-old Will Hunting (Damon) of South Boston South Boston is a self-taught, genius-level intellect with an eidetic memory eidetic memory , though he works simply as a janitor at the Massachusetts Institute of Technology Massachusetts Institute of Technology , and spends his free time drinking with his friends Chuckie (Affleck), Billy ( Cole Hauser Cole Hauser ) and Morgan ( Casey Affleck Casey Affleck ). When Professor Gerald Lambeau (Skarsg\u00e5rd) posts a difficult problem taken from algebraic graph theory algebraic graph theory as a challenge for his graduate students, Will solves the problem anonymously, stunning both the graduate students and Lambeau himself. As a challenge to the unknown genius, Lambeau posts an even more difficult problem and chances upon Will solving it. Fearing he will lose his sole means of (a meager) income, Will flees and skips going into work the next day. That night, Will meets Skylar (Driver), a British orphan about to graduate from Harvard Harvard , who plans on attending medical school at Stanford Stanford . \n", " Assaulting both a man who bullied him as a child and a police officer who attempts to break up the fight, Will faces incarceration, but Lambeau arranges for him to forgo jail time if he agrees to study mathematics under Lambeau's supervision while simultaneously seeking psychotherapy. Will tentatively agrees but treats his first few therapists with contempt; his refusal to open up is met with staunch defiance by the bourgeois mentality of the therapists, who each refuse to treat Will further. In desperation, Lambeau calls on Dr. Sean Maguire (Williams), his estranged\u2014and much more grounded\u2014college roommate, who now teaches psychology at Bunker Hill Community College. Unlike the other therapists, Sean actually challenges Will's weak defense mechanisms, and after a few unproductive sessions Will begins to open up. Assaulting both a man who bullied him as a child and a police officer who attempts to break up the fight, Will faces incarceration, but Lambeau arranges for him to forgo jail time if he agrees to study mathematics under Lambeau's supervision while simultaneously seeking psychotherapy psychotherapy . Will tentatively agrees but treats his first few therapists with contempt; his refusal to open up is met with staunch defiance by the bourgeois bourgeois mentality of the therapists, who each refuse to treat Will further. In desperation, Lambeau calls on Dr. Sean Maguire (Williams), his estranged\u2014and much more grounded\u2014college roommate, who now teaches psychology at Bunker Hill Community College Bunker Hill Community College . Unlike the other therapists, Sean actually challenges Will's weak defense mechanisms, and after a few unproductive sessions Will begins to open up. \n", " Will is particularly struck by Sean's story of how he met his wife by giving up his ticket to the historic sixth game of the 1975 World Series after falling in love at first sight. Sean neither regrets his decision, nor does he regret the final years of his marriage when his wife was dying of cancer. This encourages Will to build a relationship with Skylar, though he lies to her about his past and is reluctant to introduce her to his friends or show her his rundown neighborhood. Will also challenges Sean to take an objective look at his own life, since Sean has been unable to move on from his wife's death. Will is particularly struck by Sean's story of how he met his wife by giving up his ticket to the historic sixth game of the 1975 World Series 1975 World Series after falling in love at first sight. Sean neither regrets his decision, nor does he regret the final years of his marriage when his wife was dying of cancer. This encourages Will to build a relationship with Skylar, though he lies to her about his past and is reluctant to introduce her to his friends or show her his rundown neighborhood. Will also challenges Sean to take an objective look at his own life, since Sean has been unable to move on from his wife's death. \n", " Chafing under Lambeau's high expectations, Will makes a mockery of job interviews that Lambeau arranges for him. When Skylar asks Will to move to California with her, he panics and pushes her away, revealing that he is an orphan and that his foster father physically abused him. Skylar tells Will that she loves him, but he denies loving her and then leaves. He next storms out on Lambeau, dismissing the mathematical research he has been doing. Sean points out that Will is so adept at anticipating future failure in his interpersonal relationships that he deliberately sabotages them in order to avoid emotional pain. When Will refuses to give an honest reply about what he wants to do with his life, Sean shows him the door. Will tells Chuckie he wants to be a laborer for the rest of his life; Chuckie responds that it would be an insult to his friends for Will to waste his potential and that his fondest wish is that Will should leave to pursue something greater. Chafing under Lambeau's high expectations, Will makes a mockery of job interviews that Lambeau arranges for him. When Skylar asks Will to move to California with her, he panics and pushes her away, revealing that he is an orphan and that his foster father physically abused him. Skylar tells Will that she loves him, but he denies loving her and then leaves. He next storms out on Lambeau, dismissing the mathematical research he has been doing. Sean points out that Will is so adept at anticipating future failure in his interpersonal relationships that he deliberately sabotages them in order to avoid emotional pain. When Will refuses to give an honest reply about what he wants to do with his life, Sean shows him the door. Will tells Chuckie he wants to be a laborer for the rest of his life; Chuckie responds that it would be an insult to his friends for Will to waste his potential and that his fondest wish is that Will should leave to pursue something greater. \n", " Will walks in on a heated argument between Sean and Lambeau over his future. Sean and Will share that they were both victims of child abuse. Sean helps Will to see that he is a victim of his own inner demons and to accept that it is not his fault. Will decides to accept one of the job offers arranged by Lambeau. Having helped Will overcome his problems, Sean reconciles with Lambeau and decides to take a sabbatical to travel the world. When Will's friends present him with a rebuilt Chevrolet Nova for his twenty-first birthday, he decides to pass on his job offers and drive to California to reunite with Skylar. Sometime later, Chuckie goes to Will's house to pick him up, only to find that he is not there. Sean comes out of his house and finds a letter from Will in his mailbox, which tells him he is going to see Skylar, much to his pleasure. In the final scene, Will drives away into the sunset. Will walks in on a heated argument between Sean and Lambeau over his future. Sean and Will share that they were both victims of child abuse. Sean helps Will to see that he is a victim of his own inner demons and to accept that it is not his fault. Will decides to accept one of the job offers arranged by Lambeau. Having helped Will overcome his problems, Sean reconciles with Lambeau and decides to take a sabbatical to travel the world. When Will's friends present him with a rebuilt Chevrolet Nova Chevrolet Nova for his twenty-first birthday, he decides to pass on his job offers and drive to California to reunite with Skylar. Sometime later, Chuckie goes to Will's house to pick him up, only to find that he is not there. Sean comes out of his house and finds a letter from Will in his mailbox, which tells him he is going to see Skylar, much to his pleasure. In the final scene, Will drives away into the sunset. \n", " \n", "http://en.wikipedia.org/wiki/Terms_of_Endearment\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Aurora Greenway (Shirley MacLaine) and her daughter Emma (Debra Winger) are both searching for deep romantic love. Beginning with Emma's early childhood, Aurora reveals how difficult and caring she can be by nearly climbing into Emma's crib in order to make sure her daughter is breathing\u2014only to be reassured when Emma starts crying (after being woken up). After the death of Aurora's husband and Emma's father Rudyard (A. Brooks), Aurora and Emma develop an extremely close love-hate mother/daughter relationship as Emma grows up. Aurora Greenway ( Shirley MacLaine Shirley MacLaine ) and her daughter Emma ( Debra Winger Debra Winger ) are both searching for deep romantic love. Beginning with Emma's early childhood, Aurora reveals how difficult and caring she can be by nearly climbing into Emma's crib in order to make sure her daughter is breathing\u2014only to be reassured when Emma starts crying (after being woken up). After the death of Aurora's husband and Emma's father Rudyard ( A. Brooks A. Brooks ), Aurora and Emma develop an extremely close love-hate mother/daughter relationship as Emma grows up. \n", " The story follows both women through several years as each seeks a way of finding joy. Emma gets married, immediately upon being graduated from high school in the Houston area, to Flap Horton (Jeff Daniels), of whom Aurora so disapproves that she refuses to attend the wedding. Emma's best friend Patsy Clark (Lisa Hart Caroll) continues on to college, eventually becoming successful and rich in New York City. The story follows both women through several years as each seeks a way of finding joy. Emma gets married, immediately upon being graduated from high school in the Houston Houston area, to Flap Horton ( Jeff Daniels Jeff Daniels ), of whom Aurora so disapproves that she refuses to attend the wedding. Emma's best friend Patsy Clark (Lisa Hart Caroll) continues on to college, eventually becoming successful and rich in New York City New York City . \n", " Emma has two children with Flap, who becomes a college professor in Des Moines, Iowa, separating the family hundreds of miles from Emma's meddlesome mother. She later telephones to ask her mother for money when she is pregnant with her third child. Aurora, not knowing by the telephone call that Emma is already several months into her pregnancy, wants Emma to get an abortion. Emma's once-passionate marriage to Flap becomes strained, thanks mostly to his philandering. She eventually has a secret romantic affair with a married small-town older banker, Sam Burns (John Lithgow). Emma has two children with Flap, who becomes a college professor in Des Moines Des Moines , Iowa Iowa , separating the family hundreds of miles from Emma's meddlesome mother. She later telephones to ask her mother for money when she is pregnant with her third child. Aurora, not knowing by the telephone call that Emma is already several months into her pregnancy, wants Emma to get an abortion. Emma's once-passionate marriage to Flap becomes strained, thanks mostly to his philandering. She eventually has a secret romantic affair with a married small-town older banker, Sam Burns ( John Lithgow John Lithgow ). \n", " At the same time, Aurora remains celibate but cultivates the attention of several gentlemen in the area, some rather bizarre. However, she is attracted to her next-door neighbor of 15 years, the womanizing, alcoholic retired astronaut Garrett Breedlove (Jack Nicholson). Aurora and Garrett eventually go on a lunch date, make love, and develop a tenuous relationship. At the same time, Aurora remains celibate but cultivates the attention of several gentlemen in the area, some rather bizarre. However, she is attracted to her next-door neighbor of 15 years, the womanizing, alcoholic retired astronaut Garrett Breedlove ( Jack Nicholson Jack Nicholson ). Aurora and Garrett eventually go on a lunch date, make love, and develop a tenuous relationship. \n", " Emma returns to her mother's home in Houston after discovering her husband is having an affair with a young grad student named Janice (Kate Charleson). Emma's appearance along with her three children makes Garrett uncomfortable, as he has been single for a long time. Flap telephones and she reluctantly returns home to Iowa, trying reconciliation with him. Unwilling to become a one-woman man, Garrett breaks up with Aurora, making her feel \"humiliated.\" Emma returns to her mother's home in Houston after discovering her husband is having an affair with a young grad student named Janice (Kate Charleson). Emma's appearance along with her three children makes Garrett uncomfortable, as he has been single for a long time. Flap telephones and she reluctantly returns home to Iowa, trying reconciliation with him. Unwilling to become a one-woman man, Garrett breaks up with Aurora, making her feel \"humiliated.\" \n", " Emma ends the relationship with Sam as soon as Flap accepts a new teaching position in Kearney, Nebraska. Although she does not want to, Emma agrees to relocate to further Flap's career. She soon discovers that Janice is attending the same college where Flap now works, realizing that Flap followed her to Nebraska. Emma angrily confronts Janice before taking daughter Melanie to the doctor's office so both can get flu shots. While administering the injection, Emma's doctor notices two large lumps under Emma's armpit. Although Emma is only in her 30s, the doctor orders a biopsy and discovers she has a malignancy. Emma ends the relationship with Sam as soon as Flap accepts a new teaching position in Kearney Kearney , Nebraska Nebraska . Although she does not want to, Emma agrees to relocate to further Flap's career. She soon discovers that Janice is attending the same college where Flap now works, realizing that Flap followed her to Nebraska. Emma angrily confronts Janice before taking daughter Melanie to the doctor's office so both can get flu shots. While administering the injection, Emma's doctor notices two large lumps under Emma's armpit. Although Emma is only in her 30s, the doctor orders a biopsy and discovers she has a malignancy. \n", " To cheer her up, Patsy invites Emma to New York City for her first vacation without her children. However, after arriving, Emma feels out-of-place amongst Patsy's friends and returns home early to begin treatment for her illness. Her doctor breaks the news that the drugs she was taking did not have the desired effect, and that Emma will not survive her illness. Flap and Aurora remain by her bedside in the hospital for weeks. Although devastated and exhausted, Aurora is still very supportive and loving towards Emma. Garrett flies to Lincoln, Nebraska, where he surprises Aurora, who confesses her love for him. He issues his stock reply: \"I love you, too, kid.\" To cheer her up, Patsy invites Emma to New York City for her first vacation without her children. However, after arriving, Emma feels out-of-place amongst Patsy's friends and returns home early to begin treatment for her illness. Her doctor breaks the news that the drugs she was taking did not have the desired effect, and that Emma will not survive her illness. Flap and Aurora remain by her bedside in the hospital for weeks. Although devastated and exhausted, Aurora is still very supportive and loving towards Emma. Garrett flies to Lincoln Lincoln , Nebraska Nebraska , where he surprises Aurora, who confesses her love for him. He issues his stock reply: \"I love you, too, kid.\" \n", " In a discussion in the hospital cafeteria, Aurora tells Flap bluntly that he does not have the energy for a job, chasing women, and managing a family, advising him to let her raise his and Emma's children in Houston. Patsy, who has no children of her own, wants to adopt Melanie, but Flap and Emma do not want their kids to be separated. Emma also doesn't want Janice to raise her children, so Flap, feeling like a failure as both a father and a husband, agrees that having them live with Aurora is best. In a discussion in the hospital cafeteria, Aurora tells Flap bluntly that he does not have the energy for a job, chasing women, and managing a family, advising him to let her raise his and Emma's children in Houston. Patsy, who has no children of her own, wants to adopt Melanie, but Flap and Emma do not want their kids to be separated. Emma also doesn't want Janice to raise her children, so Flap, feeling like a failure as both a father and a husband, agrees that having them live with Aurora is best. \n", " As Emma's time begins to run short, eldest son Tommy (Troy Bishop) shows open resentment toward his mother due to circumstances such as social class, fights between his parents, and Tommy's perception of feeling unloved. Emma reassures her two sons, and, after an altercation with Aurora (she slaps him in the hospital parking lot for criticizing his mother), Tommy weeps in his grandmother's arms. Emma dies later that night. As Emma's time begins to run short, eldest son Tommy (Troy Bishop) shows open resentment toward his mother due to circumstances such as social class, fights between his parents, and Tommy's perception of feeling unloved. Emma reassures her two sons, and, after an altercation with Aurora (she slaps him in the hospital parking lot for criticizing his mother), Tommy weeps in his grandmother's arms. Emma dies later that night. \n", " Following the funeral, Emma's friends and family gather in Aurora's backyard for a memorial service. Garrett shows affection toward each of Emma's children and helps Tommy cope during the wake. The film closes on Aurora, sitting next to Melanie. Following the funeral, Emma's friends and family gather in Aurora's backyard for a memorial service. Garrett shows affection toward each of Emma's children and helps Tommy cope during the wake. The film closes on Aurora, sitting next to Melanie. \n", " \n", "http://en.wikipedia.org/wiki/Tootsie\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Michael Dorsey (Dustin Hoffman) is a respected but perfectionist actor. Nobody in New York wants to hire him anymore because he is difficult to work with. According to his long-suffering agent George Fields (Sydney Pollack), Michael's attention to detail and difficult reputation led a commercial he worked on to run significantly over-schedule, because the idea of a tomato sitting down was \"illogical\" to him. After many months without a job, Michael hears of an opening on the soap opera Southwest General from his friend and acting student Sandy Lester (Teri Garr), who tries out for the role of a hospital administrator Emily Kimberly but does not get it. In desperation, and as a result of his agent telling him that \"no one will hire you\", he dresses as a woman, auditions as \"Dorothy Michaels\" and wins the part. Michael takes the job as a way to raise $8,000 to produce a play, written by his roommate Jeff Slater (Bill Murray), titled Return To Love Canal. Michael plays his character as a feisty, feminist administrator, which surprises the other actors and crew who expected Emily to be (as written) another swooning female in the plot. His character quickly becomes a television sensation. Michael Dorsey ( Dustin Hoffman Dustin Hoffman ) is a respected but perfectionist perfectionist actor. Nobody in New York New York wants to hire him anymore because he is difficult to work with. According to his long-suffering agent George Fields ( Sydney Pollack Sydney Pollack ), Michael's attention to detail and difficult reputation led a commercial he worked on to run significantly over-schedule, because the idea of a tomato sitting down was \"illogical\" to him. After many months without a job, Michael hears of an opening on the soap opera soap opera Southwest General Southwest General from his friend and acting student Sandy Lester ( Teri Garr Teri Garr ), who tries out for the role of a hospital administrator Emily Kimberly but does not get it. In desperation, and as a result of his agent telling him that \"no one will hire you\", he dresses as a woman, auditions as \"Dorothy Michaels\" and wins the part. Michael takes the job as a way to raise $8,000 to produce a play, written by his roommate Jeff Slater ( Bill Murray Bill Murray ), titled Return To Love Canal. Return To Love Canal Love Canal . Michael plays his character as a feisty, feminist administrator, which surprises the other actors and crew who expected Emily to be (as written) another swooning female in the plot. His character quickly becomes a television sensation. \n", " When Sandy catches Michael in her bedroom half undressed (he wanted to try on her clothes in order to get more ideas for Dorothy's outfits), he covers up by professing he wants to have sex with her. They have sex despite his better judgment about her self-esteem issues. Michael believes Sandy is too emotionally fragile to handle the truth about him winning the part, especially after noticing her strong resentment of Dorothy. Their relationship, combined with his deception, complicates his now-busy schedule. Exacerbating matters further, he is strongly attracted to one of his co-stars, lovely, soft-spoken Julie Nichols (Jessica Lange), a single mother in an unhealthy relationship with the show's amoral, sexist director, Ron Carlisle (Dabney Coleman). At a party, when Michael (as himself) approaches Julie with a pick-up line that she had previously told Dorothy she would be receptive towards, she throws a drink in his face. Later, as Dorothy, when he makes tentative advances, Julie\u2014having just ended her relationship with Ron per Dorothy's advice\u2014confesses that she has feelings about Dorothy which confuse her, but is not emotionally ready to be in a romantic relationship with a woman. When Sandy catches Michael in her bedroom half undressed (he wanted to try on her clothes in order to get more ideas for Dorothy's outfits), he covers up by professing he wants to have sex with her. They have sex despite his better judgment about her self-esteem issues. Michael believes Sandy is too emotionally fragile to handle the truth about him winning the part, especially after noticing her strong resentment of Dorothy. Their relationship, combined with his deception, complicates his now-busy schedule. Exacerbating matters further, he is strongly attracted to one of his co-stars, lovely, soft-spoken Julie Nichols ( Jessica Lange Jessica Lange ), a single mother in an unhealthy relationship with the show's amoral, sexist director, Ron Carlisle ( Dabney Coleman Dabney Coleman ). At a party, when Michael (as himself) approaches Julie with a pick-up line that she had previously told Dorothy she would be receptive towards, she throws a drink in his face. Later, as Dorothy, when he makes tentative advances, Julie\u2014having just ended her relationship with Ron per Dorothy's advice\u2014confesses that she has feelings about Dorothy which confuse her, but is not emotionally ready to be in a romantic relationship with a woman. \n", " Meanwhile, Dorothy has her own admirers to contend with: older cast member John Van Horn (George Gaynes) and Julie's widowed father Les (Charles Durning). Les proposes marriage, insisting Michael/Dorothy \"think about it\" before answering; he leaves immediately and returns home to find co-star John, who almost forces himself on Dorothy until Jeff walks in on them. John apologizes for intruding and leaves. The tipping point comes when, due to Dorothy's popularity, the show's producers want to extend her contract for another year. Michael finds a clever way to extricate himself. When the cast is forced to perform the show live, he improvises a grand speech on camera, pulls off his wig and reveals that he is actually the character's twin brother who took her place to avenge her. Sandy, Les, and Jeff, who are all watching at home, react with the same level of shock as the cast and crew of the show, the exception being Jeff, who simply remarks, \"That...is one nutty hospital.\" The revelation allows everybody a more-or-less graceful way out. Julie, however, is so outraged that she slugs him in the stomach off-camera. Some weeks later, Michael is moving forward with producing Jeff's play. He awkwardly makes peace with Les in a bar, and Les shows tentative support for Michael's attraction to Julie. Later, Michael waits for Julie outside the studio. Julie resists talking but finally admits she misses Dorothy. Michael confesses, \"I was a better man with you as a woman than I ever was with a woman as a man.\" At that, she forgives him and they walk off, Julie asking him to lend her a dress. Meanwhile, Dorothy has her own admirers to contend with: older cast member John Van Horn ( George Gaynes George Gaynes ) and Julie's widowed father Les ( Charles Durning Charles Durning ). Les proposes marriage, insisting Michael/Dorothy \"think about it\" before answering; he leaves immediately and returns home to find co-star John, who almost forces himself on Dorothy until Jeff walks in on them. John apologizes for intruding and leaves. The tipping point comes when, due to Dorothy's popularity, the show's producers want to extend her contract for another year. Michael finds a clever way to extricate himself. When the cast is forced to perform the show live, he improvises a grand speech on camera, pulls off his wig and reveals that he is actually the character's twin brother who took her place to avenge her. Sandy, Les, and Jeff, who are all watching at home, react with the same level of shock as the cast and crew of the show, the exception being Jeff, who simply remarks, \"That...is one nutty hospital.\" The revelation allows everybody a more-or-less graceful way out. Julie, however, is so outraged that she slugs him in the stomach off-camera. Some weeks later, Michael is moving forward with producing Jeff's play. He awkwardly makes peace with Les in a bar, and Les shows tentative support for Michael's attraction to Julie. Later, Michael waits for Julie outside the studio. Julie resists talking but finally admits she misses Dorothy. Michael confesses, \"I was a better man with you as a woman than I ever was with a woman as a man.\" At that, she forgives him and they walk off, Julie asking him to lend her a dress. \n", " \n", "http://en.wikipedia.org/wiki/Fargo_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In the winter of 1987, Minneapolis car salesman Jerry Lundegaard (William H. Macy) is desperate for money. With help from Shep Proudfoot (Steve Reevis), an ex-convict and mechanic co-worker, Jerry is introduced to criminals Carl Showalter (Steve Buscemi) and Gaear Grimsrud (Peter Stormare). Jerry travels to Fargo, North Dakota to meet and hire the two men to kidnap his wife, Jean (Kristin Rudr\u00fcd), and ransom her for $80,000 to his wealthy father-in-law and boss, Wade Gustafson (Harve Presnell). In exchange, Jerry will provide Carl and Gaear with a new 1987 Oldsmobile Cutlass Ciera and half of the ransom money. However, Jerry secretly intends to tell Wade that the ransom demand is for $1,000,000 and keep most of the money for himself. In the winter of 1987, Minneapolis Minneapolis car salesman Jerry Lundegaard ( William H. Macy William H. Macy ) is desperate for money. With help from Shep Proudfoot ( Steve Reevis Steve Reevis ), an ex-convict and mechanic co-worker, Jerry is introduced to criminals Carl Showalter ( Steve Buscemi Steve Buscemi ) and Gaear Grimsrud ( Peter Stormare Peter Stormare ). Jerry travels to Fargo, North Dakota Fargo, North Dakota to meet and hire the two men to kidnap his wife, Jean (Kristin Rudr\u00fcd), and ransom her for $80,000 to his wealthy father-in-law and boss, Wade Gustafson ( Harve Presnell Harve Presnell ). In exchange, Jerry will provide Carl and Gaear with a new 1987 Oldsmobile Cutlass Ciera Oldsmobile Cutlass Ciera and half of the ransom money. However, Jerry secretly intends to tell Wade that the ransom demand is for $1,000,000 and keep most of the money for himself. \n", " Meanwhile, Jerry has been trying to convince Wade to lend him money for a real estate deal. As Wade becomes interested in the investment, Jerry tries to call off the kidnapping, but he is too late as Carl and Gaear are already en route to Minneapolis and cannot be reached. As it turns out, Wade intends to buy the property himself anyway and give Jerry only a finder's fee. Meanwhile, Carl and Gaear arrive in Minneapolis and kidnap Jean, but on the way back to their cabin hideout, they are stopped by a state trooper outside Brainerd, Minnesota . When Carl's attempt to bribe the trooper fails and arouses suspicion, Gaear quickly kills the trooper. Moments later, a couple in a passing car witnesses Carl moving the trooper's body off the road and they drive away. Gaear chases after them until they swerve off the road and flip over, enabling Gaear to kill them. Meanwhile, Jerry has been trying to convince Wade to lend him money for a real estate deal. As Wade becomes interested in the investment, Jerry tries to call off the kidnapping, but he is too late as Carl and Gaear are already en route to Minneapolis and cannot be reached. As it turns out, Wade intends to buy the property himself anyway and give Jerry only a finder's fee finder's fee . Meanwhile, Carl and Gaear arrive in Minneapolis and kidnap Jean, but on the way back to their cabin hideout, they are stopped by a state trooper state trooper outside Brainerd, Minnesota Brainerd, Minnesota . When Carl's attempt to bribe the trooper fails and arouses suspicion, Gaear quickly kills the trooper. Moments later, a couple in a passing car witnesses Carl moving the trooper's body off the road and they drive away. Gaear chases after them until they swerve off the road and flip over, enabling Gaear to kill them. \n", " The following morning, Marge Gunderson (Frances McDormand), a local police chief who is seven months pregnant, investigates the homicides. She deduces the chain of events and follows the leads that arise, including interviewing two prostitutes who had serviced the criminals at a truck stop two nights before. After being informed that the criminals telephoned Shep from the truck stop, she drives to Minneapolis, but acquires no information in interviews with both Shep and Jerry. While visiting Minneapolis, Marge reconnects with an old classmate, Mike Yanagita (Steve Park), who unsuccessfully tries to seduce her during dinner and then tells her that he has been lonely ever since his wife, Linda Cooksey, also from their high school, died from leukemia. The following morning, Marge Gunderson ( Frances McDormand Frances McDormand ), a local police chief who is seven months pregnant, investigates the homicides. She deduces the chain of events and follows the leads that arise, including interviewing two prostitutes who had serviced the criminals at a truck stop two nights before. After being informed that the criminals telephoned Shep from the truck stop, she drives to Minneapolis, but acquires no information in interviews with both Shep and Jerry. While visiting Minneapolis, Marge reconnects with an old classmate, Mike Yanagita ( Steve Park Steve Park ), who unsuccessfully tries to seduce her during dinner and then tells her that he has been lonely ever since his wife, Linda Cooksey, also from their high school, died from leukemia leukemia . \n", " Jerry contacts Wade and Stan Grossman (Larry Brandenburg), Wade's accountant, claiming that the kidnappers insist on dealing only with Jerry. Wade and Stan accept this arrangement at first, but Wade later changes his mind and decides to deal with the kidnappers himself. Also, Carl angrily demands that Jerry give him and Gaear the entire $80,000 ransom as extra payment for the murders. Later, Shep tracks down Carl and beats him for potentially getting him in trouble with Marge. Furiously, Carl phones Jerry and demands he make the drop off that night at a parking garage. However, Wade, who was eavesdropping on their conversation, storms out in Jerry's place with the ransom in his briefcase. When he arrives, Wade refuses to hand over the briefcase to Carl until Jean is returned. Angered by Wade's demands and unexpected appearance, Carl kills Wade, but not before Wade shoots Carl in the cheek. Jerry arrives at the scene's aftermath and puts Wade's body in his trunk. The next day, Carl discovers that the briefcase contains $1,000,000. He removes $80,000 to split with Gaear and buries the rest in the snow alongside the highway, marking the spot with an ice scraper. Carl then returns to the hideout and discovers that Gaear has killed Jean, claiming that she was too noisy. Following a dispute over the Ciera, Gaear murders Carl with an axe. Jerry contacts Wade and Stan Grossman ( Larry Brandenburg Larry Brandenburg ), Wade's accountant, claiming that the kidnappers insist on dealing only with Jerry. Wade and Stan accept this arrangement at first, but Wade later changes his mind and decides to deal with the kidnappers himself. Also, Carl angrily demands that Jerry give him and Gaear the entire $80,000 ransom as extra payment for the murders. Later, Shep tracks down Carl and beats him for potentially getting him in trouble with Marge. Furiously, Carl phones Jerry and demands he make the drop off that night at a parking garage. However, Wade, who was eavesdropping on their conversation, storms out in Jerry's place with the ransom in his briefcase. When he arrives, Wade refuses to hand over the briefcase to Carl until Jean is returned. Angered by Wade's demands and unexpected appearance, Carl kills Wade, but not before Wade shoots Carl in the cheek. Jerry arrives at the scene's aftermath and puts Wade's body in his trunk. The next day, Carl discovers that the briefcase contains $1,000,000. He removes $80,000 to split with Gaear and buries the rest in the snow alongside the highway, marking the spot with an ice scraper. Carl then returns to the hideout and discovers that Gaear has killed Jean, claiming that she was too noisy. Following a dispute over the Ciera, Gaear murders Carl with an axe. \n", " Before leaving Minneapolis, Marge learns from a friend that Mike had lied to her about his marriage and about Linda's death. She finds out that Mike has psychiatric problems and was actually stalking Linda. This revelation causes Marge to re-question Jerry, now believing that he too had lied to her about the missing car and its possible connection to the Brainerd homicides. Jerry becomes nervously uncooperative when Marge asks to speak with Wade and angrily storms out of his office, claiming to go check the lot for the missing car. Instead, he flees the dealership, which prompts Marge to contact the state police. Before leaving Minneapolis, Marge learns from a friend that Mike had lied to her about his marriage and about Linda's death. She finds out that Mike has psychiatric problems and was actually stalking Linda. This revelation causes Marge to re-question Jerry, now believing that he too had lied to her about the missing car and its possible connection to the Brainerd homicides. Jerry becomes nervously uncooperative when Marge asks to speak with Wade and angrily storms out of his office, claiming to go check the lot for the missing car. Instead, he flees the dealership, which prompts Marge to contact the state police. \n", " Later, after following up on a tip from a local bartender, who was suspicious over a drunken Carl's rantings a few days prior, Marge drives to Moose Lake and finds the stolen car. She catches Gaear feeding the last of Carl's body into a wood chipper. He attempts to run away across the frozen lake, but Marge shoots him in the leg and arrests him. Later, Jerry's location is traced to a motel outside Bismarck, North Dakota, where he is subdued and arrested while attempting to escape through a bathroom window. Later, after following up on a tip from a local bartender, who was suspicious over a drunken Carl's rantings a few days prior, Marge drives to Moose Lake Moose Lake and finds the stolen car. She catches Gaear feeding the last of Carl's body into a wood chipper wood chipper . He attempts to run away across the frozen lake, but Marge shoots him in the leg and arrests him. Later, Jerry's location is traced to a motel outside Bismarck, North Dakota Bismarck, North Dakota , where he is subdued and arrested while attempting to escape through a bathroom window. \n", " That night, Marge and her husband, Norm (John Carroll Lynch), sit in bed together discussing Norm's mallard artwork, which has been selected as the design for a postage stamp. Norm is disappointed that it will appear on the 3\u00a2 stamp instead of the more prestigious 29\u00a2 stamp, but Marge is very proud of his achievement. The two hold each other close while expressing excitement for the birth of their child in two months. That night, Marge and her husband, Norm ( John Carroll Lynch John Carroll Lynch ), sit in bed together discussing Norm's mallard mallard artwork, which has been selected as the design for a postage stamp. Norm is disappointed that it will appear on the 3\u00a2 stamp instead of the more prestigious 29\u00a2 stamp, but Marge is very proud of his achievement. The two hold each other close while expressing excitement for the birth of their child in two months. \n", " \n", "http://en.wikipedia.org/wiki/Giant_(1956_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Jordan \"Bick\" Benedict (Rock Hudson), head of a wealthy Texas ranching family, travels to Maryland to buy War Winds, a horse he is planning to put out to stud. There he meets and courts socialite Leslie Lynnton (Elizabeth Taylor), who ends a budding relationship with Sir David Karfrey (Rod Taylor) and marries Bick. Jordan \"Bick\" Benedict ( Rock Hudson Rock Hudson ), head of a wealthy Texas Texas ranching ranching family, travels to Maryland Maryland to buy War Winds, a horse he is planning to put out to stud. There he meets and courts socialite socialite Leslie Lynnton ( Elizabeth Taylor Elizabeth Taylor ), who ends a budding relationship with Sir David Karfrey ( Rod Taylor Rod Taylor ) and marries Bick. \n", " They return to Texas to start their life together on the family ranch, Reata, where Bick's sister Luz Benedict (Mercedes McCambridge) runs the household. Luz resents Leslie's presence and attempts to intimidate her. Jett Rink (James Dean) works for Luz and hopes to find his fortune by leaving Texas; he is also secretly in love with Leslie. They return to Texas to start their life together on the family ranch, Reata, where Bick's sister Luz Benedict ( Mercedes McCambridge Mercedes McCambridge ) runs the household. Luz resents Leslie's presence and attempts to intimidate her. Jett Rink ( James Dean James Dean ) works for Luz and hopes to find his fortune by leaving Texas; he is also secretly in love with Leslie. \n", " As Leslie spends time becoming acclimated to the harsh Texas heat, once nearly passing out, she discovers on a car ride with Jett that the Mexican workers' living conditions in the local town are terrible. After tending to Angel Obregon II, one of the Mexican children, she pressures Bick to take steps to improve their condition. This starts a theme concerning Texans' attitudes towards Mexicans in general. As Leslie spends time becoming acclimated to the harsh Texas heat, once nearly passing out, she discovers on a car ride with Jett that the Mexican workers' living conditions in the local town are terrible. After tending to Angel Obregon II, one of the Mexican children, she pressures Bick to take steps to improve their condition. This starts a theme concerning Texans' attitudes towards Mexicans in general. \n", " When riding Leslie's beloved horse, War Winds, Luz expresses her hostility for Leslie by cruelly digging in her spurs. Luz dies after War Winds bucks her off. In her will, Jett is bequeathed land on the Benedict ranch. Bick tries to buy back the land, but Jett refuses to sell. Jett makes the land his home and names it Little Reata. Leslie and Bick have twins, Jordan \"Jordy\" Benedict III (Dennis Hopper) and Judy Benedict (Fran Bennett), and later have a daughter they name Luz Benedict II (Carroll Baker). When riding Leslie's beloved horse, War Winds, Luz expresses her hostility for Leslie by cruelly digging in her spurs. Luz dies after War Winds bucks her off. In her will, Jett is bequeathed land on the Benedict ranch. Bick tries to buy back the land, but Jett refuses to sell. Jett makes the land his home and names it Little Reata. Leslie and Bick have twins, Jordan \"Jordy\" Benedict III (Dennis Hopper) and Judy Benedict (Fran Bennett), and later have a daughter they name Luz Benedict II (Carroll Baker). \n", " After spurning the Benedict family's fair offer to buy the land, Jett discovers traces of oil in a footprint of Leslie's. He drills in the same spot and hits a gusher. Drenched in oil, he drives to the Benedict front yard covered in oil and proclaims to the family and their guests that he will be richer than the Benedicts. Jett next acts inappropriately towards Leslie, and this leads to a brief fistfight between him and Bick before he quickly drives off. In the years preceding World War II, Jett's oil drilling company continues to prosper. Determined to continue as a cattle rancher like his forefathers, Bick rejects several offers to drill for oil on Reata. After spurning the Benedict family's fair offer to buy the land, Jett discovers traces of oil in a footprint of Leslie's. He drills in the same spot and hits a gusher gusher . Drenched in oil, he drives to the Benedict front yard covered in oil and proclaims to the family and their guests that he will be richer than the Benedicts. Jett next acts inappropriately towards Leslie, and this leads to a brief fistfight between him and Bick before he quickly drives off. In the years preceding World War II World War II , Jett's oil drilling company continues to prosper. Determined to continue as a cattle rancher like his forefathers, Bick rejects several offers to drill for oil on Reata. \n", " Tensions in Bick's and Leslie's household revolve around their children. Bick insists that Jordy must succeed him and run the ranch, as his father and grandfather did before him \u2013 but Jordy wants to become a doctor. Leslie wants Judy to attend finishing school in Switzerland, but Judy loves the ranch and wants to study animal husbandry at Texas Tech. Both children succeed in pursuing their own vocations, each asking one parent to convince the other to let them have their way. Bick then tries to interest his son-in-law, Judy's husband, to work on the ranch after he returns from the war but he refuses. Jett arrives and persuades Bick to allow oil production on his land, using the excuse that this will help the war effort. Realizing that his children will not take over the ranch when he retires, Bick agrees. Both Bick and Jett show evidence of a drinking problem. Luz II, now in her teens, starts flirting with Jett. Once oil production starts on the ranch, the wealthy Benedict family becomes even wealthier and more powerful, as evidenced by the installation of a new swimming pool next to the house which is seen attended by a senator. Now a young man, Angel (Sal Mineo) enlists in the United States Military but gets killed in WWII, and his body is shipped home for burial. Tensions in Bick's and Leslie's household revolve around their children. Bick insists that Jordy must succeed him and run the ranch, as his father and grandfather did before him \u2013 but Jordy wants to become a doctor. Leslie wants Judy to attend finishing school finishing school in Switzerland, but Judy loves the ranch and wants to study animal husbandry animal husbandry at Texas Tech Texas Tech . Both children succeed in pursuing their own vocations, each asking one parent to convince the other to let them have their way. Bick then tries to interest his son-in-law, Judy's husband, to work on the ranch after he returns from the war but he refuses. Jett arrives and persuades Bick to allow oil production on his land, using the excuse that this will help the war effort. Realizing that his children will not take over the ranch when he retires, Bick agrees. Both Bick and Jett show evidence of a drinking problem. Luz II, now in her teens, starts flirting with Jett. Once oil production starts on the ranch, the wealthy Benedict family becomes even wealthier and more powerful, as evidenced by the installation of a new swimming pool next to the house which is seen attended by a senator. Now a young man, Angel ( Sal Mineo Sal Mineo ) enlists in the United States Military but gets killed in WWII WWII , and his body is shipped home for burial. \n", " After the war, the Benedict-Rink rivalry continues, coming to a head when the Benedicts discover that Luz II and the much older Jett have been dating. At a huge party given by Jett in his own honor at Jett's hotel, Jordy's wife of Mexican descent, Juana (Elsa C\u00e1rdenas), is racially insulted by hotel staff. An irate Jordy tries to start a fight with Jett. Jett's goons hold Jordy, Jett punches him repeatedly and then has him escorted out. Fed up, Bick challenges Jett to a fight. Drunk and almost incoherent, Jett leads the way to a wine storage room. Seeing that Jett is in no state to defend himself, Bick lowers his fists, says \"You ain't even worth hitting. You're all through.\" Bick topples Jett's wine cellar shelves creating a very loud crash heard by the entire assembly. The Benedict family leaves the party and then, Jett, staggeringly drunk, takes his seat of honor then passes out on the table. All the guests leave. Later, Luz II sees Jett recovering from his drunken stupor, talking to an empty room, and disclosing that he really wanted her mother, implying strongly that his interest in Luz II is really a vicarious interest for Leslie. After the war, the Benedict-Rink rivalry continues, coming to a head when the Benedicts discover that Luz II and the much older Jett have been dating. At a huge party given by Jett in his own honor at Jett's hotel, Jordy's wife of Mexican descent, Juana ( Elsa C\u00e1rdenas Elsa C\u00e1rdenas ), is racially insulted by hotel staff. An irate Jordy tries to start a fight with Jett. Jett's goons hold Jordy, Jett punches him repeatedly and then has him escorted out. Fed up, Bick challenges Jett to a fight. Drunk and almost incoherent, Jett leads the way to a wine storage room. Seeing that Jett is in no state to defend himself, Bick lowers his fists, says \"You ain't even worth hitting. You're all through.\" Bick topples Jett's wine cellar shelves creating a very loud crash heard by the entire assembly. The Benedict family leaves the party and then, Jett, staggeringly drunk, takes his seat of honor then passes out on the table. All the guests leave. Later, Luz II sees Jett recovering from his drunken stupor, talking to an empty room, and disclosing that he really wanted her mother, implying strongly that his interest in Luz II is really a vicarious interest for Leslie. \n", " The next day, the Benedicts are driving down a back road and stop at a diner. The racist owner, Sarge (Mickey Simpson), insults Juana and her and Jordy's son Jordan IV. When the owner goes on to eject an old Mexican man and his family from the diner, Bick tells Sarge to leave them alone. This leads to a fight that Bick ends up losing, but his family members are proud of him for standing up to the burly owner. The next day, the Benedicts are driving down a back road and stop at a diner. The racist owner, Sarge ( Mickey Simpson Mickey Simpson ), insults Juana and her and Jordy's son Jordan IV. When the owner goes on to eject an old Mexican man and his family from the diner, Bick tells Sarge to leave them alone. This leads to a fight that Bick ends up losing, but his family members are proud of him for standing up to the burly owner. \n", " Later, back at the ranch, Bick and Leslie watch their two grandchildren, one multiracial (Jordy and Juana's son), and reflect on their life. Leslie tells Bick that she considered him to be her hero for the first time in her life after the fight in the diner, something he always tried but failed to be. Reflecting on the Benedict family's legacy, Bick views it as a failure because their lives didn't turn out the way he planned, but Leslie considers their version of the family to be a success. Later, back at the ranch, Bick and Leslie watch their two grandchildren, one multiracial (Jordy and Juana's son), and reflect on their life. Leslie tells Bick that she considered him to be her hero for the first time in her life after the fight in the diner, something he always tried but failed to be. Reflecting on the Benedict family's legacy, Bick views it as a failure because their lives didn't turn out the way he planned, but Leslie considers their version of the family to be a success. \n", " \n", "http://en.wikipedia.org/wiki/The_Grapes_of_Wrath_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The film opens with Tom Joad (Henry Fonda), released from prison and hitchhiking his way back to his parents' family farm in Oklahoma. Tom finds an itinerant ex-preacher named Jim Casy (John Carradine) sitting under a tree by the side of the road. Casy was the preacher who baptized Tom, but now Casy has \"lost the spirit\" and his faith (presaging his imminent conversion to communism). Casy goes with Tom to the Joad property only to find it deserted. There, they meet Muley Graves (John Qualen) who is hiding out. In a flashback, he describes how farmers all over the area were forced from their farms by the deed holders of the land. A local boy (Irving Bacon), hired for the purpose, is shown knocking down Muley's house with a Caterpillar tractor. Following this, Tom and Casy move on to find the Joad family at Tom's Uncle John's place. His family is happy to see Tom and explain they have made plans to head for California in search of employment, as their farm has been foreclosed on by the bank. The large Joad family of twelve leaves at daybreak, along with Casy who decides to accompany them. They pack everything into a dilapidated 1926 Hudson \"Super Six\" sedan adapted to serve as a truck in order to make the long journey to the promised land of California. The film opens with Tom Joad ( Henry Fonda Henry Fonda ), released from prison prison and hitchhiking hitchhiking his way back to his parents' family farm in Oklahoma Oklahoma . Tom finds an itinerant ex- preacher preacher named Jim Casy ( John Carradine John Carradine ) sitting under a tree by the side of the road. Casy was the preacher who baptized baptized Tom, but now Casy has \"lost the spirit\" and his faith (presaging his imminent conversion to communism communism ). Casy goes with Tom to the Joad property only to find it deserted. There, they meet Muley Graves ( John Qualen John Qualen ) who is hiding out. In a flashback flashback , he describes how farmers all over the area were forced from their farms by the deed holders of the land. A local boy ( Irving Bacon Irving Bacon ), hired for the purpose, is shown knocking down Muley's house with a Caterpillar Caterpillar tractor tractor . Following this, Tom and Casy move on to find the Joad family at Tom's Uncle John's place. His family is happy to see Tom and explain they have made plans to head for California in search of employment, as their farm has been foreclosed on by the bank. The large Joad family of twelve leaves at daybreak, along with Casy who decides to accompany them. They pack everything into a dilapidated 1926 Hudson Hudson \"Super Six\" sedan sedan adapted to serve as a truck truck in order to make the long journey to the promised land of California. \n", " \n", "\n", "\n", "\n", "To reach California the Joads travel U.S. Highway 66.\n", "\n", " \n", " \n", "\n", "\n", "To reach California the Joads travel U.S. Highway 66.\n", " \n", " \n", "\n", "To reach California the Joads travel U.S. Highway 66. \n", " \n", "To reach California the Joads travel U.S. Highway 66. \n", " \n", " \n", " The trip along Highway 66 is arduous, and it soon takes a toll on the Joad family. The elderly Grandpa (Charley Grapewin) dies along the way. Tom writes the circumstances surrounding the death on a page from the family Bible and places it on the body before they bury it so that if his remains were found, his death would not be investigated as a possible homicide. They park in a camp and meet a man, a migrant returning from California, who laughs at Pa's optimism about conditions in California. He speaks bitterly about his experiences in the West. The trip along Highway 66 Highway 66 is arduous, and it soon takes a toll on the Joad family. The elderly Grandpa ( Charley Grapewin Charley Grapewin ) dies along the way. Tom writes the circumstances surrounding the death on a page from the family Bible family Bible and places it on the body before they bury it so that if his remains were found, his death would not be investigated as a possible homicide. They park in a camp and meet a man, a migrant returning from California, who laughs at Pa's optimism about conditions in California. He speaks bitterly about his experiences in the West. \n", " The family arrives at the first transient migrant campground for workers and finds the camp is crowded with other starving, jobless and desperate travelers. Their truck slowly makes its way through the dirt road between the shanty houses and around the camp's hungry-faced inhabitants. Tom says, \"Sure don't look none too prosperous.\" The family arrives at the first transient migrant campground for workers and finds the camp is crowded with other starving, jobless and desperate travelers. Their truck slowly makes its way through the dirt road between the shanty houses and around the camp's hungry-faced inhabitants. Tom says, \"Sure don't look none too prosperous.\" \n", " After some trouble with a so-called \"agitator\", the Joads leave the camp in a hurry. The Joads make their way to another migrant camp, the Keene Ranch. After doing some work in the fields, they discover the high food prices in the company store for meat and other products. The store is the only one in the area, by a long shot. Later they find a group of migrant workers are striking, and Tom wants to find out all about it. He goes to a secret meeting in the dark woods. When the meeting is discovered, Casy is killed by one of the camp guards. As Tom tries to defend Casy from the attack, he inadvertently kills the guard. After some trouble with a so-called \"agitator\", the Joads leave the camp in a hurry. The Joads make their way to another migrant camp, the Keene Ranch. After doing some work in the fields, they discover the high food prices in the company store for meat and other products. The store is the only one in the area, by a long shot. Later they find a group of migrant workers are striking, and Tom wants to find out all about it. He goes to a secret meeting in the dark woods. When the meeting is discovered, Casy is killed by one of the camp guards. As Tom tries to defend Casy from the attack, he inadvertently kills the guard. \n", " Tom suffers a serious wound on his cheek, and the camp guards realize it will not be difficult to identify him. That evening the family hides Tom under the mattresses of the truck just as guards arrive to question them; they are searching for the man who killed the guard. Tom avoids being spotted and the family leaves the Keene Ranch without further incident. After driving for a while, they have to stop at the top of a hill when the engine overheats due to a broken fan belt; they have little gas, but decide to try coasting down the hill to some lights. The lights are from a third type of camp: Farmworkers' Wheat Patch Camp (Weedpatch in the book), a clean camp run by the Department of Agriculture, complete with indoor toilets and showers, which the Joad children had never seen before. Tom suffers a serious wound on his cheek, and the camp guards realize it will not be difficult to identify him. That evening the family hides Tom under the mattresses of the truck just as guards arrive to question them; they are searching for the man who killed the guard. Tom avoids being spotted and the family leaves the Keene Ranch without further incident. After driving for a while, they have to stop at the top of a hill when the engine overheats due to a broken fan belt; they have little gas, but decide to try coasting down the hill to some lights. The lights are from a third type of camp: Farmworkers' Wheat Patch Camp (Weedpatch in the book), a clean camp run by the Department of Agriculture Department of Agriculture , complete with indoor toilets and showers, which the Joad children had never seen before. \n", " Tom is moved to work for change by what he has witnessed in the various camps. He tells his family that he plans to carry on Casy's mission in the world by fighting for social reform. He leaves to seek a new world and to join the movement committed to social justice. Tom is moved to work for change by what he has witnessed in the various camps. He tells his family that he plans to carry on Casy's mission in the world by fighting for social reform. He leaves to seek a new world and to join the movement committed to social justice social justice . \n", " Tom Joad says: Tom Joad says: \n", " \n", "I'll be all around in the dark. I'll be everywhere. Wherever you can look, wherever there's a fight, so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there. I'll be in the way guys yell when they're mad. I'll be in the way kids laugh when they're hungry and they know supper's ready, and when the people are eatin' the stuff they raise and livin' in the houses they build, I'll be there, too.\n", " \n", " I'll be all around in the dark. I'll be everywhere. Wherever you can look, wherever there's a fight, so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there. I'll be in the way guys yell when they're mad. I'll be in the way kids laugh when they're hungry and they know supper's ready, and when the people are eatin' the stuff they raise and livin' in the houses they build, I'll be there, too. I'll be all around in the dark. I'll be everywhere. Wherever you can look, wherever there's a fight, so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there. I'll be in the way guys yell when they're mad. I'll be in the way kids laugh when they're hungry and they know supper's ready, and when the people are eatin' the stuff they raise and livin' in the houses they build, I'll be there, too. \n", " \n", " As the family moves on again, they discuss the fear and difficulties they have had. Ma Joad concludes the film, saying: As the family moves on again, they discuss the fear and difficulties they have had. Ma Joad concludes the film, saying: \n", " \n", "I ain't never gonna be scared no more. I was, though. For a while it looked as though we was beat. Good and beat. Looked like we didn't have nobody in the whole wide world but enemies. Like nobody was friendly no more. Made me feel kinda bad and scared too, like we was lost and nobody cared.... Rich fellas come up and they die, and their kids ain't no good and they die out, but we keep a-coming. We're the people that live. They can't wipe us out, they can't lick us. We'll go on forever, Pa, cos we're the people.\n", " \n", " I ain't never gonna be scared no more. I was, though. For a while it looked as though we was beat. Good and beat. Looked like we didn't have nobody in the whole wide world but enemies. Like nobody was friendly no more. Made me feel kinda bad and scared too, like we was lost and nobody cared.... Rich fellas come up and they die, and their kids ain't no good and they die out, but we keep a-coming. We're the people that live. They can't wipe us out, they can't lick us. We'll go on forever, Pa, cos we're the people. I ain't never gonna be scared no more. I was, though. For a while it looked as though we was beat. Good and beat. Looked like we didn't have nobody in the whole wide world but enemies. Like nobody was friendly no more. Made me feel kinda bad and scared too, like we was lost and nobody cared.... Rich fellas come up and they die, and their kids ain't no good and they die out, but we keep a-coming. We're the people that live. They can't wipe us out, they can't lick us. We'll go on forever, Pa, cos we're the people. \n", " \n", " \n", "http://en.wikipedia.org/wiki/Shane_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "Alan Ladd and Jean Arthur\n", "\n", " \n", " \n", "\n", "\n", "Alan Ladd and Jean Arthur\n", " \n", " \n", "\n", "Alan Ladd and Jean Arthur \n", " \n", "Alan Ladd and Jean Arthur \n", " \n", " \n", " Shane (Alan Ladd), a drifter wearing buckskin and a six shooter, rides into an isolated valley in the sparsely settled state of Wyoming some time after enactment of the Homestead Act of 1862. A skilled gunslinger with a mysterious past, Shane is invited to dinner by homesteader Joe Starrett (Van Heflin) and his wife, Marian (Jean Arthur), and learns of an ongoing conflict between the valley's homesteaders and the ruthless cattle baron Rufus Ryker (Emile Meyer), who is trying to drive the ranchers out of the valley and seize their land. Starrett offers Shane a job as a farmhand, and he accepts. Shane ( Alan Ladd Alan Ladd ), a drifter wearing buckskin buckskin and a six shooter six shooter , rides into an isolated valley in the sparsely settled state of Wyoming Wyoming some time after enactment of the Homestead Act Homestead Act of 1862. A skilled gunslinger gunslinger with a mysterious past, Shane is invited to dinner by homesteader homesteader Joe Starrett ( Van Heflin Van Heflin ) and his wife, Marian ( Jean Arthur Jean Arthur ), and learns of an ongoing conflict between the valley's homesteaders and the ruthless cattle baron Rufus Ryker ( Emile Meyer Emile Meyer ), who is trying to drive the ranchers out of the valley and seize their land. Starrett offers Shane a job as a farmhand farmhand , and he accepts. \n", " Shane rides into town with Starrett and other homesteaders to pick up supplies at the general store. In the saloon adjacent to the store, where Ryker's men are drinking, Shane orders a soda pop. Chris Calloway (Ben Johnson), one of Ryker's men, throws a shot of whiskey on Shane's shirt. \"Smell like a man!\" he taunts; but Shane, cautioned by Starrett to avoid trouble, doesn't rise to the bait. At their next encounter Calloway continues to incite Shane. This time, Shane orders two shots of whiskey, pours one on Calloway's shirt and throws the other in his face, then knocks him to the ground. A brawl ensues; Ryker's men gang up on Shane but he prevails, with Starrett's help. Ryker declares that the next time Shane or Starrett ride into town, \"the air will be filled with gunsmoke.\" Shane rides into town with Starrett and other homesteaders to pick up supplies at the general store. In the saloon adjacent to the store, where Ryker's men are drinking, Shane orders a soda pop. Chris Calloway ( Ben Johnson Ben Johnson ), one of Ryker's men, throws a shot of whiskey on Shane's shirt. \"Smell like a man!\" he taunts; but Shane, cautioned by Starrett to avoid trouble, doesn't rise to the bait. At their next encounter Calloway continues to incite Shane. This time, Shane orders two shots of whiskey, pours one on Calloway's shirt and throws the other in his face, then knocks him to the ground. A brawl ensues; Ryker's men gang up on Shane but he prevails, with Starrett's help. Ryker declares that the next time Shane or Starrett ride into town, \"the air will be filled with gunsmoke.\" \n", " Starrett's son Joey (Brandon deWilde) is drawn to Shane and his gun, and asks Shane to teach him how to shoot. Shane shows him how to wear a holster and demonstrates his shooting skills on a target Joey picks out; but Marian interrupts the lesson. Guns, she says, are not going to be a part of her son's life. There is an obvious, mysterious attraction between Shane and Marian. Shane counters that a gun is a tool, no better nor worse than an axe, shovel, or any other tool. A gun, he says, is as good or as bad as the man using it. Marian retorts that everyone would be better off if there weren't any guns, including Shane's, in the valley. Starrett's son Joey ( Brandon deWilde Brandon deWilde ) is drawn to Shane and his gun, and asks Shane to teach him how to shoot. Shane shows him how to wear a holster and demonstrates his shooting skills on a target Joey picks out; but Marian interrupts the lesson. Guns, she says, are not going to be a part of her son's life. There is an obvious, mysterious attraction between Shane and Marian. Shane counters that a gun is a tool, no better nor worse than an axe, shovel, or any other tool. A gun, he says, is as good or as bad as the man using it. Marian retorts that everyone would be better off if there weren't any guns, including Shane's, in the valley. \n", " As tensions mount, Ryker hires Jack Wilson (Jack Palance), an unscrupulous, psychopathic gunfighter. Frank \"Stonewall\" Torrey (Elisha Cook, Jr.), a hot-tempered ex-Confederate Alabama homesteader, is his first victim. Stonewall Jackson, Robert E. Lee, and \"all the rest of them Rebs\" are trash, Wilson says. Infuriated, Torrey calls Wilson a \"low-down, lying Yankee\". \"Prove it,\" Wilson replies \u2014 and when the inexperienced farmer tries to draw his gun, shoots him dead. As tensions mount, Ryker hires Jack Wilson ( Jack Palance Jack Palance ), an unscrupulous, psychopathic psychopathic gunfighter. Frank \"Stonewall\" Torrey ( Elisha Cook, Jr. Elisha Cook, Jr. ), a hot-tempered ex-Confederate Alabama Alabama homesteader, is his first victim. Stonewall Jackson Stonewall Jackson , Robert E. Lee Robert E. Lee , and \"all the rest of them Rebs\" are trash, Wilson says. Infuriated, Torrey calls Wilson a \"low-down, lying Yankee\". \"Prove it,\" Wilson replies \u2014 and when the inexperienced farmer tries to draw his gun, shoots him dead. \n", " Fear spreads through the valley. At Torrey's funeral many ranchers talk of leaving; but after they unite to fight a fire set by Ryker's men, they find new determination, and resolve to continue the fight against Ryker's evil ambitions. Fear spreads through the valley. At Torrey's funeral many ranchers talk of leaving; but after they unite to fight a fire set by Ryker's men, they find new determination, and resolve to continue the fight against Ryker's evil ambitions. \n", " Ryker invites Starrett to a meeting at the saloon to negotiate a settlement \u2014 and then orders Wilson to kill him when he arrives. Calloway, unable to tolerate Ryker's treachery any longer, warns Shane of the double-cross. Starrett says he will shoot it out with Wilson if he has to, and asks Shane to look after Marian and Joey if he dies. Shane says he must go instead, because Starrett is no match for Wilson. Starrett is adamant, and Shane is forced to knock him unconscious, to Joey's dismay. Shane departs for the showdown, despite Marian's tearful pleas. Is he doing this for her, she asks? Yes, replies Shane; and for Joey, and for all the decent people who want a chance to live in peace in the valley. Ryker invites Starrett to a meeting at the saloon to negotiate a settlement \u2014 and then orders Wilson to kill him when he arrives. Calloway, unable to tolerate Ryker's treachery any longer, warns Shane of the double-cross. Starrett says he will shoot it out with Wilson if he has to, and asks Shane to look after Marian and Joey if he dies. Shane says he must go instead, because Starrett is no match for Wilson. Starrett is adamant, and Shane is forced to knock him unconscious, to Joey's dismay. Shane departs for the showdown, despite Marian's tearful pleas. Is he doing this for her, she asks? Yes, replies Shane; and for Joey, and for all the decent people who want a chance to live in peace in the valley. \n", " Shane enters the saloon. He and Ryker are both relics of the Old West, he says, but Ryker hasn't realized it yet. Then he turns to Wilson; \"I hear that you're a low-down, Yankee liar,\" he says. Wilson grins, and once again replies, \"Prove it.\" Shane kills Wilson with two shots, then kills Ryker as he draws a hidden gun. Ryker's brother Morgan aims a rifle at Shane from a balcony overhead; but Joey, who has followed Shane into town, shouts a warning, and Shane shoots Morgan Ryker as well. Shane enters the saloon. He and Ryker are both relics of the Old West Old West , he says, but Ryker hasn't realized it yet. Then he turns to Wilson; \"I hear that you're a low-down, Yankee liar,\" he says. Wilson grins, and once again replies, \"Prove it.\" Shane kills Wilson with two shots, then kills Ryker as he draws a hidden gun. Ryker's brother Morgan aims a rifle at Shane from a balcony overhead; but Joey, who has followed Shane into town, shouts a warning, and Shane shoots Morgan Ryker as well. \n", " The battle is over, the settlers have won, and Shane tells Joey that he must move on. \"Now you run on home to your mother,\" he says, \"and tell her ... tell her everything's alright. And there aren't any more guns in the valley.\" As Joey reaches out to Shane, blood drips onto his hands; Shane's left arm hangs limply at his side as he mounts his horse. He rides out of town, past the grave markers on Cemetery Hill and toward the mountains, his body slumped forward in the saddle, ignoring Joey's desperate cries of \"Shane! Come back!\" The battle is over, the settlers have won, and Shane tells Joey that he must move on. \"Now you run on home to your mother,\" he says, \"and tell her ... tell her everything's alright. And there aren't any more guns in the valley.\" As Joey reaches out to Shane, blood drips onto his hands; Shane's left arm hangs limply at his side as he mounts his horse. He rides out of town, past the grave markers on Cemetery Hill and toward the mountains, his body slumped forward in the saddle, ignoring Joey's desperate cries of \"Shane! Come back!\" \n", " \n", "http://en.wikipedia.org/wiki/The_Green_Mile_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In a Louisiana nursing home in 1999, Paul Edgecomb begins to cry while watching the 1935 film Top Hat. His elderly friend Elaine shows concern for him, and Paul tells her that the film reminded him of when he was a prison officer in charge of death row inmates at Cold Mountain Penitentiary during the summer of 1935. The scene shifts to 1935, where Paul works with fellow guards Brutus \"Brutal\" Howell, Harry Terwilliger, and Dean Stanton. In a Louisiana Louisiana nursing home in 1999, Paul Edgecomb begins to cry while watching the 1935 film Top Hat Top Hat Top Hat . His elderly friend Elaine shows concern for him, and Paul tells her that the film reminded him of when he was a prison officer prison officer in charge of death row death row inmates at Cold Mountain Penitentiary during the summer of 1935. The scene shifts to 1935, where Paul works with fellow guards Brutus \"Brutal\" Howell, Harry Terwilliger, and Dean Stanton. \n", " One day, John Coffey, a giant black man convicted of raping and killing two young white girls, arrives on death row. However, he is shy, soft-spoken, and emotional. John reveals extraordinary powers by healing Paul's urinary tract infection and resurrecting a mouse. Later, he heals the terminally ill wife of Warden Hal Moores. When John is asked to explain his power, he merely says that he \"took it back.\" One day, John Coffey, a giant black man convicted of raping raping and killing two young white girls, arrives on death row. However, he is shy, soft-spoken, and emotional. John reveals extraordinary powers by healing Paul's urinary tract infection urinary tract infection and resurrecting a mouse. Later, he heals the terminally ill wife of Warden Hal Moores. When John is asked to explain his power, he merely says that he \"took it back.\" \n", " Percy Wetmore, a sadist with a fierce temper, has recently begun working in the death row inmates block; his fellow guards dislike him, but cannot get rid of him because of his family connections to the governor. He demands to manage the execution of Eduard Delacroix, promising that afterward, he will transfer to an administrative post at a mental hospital. An agreement is made, but Percy then deliberately sabotages the execution: Instead of wetting the sponge used to conduct electricity and make executions quick and effective, he leaves it dry, causing a disturbing and dramatic malfunction to the execution. Percy Wetmore, a sadist sadist with a fierce temper, has recently begun working in the death row inmates block; his fellow guards dislike him, but cannot get rid of him because of his family connections to the governor. He demands to manage the execution of Eduard Delacroix, promising that afterward, he will transfer to an administrative post at a mental hospital. An agreement is made, but Percy then deliberately sabotages the execution: Instead of wetting the sponge used to conduct electricity and make executions quick and effective, he leaves it dry, causing a disturbing and dramatic malfunction to the execution. \n", " Meanwhile, a violent, psychopathic[2] prisoner named \"Wild Bill\" Wharton has arrived, to be executed for multiple murders committed during a robbery. At one point he seizes John's arm, and John psychically senses that Wharton is also responsible for the crime for which John was convicted and sentenced to death. John \"takes back\" the sickness in Hal's wife and regurgitates it into Percy, who then shoots Wharton to death and falls into a state of permanent catatonia. Percy is then admitted to Briar Ridge Mental Hospital as a patient rather than an administrator. In the wake of these events, Paul interrogates John, who says he \"punished them bad men\" and offers to show Paul what he saw. John takes Paul's hand and says he has to give Paul \"a part of himself\" in order for Paul to see what really happened to the girls. Meanwhile, a violent, psychopathic [2] [2] [ [ 2 ] ] prisoner named \"Wild Bill\" Wharton has arrived, to be executed for multiple murders committed during a robbery. At one point he seizes John's arm, and John psychically senses that Wharton is also responsible for the crime for which John was convicted and sentenced to death. John \"takes back\" the sickness in Hal's wife and regurgitates it into Percy, who then shoots Wharton to death and falls into a state of permanent catatonia catatonia . Percy is then admitted to Briar Ridge Mental Hospital as a patient rather than an administrator. In the wake of these events, Paul interrogates John, who says he \"punished them bad men\" and offers to show Paul what he saw. John takes Paul's hand and says he has to give Paul \"a part of himself\" in order for Paul to see what really happened to the girls. \n", " Paul asks John what he should do, if he should open the door and let John walk away. John tells him that there is too much pain in the world, to which he is sensitive, and says he is \"rightly tired of the pain\" and is ready to rest. For his last request on the night before his execution, John watches the film Top Hat. When John is put in the electric chair, he asks Paul not to put the traditional black hood over his head because he is afraid of the dark. Paul agrees, shakes his hand, and John is executed. Paul asks John what he should do, if he should open the door and let John walk away. John tells him that there is too much pain in the world, to which he is sensitive, and says he is \"rightly tired of the pain\" and is ready to rest. For his last request on the night before his execution, John watches the film Top Hat Top Hat . When John is put in the electric chair electric chair , he asks Paul not to put the traditional black hood over his head because he is afraid of the dark. Paul agrees, shakes his hand, and John is executed. \n", " As an elderly Paul finishes his story, he notes that he requested a transfer to a youth detention center, where he spent the remainder of his career. Elaine questions his statement that he had a fully grown son at the time, and Paul explains that he was 44 years old at the time of John's execution and that he is now 108. This is apparently a side effect of John giving a \"part of himself\" to Paul. Mr. Jingles, Del's mouse resurrected by John, is also still alive \u2014 but Paul believes his outliving all of his relatives and friends to be a punishment from God for having let John be executed, and wonders how long it will be before his own death. The film shows glimpses of the future in which Elaine has passed on and Paul is still living in the retirement home. As an elderly Paul finishes his story, he notes that he requested a transfer to a youth detention center youth detention center , where he spent the remainder of his career. Elaine questions his statement that he had a fully grown son at the time, and Paul explains that he was 44 years old at the time of John's execution and that he is now 108. This is apparently a side effect of John giving a \"part of himself\" to Paul. Mr. Jingles, Del's mouse resurrected by John, is also still alive \u2014 but Paul believes his outliving all of his relatives and friends to be a punishment from God for having let John be executed, and wonders how long it will be before his own death. The film shows glimpses of the future in which Elaine has passed on and Paul is still living in the retirement home. \n", " \n", "http://en.wikipedia.org/wiki/Close_Encounters_of_the_Third_Kind\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In the Sonoran Desert, French scientist Claude Lacombe and his American interpreter, mapmaker David Laughlin, along with other government scientific researchers, discover Flight 19, a squadron of Grumman TBM Avengers that went missing more than 30 years earlier. The planes are intact and operational, but there is no sign of the pilots. An old man who witnessed the event claimed \"the sun came out at night, and sang to him.\" They also find a lost cargo ship in the Gobi Desert named SS Cotopaxi. At an air traffic control center in Indianapolis, a controller listens as two airline flights narrowly avoid a mid-air collision with an apparent unidentified flying object (UFO), which neither pilot chooses to report, even when invited to do so. In Muncie, Indiana, 3-year-old Barry Guiler is awakened in the night when his toys start operating on their own. Fascinated, he gets out of bed and discovers something or someone (off-screen) in the kitchen. He runs outside, forcing his mother, Jillian, to chase after him. In the Sonoran Desert Sonoran Desert , French scientist Claude Lacombe and his American interpreter, mapmaker David Laughlin, along with other government scientific researchers, discover Flight 19 Flight 19 , a squadron of Grumman TBM Avengers Grumman TBM Avengers that went missing more than 30 years earlier. The planes are intact and operational, but there is no sign of the pilots. An old man who witnessed the event claimed \"the sun came out at night, and sang to him.\" They also find a lost cargo ship in the Gobi Desert Gobi Desert named SS Cotopaxi SS Cotopaxi Cotopaxi . At an air traffic control air traffic control center in Indianapolis, a controller listens as two airline flights narrowly avoid a mid-air collision with an apparent unidentified flying object (UFO), which neither pilot chooses to report, even when invited to do so. In Muncie, Indiana Muncie, Indiana , 3-year-old Barry Guiler is awakened in the night when his toys start operating on their own. Fascinated, he gets out of bed and discovers something or someone (off-screen) in the kitchen. He runs outside, forcing his mother, Jillian, to chase after him. \n", " Investigating one of a series of large-scale power outages, Indiana electrical lineman Roy Neary experiences a close encounter with a UFO, when it flies over his truck and lightly burns the side of his face with its bright lights. The UFO, along with three others, are pursued by Neary and three police cars, but the spacecraft fly off into the night sky. Roy becomes fascinated by UFOs, much to the dismay of his wife, Ronnie. He also becomes increasingly obsessed with subliminal, mental images of a mountain-like shape and begins to make models of it. Jillian also becomes obsessed with sketching a unique-looking mountain. Soon after, she is terrorized in her home by a UFO encounter in which Barry is abducted by unseen beings. Investigating one of a series of large-scale power outages, Indiana electrical lineman Roy Neary experiences a close encounter with a UFO, when it flies over his truck and lightly burns the side of his face with its bright lights. The UFO, along with three others, are pursued by Neary and three police cars, but the spacecraft fly off into the night sky. Roy becomes fascinated by UFOs, much to the dismay of his wife, Ronnie. He also becomes increasingly obsessed with subliminal, mental images of a mountain-like shape and begins to make models of it. Jillian also becomes obsessed with sketching a unique-looking mountain. Soon after, she is terrorized in her home by a UFO encounter in which Barry is abducted by unseen beings. \n", " Lacombe and Laughlin\u2014along with a group of United Nations experts\u2014continue to investigate increasing UFO activity and strange, related occurrences. Witnesses in Dharamsala, India report that the UFOs make distinctive sounds: a five-tone musical phrase in a major scale. Scientists broadcast the phrase to outer space, but are mystified by the response: a seemingly meaningless series of numbers repeated over and over until Laughlin, with his background in cartography, recognizes it as a set of geographical coordinates. The coordinates point to Devils Tower near Moorcroft, Wyoming. Lacombe and the U.S. military converge on Wyoming. The United States Army evacuates the area, planting false reports in the media that a train wreck has spilled a toxic nerve gas, all the while preparing a secret landing zone for the UFOs and their occupants. Lacombe and Laughlin\u2014along with a group of United Nations experts\u2014continue to investigate increasing UFO activity and strange, related occurrences. Witnesses in Dharamsala Dharamsala , India report that the UFOs make distinctive sounds: a five-tone musical phrase in a major scale. Scientists broadcast the phrase to outer space, but are mystified by the response: a seemingly meaningless series of numbers repeated over and over until Laughlin, with his background in cartography cartography , recognizes it as a set of geographical coordinates. The coordinates point to Devils Tower Devils Tower near Moorcroft, Wyoming Moorcroft, Wyoming . Lacombe and the U.S. military converge on Wyoming. The United States Army evacuates the area, planting false reports in the media that a train wreck has spilled a toxic nerve gas, all the while preparing a secret landing zone for the UFOs and their occupants. \n", " Meanwhile, Roy's increasingly erratic behavior causes Ronnie to leave him, taking their three children with her. When a despairing Roy inadvertently sees a television news program about the train wreck near Devils Tower, he realizes the mental image of a mountain plaguing him is real. Jillian sees the same broadcast, and she and Roy, as well as others with similar visions and experiences, travel to the site in spite of the false public warnings about nerve gas. Meanwhile, Roy's increasingly erratic behavior causes Ronnie to leave him, taking their three children with her. When a despairing Roy inadvertently sees a television news program about the train wreck near Devils Tower, he realizes the mental image of a mountain plaguing him is real. Jillian sees the same broadcast, and she and Roy, as well as others with similar visions and experiences, travel to the site in spite of the false public warnings about nerve gas. \n", " While most of the civilians who are drawn to the site are apprehended by the Army, Roy and Jillian persist and make it to the site just as dozens of UFOs appear in the night sky. The government specialists at the site begin to communicate with the UFOs by use of light and sound on a large electrical billboard. Following this, an enormous mother ship lands at the site, returning people who had been abducted over the past decades, including Barry, and the missing pilots from Flight 19 and sailors from the Cotopaxi, who have not aged since their abductions. The government officials decide to include Roy in a group of people whom they have selected to be potential visitors to the mothership, and hastily prepare him. As the aliens finally emerge from the mothership, they select Roy to join them on their travels. As Roy enters the mothership, one of the aliens pauses for a few moments with the humans. Lacombe uses Curwen hand signs that correspond to the five note alien tonal phrase. The alien replies with the same gestures, smiles, and returns to its ship, which lifts off into the night sky. While most of the civilians who are drawn to the site are apprehended by the Army, Roy and Jillian persist and make it to the site just as dozens of UFOs appear in the night sky. The government specialists at the site begin to communicate with the UFOs by use of light and sound on a large electrical billboard. Following this, an enormous mother ship lands at the site, returning people who had been abducted over the past decades, including Barry, and the missing pilots from Flight 19 and sailors from the Cotopaxi Cotopaxi , who have not aged since their abductions. The government officials decide to include Roy in a group of people whom they have selected to be potential visitors to the mothership, and hastily prepare him. As the aliens finally emerge from the mothership, they select Roy to join them on their travels. As Roy enters the mothership, one of the aliens pauses for a few moments with the humans. Lacombe uses Curwen hand signs Curwen hand signs that correspond to the five note alien tonal phrase. The alien replies with the same gestures, smiles, and returns to its ship, which lifts off into the night sky. \n", " \n", "http://en.wikipedia.org/wiki/Network_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Howard Beale, the longtime anchor of the Union Broadcasting System's UBS Evening News, learns from the news division president, Max Schumacher, that he has just two more weeks on the air because of declining ratings. The two old friends get roaring drunk and lament the state of their industry. The following night, Beale announces on live television that he will commit suicide on next Tuesday's broadcast. UBS fires him after this incident, but Schumacher intervenes so that Beale can have a dignified farewell. Beale promises he will apologize for his outburst, but once on the air, he launches back into a rant claiming that life is \"bullshit\". Beale's outburst causes the newscast's ratings to spike, and much to Schumacher's dismay, the upper echelons of UBS decide to exploit Beale's antics rather than pull him off the air. In one impassioned diatribe, Beale galvanizes the nation, persuading his viewers to shout out of their windows \"I'm as mad as hell, and I'm not going to take this anymore!\" Howard Beale Howard Beale , the longtime anchor anchor of the Union Broadcasting System Union Broadcasting System 's UBS Evening News UBS Evening News , learns from the news division president, Max Schumacher, that he has just two more weeks on the air because of declining ratings. The two old friends get roaring drunk and lament the state of their industry. The following night, Beale announces on live television that he will commit suicide on next Tuesday's broadcast. UBS fires him after this incident, but Schumacher intervenes so that Beale can have a dignified farewell. Beale promises he will apologize for his outburst, but once on the air, he launches back into a rant claiming that life is \"bullshit\". Beale's outburst causes the newscast's ratings to spike, and much to Schumacher's dismay, the upper echelons of UBS decide to exploit Beale's antics rather than pull him off the air. In one impassioned diatribe, Beale galvanizes the nation, persuading his viewers to shout out of their windows \"I'm as mad as hell, and I'm not going to take this anymore!\" \n", " \n", "\n", "\n", "\n", "Howard Beale delivering his \"mad as hell\" speech\n", "\n", " \n", " \n", "\n", "\n", "Howard Beale delivering his \"mad as hell\" speech\n", " \n", " \n", "\n", "Howard Beale delivering his \"mad as hell\" speech \n", " \n", "Howard Beale delivering his \"mad as hell\" speech \n", " \n", " \n", " Diana Christensen heads the network's programming department; seeking just one hit show, she cuts a deal with a band of radical terrorists (a parody of the Symbionese Liberation Army called the \"Ecumenical Liberation Army\") for a new docudrama series called the Mao Tse-Tung Hour for the upcoming fall season. When Beale's ratings seem to have topped out, Christensen approaches Schumacher and offers to help him \"develop\" the news show. He says no to the professional offer, but not to the personal one, and the two begin an affair. When Schumacher decides to end the Howard as the \"Angry Man\" format, Christensen convinces her boss, Frank Hackett, to slot the evening news show under the entertainment division so she can develop it. Hackett agrees, bullies the UBS executives to consent, and fires Schumacher at the same time. Soon afterward, Beale is hosting a new program called The Howard Beale Show, top-billed as \"the mad prophet of the airwaves\". Ultimately, the show becomes the most highly rated program on television, and Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants Beale's signature catchphrase en masse: \"We're as mad as hell, and we're not going to take this anymore.\" At first, Max and Diana's romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their way back together, and Schumacher leaves his wife of over 25 years for Christensen. But Christensen's fanatical devotion to her job and emotional emptiness ultimately drive Max back to his wife, and he warns his former lover that she will self-destruct at the pace she is running with her career. \"You are television incarnate, Diana,\" he tells her, \"indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality.\" Diana Christensen heads the network's programming department; seeking just one hit show, she cuts a deal with a band of radical terrorists radical terrorists (a parody of the Symbionese Liberation Army Symbionese Liberation Army called the \"Ecumenical Liberation Army\") for a new docudrama series called the Mao Tse-Tung Hour Mao Tse-Tung Mao Tse-Tung Hour for the upcoming fall season. When Beale's ratings seem to have topped out, Christensen approaches Schumacher and offers to help him \"develop\" the news show. He says no to the professional offer, but not to the personal one, and the two begin an affair. When Schumacher decides to end the Howard as the \"Angry Man\" format, Christensen convinces her boss, Frank Hackett, to slot the evening news show under the entertainment division so she can develop it. Hackett agrees, bullies the UBS executives to consent, and fires Schumacher at the same time. Soon afterward, Beale is hosting a new program called The Howard Beale Show The Howard Beale Show , top-billed as \"the mad prophet of the airwaves\". Ultimately, the show becomes the most highly rated program on television, and Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants Beale's signature catchphrase en masse en masse : \"We're as mad as hell, and we're not going to take this anymore.\" At first, Max and Diana's romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their way back together, and Schumacher leaves his wife of over 25 years for Christensen. But Christensen's fanatical devotion to her job and emotional emptiness ultimately drive Max back to his wife, and he warns his former lover that she will self-destruct at the pace she is running with her career. \"You are television incarnate, Diana,\" he tells her, \"indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality.\" \n", " When Beale discovers that Communications Company of America (CCA), the conglomerate that owns UBS, will be bought out by an even larger Saudi Arabian conglomerate, he launches an on-screen tirade against the deal, encouraging viewers to send telegrams to the White House telling them, \"I want the CCA deal stopped now!\" This throws the top network brass into a state of panic because the company's debt load has made merger essential for survival. Hackett takes Beale to meet with CCA chairman Arthur Jensen, who explicates his own \"corporate cosmology\" to the attentive Beale. Jensen delivers a tirade of his own in an \"appropriate setting\", the dramatically darkened CCA boardroom, that suggests to the docile Beale that Jensen may himself be some higher power\u2014describing the interrelatedness of the participants in the international economy and the illusory nature of nationality distinctions. Jensen persuades Beale to abandon the populist messages and preach his new \"evangel\". But television audiences find his new sermons on the dehumanization of society depressing, and ratings begin to slide, yet Jensen will not allow UBS executives to fire Beale. Seeing its two-for-the-price-of-one value\u2014solving the Beale problem plus sparking a boost in season-opener ratings\u2014Christensen, Hackett, and the other executives decide to hire the Ecumenical Liberation Army to assassinate Beale on the air. The assassination succeeds, putting an end to The Howard Beale Show and kicking off a second season of The Mao Tse-Tung Hour. When Beale discovers that Communications Company of America (CCA), the conglomerate that owns UBS, will be bought out by an even larger Saudi Arabian Saudi Arabian conglomerate conglomerate , he launches an on-screen tirade against the deal, encouraging viewers to send telegrams to the White House the White House telling them, \"I want the CCA deal stopped now!\" This throws the top network brass into a state of panic because the company's debt load has made merger essential for survival. Hackett takes Beale to meet with CCA chairman Arthur Jensen, who explicates his own \"corporate cosmology cosmology \" to the attentive Beale. Jensen delivers a tirade of his own in an \"appropriate setting\", the dramatically darkened CCA boardroom, that suggests to the docile Beale that Jensen may himself be some higher power\u2014describing the interrelatedness of the participants in the international economy and the illusory nature of nationality distinctions. Jensen persuades Beale to abandon the populist populist messages and preach his his new \"evangel\". But television audiences find his new sermons on the dehumanization of society depressing, and ratings begin to slide, yet Jensen will not allow UBS executives to fire Beale. Seeing its two-for-the-price-of-one value\u2014solving the Beale problem plus plus sparking a boost in season-opener ratings\u2014Christensen, Hackett, and the other executives decide to hire the Ecumenical Liberation Army to assassinate Beale on the air. The assassination succeeds, putting an end to The Howard Beale Show The Howard Beale Show and kicking off a second season of The Mao Tse-Tung Hour The Mao Tse-Tung Hour . \n", " The film ends with the narrator stating: The film ends with the narrator stating: \n", " \n", "\"This was the story of Howard Beale, the first known instance of a man who was killed because he had lousy ratings.\"\n", " \n", " \"This was the story of Howard Beale, the first known instance of a man who was killed because he had lousy ratings.\" \"This was the story of Howard Beale, the first known instance of a man who was killed because he had lousy ratings.\" \n", " \n", " \n", "http://en.wikipedia.org/wiki/Nashville_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " The overarching plot takes place over five days leading up to a political rally for Replacement Party candidate Hal Phillip Walker, who is never seen throughout the entire movie. The story follows 24 characters roaming around Nashville, in search of some sort of goal through their own (often overlapping) story arcs. The overarching plot takes place over five days leading up to a political rally for Replacement Party candidate Hal Phillip Walker, who is never seen throughout the entire movie. The story follows 24 characters roaming around Nashville, in search of some sort of goal through their own (often overlapping) story arcs. \n", " Day One Day One Day One \n", " The film opens with a campaign van for presidential candidate Hal Phillip Walker driving around Nashville as an external loudspeaker blares Walker's folksy political aphorisms, juxtaposed with country superstar Haven Hamilton (Henry Gibson) recording an overblown patriotic song intended to commemorate the upcoming Bicentennial, and growing irritated with the accompanying musicians in the studio. An Englishwoman named Opal (Geraldine Chaplin) who claims to be working on a documentary for the BBC appears in the studio but is told to leave by Haven. Down the hall from Haven's session is Linnea Reese (Lily Tomlin), a white gospel singer recording a song with a black choir. The film opens with a campaign van for presidential candidate Hal Phillip Walker driving around Nashville as an external loudspeaker blares Walker's folksy political aphorisms, juxtaposed with country superstar Haven Hamilton ( Henry Gibson Henry Gibson ) recording an overblown patriotic song intended to commemorate the upcoming Bicentennial Bicentennial , and growing irritated with the accompanying musicians in the studio. An Englishwoman named Opal ( Geraldine Chaplin Geraldine Chaplin ) who claims to be working on a documentary for the BBC BBC appears in the studio but is told to leave by Haven. Down the hall from Haven's session is Linnea Reese ( Lily Tomlin Lily Tomlin ), a white gospel singer recording a song with a black choir. \n", " Later that day, popular country singer Barbara Jean (Ronee Blakley) is returning to Nashville, having recovered from a burn accident, and the elite of Nashville's music scene - including Haven Hamilton and his companion Lady Pearl (Barbara Baxley) have converged on Berry Field to greet her plane as it arrives. Also present are Pfc. Glenn Kelly (Scott Glenn) and the popular folk trio \"Bill, Mary, and Tom\" who are in town to record an album. Bill (Allan F. Nicholls) and Mary (Cristina Raines) are married, but largely unhappy, partly due to the fact that Mary is in love with womanizing Tom (Keith Carradine). Meanwhile, Mr. Green (Keenan Wynn) arrives at the airport to pick up his niece, Martha (Shelley Duvall), aka \"L.A. Joan\", a teenage groupie who has come to Nashville ostensibly to visit her aunt Esther Green who is sick in the hospital. However, Martha repeatedly puts off visiting her aunt in favor of chasing after male musicians. Working at the airport restaurant are African-American cook Wade Cooley (Robert DoQui), and his pretty waitress friend, Sueleen Gay (Gwen Welles), an aspiring country singer who refuses to recognize that she can't carry a tune. Later that day, popular country singer Barbara Jean ( Ronee Blakley Ronee Blakley ) is returning to Nashville, having recovered from a burn accident, and the elite of Nashville's music scene - including Haven Hamilton and his companion Lady Pearl ( Barbara Baxley Barbara Baxley ) have converged on Berry Field Berry Field to greet her plane as it arrives. Also present are Pfc. Pfc. Glenn Kelly ( Scott Glenn Scott Glenn ) and the popular folk trio \"Bill, Mary, and Tom\" who are in town to record an album. Bill ( Allan F. Nicholls Allan F. Nicholls ) and Mary ( Cristina Raines Cristina Raines ) are married, but largely unhappy, partly due to the fact that Mary is in love with womanizing Tom ( Keith Carradine Keith Carradine ). Meanwhile, Mr. Green ( Keenan Wynn Keenan Wynn ) arrives at the airport to pick up his niece, Martha ( Shelley Duvall Shelley Duvall ), aka \"L.A. Joan\", a teenage groupie who has come to Nashville ostensibly to visit her aunt Esther Green who is sick in the hospital. However, Martha repeatedly puts off visiting her aunt in favor of chasing after male musicians. Working at the airport restaurant are African-American cook Wade Cooley ( Robert DoQui Robert DoQui ), and his pretty waitress friend, Sueleen Gay ( Gwen Welles Gwen Welles ), an aspiring country singer who refuses to recognize that she can't carry a tune. \n", " After greeting the crowds on the tarmac, Barbara Jean faints due to the heat, and her handlers, headed by her domineering husband-manager Barnett (Allen Garfield), rush her to the hospital. Barbara Jean's appearance having been cut short, those in attendance depart the airport and wind up stranded on the highway after a pile-up occurs. During the commotion, Winifred (Barbara Harris), an aspiring country singer, runs away from her husband, Star (Bert Remsen), after he refuses to take her to the Grand Ole Opry. Star gives a ride to Kenny Frasier (David Hayward), who has just arrived in town carrying a violin case. Opal takes advantage of the traffic jam to interview first Linnea and then Tommy Brown (Timmy Brown), an African-American country singer who is performing at the Opry. Tommy and his entourage go to Lady Pearl's club but Wade, who is drinking and trying to pick up white girls at the bar, insults Tommy for being too \"white\" and starts a fight. After greeting the crowds on the tarmac, Barbara Jean faints due to the heat, and her handlers, headed by her domineering husband-manager Barnett ( Allen Garfield Allen Garfield ), rush her to the hospital. Barbara Jean's appearance having been cut short, those in attendance depart the airport and wind up stranded on the highway after a pile-up pile-up occurs. During the commotion, Winifred ( Barbara Harris Barbara Harris ), an aspiring country singer, runs away from her husband, Star ( Bert Remsen Bert Remsen ), after he refuses to take her to the Grand Ole Opry Grand Ole Opry . Star gives a ride to Kenny Frasier (David Hayward), who has just arrived in town carrying a violin case. Opal takes advantage of the traffic jam to interview first Linnea and then Tommy Brown ( Timmy Brown Timmy Brown ), an African-American country singer who is performing at the Opry. Tommy and his entourage go to Lady Pearl's club but Wade, who is drinking and trying to pick up white girls at the bar, insults Tommy for being too \"white\" and starts a fight. \n", " Linnea's husband, Del Reese (Ned Beatty) is working with political organizer, John Triplette (Michael Murphy) to plan a small fundraiser and a large outdoor concert gala for the Walker campaign. Sueleen appears at a local club's open mike night in a provocative outfit, and despite her lack of singing ability, club manager Trout (Merle Kilgore) recommends her to Triplette for the fundraiser based on her appearance. Winifred shows up at Trout's club trying to recruit musicians to record a demo with her, but Star sees her and chases her out. Del invites Triplette for family dinner with Linnea and their two deaf children. Linnea and Del are having communication problems and she focuses on the children rather than on him. In the middle of dinner, Tom calls trying to make a date with Linnea, but she puts him off, so he takes Opal back to his room instead. Pfc. Kelly sneaks into Barbara Jean's hospital room and sits in the chair by her bed all night, watching her sleep. Linnea's husband, Del Reese ( Ned Beatty Ned Beatty ) is working with political organizer, John Triplette ( Michael Murphy Michael Murphy ) to plan a small fundraiser and a large outdoor concert gala for the Walker campaign. Sueleen appears at a local club's open mike night in a provocative outfit, and despite her lack of singing ability, club manager Trout ( Merle Kilgore Merle Kilgore ) recommends her to Triplette for the fundraiser based on her appearance. Winifred shows up at Trout's club trying to recruit musicians to record a demo with her, but Star sees her and chases her out. Del invites Triplette for family dinner with Linnea and their two deaf children. Linnea and Del are having communication problems and she focuses on the children rather than on him. In the middle of dinner, Tom calls trying to make a date with Linnea, but she puts him off, so he takes Opal back to his room instead. Pfc. Kelly sneaks into Barbara Jean's hospital room and sits in the chair by her bed all night, watching her sleep. \n", " Day Two Day Two Day Two \n", " Tom calls Linnea again but, with Del listening on the other line, Linnea yells at Tom and tells him not to call her any more. Kenny rents a room from Mr. Green. Haven Hamilton throws a pre-show party at his house before the evening's Grand Ole Opry performance. At the party, Triplette tries to persuade Haven to perform at the Walker gala by telling him that if Walker is elected, Walker would back Haven for state governor. Haven says he'll give Triplette his decision after the Opry show that night. Tom calls Linnea again but, with Del listening on the other line, Linnea yells at Tom and tells him not to call her any more. Kenny rents a room from Mr. Green. Haven Hamilton throws a pre-show party at his house before the evening's Grand Ole Opry Grand Ole Opry performance. At the party, Triplette tries to persuade Haven to perform at the Walker gala by telling him that if Walker is elected, Walker would back Haven for state governor. Haven says he'll give Triplette his decision after the Opry show that night. \n", " Later, Tommy Brown, Haven, and Connie White (Karen Black) all perform at the Opry. Connie is substituting for the hospitalized Barbara Jean. Winifred tries unsuccessfully to get backstage. At the hospital, Barbara Jean and Barnett have an argument because he is going to the after-show gathering to thank Connie for substituting at the last minute. Barbara Jean doesn't want him to go and he accuses her of having another nervous breakdown like she did previously. Barnett finally subdues Barbara Jean and leaves, but Connie doesn't seem happy to see him. Haven tells Triplette that Barbara Jean and Connie never appear on the same stage, and that he (Haven) will appear anyplace Barbara Jean also appears. Bill gets upset when his wife Mary doesn't show up all evening; she is sleeping with Tom. Later, Tommy Brown, Haven, and Connie White ( Karen Black Karen Black ) all perform at the Opry. Connie is substituting for the hospitalized Barbara Jean. Winifred tries unsuccessfully to get backstage. At the hospital, Barbara Jean and Barnett have an argument because he is going to the after-show gathering to thank Connie for substituting at the last minute. Barbara Jean doesn't want him to go and he accuses her of having another nervous breakdown like she did previously. Barnett finally subdues Barbara Jean and leaves, but Connie doesn't seem happy to see him. Haven tells Triplette that Barbara Jean and Connie never appear on the same stage, and that he (Haven) will appear anyplace Barbara Jean also appears. Bill gets upset when his wife Mary doesn't show up all evening; she is sleeping with Tom. \n", " Day Three Day Three Day Three \n", " It is Sunday morning and the characters are shown attending various local church services. A Roman Catholic service includes Lady Pearl, Wade and Sueleen in attendance; Haven Hamilton sings in the choir at a Protestant service; and Linnea is seen in the choir at a black Protestant church as a baptism is taking place. At the hospital chapel, Barbara Jean sings \"In the Garden\" from her wheelchair while Mr. Green and Pfc. Kelly, among others, watch. Mr. Green tells Kelly how he and his wife lost their son in WWII. Opal wanders alone through a huge auto scrapyard making free-form poetic speeches about the cars into her tape recorder. Haven, Tommy Brown and their families attend the stock car races, where Winifred also attempts to sing on a small stage but cannot be heard. Bill and Mary argue in their hotel room and are interrupted by Triplette, who wants to recruit them for the Walker concert gala. Tom tries to get chauffeur Norman (David Arkin) to score him some pills. It is Sunday morning and the characters are shown attending various local church services. A Roman Catholic Roman Catholic service includes Lady Pearl, Wade and Sueleen in attendance; Haven Hamilton sings in the choir at a Protestant service; and Linnea is seen in the choir at a black Protestant church black Protestant church as a baptism is taking place. At the hospital chapel, Barbara Jean sings \"In the Garden\" \"In the Garden\" from her wheelchair while Mr. Green and Pfc. Kelly, among others, watch. Mr. Green tells Kelly how he and his wife lost their son in WWII. Opal wanders alone through a huge auto scrapyard making free-form poetic speeches about the cars into her tape recorder. Haven, Tommy Brown and their families attend the stock car races, where Winifred also attempts to sing on a small stage but cannot be heard. Bill and Mary argue in their hotel room and are interrupted by Triplette, who wants to recruit them for the Walker concert gala. Tom tries to get chauffeur Norman ( David Arkin David Arkin ) to score him some pills. \n", " Day Four Day Four Day Four \n", " Opal walks alone through a large school bus parking lot making more strange observations into her tape recorder. Barbara Jean is discharged from the hospital at the same time Mr. Green shows up to visit his sick wife. Barbara Jean asks after his wife and sends her regards. After Barbara Jean and her entourage have left, a nurse tells Mr. Green his wife died earlier that morning. Back at Mr. Green's house, Kenny gets upset when Martha tries to look at his violin case. Opal walks alone through a large school bus parking lot making more strange observations into her tape recorder. Barbara Jean is discharged from the hospital at the same time Mr. Green shows up to visit his sick wife. Barbara Jean asks after his wife and sends her regards. After Barbara Jean and her entourage have left, a nurse tells Mr. Green his wife died earlier that morning. Back at Mr. Green's house, Kenny gets upset when Martha tries to look at his violin case. \n", " Barbara Jean performs at Opryland USA. Triplette and Del attend and try to convince Barnett to have Barbara Jean play the Walker concert gala at the Parthenon the next day, but he refuses. Barbara Jean gets through the first couple of songs all right, but then begins to tell rambling stories about her childhood instead of starting the next song. After several false starts, Barnett escorts her from the stage and tells the disappointed audience that they can come to the Parthenon tomorrow and see Barbara Jean perform for free, thus committing her to the Walker concert. Barbara Jean performs at Opryland USA Opryland USA . Triplette and Del attend and try to convince Barnett to have Barbara Jean play the Walker concert gala at the Parthenon Parthenon the next day, but he refuses. Barbara Jean gets through the first couple of songs all right, but then begins to tell rambling stories about her childhood instead of starting the next song. After several false starts, Barnett escorts her from the stage and tells the disappointed audience that they can come to the Parthenon tomorrow and see Barbara Jean perform for free, thus committing her to the Walker concert. \n", " Tom calls Linnea and invites her to meet him that night at a club where he is playing. Linnea arrives but sits by herself because Martha is trying to pick Tom up. Mary and Bill are also there, and Opal sits with them and talks about how she slept with Tom, causing Mary to become upset. Wade tries unsuccessfully to pick up Linnea, while Norman tries equally unsuccessfully to pick up Opal. Tom sings \"I'm Easy\" and Linnea, moved, goes back to his room where they make love. When Linnea needs to leave, Tom calls another woman and has a romantic conversation within Linnea's earshot while she is getting dressed to go home. Tom calls Linnea and invites her to meet him that night at a club where he is playing. Linnea arrives but sits by herself because Martha is trying to pick Tom up. Mary and Bill are also there, and Opal sits with them and talks about how she slept with Tom, causing Mary to become upset. Wade tries unsuccessfully to pick up Linnea, while Norman tries equally unsuccessfully to pick up Opal. Tom sings \" I'm Easy I'm Easy \" and Linnea, moved, goes back to his room where they make love. When Linnea needs to leave, Tom calls another woman and has a romantic conversation within Linnea's earshot while she is getting dressed to go home. \n", " Sueleen appears at the all-male Walker fundraiser, but is booed off the stage when she sings poorly and doesn't take off her clothes. Del and Triplette explain that the men expect her to strip and that if she does so, they will let her sing the next day at the Parthenon with Barbara Jean. Sueleen is visibly upset but strips anyway. Winifred shows up at the fundraiser hoping to get a chance to sing, but after she sees what is going on, she stays hidden behind a curtain. Del drives Sueleen home and drunkenly comes on to her, but she is rescued by Wade. After he hears what happened, Wade tells Sueleen she can't sing and asks her to go back to Detroit with him the next day. Sueleen refuses because she is determined to sing at the Parthenon with Barbara Jean. Sueleen appears at the all-male Walker fundraiser, but is booed off the stage when she sings poorly and doesn't take off her clothes. Del and Triplette explain that the men expect her to strip and that if she does so, they will let her sing the next day at the Parthenon with Barbara Jean. Sueleen is visibly upset but strips anyway. Winifred shows up at the fundraiser hoping to get a chance to sing, but after she sees what is going on, she stays hidden behind a curtain. Del drives Sueleen home and drunkenly comes on to her, but she is rescued by Wade. After he hears what happened, Wade tells Sueleen she can't sing and asks her to go back to Detroit with him the next day. Sueleen refuses because she is determined to sing at the Parthenon with Barbara Jean. \n", " Day Five Day Five Day Five \n", " The performers, audience and Walker and his entourage arrive for the Parthenon concert. In the performing lineup are Haven, Barbara Jean, Linnea and her choir, Bill, Mary and Tom, Sueleen, and Winifred who has shown up again hoping for a chance to sing. Barnett gets upset because Barbara Jean will have to perform in front of a large Walker advertisement, but has to go along with it because his wife's career will be harmed if he pulls her out of the show. Mr. Green and Kenny attend Esther Green's burial service and Mr. Green leaves angrily, vowing to find Martha (who is not at the service) and make her show some respect to her aunt. Mr. Green and Kenny go to the Parthenon to look for Martha. The performers, audience and Walker and his entourage arrive for the Parthenon Parthenon concert. In the performing lineup are Haven, Barbara Jean, Linnea and her choir, Bill, Mary and Tom, Sueleen, and Winifred who has shown up again hoping for a chance to sing. Barnett gets upset because Barbara Jean will have to perform in front of a large Walker advertisement, but has to go along with it because his wife's career will be harmed if he pulls her out of the show. Mr. Green and Kenny attend Esther Green's burial service and Mr. Green leaves angrily, vowing to find Martha (who is not at the service) and make her show some respect to her aunt. Mr. Green and Kenny go to the Parthenon to look for Martha. \n", " The Walker gala starts and Haven and Barbara Jean perform a song together, then Barbara Jean sings a solo song. At the end of the song, Kenny takes a gun from his violin case and shoots Haven and Barbara Jean. Pfc. Kelly disarms Kenny as chaos breaks out. Barbara Jean is carried bleeding and unconscious from the stage. Haven tries to calm the crowd by exhorting them to sing, asserting that \"This isn't Dallas\", in reference to the assassination of John F. Kennedy in that city a few years earlier. As he is led from the stage for treatment of his wounds, he hands the microphone off to Winifred, who begins to sing \"It Don't Worry Me\" and is joined by Linnea's gospel choir. The film ends with the audience raptly listening to Winifred's song\u2014she has finally gotten her big break. The Walker gala starts and Haven and Barbara Jean perform a song together, then Barbara Jean sings a solo song. At the end of the song, Kenny takes a gun from his violin case and shoots Haven and Barbara Jean. Pfc. Kelly disarms Kenny as chaos breaks out. Barbara Jean is carried bleeding and unconscious from the stage. Haven tries to calm the crowd by exhorting them to sing, asserting that \"This isn't Dallas\", in reference to the assassination of John F. Kennedy assassination of John F. Kennedy in that city a few years earlier. As he is led from the stage for treatment of his wounds, he hands the microphone off to Winifred, who begins to sing \"It Don't Worry Me\" and is joined by Linnea's gospel choir. The film ends with the audience raptly listening to Winifred's song\u2014she has finally gotten her big break. \n", " \n", "http://en.wikipedia.org/wiki/The_Graduate\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Benjamin Braddock, going on from twenty to twenty-one years old, has earned his bachelor's degree from an unnamed college in the Northeast and has returned home to a party celebrating his graduation at his parents' house in Pasadena, California. Benjamin, visibly uncomfortable as his parents deliver accolades and neighborhood friends ask him about his future plans, evades those who try to congratulate him. He drives Mrs. Robinson, the neglected wife of his father's law partner, home. Once at the Robinson home, Benjamin is coerced inside and to have a drink as Mrs. Robinson attempts to seduce him. Her initial attempt at an affair rebuffed (even going so far as being naked in front of the young man), Benjamin leaves. However, after a few days, he clumsily organizes a tryst at a hotel, thus beginning their sexual relationship. Benjamin Braddock, going on from twenty to twenty-one years old, has earned his bachelor's degree from an unnamed college in the Northeast and has returned home to a party celebrating his graduation at his parents' house in Pasadena Pasadena , California California . Benjamin, visibly uncomfortable as his parents deliver accolades and neighborhood friends ask him about his future plans, evades those who try to congratulate him. He drives Mrs. Robinson, the neglected wife of his father's law partner, home. Once at the Robinson home, Benjamin is coerced inside and to have a drink as Mrs. Robinson attempts to seduce him. Her initial attempt at an affair rebuffed (even going so far as being naked in front of the young man), Benjamin leaves. However, after a few days, he clumsily organizes a tryst at a hotel, thus beginning their sexual relationship. \n", " Benjamin spends the remainder of the summer drifting around in the pool by day, purposefully neglecting to select a graduate school, and seeing Mrs. Robinson at the hotel by night. He discovers that he and Mrs. Robinson have nothing to talk about and that she only wants sex. However, after Benjamin pesters her one evening, Mrs. Robinson reveals that she is in a loveless marriage because she errantly became pregnant with her daughter, Elaine. Both Mr. Robinson, who is unaware of his wife's affair, and Benjamin\u2019s parents encourage him to call on Elaine. Benjamin is forced to date Elaine, but he consciously tries to sabotage his first date with her by ignoring her, driving recklessly, and taking her to a strip club. After Elaine runs out of the strip club in tears, Benjamin has a change of heart, realizes how rude he was to her, and discovers that Elaine is someone he is comfortable with. A relationship ensues. Benjamin spends the remainder of the summer drifting around in the pool by day, purposefully neglecting to select a graduate school, and seeing Mrs. Robinson at the hotel by night. He discovers that he and Mrs. Robinson have nothing to talk about and that she only wants sex. However, after Benjamin pesters her one evening, Mrs. Robinson reveals that she is in a loveless marriage because she errantly became pregnant with her daughter, Elaine. Both Mr. Robinson, who is unaware of his wife's affair, and Benjamin\u2019s parents encourage him to call on Elaine. Benjamin is forced to date Elaine, but he consciously tries to sabotage his first date with her by ignoring her, driving recklessly, and taking her to a strip club. After Elaine runs out of the strip club in tears, Benjamin has a change of heart, realizes how rude he was to her, and discovers that Elaine is someone he is comfortable with. A relationship ensues. \n", " Trying to stave off a jealous Mrs. Robinson who threatened to reveal their affair to destroy any chance with Elaine, Benjamin rashly decides he has to tell Elaine everything. Upset over hearing about Benjamin's tryst with her mother, Elaine escapes to Berkeley and refuses to speak with him. He follows in pursuit and, after briefly stalking her, reveals his presence. Elaine accuses Benjamin of raping her mother while she was drunk, refusing to believe that it was in fact Mrs. Robinson that craftily seduced him and initiated the affair. After much discussion and over the next few days, Benjamin and Elaine grow closer, and he continually asks to marry her. Mr. Robinson arrives at Berkeley, with all the details of his wife\u2019s affair, where he meets Benjamin in his apartment. He did not know whether he could prosecute Benjamin but he thought he could and threatens to have him behind bars if he saw his daughter again. Mr. Robinson then forces Elaine to drop out of school and takes her away to marry Carl, a classmate with whom she had briefly been involved. Trying to stave off a jealous Mrs. Robinson who threatened to reveal their affair to destroy any chance with Elaine, Benjamin rashly decides he has to tell Elaine everything. Upset over hearing about Benjamin's tryst with her mother, Elaine escapes to Berkeley Berkeley and refuses to speak with him. He follows in pursuit and, after briefly stalking her, reveals his presence. Elaine accuses Benjamin of raping her mother while she was drunk, refusing to believe that it was in fact Mrs. Robinson that craftily seduced him and initiated the affair. After much discussion and over the next few days, Benjamin and Elaine grow closer, and he continually asks to marry her. Mr. Robinson arrives at Berkeley, with all the details of his wife\u2019s affair, where he meets Benjamin in his apartment. He did not know whether he could prosecute Benjamin but he thought he could and threatens to have him behind bars if he saw his daughter again. Mr. Robinson then forces Elaine to drop out of school and takes her away to marry Carl, a classmate with whom she had briefly been involved. \n", " Returning to Pasadena in search of Elaine and Mr. Robinson, Benjamin forces himself into the Robinson home but encounters Mrs. Robinson. She coldly tells him he won't be able stop the wedding and then calls the police, claiming that her house is being burgled. Benjamin returns to Berkeley. After learning from Carl\u2019s fraternity brothers that the wedding is in Santa Barbara, California that very morning, he rushes out to stop the wedding. Running out of gas a few blocks from the church, Benjamin must sprint the last few blocks. He arrives just as the bride and groom are about to kiss. Realizing the ceremony is concluding, he bangs on the glass at the back of the church and screams out \"Elaine!\" repeatedly. After a brief hesitation, Elaine screams out \"Ben!\" and starts running towards him. A brawl ensues as guests try to stop Elaine and Ben from leaving together. Elaine manages to break free from her mother, who claims \"It's too late!\" as Elaine has already said her marriage vows and kissed, to which Elaine replies, \"Not for me!\"; Mrs. Robinson then slaps Elaine. Benjamin holds guests at bay by swinging a cross ripped from the wall, then using it to jam the outside door while the pair escape. They board a bus and take the back seat, elated at their victory. However, in the final shot, Benjamin's smile gradually fades to an enigmatic, neutral expression as he gazes forward down the bus, not looking at Elaine. Elaine first looks lovingly across at Ben but notices his demeanor and turns away with a similar expression as the bus drives away, taking the two lovers towards a future of uncertainty. Returning to Pasadena in search of Elaine and Mr. Robinson, Benjamin forces himself into the Robinson home but encounters Mrs. Robinson. She coldly tells him he won't be able stop the wedding and then calls the police, claiming that her house is being burgled. Benjamin returns to Berkeley. After learning from Carl\u2019s fraternity brothers that the wedding is in Santa Barbara, California Santa Barbara, California that very morning, he rushes out to stop the wedding. Running out of gas a few blocks from the church, Benjamin must sprint the last few blocks. He arrives just as the bride and groom are about to kiss. Realizing the ceremony is concluding, he bangs on the glass at the back of the church and screams out \"Elaine!\" repeatedly. After a brief hesitation, Elaine screams out \"Ben!\" and starts running towards him. A brawl ensues as guests try to stop Elaine and Ben from leaving together. Elaine manages to break free from her mother, who claims \"It's too late!\" as Elaine has already said her marriage vows and kissed, to which Elaine replies, \"Not for me!\"; Mrs. Robinson then slaps Elaine. Benjamin holds guests at bay by swinging a cross ripped from the wall, then using it to jam the outside door while the pair escape. They board a bus and take the back seat, elated at their victory. However, in the final shot, Benjamin's smile gradually fades to an enigmatic, neutral expression as he gazes forward down the bus, not looking at Elaine. Elaine first looks lovingly across at Ben but notices his demeanor and turns away with a similar expression as the bus drives away, taking the two lovers towards a future of uncertainty. \n", " \n", "http://en.wikipedia.org/wiki/American_Graffiti\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In late August 1962 recent high school graduates and longtime friends, Curt Henderson and Steve Bolander, meet John Milner and Terry \"The Toad\" Fields at the local Mel's Drive-In parking lot. Despite receiving a $2,000 scholarship from the local Moose lodge, Curt is undecided if he wants to leave the next morning with Steve to go to the northeastern United States to begin college. Steve lets Toad borrow his 1958 Chevy Impala for the evening, and while he will be away at college. Steve's girlfriend, Laurie, who also is Curt's younger sister, is unsure of Steve's leaving, to which he suggests they see other people while he is away to \"strengthen\" their relationship. In late August 1962 recent high school graduates and longtime friends, Curt Henderson and Steve Bolander, meet John Milner and Terry \"The Toad\" Fields at the local Mel's Drive-In Mel's Drive-In parking lot. Despite receiving a $2,000 scholarship from the local Moose lodge, Curt is undecided if he wants to leave the next morning with Steve to go to the northeastern United States to begin college. Steve lets Toad borrow his 1958 Chevy Impala Chevy Impala for the evening, and while he will be away at college. Steve's girlfriend, Laurie, who also is Curt's younger sister, is unsure of Steve's leaving, to which he suggests they see other people while he is away to \"strengthen\" their relationship. \n", " Curt, Steve, and Laurie go to the local back to school sock hop, while Toad and John begin cruising. En route to the hop, Curt sees a beautiful blonde girl in a white 1956 Ford Thunderbird. She mouths \"I love you\" before disappearing down the street. After leaving the hop, Curt is desperate to find the mysterious blonde, but is coerced by a group of greasers (\"The Pharaohs\") through an initiation rite that involves hooking a chain to a police car and successfully ripping out its back axle. Curt is told rumors that \"The Blonde\" is either a trophy wife or prostitute, which he immediately refuses to accept. Curt, Steve, and Laurie go to the local back to school back to school sock hop sock hop , while Toad and John begin cruising. En route to the hop, Curt sees a beautiful blonde girl in a white 1956 Ford Thunderbird Ford Thunderbird . She mouths \"I love you\" before disappearing down the street. After leaving the hop, Curt is desperate to find the mysterious blonde, but is coerced by a group of greasers greasers (\"The Pharaohs\") through an initiation rite that involves hooking a chain to a police car and successfully ripping out its back axle. Curt is told rumors that \"The Blonde\" is either a trophy wife trophy wife or prostitute, which he immediately refuses to accept. \n", " Steve and Laurie break up following a series of arguments, and John inadvertently picks up Carol, an annoying teenybopper who seems fond of him. Toad, who is normally socially inept with girls, meets a flirtatious, and somewhat rebellious, girl named Debbie. Meanwhile, Curt learns that DJ Wolfman Jack broadcasts from just outside of Modesto. Inside the dark, eerie radio station, Curt encounters a bearded man he assumes to be the manager. Curt hands the man a message for \"The Blonde\" to call or meet him. As he walks away, Curt hears the voice of The Wolfman, and, having just seen The Wolfman broadcasting, he realizes he had been speaking with The Wolfman. Steve and Laurie break up following a series of arguments, and John inadvertently picks up Carol, an annoying teenybopper teenybopper who seems fond of him. Toad, who is normally socially inept with girls, meets a flirtatious flirtatious , and somewhat rebellious, girl named Debbie. Meanwhile, Curt learns that DJ Wolfman Jack Wolfman Jack broadcasts from just outside of Modesto. Inside the dark, eerie radio station, Curt encounters a bearded man he assumes to be the manager. Curt hands the man a message for \"The Blonde\" to call or meet him. As he walks away, Curt hears the voice of The Wolfman, and, having just seen The Wolfman broadcasting, he realizes he had been speaking with The Wolfman. \n", " The other story lines intertwine until Toad and Steve end up on \"Paradise Road\" to watch John race against the handsome (but arrogant) Bob Falfa, with Laurie as Bob's passenger. Within seconds Bob loses control of his car after blowing a front tire, plunges into a ditch and rolls his car. Steve and John run to the wreck, and a dazed Bob and Laurie stagger out of the car before it explodes. Distraught, Laurie grips Steve tightly and tells him not to leave her. He assures her that he has decided not to leave Modesto after all. The next morning Curt is awakened by the sound of a phone ringing in a telephone booth, which turns out to be \"The Blonde\". She tells him she might see him cruising tonight, but Curt replies that is not possible, because he will be leaving. At the airfield he says goodbye to his parents, his sister, and friends. As the plane takes off, Curt, gazing out of the window, sees the white Ford Thunderbird belonging to the mysterious blonde. The other story lines intertwine until Toad and Steve end up on \"Paradise Road\" to watch John race against the handsome (but arrogant) Bob Falfa, with Laurie as Bob's passenger. Within seconds Bob loses control of his car after blowing a front tire, plunges into a ditch and rolls his car. Steve and John run to the wreck, and a dazed Bob and Laurie stagger out of the car before it explodes. Distraught, Laurie grips Steve tightly and tells him not to leave her. He assures her that he has decided not to leave Modesto after all. The next morning Curt is awakened by the sound of a phone ringing in a telephone booth, which turns out to be \"The Blonde\". She tells him she might see him cruising tonight, but Curt replies that is not possible, because he will be leaving. At the airfield he says goodbye to his parents, his sister, and friends. As the plane takes off, Curt, gazing out of the window, sees the white Ford Thunderbird belonging to the mysterious blonde. \n", " Prior to the end credits an on-screen epilogue reveals that John was killed by a drunk driver in December 1964, Toad was reported missing in action near An L\u1ed9c in December 1965, Steve is an insurance agent in Modesto, California, and Curt is a writer living in Canada (loosely implying that he may be there as a draft dodger). Prior to the end credits an on-screen epilogue reveals that John was killed by a drunk driver in December 1964, Toad was reported missing in action near An L\u1ed9c An L\u1ed9c in December 1965, Steve is an insurance agent in Modesto, California, and Curt is a writer living in Canada (loosely implying that he may be there as a draft dodger draft dodger ). \n", " \n", "http://en.wikipedia.org/wiki/Pulp_Fiction\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot \n", " \"Prologue\u2014The Diner\" \"Prologue\u2014The Diner\" \"Prologue\u2014The Diner\" \n", " \"Pumpkin\" (Tim Roth) and \"Honey Bunny\" (Amanda Plummer) are having breakfast in a diner, and discussing their life as robbers. They decide to rob it after realizing they could make money off the customers as well as the business, as they did during their previous heist. Moments after they initiate the hold-up, the scene breaks off and the title credits roll. \"Pumpkin\" ( Tim Roth Tim Roth ) and \"Honey Bunny\" ( Amanda Plummer Amanda Plummer ) are having breakfast in a diner, and discussing their life as robbers. They decide to rob it after realizing they could make money off the customers as well as the business, as they did during their previous heist. Moments after they initiate the hold-up, the scene breaks off and the title credits roll. \n", " Prelude to \"Vincent Vega and Marsellus Wallace's Wife\" Prelude to \"Vincent Vega and Marsellus Wallace's Wife\" Prelude to \"Vincent Vega and Marsellus Wallace's Wife\" \n", " As Jules Winnfield (Samuel L. Jackson) drives, Vincent Vega (John Travolta) talks about his experiences in Europe, from where he has just returned: the hashish bars in Amsterdam, the French McDonald's and its \"Royale with Cheese.\" The pair\u2014both wearing dress suits\u2014are on their way to retrieve a briefcase from Brett (Frank Whaley), who has transgressed against their boss, gangster Marsellus Wallace (Ving Rhames). Jules tells Vincent that Marsellus had someone thrown off a fourth-floor balcony for giving his wife a foot massage. Vincent says Marsellus has asked him to escort his wife while Marsellus is out of town. They arrive at Brett's place, where they confront him and two of his goons over the briefcase. As Vincent finds the briefcase that Brett has stolen from Marsellus, Jules confronts him with a gun and asks him does Marsellus look like \"a bitch\", noting that nobody can \"fuck\" with him except his wife. He then delivers a passage from Bible before executing Brett with Vincent. As Jules Winnfield ( Samuel L. Jackson Samuel L. Jackson ) drives, Vincent Vega ( John Travolta John Travolta ) talks about his experiences in Europe, from where he has just returned: the hashish hashish bars in Amsterdam, the French McDonald's McDonald's and its \" Royale with Cheese Royale with Cheese .\" The pair\u2014both wearing dress suits\u2014are on their way to retrieve a briefcase from Brett ( Frank Whaley Frank Whaley ), who has transgressed against their boss, gangster Marsellus Wallace ( Ving Rhames Ving Rhames ). Jules tells Vincent that Marsellus had someone thrown off a fourth-floor balcony for giving his wife a foot massage. Vincent says Marsellus has asked him to escort his wife while Marsellus is out of town. They arrive at Brett's place, where they confront him and two of his goons over the briefcase. As Vincent finds the briefcase that Brett has stolen from Marsellus, Jules confronts him with a gun and asks him does Marsellus look like \"a bitch\", noting that nobody can \"fuck\" with him except his wife. He then delivers a passage from Bible Bible before executing Brett with Vincent. \n", " \"Vincent Vega and Marsellus Wallace's Wife\" \"Vincent Vega and Marsellus Wallace's Wife\" \"Vincent Vega and Marsellus Wallace's Wife\" \n", " \n", "\n", "\n", "\n", "The \"famous dance scene\":[14] Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) do the twist at Jack Rabbit Slim's.\n", "\n", " \n", " \n", "\n", "\n", "The \"famous dance scene\":[14] Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) do the twist at Jack Rabbit Slim's.\n", " \n", " \n", "\n", "The \"famous dance scene\":[14] Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) do the twist at Jack Rabbit Slim's. \n", " \n", "The \"famous dance scene\": [14] [14] [ [ 14 ] ] Vincent Vega ( John Travolta John Travolta ) and Mia Wallace ( Uma Thurman Uma Thurman ) do the twist at Jack Rabbit Slim's. \n", " \n", " \n", " In a virtually empty cocktail lounge, aging prizefighter Butch Coolidge (Bruce Willis) accepts a large sum of money from Marsellus after agreeing to take a dive in his upcoming match. Vincent and Jules\u2014now dressed in T-shirts and shorts\u2014arrive to deliver the briefcase, and Butch and Vincent briefly cross paths. The next day, Vincent drops by the house of Lance (Eric Stoltz) and his wife Jody (Rosanna Arquette) to purchase high-grade heroin. He shoots up before driving over to meet Mrs. Mia Wallace (Uma Thurman) and take her out. They head to Jack Rabbit Slim's, a 1950s-themed restaurant staffed by lookalikes of the decade's pop icons. Mia recounts her experience acting in a failed television pilot, Fox Force Five. In a virtually empty cocktail lounge, aging prizefighter Butch Coolidge ( Bruce Willis Bruce Willis ) accepts a large sum of money from Marsellus after agreeing to take a dive take a dive in his upcoming match. Vincent and Jules\u2014now dressed in T-shirts and shorts\u2014arrive to deliver the briefcase, and Butch and Vincent briefly cross paths. The next day, Vincent drops by the house of Lance ( Eric Stoltz Eric Stoltz ) and his wife Jody ( Rosanna Arquette Rosanna Arquette ) to purchase high-grade heroin heroin . He shoots up before driving over to meet Mrs. Mia Wallace ( Uma Thurman Uma Thurman ) and take her out. They head to Jack Rabbit Slim's, a 1950s- themed restaurant themed restaurant staffed by lookalikes of the decade's pop icons. Mia recounts her experience acting in a failed television pilot television pilot , Fox Force Five Fox Force Five . \n", " After participating in a twist contest, they return to the Wallace house with the trophy. While Vincent is in the bathroom, Mia finds his stash of heroin in his coat pocket. Mistaking it for cocaine, she snorts it and overdoses. Vincent rushes her to Lance's house for help. Together, they administer an adrenaline shot to Mia's heart, reviving her. Before parting ways, Mia and Vincent agree not to tell Marsellus of the incident. After participating in a twist twist contest, they return to the Wallace house with the trophy. While Vincent is in the bathroom, Mia finds his stash of heroin in his coat pocket. Mistaking it for cocaine cocaine , she snorts it and overdoses overdoses . Vincent rushes her to Lance's house for help. Together, they administer an adrenaline adrenaline shot to Mia's heart, reviving her. Before parting ways, Mia and Vincent agree not to tell Marsellus of the incident. \n", " Prelude to \"The Gold Watch\" Prelude to \"The Gold Watch\" Prelude to \"The Gold Watch\" \n", " Television time for young Butch (Chandler Lindauer) is interrupted by the arrival of Vietnam veteran Captain Koons (Christopher Walken). Koons explains that he has brought a gold watch, passed down through three generations of Coolidge men since World War I. Butch's father died of dysentery while in a POW camp, and at his dying request Koons hid the watch in his rectum for two years in order to deliver it to Butch. A bell rings, startling the adult Butch out of this reverie. He is in his boxing colors\u2014it is time for the fight he has been paid to throw. Television time for young Butch (Chandler Lindauer) is interrupted by the arrival of Vietnam Vietnam veteran Captain Koons ( Christopher Walken Christopher Walken ). Koons explains that he has brought a gold watch, passed down through three generations of Coolidge men since World War I. Butch's father died of dysentery while in a POW camp POW camp , and at his dying request Koons hid the watch in his rectum for two years in order to deliver it to Butch. A bell rings, startling the adult Butch out of this reverie. He is in his boxing colors\u2014it is time for the fight he has been paid to throw. \n", " \"The Gold Watch\" \"The Gold Watch\" \"The Gold Watch\" \n", " Butch flees the arena, having won the bout. Making his getaway by cab, he learns from the death-obsessed driver, Esmarelda Villa Lobos (Angela Jones), that he killed the opposing fighter. Butch had bet his payoff on himself at favorable odds in a double-cross of Marsellus. The next morning, at the motel where he and his girlfriend, Fabienne (Maria de Medeiros), are lying low, Butch discovers that she has forgotten to pack the irreplaceable watch. He returns to his apartment to retrieve it, although Marsellus' men are almost certainly looking for him. Butch finds the watch quickly, but thinking he is alone, pauses for a snack. Only then does he notice a machine pistol on the kitchen counter. Hearing the toilet flush, Butch readies the gun and confronts a startled Vincent Vega exiting the bathroom. As the pair face each other in an intense standoff\u2014during which time Butch is holding Vincent at bay with his own weapon\u2014the (forgotten) toaster ejects the bread, making a sudden noise which causes Butch to pull the trigger and hit Vincent with a burst of fire, killing him. Butch flees the arena, having won the bout. Making his getaway by cab, he learns from the death-obsessed driver, Esmarelda Villa Lobos ( Angela Jones Angela Jones ), that he killed the opposing fighter. Butch had bet his payoff on himself at favorable odds in a double-cross double-cross of Marsellus. The next morning, at the motel where he and his girlfriend, Fabienne ( Maria de Medeiros Maria de Medeiros ), are lying low, Butch discovers that she has forgotten to pack the irreplaceable watch. He returns to his apartment to retrieve it, although Marsellus' men are almost certainly looking for him. Butch finds the watch quickly, but thinking he is alone, pauses for a snack. Only then does he notice a machine pistol machine pistol on the kitchen counter. Hearing the toilet flush, Butch readies the gun and confronts a startled Vincent Vega exiting the bathroom. As the pair face each other in an intense standoff\u2014during which time Butch is holding Vincent at bay with his own weapon\u2014the (forgotten) toaster ejects the bread, making a sudden noise which causes Butch to pull the trigger and hit Vincent with a burst of fire, killing him. \n", " Butch drives away, but as he waits at a traffic light, Marsellus walks by and recognizes him. Butch rams Marsellus with the car, then another automobile collides with his. After a foot chase the two men land in a pawnshop. The shopowner, Maynard (Duane Whitaker), captures them at gunpoint and ties them up in a half-basement area. Maynard is joined by Zed (Peter Greene) the pawnshop's security guard; they take Marsellus to another room to rape him, leaving a silent masked figure referred to as \"the gimp\" to watch a tied-up Butch. Butch breaks loose and knocks out the gimp. He is about to flee, when he decides to save Marsellus. As Zed is sodomizing Marsellus on a pommel horse, Butch kills Maynard with a katana. Marsellus retrieves Maynard's shotgun and shoots Zed in the groin. Marsellus informs Butch that they are even with respect to the botched fight fix, so long as he never tells anyone about the rape and departs Los Angeles, that night, forever. Butch agrees and returns to pick up Fabienne on Zed's chopper. Butch drives away, but as he waits at a traffic light, Marsellus walks by and recognizes him. Butch rams Marsellus with the car, then another automobile collides with his. After a foot chase the two men land in a pawnshop. The shopowner, Maynard ( Duane Whitaker Duane Whitaker ), captures them at gunpoint and ties them up in a half-basement area. Maynard is joined by Zed ( Peter Greene Peter Greene ) the pawnshop's security guard; they take Marsellus to another room to rape him, leaving a silent masked figure referred to as \"the gimp gimp \" to watch a tied-up Butch. Butch breaks loose and knocks out the gimp. He is about to flee, when he decides to save Marsellus. As Zed is sodomizing sodomizing Marsellus on a pommel horse pommel horse , Butch kills Maynard with a katana katana . Marsellus retrieves Maynard's shotgun and shoots Zed in the groin. Marsellus informs Butch that they are even with respect to the botched fight fix, so long as he never tells anyone about the rape and departs Los Angeles, that night, forever. Butch agrees and returns to pick up Fabienne on Zed's chopper chopper . \n", " \"The Bonnie Situation\" \"The Bonnie Situation\" \"The Bonnie Situation\" \n", " The story returns to Vincent and Jules at Brett's. After they execute him, another man (Alexis Arquette) bursts out of the bathroom and shoots wildly at them, missing every time before an astonished Jules and Vincent return fire. Jules decides this is a miracle and a sign from God for him to retire as a hitman. They drive off with one of Brett's associates, Marvin (Phil LaMarr), their informant. Vincent asks Marvin for his opinion about the \"miracle\" and accidentally shoots him in the face. The story returns to Vincent and Jules at Brett's. After they execute him, another man ( Alexis Arquette Alexis Arquette ) bursts out of the bathroom and shoots wildly at them, missing every time before an astonished Jules and Vincent return fire. Jules decides this is a miracle and a sign from God for him to retire as a hitman. They drive off with one of Brett's associates, Marvin ( Phil LaMarr Phil LaMarr ), their informant. Vincent asks Marvin for his opinion about the \"miracle\" and accidentally shoots him in the face. \n", " Forced to remove their bloodied car from the road, Jules calls his friend Jimmie (Quentin Tarantino). Jimmie's wife, Bonnie, is due back from work soon, and he is very anxious that she does not encounter the scene. At Jules' request, Marsellus arranges for the help of his cleaner, Winston Wolfe (Harvey Keitel). \"The Wolf\" takes charge of the situation, ordering Jules and Vincent to clean the car, hide the body in the trunk, dispose of their own bloody clothes, and change into T-shirts and shorts provided by Jimmie. They drive the car to a junkyard, from where Wolfe and the owner's daughter, Raquel (Julia Sweeney), head off to breakfast. Jules and Vincent decide to do the same. Forced to remove their bloodied car from the road, Jules calls his friend Jimmie ( Quentin Tarantino Quentin Tarantino ). Jimmie's wife, Bonnie, is due back from work soon, and he is very anxious that she does not encounter the scene. At Jules' request, Marsellus arranges for the help of his cleaner cleaner , Winston Wolfe ( Harvey Keitel Harvey Keitel ). \"The Wolf\" takes charge of the situation, ordering Jules and Vincent to clean the car, hide the body in the trunk, dispose of their own bloody clothes, and change into T-shirts and shorts provided by Jimmie. They drive the car to a junkyard, from where Wolfe and the owner's daughter, Raquel ( Julia Sweeney Julia Sweeney ), head off to breakfast. Jules and Vincent decide to do the same. \n", " \"Epilogue\u2014The Diner\" \"Epilogue\u2014The Diner\" \"Epilogue\u2014The Diner\" \n", " As Jules and Vincent eat breakfast in a diner, the discussion returns to Jules' decision to retire. In a brief cutaway, \"Pumpkin\" and \"Honey Bunny\" appear shortly before they initiate the hold-up from the first scene of the film. While Vincent is in the bathroom, the hold-up commences. \"Pumpkin\" demands all of the patrons' valuables, including Jules' mysterious case. Jules surprises \"Pumpkin\" (whom he calls \"Ringo\"), holding him at gunpoint. \"Honey Bunny\" (whose actual name is Yolanda) becomes hysterical and trains her gun on Jules. Vincent emerges from the restroom with his gun trained on her, creating a Mexican standoff. Jules reprises the biblical passage he'd recited at Brett's place (Ezekiel 25:17), this time with sincerity rather than for effect. Jules expresses his ambivalence about his life of crime. As his first act of redemption, he allows the two robbers to take the cash they have stolen and leave, but they leave the briefcase behind for Jules and Vincent to return to Marsellus. Thus, Jules finishes his final job for his boss. As Jules and Vincent eat breakfast in a diner, the discussion returns to Jules' decision to retire. In a brief cutaway, \"Pumpkin\" and \"Honey Bunny\" appear shortly before they initiate the hold-up from the first scene of the film. While Vincent is in the bathroom, the hold-up commences. \"Pumpkin\" demands all of the patrons' valuables, including Jules' mysterious case. Jules surprises \"Pumpkin\" (whom he calls \"Ringo\"), holding him at gunpoint. \"Honey Bunny\" (whose actual name is Yolanda) becomes hysterical and trains her gun on Jules. Vincent emerges from the restroom with his gun trained on her, creating a Mexican standoff Mexican standoff . Jules reprises the biblical passage he'd recited at Brett's place ( Ezekiel Ezekiel 25:17), this time with sincerity rather than for effect. Jules expresses his ambivalence about his life of crime. As his first act of redemption, he allows the two robbers to take the cash they have stolen and leave, but they leave the briefcase behind for Jules and Vincent to return to Marsellus. Thus, Jules finishes his final job for his boss. \n", " \n", "http://en.wikipedia.org/wiki/The_African_Queen_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Robert Morley and Katharine Hepburn play Samuel and Rose Sayer, brother and sister British Methodist missionaries in the village of Kungdu in German East Africa at the beginning of World War I in August/September 1914. Their mail and supplies are delivered by the rough-and-ready Canadian boat captain Charlie Allnut (Humphrey Bogart) of the African Queen, whose coarse behaviour they tolerate in a rather stiff manner. Robert Morley Robert Morley and Katharine Hepburn Katharine Hepburn play Samuel and Rose Sayer, brother and sister British Methodist Methodist missionaries in the village of Kungdu in German East Africa German East Africa at the beginning of World War I World War I in August/September 1914. Their mail and supplies are delivered by the rough-and-ready Canadian Canadian boat captain Charlie Allnut ( Humphrey Bogart Humphrey Bogart ) of the African Queen African Queen African Queen , whose coarse behaviour they tolerate in a rather stiff manner. \n", " \n", "\n", "\n", "\n", "\n", "\n", " \n", " \n", "\n", "\n", "\n", " \n", " \n", "\n", " \n", " \n", " \n", " \n", " \n", " When Charlie warns them that war has broken out between Germany and Britain, the Sayers choose to stay on, only to witness the Germans burning down the mission village and herding the villagers away. When Samuel protests, he is beaten by a German soldier. After the Germans leave, Samuel becomes delirious with fever and soon dies. Charlie returns shortly afterward. He helps Rose bury her brother, and they set off in the African Queen. When Charlie warns them that war has broken out war has broken out between Germany Germany and Britain Britain , the Sayers choose to stay on, only to witness the Germans burning down the mission village and herding the villagers away. When Samuel protests, he is beaten by a German soldier. After the Germans leave, Samuel becomes delirious with fever fever and soon dies. Charlie returns shortly afterward. He helps Rose bury her brother, and they set off in the African Queen African Queen . \n", " In discussing their situation, Charlie mentions to Rose that the Germans have a gunboat, the Queen Louisa (actually K\u00f6nigin Luise in German), which patrols a large lake downriver, effectively blocking any British counter-attacks. Rose comes up with a plan to convert the African Queen into a torpedo boat, and sink the Queen Louisa. Charlie points out that navigating the river would be suicidal: to reach the lake they would have to pass a German fort and negotiate several dangerous rapids. But Rose is insistent and eventually persuades him to go along with the plan. In discussing their situation, Charlie mentions to Rose that the Germans have a gunboat gunboat , the Queen Louisa Queen Louisa (actually K\u00f6nigin Luise K\u00f6nigin Luise in German German ), which patrols a large lake downriver, effectively blocking any British counter-attacks. Rose comes up with a plan to convert the African Queen African Queen into a torpedo torpedo boat, and sink the Queen Louisa Queen Louisa . Charlie points out that navigating the river river would be suicidal: to reach the lake they would have to pass a German fort and negotiate several dangerous rapids rapids . But Rose is insistent and eventually persuades him to go along with the plan. \n", " Charlie hoped after passing the first obstacle that Rose would be discouraged, but she is confident they can handle what is yet to come, and argues that Charlie promised to go all the way. During their journey down the river, Charlie, Rose and the African Queen encounter many obstacles, including the German fort and three sets of rapids. The first set of rapids is rather easy; they get through with minimal flooding in the boat. But Rose and Charlie have to duck down when they pass the fortress and the soldiers begin shooting at them, blowing two bullet holes in the top of the boiler and causing one of the steam pressure hoses to disconnect from the boiler, which in turn, causes the boat's engine to stop running. Luckily, Charlie manages to reattach the hose to the boiler just as they are about to enter the second set of rapids. The boat rolls and pitches crazily as it goes down the rapids, leading to more severe flooding in the boat and also collapsing the stern canopy. Charlie hoped after passing the first obstacle that Rose would be discouraged, but she is confident they can handle what is yet to come, and argues that Charlie promised to go all the way. During their journey down the river, Charlie, Rose and the African Queen African Queen encounter many obstacles, including the German fort and three sets of rapids. The first set of rapids is rather easy; they get through with minimal flooding in the boat. But Rose and Charlie have to duck down when they pass the fortress and the soldiers begin shooting at them, blowing two bullet holes in the top of the boiler and causing one of the steam pressure hoses to disconnect from the boiler, which in turn, causes the boat's engine to stop running. Luckily, Charlie manages to reattach the hose to the boiler just as they are about to enter the second set of rapids. The boat rolls and pitches crazily as it goes down the rapids, leading to more severe flooding in the boat and also collapsing the stern canopy. \n", " While celebrating their success, the two find themselves in an embrace. Embarrassed, they break off, but eventually succumb and strike up a relationship. The couple decide to take a pit stop to gather more fuel and drain the boat. Back on the river, Charlie and Rose watch hippopotamuses and chimpanzees frolic on the nearby river bank when the third set of rapids comes up. This time, there is a loud metallic clattering noise as the boat goes over the falls. Once again, the couple dock on the river bank to check for damage. When Charlie dives under the boat, he finds the propeller shaft bent sideways and a blade missing from the propeller. Luckily, with some expert skills and using suggestions from Rose, Charlie manages to straighten the shaft and weld a new blade on to the propeller, and they are off again. While celebrating their success, the two find themselves in an embrace. Embarrassed, they break off, but eventually succumb and strike up a relationship. The couple decide to take a pit stop to gather more fuel and drain the boat. Back on the river, Charlie and Rose watch hippopotamuses hippopotamuses and chimpanzees chimpanzees frolic on the nearby river bank when the third set of rapids comes up. This time, there is a loud metallic clattering noise as the boat goes over the falls. Once again, the couple dock on the river bank to check for damage. When Charlie dives under the boat, he finds the propeller shaft bent sideways and a blade missing from the propeller. Luckily, with some expert skills and using suggestions from Rose, Charlie manages to straighten the shaft and weld a new blade on to the propeller, and they are off again. \n", " \n", "\n", "\n", "\n", "\n", "\n", " \n", " \n", "\n", "\n", "\n", " \n", " \n", "\n", " \n", " \n", " \n", " \n", " \n", " All appears lost when Charlie and Rose \"lose the channel\" and the boat becomes mired in the mud amid dense reeds near the mouth of the river. First, they try to tow the boat through the muck, only to have Charlie come out of the water covered with leeches. All their efforts to free the African Queen fail. With no supplies left and short of potable water, Rose and a feverish Charlie turn in, convinced they have no hope of survival. Before going to sleep Rose prays that she and Charlie be admitted into Heaven. As they sleep, exhausted and beaten, heavy rains raise the river's level and float the African Queen off of the mud and into the lake which, it turns out, is just a short distance from their location. Once on the lake, they narrowly avoid being spotted by the Queen Louisa. All appears lost when Charlie and Rose \"lose the channel\" and the boat becomes mired in the mud amid dense reeds near the mouth of the river. First, they try to tow the boat through the muck, only to have Charlie come out of the water covered with leeches leeches . All their efforts to free the African Queen African Queen fail. With no supplies left and short of potable water, Rose and a feverish Charlie turn in, convinced they have no hope of survival. Before going to sleep Rose prays that she and Charlie be admitted into Heaven. As they sleep, exhausted and beaten, heavy rains raise the river's level and float the African Queen African Queen off of the mud and into the lake which, it turns out, is just a short distance from their location. Once on the lake, they narrowly avoid being spotted by the Queen Louisa Queen Louisa . \n", " That night, they set about converting some oxygen cylinders into torpedoes using gelatin explosives and improvised detonators that use nails as the firing pins for rifle cartridges. They then attach the torpedoes through the bow of the African Queen, to be used as improvised Spar torpedoes. At the height of a storm, they push the African Queen out onto the lake, intending to set it on a collision course with the Queen Louisa. Unfortunately, the holes in the bow in which the torpedoes were pushed through are not sealed, allowing water to pour into the boat, causing it to sink lower and eventually the African Queen tips over. That night, they set about converting some oxygen oxygen cylinders into torpedoes using gelatin explosives gelatin explosives and improvised detonators that use nails as the firing pins for rifle cartridges. They then attach the torpedoes through the bow of the African Queen African Queen , to be used as improvised Spar torpedoes Spar torpedoes . At the height of a storm, they push the African Queen African Queen out onto the lake, intending to set it on a collision course with the Queen Louisa Queen Louisa . Unfortunately, the holes in the bow in which the torpedoes were pushed through are not sealed, allowing water to pour into the boat, causing it to sink lower and eventually the African Queen African Queen tips over. \n", " Charlie is captured and taken aboard the Queen Louisa, where he is questioned by the captain. Believing Rose to have drowned, he makes no attempt to defend himself against accusations of spying and is sentenced to death by hanging. However, Rose is captured too and Charlie hollers her name, then pretends not to know her. The captain questions her, and Rose confesses the whole plot proudly, deciding they have nothing to lose anyway. The captain sentences her too to be executed as a spy. Charlie asks the German captain to marry them before executing them. After a brief marriage ceremony, the Germans prepare to hang them, when there is a sudden explosion and the Queen Louisa starts to sink. The Queen Louisa has struck the overturned hull of the African Queen and detonated the torpedoes. Rose's plan has worked, if a little belatedly, and the newly married couple swim to safety in Kenya. Charlie is captured and taken aboard the Queen Louisa Queen Louisa , where he is questioned questioned by the captain. Believing Rose to have drowned drowned , he makes no attempt to defend himself against accusations of spying and is sentenced to death by hanging. However, Rose is captured too and Charlie hollers her name, then pretends not to know her. The captain questions her, and Rose confesses the whole plot proudly, deciding they have nothing to lose anyway. The captain sentences her too to be executed executed as a spy as a spy . Charlie asks the German captain to marry marry them before executing them. After a brief marriage ceremony, the Germans prepare to hang hang them, when there is a sudden explosion and the Queen Louisa Queen Louisa starts to sink. The Queen Louisa Queen Louisa has struck the overturned hull of the African Queen African Queen and detonated the torpedoes. Rose's plan has worked, if a little belatedly, and the newly married couple swim to safety in Kenya Kenya . \n", " \n", "http://en.wikipedia.org/wiki/Stagecoach_(1939_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In 1880, a motley group of strangers boards the east-bound stagecoach from Tonto, Arizona Territory to Lordsburg, New Mexico Territory. These travelers are unremarkable and ordinary at first glance.[2] Among them are Dallas (Claire Trevor), a prostitute who is being driven out of town by the members of the \"Law and Order League\"; an alcoholic doctor, Doc Boone (Thomas Mitchell); pregnant Lucy Mallory (Louise Platt), who is traveling to see her cavalry officer husband; and whiskey salesman Samuel Peacock (Donald Meek). In 1880, a motley group of strangers boards the east-bound stagecoach stagecoach from Tonto, Arizona Territory Arizona Territory to Lordsburg Lordsburg , New Mexico Territory New Mexico Territory . These travelers are unremarkable and ordinary at first glance. [2] [2] [ [ 2 ] ] Among them are Dallas ( Claire Trevor Claire Trevor ), a prostitute prostitute who is being driven out of town by the members of the \"Law and Order League\"; an alcoholic doctor, Doc Boone ( Thomas Mitchell Thomas Mitchell ); pregnant Lucy Mallory ( Louise Platt Louise Platt ), who is traveling to see her cavalry officer husband; and whiskey salesman Samuel Peacock ( Donald Meek Donald Meek ). \n", " When the stage driver, Buck (Andy Devine), looks for his normal shotgun guard, Marshal Curly Wilcox (George Bancroft) tells him that the guard has gone searching for fugitive the Ringo Kid. Buck tells Marshal Wilcox that Luke Plummer (Tom Tyler) is in Lordsburg. Knowing that Kid has vowed to avenge the deaths of his father and brother at Plummer's hands, the marshal decides to ride along as guard. When the stage driver, Buck ( Andy Devine Andy Devine ), looks for his normal shotgun guard, Marshal Curly Wilcox ( George Bancroft George Bancroft ) tells him that the guard has gone searching for fugitive the Ringo Kid. Buck tells Marshal Wilcox that Luke Plummer ( Tom Tyler Tom Tyler ) is in Lordsburg. Knowing that Kid has vowed to avenge the deaths of his father and brother at Plummer's hands, the marshal decides to ride along as guard. \n", " As they set out, U.S. cavalry Lieutenant Blanchard (Tim Holt) informs the group that Geronimo and his Apaches are on the warpath and his small troop will provide an escort until they reach Dry Fork. As they depart, the stagecoach is flagged down to pick up two more passengers, gambler and Southern gentleman Hatfield (John Carradine) as well as banker Henry Gatewood (Berton Churchill), who is absconding with $50,000 embezzled from his bank. As they set out, U.S. cavalry U.S. cavalry Lieutenant Blanchard ( Tim Holt Tim Holt ) informs the group that Geronimo Geronimo and his Apaches Apaches are on the warpath and his small troop will provide an escort until they reach Dry Fork. As they depart, the stagecoach is flagged down to pick up two more passengers, gambler and Southern gentleman Hatfield ( John Carradine John Carradine ) as well as banker Henry Gatewood ( Berton Churchill Berton Churchill ), who is absconding with $50,000 embezzled from his bank. \n", " Along the way, they come across the Ringo Kid (John Wayne), whose horse became lame and left him afoot. Even though they are friends, Curly has no choice but to take Ringo into custody. As the trip progresses, Ringo takes a strong liking to Dallas. When Doc Boone tells Peacock that he served as a doctor in the Union Army during the \"War of the Rebellion,\" Hatfield quickly uses a Southern term, the \"War for the Southern Confederacy.\" Along the way, they come across the Ringo Kid ( John Wayne John Wayne ), whose horse became lame and left him afoot. Even though they are friends, Curly has no choice but to take Ringo into custody. As the trip progresses, Ringo takes a strong liking to Dallas. When Doc Boone tells Peacock that he served as a doctor in the Union Army during the \"War of the Rebellion,\" Hatfield quickly uses a Southern term, the \"War for the Southern Confederacy.\" \n", " When the stage reaches Dry Fork, the group is informed that the expected cavalry detachment has gone to Apache Wells. Buck wants to turn back, but Curly demands that the group vote. With only Buck and Peacock objecting, they decide to proceed on to Apache Wells. At lunch before departing, the group is taken aback when Ringo invites Dallas to sit at the main table, and Mrs. Mallory is clearly uncomfortable having lunch with a prostitute. Mrs. Mallory later asks Hatfield whether he was ever in Virginia; he tells her he served in the Confederate Army under her father's command. When they arrive, she faints and goes into labor when she hears that her husband had been wounded in battle and has left. Doc Boone is called upon to assist the delivery, and later Dallas emerges holding a healthy baby girl. Later that night, Ringo asks Dallas to marry him. She does not give him an immediate answer, afraid to reveal her checkered past, but the next morning, she agrees if he promises to give up his plan to fight the Plummers. He does so, but she tells him to go alone and will meet him later, because she does not want to leave Mrs. Mallory and the new baby. Encouraged, Ringo escapes but returns when he sees smoke signals as signs of an Apache attack. The passengers quickly gather their belongings and leave to avoid any encounters with the Apache. When the stage reaches Dry Fork, the group is informed that the expected cavalry detachment has gone to Apache Wells. Buck wants to turn back, but Curly demands that the group vote. With only Buck and Peacock objecting, they decide to proceed on to Apache Wells. At lunch before departing, the group is taken aback when Ringo invites Dallas to sit at the main table, and Mrs. Mallory is clearly uncomfortable having lunch with a prostitute. Mrs. Mallory later asks Hatfield whether he was ever in Virginia; he tells her he served in the Confederate Army under her father's command. When they arrive, she faints and goes into labor when she hears that her husband had been wounded in battle and has left. Doc Boone is called upon to assist the delivery, and later Dallas emerges holding a healthy baby girl. Later that night, Ringo asks Dallas to marry him. She does not give him an immediate answer, afraid to reveal her checkered past, but the next morning, she agrees if he promises to give up his plan to fight the Plummers. He does so, but she tells him to go alone and will meet him later, because she does not want to leave Mrs. Mallory and the new baby. Encouraged, Ringo escapes but returns when he sees smoke signals as signs of an Apache attack. The passengers quickly gather their belongings and leave to avoid any encounters with the Apache. \n", " When the stagecoach reaches Lee's Ferry, the passengers find that the station and ferry have been burned and those who were not killed have fled. Curly releases Ringo from his handcuffs to help tie large logs to the sides of the stagecoach and float it across the river. Just when they think that danger has passed, they are set upon by a band of Apaches. During a long chase, Peacock and Buck are hit and they all run out of ammunition. As Hatfield is about to use his last bullet to save Mrs. Mallory from being taken alive, he is fatally wounded. Just then, the 6th U.S. cavalry arrives to the rescue of the group. When the stagecoach reaches Lee's Ferry, the passengers find that the station and ferry have been burned and those who were not killed have fled. Curly releases Ringo from his handcuffs to help tie large logs to the sides of the stagecoach and float it across the river. Just when they think that danger has passed, they are set upon by a band of Apaches. During a long chase, Peacock and Buck are hit and they all run out of ammunition. As Hatfield is about to use his last bullet to save Mrs. Mallory from being taken alive, he is fatally wounded. Just then, the 6th U.S. cavalry 6th U.S. cavalry arrives to the rescue of the group. \n", " When the stage finally arrives in Lordsburg, Gatewood is arrested by the local sheriff, and Mrs. Mallory is told that her husband's wound is not serious. When Mrs. Mallory reconciles with Dallas, Dallas gives Mrs. Mallory her shawl to show no hard feelings. Dallas begs Ringo not to seek vengeance against the Plummers, but he is determined to settle matters. Curly grants him leave and his gun. In the ensuing shootout, Ringo dispatches Luke and his two brothers, then returns to Curly, expecting to return to jail. He asks the lawman to take Dallas to his ranch. However, when Ringo boards a wagon and says goodbye, Curly invites Dallas to ride to the edge of town. As she climbs aboard, Curly and Doc laugh and start the horses moving, letting Ringo \"escape\" with Dallas. When the stage finally arrives in Lordsburg, Gatewood is arrested by the local sheriff, and Mrs. Mallory is told that her husband's wound is not serious. When Mrs. Mallory reconciles with Dallas, Dallas gives Mrs. Mallory her shawl to show no hard feelings. Dallas begs Ringo not to seek vengeance against the Plummers, but he is determined to settle matters. Curly grants him leave and his gun. In the ensuing shootout, Ringo dispatches Luke and his two brothers, then returns to Curly, expecting to return to jail. He asks the lawman to take Dallas to his ranch. However, when Ringo boards a wagon and says goodbye, Curly invites Dallas to ride to the edge of town. As she climbs aboard, Curly and Doc laugh and start the horses moving, letting Ringo \"escape\" with Dallas. \n", " \n", "http://en.wikipedia.org/wiki/Mutiny_on_the_Bounty_(1962_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In the year 1787, the Bounty sets sail from England for Tahiti under the command of captain William Bligh (Trevor Howard). Her mission is to transport breadfruit to Jamaica, where hopefully it will thrive and provide a cheap source of food for the slaves. In the year 1787, the Bounty Bounty sets sail from England England for Tahiti Tahiti under the command of captain William Bligh ( Trevor Howard Trevor Howard ). Her mission is to transport breadfruit breadfruit to Jamaica Jamaica , where hopefully it will thrive and provide a cheap source of food for the slaves. \n", " The difficult voyage gets off to a difficult start with the discovery that some cheese is missing. Bligh, the true pilferer, is accused of the theft by seaman John Mills (Richard Harris), and Bligh has Mills brutally flogged for showing contempt to his superior officer, to the disgust of his patrician second-in-command, 1st Lieutenant Fletcher Christian (Marlon Brando). The tone for the months to come is summarized by Bligh's ominous pronouncement that \"cruelty with a purpose is not cruelty, it is efficiency.\" Aristocrat Christian is deeply offended by his ambitious captain. The difficult voyage gets off to a difficult start with the discovery that some cheese is missing. Bligh, the true pilferer, is accused of the theft by seaman John Mills ( Richard Harris Richard Harris ), and Bligh has Mills brutally flogged for showing contempt to his superior officer, to the disgust of his patrician patrician second-in-command, 1st Lieutenant Fletcher Christian ( Marlon Brando Marlon Brando ). The tone for the months to come is summarized by Bligh's ominous pronouncement that \"cruelty with a purpose is not cruelty, it is efficiency.\" Aristocrat Christian is deeply offended by his ambitious captain. \n", " Bligh attempts to reach Tahiti sooner by attempting the shorter westbound route around Cape Horn, a navigational nightmare. The strategy fails and the Bounty backtracks east, costing the mission much time. Singleminded Bligh attempts to make up the lost time by pushing the crew harder and cutting their rations. Bligh attempts to reach Tahiti sooner by attempting the shorter westbound route around Cape Horn Cape Horn , a navigational nightmare. The strategy fails and the Bounty Bounty backtracks east, costing the mission much time. Singleminded Bligh attempts to make up the lost time by pushing the crew harder and cutting their rations. \n", " When the Bounty reaches her destination, the crew revels in the easygoing life of the tropical paradise \u2014 and in the free-love philosophies of the Tahitian women. Christian himself is smitten with Maimiti (Tarita Teriipaia), daughter of the Tahitian king. Bligh's agitation is further fueled by a dormancy period of the breadfruit: more months of delay until the plants can be transplanted. As departure day nears, three men, including seaman Mills, attempt to desert but are caught by Christian and clapped in irons by Bligh. When the Bounty Bounty reaches her destination, the crew revels in the easygoing life of the tropical paradise \u2014 and in the free-love philosophies of the Tahitian women. Christian himself is smitten with Maimiti ( Tarita Teriipaia Tarita Teriipaia ), daughter of the Tahitian king. Bligh's agitation is further fueled by a dormancy period of the breadfruit: more months of delay until the plants can be transplanted. As departure day nears, three men, including seaman Mills, attempt to desert but are caught by Christian and clapped in irons by Bligh. \n", " On the return voyage, Bligh attempts to bring back twice the number of breadfruit plants to atone for his tardiness, and must reduce the water rations of the crew to water the extra plants. One member of the crew falls from the rigging to his death while attempting to retrieve the drinking ladle. Another assaults Bligh over conditions on the ship and is fatally keelhauled. Mills taunts Christian after each death, trying to egg him on to challenge Bligh. When a crewman becomes gravely ill from drinking seawater, Christian attempts to give him fresh water in violation of the Captain's orders. Bligh strikes Christian when he ignores his second order to stop. In response, Christian strikes Bligh. Bligh informs Christian that he will hang for his action when they reach port. With nothing left to lose, Christian takes command of the ship and sets Bligh and the loyalist members of the crew adrift in the longboat with navigational equipment, telling them to make for a local island. Bligh decides instead to cross much of the Pacific in order to reach British authorities sooner and arrives back in England with remarkable speed. On the return voyage, Bligh attempts to bring back twice the number of breadfruit plants to atone for his tardiness, and must reduce the water rations of the crew to water the extra plants. One member of the crew falls from the rigging to his death while attempting to retrieve the drinking ladle. Another assaults Bligh over conditions on the ship and is fatally keelhauled keelhauled . Mills taunts Christian after each death, trying to egg him on to challenge Bligh. When a crewman becomes gravely ill from drinking seawater, Christian attempts to give him fresh water in violation of the Captain's orders. Bligh strikes Christian when he ignores his second order to stop. In response, Christian strikes Bligh. Bligh informs Christian that he will hang for his action when they reach port. With nothing left to lose, Christian takes command of the ship and sets Bligh and the loyalist members of the crew adrift in the longboat longboat with navigational equipment, telling them to make for a local island. Bligh decides instead to cross much of the Pacific in order to reach British authorities sooner and arrives back in England with remarkable speed. \n", " Christian sails back to Tahiti to pick up supplies and the girlfriends of the crew, then on to remote and wrongly charted Pitcairn Island to hide from the wrath of the Royal Navy. Once on Pitcairn, Christian decides that it is their duty to return to England and testify to Bligh's wrongdoing and asks his men to sail with him. To prevent this possibility they set the ship on fire and Christian is fatally burned while trying to save it. Christian sails back to Tahiti to pick up supplies and the girlfriends of the crew, then on to remote and wrongly charted Pitcairn Island Pitcairn Island to hide from the wrath of the Royal Navy Royal Navy . Once on Pitcairn, Christian decides that it is their duty to return to England and testify to Bligh's wrongdoing and asks his men to sail with him. To prevent this possibility they set the ship on fire and Christian is fatally burned while trying to save it. \n", " \n", "http://en.wikipedia.org/wiki/The_Maltese_Falcon_(1941_film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels\u2014but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day \u2014\n", "\n", "\n", "\u2013 Introductory text appearing after the film's opening credits[7]\n", " \n", " \n", "\n", "In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels\u2014but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day \u2014\n", "\n", " \n", " \n", "In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels\u2014but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day \u2014\n", " \n", " In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels\u2014but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day \u2014 In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels\u2014but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day \u2014 In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels\u2014but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day \u2014 \n", " \n", " \n", " \u2013 Introductory text appearing after the film's opening credits[7] \u2013 Introductory text appearing after the film's opening credits [7] [7] [ [ 7 ] ] \n", " \n", " In 1941 San Francisco, private investigators Sam Spade (Humphrey Bogart) and Miles Archer (Jerome Cowan) meet prospective client Miss Ruth Wonderly (Mary Astor). She claims to be looking for her missing sister, who is involved with a man named Floyd Thursby. Wonderly is to meet Thursby. After receiving a substantial retainer, Archer agrees to follow her that night and help get her sister back. In 1941 San Francisco, private investigators private investigators Sam Spade Sam Spade ( Humphrey Bogart Humphrey Bogart ) and Miles Archer ( Jerome Cowan Jerome Cowan ) meet prospective client Miss Ruth Wonderly ( Mary Astor Mary Astor ). She claims to be looking for her missing sister, who is involved with a man named Floyd Thursby. Wonderly is to meet Thursby. After receiving a substantial retainer, Archer agrees to follow her that night and help get her sister back. \n", " That night, Spade is awakened by a phone call and informed that Archer has been killed. He meets his friend, Police Detective Tom Polhaus (Ward Bond), at the murder scene. He then calls Wonderly's hotel, but she has checked out. He is grilled by Polhaus and his supervisor, Lieutenant Dundy (Barton MacLane), who inform him that Thursby was also murdered that same evening. Dundy suggests that Spade had the opportunity and motive to kill Thursby, who likely killed Archer. Archer's widow Iva (Gladys George), with whom Spade previously had an affair, believes that Spade shot his partner so he could have her. That night, Spade is awakened by a phone call and informed that Archer has been killed. He meets his friend, Police Detective Tom Polhaus ( Ward Bond Ward Bond ), at the murder scene. He then calls Wonderly's hotel, but she has checked out. He is grilled by Polhaus and his supervisor, Lieutenant Dundy ( Barton MacLane Barton MacLane ), who inform him that Thursby was also murdered that same evening. Dundy suggests that Spade had the opportunity and motive to kill Thursby, who likely killed Archer. Archer's widow Iva ( Gladys George Gladys George ), with whom Spade previously had an affair, believes that Spade shot his partner so he could have her. \n", " \n", "\n", "\n", "\n", "Spade confronts O'Shaughnessy\n", "\n", " \n", " \n", "\n", "\n", "Spade confronts O'Shaughnessy\n", " \n", " \n", "\n", "Spade confronts O'Shaughnessy \n", " \n", "Spade confronts O'Shaughnessy \n", " \n", " \n", " Later that morning, Spade meets Wonderly, now calling herself Brigid O'Shaughnessy. She explains that Thursby was her partner and probably killed Archer, but claims to have no idea who killed Thursby. Spade is not convinced but agrees to investigate the murders. Later that morning, Spade meets Wonderly, now calling herself Brigid O'Shaughnessy. She explains that Thursby was her partner and probably killed Archer, but claims to have no idea who killed Thursby. Spade is not convinced but agrees to investigate the murders. \n", " At his office, Spade meets Joel Cairo (Peter Lorre), who first offers him a $5,000 fee to find a \"black figure of a bird,\" then pulls a gun on him in order to search the office. Spade manages to knock Cairo out and go through his belongings. When Cairo revives, he hires Spade. Later that evening, Spade tells O'Shaughnessy about Cairo. When Cairo shows up, it becomes clear that Spade's acquaintances know each other. Cairo becomes agitated when O'Shaughnessy reveals that the \"Fat Man\" is in San Francisco. At his office, Spade meets Joel Cairo ( Peter Lorre Peter Lorre ), who first offers him a $5,000 fee to find a \"black figure of a bird,\" then pulls a gun on him in order to search the office. Spade manages to knock Cairo out and go through his belongings. When Cairo revives, he hires Spade. Later that evening, Spade tells O'Shaughnessy about Cairo. When Cairo shows up, it becomes clear that Spade's acquaintances know each other. Cairo becomes agitated when O'Shaughnessy reveals that the \"Fat Man\" is in San Francisco. \n", " In the morning, Spade goes to Cairo's hotel, where he spots Wilmer (Elisha Cook, Jr.), a young man who had been following him earlier. He gives Wilmer a message for his boss, Kasper Gutman (Sydney Greenstreet), the \"Fat Man\". Spade meets Gutman. Gutman begins to talk about the Falcon, but becomes evasive, causing Spade to storm out. Later, Wilmer takes Spade at gunpoint to see Gutman. In response to Wilmer's needling, Spade remarks, \"the cheaper the crook, the gaudier the patter.\" Spade overpowers Wilmer, but meets with Gutman anyway. Gutman relates the history of the Maltese Falcon. He offers Spade $25,000 for the bird and a quarter of the proceeds from its sale, which he says could be an even greater amount. Then Spade passes out; his drink was spiked. Wilmer, Gutman and Cairo (who had been in the other room) depart. In the morning, Spade goes to Cairo's hotel, where he spots Wilmer ( Elisha Cook, Jr. Elisha Cook, Jr. ), a young man who had been following him earlier. He gives Wilmer a message for his boss, Kasper Gutman ( Sydney Greenstreet Sydney Greenstreet ), the \"Fat Man\". Spade meets Gutman. Gutman begins to talk about the Falcon, but becomes evasive, causing Spade to storm out. Later, Wilmer takes Spade at gunpoint to see Gutman. In response to Wilmer's needling, Spade remarks, \"the cheaper the crook, the gaudier the patter.\" Spade overpowers Wilmer, but meets with Gutman anyway. Gutman relates the history of the Maltese Falcon. He offers Spade $25,000 for the bird and a quarter of the proceeds from its sale, which he says could be an even greater amount. Then Spade passes out; his drink was spiked. Wilmer, Gutman and Cairo (who had been in the other room) depart. \n", " \n", "\n", "\n", "\n", "Gutman and Cairo confront Spade\n", "\n", " \n", " \n", "\n", "\n", "Gutman and Cairo confront Spade\n", " \n", " \n", "\n", "Gutman and Cairo confront Spade \n", " \n", "Gutman and Cairo confront Spade \n", " \n", " \n", " When Spade awakens, he searches the suite and finds a newspaper with the arrival time of the freighter La Paloma circled. He goes to the dock, only to find the ship on fire. Later, Captain Jacobi of the La Paloma (Walter Huston) staggers into Spade's office before dying. The bundle he was clutching contains the Maltese Falcon. When Spade awakens, he searches the suite and finds a newspaper with the arrival time of the freighter La Paloma La Paloma circled. He goes to the dock, only to find the ship on fire. Later, Captain Jacobi of the La Paloma La Paloma ( Walter Huston Walter Huston ) staggers into Spade's office before dying. The bundle he was clutching contains the Maltese Falcon. \n", " The phone rings. O'Shaughnessy gives an address and then screams before the line goes dead. Spade stashes the package in a bus terminal baggage room, then goes to the address. It turns out to be an empty lot. Spade returns home and finds O'Shaughnessy hiding in a doorway. He takes her inside and finds Gutman, Cairo, and Wilmer waiting for him, guns drawn. Gutman gives Spade $10,000 for the Falcon, but Spade tells them that part of his price is someone he can turn over to the police for the murders of Archer, Thursby, and Captain Jacobi. Spade suggests Wilmer as the best choice, since he certainly killed Thursby and Jacobi. After some intense negotiation, Gutman and Cairo agree; Wilmer is knocked out in a scuffle. Spade gets the details of what happened and who killed whom, so that he can present a convincing story to the police along with Wilmer. The phone rings. O'Shaughnessy gives an address and then screams before the line goes dead. Spade stashes the package in a bus terminal baggage room, then goes to the address. It turns out to be an empty lot. Spade returns home and finds O'Shaughnessy hiding in a doorway. He takes her inside and finds Gutman, Cairo, and Wilmer waiting for him, guns drawn. Gutman gives Spade $10,000 for the Falcon, but Spade tells them that part of his price is someone he can turn over to the police for the murders of Archer, Thursby, and Captain Jacobi. Spade suggests Wilmer as the best choice, since he certainly killed Thursby and Jacobi. After some intense negotiation, Gutman and Cairo agree; Wilmer is knocked out in a scuffle. Spade gets the details of what happened and who killed whom, so that he can present a convincing story to the police along with Wilmer. \n", " Just after dawn, Spade calls his secretary, Effie Perrine (Lee Patrick), to bring him the bundle. However, when Gutman inspects the black statuette, he discovers that it is a fake. He invites Cairo to return with him to Istanbul to continue their quest. After they leave, Spade calls the police and tells them where to pick up the pair. Spade then angrily confronts O'Shaughnessy, telling her he knows she killed Archer to implicate Thursby, her unwanted accomplice. O'Shaughnessy cannot believe that Spade would turn her over to the police, but he does, despite his feelings for her. Just after dawn, Spade calls his secretary, Effie Perrine ( Lee Patrick Lee Patrick ), to bring him the bundle. However, when Gutman inspects the black statuette, he discovers that it is a fake. He invites Cairo to return with him to Istanbul Istanbul to continue their quest. After they leave, Spade calls the police and tells them where to pick up the pair. Spade then angrily confronts O'Shaughnessy, telling her he knows she killed Archer to implicate Thursby, her unwanted accomplice. O'Shaughnessy cannot believe that Spade would turn her over to the police, but he does, despite his feelings for her. \n", " \n", "http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " In futuristic London, Alex DeLarge is the leader of his \"droogs,\" Georgie, Dim, and Pete. One night, after getting intoxicated on \"milk plus\" (milk laced with drugs), they engage in an evening of \"ultra-violence,\" including beating an elderly vagrant and fighting a rival gang led by Billyboy. Stealing a car, they drive to the country home of writer F. Alexander, where they beat Mr. Alexander to the point of crippling him for life. Alex then rapes his wife while singing \"Singin' in the Rain.\" In futuristic London, Alex DeLarge is the leader of his \"droogs,\" Georgie, Dim, and Pete. One night, after getting intoxicated on \"milk plus\" (milk laced with drugs), they engage in an evening of \"ultra-violence,\" including beating an elderly vagrant and fighting a rival gang led by Billyboy. Stealing a car, they drive to the country home of writer F. Alexander, where they beat Mr. Alexander to the point of crippling him for life. Alex then rapes his wife while singing \" Singin' in the Rain Singin' in the Rain .\" \n", " The next day, while truant from school, Alex is approached by probation officer Mr. P. R. Deltoid, who is aware of Alex's activities and cautions him. In response, Alex visits a record store where he picks up two girls, Sonietta and Marty. He takes them home and has sex with them. The next day, while truant from school, Alex is approached by probation officer Mr. P. R. Deltoid, who is aware of Alex's activities and cautions him. In response, Alex visits a record store where he picks up two girls, Sonietta and Marty. He takes them home and has sex with them. \n", " That night, his droogs express discontent with Alex's petty crimes, demanding more equality and more high-yield thefts. Alex reasserts his leadership by attacking them. Later Alex invades the mansion of a wealthy \"cat-lady,\" while his droogs remain at the front door. Alex bludgeons the woman with a phallic statue. Hearing police sirens, Alex tries to run away, but Dim smashes a pint bottle of milk across his face, leaving him stunned and bleeding. Alex is captured and beaten by the police. A gloating Deltoid spits in his face after he informs him that the woman died in the hospital, making him a murderer. Alex is sentenced to 14 years in prison. That night, his droogs express discontent with Alex's petty crimes, demanding more equality and more high-yield thefts. Alex reasserts his leadership by attacking them. Later Alex invades the mansion of a wealthy \"cat-lady,\" while his droogs remain at the front door. Alex bludgeons the woman with a phallic statue. Hearing police sirens, Alex tries to run away, but Dim smashes a pint bottle of milk across his face, leaving him stunned and bleeding. Alex is captured and beaten by the police. A gloating Deltoid spits in his face after he informs him that the woman died in the hospital, making him a murderer. Alex is sentenced to 14 years in prison. \n", " Two years into the sentence, the Minister of the Interior arrives at the prison looking for test subjects for the Ludovico technique, an experimental aversion therapy for rehabilitating criminals within two weeks; Alex readily volunteers. The process involves drugging the subject, strapping him to a chair, propping his eyelids open, and forcing him to watch images of violence. Alex becomes nauseated due to the drugs. He realizes that one of the films' soundtracks is by his favourite composer, Ludwig van Beethoven, and that the Ludovico technique will make him sick when he hears the music he loves. He begs the doctors to end the treatment, but they do not listen to his pleas. Two years into the sentence, the Minister of the Interior Minister of the Interior arrives at the prison looking for test subjects for the Ludovico technique Ludovico technique , an experimental aversion therapy aversion therapy for rehabilitating criminals within two weeks; Alex readily volunteers. The process involves drugging the subject, strapping him to a chair, propping his eyelids open, and forcing him to watch images of violence. Alex becomes nauseated due to the drugs. He realizes that one of the films' soundtracks is by his favourite composer, Ludwig van Beethoven Ludwig van Beethoven , and that the Ludovico technique will make him sick when he hears the music he loves. He begs the doctors to end the treatment, but they do not listen to his pleas. \n", " After two weeks of the Ludovico technique, the Minister of the Interior puts on a demonstration to prove that Alex is \"cured\". He is shown to be incapable of fighting back against an actor who insults and attacks him, and he becomes violently ill at the sight of a topless woman. The prison chaplain protests at the results, feeling that Alex has been robbed of his God-given freewill: \"He ceases to be a wrongdoer. He ceases also to be a creature capable of moral choice.\" The prison governor asserts that they are not interested in the higher ethics but only with \"cutting down crime and relieving the ghastly congestion in our prisons.\" After two weeks of the Ludovico technique, the Minister of the Interior puts on a demonstration to prove that Alex is \"cured\". He is shown to be incapable of fighting back against an actor who insults and attacks him, and he becomes violently ill at the sight of a topless woman. The prison chaplain protests at the results, feeling that Alex has been robbed of his God-given freewill: \"He ceases to be a wrongdoer. He ceases also to be a creature capable of moral choice.\" The prison governor asserts that they are not interested in the higher ethics but only with \"cutting down crime and relieving the ghastly congestion in our prisons.\" \n", " Alex is released and finds that his possessions have been confiscated by the police to help make restitution to his victims, and that his parents have rented out his room. Homeless, Alex encounters the elderly vagrant from before, who attacks him with several other friends. Alex is saved by two policemen who turn out to be Dim and Georgie. They drag Alex to the countryside, where they beat and nearly drown him. The dazed Alex wanders the countryside before coming to the home of the writer Mr. Alexander, who is now paralyzed. Alex collapses, then wakes up to find himself being cared for by Alexander and his manservant, Julian. Mr. Alexander, who does not recognize Alex as his attacker, has read about his treatment in the newspapers. Seeing Alex as a political weapon to attack the government, Mr. Alexander prepares to introduce Alex to his colleagues, but then he hears Alex singing \"Singin' in the Rain\" in the bath, and identifies Alex as the attacker who crippled him and raped his wife. With his colleagues' help, Alexander drugs Alex and places him in a locked upstairs bedroom. Alex wakes to hear Beethoven's Ninth Symphony playing loudly through the floor below. Experiencing excruciating pain, he tries to commit suicide by jumping from the window and is knocked unconscious by the fall. Alex is released and finds that his possessions have been confiscated by the police to help make restitution to his victims, and that his parents have rented out his room. Homeless, Alex encounters the elderly vagrant from before, who attacks him with several other friends. Alex is saved by two policemen who turn out to be Dim and Georgie. They drag Alex to the countryside, where they beat and nearly drown him. The dazed Alex wanders the countryside before coming to the home of the writer Mr. Alexander, who is now paralyzed. Alex collapses, then wakes up to find himself being cared for by Alexander and his manservant, Julian. Mr. Alexander, who does not recognize Alex as his attacker, has read about his treatment in the newspapers. Seeing Alex as a political weapon to attack the government, Mr. Alexander prepares to introduce Alex to his colleagues, but then he hears Alex singing \"Singin' in the Rain\" in the bath, and identifies Alex as the attacker who crippled him and raped his wife. With his colleagues' help, Alexander drugs Alex and places him in a locked upstairs bedroom. Alex wakes to hear Beethoven's Ninth Symphony Beethoven's Ninth Symphony playing loudly through the floor below. Experiencing excruciating pain, he tries to commit suicide suicide by jumping from the window and is knocked unconscious by the fall. \n", " Alex wakes up in a hospital with broken bones. While being given a series of psychological tests, Alex finds that he no longer has an aversion to violence or to sex. The Minister of the Interior arrives and apologizes to Alex. He offers to take care of Alex and get him a job in return for cooperation with his election campaign and PR counter-offensive. As a sign of goodwill, the Minister brings in a stereo system playing Beethoven's Ninth. Alex then contemplates violence and vivid thoughts of himself having sex in the snow with a woman in front of an approving crowd: \"I was cured, all right!\" Alex wakes up in a hospital with broken bones. While being given a series of psychological tests, Alex finds that he no longer has an aversion to violence or to sex. The Minister of the Interior arrives and apologizes to Alex. He offers to take care of Alex and get him a job in return for cooperation with his election campaign and PR PR counter-offensive. As a sign of goodwill, the Minister brings in a stereo system playing Beethoven's Ninth. Alex then contemplates violence and vivid thoughts of himself having sex in the snow with a woman in front of an approving crowd: \"I was cured, all right!\" \n", " \n", "http://en.wikipedia.org/wiki/Taxi_Driver\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Travis Bickle, an honorably discharged U.S. Marine, is a lonely and depressed man in New York City. He becomes a taxi driver to cope with chronic insomnia, driving passengers every night around the boroughs of New York City. He also spends time in seedy porn theaters and keeps a diary. Travis becomes infatuated with Betsy, a campaign volunteer for Senator Charles Palantine, who is running for President. After watching her interact with fellow worker Tom through her window, Travis enters to volunteer as a pretext to talk to her, and takes her out for coffee. On a later date, he takes her to see a Swedish sex education film, which offends her, and she goes home alone. His attempts at reconciliation by sending flowers are rebuffed, so he berates her at the campaign office, before being kicked out by Tom. Travis Bickle Travis Bickle , an honorably discharged honorably discharged U.S. Marine U.S. Marine , is a lonely and depressed man in New York City New York City . He becomes a taxi driver to cope with chronic insomnia, driving passengers every night around the boroughs boroughs of New York City. He also spends time in seedy porn theaters porn theaters and keeps a diary. Travis becomes infatuated with Betsy, a campaign volunteer for Senator Charles Palantine, who is running for President President . After watching her interact with fellow worker Tom through her window, Travis enters to volunteer as a pretext to talk to her, and takes her out for coffee. On a later date, he takes her to see a Swedish sex education film Swedish sex education film , which offends her, and she goes home alone. His attempts at reconciliation by sending flowers are rebuffed, so he berates her at the campaign office, before being kicked out by Tom. \n", " Travis confides in fellow taxi driver Wizard about his thoughts, which are beginning to turn violent, but Wizard assures him that he will be fine. Disgusted by the street crime and prostitution that he witnesses throughout the city, Travis finds an outlet for his frustration and begins a program of intense physical training. He buys guns from dealer Easy Andy and constructs a sleeve gun to attach on his arm, with which he practices drawing his weapons. One night, Travis enters a convenience store moments before a man attempts to rob it, and he shoots the robber. The shop owner takes responsibility and Travis leaves. On another night, teenage prostitute Iris[2] enters Travis's cab, attempting to escape her pimp Matthew \"Sport\" Higgins. Sport drags Iris from the cab and throws Travis a crumpled twenty-dollar bill, which continually reminds him of her. Some time later, Travis hires her (Iris), but instead of having sex with her, attempts to dissuade her from continuing in prostitution. He fails to completely turn her from her course, but she does agree to meet with him for breakfast the next day, and Travis becomes obsessed with helping her return to her parents' home, sending her money to do so and a letter in which he states he will soon be dead. Travis confides in fellow taxi driver Wizard about his thoughts, which are beginning to turn violent, but Wizard assures him that he will be fine. Disgusted by the street crime and prostitution prostitution that he witnesses throughout the city, Travis finds an outlet for his frustration and begins a program of intense physical training. He buys guns from dealer Easy Andy and constructs a sleeve gun sleeve gun to attach on his arm, with which he practices drawing his weapons. One night, Travis enters a convenience store moments before a man attempts to rob it, and he shoots the robber. The shop owner takes responsibility and Travis leaves. On another night, teenage prostitute prostitute Iris [2] [2] [ [ 2 ] ] enters Travis's cab, attempting to escape her pimp pimp Matthew \"Sport\" Higgins. Sport drags Iris from the cab and throws Travis a crumpled twenty-dollar bill, which continually reminds him of her. Some time later, Travis hires her (Iris), but instead of having sex with her, attempts to dissuade her from continuing in prostitution. He fails to completely turn her from her course, but she does agree to meet with him for breakfast the next day, and Travis becomes obsessed with helping her return to her parents' home, sending her money to do so and a letter in which he states he will soon be dead. \n", " After shaving his head into a mohawk, Travis attends a public rally, where he attempts to assassinate Senator Palantine, but Secret Service agents notice him and he flees without taking a shot. He returns to his apartment and then drives to the East Village, where he confronts Sport. Travis shoots Sport, then walks into Iris's brothel and shoots off the bouncer's fingers. After a wounded Sport shoots Travis, grazing his neck, Travis shoots and kills him. Iris's john, a mobster, appears and shoots Travis in the arm, but Travis reveals his sleeve gun and kills the gangster. The bouncer continues to harass Travis, causing Travis to shoot him in the head and kill him. As a horrified Iris cries, Travis attempts suicide but, out of ammunition, resigns himself to a sofa until police arrive. When they do, he places his index finger against his temple gesturing the act of shooting himself. While recuperating, Travis receives a letter from Iris's parents, who thank him for saving her, and the media hail him as a hero. Travis then returns to his job and encounters Betsy as a fare. She discusses his newfound fame, but he denies being a hero and drops her off free of charge. He glances at her in his rear view mirror as he drives away. After shaving his head into a mohawk mohawk , Travis attends a public rally, where he attempts to assassinate Senator Palantine, but Secret Service Secret Service agents notice him and he flees without taking a shot. He returns to his apartment and then drives to the East Village East Village , where he confronts Sport. Travis shoots Sport, then walks into Iris's brothel and shoots off the bouncer's fingers. After a wounded Sport shoots Travis, grazing his neck, Travis shoots and kills him. Iris's john john , a mobster, appears and shoots Travis in the arm, but Travis reveals his sleeve gun and kills the gangster. The bouncer continues to harass Travis, causing Travis to shoot him in the head and kill him. As a horrified Iris cries, Travis attempts suicide but, out of ammunition, resigns himself to a sofa until police arrive. When they do, he places his index finger against his temple gesturing the act of shooting himself. While recuperating, Travis receives a letter from Iris's parents, who thank him for saving her, and the media hail him as a hero. Travis then returns to his job and encounters Betsy as a fare. She discusses his newfound fame, but he denies being a hero and drops her off free of charge. He glances at her in his rear view mirror as he drives away. \n", " \n", "http://en.wikipedia.org/wiki/Wuthering_Heights_%281939_film%29\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " A traveller named Lockwood (Miles Mander) is caught in the snow and stays at the estate of Wuthering Heights, despite the cold behaviour of his aged host, Heathcliff (Laurence Olivier). Late that night, after being shown into an upstairs room that was once a bridal chamber, Lockwood is awakened by a cold draft and finds the window shutter flapping back and forth. Just as he is about to close it, he feels an icy hand clutching his and sees a woman outside calling, \"Heathcliff, let me in! I'm out on the moors. It's Cathy!\" Lockwood calls Heathcliff and tells him what he saw, whereupon the enraged Heathcliff throws him out of the room. As soon as Lockwood is gone, Heathcliff frantically calls out to Cathy, runs down the stairs and out of the house, into the snowstorm. A traveller named Lockwood ( Miles Mander Miles Mander ) is caught in the snow and stays at the estate of Wuthering Heights, despite the cold behaviour of his aged host, Heathcliff ( Laurence Olivier Laurence Olivier ). Late that night, after being shown into an upstairs room that was once a bridal chamber, Lockwood is awakened by a cold draft and finds the window shutter flapping back and forth. Just as he is about to close it, he feels an icy hand clutching his and sees a woman outside calling, \"Heathcliff, let me in! I'm out on the moors. It's Cathy!\" Lockwood calls Heathcliff and tells him what he saw, whereupon the enraged Heathcliff throws him out of the room. As soon as Lockwood is gone, Heathcliff frantically calls out to Cathy, runs down the stairs and out of the house, into the snowstorm. \n", " Ellen, the housekeeper (Flora Robson), tells the amazed Lockwood that he has seen the ghost of Cathy Earnshaw, Heathcliff's great love, who died years ago. When Lockwood says that he doesn't believe in ghosts, Ellen tells him that he might if she told him the story of Cathy. And so the main plot begins as a long flashback. Ellen, the housekeeper ( Flora Robson Flora Robson ), tells the amazed Lockwood that he has seen the ghost of Cathy Earnshaw, Heathcliff's great love, who died years ago. When Lockwood says that he doesn't believe in ghosts, Ellen tells him that he might if she told him the story of Cathy. And so the main plot begins as a long flashback. \n", " The plot then flashes back forty years. As a boy, Heathcliff is found on the streets by Mr. Earnshaw (Cecil Kellaway), who brings him home to live with his two children, Cathy and Hindley. At first reluctant, Cathy eventually welcomes Heathcliff and they become very close, but Hindley treats him as an outcast, especially after Mr. Earnshaw dies. About ten years later, the now-grown Heathcliff and Cathy (Merle Oberon) have fallen in love and are meeting secretly on Peniston Crag (because of censorship, their relationship in the film is kept strictly platonic in spite of the fact that they do kiss, while in the novel it is implied that their relationship was sexual). Hindley (Hugh Williams) has become dissolute and tyrannical and hates Heathcliff. One night, as Cathy and Heathcliff are out together, they hear music and realize that their neighbors, the Lintons, are giving a party. Cathy and Heathcliff sneak to the Lintons and climb over their garden wall, but the dogs are alerted and Cathy is injured. Heathcliff is forced to leave Cathy in their care. Enraged that Cathy would be so entranced by the Linton's glamor and wealth, he blames them for her injury and curses them. The plot then flashes back forty years. As a boy, Heathcliff is found on the streets by Mr. Earnshaw ( Cecil Kellaway Cecil Kellaway ), who brings him home to live with his two children, Cathy and Hindley. At first reluctant, Cathy eventually welcomes Heathcliff and they become very close, but Hindley treats him as an outcast, especially after Mr. Earnshaw dies. About ten years later, the now-grown Heathcliff and Cathy ( Merle Oberon Merle Oberon ) have fallen in love and are meeting secretly on Peniston Crag (because of censorship, their relationship in the film is kept strictly platonic in spite of the fact that they do kiss, while in the novel it is implied that their relationship was sexual). Hindley ( Hugh Williams Hugh Williams ) has become dissolute and tyrannical and hates Heathcliff. One night, as Cathy and Heathcliff are out together, they hear music and realize that their neighbors, the Lintons, are giving a party. Cathy and Heathcliff sneak to the Lintons and climb over their garden wall, but the dogs are alerted and Cathy is injured. Heathcliff is forced to leave Cathy in their care. Enraged that Cathy would be so entranced by the Linton's glamor and wealth, he blames them for her injury and curses them. \n", " Months later, Cathy is fully recuperated but still living at the Lintons. Edgar Linton (David Niven) has fallen in love with Cathy and soon proposes, and after Edgar takes her back to Wuthering Heights, she tells Ellen what has happened. Ellen reminds her about Heathcliff, but Cathy flippantly remarks that it would degrade her to marry him. Heathcliff overhears and leaves. Cathy realizes that Heathcliff has overheard, is overcome by guilt and runs out after him into a raging storm. Edgar finds her and nurses her back to health once again, and soon he and Cathy marry. Months later, Cathy is fully recuperated but still living at the Lintons. Edgar Linton ( David Niven David Niven ) has fallen in love with Cathy and soon proposes, and after Edgar takes her back to Wuthering Heights, she tells Ellen what has happened. Ellen reminds her about Heathcliff, but Cathy flippantly remarks that it would degrade her to marry him. Heathcliff overhears and leaves. Cathy realizes that Heathcliff has overheard, is overcome by guilt and runs out after him into a raging storm. Edgar finds her and nurses her back to health once again, and soon he and Cathy marry. \n", " Heathcliff was thought to have disappeared forever but returns two years later, now wealthy and elegant. He has refined his appearance and manners in order to both impress and spite Cathy and secretly buys Wuthering Heights from Hindley, who has become an alcoholic. In order to further spite Cathy, Heathcliff begins courting Edgar's naive sister, Isabella (Geraldine Fitzgerald), and eventually marries her. The brokenhearted Cathy soon falls gravely ill. Heathcliff rushes to her side against the wishes of the now disillusioned and bitter Isabella, and Cathy dies in Heathcliff's arms. Heathcliff was thought to have disappeared forever but returns two years later, now wealthy and elegant. He has refined his appearance and manners in order to both impress and spite Cathy and secretly buys Wuthering Heights from Hindley, who has become an alcoholic. In order to further spite Cathy, Heathcliff begins courting Edgar's naive sister, Isabella ( Geraldine Fitzgerald Geraldine Fitzgerald ), and eventually marries her. The brokenhearted Cathy soon falls gravely ill. Heathcliff rushes to her side against the wishes of the now disillusioned and bitter Isabella, and Cathy dies in Heathcliff's arms. \n", " The flashback ends and we return to Ellen finishing her story. The family doctor, Dr. Kenneth (Donald Crisp), bursts in, saying that he (Dr. Kenneth) must be mad, having seen Heathcliff in the snow walking with his arm around a woman. Ellen exclaims, \"It was Cathy!\" and Dr. Kenneth says, \"No, I don't know who it was\", and tells them that he was then thrown from his horse. As he drew closer, he found Heathcliff lying in the snow. The woman had disappeared and there was no sign of her, and only Heathcliff's footprints appeared in the snow, not hers. Lockwood asks, \"Is he dead?\", and Dr. Kenneth nods, but Ellen says, \"No, not dead, Dr. Kenneth. And not alone. He's with her. They've only just begun to live.\" The flashback ends and we return to Ellen finishing her story. The family doctor, Dr. Kenneth ( Donald Crisp Donald Crisp ), bursts in, saying that he (Dr. Kenneth) must be mad, having seen Heathcliff in the snow walking with his arm around a woman. Ellen exclaims, \"It was Cathy!\" and Dr. Kenneth says, \"No, I don't know who it was\", and tells them that he was then thrown from his horse. As he drew closer, he found Heathcliff lying in the snow. The woman had disappeared and there was no sign of her, and only Heathcliff's footprints appeared in the snow, not hers. Lockwood asks, \"Is he dead?\", and Dr. Kenneth nods, but Ellen says, \"No, not dead, Dr. Kenneth. And not alone. He's with her. They've only just begun to live.\" \n", " The last thing we see in the film are the ghosts of Heathcliff and Cathy, walking in the snow, superimposed over a shot of Peniston Crag. The last thing we see in the film are the ghosts of Heathcliff and Cathy, walking in the snow, superimposed over a shot of Peniston Crag. \n", " \n", "http://en.wikipedia.org/wiki/Double_Indemnity_(film)\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "Neff confesses into a Dictaphone.\n", "\n", " \n", " \n", "\n", "\n", "Neff confesses into a Dictaphone.\n", " \n", " \n", "\n", "Neff confesses into a Dictaphone. \n", " \n", "Neff confesses into a Dictaphone Dictaphone . \n", " \n", " \n", " Walter Neff (Fred MacMurray), a successful insurance salesman, returns to his office building in downtown Los Angeles late one night. Visibly in pain, he begins dictating a confession into a Dictaphone for his friend and colleague, Barton Keyes (Edward G. Robinson), a brilliant claims adjuster. The story, told primarily in flashback, ensues. Walter Neff ( Fred MacMurray Fred MacMurray ), a successful insurance salesman, returns to his office building in downtown Los Angeles downtown Los Angeles late one night. Visibly in pain, he begins dictating a confession into a Dictaphone Dictaphone for his friend and colleague, Barton Keyes ( Edward G. Robinson Edward G. Robinson ), a brilliant claims adjuster claims adjuster . The story, told primarily in flashback flashback , ensues. \n", " Neff first meets the alluring Phyllis Dietrichson (Barbara Stanwyck) during a routine house call to remind her husband that his automobile insurance policy is up for renewal. They flirt, until Phyllis asks how she could take out an accident policy on her husband's life without his knowledge. Neff deduces she is contemplating murder, and makes it clear he wants no part of it. Neff first meets the alluring Phyllis Dietrichson Phyllis Dietrichson ( Barbara Stanwyck Barbara Stanwyck ) during a routine house call to remind her husband that his automobile insurance policy is up for renewal. They flirt, until Phyllis asks how she could take out an accident policy on her husband's life without his knowledge. Neff deduces she is contemplating murder, and makes it clear he wants no part of it. \n", " However, he cannot get her out of his mind, and when Phyllis shows up at his own home, he cannot resist her any longer. Neff knows all the tricks of his trade and devises a plan to make the murder of her husband appear to be an accidental fall from a train that will trigger the \"double indemnity\" clause and pay out twice the policy's face value. However, he cannot get her out of his mind, and when Phyllis shows up at his own home, he cannot resist her any longer. Neff knows all the tricks of his trade and devises a plan to make the murder of her husband appear to be an accidental fall from a train that will trigger the \"double indemnity\" clause and pay out twice the policy's face value. \n", " After Dietrichson breaks his leg, Phyllis drives him to the train station for his trip to Palo Alto for a college reunion. Neff is hiding in the backseat and kills Dietrichson when Phyllis turns onto a deserted side street. Then, Neff boards the train posing as the victim and using his crutches. He makes his way to the last car, the observation car, and steps outside to the open platform to supposedly smoke. A complication ensues when he finds a man named Jackson (Porter Hall) there, but he manages to get Jackson to leave. Neff then jumps off at a prearranged spot, and he and Phyllis place Dietrichson's body on the tracks. After Dietrichson breaks his leg, Phyllis drives him to the train station for his trip to Palo Alto Palo Alto for a college reunion. Neff is hiding in the backseat and kills Dietrichson when Phyllis turns onto a deserted side street. Then, Neff boards the train posing as the victim and using his crutches. He makes his way to the last car, the observation car observation car , and steps outside to the open platform to supposedly smoke. A complication ensues when he finds a man named Jackson ( Porter Hall Porter Hall ) there, but he manages to get Jackson to leave. Neff then jumps off at a prearranged spot, and he and Phyllis place Dietrichson's body on the tracks. \n", " Mr. Norton, the company's chief, believes the death was suicide, but Keyes scoffs at the idea, quoting statistics indicating the improbability of suicide by jumping off a slow-moving train, to Neff's hidden delight. Keyes does not suspect foul play at first, but his instincts - the \"little man\" in his chest - start nagging at him. He wonders why Dietrichson did not file a claim for his broken leg, and deduces he did not know about the policy. He eventually concludes that Phyllis and some unknown accomplice murdered him. Mr. Norton, the company's chief, believes the death was suicide, but Keyes scoffs at the idea, quoting statistics indicating the improbability of suicide by jumping off a slow-moving train, to Neff's hidden delight. Keyes does not suspect foul play at first, but his instincts - the \"little man\" in his chest - start nagging at him. He wonders why Dietrichson did not file a claim for his broken leg, and deduces he did not know about the policy. He eventually concludes that Phyllis and some unknown accomplice murdered him. \n", " Keyes, however, is not Neff's only worry. The victim's daughter, Lola (Jean Heather), comes to him, convinced that stepmother Phyllis is behind her father's death: Lola's mother also died under suspicious circumstances \u2013 while Phyllis was her nurse. Neff begins seeing Lola, at first to keep her from going to the police with her suspicions and then because he is plagued by guilt and a sense of responsibility for her. Keyes, however, is not Neff's only worry. The victim's daughter, Lola ( Jean Heather Jean Heather ), comes to him, convinced that stepmother Phyllis is behind her father's death: Lola's mother also also died under suspicious circumstances \u2013 while Phyllis was her nurse. Neff begins seeing Lola, at first to keep her from going to the police with her suspicions and then because he is plagued by guilt and a sense of responsibility for her. \n", " Keyes brings Jackson to Los Angeles. After examining photographs of Dietrichson, Jackson is sure the man he met was not the 51-year-old, but someone about 15 years younger. Keyes is eager to reject the claim and force Phyllis to sue. Neff warns Phyllis not to go to court and admits he has been talking to Lola about her past. Lola eventually tells him she has discovered her boyfriend, the hotheaded Nino Zachetti (Byron Barr), has been seeing Phyllis behind her (and Neff's) back. Keyes brings Jackson to Los Angeles. After examining photographs of Dietrichson, Jackson is sure the man he met was not the 51-year-old, but someone about 15 years younger. Keyes is eager to reject the claim and force Phyllis to sue. Neff warns Phyllis not to go to court and admits he has been talking to Lola about her past. Lola eventually tells him she has discovered her boyfriend, the hotheaded Nino Zachetti ( Byron Barr Byron Barr ), has been seeing Phyllis behind her (and Neff's) back. \n", " When Keyes informs Neff that he suspects Nino of being Phyllis's accomplice (Nino has been spotted repeatedly visiting Phyllis at night), Neff sees a way out of his predicament. He arranges to meet Phyllis at her house. He informs her that he knows about her involvement with Nino, and guesses that she is planning to have the other man kill him. He tells her that he intends to kill her and put the blame on Nino. She is prepared, however, and shoots him in the shoulder. Wounded but still standing, he slowly comes closer and dares her to shoot again. She does not, and he takes the gun from her. She says she never loved him \"until a minute ago, when I couldn't fire that second shot.\" She hugs him tightly, but then pulls away when she feels the gun pressed against her. Neff says, \"Goodbye, baby,\" and shoots twice, killing her. When Keyes informs Neff that he suspects Nino of being Phyllis's accomplice (Nino has been spotted repeatedly visiting Phyllis at night), Neff sees a way out of his predicament. He arranges to meet Phyllis at her house. He informs her that he knows about her involvement with Nino, and guesses that she is planning to have the other man kill him. He tells her that he intends to kill her and put the blame on Nino. She is prepared, however, and shoots him in the shoulder. Wounded but still standing, he slowly comes closer and dares her to shoot again. She does not, and he takes the gun from her. She says she never loved him \"until a minute ago, when I couldn't fire that second shot.\" She hugs him tightly, but then pulls away when she feels the gun pressed against her. Neff says, \"Goodbye, baby,\" and shoots twice, killing her. \n", " Outside, Neff waits for Nino to arrive (something Neff had orchestrated). Neff advises him not to enter the house and instead go to \"the woman who truly loves you\": Lola. Nino is reluctantly convinced and leaves. Outside, Neff waits for Nino to arrive (something Neff had orchestrated). Neff advises him not to enter the house and instead go to \"the woman who truly loves you\": Lola. Nino is reluctantly convinced and leaves. \n", " Neff drives to his office and starts speaking into his Dictaphone, as seen at the film's opening. Keyes arrives unnoticed and hears enough to know the truth. Keyes sadly tells him, \"Walter, you're all washed up.\" Neff tells Keyes he is going to Mexico rather than face the gas chamber, but sags to the floor from his injury before he can reach the elevator. Keyes lights him a cigarette as they await the police and an ambulance. Neff drives to his office and starts speaking into his Dictaphone, as seen at the film's opening. Keyes arrives unnoticed and hears enough to know the truth. Keyes sadly tells him, \"Walter, you're all washed up.\" Neff tells Keyes he is going to Mexico rather than face the gas chamber gas chamber , but sags to the floor from his injury before he can reach the elevator. Keyes lights him a cigarette as they await the police and an ambulance. \n", " \n", "http://en.wikipedia.org/wiki/Rebel_Without_a_Cause\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "Jim Stark is in police custody.\n", "\n", " \n", " \n", "\n", "\n", "Jim Stark is in police custody.\n", " \n", " \n", "\n", "Jim Stark is in police custody. \n", " \n", "Jim Stark is in police custody. \n", " \n", " \n", " \n", "\n", "\n", "\n", "Jim confronts his father while his mother watches.\n", "\n", " \n", " \n", "\n", "\n", "Jim confronts his father while his mother watches.\n", " \n", " \n", "\n", "Jim confronts his father while his mother watches. \n", " \n", "Jim confronts his father while his mother watches. \n", " \n", " \n", " Shortly after moving to Los Angeles with his parents, seventeen-year-old Jim Stark (James Dean) enrolls at Dawson High School. He is brought into the police station for public drunkenness, and when his mother, father, and grandmother arrive at the police station to retrieve him, conflicts in Jim's family situation are introduced. His parents are often fighting; his father (Jim Backus) often tries to defend him, but Jim's mother always wins the arguments. Jim feels betrayed both by this fighting and his father's lack of moral strength, causing feelings of unrest and displacement. This shows up later in the film when he repeatedly asks his father, \"What do you do when you have to be a man?\" Shortly after moving to Los Angeles Los Angeles with his parents, seventeen-year-old Jim Stark ( James Dean James Dean ) enrolls at Dawson High School. He is brought into the police station for public drunkenness public drunkenness , and when his mother, father, and grandmother arrive at the police station to retrieve him, conflicts in Jim's family situation are introduced. His parents are often fighting; his father ( Jim Backus Jim Backus ) often tries to defend him, but Jim's mother always wins the arguments. Jim feels betrayed both by this fighting and his father's lack of moral strength, causing feelings of unrest and displacement. This shows up later in the film when he repeatedly asks his father, \"What do you do when you have to be a man?\" \n", " While trying to conform with fellow students at the school, he becomes involved in a dispute with a local bully named Buzz Gunderson (Corey Allen). While he tries to deal with Buzz, he becomes friends with a 15-year-old boy, John, nicknamed Plato (Sal Mineo), who was also at the police station the same night as Jim. Plato idolizes Jim, his real father having abandoned his family, and experiences many of the same problems as Jim, such as searching for meaning in life and dealing with parents who \"don't understand\". Jim meets Judy (Natalie Wood), whom he also recognizes from the police station, where she was brought in for being out alone after dark. She originally seems unimpressed by Jim, saying in a sarcastic tone, \"I bet you're a real yo-yo.\" While trying to conform with fellow students at the school, he becomes involved in a dispute with a local bully named Buzz Gunderson ( Corey Allen Corey Allen ). While he tries to deal with Buzz, he becomes friends with a 15-year-old boy, John, nicknamed Plato ( Sal Mineo Sal Mineo ), who was also at the police station the same night as Jim. Plato idolizes Jim, his real father having abandoned his family, and experiences many of the same problems as Jim, such as searching for meaning in life and dealing with parents who \"don't understand\". Jim meets Judy ( Natalie Wood Natalie Wood ), whom he also recognizes from the police station, where she was brought in for being out alone after dark. She originally seems unimpressed by Jim, saying in a sarcastic tone, \"I bet you're a real yo-yo.\" \n", " Jim goes on a school field trip to the Griffith Observatory. There he sees a dramatic presentation of the violent death of the universe. After the show, he watches as the thugs slash a tire of his car; then Buzz challenges him to a knife fight, in which Jim is loathe to take part until the gang taunts him as a \"chicken\" (coward). He reluctantly takes part in the fight and wins, subduing Buzz by holding his switchblade up to his neck. Both Jim and Buzz receive slight injuries while fighting. The thugs challenge Jim to a \"Chickie Run\" with Buzz later that day, racing stolen cars towards an abyss. The first one who jumps out of the car loses and is deemed the \"chicken\". The \"game\" ends in tragedy for Buzz when a strap on the sleeve of his leather jacket gets stuck on the car's door handle, preventing him from jumping out before the car goes over the cliff. Jim goes on a school field trip field trip to the Griffith Observatory Griffith Observatory . There he sees a dramatic presentation of the violent death of the universe death of the universe . After the show, he watches as the thugs slash a tire of his car; then Buzz challenges him to a knife fight, in which Jim is loathe to take part until the gang taunts him as a \"chicken\" (coward). He reluctantly takes part in the fight and wins, subduing Buzz by holding his switchblade switchblade up to his neck. Both Jim and Buzz receive slight injuries while fighting. The thugs challenge Jim to a \" Chickie Run Chickie Run \" with Buzz later that day, racing stolen cars towards an abyss. The first one who jumps out of the car loses and is deemed the \"chicken\". The \"game\" ends in tragedy for Buzz when a strap on the sleeve of his leather jacket gets stuck on the car's door handle, preventing him from jumping out before the car goes over the cliff. \n", " Jim tells his parents what happened, but becomes frustrated and storms out of the house when they oppose his plans to confess his involvement to the police. When Jim is seen trying to go to the police by some of Buzz's friends, they decide to hunt him down, and harass Plato and Jim's family to try to find him. Judy and Jim go to an abandoned mansion; Plato finds them there, as he was the one who originally told Jim about the house. There they act out a \"fantasy family\", with Jim as father, Judy as mother and Plato as child. The thugs soon discover them, and Plato brandishes his mother's gun, shooting one of the boys, and shooting at Jim and a police officer, in a clearly unstable state. Jim tells his parents what happened, but becomes frustrated and storms out of the house when they oppose his plans to confess his involvement to the police. When Jim is seen trying to go to the police by some of Buzz's friends, they decide to hunt him down, and harass Plato and Jim's family to try to find him. Judy and Jim go to an abandoned mansion; Plato finds them there, as he was the one who originally told Jim about the house. There they act out a \"fantasy family\", with Jim as father, Judy as mother and Plato as child. The thugs soon discover them, and Plato brandishes his mother's gun, shooting one of the boys, and shooting at Jim and a police officer, in a clearly unstable state. \n", " Plato hides in the Observatory, which is soon besieged by the police. Jim and Judy follow him inside, and Jim convinces Plato to lend him the gun, from which he silently removes the ammunition magazine. When Plato steps out of the observatory, he becomes agitated again at the sight of the police and charges forward, brandishing his weapon. He is fatally shot by a police officer as Jim yells to the police, too late, that he has already removed the bullets. Plato is wearing Jim's jacket at the time, and as a result, Jim's parents (brought to the scene by police) think at first that Jim was shot. Mr. Stark then runs to comfort Jim, openly weeping for Plato's death, and promises to be a stronger father, one that his son can depend on. Thus reconciled, Jim introduces Judy to his parents. Plato hides in the Observatory, which is soon besieged by the police. Jim and Judy follow him inside, and Jim convinces Plato to lend him the gun, from which he silently removes the ammunition magazine. When Plato steps out of the observatory, he becomes agitated again at the sight of the police and charges forward, brandishing his weapon. He is fatally shot by a police officer as Jim yells to the police, too late, that he has already removed the bullets. Plato is wearing Jim's jacket at the time, and as a result, Jim's parents (brought to the scene by police) think at first that Jim was shot. Mr. Stark then runs to comfort Jim, openly weeping for Plato's death, and promises to be a stronger father, one that his son can depend on. Thus reconciled, Jim introduces Judy to his parents. \n", " \n", "http://en.wikipedia.org/wiki/Rear_Window\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "James Stewart as L.B. Jefferies\n", "\n", " \n", " \n", "\n", "\n", "James Stewart as L.B. Jefferies\n", " \n", " \n", "\n", "James Stewart as L.B. Jefferies \n", " \n", " James Stewart James Stewart as L.B. Jefferies \n", " \n", " \n", " After breaking his leg photographing a racetrack accident, professional photographer L.B. \"Jeff\" Jefferies (James Stewart) is confined to his Greenwich Village apartment, using a wheelchair while he recuperates. His rear window looks out onto a small courtyard and several other apartments. During a summer heat wave, he passes the time by watching his neighbors, who keep their windows open to stay cool. The tenants he can see include a dancer he nicknames \"Miss Torso\", a lonely woman he nicknames \"Miss Lonelyheart\", a pianist, several married couples, a middle-aged sculptor, and Lars Thorwald (Raymond Burr), a traveling jewelry salesman with a bedridden wife. After breaking his leg photographing a racetrack accident, professional photographer L.B. \"Jeff\" Jefferies ( James Stewart James Stewart ) is confined to his Greenwich Village Greenwich Village apartment, using a wheelchair while he recuperates. His rear window looks out onto a small courtyard and several other apartments. During a summer heat wave, he passes the time by watching his neighbors, who keep their windows open to stay cool. The tenants he can see include a dancer he nicknames \"Miss Torso\", a lonely woman he nicknames \"Miss Lonelyheart\", a pianist, several married couples, a middle-aged sculptor, and Lars Thorwald ( Raymond Burr Raymond Burr ), a traveling jewelry salesman with a bedridden wife. \n", " One evening Jeff hears a woman scream \"Don't!\" and a glass break. Later he is awakened by thunder and sees Thorwald leaving his apartment. Thorwald makes repeated late-night trips carrying his sample case. Jeff notices that Thorwald's wife is gone and sees Thorwald cleaning a large knife and handsaw. Later, Thorwald ties a large trunk with heavy rope and has moving men haul it away. Jeff discusses these observations with his much-younger socialite girlfriend Lisa Fremont (Grace Kelly) and his insurance company home-care nurse Stella (Thelma Ritter), and becomes obsessed with his theory that Thorwald murdered his wife. He explains his theory to his friend Tom Doyle (Wendell Corey), a New York City Police detective, and asks him to find out whether anyone actually picks up the packing crate. Doyle looks into the situation but finds nothing suspicious, and discovers that \"Mrs. Thorwald\" picked up the packing crate. After Doyle leaves, Jeff asks Lisa if she thinks it was ethical for him to spy on his neighbor with binoculars and a telephoto lens; Lisa replies that she does not know much about \"rear window ethics\" but comments on their morbid curiosity by asking, \"Whatever happened to that old saying, 'Love thy neighbor'?\" One evening Jeff hears a woman scream \"Don't!\" and a glass break. Later he is awakened by thunder and sees Thorwald leaving his apartment. Thorwald makes repeated late-night trips carrying his sample case. Jeff notices that Thorwald's wife is gone and sees Thorwald cleaning a large knife and handsaw. Later, Thorwald ties a large trunk with heavy rope and has moving men haul it away. Jeff discusses these observations with his much-younger socialite socialite girlfriend Lisa Fremont ( Grace Kelly Grace Kelly ) and his insurance company home-care home-care nurse Stella ( Thelma Ritter Thelma Ritter ), and becomes obsessed with his theory that Thorwald murdered his wife. He explains his theory to his friend Tom Doyle ( Wendell Corey Wendell Corey ), a New York City Police New York City Police detective, and asks him to find out whether anyone actually picks up the packing crate. Doyle looks into the situation but finds nothing suspicious, and discovers that \"Mrs. Thorwald\" picked up the packing crate. After Doyle leaves, Jeff asks Lisa if she thinks it was ethical for him to spy on his neighbor with binoculars and a telephoto lens; Lisa replies that she does not know much about \"rear window ethics\" but comments on their morbid curiosity by asking, \"Whatever happened to that old saying, 'Love thy neighbor'?\" \n", " Soon after, a neighbor's dog is found dead, its neck broken. When the owner sees the lifeless body of her dog she screams to the courtyard: \"You don't know the meaning of the word 'neighbors'. Neighbors like each other, speak to each other, care if anybody lives or dies! But none of you do!\" and cries in grief. During the woman's hysterics, the neighbors all rush to their windows to see what has happened, except for Thorwald, whose cigar can be seen glowing as he sits in his dark apartment. Convinced that Thorwald is guilty after all, Jeff has Lisa slip an accusatory note under Thorwald's door so Jeff can watch his reaction when he reads it. Then, as a pretext to get Thorwald away from his apartment, Jeff telephones him and arranges a meeting at a bar. He thinks Thorwald may have buried something in the courtyard flower patch and then killed the dog to keep it from digging it up. When Thorwald leaves, Lisa and Stella dig up the flowers but find nothing. Soon after, a neighbor's dog is found dead, its neck broken. When the owner sees the lifeless body of her dog she screams to the courtyard: \"You don't know the meaning of the word 'neighbors'. Neighbors like each other, speak to each other, care if anybody lives or dies! But none of you do!\" and cries in grief. During the woman's hysterics, the neighbors all rush to their windows to see what has happened, except for Thorwald, whose cigar can be seen glowing as he sits in his dark apartment. Convinced that Thorwald is guilty after all, Jeff has Lisa slip an accusatory note under Thorwald's door so Jeff can watch his reaction when he reads it. Then, as a pretext to get Thorwald away from his apartment, Jeff telephones him and arranges a meeting at a bar. He thinks Thorwald may have buried something in the courtyard flower patch and then killed the dog to keep it from digging it up. When Thorwald leaves, Lisa and Stella dig up the flowers but find nothing. \n", " Lisa then climbs the fire escape to Thorwald's apartment and squeezes in through an open window. When Thorwald returns and grabs Lisa, Jeff calls the police, who arrive in time to save her. With the police present, Jeff sees Lisa with her hands behind her back, wiggling her finger with Mrs. Thorwald's wedding ring on it. Thorwald also sees this, realizes that she is signaling to someone, and notices Jeff across the courtyard. Lisa then climbs the fire escape to Thorwald's apartment and squeezes in through an open window. When Thorwald returns and grabs Lisa, Jeff calls the police, who arrive in time to save her. With the police present, Jeff sees Lisa with her hands behind her back, wiggling her finger with Mrs. Thorwald's wedding ring on it. Thorwald also sees this, realizes that she is signaling to someone, and notices Jeff across the courtyard. \n", " Jeff phones Doyle, now convinced that Thorwald is guilty of something, and Stella heads for the police station to post bail for Lisa, leaving Jeff alone. He soon realizes that Thorwald is coming to his apartment. When Thorwald enters the apartment and approaches him, Jeff repeatedly sets off his camera flashbulbs, temporarily blinding Thorwald. Thorwald grabs Jeff and pushes him toward the open window as Jeff yells for help. Jeff falls to the ground just as some police officers enter the apartment and others run to catch him. Jeff phones Doyle, now convinced that Thorwald is guilty of something, and Stella heads for the police station to post bail for Lisa, leaving Jeff alone. He soon realizes that Thorwald is coming to his apartment. When Thorwald enters the apartment and approaches him, Jeff repeatedly sets off his camera flashbulbs, temporarily blinding Thorwald. Thorwald grabs Jeff and pushes him toward the open window as Jeff yells for help. Jeff falls to the ground just as some police officers enter the apartment and others run to catch him. \n", " A few days later, the heat has lifted and Jeff rests peacefully in his wheelchair, now with casts on both legs. The lonely neighbor woman chats with the pianist in his apartment, the dancer's lover returns home from the army, the couple whose dog was killed have a new dog, and the newly married couple are bickering. Lisa reclines on the daybed in Jeff's apartment, appearing to read a book on foreign travel in order to please him. As soon as he is asleep, she puts the book down and happily opens a fashion magazine. A few days later, the heat has lifted and Jeff rests peacefully in his wheelchair, now with casts on both legs. The lonely neighbor woman chats with the pianist in his apartment, the dancer's lover returns home from the army, the couple whose dog was killed have a new dog, and the newly married couple are bickering. Lisa reclines on the daybed in Jeff's apartment, appearing to read a book on foreign travel in order to please him. As soon as he is asleep, she puts the book down and happily opens a fashion magazine. \n", " \n", "http://en.wikipedia.org/wiki/The_Third_Man\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " \n", "\n", "\n", "\n", "Social network mapping all major characters, with the sizes and positions of the bubbles indicating their importance to the plot and the intensity of their contacts\n", "\n", " \n", " \n", "\n", "\n", "Social network mapping all major characters, with the sizes and positions of the bubbles indicating their importance to the plot and the intensity of their contacts\n", " \n", " \n", "\n", "Social network mapping all major characters, with the sizes and positions of the bubbles indicating their importance to the plot and the intensity of their contacts \n", " \n", "Social network mapping all major characters, with the sizes and positions of the bubbles indicating their importance to the plot and the intensity of their contacts \n", " \n", " \n", " American pulp Western writer Holly Martins (Joseph Cotten) arrives in Allied-occupied Vienna seeking his childhood friend, Harry Lime (Orson Welles), who has offered him a job. Upon arrival he discovers that Lime was killed just days earlier by a speeding car while crossing the street. Martins attends Lime's funeral, where he meets two British Army Police: Sergeant Paine (Bernard Lee), a fan of Martins' pulp fiction, and his superior, Major Calloway (Trevor Howard), who says Lime was a criminal and suggests Martins leave town. American pulp pulp Western Western writer Holly Martins ( Joseph Cotten Joseph Cotten ) arrives in Allied-occupied Allied-occupied Vienna Vienna seeking his childhood friend, Harry Lime ( Orson Welles Orson Welles ), who has offered him a job. Upon arrival he discovers that Lime was killed just days earlier by a speeding car while crossing the street. Martins attends Lime's funeral, where he meets two British Army Police British Army Police : Sergeant Paine ( Bernard Lee Bernard Lee ), a fan of Martins' pulp fiction, and his superior, Major Calloway ( Trevor Howard Trevor Howard ), who says Lime was a criminal and suggests Martins leave town. \n", " A book club subsequently approaches Martins, requesting that he give a lecture to the club and offering to pay for his lodging. Viewing this as an opportunity to clear Lime's name, Martins decides to remain in Vienna. He encounters Lime's friend, \"Baron\" Kurtz (Ernst Deutsch), who tells Martins that he, along with another mutual friend, Popescu (Siegfried Breuer), carried Lime to the side of the street after the accident. Before dying, Lime asked Baron and Popescu to take care of Martins and Anna Schmidt (Alida Valli), Lime's actress girlfriend. A book club subsequently approaches Martins, requesting that he give a lecture to the club and offering to pay for his lodging. Viewing this as an opportunity to clear Lime's name, Martins decides to remain in Vienna. He encounters Lime's friend, \"Baron\" Kurtz ( Ernst Deutsch Ernst Deutsch ), who tells Martins that he, along with another mutual friend, Popescu ( Siegfried Breuer Siegfried Breuer ), carried Lime to the side of the street after the accident. Before dying, Lime asked Baron and Popescu to take care of Martins and Anna Schmidt ( Alida Valli Alida Valli ), Lime's actress girlfriend. \n", " Beginning to suspect that Lime's death was not an accident, Martins goes to see Anna. She accompanies Martins to question the porter at Lime's apartment building. The porter claims Lime was killed immediately and could not have given instructions before dying. He also states that a third man helped carry the body. Martins berates the porter for not being more forthcoming with the police with what he knows. The police, searching Anna's flat for evidence, find and confiscate her forged passport and detain her. Beginning to suspect that Lime's death was not an accident, Martins goes to see Anna. She accompanies Martins to question the porter at Lime's apartment building. The porter claims Lime was killed immediately and could not have given instructions before dying. He also states that a third man helped carry the body. Martins berates the porter for not being more forthcoming with the police with what he knows. The police, searching Anna's flat for evidence, find and confiscate her forged forged passport and detain her. \n", " Martins visits Lime's \"medical adviser\", Dr Winkel (Erich Ponto), who says that he arrived at the accident after Lime was dead, and only two men were present. Later, the porter secretly offers Martins more information but is murdered before their arranged meeting. When Martins arrives, unaware of the murder, a young boy recognises him as having argued with the porter earlier and points this out to the gathering bystanders, who become hostile, then mob-like. Escaping from them, Martins returns to the hotel, and a cab immediately takes him away. He fears the cab will take him to his death, but the cab takes Martins to the book club. From the audience, Popescu asks him about his next book, and Martins retorts that it will be called The Third Man, \"a murder story\" inspired by facts. Popescu tells Martins that he should stick to fiction. Martins sees two thugs approaching and flees. Martins visits Lime's \"medical adviser\", Dr Winkel ( Erich Ponto Erich Ponto ), who says that he arrived at the accident after Lime was dead, and only two men were present. Later, the porter secretly offers Martins more information but is murdered before their arranged meeting. When Martins arrives, unaware of the murder, a young boy recognises him as having argued with the porter earlier and points this out to the gathering bystanders, who become hostile, then mob-like. Escaping from them, Martins returns to the hotel, and a cab immediately takes him away. He fears the cab will take him to his death, but the cab takes Martins to the book club. From the audience, Popescu asks him about his next book, and Martins retorts that it will be called The Third Man The Third Man , \"a murder story\" inspired by facts. Popescu tells Martins that he should stick to fiction. Martins sees two thugs approaching and flees. \n", " \n", "\n", "\n", "\n", "Wiener Riesenrad, one of many Vienna landmarks in the film\n", "\n", " \n", " \n", "\n", "\n", "Wiener Riesenrad, one of many Vienna landmarks in the film\n", " \n", " \n", "\n", "Wiener Riesenrad, one of many Vienna landmarks in the film \n", " \n", " Wiener Riesenrad Wiener Riesenrad , one of many Vienna landmarks in the film \n", " \n", " \n", " Calloway again advises Martins to leave Vienna, but Martins refuses and demands that Lime's death be investigated. Calloway reluctantly reveals that Lime was a black marketeer, who greatly diluted penicillin he stole from military hospitals and sold it on the black market, killing many. In postwar Vienna, antibiotics were new and scarce outside military hospitals and commanded a very high price. Calloway's evidence convinces Martins, who agrees to leave. Calloway again advises Martins to leave Vienna, but Martins refuses and demands that Lime's death be investigated. Calloway reluctantly reveals that Lime was a black marketeer, who greatly diluted penicillin penicillin he stole from military hospitals military hospitals and sold it on the black market black market , killing many. In postwar Vienna, antibiotics antibiotics were new were new and scarce outside military hospitals military hospitals and commanded a very high price. Calloway's evidence convinces Martins, who agrees to leave. \n", " Martins learns that Anna will be deported to the Soviet sector of Vienna. Upon leaving her apartment, he notices someone watching from a dark doorway; a neighbour's lit window briefly reveals the person to be Lime, who flees, ignoring Martins' calls. Martins summons Calloway, who deduces that Lime has escaped through the sewers. The British police exhume Lime's coffin and discover that the body is that of Joseph Harbin, an orderly who stole penicillin for Lime. Martins learns that Anna will be deported to the Soviet Soviet sector of Vienna. Upon leaving her apartment, he notices someone watching from a dark doorway; a neighbour's lit window briefly reveals the person to be Lime, who flees, ignoring Martins' calls. Martins summons Calloway, who deduces that Lime has escaped through the sewers sewers . The British police exhume exhume Lime's coffin and discover that the body is that of Joseph Harbin, an orderly orderly who stole penicillin for Lime. \n", " The next day, Martins meets with Lime, and they ride Vienna's Ferris wheel, the Wiener Riesenrad. Lime obliquely threatens Martins, and in a monologue on the insignificance of his victims, reveals the full extent of his ruthlessness. He again offers a job to Martins and leaves. Calloway asks Martins to help lure Lime out to capture him, and Martins agrees, asking for Anna's safe conduct out of Vienna in exchange. However, Anna refuses to leave and remains loyal to Lime. Exasperated, Martins decides to leave but changes his mind after Calloway shows Martins the children who are victims of Lime's diluted penicillin, now dying of meningitis. The next day, Martins meets with Lime, and they ride Vienna's Ferris wheel Ferris wheel , the Wiener Riesenrad Wiener Riesenrad . Lime obliquely threatens Martins, and in a monologue on the insignificance of his victims monologue on the insignificance of his victims , reveals the full extent of his ruthlessness. He again offers a job to Martins and leaves. Calloway asks Martins to help lure Lime out to capture him, and Martins agrees, asking for Anna's safe conduct out of Vienna in exchange. However, Anna refuses to leave and remains loyal to Lime. Exasperated, Martins decides to leave but changes his mind after Calloway shows Martins the children who are victims of Lime's diluted penicillin, now dying of meningitis meningitis . \n", " Lime arrives at his rendezvous with Martins, but Anna warns Lime. He tries again to escape through the sewers, but the police are there in force. Lime shoots and kills Paine, but Calloway shoots and wounds Lime. Badly injured, Lime drags himself up a ladder to a street grating exit but cannot lift it. Martins picks up Paine's revolver, follows Lime, reaches him, but hesitates. Lime looks at him and nods. A shot is heard. Later, Martins attends Lime's second funeral. At the risk of missing his flight out of Vienna, Martins waits to speak to Anna. She approaches him from considerable distance, but she ignores him and walks past him. Lime arrives at his rendezvous with Martins, but Anna warns Lime. He tries again to escape through the sewers, but the police are there in force. Lime shoots and kills Paine, but Calloway shoots and wounds Lime. Badly injured, Lime drags himself up a ladder to a street grating exit but cannot lift it. Martins picks up Paine's revolver, follows Lime, reaches him, but hesitates. Lime looks at him and nods. A shot is heard. Later, Martins attends Lime's second funeral. At the risk of missing his flight out of Vienna, Martins waits to speak to Anna. She approaches him from considerable distance, but she ignores him and walks past him. \n", " \n", "http://en.wikipedia.org/wiki/North_by_Northwest\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Plot [edit] [ [ edit edit ] ] \n", " Advertising executive Roger O. Thornhill is mistaken for George Kaplan and kidnapped by Valerian and Licht. The two take him to the Long Island estate of Lester Townsend. He is interrogated by a man he assumes to be Townsend, but who is actually spy Phillip Vandamm. Vandamm's \"associate\" Leonard intends to get rid of Thornhill once they finish questioning him. Advertising executive Roger O. Thornhill is mistaken for George Kaplan and kidnapped by Valerian and Licht. The two take him to the Long Island Long Island estate of Lester Townsend. He is interrogated by a man he assumes to be Townsend, but who is actually spy Phillip Vandamm. Vandamm's \"associate\" Leonard intends to get rid of Thornhill once they finish questioning him. \n", " Thornhill is forced to drink bourbon, but manages to escape a staged driving accident. He is unable to get the authorities or even his mother to believe what happened, especially when a woman at Townsend's residence says he got drunk at her dinner party; she also remarks that Townsend is a United Nations diplomat. Thornhill is forced to drink bourbon, but manages to escape a staged driving accident. He is unable to get the authorities or even his mother to believe what happened, especially when a woman at Townsend's residence says he got drunk at her dinner party; she also remarks that Townsend is a United Nations United Nations diplomat. \n", " Thornhill and his mother go to Kaplan's hotel room. While there, Thornhill answers the phone; it is one of Vandamm's henchmen. Avoiding recapture, he goes to the U.N. General Assembly building to see Townsend, but finds that the diplomat is a stranger. Valerian throws a knife which hits Townsend in the back. He falls dead into Thornhill's arms. Without thinking, Thornhill removes the knife, making it appear that he is the killer. He is forced to flee. Thornhill and his mother go to Kaplan's hotel room. While there, Thornhill answers the phone; it is one of Vandamm's henchmen. Avoiding recapture, he goes to the U.N. General Assembly building U.N. General Assembly building to see Townsend, but finds that the diplomat is a stranger. Valerian throws a knife which hits Townsend in the back. He falls dead into Thornhill's arms. Without thinking, Thornhill removes the knife, making it appear that he is the killer. He is forced to flee. \n", " \n", "\n", "\n", "\n", "Thornhill (Grant) on the run, attempting to travel incognito.\n", "\n", " \n", " \n", "\n", "\n", "Thornhill (Grant) on the run, attempting to travel incognito.\n", " \n", " \n", "\n", "Thornhill (Grant) on the run, attempting to travel incognito. \n", " \n", "Thornhill (Grant) on the run, attempting to travel incognito. \n", " \n", " \n", " Knowing that Kaplan has a reservation at a Chicago hotel the next day, Thornhill sneaks onto the 20th Century Limited. He meets Eve Kendall, who hides Thornhill from policemen searching the train. Unknown to Thornhill, Eve is working with Vandamm and Leonard, who are in another compartment with Valerian. In Chicago, Kendall tells Thornhill she has arranged a meeting with Kaplan. Knowing that Kaplan has a reservation at a Chicago Chicago hotel the next day, Thornhill sneaks onto the 20th Century Limited 20th Century Limited 20th Century Limited . He meets Eve Kendall, who hides Thornhill from policemen searching the train. Unknown to Thornhill, Eve is working with Vandamm and Leonard, who are in another compartment with Valerian. In Chicago, Kendall tells Thornhill she has arranged a meeting with Kaplan. \n", " \n", "\n", "\n", "\n", "Thornhill (Grant) stopping a truck while being attacked by the crop-duster plane. (Screenshot from the film trailer.)\n", "\n", " \n", " \n", "\n", "\n", "Thornhill (Grant) stopping a truck while being attacked by the crop-duster plane. (Screenshot from the film trailer.)\n", " \n", " \n", "\n", "Thornhill (Grant) stopping a truck while being attacked by the crop-duster plane. (Screenshot from the film trailer.) \n", " \n", "Thornhill (Grant) stopping a truck while being attacked by the crop-duster plane. (Screenshot from the film trailer.) \n", " \n", " \n", " Thornhill travels by bus to an isolated crossroads. A crop duster dives toward Thornhill, narrowly missing him. He hides in a cornfield after the assailants fire at him with an automatic weapon, but the airplane dusts it with pesticide, forcing him out. He steps in front of a speeding tank truck, which stops barely in time. The airplane crashes into the tanker. Thornhill travels by bus to an isolated crossroads. A crop duster crop duster dives toward Thornhill, narrowly missing him. He hides in a cornfield after the assailants fire at him with an automatic weapon, but the airplane dusts it with pesticide, forcing him out. He steps in front of a speeding tank truck tank truck , which stops barely in time. The airplane crashes into the tanker. \n", " Learning that Kaplan had checked out before Kendall claimed to have talked to him over the phone, Thornhill goes to Kendall's room. While he is cleaning up, she leaves. From the impression of a message written on a notepad, he learns her destination: an art auction. There he finds Vandamm, Leonard and Kendall. Vandamm purchases a Tarascan statue and departs. Thornhill tries to follow, only to find the exits covered by Valerian and Leonard. Trapped, he places nonsensical bids so that the police will be called to escort him away. Thornhill identifies himself as the fugitive wanted for Townsend's murder and demands to be jailed, but the arresting officers clandestinely take him to the Professor instead. The Professor reveals that Kaplan does not exist. He was invented to distract Vandamm from the real government agent: Kendall. As he has inadvertently put Kendall's life in danger, Thornhill agrees to help maintain her cover. Learning that Kaplan had checked out before Kendall claimed to have talked to him over the phone, Thornhill goes to Kendall's room. While he is cleaning up, she leaves. From the impression of a message written on a notepad, he learns her destination: an art auction. There he finds Vandamm, Leonard and Kendall. Vandamm purchases a Tarascan Tarascan statue and departs. Thornhill tries to follow, only to find the exits covered by Valerian and Leonard. Trapped, he places nonsensical bids so that the police will be called to escort him away. Thornhill identifies himself as the fugitive wanted for Townsend's murder and demands to be jailed, but the arresting officers clandestinely take him to the Professor instead. The Professor reveals that Kaplan does not exist. He was invented to distract Vandamm from the real government agent: Kendall. As he has inadvertently put Kendall's life in danger, Thornhill agrees to help maintain her cover. \n", " At the Mount Rushmore visitor center, Thornhill poses as Kaplan to negotiate Vandamm's turn over of Kendall for her prosecution as a spy. The deal is derailed when \"Kaplan\" confronts Kendall; she fires a handgun (later revealed to have been loaded with blanks) at him and flees. Paramedics load Thornhill in an ambulance then take him to a forest where he gets out of the ambulance uninjured. Thornhill and Kendall have a romantic goodbye in the forest, but Thornhill discovers she must not only return undercover, but go with Vandamm and Leonard on a plane to rendezvous \"over there\". The Professor has his driver stop Thornhill from preventing Kendall from returning, but Thornhill evades the Professor's custody and finds Vandamm's lair to rescue Kendall. At the Mount Rushmore Mount Rushmore visitor center, Thornhill poses as Kaplan to negotiate Vandamm's turn over of Kendall for her prosecution as a spy. The deal is derailed when \"Kaplan\" confronts Kendall; she fires a handgun (later revealed to have been loaded with blanks blanks ) at him and flees. Paramedics load Thornhill in an ambulance then take him to a forest where he gets out of the ambulance uninjured. Thornhill and Kendall have a romantic goodbye in the forest, but Thornhill discovers she must not only return undercover, but go with Vandamm and Leonard on a plane to rendezvous \"over there\". The Professor has his driver stop Thornhill from preventing Kendall from returning, but Thornhill evades the Professor's custody and finds Vandamm's lair to rescue Kendall. \n", " At Vandamm's house Thornhill overhears that the sculpture holds microfilm and that Leonard knew Kendall's gun was loaded with blanks, and reveals such to Vandamm. Thornhill is able to inform Kendall they plan to kill her, but is captured. His escape from the house provides a distraction for Kendall to take the sculpture and run to Thornhill. Thornhill and Kendall realize they are on top of Mount Rushmore and climb down the mountain sculpture to escape. Thornhill fights Valerian, who falls from the cliff, but Leonard pushes Kendall over the side. While Thornhill is holding onto Kendall and the cliff face, Leonard stamps on his hand. Leonard is killed by a gunshot from a park ranger in a group including the Professor and the captured Vandamm. Later, Thornhill invites Kendall onto the top cabin bunk of a train that then enters a tunnel. At Vandamm's house Thornhill overhears that the sculpture holds microfilm and that Leonard knew Kendall's gun was loaded with blanks, and reveals such to Vandamm. Thornhill is able to inform Kendall they plan to kill her, but is captured. His escape from the house provides a distraction for Kendall to take the sculpture and run to Thornhill. Thornhill and Kendall realize they are on top of Mount Rushmore and climb down the mountain sculpture to escape. Thornhill fights Valerian, who falls from the cliff, but Leonard pushes Kendall over the side. While Thornhill is holding onto Kendall and the cliff face, Leonard stamps on his hand. Leonard is killed by a gunshot from a park ranger in a group including the Professor and the captured Vandamm. Later, Thornhill invites Kendall onto the top cabin bunk of a train that then enters a tunnel. \n", " \n", "http://en.wikipedia.org/wiki/Yankee_Doodle_Dandy\n", "Plot" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_summary" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Plot_synopsis" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Synopsis" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " Synopsis [edit] [ [ edit edit ] ] \n", " In the early days of World War II, Cohan comes out of retirement to star as President Roosevelt in the Rodgers and Hart musical I'd Rather Be Right. On the first night, he is summoned to meet the President at the White House, who presents him with a Congressional Gold Medal (in fact, this happened several years previously). Cohan is overcome and chats with Roosevelt, recalling his early days on the stage. The film flashes back to his supposed birth on July 4, whilst his father is performing on the vaudeville stage. In the early days of World War II World War II , Cohan comes out of retirement to star as President Roosevelt in the Rodgers and Hart Rodgers and Hart musical I'd Rather Be Right. I'd Rather Be Right I'd Rather Be Right . On the first night, he is summoned to meet the President at the White House White House , who presents him with a Congressional Gold Medal Congressional Gold Medal (in fact, this happened several years previously). Cohan is overcome and chats with Roosevelt, recalling his early days on the stage. The film flashes back to his supposed birth on July 4, whilst his father is performing on the vaudeville vaudeville stage. \n", " Cohan and his sister join the family act as soon as they can learn to dance, and soon The Four Cohans are performing successfully. But George gets too cocky as he grows up and is blacklisted by theatrical producers for being troublesome. He leaves the act and hawks his songs unsuccessfully around producers. In partnership with another struggling writer, Sam Harris, he finally interests a producer and they are on the road to success. He also marries Mary, a young singer/dancer. Cohan and his sister join the family act as soon as they can learn to dance, and soon The Four Cohans are performing successfully. But George gets too cocky as he grows up and is blacklisted by theatrical producers for being troublesome. He leaves the act and hawks his songs unsuccessfully around producers. In partnership with another struggling writer, Sam Harris, he finally interests a producer and they are on the road to success. He also marries Mary, a young singer/dancer. \n", " As his star ascends, he persuades his now struggling parents to join his act, eventually vesting some of his valuable theatrical properties in their name. As his star ascends, he persuades his now struggling parents to join his act, eventually vesting some of his valuable theatrical properties in their name. \n", " Cohan retires, but returns to the stage several times, culminating in the role of the U.S. President. As he leaves the White House, he performs a dance step down the stairs (which Cagney thought up before the scene was filmed and performed with no rehearsal). Outside, he joins a military parade, where the soldiers are singing \"Over There\". Not knowing that Cohan is the song's composer, they jokingly invite him to join in, which he does. Cohan retires, but returns to the stage several times, culminating in the role of the U.S. President. As he leaves the White House, he performs a dance step down the stairs (which Cagney thought up before the scene was filmed and performed with no rehearsal). Outside, he joins a military parade, where the soldiers are singing \"Over There\". Not knowing that Cohan is the song's composer, they jokingly invite him to join in, which he does. \n", " \n" ] } ], "prompt_number": 182 }, { "cell_type": "code", "collapsed": false, "input": [ "len(synopses_wiki_plot)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 183, "text": [ "100" ] } ], "prompt_number": 183 }, { "cell_type": "code", "collapsed": false, "input": [ "for i in range(len(synopses_wiki_plot)):\n", " if len(synopses_wiki_plot[i]) < 100:\n", " print i\n", " print titles[i]\n", " print links_wiki_new[i]\n", " print synopses_wiki_plot[i][:200]\n", " print" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 184 }, { "cell_type": "code", "collapsed": false, "input": [ "links_wiki_new[93] = 'http://en.wikipedia.org/wiki/Wuthering_Heights_%281939_film%29'\n", "\n", "links_wiki_new[96] = 'http://en.wikipedia.org/wiki/Rear_Window'" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 181 }, { "cell_type": "code", "collapsed": false, "input": [ "len(synopses_wiki_plot)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 73, "text": [ "66" ] } ], "prompt_number": 73 }, { "cell_type": "code", "collapsed": false, "input": [ "unicode(titles[3]).encode('utf-8')" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 125, "text": [ "'Raging Bull'" ] } ], "prompt_number": 125 }, { "cell_type": "code", "collapsed": false, "input": [ "string1 = 'test'\n", "string2 = 'test2'\n", "\n", "string3 = string1 + ' ' + string2\n", "\n", "string3 += ' ' + 'another one' + ' '\n", "\n", "print string3" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "test test2 another one \n" ] } ], "prompt_number": 32 }, { "cell_type": "code", "collapsed": false, "input": [ "# note that the last film, Yankee Doodle Dandee, has no synopsis. This is film 100.\n", "\n", "synopses_wiki = []\n", "\n", "for i in titles:\n", " print \"http://en.wikipedia.org/wiki/\" + i.replace(' ','_')\n", " request = urllib2.Request(\"http://en.wikipedia.org/wiki/\" + i.replace(' ','_'))\n", " response = urllib2.urlopen(request)\n", " soup = BeautifulSoup(response, \"html.parser\")\n", " \n", " inner_synopses = ''\n", " \n", " for p in soup.findAll('p'):\n", " print p.text\n", " inner_synopses = inner_synopses + ' ' + p.text + ' '\n", " \n", " synopses_wiki.append(inner_synopses)" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "http://en.wikipedia.org/wiki/The_Godfather\n", "The Godfather is a 1972 American crime film directed by Francis Ford Coppola and produced by Albert S. Ruddy from a screenplay by Mario Puzo and Coppola. Starring Marlon Brando and Al Pacino as the leaders of a fictional New York crime family, the story spans the years 1945-55, centering on the transformation of Michael Corleone from reluctant family outsider to ruthless Mafia boss while chronicling the Corleones under the patriarch Vito." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Based on Puzo's best-selling novel of the same name, The Godfather is widely regarded as one of the greatest films in world cinema[4]\u2014and as one of the most influential, especially in the gangster genre.[5] Ranked second to Citizen Kane by the American Film Institute in 2007,[6] it was selected for preservation in the United States National Film Registry in 1990.\n", "The film was for a time the highest grossing picture ever made, and remains the box office leader for 1972. It won three Oscars that year: Best Picture, Best Actor (Brando) and in the category Best Adapted Screenplay for Puzo and Coppola. Its nominations in seven other categories included Pacino, James Caan and Robert Duvall for Best Supporting Actor and Coppola for Best Director. The success spawned two sequels: The Godfather Part II in 1974, and The Godfather Part III in 1990.\n", "\n", "\n", "On the day of his only daughter's wedding, Vito Corleone hears requests in his role as the Godfather, the Don of a New York crime family. Vito's youngest son, Michael, in a Marine Corps uniform, introduces his girlfriend, Kay Adams, to his family at the sprawling reception. Vito's godson Johnny Fontane, a popular singer, pleads for help in securing a coveted movie role, so Vito dispatches his consigliere, Tom Hagen, to Los Angeles to influence the abrasive studio head, Jack Woltz. Woltz is unmoved until the morning he wakes up in bed with the severed head of his prized stallion.\n", "Shortly before Christmas 1945, drug baron Virgil \"The Turk\" Sollozzo, backed by the Corleones' rivals, the Tattaglias, asks Vito for investment in the emerging drug trade and protection through his political connections. Vito disapproves of drug dealers, so he sends his enforcer, Luca Brasi, to spy on them. The family then receives two fish wrapped in Brasi's vest, imparting that he \"sleeps with the fishes\". An assassination attempt by Sollozzo's men lands Vito in the hospital, so his eldest son, Sonny, takes command. Sollozzo kidnaps Hagen to pressure Sonny to accept his deal. Michael thwarts a second assassination attempt on his father at the hospital; his jaw is broken by Police Captain McCluskey, who is also Sollozzo's bodyguard. Sonny retaliates for the attacks on his father by having Tattaglia's son killed. Michael comes up with a plan to hit Sollozzo and McCluskey: on the pretext of settling the dispute, Michael accepts their offer to meet in a Bronx restaurant and, retrieving a planted handgun, murders them.\n", "Despite a clampdown from the authorities, the Five Families erupt in open warfare and the brothers fear for their safety. Michael takes refuge in Sicily, and Fredo Corleone is sheltered by associate Moe Greene in Las Vegas. Sonny attacks his brother-in-law Carlo on the street for abusing his sister Connie and threatens to kill him if he abuses her again. When it happens again, Sonny speeds for her home but assassins ambush him at a highway toll booth and riddle him with submachine gun fire. Michael's time abroad has led to marriage to Apollonia Vitelli. Their euphoria is shattered when a car bomb intended for him takes her life.\n", "Devastated by Sonny's death, Vito decides to end the feuds. Realising that the Tattaglias were under orders of the now dominant Don Emilio Barzini, he promises, before the heads of the Five Families, to withdraw his opposition to their heroin business and forgo revenge for his son's murder. His safety guaranteed, Michael returns home to a father saddened by his involvement in the family business and marries Kay the next year.\n", "With his father at the end of his career and his surviving brother too weak, Michael takes the reins of the family, promising Kay that he will make the business legitimate within five years. To that end, he insists Hagen relocate to Las Vegas and relinquish his role to Vito because Tom is not a \"wartime consigliere\"; the older man agrees Tom should \"have no part in what will happen\" in the coming battles with rival families. When Michael travels to Las Vegas to buy out Greene's stake in the family's casinos, Greene derides the Corleones as a fading power. To add injury to insult, Michael sees Fredo falling under Greene's sway.\n", "Vito collapses and dies in his garden while playing with Michael's son, Anthony. At the funeral, Salvatore Tessio arranges a meeting between Michael and Don Barzini, signalling his treachery as Vito had warned. The meeting is set for the same day as the christening of Connie's son, to whom Michael will stand as godfather. As the christening proceeds, Corleone assassins, acting on Michael's orders, murder the other New York dons and Moe Greene. Tessio is told that Michael is aware of his betrayal and taken off to his death. After Carlo is questioned by Michael on his involvement in setting up Sonny's murder and confesses he was contacted by Barzini, Peter Clemenza kills him with a wire garrote. Michael is confronted by Connie, who accuses him of having her husband killed. He denies killing Carlo when questioned by Kay, an answer she accepts. As Kay watches warily, Michael receives his capos, who address him as the new Don Corleone.\n", "The film is based on Mario Puzo's novel The Godfather, a 67 week New York Times Best Seller that sold over 10 million copies.[7][8][9] The work first came to the attention of Paramount Pictures in 1967 as an unfinished sixty-page manuscript. Paramount executive Peter Bart believed it was \"much beyond a Mafia story\" and the studio made Puzo an offer to option the filming rights.[8][10][11] Against his agent's advice, Puzo accepted the deal;[8][10] in 1969, the studio exercised their option to adapt the novel.[N 1][10][12][13][14]\n", "While numerous directors were considered, Paramount production head Robert Evans wanted an Italian American, to make the movie \"ethnic to the core\".[15][16] Sergio Leone was the first choice,[17][18] but he turned it down to work on his own gangster film Once Upon a Time in America.[17][18] Even though not Italian, Peter Bogdanovich was offered the job, but he was not interested in the mafia.[19][20][21][22][23] In all, twelve directors refused.[24]\n", "Bart believed Coppola would work within their small budget of $2.5 million;[15] [N 2][15][22][27][28] Coppola turned him down because he was put off by the novel,[15][23] but with his American Zoetrope studio in debt and his personal financial position weak, he took the advice of family and friends and reversed himself.[15][23][31][32] Paramount announced the signing of Coppola as director on September 28, 1970.[33]\n", "The studio and the director had pre-production differences, and not only over casting (see below). Paramount wanted the movie set in modern-day Kansas City and shot in their studio back lot to keep the budget down.[22][25][27] Coppola preferred the 1940s, as in the novel,[22][32][25][33] allowing him to cover Michael's Marine Corps stint, the emergence of corporate America, and the American milieu in the years after World War II.[33] The popularity of the book eventually changed minds at the studio about the requests;[27][25] they relented on a $6.5 million budget and approved period filming on location in New York and Sicily.[34]\n", "When shooting began, the friction intensified between director and studio. Coppola was almost replaced in the first week when production was delayed after Pacino was badly injured. The studio believed that Coppola failed to stay on schedule, frequently made production and casting errors, and insisted on unnecessary expenses. But Brando told them he would quit if Coppola were fired.[22][35] Still, Coppola said he was shadowed by a replacement director ready to take over if he was let go.[32] He would later recollect:\n", "\"The Godfather was a very unappreciated movie when we were making it. They were very unhappy with it. They didn't like the cast. They didn't like the way I was shooting it. I was always on the verge of getting fired. So it was an extremely nightmarish experience. I had two little kids, and the third one was born during that. We lived in a little apartment, and I was basically frightened that they didn't like it. They had as much as said that, so when it was all over I wasn't at all confident that it was going to be successful, and that I'd ever get another job.\"[36]\n", "After the Sollozzo dinner scene was shot, Coppola met with studio resistance to a re-shoot. Behind his back, two members of his crew criticized the footage to studio executives.[35] Coppola fired them and re-shot the scene, raising the cost of his own dismissal.[35]\n", "On April 14, 1970, Puzo was hired by Paramount to adapt his novel for the screen.[37][38] In August, he had a draft 30 pages longer than the 120 pages expected of the final screenplay.[37][38] After Coppola was hired as director, Puzo worked on the rewrite in Los Angeles;[39] Coppola, in San Francisco, tore pages out of the novel and pasted them into his loose leaf draft,[39] making notes about each of the book's fifty scenes, their major themes, and ideas and concepts that could be relevant to the film.[39][35] This notebook became the director's personal reference for the duration of his work on the film.[39][35] The two came together[39] on a second draft of 173 pages by March of the next year,[37] with the final draft of 163 pages completed March 29, 1971.[37][38][40] Because the studio wanted a film with wide audience appeal, Coppola was threatened with the addition of a \"violence coach\", prompting him to add a few more violent scenes that included Connie's dish-smashing reaction to her husband Carlo's infidelity.[32]\n", "After production began, Screenwriter Robert Towne did uncredited work on the script, particularly on the Pacino-Brando garden scene.[41]\n", "Previous gangster movies looked at organized crime from the perspective of an outraged outsider.[citation needed] By contrast, The Godfather presents the gangster's perspective; Coppola saw in the Mafia a metaphor for American capitalism.[42] Although the Corleone family is rich and powerful, no scenes depict prostitution, gambling, loan sharking or other forms of racketeering.[43]\n", "The Italian-American Civil Rights League, founded by a reputed mobster, wanted the words mafia and Cosa Nostra removed from the script and objected to its stereotypes about Italian-Americans.[26][44][45][46] In addition, they requested a donation of earnings from the premiere to the league's fund to \"build a new hospital\".[45][46] Accounts differ on the specifics, but the league backed down after the handful of offending references were removed,[45][46] a change Coppola found inconsequential.[45][46]\n", "Puzo told Brando he was \"the only actor who can play the Godfather\" in a note sent with a copy of his first draft. Although the author conceived the part with Brando in mind,[47] studio executives were opposed because of the actor's poor box office returns and a reputation for disrupting production.[48][27] Coppola thought the role demanded a great actor, either Brando or Laurence Olivier,[49][50] but Olivier's agent refused on his behalf, citing poor health;[51] however, he made Sleuth later that year.[50]\n", "After months of debate, Paramount president Stanley Jaffe insisted that Brando perform a screen test,[52][53] so Coppola, not wishing to offend the actor, told him that he needed to test equipment.[54] He traveled to Brando's residence in California and Brando allowed filming in makeup:[53][55] cotton balls in his cheeks,[56] shoe polish in his hair, and a rolled up collar.[57] When Coppola met with Paramount executives, he placed Brando's tape in the middle of the auditions.[58] They were impressed with Brando's performance and approved his casting in the title role,[56][58][59] under the condition that Brando accept no salary (only a percentage) and put up a bond insuring against delays in production.[60]\n", "For Michael, Paramount wanted a popular actor, Coppola wanted an unknown. Warren Beatty claims that he and Jack Nicholson both turned it down.[26][60][56][61] Evans preferred Ryan O'Neal, on the heels of his starring role in the hit Love Story.[61][62] Although Paramount executives thought him \"too short\" for the role,[15][26] Al Pacino was Coppola's preference, an unknown who looked Italian-American.[32][61][62]\n", "The studio gave Caan the part of Michael initially, with Sonny Corleone going to Carmine Caridi.[15] But Coppola still pushed for Pacino and Evans eventually conceded as long as Caan\u2014shorter than Caridi by seven inches\u2014took the role of the more diminutive Pacino's brother.[15][15][63]\n", "From the beginning, Coppola wanted Robert Duvall for Tom Hagen.[15][26][64] Even so, he tested several other actors.[15][50][64]\n", "Al Martino believed the character of Johnny Fontane was based on his life,[15] and was promised the role by producer Al Ruddy.[15] However, Coppola cast Italian singer Vic Damone, only to be overruled later by Ruddy. (According to Martino, he contacted his mob patron, Russ Bufalino, who put pressure on someone to get Martino the part). [15]\n", "Diane Keaton was cast as Kay Adams after a screen test with Pacino.[60] Coppola saw John Cazale perform Off Broadway and asked him to play Fredo Corleone.[60] Gianni Russo screen tested on the scene where Carlo Rizzi fights with wife Connie Corleone.[65] Robert De Niro, originally slated for Paulie Gatto,[66][56] instead accepted a role in The Gang That Couldn't Shoot Straight that Pacino could no longer fit in.[66][67][66][67]\n", "Coppola cast several family members,[15] most notably his sister Talia Shire as Connie Corleone.[15][16][68] His daughter Sofia played the infant boy in the famous baptism scene,[15][69] and his composer father (at the piano),[15] wife, mother, and two sons all made brief appearances.[15]\n", "Shooting began ahead of schedule on March 24 with cinematographer Gordon Willis.[70] The early start was designed to take advantage of an unseasonal forecast of snow for New York City that never materialized. Instead, a snow machine was employed for the Christmas scene of Michael and Kay shopping in the city.\n", "The opening shot of the film is a long, slow pullback, starting with a close-up of Bonasera, who is petitioning Don Corleone, and ending with the Godfather, seen from behind, framing the picture. This move, which lasts for about three minutes, was shot with a computer-controlled zoom lens designed by Tony Karp.[71]\n", "The scene of Michael driving with McCluskey and Sollozzo did not employ back-projection because of budgetary limits. Instead, technicians moved lights behind the car to create the illusion.\n", "The cat in the opening scene used to hang around the studio, and was simply dropped in Brando's lap at the last minute by the director.[72][73]\n", "Animal rights groups protested the scene with the severed head of a thoroughbred belonging to film producer Jack Woltz. Coppola said that the horse's head was delivered to him from a dog food company; a horse had not been killed specifically for the movie.[32][60] The DVD release includes material that was cut from the theatrical version: Tom Hagen sees a young girl exiting Woltz's room in tears and Woltz kisses the girl on the cheek in his studio.\n", "The shooting of Moe Greene through the eye was inspired by the death of gangster Bugsy Siegel. To achieve the effect, actor Alex Rocco's glasses had two tubes hidden in their frames. One had fake blood in it, and the other had a BB and compressed air. When the gun was shot, the compressed air shot the BB through the glasses, shattering them from the inside. The other tube then released the fake blood.\n", "The equally startling scene of McCluskey's shooting was accomplished by building a fake forehead on top of actor Sterling Hayden. A gap was cut in the center, filled with fake blood, and capped off with a plug of prosthetic flesh. The plug was quickly yanked out with monofilament fishing line, making a bloody hole suddenly appear in McCluskey's head.\n", "The most complicated and expensive scene was the death of Sonny Corleone at the Jones Beach Causeway toll plaza midway through the film. Filmed for more than $100,000 on a small Long Island airport runway at the former Mitchel Field, it was accomplished in just one take with at least four cameras. Caan's suit, rigged with 127 squibs of fake blood, and 200 squib-filled holes in the small toll booth building and the 1941 Lincoln auto, simulated the submachine gun ambush.\n", "Locations[74] around New York City were used for the film, including the then-closed flagship store of Best & Company on Fifth Avenue, which was dressed up and used for the scene in which Pacino and Keaton are Christmas shopping. At least one location in Los Angeles was used also (for the exterior of Woltz's mansion), for which neither Robert Duvall nor John Marley was available; in some shots, it is possible to see that extras are standing in for the two actors. A scene with Pacino and Keaton was filmed in the town of Ross, California. The Sicilian towns of Savoca and Forza d'Agr\u00f2 outside of Taormina were also used for exterior locations. Interiors were shot at Filmways Studio in New York.\n", "A side entrance to Bellevue Hospital was used for Michael's confrontation with police Captain McCluskey.[75] As of 2007, the steps and gate to the hospital were still there but have fallen victim to neglect. The hospital interiors, shown when Michael visits his father there, were filmed at the New York Eye and Ear Infirmary on 14th Street, in Manhattan, New York City.\n", "The scene in which Don Barzini is assassinated was filmed on the steps of the New York Supreme Court building on Foley Square in Manhattan, New York City.[76]\n", "The wedding at the Corleone family compound was shot at 110 Longfellow Avenue in the Todt Hill section of Staten Island. The numerous Tudor homes on the block gave the impression that they were part of the same \"compound\".[77] Paramount built a Plexiglas \"stone wall\" which traversed the street \u2013 the same wall where Santino smashed the camera. Many of the extras in the wedding scene were local Italian-Americans who were asked by Coppola to drink homemade wine, enjoy the traditional Italian food, and participate in the scene as though it were an actual wedding. Coppola revealed in the extras DVD released in 2008 that if you look really close, some of the \"daytime\" scenes were actually shot at night, with almost blinding backlighting used to simulate the afternoon environment. The production scheduling required this, since this location was on an actual community street and time did not permit extra days to shoot in daylight.\n", "Two churches were used to film the baptism scene. The interior shots were filmed at Old St. Patrick's Cathedral in New York. For the baptism, Bach's Passacaglia and Fugue in C minor, BWV 582 was used, as were other Bach works for the pipe organ. The exterior scenes following the baptism were filmed at The Church of St. Joachim and St. Anne in the Pleasant Plains section of Staten Island. In 1973, much of the church was destroyed in a fire. Only the fa\u00e7ade and steeple of the original church remained, and were later incorporated into a new structure.\n", "The funeral scene was filmed at Calvary Cemetery in Woodside, Queens.[78] The toll booth scene was filmed at the site of Nassau Community College in Uniondale, New York on Long Island, which was under construction at the time. It also utilized the former Mitchel Field, and the roadway used was once a runway.\n", "Distinguished Italian composer Nino Rota created the underscore for the film, including the main theme, \"Speak Softly Love\".[79][80] He used a symphonic structure to comment on the film's situations and characters in the film,[79][80] one Paramount executive Evans found too \"operatic.\" Coppola insisted,[79][80] believing the work gave the film an Italian feel.[80] Coppola's father, Carmine, created some additional music for the film,[81] e.g., the music played by the band during the opening wedding scene.[80]\n", "A film soundtrack was released on vinyl in 1972 by Paramount Records, on CD in 1991 by Geffen Records, and digitally by Geffen in 2005.[82] The album contains over 31 minutes from the movie, with Rota's selections augmented with songs by Coppola and the team of Johnny Farrow and Marty Symes.[83][84][85] Allmusic gave the album five out of five stars, with editor Zach Curd saying it is a \"dark, looming, and elegant soundtrack\".[83] An editor for Filmtracks believed that Rota did a great job of relating the music to the core aspects of the film, which the editor believed to be \"tradition, love, and fear\".[85]\n", "Paramount Pictures held the world premiere for The Godfather in New York City on March 14, 1972, almost three months after the planned release date of Christmas Day in 1971.[86][26] The money gained from the premiere was all donated to The Boys Club of New York.[87] Before the film premiered, the film had already made $15 million from rentals from over 400 theaters.[27] The following day, the film opened in New York at five theaters.[2][15][86][87] The film next opened in Los Angeles at two theaters on March 22.[87] The Godfather was commercially released on March 24, 1972 throughout the rest of the United States.[2][86]\n", "The Godfather was a blockbuster, breaking many box office records to become the highest grossing film of 1972. It earned $81.5 million in theatrical rentals in North America during its initial release,[88] increasing its earnings to $85.7 million through a reissue in 1973,[89] and including a limited re-release in 1997 it ultimately earned an equivalent exhibition gross of $135 million.[2] It displaced Gone with the Wind to claim the record as the top rentals earner, a position it would retain until the release of Jaws in 1975.[87][90] News articles at the time proclaimed it was the first film to gross $100 million in North America,[87] but such accounts are erroneous since this record in fact belongs to The Sound of Music, released in 1965.[91] The film repeated its native success overseas, earning in total an unprecedented $142 million in worldwide theatrical rentals, to become the highest net earner.[92] Profits were so high for The Godfather that earnings for Gulf & Western Industries, Inc., which owned Paramount Pictures, jumped from seventy-seven cents per share to three dollars and thirty cents a share for the year, according to a Los Angeles Times article, dated December 13, 1972.[87] To date, it has grossed between $245 million and $286 million in worldwide box office receipts,[93] and adjusted for ticket price inflation in North America, ranks among the top 25 highest-grossing films.[94]\n", "Since its release, The Godfather has received global critical acclaim.[95] Rotten Tomatoes reports that all 81 critics gave the film a positive review, with an average score of 9.2/10.[96] Metacritic, another review aggregator, assigned the film a perfect weighted average score of 100/100 based on 14 reviews from mainstream critics, considered to be \"universal acclaim\".[95] The film is ranked at the top of Metacritic's top 100 list,[97] and is ranked 3rd on Rotten Tomatoes' all time best list (100% \"Certified Fresh\").[98]\n", "Director Stanley Kubrick believed that The Godfather was possibly the greatest movie ever made, and had without question the best cast.[99] The Chicago Tribune's Gene Siskel gave the film 4 out of 4 stars, commenting that it was \"very good\".[100] Roger Ebert of the Chicago Sun Times praised the film, although he criticized Brando's performance, saying his movements lacked \"precision\" and his voice was \"wheezy\".[101] The Village Voice's Andrew Sarris believed Brando portrayed Vito Corleone well and that his character dominated each scene it appeared in, but felt Puzo and Coppola had the character of Michael Corleone too focused on revenge.[102] Desson Howe of the Washington Post believed that Coppola deserves most of the credit for a movie which is a \"jewel\".[103] For Vincent Canby of the New York Times, Coppola created one of the \"most brutal and moving chronicles of American life\" that \"transcends its immediate milieu and genre\".[104]\n", "Remarking on the 40th anniversary of the film's release, film critic John Podhoretz praised The Godfather as \"arguably the great American work of popular art\" and \"the summa of all great moviemaking before it\".[105] Two years before, Roger Ebert wrote in his journal that it \"comes closest to being a film everyone agrees... is unquestionably great\".[106]\n", "The soundtrack's main theme by Nino Rota was also critically acclaimed; the main theme (\"Speak Softly Love\") is well-known and widely used.[107]\n", " The Godfather was nominated for seven awards at the 30th Golden Globe Awards: Best Picture \u2013 Drama, James Caan for Best Supporting Actor, Al Pacino and Marlon Brando for Best Actor \u2013 Drama, Best Score, Best Director, and Best Screenplay.[108] When the winners were announced on January 28, 1973, the film had won the categories for: Best Screenplay, Best Director, Best Actor - Drama, Best Original Score, and Best Picture \u2013 Drama.[109][110] The Godfather won a record five Golden Globes, which still stands today.[111]\n", "Rota's score for the film was also nominated for Grammy Award for Best Original Score for a Motion Picture or TV Special at the 15th Grammy Awards.[112][113] Rota was announced the winner of the category on March 3 at the Grammys' ceremony in Nashville, Tennessee.[112][113]\n", "When the nominations for the 45th Academy Awards were revealed on February 12, 1973, The Godfather was nominated for eleven awards.[114][115] The nominations were for: Best Picture, Best Costume Design, Marlon Brando for Best Actor, Mario Puzo and Francis Ford Coppola for Best Adapted Screenplay, Pacino, Caan, and Robert Duvall for Best Supporting Actor, Best Film Editing, Nino Rota for Best Original Score, Coppola for Best Director, and Best Sound.[114][115][116] Upon further review of Rota's love theme from The Godfather, the Academy found that Rota had used a similar score in Eduardo De Filippo's 1958 comedy Fortunella.[117][118][119] This led to re-balloting, where members of the music branch chose from six films: The Godfather and the five films that had been on the shortlist for best original dramatic score but did not get nominated. John Addison's score for Sleuth won this new vote, and thus replaced Rota's score on the official list of nominees.[120] Going into the awards ceremony, The Godfather was seen as the favorite to take home the most awards.[109] From the nominations that The Godfather had remaining, it only won three of the Academy Awards: Best Actor, Best Adapted Screenplay, and Best Picture.[116][121]\n", "Brando, who had also not attended the Golden Globes ceremony two months earlier,[119][122] boycotted the Academy Awards ceremony and refused to accept the Oscar, becoming the second actor to refuse a Best Actor award after George C. Scott in 1970.[123][124] Brando sent American Indian Rights activist Sacheen Littlefeather in his place, to announce at the awards podium Brando's reasons for declining the award which were based on his objection to the depiction of American Indians by Hollywood and television.[123][124][125][126][127] In addition, Pacino boycotted the ceremony. He was insulted at being nominated for the Academy Award for Best Supporting Actor award, noting that he had more screen time than his co-star and Best Actor winner Brando and thus he should have received an Academy Award nomination for Best Actor.[128]\n", "The Godfather had five nominations for awards at the 26th British Academy Film Awards.[129] The nominees were: Pacino for Most Promising Newcomer, Rota for the Anthony Asquith Award for Film Music, Duvall for Best Supporting Actor, and Brando for Best Actor, the flim's costume designer Anna Hill Johnstone for Best Costume Design.[129] All of The Godfather's nominations failed to win except for Rota.[129]\n", "In 1990, the film was selected for preservation in the United States National Film Registry as being deemed \"culturally, historically, or aesthetically significant\".[130] In 1998, Time Out' conducted a poll and The Godfather was voted the best film of all time.[131] In 2002, Sight & Sound polled film directors voted the film and its sequel as the second best film ever;[132] the critics poll separately voted it fourth.[133] Also in 2002, The Godfather was ranked the second best film of all time by Film4, after Star Wars Episode V: The Empire Strikes Back.[134] In 2005, it was named one of the 100 greatest films of the last 80 years by Time magazine (the selected films were not ranked).[135][136] In 2006, the Writers Guild of America, west agreed, voting it the number two in its list of the 101 greatest screenplays, after Casablanca.[137] In 2008, the film was voted in at No. 1 on Empire magazine's list of The 500 Greatest Movies of All Time.[138] Entertainment Weekly named it the greatest film ever made.[139][140][141] The film has been selected by the American Film Institute for many of their lists.\n", "Although many films about gangsters preceded The Godfather, Coppola's nuanced treatment of the Corleone family and their associates, and his portrayal of mobsters as characters of considerable psychological depth and complexity[150] was an innovation. He took it further with The Godfather Part II, and the success of those two films, critically, artistically and financially, opened the doors for more and varied depictions of mobster life, including films such as Martin Scorsese's Goodfellas and TV series such as David Chase's The Sopranos.\n", "The image of the Mafia as a feudal organization with the Don as both the protector of the small fry and the collector of obligations from them for his services is now a commonplace trope which The Godfather helped to popularize. Similarly, the recasting of the Don's family as a figurative \"royal family\" has spread beyond fictional boundaries into the real world as well \u2013 (cf. John Gotti \u2013 the \"Dapper Don\", and his celebrity family.) This portrayal is echoed in the more sordid reality of lower level Mafia \"familial\" entanglements depicted in various post-Godfather Mafia fare, such as Scorsese's Mean Streets and Casino.\n", "In the DVD commentary for Star Wars Episode III: Revenge of the Sith, George Lucas states that the interwoven scenes of Anakin Skywalker killing Separatist leaders and Palpatine announcing the beginning of the Galactic Empire was an homage to the christening and assassination sequence in The Godfather.\n", "The Godfather epic, encompassing the original trilogy and the additional footage Coppola incorporated later, is by now thoroughly integrated into American life, and the first film had the largest impact. Unlike any film before it, its depiction of Italians who immigrated to the United States in the first half of the twentieth century is perhaps attributable to the director, himself an Italian-American, presenting his own understanding of their experience. Setting aside the stereotypes of the criminal element and the simple peasant, the films explain through their action the uneven integration of a particular population into a new milieu. Ironically, The Godfather increased Hollywood's unsavory depictions of immigrant Italians in the aftermath of the film and was a recruiting tool for organized crime.[151] Still, the story is of a piece with all immigrant experience as much as it is rooted in the specific circumstances of the Corleones, a family of privilege who live outside the law, are not robbed of their universality yet assume a heroic aspect that is at once admirable and repellent. Released in a period of intense national cynicism and self-criticism, the American film struck a chord about the dual identities inherent in a nation of immigrants.[152]\n", "The concept of a mafia \"Godfather\" was an invention of Mario Puzo's and the film's effect was to add the fictional nomenclature to the language. Similarly, Don Vito Corleone's unforgettable \"I'm gonna make him an offer he can't refuse\"\u2014voted the second most memorable line in cinema history in AFI's 100 Years... 100 Movie Quotes by the American Film Institute\u2014was adopted by actual gangsters.[153] In the French novel Le P\u00e8re Goriot, Honor\u00e9 de Balzac wrote of Vautrin telling Eugene: \"In that case I will make you an offer that no one would decline.\"[154] According to Anthony Fiato, Patriarca crime family members Paulie Intiso and Nicky Giso modeled their speech on Brando's portrayal.[155] Intiso would frequently swear and use poor grammar; but after the movie came out, he started to articulate and philosophize more.[155]\n", "On the other hand, Salvatore \"Sammy the Bull\" Gravano, the former underboss in the Gambino crime family,[156] \"left the movie stunned\u00a0... I mean I floated out of the theater. Maybe it was fiction, but for me, then, that was our life. It was incredible. I remember talking to a multitude of guys, made guys, who felt exactly the same way.\"\n", "An indication of the continuing influence of The Godfather and its sequels can be gleaned from the many references to it which have appeared in every medium of popular culture in the decades since the film's initial release. That these homages, quotations, visual references, satires, and parodies continue to pop up even now shows clearly the film's enduring impact.\n", "References to the film are abundant. The 1999 film Analyze This made many references both directly and indirectly to The Godfather, with a dream scene repeating almost shot for shot the attack on Vito Corleone. Brando virtually reprised the role of the Don in the 1990 comedy The Freshman, and the 2004 animation Shark Tale nodded at this and other movies about the Mafia.[citation needed] Similarly, Rugrats in Paris, based on a Nickelodeon children's show, began with an extended parody of The Godfather.\n", "In Set it Off, four women - Lita \"Stoney\" Newsome (Jada Pinkett), Cleopatra \"Cleo\" Sims (Queen Latifah), Francesca \"Frankie\" Sutton (Vivica A. Fox), and Tisean \"T.T.\" Williams (Kimberly Elise) - meet around a conference table at the office building they clean to plan a series of bank heists, during which time they do imitations of The Godfather.[157]\n", "In You've Got Mail, Joe Fox (played by Tom Hanks) quotes The Godfather, positing:\n", "The Warner Bros. animated show Animaniacs featured several segments called \"Goodfeathers\", with pigeons spoofing characters from various gangster films. One of the characters is \"The Godpigeon\", an obvious parody of Brando's portrayal of Vito Corleone.\n", "John Belushi appeared in a Saturday Night Live sketch as Vito Corleone in a therapy session trying to properly express his inner feelings towards the Tattaglia Family, who, in addition to muscling in on his territory, \"also, they shot my son Santino 56 times\".[158]\n", "The Simpsons makes numerous references to The Godfather, including a scene in the episode \"Strong Arms of the Ma\" that parodies the Sonny-Carlo street fight scene, with Marge Simpson beating a mugger in front of an animated version of the same New York streetscape, including using the lid of a trash can during the fight. The \"All's Fair in Oven War\" final scene shows James Caan being ambushed by hillbillies (Cletus relatives) at a toll booth, a parody of the scene when Sonny Corleone (portrayed by Caan) is shot and killed; the tollbooth scene is also parodied in \"Mr. Plow,\" except Bart is ambushed by a barrage of snowballs by Nelson, and other students lie in wait behind a snow fortress (in place of the tollbooth). The later episode \"The Mook, the Chef, the Wife and Her Homer\" parodies the film's ending scene, with Lisa Simpson taking Kay Adams' role and Fat Tony's son Michael standing in for Michael Corleone. The horse-head scene is also parodied in the episode \"Lisa's Pony\".\n", "In the television show The Sopranos, Tony Soprano's topless bar is named Bada Bing, echoing the line in The Godfather when Sonny Corleone says, \"You've gotta get up close like this and bada-bing! You blow their brains all over your nice Ivy League suit.\" [159]\n", "An episode of SCTV satirizes the film as a story about how the four American TV networks of the time (ABC, CBS, NBC, & PBS) are run like the Mob, with SCTV president Guy Caballero being asked to invest in a pay-TV channel by the Ugatzo family as a way to control of TV; when Caballero refuses, a 'network war' starts, with many of the scenes in the episode being similar to that of the film.\n", "The Modern Family episode, \"Fulgencio\" makes various references to The Godfather, particularly in the ending scenes. Phil Dunphy attends the christening of his godson and recites the vows of renunciation, which is intercut with scenes of his son Luke carrying out various acts of retaliation, on Phil's orders, against people who are causing problems for Phil and members of his family. In the last of these, it is shown that Luke has placed the head of a stuffed Zebra in the bed of a boy who was making fun of Luke at school (but had a fear of zebras); the boy wakes up and reacts just as Jack Woltz had reacted to the horse's head in his bed, in the film. The final scene has Phil's wife Clair commenting on how odd it was that all of the problems had cleared up, to which Phil, sitting in his office, responds, \"don't ask me about my business\", after which Luke closes the office door.\n", "The film's debut on American network television was November 16, 1974, in a highly rated showing on NBC with only minor edits to the theatrical version.[160] The next year, Coppola created The Godfather Saga expressly for American television in a release that combined The Godfather and The Godfather Part II with unused footage from those two films in a chronological telling that toned down the violent, sexual, and profane material for its NBC debut on November 18, 1977.[161] In 1981, Paramount released the Godfather Epic boxed set, which also told the story of the first two films in chronological order, again with additional scenes, but not redacted for broadcast sensibilities.[161] Coppola returned to the film again in 1992 when he updated that release with footage from The Godfather Part III and more unreleased material. This home viewing release, under the title The Godfather Trilogy 1901\u20131980, had a total run time of 583 minutes (9 hours, 43 minutes), not including the set's bonus documentary by Jeff Werner on the making of the films, \"The Godfather Family: A Look Inside\".\n", "The Godfather DVD Collection was released on October 9, 2001 in a package[162] that contained all three films\u2014each with a commentary track by Coppola\u2014and a bonus disc that featured a 73-minute documentary from 1991 entitled The Godfather Family: A Look Inside and other miscellany about the film: the additional scenes originally contained in The Godfather Saga; Francis Coppola's Notebook (a look inside a notebook the director kept with him at all times during the production of the film); rehearsal footage; a promotional featurette from 1971; and video segments on Gordon Willis's cinematography, Nino Rota's and Carmine Coppola's music, the director, the locations and Mario Puzo's screenplays. The DVD also held a Corleone family tree, a \"Godfather\" timeline, and footage of the Academy Award acceptance speeches.[163]\n", "In 2006, Coppola contacted DreamWorks studio head Steven Spielberg about restoring The Godfather under the auspices of his new parent company, Paramount Studios, who still owned the film.[164][165] Work began in November, with Robert A. Harris hired to oversee the process with the participation of cinematographer Gordon Willis on all the available material from The Godfather and its two sequels.[166][167] The original Godfather negatives were badly worn and the duplicate was lost in the Paramount archives,[164][165][165] so repairs were made to the originals. Damaged or discolored frames were digitally restored at Prasad Corporation and all the materials were scanned to high resolution 4k files.[165] After a year and a half, The Godfather: The Coppola Restoration was complete, and Paramount released it to the public on September 23, 2008 in both DVD and Blu-ray Disc formats[166][167] with several new features that play in high definition.[168]\n", "Coppola thought the new transfer was \"terrific\", and the restoration was well received by critics, as well.[164][165][166][167][168] For Dave Kehr of the New York Times, it brought back the \"golden glow of the original theatrical screenings\".[166]\n", "In March 2006, a video game version of The Godfather was released by Electronic Arts. Before his death, Marlon Brando provided voice work for Vito; however, owing to poor sound quality from Brando's failing health, only parts of the recordings could be used. A sound-alike's voice had to be used in the \"missing parts\". James Caan, Robert Duvall, and Abe Vigoda lent their voices and likenesses as well, and several other Godfather cast members had their likeness in the game. However, Al Pacino's likeness and voice (Michael Corleone) was not in the game as Al Pacino sold his likeness and voice exclusively for use in the Scarface video game. Francis Ford Coppola said in April 2005 that he was not informed and did not approve of Paramount allowing the game's production, and openly criticized the move.[169]\n", "http://en.wikipedia.org/wiki/The_Shawshank_Redemption\n", "The Shawshank Redemption is a 1994 epic American drama film written and directed by Frank Darabont and starring Tim Robbins and Morgan Freeman. It is ranked #1 in IMDb's \"Top 250\" list based on over a million votes (9.3 out of 10) and is considered one of the best movies of all time." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Adapted from the Stephen King novella Rita Hayworth and Shawshank Redemption, the film tells the story of Andy Dufresne, a banker who is sentenced to life in Shawshank State Prison for the murder of his wife and her lover despite his claims of innocence. During his time at the prison, he befriends a fellow inmate, Ellis Boyd \"Red\" Redding, and finds himself protected by the guards after the warden begins using him in his money laundering operation.\n", "Despite being a box office flop (that barely recouped its budget), the film received multiple award nominations and outstanding reviews from critics for its acting, story, and realism. It has since been successful on cable television, VHS, DVD, and Blu-ray. It was included in the American Film Institute's 100 Years...100 Movies 10th Anniversary Edition.[2]\n", "\n", "\n", "In 1947, banker Andy Dufresne is convicted of murdering his wife and her lover and sentenced to two consecutive life sentences at the fictional Shawshank State Penitentiary in the state of Maine. Andy befriends contraband smuggler Ellis \"Red\" Redding, an inmate serving a life sentence. Red procures a rock hammer and later a large poster of Rita Hayworth for Andy. Working in the prison laundry, Andy is regularly assaulted by the \"bull queer\" gang \"the Sisters\" and their leader, Bogs.\n", "In 1949, Andy overhears the brutal captain of the guards, Byron Hadley, complaining about being taxed on an inheritance and offers to help him legally shelter the money. After a vicious assault by the Sisters nearly kills Andy, Hadley beats Bogs severely. Bogs is sent to another prison and Andy is never attacked again. Warden Samuel Norton meets with Andy and reassigns him to the prison library to assist elderly inmate Brooks Hatlen. Andy's new job is a pretext for him to begin managing financial matters for the prison employees. As time passes, the warden begins using Andy to handle matters for a variety of people including guards from other prisons and the warden himself. Andy begins writing weekly letters to the state government for funds to improve the decaying library.\n", "In 1954, Brooks is paroled, but cannot adjust to the outside world after fifty years in prison and hangs himself. Andy receives a library donation that includes a recording of The Marriage of Figaro. He plays an excerpt over the public address system, resulting in his receiving solitary confinement. After his release from solitary Andy explains that hope is what gets him through his time, a concept that Red dismisses. In 1963, Norton begins exploiting prison labor for public works, profiting by undercutting skilled labor costs and receiving kickbacks. He has Andy launder the money using the alias Randall Stephens.\n", "In 1965, Tommy Williams is incarcerated for burglary. He joins Andy's and Red's circle of friends, and Andy helps him pass his G.E.D. exam. In 1966, Tommy reveals to Red and Andy that an inmate at another prison claimed responsibility for the murders Andy was convicted of, implying Andy's innocence. Andy approaches Warden Norton with this information, but the warden refuses to listen and sends Andy back to solitary when he mentions the money laundering. Norton then has Captain Hadley murder Tommy under the guise of an escape attempt. Andy refuses to continue the money laundering, but relents after Norton threatens to burn the library, remove Andy's protection from the guards, and move him out of his cell into worse conditions. Andy is released from solitary confinement and tells Red of his dream of living in Zihuatanejo, a Mexican coastal town. Red feels Andy is being unrealistic, but promises Andy that if he is ever released he will visit a specific hayfield near Buxton, Maine and retrieve a package Andy buried there. Red becomes worried about Andy's state of mind, especially when he learns Andy asked another inmate to supply him with six feet of rope.\n", "The next day at roll call the guards find Andy's cell empty. An irate Warden Norton throws a rock at the poster of Raquel Welch hanging on the wall, and the rock tears through the poster. Removing the poster, the warden discovers a tunnel that Andy dug with his rock hammer over the previous two decades. The previous night, Andy escaped through the tunnel and used the prison's sewage pipe to reach freedom. Andy escapes with Norton's suit, shoes, and the ledger containing details of the money laundering. While guards search for him the following morning, Andy poses as Randall Stephens and visits several banks to withdraw the laundered money. Finally, he mails the ledger and evidence of the corruption and murders at Shawshank to a local newspaper. The police arrive at Shawshank and take Hadley into custody, while Norton commits suicide to avoid arrest.\n", "After serving 40 years, Red is finally paroled. He struggles to adapt to life outside prison and fears he never will. Remembering his promise to Andy, he visits Buxton and finds a cache containing money and a letter asking him to come to Zihuatanejo. Red violates his parole and travels to Fort Hancock, Texas to cross the border to Mexico, admitting he finally feels hope. On a beach in Zihuatanejo he finds Andy, and the two friends are happily reunited.\n", "Chicago Sun-Times film reviewer Roger Ebert suggested that The Shawshank Redemption is an allegory for maintaining one's feeling of self-worth when placed in a hopeless position. Andy Dufresne's integrity is an important theme in the story line, especially in prison, where integrity is lacking.[5]\n", "Isaac M. Morehouse suggests that the film provides a great illustration of how characters can be free, even in prison, or unfree, even in freedom, based on one's outlook on life.[6]\n", "Frank Darabont secured the film adaptation rights from author Stephen King after impressing the author with his short film adaptation of The Woman in the Room in 1983. Although the two had become friends and maintained a pen-pal relationship, Darabont did not work with him until four years later in 1987, when he optioned to adapt Shawshank.[7] This is one of the more famous Dollar Deals made by King with aspiring filmmakers. Darabont later directed The Green Mile (1999), which was based on another work about a prison by Stephen King, and then followed that up with an adaptation of King's novella The Mist.\n", "Rob Reiner, who had previously adapted another King novella, The Body, into the film Stand by Me (1986), offered $2.5 million in an attempt to write and direct Shawshank. He planned to cast Tom Cruise in the part of Andy and Harrison Ford as Red. Darabont seriously considered and liked Reiner's vision, but he ultimately decided it was his \"chance to do something really great\" by directing the film himself.[3]\n", "Though the film is set in Maine, the Ohio State Reformatory in Mansfield, Ohio, served as the fictional Shawshank Prison. Though a large portion of the prison was torn down after filming, the main administration building and two cell blocks remained; the site was revisited later for filming parts of the film Air Force One.[8] Several of the interior shots of the specialized prison facilities, such as the admittance rooms and the warden's office, were shot in the reformatory.[8] The interior of the boarding room used by Brooks and Red was located in the administration building, though exterior shots were made elsewhere.[8] The prison site is a tourist attraction.[8] Internal scenes in the prison cellblocks were actually filmed on a soundstage built inside the nearby shuttered Westinghouse factory.[8] Downtown scenes were also filmed in Mansfield, as well as neighboring Ashland, Ohio. The oak tree under which Andy buries his letter to Red is located at 40\u00b039\u203214\u2033N 82\u00b023\u203231\u2033W\ufeff / \ufeff40.65400\u00b0N 82.39195\u00b0W\ufeff / 40.65400; -82.39195\ufeff (Shawshank tree), near Malabar Farm State Park, in Lucas, Ohio. The tree was heavily damaged by straight-line winds in a thunderstorm on July 29, 2011; officials were unsure if the tree would survive.[9] However, thanks to rally groups and inspections by forestry organizations, the tree was found to be alive and well and still stands to this day.[10]\n", "Just as a prison in Ohio stood in for a fictional one in Maine, the beach scenes shown in the final minutes of the film that were meant to portray Zihuatanejo, Mexico were actually shot in the Caribbean on the island of St.Croix, one of the U.S. Virgin Islands. The beach at \u2018Zihuatanejo\u2019 is Sandy Point National Wildlife Refuge, a two-mile crescent of sand just south of Frederiksted on the southwestern tip of the island. The refuge is a hatching ground for leatherback turtles, and open only at limited times (10am to 4pm on Saturdays and Sundays), and not at all during the breeding season. [11]\n", "The beach at Zihuatanejo made famous by the film has recently been closed to the public due to a health warning as a result of high levels of pollution in the water.[12]\n", "The film was dedicated to Allen Greene, an agent and a close personal friend of the film's director, Frank Darabont. Greene died shortly before the film was released due to complications of HIV/AIDS.[13]\n", "The Shawshank Redemption received a limited release on September 23, 1994 in North America. During its opening weekend, the film earned $727,000 from 33 theaters\u2014an average of $22,040 per theater. It received a wide release on October 14, 1994, expanding to a total of 944 theaters to earn $2.4 million\u2014an average of $2,545 per theater\u2014finishing as the number 9 film of the weekend.[1] The film left theaters in late November 1994, after 10 weeks with an approximate total gross of $16 million.[14]\n", "It was later re-released in February 1995, during the Oscar season, and made an additional $9 million.[14][not in citation given] In total the film made approximately $28.3 million in North American theaters, making it the number 51 highest grossing film of 1994 and the number 21 highest grossing R-rated film of 1994.[1]\n", "The Shawshank Redemption garnered widespread critical acclaim from critics. Entertainment Weekly reviewer Owen Gleiberman praised the choice of scenery, writing that the \"moss-dark, saturated images have a redolent sensuality\" that makes the film very realistic.[15] While praising Morgan Freeman's acting and oratory skills as making Red appear real, Gleiberman felt that with the \"laconic-good-guy, neo-Gary Cooper role, Tim Robbins is unable to make Andy connect with the audience.\"[15]\n", "The film garnered a 91% approval rating from 64 critics\u2014an average rating of 8.2 out of 10\u2014on review aggregation website Rotten Tomatoes.[16] Metacritic provides a score of 80 out of 100 from 19 critics, which indicates \"generally favorable\" reviews.[17] The film has been critically acclaimed for depicting Jean-Paul Sartre's ideas about existentialism more fully than any other contemporary movie.[18]\n", "The film was nominated for seven Academy Awards in 1994 without winning in any category: Best Picture, Best Actor for Freeman, Best Adapted Screenplay for Frank Darabont, Best Cinematography for Roger Deakins, Best Editing for Richard Francis-Bruce, Best Original Score for Thomas Newman, and Best Sound Mixing for Robert J. Litt, Elliot Tyson, Michael Herbick and Willie D. Burton.[19] It received two Golden Globe Award nominations for Best Performance by an Actor in a Motion Picture for Freeman, and Best Screenplay for Darabont.[20] Robbins and Freeman were both nominated for Outstanding Performance by a Male Actor in a Leading Role at the inaugural Screen Actors Guild Awards in 1995.[21] Darabont was nominated for a Directors Guild of America award in 1994 for Best Director for a feature film,[22] while cinematographer Roger Deakins won the American Society of Cinematographers award for Outstanding Achievement in Cinematography.[23]\n", "Despite its disappointing box office return, Warner Bros. shipped 320,000 rental video copies throughout the United States, and it became one of the top rented films of 1995. The film's home viewing success was considered to be based on positive recommendations and repeat customers.[24] The film's Academy Award nominations enabled it to fare well in the video sales and cable TV viewings.[citation needed] In June 1997, TNT, an American cable network, showed the film for the first time. The film was the first feature in TNT's Saturday Night New Classics. A 2004 Sunday Times article suggested that TNT aired the film frequently from then on, about once every two months.[2] TV airings of the film accrued record breaking numbers.[24]\n", "The score was composed by Thomas Newman and was nominated for an Academy Award for Best Original Score in 1994, which was his first Oscar nomination. Much of the score consists of faint piano music, and pizzicato strings during the more active or humorous moments. The score's two main themes only occur two or three times. The prison theme, first heard in the beginning, is a four note ascending line in the bass, which is developed and reaches its climax when Andy is standing in the river in the rain. The second theme represents freedom, and is first heard when the inmates are sharing beer, feeling like 'free men.' This theme doesn't reoccur until the final credits, this time grander, with fuller orchestration. Like Hans Zimmer's score to the \"Thin Red Line\", the track is often played in trailers during their most dramatic moments. Zimmer himself has credited the score as the one \"that has influenced everything the most\" and that Newman opened up the harmonic palette of film scores. A central scene in the film features the \"Letter Duet\" (\"Canzonetta sull'aria\") from Mozart's The Marriage of FigaroAct 3 , K. 492,.\n", "Also known, in Italian as, \"Sull'aria...che soave zeffiretto\" meaning a duettino, or a short duet. In the duettino, Countess Almaviva (a soprano) dictates to Susanna (also a soprano) the invitation to a tryst addressed to the countess' husband in a plot to expose his infidelity.\n", "Ellis Boyd \"Red\" Redding (Morgan Freeman) remarks in his voice-over narration: \"I have no idea to this day what those two Italian ladies were singing about. [...] I'd like to think they were singing about something so beautiful it can't be expressed in words, and it makes your heart ache because of it.\" The music highlights the irony in the movie as the opera characters are singing about a duplicitous love letter to expose infidelity. Both Red and Andy Dufresne are in prison for murdering their respectively unfaithful spouse.\n", "In 1998, Shawshank was not listed in AFI's 100 Years...100 Movies, but nine years later (2007), it was #72 on the revised list, outranking both Forrest Gump (#76) and Pulp Fiction (#94), the two most critically acclaimed movies from the year of Shawshank's release. In 1999, film critic Roger Ebert listed Shawshank on his \"Great Movies\" list.[25] It has been #1 on IMDb's user-generated Top 250 since 2008, when it surpassed The Godfather.[26]\n", "Readers of Empire magazine voted the film as the best film of the 1990s, and it placed number 4 on Empire\u200a'\u200bs list of \"The 500 Greatest Movies of All Time\" in 2008.[24][27] In March 2011, the film was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their favorite film of all time.[28] Additionally, the Writers Guild of America included Frank Darabont's screenplay on its 101 Greatest Screenplays list, at number twenty-two.\n", "http://en.wikipedia.org/wiki/Schindler's_List\n", "Schindler's List is a 1993 American epic historical drama film directed and co-produced by Steven Spielberg and scripted by Steven Zaillian. It is based on the novel Schindler's Ark by Thomas Keneally, an Australian novelist. The film is based on the life of Oskar Schindler, a German businessman who saved the lives of more than a thousand mostly Polish-Jewish refugees during the Holocaust by employing them in his factories. It stars Liam Neeson as Schindler, Ralph Fiennes as Schutzstaffel (SS) officer Amon Goeth, and Ben Kingsley as Schindler's Jewish accountant Itzhak Stern." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Ideas for a film about the Schindlerjuden (Schindler Jews) were proposed as early as 1963. Poldek Pfefferberg, one of the Schindlerjuden, made it his life's mission to tell the story of Schindler. Spielberg became interested in the story when executive Sid Sheinberg sent him a book review of Schindler's Ark. Universal Studios bought the rights to the novel, but Spielberg, unsure if he was ready to make a film about the Holocaust, tried to pass the project to several other directors before finally deciding to direct the film himself.\n", "Principal photography took place in Krak\u00f3w, Poland, over the course of 72 days in 1993. Spielberg shot the film in black and white and approached it as a documentary. Cinematographer Janusz Kami\u0144ski wanted to give the film a sense of timelessness. John Williams composed the score, and violinist Itzhak Perlman performs the film's main theme.\n", "Schindler's List premiered on November 30, 1993, in Washington, D.C. and it was released on December 15, 1993, in the United States. Often listed among the greatest films ever made,[4][5][6] it was also a box office success, earning $321.2 million worldwide on a $22 million budget. It was the recipient of seven Academy Awards (out of twelve nominations), including Best Picture, Best Director, Best Adapted Screenplay, and Best Original Score, as well as numerous other awards (including seven BAFTAs and three Golden Globes). In 2007, the American Film Institute ranked the film 8th on its list of the 100 best American films of all time. The Library of Congress selected it for preservation in the National Film Registry in 2004.\n", "\n", "\n", "In 1939, the Germans move Polish Jews into the Krak\u00f3w Ghetto as World War II begins. Oskar Schindler, an ethnic German, arrives in the city hoping to make his fortune. A member of the Nazi Party, Schindler lavishes bribes on Wehrmacht (German armed forces) and SS officials and acquires a factory to produce enamelware. To help him run the business, Schindler enlists the aid of Itzhak Stern, a local Jewish official who has contacts with black marketeers and the Jewish business community. Stern helps Schindler arrange loans to finance the factory. Schindler maintains friendly relations with the Nazis and enjoys wealth and status as \"Herr Direktor\", and Stern handles administration. Schindler hires Jewish workers because they cost less, while Stern ensures that as many people as possible are deemed essential to the German war effort, which saves them from being transported to concentration camps or killed.\n", "SS-Untersturmf\u00fchrer (second lieutenant) Amon Goeth arrives in Krak\u00f3w to oversee construction of P\u0142asz\u00f3w concentration camp. When the camp is completed, he orders the ghetto liquidated. Many people are shot and killed in the process of emptying the ghetto. Schindler witnesses the massacre and is profoundly affected. He particularly notices a tiny girl in a red coat \u2013 one of the few splashes of color in the black-and-white film \u2013 as she hides from the Nazis. When he later sees the red coat on a wagon loaded with bodies being taken away to be burned, he knows the girl is dead. Schindler is careful to maintain his friendship with Goeth and, through bribery and lavish gifts, continues to enjoy SS support. Goeth brutally mistreats his maid and randomly shoots people from the balcony of his villa, and the prisoners are in constant daily fear for their lives. As time passes, Schindler's focus shifts from making money to trying to save as many lives as possible. He bribes Goeth into allowing him to build a sub-camp for his workers so that he can better protect them.\n", "As the Germans begin to lose the war, Goeth is ordered to ship the remaining Jews at P\u0142asz\u00f3w to Auschwitz concentration camp. Schindler asks Goeth to allow him to move his workers to a new munitions factory he plans to build in his home town of Zwittau-Brinnlitz. Goeth agrees, but charges a huge bribe. Schindler and Stern create \"Schindler's List\" \u2013 a list of people to be transferred to Brinnlitz and thus saved from transport to Auschwitz.\n", "As the train carrying women and children is accidentally redirected to Auschwitz-Birkenau, Schindler bribes the commandant of Auschwitz with a bag of diamonds to win their release. At the new factory, Schindler forbids the SS guards to enter the production rooms and encourages the Jews to observe Shabbat (the Jewish Sabbath). To keep his workers alive, he spends much of his fortune bribing Nazi officials and buying shell casings from other companies; his factory does not produce any usable armaments during its seven months of operation. Schindler runs out of money in 1945, just as Germany surrenders, ending the war in Europe.\n", "As a Nazi Party member and war profiteer, Schindler must flee the advancing Red Army to avoid capture. The SS guards have been ordered to kill the Jews, but Schindler persuades them not to so they can \"return to their families as men, not murderers\". He bids farewell to his workers and prepares to head west, hoping to surrender to the Americans. The workers give Schindler a signed statement attesting to his role saving Jewish lives, together with a ring engraved with a Talmudic quotation: \"Whoever saves one life saves the world entire.\" Schindler is touched but is also deeply ashamed, as he feels he should have done even more. As the Schindlerjuden (Schindler Jews) wake up the next morning, a Soviet soldier announces that they have been liberated. The Jews leave the factory and walk to a nearby town.\n", "After some scenes depicting Goeth's execution and a summary of Schindler's later life events after the war, the black-and-white frame changes to a color shot of actual Schindlerjuden at Schindler's grave in Jerusalem. Accompanied by the actors who portrayed them, the Schindlerjuden place stones on the grave. In the final scene, Neeson places a pair of roses on the grave.\n", "The film explores the theme of good versus evil, using as its main protagonist a \"good German\", a popular characterization in American cinema.[7][8] While Goeth is characterized as an almost completely dark and evil person, Schindler gradually evolves from Nazi supporter to rescuer and hero.[9] Thus a second theme of redemption is introduced as Schindler, a disreputable schemer on the edges of respectability, becomes a father figure responsible for saving the lives of over a thousand people.[10][11]\n", "Pfefferberg, one of the Schindlerjuden, made it his life's mission to tell the story of his savior. Pfefferberg attempted to produce a biopic of Oskar Schindler with MGM in 1963, with Howard Koch writing, but the deal fell through.[12][13] In 1982, Thomas Keneally published his historical novel Schindler's Ark, which he wrote after a chance meeting with Pfefferberg in Los Angeles in 1980.[14] MCA president Sid Sheinberg sent director Steven Spielberg a New York Times review of the book. Spielberg, astounded by Schindler's story, jokingly asked if it was true. \"I was drawn to it because of the paradoxical nature of the character,\" he said. \"What would drive a man like this to suddenly take everything he had earned and put it all in the service of saving these lives?\"[15] Spielberg expressed enough interest for Universal Pictures to buy the rights to the novel.[15] At their first meeting in spring 1983, he told Pfefferberg he would start filming in ten years.[16] In the end credits of the film, Pfefferberg is credited as a consultant under the name Leopold Page.[1]\n", "Spielberg was unsure if he was mature enough to make a film about the Holocaust, and the project remained \"on [his] guilty conscience\".[16] Spielberg tried to pass the project to director Roman Polanski, who turned it down. Polanski's mother was killed at Auschwitz, and he had lived in and survived the Krak\u00f3w Ghetto.[16] Polanski eventually directed his own Holocaust drama, The Pianist, in 2002. Spielberg also offered the film to Sydney Pollack and Martin Scorsese, who was attached to direct Schindler's List in 1988. However, Spielberg was unsure of letting Scorsese direct the film, as \"I'd given away a chance to do something for my children and family about the Holocaust.\"[17] Spielberg offered him the chance to direct the 1991 remake of Cape Fear instead.[18] Billy Wilder expressed an interest in directing the film as a memorial to his family, most of whom died in the Holocaust.[8]\n", "Spielberg finally decided to take on the project when he noticed that Holocaust deniers were being given serious consideration by the media. With the rise of neo-Nazism after the fall of the Berlin Wall, he worried that people were too accepting of intolerance, as they were in the 1930s.[8] Sid Sheinberg greenlit the film on condition that Spielberg made Jurassic Park first. Spielberg later said, \"He knew that once I had directed Schindler I wouldn't be able to do Jurassic Park.\"[2] The picture was assigned a small budget of $22 million, as Holocaust films are not usually profitable.[19][2] Spielberg forewent a salary for the film, calling it \"blood money\",[2] and believed the film would flop.[2]\n", "In 1983, Keneally was hired to adapt his book, and he turned in a 220-page script. His adaptation focused on Schindler's numerous relationships, and Keneally admitted he did not compress the story enough. Spielberg hired Kurt Luedtke, who had adapted the screenplay of Out of Africa, to write the next draft. Luedtke gave up almost four years later, as he found Schindler's change of heart too unbelievable.[17] During his time as director, Scorsese hired Steven Zaillian to write a script. When he was handed back the project, Spielberg found Zaillian's 115-page draft too short, and asked him to extend it to 195 pages. Spielberg wanted more focus on the Jews in the story, and he wanted Schindler's transition to be gradual and ambiguous, not a sudden breakthrough or epiphany. He extended the ghetto liquidation sequence, as he \"felt very strongly that the sequence had to be almost unwatchable.\"[17]\n", "Neeson auditioned as Schindler early on, and was cast in December 1992, after Spielberg saw him perform in Anna Christie on Broadway.[20] Warren Beatty participated in a script reading, but Spielberg was concerned that he could not disguise his accent and that he would bring \"movie star baggage\".[21] Kevin Costner and Mel Gibson expressed interest in portraying Schindler, but Spielberg preferred to cast the relatively unknown Neeson, so the actor's star quality would not overpower the character.[22] Neeson felt Schindler enjoyed outsmarting the Nazis, who regarded him as a bit of a buffoon. \"They don't quite take him seriously, and he used that to full effect.\"[23] To help him prepare for the role, Spielberg showed Neeson film clips of Time Warner CEO Steve Ross, who had a charisma that Spielberg compared to Schindler's.[24] He also located a tape of Schindler speaking, which Neeson studied to learn the correct intonations and pitch.[25]\n", "Fiennes was cast as Amon Goeth after Spielberg viewed his performances in A Dangerous Man: Lawrence After Arabia and Emily Bront\u00eb's Wuthering Heights. Spielberg said of Fiennes' audition that \"I saw sexual evil. It is all about subtlety: there were moments of kindness that would move across his eyes and then instantly run cold.\"[26] Fiennes put on 28 pounds (13\u00a0kg) to play the role. He watched historic newsreels and talked to Holocaust survivors who knew Goeth. In portraying him, Fiennes said \"I got close to his pain. Inside him is a fractured, miserable human being. I feel split about him, sorry for him. He's like some dirty, battered doll I was given and that I came to feel peculiarly attached to.\"[26] Fiennes looked so much like Goeth in costume that when Mila Pfefferberg (a survivor of the events) met him, she trembled with fear.[26]\n", "The character of Itzhak Stern (played by Ben Kingsley) is a composite of accountant Stern, factory manager Abraham Bankier, and Goeth's personal secretary, Mietek Pemper.[27] The character serves as Schindler's alter ego and conscience.[28] Kingsley is best known for his Academy Award winning performance as Gandhi in the 1982 biographical film.[29]\n", "Overall, there are 126 speaking parts in the film. Thousands of extras were hired during filming.[17] Spielberg cast Israeli and Polish actors specially chosen for their Eastern European appearance.[30] Many of the German actors were reluctant to don the SS uniform, but some of them later thanked Spielberg for the cathartic experience of performing in the movie.[21] Halfway through the shoot, Spielberg conceived the epilogue, where 128 survivors pay their respects at Schindler's grave in Jerusalem. The producers scrambled to find the Schindlerjuden and fly them in to film the scene.[17]\n", "Principal photography began on March 1, 1993 in Krak\u00f3w, Poland, with a planned schedule of 75 days.[31] The crew shot at or near the actual locations, though the P\u0142asz\u00f3w camp had to be reconstructed in a nearby abandoned quarry, as modern high rise apartments were visible from the site of the original camp.[32][33] Interior shots of the enamelware factory in Krak\u00f3w were filmed at a similar facility in Olkusz, while exterior shots and the scenes on the factory stairs were filmed at the actual factory.[34] The crew was forbidden to do extensive shooting or construct sets on the grounds at Auschwitz, so they shot at a replica constructed just outside the entrance.[35] There were some antisemitic incidents. A woman who encountered Fiennes in his Nazi uniform told him that \"the Germans were charming people. They didn't kill anybody who didn't deserve it\".[26] Antisemitic symbols were scrawled on billboards near shooting locations,[17] while Kingsley nearly entered a brawl with an elderly German-speaking businessman who insulted Israeli actor Michael Schneider.[36] Nonetheless, Spielberg stated that at Passover, \"all the German actors showed up. They put on yarmulkes and opened up Haggadas, and the Israeli actors moved right next to them and began explaining it to them. And this family of actors sat around and race and culture were just left behind.\"[36]\n", "\"I was hit in the face with my personal life. My upbringing. My Jewishness. The stories my grandparents told me about the Shoah. And Jewish life came pouring back into my heart. I cried all the time.\"\n", "Shooting Schindler's List was deeply emotional for Spielberg, the subject matter forcing him to confront elements of his childhood, such as the antisemitism he faced. He was surprised that he did not cry while visiting Auschwitz; instead he found himself angry and filled with outrage. He was one of many crew members who could not force themselves to watch during shooting of the scene where aging Jews are forced to run naked while being selected by Nazi doctors to go to Auschwitz.[38] Spielberg commented that he felt more like a reporter than a film maker \u2013 he would set up scenes and then watch events unfold, almost as though he were witnessing them rather than creating a movie.[32] Several actresses broke down when filming the shower scene, including one who was born in a concentration camp.[21] Spielberg, his wife Kate Capshaw, and their five children rented a house in suburban Krak\u00f3w for the duration of filming.[39] He later thanked his wife \"for rescuing me ninety-two days in a row\u00a0... when things just got too unbearable.\"[40] Robin Williams called Spielberg to cheer him up, given the profound lack of humor on the set.[40] Spielberg spent several hours each evening editing Jurassic Park, which was scheduled to premiere in June 1993.[41]\n", "Spielberg occasionally used German and Polish language in scenes to recreate the feeling of being present in the past. He initially considered making the film entirely in those languages, but decided \"there's too much safety in reading. It would have been an excuse to take their eyes off the screen and watch something else.\"[21]\n", "Influenced by the 1985 documentary film Shoah, Spielberg decided not to plan the film with storyboards, and to shoot it like a documentary. Forty percent of the film was shot with handheld cameras, and the modest budget meant the film was shot quickly over seventy-two days.[42] Spielberg felt that this gave the film \"a spontaneity, an edge, and it also serves the subject.\"[43] He filmed without using Steadicams, elevated shots, or zoom lenses, \"everything that for me might be considered a safety net.\"[43] This matured Spielberg, who felt that in the past he had always been paying tribute to directors such as Cecil B. DeMille or David Lean.[36]\n", "The decision to shoot the film mainly in black and white contributed to the documentary style of cinematography, which cinematographer Janusz Kami\u0144ski compared to German Expressionism and Italian neorealism.[43] Kami\u0144ski said that he wanted to give the impression of timelessness to the film, so the audience would \"not have a sense of when it was made.\"[32] Spielberg decided to use black and white to match the feel of actual documentary footage of the era.[43] Universal chairman Tom Pollock asked him to shoot the film on a color negative, to allow color VHS copies of the film to later be sold, but Spielberg did not want to accidentally \"beautify events.\"[43]\n", "John Williams, who frequently collaborates with Spielberg, composed the score for Schindler's List. The composer was amazed by the film, and felt it would be too challenging. He said to Spielberg, \"You need a better composer than I am for this film.\" Spielberg responded, \"I know. But they're all dead!\"[44] Itzhak Perlman performs the theme on the violin.[1]\n", "Regarding Schindler's List, Perlman said:\n", "Perlman: \"I couldn't believe how authentic he [John Williams] got everything to sound, and I said, 'John, where did it come from?' and he said, 'Well I had some practice with Fiddler on the Roof and so on, and everything just came very naturally' and that's the way it sounds.\"\n", "Interviewer: \"When you were first approached to play for Schindler's List, did you give it a second thought, did you agree at once, or did you say 'I'm not sure I want to play for movie music'?\n", "Perlman: \"No, that never occurred to me, because in that particular case the subject of the movie was so important to me, and I felt that I could contribute simply by just knowing the history, and feeling the history, and indirectly actually being a victim of that history.\"[45]\n", "In the scene where the ghetto is being liquidated by the Nazis, the folk song \"Oyfn Pripetshik\" (\"On the Cooking Stove\") (Yiddish: \u05d0\u05d5\u05d9\u05e4\u05bf\u05df \u05e4\u05bc\u05e8\u05d9\u05e4\u05bc\u05e2\u05d8\u05e9\u05d9\u05e7) is sung by a children's choir. The song was often sung by Spielberg's grandmother, Becky, to her grandchildren.[46] The clarinet solos heard in the film were recorded by Klezmer virtuoso Giora Feidman.[47] Williams won an Academy Award for Best Original Score for Schindler's List, his fifth win.[48] Selections from the score were released on a soundtrack album.[49]\n", "While the film is shot primarily in black and white, a red coat is used to distinguish a little girl in the scene depicting the liquidation of the Krak\u00f3w ghetto. Later in the film, Schindler sees her dead body, recognizable only by the red coat she is still wearing. Spielberg said the scene was intended to symbolise how members of the highest levels of government in the United States knew the Holocaust was occurring, yet did nothing to stop it. \"It was as obvious as a little girl wearing a red coat, walking down the street, and yet nothing was done to bomb the German rail lines. Nothing was being done to slow down\u00a0... the annihilation of European Jewry,\" he said. \"So that was my message in letting that scene be in color.\"[50] Andy Patrizio of IGN notes that the point at which Schindler sees the girl's dead body is the point at which he changes, no longer seeing \"the ash and soot of burning corpses piling up on his car as just an annoyance.\"[51] Professor Andr\u00e9 H. Caron of the Universit\u00e9 de Montr\u00e9al wonders if the red symbolises \"innocence, hope or the red blood of the Jewish people being sacrificed in the horror of the Holocaust.\"[52]\n", "The girl was portrayed by Oliwia D\u0105browska, three years old at the time of filming. Spielberg asked D\u0105browska not to watch the film until she was eighteen, but she watched it when she was eleven, and was \"horrified.\"[53] Upon seeing the film again as an adult, she was proud of the role she played.[53] Although it was unintentional, the character is similar to Roma Ligocka, who was known in the Krak\u00f3w Ghetto for her red coat. Ligocka, unlike her fictional counterpart, survived the Holocaust. After the film was released, she wrote and published her own story, The Girl in the Red Coat: A Memoir (2002, in translation).[54] According to a 2014 interview of family members, the girl in red was inspired by Krak\u00f3w resident Genya Gitel Chil.[55]\n", "The opening scene features a family observing the Shabbat. Spielberg said that \"to start the film with the candles being lit\u00a0... would be a rich bookend, to start the film with a normal Shabbat service before the juggernaut against the Jews begins.\"[17] When the color fades out in the film's opening moments, it gives way to a world in which smoke comes to symbolize bodies being burnt at Auschwitz. Only at the end, when Schindler allows his workers to hold Shabbat services, do the images of candle fire regain their warmth. For Spielberg, they represent \"just a glint of color, and a glimmer of hope.\"[17] Sara Horowitz, director of the Koschitzky Centre for Jewish Studies at York University, sees the candles as a symbol for the Jews of Europe, killed and then burned in the crematoria. The two scenes bracket the Nazi era, marking its beginning and end.[56] She points out that normally the woman of the house lights the Sabbath candles and intones the Kiddush. In the film it is men who perform these rituals, demonstrating not only the subservient role of women, but also the subservient position of Jewish men in relation to Aryan men, especially Goeth and Schindler.[57]\n", "To Spielberg, the black and white presentation of the film came to represent the Holocaust itself: \"The Holocaust was life without light. For me the symbol of life is color. That's why a film about the Holocaust has to be in black-and-white.\"[58] Robert Gellately notes the film in its entirety can be seen as a metaphor for the Holocaust, with early sporadic violence increasing into a crescendo of death and destruction. He also notes a parallel between the situation of the Jews in the film and the debate in Nazi Germany between making use of the Jews for slave labor or exterminating them outright.[59] Water is seen as giving deliverance by Alan Mintz, Holocaust Studies professor at the Jewish Theological Seminary of America in New York. He notes its presence in the scene where Schindler arranges for a Holocaust train loaded with victims awaiting transport to be hosed down, and the scene in Auschwitz, where the women are given an actual shower instead of receiving the expected gassing.[60]\n", "The film opened on December 15, 1993. By the time it closed in theaters on September 29, 1994, it had grossed $96.1 million ($157\u00a0million in 2014 dollars)[61] in the United States and over $321.2 million worldwide.[62] In Germany, where it was shown in 500 theaters, the film was viewed by over 100,000 people in its first week alone[63] and was eventually seen by six million people.[64] The film was popular in Germany and a success worldwide.[65]\n", "Schindler's List made its US network television premiere on NBC on February 23, 1997. Shown without commercials, it ranked #3 for the week with a 20.9/31 rating/share,[66] highest Nielsen rating for any film since NBC's broadcast of Jurassic Park in May 1995. The film aired on public television in Israel on Holocaust Memorial Day in 1998.[67]\n", "The DVD was released on March 9, 2004 in widescreen and fullscreen editions, on a double-sided disc with the feature film beginning on side A and continuing on side B. Special features include a documentary introduced by Spielberg.[68] Also released for both formats was a limited edition gift set, which included the widescreen version of the film, Keneally's novel, the film's soundtrack on CD, a senitype, and a photo booklet titled Schindler's List: Images of the Steven Spielberg Film, all housed in a plexiglass case.[69] The laserdisc gift set was a limited edition that included the soundtrack, the original novel, and an exclusive photo booklet.[70] As part of its 20th anniversary, the movie was released on Blu-ray Disc on March 5, 2013.[71]\n", "Following the success of the film, Spielberg founded the Survivors of the Shoah Visual History Foundation, a nonprofit organization with the goal of providing an archive for the filmed testimony of as many survivors of the Holocaust as possible, to save their stories. He continues to finance that work.[72] Spielberg used proceeds from the film to finance several related documentaries, including Anne Frank Remembered (1995), The Lost Children of Berlin (1996), and The Last Days (1998).[73]\n", "Schindler's List is widely acclaimed as a remarkable achievement by film critics and audiences.[74] Notable Americans such as talk show host Oprah Winfrey and President Bill Clinton urged their countrymen to see it.[3][75] World leaders in many countries saw the film, and some met personally with Spielberg.[3] Stephen Schiff of The New Yorker called it the best historical drama about the Holocaust, a movie that \"will take its place in cultural history and remain there.\"[76] Roger Ebert described it as Spielberg's best, \"brilliantly acted, written, directed, and seen.\"[77] Terrence Rafferty, also with The New Yorker, admired the film's \"narrative boldness, visual audacity, and emotional directness.\" He noted the performances of Neeson, Fiennes, Kingsley, and Davidtz as warranting special praise,[78] and calls the scene in the shower at Auschwitz \"the most terrifying sequence ever filmed.\"[79] James Verniere of the Boston Herald noted the film's restraint and lack of sensationalism, and called it a \"major addition to the body of work about the Holocaust.\"[80] In his review for the New York Review of Books, British critic John Gross said his misgivings that the story would be overly sentimentalized \"were altogether misplaced. Spielberg shows a firm moral and emotional grasp of his material. The film is an outstanding achievement.\"[81] Mintz notes that even the film's harshest critics admire the \"visual brilliance\" of the fifteen-minute segment depicting the liquidation of the Krak\u00f3w ghetto. He describes the sequence as \"realistic\" and \"stunning\".[82] He points out that the film has done much to increase Holocaust remembrance and awareness as the remaining survivors pass away, severing the last living links with the catastrophe.[83] The film's release in Germany led to widespread discussion about why most Germans did not do more to help.[84]\n", "Criticism of the film also appeared, mostly from academia rather than the popular press.[85] Horowitz points out that much of the Jewish activity seen in the ghetto consists of financial transactions such as lending money, trading on the black market, or hiding wealth, thus perpetuating a stereotypical view of Jewish life.[86] Horowitz notes that while the depiction of women in the film accurately reflects Nazi ideology, the low status of women and the link between violence and sexuality is not explored further.[87] History professor Omer Bartov of Brown University notes that the physically large and strongly drawn characters of Schindler and Goeth overshadow the Jewish victims, who are depicted as small, scurrying, and frightened \u2013 a mere backdrop to the struggle of good versus evil.[88] Doctors Samuel J. Leistedt and Paul Linkowski of the Universit\u00e9 libre de Bruxelles describe Goeth's character in the film as a classic psychopath.[89]\n", "Horowitz points out that the film's dichotomy of absolute good versus absolute evil glosses over the fact that the vast majority of Holocaust perpetrators were ordinary people; the movie does not explore how the average German rationalized their knowledge of or participation in the Holocaust.[90] Author Jason Epstein commented that the movie gives the impression that if people were smart enough or lucky enough, they could survive the Holocaust; this was not actually the case.[91] Spielberg responded to criticism that Schindler's breakdown as he says farewell is too maudlin and even out of character by pointing out that the scene is needed to drive home the sense of loss and to allow the viewer an opportunity to mourn alongside the characters on the screen.[92]\n", "Schindler's List was very well received by many of Spielberg's peers. Filmmaker Billy Wilder wrote a long letter of appreciation to Spielberg in which he proclaimed, \"They couldn't have gotten a better man. This movie is absolutely perfection.\"[8] Polanski, who turned down the chance to direct the film, later commented, \"I certainly wouldn't have done as good a job as Spielberg because I couldn't have been as objective as he was.\"[93] He cited Schindler's List as an influence on his 1995 film Death and the Maiden.[94] The success of Schindler's List led filmmaker Stanley Kubrick to abandon his own Holocaust project, Aryan Papers, which would have been about a Jewish boy and his aunt who survive the war by sneaking through Poland while pretending to be Catholic.[95] When scriptwriter Frederic Raphael suggested that Schindler's List was a good representation of the Holocaust, Kubrick commented, \"Think that's about the Holocaust? That was about success, wasn't it? The Holocaust is about 6 million people who get killed. Schindler's List is about 600 who don't.\"[95]\n", "Filmmaker Jean-Luc Godard accused Spielberg of using the film to make a profit of tragedy while Schindler's wife, Emilie Schindler, lived in poverty in Argentina.[96] Keneally disputed claims that she was never paid for her contributions, \"not least because I had recently sent Emilie a check myself.\"[97] He also confirmed with Spielberg's office that payment had been sent from there.[97] Filmmaker Michael Haneke criticized the sequence in which Schindler's women are accidentally sent off to Auschwitz and herded into showers: \"There's a scene in that film when we don't know if there's gas or water coming out in the showers in the camp. You can only do something like that with a naive audience like in the United States. It's not an appropriate use of the form. Spielberg meant well \u2013 but it was dumb.\"[98]\n", "The film was attacked by filmmaker and professor Claude Lanzmann, director of the nine-hour Holocaust documentary Shoah, who called Schindler's List a \"kitschy melodrama\" and a \"deformation\" of historical truth. Lanzmann was especially critical of Spielberg for viewing the Holocaust through the eyes of a German. Believing his own film to be the definitive account of the Holocaust, Lanzmann complained, \"I sincerely thought that there was a time before Shoah, and a time after Shoah, and that after Shoah certain things could no longer be done. Spielberg did them anyway.\"[99] Spielberg accused him of wanting to be \"the only voice in the definitive account of the Holocaust. It amazed me that there could be any hurt feelings in an effort to reflect the truth.\"[100]\n", "At a 1994 Village Voice symposium about the film, historian Annette Insdorf described how her mother, a survivor of three concentration camps, felt gratitude that the Holocaust story was finally being told in a major film that would be widely viewed.[101] Hungarian Jewish author Imre Kert\u00e9sz, a Holocaust survivor, feels it is impossible for life in a Nazi concentration camp to be accurately portrayed by anyone who did not experience it first-hand. While commending Spielberg for bringing the story to a wide audience, he found the film's final scene at the graveyard neglected the terrible after-effects of the experience on the survivors and implied that they came through emotionally unscathed.[102] Rabbi Uri D. Herscher found the film an \"appealing\" and \"uplifting\" demonstration of humanitarianism.[103] Norbert Friedman noted that, like many Holocaust survivors, he reacted with a feeling of solidarity towards Spielberg of a sort normally reserved for other survivors.[104] Albert L. Lewis, Spielberg's childhood rabbi and teacher, described the movie as \"Steven's gift to his mother, to his people, and in a sense to himself. Now he is a full human being.\"[103]\n", "Schindler's List featured on a number of \"best of\" lists, including the Time magazine's Top Hundred as selected by critics Richard Corliss and Richard Schickel,[4] Time Out magazine's 100 Greatest Films Centenary Poll conducted in 1995,[105] and Leonard Maltin's \"100 Must See Movies of the Century\".[5] The Vatican named Schindler's List among the most important 45 films ever made.[106] A Channel 4 poll named Schindler's List the ninth greatest film of all time,[6] and it ranked fourth in their 2005 war films poll.[107] The film was named the best of 1993 by critics such as James Berardinelli,[108] Roger Ebert,[77] and Gene Siskel.[109] Deeming the film \"culturally significant\", the Library of Congress selected it for preservation in the National Film Registry in 2004.[110]\n", "Spielberg won the Directors Guild of America Award for Outstanding Directing \u2013 Feature Film for his work,[111] and shared the Producers Guild of America Award for Best Theatrical Motion Picture with co-producers Branko Lustig and Gerald R. Molen.[112] Steven Zaillian won a Writers Guild of America Award for the screenplay.[113] The film won National Society of Film Critics awards for Best Film, Best Director, Best Supporting Actor, and Best Cinematography.[114] New York Film Critics Circle awards were won for Best Film, Best Supporting Actor, and Best Cinematography.[115] Los Angeles Film Critics Association awards were won for Best Film, Best Cinematography (tied with The Piano), and Best Production Design.[116] The film also won many other awards and nominations worldwide.[117]\n", "For the 1997 American television showing, the film was broadcast virtually unedited. The telecast was the first to receive a TV-M (now TV-MA) rating under the TV Parental Guidelines that had been established earlier that year.[128] Senator Tom Coburn, then an Oklahoma congressman, said that in airing the film, NBC had brought television \"to an all-time low, with full-frontal nudity, violence and profanity\", adding that it was an insult to \"decent-minded individuals everywhere\".[129] Under fire from both Republicans and Democrats, Coburn apologized, saying: \"My intentions were good, but I've obviously made an error in judgment in how I've gone about saying what I wanted to say.\" He clarified his opinion, stating that the film ought to have been aired later at night when there wouldn't be \"large numbers of children watching without parental supervision\".[130]\n", "Controversy arose in Germany for the film's television premiere on ProSieben. Heavy protests ensued when the station intended to televise it with two commercial breaks. As a compromise, the broadcast included one break, consisting of a short news update and several commercials.[64]\n", "In the Philippines, chief censor Henrietta Mendez ordered cuts of three scenes depicting sexual intercourse and female nudity before the movie could be shown in theaters. Spielberg refused, and pulled the film from screening in Philippine cinemas, which prompted the Senate to demand the abolition of the censorship board. President Fidel V. Ramos himself intervened, ruling that the movie could be shown uncut to anyone over the age of 15.[131]\n", "According to Slovak filmmaker Juraj Herz, the scene in which a group of women confuse an actual shower with a gas chamber is taken directly, shot by shot, from his film Zastihla m\u011b noc (Night Caught Up with Me, 1986). Herz wanted to sue, but was unable to come up with the money to fund the effort.[132]\n", "The song Yerushalayim Shel Zahav (\"Jerusalem of Gold\") is featured in the film's soundtrack and plays near the end of the film. This caused some controversy in Israel, as the song (which was written in 1967 by Naomi Shemer) is widely considered an informal anthem of the Israeli victory in the Six-Day War. In Israeli prints of the film the song was replaced with Halikha LeKesariya (\"A Walk to Caesarea\") by Hannah Szenes, a World War II resistance fighter.[133]\n", "http://en.wikipedia.org/wiki/Raging_Bull\n", "Raging Bull is a 1980 American biographical sports drama film directed by Martin Scorsese, produced by Robert Chartoff and Irwin Winkler and adapted by Paul Schrader and Mardik Martin from Jake LaMotta's memoir Raging Bull: My Story. It stars Robert De Niro as Jake LaMotta, an Italian American middleweight boxer whose self-destructive and obsessive rage, sexual jealousy, and animalistic appetite destroyed his relationship with his wife and family. Also featured in the film are Joe Pesci as Joey, La Motta's well-intentioned brother and manager who tries to help Jake battle his inner demons, and Cathy Moriarty as his wife. The film features supporting roles from Nicholas Colasanto, Theresa Saldana and Frank Vincent." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Scorsese was initially reluctant to develop the project, though he eventually came to relate to La Motta's story. Schrader re-wrote Martin's first screenplay, and Scorsese and De Niro together made uncredited contributions thereafter. Pesci was an unknown actor prior to the film, as was Moriarty, who was suggested for her role by Pesci. During principal photography, each of the boxing scenes was choreographed for a specific visual style and De Niro gained approximately 60 pounds (27\u00a0kg) to portray La Motta in his later post-boxing years. Scorsese was exacting in the process of editing and mixing the film, expecting it to be his last major feature[citation needed].\n", "After receiving mixed initial reviews (and criticism due to its violent content), it went on to garner a high critical reputation and now to a very large extent is regarded among the greatest American films ever made, including by Roger Ebert of the Chicago Sun-Times, Gene Siskel of the Chicago Tribune, British film historian Leslie Halliwell, the American Film Institute, Time, The New York Times, Variety, Entertainment Weekly, Empire, Total Film, Film 4, and BFI's Sight and Sound. It was listed in the National Film Registry in 1990, its first year of eligibility. Raging Bull is voted by many critics including Roger Ebert and Gene Siskel as the best film of the 1980s.\n", "\n", "\n", "In a brief scene in 1964, an aging, overweight Italian American, Jake LaMotta (Robert De Niro), practices a comedy routine. The rest of the film then occurs in flashback. In 1941, LaMotta is in a major boxing match against Jimmy Reeves, where he received his first loss. Jake's brother Joey LaMotta (Joe Pesci) discusses a potential shot for the middleweight title with one of his Mafia connections, Salvy Batts (Frank Vincent). Some time thereafter, Jake spots a 15-year-old girl named Vickie (Cathy Moriarty) at an open-air swimming pool in his Bronx neighborhood. He eventually pursues a relationship with her, even though he is already married. In 1943, Jake defeats Sugar Ray Robinson, and has a rematch three weeks later. Despite the fact that Jake dominates Robinson during the bout, the judges surprisingly rule in favor of Robinson and Joey feels Robinson won only because he was enlisting into the US Army the following week. By 1947, Jake marries Vickie.\n", "Jake constantly worries about Vickie having feelings for other men, particularly when she makes an off-hand comment about Tony Janiro, Jake's opponent in his next fight. His jealousy is evident when he brutally defeats Janiro in front of the local Mob boss, Tommy Como (Nicholas Colasanto), and Vickie. As Joey discusses the victory with journalists at the Copacabana, he is distracted by seeing Vickie approach a table with Salvy and his crew. Joey speaks with Vickie, who says she is giving up on his brother. Blaming Salvy, Joey viciously attacks him in a fight that spills outside of the club. Como later orders them to apologize, and has Joey tell Jake that if he wants a chance at the championship title, which Como controls, he will have to take a dive first. In a match against Billy Fox, after briefly pummeling his opponent, Jake does not even bother to put up a fight. He is suspended shortly thereafter from the board on suspicion of throwing the fight, though he realizes the error of his judgment when it is too late. He is eventually reinstated, and in 1949, wins the middleweight championship title against Marcel Cerdan.\n", "A year later, Jake asks Joey if he fought with Salvy at the Copacabana because of Vickie. Jake then asks if Joey had an affair with her; Joey refuses to answer, insults Jake, and leaves. Jake directly asks Vickie about the affair, and when she hides from him in the bathroom, he breaks down the door, prompting her to sarcastically state that she had sex with the entire neighborhood (including his brother, Salvy, and Tommy Como). Jake angrily walks to Joey's house, with Vickie following him, and assaults Joey in front of his wife and children. After defending his championship belt in a grueling fifteen round bout against Laurent Dauthuille in 1950,[2] he makes a call to his brother after the fight, but when Joey assumes Salvy is on the other end and starts insulting and cursing at him, Jake says nothing and hangs up. Estranged from Joey, Jake's career begins to decline slowly and he eventually loses his title to Sugar Ray Robinson in their final encounter in 1951.[3]\n", "By 1956, Jake and his family have moved to Miami. After he stays out all night at his new nightclub there, Vickie tells him she wants a divorce (which she has been planning since his retirement) as well as full custody of their kids. She also threatens to call the cops if he comes anywhere near them. He is later arrested for introducing under-age girls to men in his club. He tries and fails to bribe his way out of his criminal case using the jewels from his championship belt instead of selling the belt itself. In 1957 he goes to jail where he pounds the walls, sorrowfully questioning his misfortune and crying in despair. Upon returning to New York City in 1958, he happens upon his estranged brother Joey, who forgives him but is elusive. Returning to the opening scene in 1964, Jake refers to the \"I coulda been a contender\" scene from the 1954 film On the Waterfront starring Marlon Brando, complaining that his brother should have been there for him but is also keen enough to give himself some slack. After a stagehand informs him that the auditorium where he is about to perform is crowded, Jake starts to chant \"I'm the boss\" while shadowboxing.\n", "The film cuts to black with the following Biblical quote filling the screen:\n", "So, for the second time, [the Pharisees] summoned the man who had been blind and said:\n", "\"Speak the truth before God. We know this fellow is a sinner.\"\n", "\"Whether or not he is a sinner, I do not know,\" the man replied.\n", "\"All I know is this: Once I was blind and now I can see.\"\n", "John IX. 24\u201326, The New English Bible\n", "The film subsequently ends with an on-screen dedication to Scorsese's New York University film professor, Haig P. Manoogian:\n", "Remembering Haig P. Manoogian, teacher. May 23, 1916\u2014May 26, 1980. With Love and resolution, Marty.\n", "Raging Bull came about when De Niro read the autobiography upon which the film is based on the set of The Godfather Part II. Although disappointed by the book's writing style, he became fascinated by the character of Jake LaMotta. He showed the book to Martin Scorsese on the set of Alice Doesn't Live Here Anymore in the hope that he would consider the project.[5] Scorsese repeatedly turned down the opportunity to sit in the director's chair, claiming he had no idea what Raging Bull was about, even though he had read some of the text. Never a sports fan, when he found out what LaMotta used to do for a living, he said, \"A boxer? I don't like boxing...Even as a kid, I always thought that boxing was boring... It was something I couldn't, wouldn't grasp.\" His overall opinion of sport in general is, \"Anything with a ball, no good.\"[6] The book was then passed onto Mardik Martin, the film's eventual co-screenwriter, who said \"the trouble is the damn thing has been done a hundred times before\u2014a fighter who has trouble with his brother and his wife and the mob is after him\". The book was even shown to producers Robert Chartoff and Irwin Winkler by De Niro, who were willing to assist only if Scorsese agreed.[7] After nearly dying from a drug overdose, Scorsese agreed to make the film for De Niro's sake, not only to save his own life but also to save what remained of his career. Scorsese knew that he could relate to the story of Jake LaMotta as a way to redeem himself; he saw the role being portrayed as an everyman for whom \"the ring becomes an allegory of life\", making the project a very personal one for him.[8][9][10][11]\n", "Preparation for the film began with Scorsese shooting some 8mm color footage featuring De Niro boxing in a ring. One night when the footage was being shown to De Niro, Michael Chapman, and his friend and mentor, the British director Michael Powell, Powell pointed out that the color of the gloves at the time would have only been maroon, oxblood, or even black. Scorsese decided to use this as one of the reasons to film Raging Bull in black and white. Other reasons would be to distinguish the film from other color films around the time and to acknowledge the problem of fading color film stock\u2014an issue Scorsese recognized.[12][13][14] Scorsese even went to two matches at Madison Square Garden to aid his research, picking up on minor but essential details such as the blood sponge and later, the blood on the ropes (which would later be used in the film).[14]\n", "Under the guidance of Chartoff and Winkler, Mardik Martin was asked to start writing the screenplay.[15] According to De Niro, under no circumstances would United Artists accept Mardik Martin's script.[16] The story was based on the vision of journalist Peter Hamill of a 1930s and 1940s style, when boxing was known as \"the great dark prince of sports\". De Niro was unimpressed when he finished reading the first draft, however.[17] Taxi Driver screenwriter Paul Schrader was swiftly brought in to re-write the script around August 1978.[17] Some of the changes that Schrader made to the script saw a re-write of the scene with the uncooked steak and inclusion of LaMotta seen masturbating in a Florida cell. The character of LaMotta's brother, Joey, was finally added, previously absent from Martin's script.[16][17] United Artists saw a massive improvement on the quality of the script. However, its chief executives, Steven Bach and David Field, met up with Scorsese, De Niro, and producer Irwin Winkler in November 1978 to say they were worried that the content would be X-rated material and have no chance of finding an audience.[12]\n", "According to Scorsese, the script was left to him and De Niro, and they spent two and a half weeks on the island of Saint Martin, extensively re-building the content of the film.[8] The most significant change would be the entire scene when LaMotta fixes his television and then accuses his wife of having an affair. Other changes included the removal of Jake and Joey's father; the reduction of organized crime's role in the story and a major re-write of LaMotta's fight with Tony Janiro.[18][19] They were even responsible for the end sequence where LaMotta is all alone in his dressing room quoting the \"I could have been a contender\" scene from On the Waterfront.[19] An extract of Richard III had been pondered but Michael Powell thought it would be a bad decision within the context of a film that was American.[8] According to Steven Bach, the first two screenwriters (Mardik Martin and Paul Schrader) would receive credit but since there was no payment to the writer's guild on the script, De Niro and Scorsese's work would remain uncredited.[19]\n", "One of Scorsese's trademarks was casting many actors and actresses new to the profession, and this film was no exception.[20] De Niro, who was already committed to play Jake LaMotta, began to help Scorsese track down unfamiliar names to play his on-screen brother, Joey, and wife, Vickie.[21][22] The role of Joey LaMotta was the first to be cast. De Niro was watching a low budget television film called The Death Collector when he saw the part of a young career criminal played by Joe Pesci (then an unknown and struggling actor) as an ideal candidate. Prior to receiving a call from De Niro and Scorsese for the proposal to star in the film, Pesci had not worked in film for four years and was running an Italian restaurant in New Jersey. Pesci initially claimed that it would have to be a good role for him to consider it, and he later accepted the part.\n", "The role of Vickie, Jake's second wife, would have interest across the board, but it was Pesci who suggested the actress, Cathy Moriarty, from a picture he once saw at a New Jersey disco.[22] Both De Niro and Scorsese believed that Moriarty could portray the role after meeting with her on several occasions and noticing her husky voice and physical maturity. The duo had to prove to the Screen Actors Guild that she was right for the role when Cis Corman showed 10 comparing pictures of both Moriarty and the real Vickie LaMotta for proof she had a resemblance.[22] Moriarty was then asked to take a screen test which she managed\u2014partly aided with some improvised lines from De Niro\u2014after some confusion wondering why the crew were filming her take. Joe Pesci also persuaded his former show-biz pal and co-star in The Death Collector, Frank Vincent, to try for the role of Salvy Batts. Following a successful audition and screen test, Vincent received the call to say he had received the part.[23] Charles Scorsese, the director's father, made his film debut as Tommy Como's cousin, Charlie.[23]\n", "While in the midst of practicing a Bronx accent and preparing for his role, De Niro met both LaMotta and his ex-wife, Vikki, on separate occasions. Vikki, who lived in Florida, would tell stories about her life with her former husband and also show old home movies (that would later inspire a similar sequence to be done for the film).[13][24] Jake LaMotta, on the other hand, would serve as his trainer, accompanied by Al Silvani as coach at the Gramercy club in New York, getting him into shape. The actor found that boxing came naturally to him; he entered as a middleweight boxer, winning two of his three fights in a Brooklyn ring dubbed \"young LaMotta\" by the commentator. According to Jake LaMotta, he felt that De Niro was one of his top 20 best middleweight boxers of all time.[13][22]\n", "According to the production mixer, Michael Evje, the film began shooting at the Los Angeles Olympic Auditorium on April 16, 1979. Grips hung huge curtains of black duvetyne on all four sides of the ring area to contain the artificial smoke used extensively for visual effect. On May 7, the production moved to the Culver City Studio, Stage 3, and filmed there until the middle of June. Scorsese made it clear during filming that he did not appreciate the traditional way in films to show fights from the spectators' view.[14] He insisted that one camera operated by the Director of Photography, Michael Chapman, would be placed inside the ring as he would play the role of an opponent keeping out of the way of other fighters so that viewers could see the emotions of the fighters, including those of Jake.[22] The precise moves of the boxers would be done as dance routines from the information of a book about dance instructors in the mode of Arthur Murray. A punching bag which sat in the middle of the ring was used by De Niro between takes before aggressively coming straight on to do the next scene.[22][25] The initial five-week schedule for the shooting of the boxing scenes took longer than expected, putting Scorsese under pressure.[22]\n", "According to Scorsese, production of the film was then closed down for around four months with the entire crew being paid, so De Niro could go on a binge eating trip around Northern Italy and France.[13][25] When he did come back to the United States, his weight increased from 145 to 215\u00a0pounds (66 to 97\u00a0kg).[22] The scenes with the heftier Jake LaMotta\u2014which include announcing his retirement from boxing and LaMotta ending up in a Florida cell\u2014were completed while approaching Christmas 1979 within seven to eight weeks so as not to aggravate the health issues which were already affecting De Niro's posture, breathing, and talking.[22][25][26]\n", "According to production sound mixer, Michael Evje, Jake's nightclub sequence was filmed in a closed-down San Pedro club on December 3. The jail cell head-banging scene was shot on a constructed set with De Niro asking for minimal crew to be present\u2014there was not even a boom operator.\n", "The final sequence where Jake LaMotta is sitting in front of his mirror was filmed on the last day of shooting taking 19 takes, with only the thirteenth one being used for the film. Scorsese wanted to have an atmosphere that would be so cold that the words would have an impact as he tries to come to terms with his relationship with his brother.[8]\n", "The editing of Raging Bull began when production was temporarily put on hold and was completed in 1980.[25][27] Scorsese worked with the editor, Thelma Schoonmaker, to achieve a final cut of the film. Their main decision was to ditch Schrader's idea of LaMotta's nightclub act intervening with the flashback of his youth and instead just follow along the lines of a single flashback where only scenes of LaMotta practicing his stand-up would be left \"bookending\" the film.[28] A sound mix arranged by Frank Warner was a delicate process taking six months.[27] According to Scorsese, the sound on Raging Bull was difficult because each punch, camera shot, and flash bulb would be different. Also, there was the issue of trying to balance the quality between scenes featuring dialogue and those involving boxing (which were done in Dolby).[25] Raging Bull went through a test screening in front of a small audience including the chief executives of United Artists, Steven Bach and Andy Albeck. The screening was shown at the MGM screening room in New York around July 1980. Later, Albeck praised Scorsese by calling him a \"true artist\".[27] According to the producers Robert Chartoff and Irwin Winkler, matters were made worse when United Artists decided not to distribute the film but no other studios were interested when they attempted to sell the rights.[27] Scorsese made no secret that Raging Bull would be his \"Hollywood swan song\" and he took unusual care of its rights during post-production.[9] Scorsese threatened to remove his credit from the film if he was not allowed to sort a reel which obscured the name of a whisky brand known as \"Cutty Sark\" which was heard in a scene. The work was completed only four days shy of the premiere.[29]\n", "Paula Petrella, heir to Frank Petrello whose works were allegedly sources for the film, filed for copyright infringement in 2009 based on MGM's 1991 copyright renewal of the film. In 2014, the Supreme Court held that Petrella's suit survived MGM's defense of \"laches\", the legal doctrine that protects defendants from unreasonable delays by potential plaintiffs. The case was remanded to lower courts, meaning that Petrella may now receive a decision on the merits of her claim.[30]\n", "The brew of violence and anger, combined with the lack of a proper advertising campaign, led to the film's lukewarm box office intake of only $23 million, when compared to its $18 million budget. It only earned $10.1 million in theatrical rentals (about $27 million in 2013 dollars).[31] Scorsese became concerned for his future career and worried that producers and studios might refuse to finance his films.[32] According to Box Office Mojo, the film grossed $23,383,987 in domestic theaters.[33]\n", "Raging Bull first premiered in New York on December 19, 1980 to polarized reviews.[27][28] Jack Kroll of Newsweek called Raging Bull the \"best movie of the year\".[27] Vincent Canby of The New York Times said that Scorsese \"has made his most ambitious film as well as his finest\" and went on to praise Moriarty's debut performance as \"either she is one of the film finds of the decade or Mr. Scorsese is Svengali. Perhaps both.\"[32] Time praised De Niro's performance since \"much of Raging Bull exists because of the possibilities it offers De Niro to display his own explosive art\".[32] Steven Jenkins from the British Film Institute's (BFI) magazine, Monthly Film Journal, said \"Raging Bull may prove to be Scorsese's finest achievement to date\".[32]\n", "Raging Bull was nominated for eight Academy Awards (including Best Picture, Director, Actor, Supporting Actress, Supporting Actor, Cinematography, Sound (Donald O. Mitchell, Bill Nicholson, David J. Kimball and Les Lazarowitz), and Editing) at the 1980 Academy Awards.[32][34][35] The film won two awards: Best Actor, for De Niro, and Best Film Editing.[32]\n", "The Oscars were held the day after President Ronald Reagan was shot by John Hinckley, Jr., who did it as an attempt to impress Jodie Foster, who played a child prostitute in another of Scorsese's famous films, Taxi Driver.[36] Out of fear of being attacked, Scorsese went to the ceremony with FBI bodyguards disguised as guests who escorted him out before the announcement of the Academy Award for Best Picture was made (the winner being Ordinary People).\n", "The Los Angeles Film Critics Association voted Raging Bull the best film of 1980 and best actor for De Niro. The National Board of Review also voted best actor for De Niro and best supporting actor to Pesci. The Golden Globes awarded another Best Actor award to De Niro and the National Society of Film Critics gave Best Cinematography to Chapman. The Berlin Film Festival chose Raging Bull to open the festival in 1981.[32]\n", "By the end of the 1980s, Raging Bull had cemented its reputation as a modern classic. It was voted the best film of the 1980s in numerous critics' polls and is regularly pointed to as both Scorsese's best film and one of the finest American films ever made.[37] Several prominent critics, among them Roger Ebert, declared the film to be an instant classic and the consummation of Scorsese's earlier promise. Ebert proclaimed it the best film of the 1980s,[38] and one of the ten greatest films of all time.[39] The film has been deemed \"culturally, historically, and aesthetically significant\" by the United States Library of Congress and was selected for preservation in the National Film Registry in 1990.[40] The film currently holds a 98% \"Certified Fresh\" rating on the review aggregate website Rotten Tomatoes, with an average rating of 9.1/10.[41] The similarly themed Metacritic rates the movie 92/100 (\"universal acclaim\").[42]\n", "Raging Bull was listed by Time magazine as one of the All-TIME 100 Movies.[43] Variety magazine ranked the film number 39 on their list of the 50 greatest movies.[44] Raging Bull was fifth on Entertainment Weekly's list of the 100 Greatest Movies of All Time.[45] The film tied with The Bicycle Thieves and Vertigo at number 6 on Sight & Sound\u200a'\u200bs 2002 poll of the greatest movies ever.[46] When Sight & Sound\u200a'\u200bs directors' and critics' lists are combined, Raging Bull gets the most points of all movies that has been produced since 1974.[47] In 2002, Film4 held a poll of the 100 Greatest Movies, on which Raging Bull was voted in at number 20.[48] Halliwell's Film Guide, a British film guide, placed Raging Bull seventh in a poll naming their selection for the \"Top 1,000 Movies\".[49] In 2008, Empire magazine held a poll of The 500 Greatest Movies of All Time, taking votes from 10,000 readers, 150 film makers and 50 film critics: Raging Bull was placed at number 11.[50] It was also placed on a similar list of 1000 movies by The New York Times.[51] In 2010, Total Film selected the film as one of The 100 Greatest Movies of All Time.[52] FilmSite.org, a subsidiary of American Movie Classics, placed Raging Bull on their list of the 100 greatest movies.[53] Additionally, Films101.com ranked the film as the 15th best movie of all time (a list of the 9,335 most notable).[54]\n", "Martin Scorsese decided to assemble a soundtrack made of music that was popular at the time using his personal collection of 78s. With the help of Robbie Robertson the songs were carefully chosen so they would be the ones that one would hear on the radio, at the pool or in bars and clubs reflecting the mood of that particular era.[59][60] Some lyrics from songs would be slipped into some dialogue. The Intermezzo from Cavalleria rusticana by Italian composer Pietro Mascagni would serve as the main theme to Raging Bull after a successful try-out by Scorsese and the editor, Thelma Schoonmaker, over the film's opening titles.[60] Two other Mascagni pieces were used in the film: the Barcarolle from Silvano, and the Intermezzo from Guglielmo Ratcliff.[61] A two-CD soundtrack was released in 2005, long after the film was released, because of earlier difficulties receiving permissions for many of the songs, which Scorsese selected from his childhood memories growing up in New York.\n", "In 2006, Variety reported that Sunset Pictures was developing a sequel entitled Raging Bull II: Continuing the Story of Jake LaMotta, chronicling LaMotta's early life, as told in the sequel novel of the same name.[62] Filming began on June 15, 2012 with William Forsythe as an older LaMotta and Morjean Aria as the younger version (before the events of the first film).[63] The film, directed by Martin Guigui also stars Joe Mantegna, Tom Sizemore, Penelope Ann Miller, Natasha Henstridge, Alicia Witt, Ray Wise, Harry Hamlin, and James Russo as Rocky Graziano.[64][65] In July 2012, MGM, owners of United Artists, filed a lawsuit against LaMotta and the producers of Raging Bull II to keep the new film from being released. The former party argued that they have rights to make any authorized sequel to the original book, which goes back to an agreement LaMotta and co-author Peter Savage made with Chartoff-Winkler, producers of the original film. In addition, MGM argues that the defendants are publicly claiming the film to be a sequel to the original film, which could most likely \"tarnish\" its predecessor's reputation.[66] In August 2012, the producers retitled the film The Bronx Bull, disassociating itself as a sequel to Raging Bull, and the lawsuit was subsequently dropped.[67]\n", "http://en.wikipedia.org/wiki/Casablanca\n", "Casablanca (/\u02cck\u00e6s\u0259\u02c8bl\u00e6\u014bk\u0259/;[1] Moroccan Arabic pronunciation: [k\u0251z\u0251bl\u0251nk\u0251], also \u0627\u0644\u062f\u0627\u0631 \u0627\u0644\u0628\u064a\u0636\u0627\u0621 ed-Dar el-Bi\u1e0da\u00a0 lit: \"White house\"), the largest city of Morocco, is located in the western part of the country on the Atlantic Ocean. It is also the largest city in the Maghreb, as well as one of the largest and most important cities in Africa, both economically and demographically." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Casablanca is Morocco's chief port and industrial center. The 2012 census, adjusted with recent numbers, recorded a population of about 4 million in the prefecture of Casablanca and about 5 million in the region of Grand Casablanca. Casablanca is considered the economic and business center of Morocco, while the national political capital is Rabat.\n", "The leading Moroccan companies and international corporations doing business there have their headquarters and main industrial facilities in Casablanca. Recent industrial statistics show Casablanca retains its historical position as the main industrial zone of the country. The Port of Casablanca is one of the largest artificial ports in the world,[2] and the largest port of North Africa.[3] It is also the primary naval base for the Royal Moroccan Navy.\n", "\n", "\n", "The Latinized name of the city is a Portuguese word combination meaning \"White house\" (branca \"white\", casa \"house\"). The modern Spanish version of the name came later. The city is now nicknamed Casa by many locals.\n", "Anfa is generally considered the \"original city\" or \"old city\" of Casablanca; it is legally a prefecture (district) with half a million city inhabitants, and thus is part of the Grand Casablanca region.\n", "The area which is today Casablanca was founded and settled by Berbers by at least the 7th century BC.[4] It was used as a port by the Phoenicians and later the Romans.[5] In his book Wasf Afriquia, Al-Hassan al-Wazzan refers to ancient Casablanca as \"Anfa\", a great city founded in the Berber kingdom of Barghawata in 744 AD. He believed Casablanca was the most \"prosperous city on the Atlantic coast because of its fertile land.\"[6] Barghawata rose as an independent state around this time, and continued until it was conquered by the Almoravids in 1068.\n", "During the 14th century, under the Merinids, Anfa rose in importance as a port. The last of the Merinids was ousted by a popular revolt in 1465.[7]\n", "In the early 15th century, the town became an independent state once again, and emerged as a safe harbour for pirates and privateers, leading to it being targeted by the Portuguese, who destroyed the town in 1468.[8] The Portuguese used the ruins of Anfa to build a military fortress in 1515. The town that grew up around it was called \"Casa Branca\", meaning \"white house\" in Portuguese.\n", "Between 1580 and 1640 the Crown of Portugal and the Crown of Spain were held by the same kings and therefore Casablanca and all other areas occupied by the Portuguese were under Spanish control, even though maintaining an autonomous Portuguese administration. As Portugal broke ties with the Spanish king in 1640, Casablanca came under fully Portuguese control once again.[9] The Europeans eventually abandoned the area completely in 1755 following an earthquake which destroyed most of the town.[10]\n", "The town was finally reconstructed by Sultan Mohammed ben Abdallah (1756\u20131790), the grandson of Moulay Ismail and ally of George Washington with the help of Spaniards from the nearby emporium. The town was called \u0627\u0644\u062f\u0627\u0631 \u0627\u0644\u0628\u064a\u0636\u0627\u0621 ad-D\u0101r al-Bay\u1e0d\u0101\u02bc, the Arabic translation of the Spanish Casa Blanca, meaning \"white house\".\n", "In the 19th century, the area's population began to grow as it became a major supplier of wool to the booming textile industry in Britain and shipping traffic increased (the British, in return, began importing Morocco's now famous national drink, gunpowder tea).[11] By the 1860s, there were around 5,000 residents, and the population grew to around 10,000 by the late 1880s.[12] Casablanca remained a modestly sized port, with a population reaching around 12,000 within a few years of the French conquest and arrival of French colonialists in the town, at first administrators within a sovereign sultanate, in 1906. By 1921, this was to rise to 110,000,[13] largely through the development of shanty towns.\n", "In June 1907, the French attempted to build a light railway near the port and passing through a graveyard. Residents attacked the French, and riots ensued. French troops were landed in order to restore order, which was achieved only after severe damage to the town. The French then took control of Casablanca. This effectively began the process of colonization, although French control of Casablanca was not formalised until 1910. Under the French rule, there were Muslim Anti Jewish riots in 1908.[14]\n", "The famous 1942 film Casablanca underlined the city's colonial status at the time\u2014depicting it as the scene of a power struggle between competing European powers. The film has a cosmopolitan cast of characters (American, French, German, Italian, Czech, Norwegian, Austrian, Bulgarian, Russian and some other nationalities).\n", "Europeans formed almost half the population.[15] During the 1940s and 1950s, Casablanca was a major centre of anti-French rioting. A bomb attack on Christmas Day of 1953 caused many casualties.[16]\n", "Operation Torch (initially called Operation Gymnast) was the British-American invasion of French North Africa during the North African Campaign of World War II, which started on 8 November 1942.\n", "The Americans attacked at three different locations in French North Africa, one of the three being the landings at Casablanca because of its important ports and the major administrative centers.[17]\n", "Casablanca was an important strategic port during World War II and hosted the Casablanca Conference in 1943, in which Churchill and Roosevelt discussed the progress of the war. Casablanca was the site of a large American air base, which was the staging area for all American aircraft for the European Theater of Operations during World War II.\n", "In October 1930, Casablanca hosted a Grand Prix, held at the new Anfa Racecourse.[18] In 1958, the race was held at Ain-Diab circuit (see Moroccan Grand Prix). Morocco gained independence from France on 2 March 1956.[19] In 1983, Casablanca hosted the Mediterranean Games.[20] The city is now developing a tourism industry. Casablanca has become the economic and business capital of Morocco, while Rabat is the political capital.\n", "In March 2000, more than 60 women's groups organized demonstrations in Casablanca proposing reforms to the legal status of women in the country.[21] Forty thousand women attended, calling for a ban on polygamy and the introduction of divorce law (divorce being a purely religious procedure at that time). Although the counter-demonstration attracted half a million participants, the movement for change started in 2000 was influential on King Mohammed VI, and he enacted a new Mudawana, or family law, in early 2004, meeting some of the demands of women's rights activists.[22]\n", "On 16 May 2003, 33 civilians were killed and more than 100 people were injured when Casablanca was hit by a multiple suicide bomb attack carried out by Moroccans and claimed by some to have been linked to al-Qaeda. 12 suicide bombers struck five locations in the city.[23]\n", "A string of suicide bombings struck the city in early 2007. A suspected militant blew himself up at a Casablanca internet cafe on 11 March 2007.[24] On 10 April, three suicide bombers blew themselves up during a police raid of their safe house.[25] Two days later, police set up barricades around the city and detained two more men who had escaped the raid.[26] On 14 April, two brothers blew themselves up in downtown Casablanca, one near the American Consulate, and one a few blocks away near the American Language Center. Only one person was injured aside from the bombers, but the Consulate was closed for more than a month.\n", "As calls for reform spread through the Arab world in 2011, Moroccans joined in, but concessions by the ruler led to acceptance. However, in December thousands of people demonstrated in several parts of the city, especially the city center near la fontaine, desiring more significant political reforms.\n", "Casablanca is located in the Chawiya plain which has historically been the breadbasket of Morocco.[27] Apart from the Atlantic coast, the Bouskoura forest is the only natural attraction in the city.[28] The forest was planted in the 20th century and consists mostly of Eucalyptus, Palm and Pine trees.[29] It is located halfway to the city's international airport.\n", "The only watercourse in Casablanca is Oued Bouskoura,[30] a small seasonal creek that until 1912 reached the Atlantic Ocean near the actual port. Most of Oued Bouskoura's bed has been covered due to urbanization and only the part south of El-Jadida road can now be seen. The closest permanent river to Casablanca is Oum Er-Rbia River 70\u00a0km (43.50\u00a0mi) to the south-east.\n", "Casablanca has a very mild Mediterranean climate (K\u00f6ppen climate classification Csa). Casablanca's climate is strongly influenced by the cool currents of the Atlantic Ocean which tends to moderate temperature swings and produce a remarkably mild climate with little seasonal temperature variation and a lack of extreme heat and cold. According to the magazine American Weatherwise, the city ranks the 3rd best weather place in the world with best weather year round. Casablanca has an annual average of 74 days with significant precipitation, which amounts to 427 millimeters per year. The highest and lowest temperatures ever recorded in the city are 40.5\u00a0\u00b0C (105\u00a0\u00b0F) and \u22122.7\u00a0\u00b0C (27\u00a0\u00b0F), respectively. The highest amount of rainfall recorded in a single day is 178 millimeters ( November 30, 2010)\n", "The Grand Casablanca region is considered the locomotive of the development of the Moroccan economy. It attracts 32% of the country's production units and 56% of industrial labor. The region uses 30% of the national electricity production. With MAD 93 billion, the region contributes to 44% of the Industrial production of the Kingdom. 33% of national industrial exportations, MAD 27 billions come from the Grand Casablanca. 30% of Moroccan banking network is concentrated in Casablanca.[32]\n", "One of the most important Casablancan exports is phosphate. Other industries include fishing, fish canning, sawmills, furniture production, building materials, glass, textiles, electronics, leather work, processed food, spirits, soft drinks, and cigarettes.[33]\n", "The Casablanca and Mohammedia seaports activity represent 50% of the international commercial flows of Morocco.[34]\n", "Almost the entire Casablanca waterfront is under development, mainly the construction of huge entertainment centres between the port and Hassan II Mosque, the Anfa Resort project near the business, entertainment and living centre of Megarama, the shopping and entertainment complex of Morocco Mall, as well as a complete renovation of the coastal walkway. The Sindbad park is planned to be totally renewed with rides, games and entertainment services.[35]\n", "Royal Air Maroc has its head office at the Casablanca-Anfa Airport.[36] In 2004, it announced that it was moving its head office from Casablanca to a location in Province of Nouaceur, close to Mohammed V International Airport.[37] The agreement to build the head office in Nouaceur was signed in 2009.[38]\n", "The biggest CBD of Casablanca and Maghreb is in the North of the town in Sidi Maarouf near the mosque of Hassan II and the biggest project of skycrapers of Maghreb and Africa Casablanca Marina.\n", "Casablanca is a commune, part of the Region of the Grand Casablanca. The commune is divided into 8 districts or prefectures, which are themselves divided into 16 subdivisions or arrondissements and 1 municipality. The 8 districts and their subdivisions are as follows:[39]\n", "The list of neighborhoods is indicative and not complete:\n", "The population of Grand Casablanca was estimated in 2005 to be 3.85 million. 98% live in urban areas. Around 25% of them are under 15 and 9% are over 60 years old. The population of the city is about 11% of the total population of Morocco. Grand Casablanca is also the largest urban area in the Maghreb. The number of inhabitants is however disputed by the locals, who point to a number between 5 and 6 million[citation needed], citing recent drought years as a reason for many people moving into the city to find work.\n", "There was a Sephardic Jewish community in Anfa up to its destruction by the Portuguese in 1468. Jews were slow to return to the town, but by 1750 the Rabbi Elijah Synagogue was built as the first Jewish synagogue in Casablanca. It was destroyed along with much of the town in the 1755 Lisbon earthquake.[4] Today the Jewish cemetery of Casablanca is one of the major cemeteries of the city.\n", "The French period Ville Nouvelle (New Town) of Casablanca was designed by the French architect Henri Prost, and was a model of a new town at that time. The main streets radiate south and east from Place des Nations Unies, previously the main market of Anfa. Former administrative buildings and modern hotels populate the area. Their style is a combination of Hispano-Mauresque and Art Deco.\n", "Casablanca is home to the Hassan II Mosque, designed by the French architect Michel Pinseau. It is situated on a promontory on the Atlantic. The mosque has room for 25,000 worshippers inside, and a further 80,000 can be accommodated in the mosque's courtyard. Its minaret is the world's tallest at 210 metres. The mosque is also the largest in North Africa, and the third largest in the world.[40]\n", "Work on the mosque was started in 1980, and was intended to be completed for the 60th birthday of the former Moroccan king, Hassan II, in 1989. However, the building was not inaugurated until 1993. Authorities spent an estimated $800 million in the construction of the building.\n", "The Parc de la Ligue Arabe (formally called Lyautey) is the city's largest public park. On its edge is the Casablanca Cathedral (Cath\u00e9drale Sacr\u00e9-Coeur). It is no longer in use for religious purposes, but it is open to visitors and a splendid example of Mauresque architecture. The Old Medina (the part of town pre-dating the French protectorate) attracts fewer tourists than the medinas of cities like Fes and Marrakech. However, it has undergone some restoration in recent years. Included in this project have been the western walls of the medina, its skala, or bastion, and its colonial-period clock tower.\n", "A popular site among locals is the small island Marabout de Sidi Abderrahmane. It is possible to walk across to the rocky island at low tide. This outcrop contains the tomb of Sidi Abderrhamane Thaalibi, a Sufi from Baghdad and the founder of Algiers. He is considered a saint in Morocco.[41] Because of this, many Moroccans make informal pilgrimages to this site \"to reflect on life and to seek religious enlightenment\". Some believe that the saint possessed magical powers and so his tomb still possesses these powers. People come and seek this magic in order to be cured. Non-Muslims may not enter the shrine.\n", "Modern Architecture\n", "The real Casablanca \u2013 as opposed to the Hollywood studio where the movie was actually filmed \u2013 merits being seen, even on a global stage, as one of the birthplaces of modern architecture. It belongs to the same avant-garde family as the Brasilia of Oscar Niemeyer, the Marseille of Le Corbusier, or the Chicago of Louis Sullivan. The real Casablanca is where people still come to find Morocco\u2019s \u201cAmerican dream.\u201d For over a century Casablanca has offered hope to people wanting a new, more prosperous life. In the late 1800s Spanish artisans and fishermen came, followed by French traders, land speculators, and industrialists. Fleeing drought in the hinterland or \u201cbled,\u201d Muslims and Jews pitched up to trade and to work in sugar and cement factories. All shared the dream of acquiring new kinds of freedom.\n", "Open to the intense sunlight and mild sea air, the buildings express optimism. They flaunt the stylistic innovations of their eras: Beaux Arts, Neo-Mauresque, Art Deco, Cubist, Brutalist, Post-Modern. When you walk along the city\u2019s streets and boulevards, you are strolling through an open-air museum of twentieth century architecture. The \u201cancienne m\u00e9dina\u201d or oldest part of the city is remarkable, not for its antiquity (its oldest structures date only from the late 1700s), but because it foretells the modern future of the entire city. European traders and consuls who began flocking to the nineteenth century port were putting on display a new style of architecture. It appealed to wealthy Muslim and Jewish inhabitants of the quarter who set about building their own versions, albeit with \u201cMoorish\u201d touches like massive doorways and patios.\n", "Walking away from the medina up Blvd. Hassan II, you arrive at a hub of action called \u201cPlace Mohamed V. It displays the shifting styles of public architecture erected by the French when they were building the protectorate they acquired in 1912. Start with the Neo-Mauresque post office built in 1918; note its indigo tiles around the mail slots and the bi-plane cameo to the left of the entrance. Then look across the Place at the 1920 courthouse also inspired by the colored tiles and arcades of Moroccan architecture; these arcades, though, are atypically open to the street. Across the street, the City Hall (1928) with its clock tower modeled on a minaret. Finally, look at the national bank (1937), bearing on its fa\u00e7ade a sculpted rug, punctuated by five bold windows. In less than thirty years French architects had taken their admiration for Moroccan style in fresh directions that still please the eye. The Place is also full of the history of a Franco-Moroccan encounter marked by mutual stylistic inspiration.\n", "A seductive harmony also characterizes the boulevard running from the edge of the medina to the main train station, Casa Voyageurs. Art Deco apartment buildings and stores are seamlessly linked to cubist ones. Rich Moroccans like Thami Glaoui and Omar Tazi seized the opportunity to join these architectural ventures and hired French architects like Marius Boyer (1885-1947) to design swank apartment buildings atop glass-roofed shopping malls. Boyer, one of the most prolific architects of his time, was also one of the most inventive. Within less than a decade, he would design such dissimilar buildings as a highly decorated neo-Mauresque newspaper office (1924) and a starkly avant-garde apartment block (1930), its three towers possessing the brand-new modern conveniences of garbage chutes, underground parking, and terraces galore.[42]\n", "Located on the seafront on 26 hectares, Casablanca Marina offers upscale residential products, office spaces which respect the international standards, shops and a convention Centre up to the national and international expectations for the organization and hosting congresses . Casablanca Marina also embodies an ideal urban and environmental context, it has local services, parks and a professional team to manage the site. it aims to become an essential destination for recreational boaters seeking long stays, or just an unforgettable stopover on their way to West Africa, the Caribbean or the shores of North America. It is noteworthy that the Works of the project has started at the beginning of 2012 and it is expected to be completed in the summer of 2014\n", "The Casablanca Technopark is an information technology Business cluster complex located at Casablanca, and was inaugurated in October 2001.\n", "There are several shopping centers in Casablanca, of which the largest is Morocco Mall. It is the largest shopping center in Africa with 250,000\u00a0m2 (2,690,978\u00a0sq\u00a0ft) of floor space in Casablanca. The mall, which opened on December 1, 2011, was designed by architect Davide Padoa of Design International, a global architecture boutique with its headquarters in London.[43] The mall features a massive 1,000,000 litre aquarium that contains over 40 different species of fish. The aquarium is called \"Aquadream\" and was designed and built by International Concept Management (ICM). Visitors have the opportunity to take a ride through the center of the cylinder shaped aquarium with a 360-degree view of the sea life. Visitors can also go scuba diving with a professional instructor inside the aquarium. Anfaplace Shopping Center is a shopping center located on the Corniche of Casablanca.\n", "The Casablanca Twin Center is the new landmark of the business district of Casablanca. At over 100 meters in height, the twin towers dominate the skyline and the work environment are better co-ordinated and more dynamic which is, as evidenced by their design particularly studied in terms of technology, efficiency and comfort.\n", "Casablanca staged the 1961 Pan Arab Games, the 1983 Mediterranean Games and the 1988 Africa Cup of Nations. Morocco was scheduled to host the 2015 African Nations Cup, but decided to decline the tournament, due to Ebola fears. Morocco was expelled from the tournament, and it will now be held in Equatorial Guinea.[44]\n", "The Grand Stade de Casablanca is the proposed title of the planned football stadium to be built in the city. Once completed in 2014, it will be used mostly for football matches and will serve as the home of Raja Casablanca, Wydad Casablanca and the Morocco national football team. The stadium was designed with a capacity of 80,000 spectators, making it one of the highest-capacity stadiums in Africa. Once completed, it will replace the Stade Mohamed V. The initial idea of the stadium was for the 2010 FIFA World Cup, for which Morocco lost their bid to South Africa. Nevertheless, the Moroccan government supported the decision to go ahead with the plans. It will be completed in 2014, ready for the 2015 Africa Cup of Nations.\n", "Casablanca is home to two popular football clubs, Raja Club Athletic[45] and Wydad Athletic Club.[46] Raja's symbol is an eagle and Wydad's symbol is a goose. These two popular clubs have produced some of Morocco's best players such as: Salaheddine Bassir, Abdelmajid Dolmy, Baddou Zaki, Aziz Bouderbala and Noureddine Naybet. There are other football teams on top of these two major teams that are based in the city of Casablanca are Rachad Bernoussi, TAS de Casablanca, Majd Al Madina and Racing Casablanca.\n", "Casablanca hosts The Grand Prix Hassan II, a professional male tennis tournament of the ATP tour. It first began in 1986. It is played on clay courts type at Complexe Al Amal.\n", "Notable winners of the Hassan II Grand-Prix are: Thomas Muster in 1990, Hicham Arazi in 1997, Younes El Aynaoui in 2002 and Stanislas Wawrinka in 2010.\n", "The Casablanca tramway is the rapid transit tram system in Casablanca in Morocco. The route is 31\u00a0km (19\u00a0mi) long, with 49 stops, and Y-shaped; further lines are planned in the future.[47]\n", "Casablanca's main airport is Mohammed V International Airport, Morocco's busiest airport. Regular domestic flights serve Marrakech, Rabat, Agadir, Oujda, and Tangier, Laayoune as well as other cities.\n", "Casablanca is well served by international flights to Europe, especially French and Spanish airports, and has regular connections to North American, Middle Eastern and sub-Saharan African destinations. New York City, Montreal, Paris, London and Dubai are important primary destinations.\n", "The older, smaller Casablanca-Anfa Airport to the west of the city, that served certain destinations including Damascus, and Tunis, was largely closed to international civilian traffic in 2006. It has been closed and destroyed to let build the future \"Casablanca Finance City\", the new heart of the city of Casablanca. Casablanca Tit Mellil Airport is located in the nearby community of Tit Mellil.\n", "CTM coaches (intercity buses) and various private lines run services to most notable Moroccan towns as well as a number of European cities. These run from the Gare Routi\u00e8re on Rue L\u00e9on l'Africain in downtown Casablanca.\n", "See also: Casablanca RER or Casablanca metro\n", "An underground railway system is currently being planned, which when constructed will potentially offer some relief to the problems of traffic congestion and poor air quality. The metro will not be ready before 2017, having a length of 10 kilometres (6.21 miles) and costing 46.7 billion dirhams (approximately 5.8 billion USD).[48] However, it should be noted that none of the preparatory works for this project have started.\n", "Registered taxis in Casablanca are coloured red and known as petit taxis (small taxis), or coloured white and known as grands taxis (big taxis). As is standard Moroccan practice, petits taxis, typically small-four door Dacia Logan, Peugeot 207 or similar cars, provide metered cab service in the central metropolitan areas. Grands taxis, generally older Mercedes-Benz sedans, provide shared mini-bus like service within the city on pre-defined routes, or shared inter-city service. Grands Taxis may also be hired for private service by the hour or day.\n", "Casablanca is served by three principal railway stations run by the national rail service, the ONCF.\n", "Casa-Voyageurs is the main inter-city station, from which trains run south to Marrakech or El Jadida and north to Mohammedia and Rabat, and then on either to Tangier or Meknes, Fes, Taza and Oujda/Nador. A dedicated airport shuttle service to Mohammed V International Airport also has its primary in-city stop at this station, for connections on to further destinations.\n", "Casa-Port serves primarily commuter trains such as the Train Navette Rapide (TNR or Aouita) operating on the Casablanca \u2013 Kenitra rail corridor, with some connecting trains running on to Gare de Casa-Voyageurs. The station provides a direct interchange between train and shipping services, and is located near to several port-area hotels. It is the nearest station to the old town of Casablanca, and to the modern city centre, around the landmark Casablanca Twin Center. Casa-Port station is being rebuilt in a modern and enlarged configuration. During the construction the station is still operational. From 2013 it will provide a close connection from the rail network to the city's new tram network.\n", "Casa-Oasis was originally a suburban commuter station which was fully redesigned and rebuilt in the early twenty-first century, and officially re-opened in 2005 as a primary city rail station. Owing to its new status, all southern inter-city train services to and from Casa-Voyageurs now call at Casa-Oasis. ONCF stated in 2005 that the refurbishment and upgrading of Casa-Oasis to inter-city standards was intended to relieve passenger congestion at Casa-Voyageurs station.\n", "Casablanca is twinned with:\n", "Coordinates: 33\u00b032\u2032N 7\u00b035\u2032W\ufeff / \ufeff33.533\u00b0N 7.583\u00b0W\ufeff / 33.533; -7.583\n", "\n", "http://en.wikipedia.org/wiki/One_Flew_Over_the_Cuckoo's_Nest\n", "One Flew Over the Cuckoo's Nest may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Gone_with_the_Wind\n", "Gone with the Wind is a novel written by Margaret Mitchell, first published in 1936. The story is set in Clayton County, Georgia, and Atlanta during the American Civil War and Reconstruction era. It depicts the experiences of Scarlett O'Hara, the spoiled daughter of a well-to-do plantation owner, who must use every means at her disposal to come out of the poverty she finds herself in after Sherman's March to the Sea. A historical novel, the story is a Bildungsroman or coming-of-age story, with the title taken from a poem written by Ernest Dowson." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Gone with the Wind was popular with American readers from the onset and was the top American fiction bestseller in the year it was published and in 1937. As of 2014, a Harris poll found it to be the second favorite book of American readers, just behind the Bible. More than 30 million copies have been printed worldwide.\n", "Written from the perspective of the slaveholder, Gone with the Wind is Southern plantation fiction. Its portrayal of slavery and African Americans is controversial, as well as its use of a racial epithet and ethnic slurs. However, the novel has become a reference point for subsequent writers about the South, both black and white. Scholars at American universities refer to it in their writings, interpret and study it. The novel has been absorbed into American popular culture.\n", "Margaret Mitchell was imaginative in the use of color symbolism, especially the colors red and green, which surround Scarlett O'Hara. Mitchell identified the primary theme as survival. She left the ending speculative for the reader, however. She was often asked what became of her lovers, Rhett and Scarlett. She did not know, and said, \"For all I know, Rhett may have found someone else who was less difficult.\"[2] Two sequels authorized by Mitchell's estate were published more than a half century later. A parody was also produced.\n", "Mitchell received the Pulitzer Prize for Fiction for the book in 1937. It was adapted into a 1939 American film. The book is often read or misread through the film. Gone with the Wind is the only novel by Mitchell published during her lifetime.[3]\n", "\n", "\n", "Born in 1900 in Atlanta, Georgia, Margaret Mitchell was a writer and a Southerner throughout her life. She grew up hearing stories about the American Civil War and the Reconstruction from her tyrannical Irish American grandmother who endured its suffering. Her forceful and intellectual mother was a suffragist who fought for the rights of women to vote. As a young woman, Mitchell found love with an army lieutenant who was killed in the Great War, and she would carry his memory for the remainder of her life. After studying at Smith College for a year, during which time her mother died from the Spanish flu, she returned to Atlanta. An unsuccessful marriage to an abusive bootlegger husband followed. She then got a job writing feature articles for the Atlanta Journal at a time when Atlanta debutantes did not work. She married again, this time to a man who shared her interest in writing and literature.\n", "Margaret Mitchell began writing Gone with the Wind in 1926 to pass the time while recovering from an auto-crash injury that refused to heal.[2] In April 1935, Harold Latham of MacMillan, an editor who was looking for new fiction, read what she had written and saw that it could be a best-seller. After Latham had agreed to publish the book, Mitchell worked for another six months checking the historical references and rewriting the opening chapter several times.[4] Mitchell and her husband John Marsh, a copy editor by trade, edited the final version of the novel. Mitchell wrote the book's final moments first and then wrote the events that led up to it.[5] Gone With the Wind was released to the public in June 1936.\n", "The author tentatively titled the novel Tomorrow is Another Day, from its last line.[6] Other proposed titles included Bugles Sang True, Not in Our Stars, and Tote the Weary Load.[4] The title Mitchell finally chose is from the first line of the third stanza of the poem Non Sum Qualis Eram Bonae sub Regno Cynarae by Ernest Dowson:\n", "\n", "I have forgot much, Cynara! gone with the wind,\n", "Flung roses, roses riotously with the throng,\n", "Dancing, to put thy pale, lost lilies out of mind...[7]\n", "Scarlett O'Hara uses the title phrase when she wonders to herself if her home on a plantation called \"Tara\" is still standing or if it is \"gone with the wind which had swept through Georgia.\"[8] In a general sense, the title is a metaphor for the departure of a way of life that existed in the South prior to the Civil War. When taken in the context of Dowson's poem about \"Cynara\", the phrase \"gone with the wind\" alludes to erotic loss.[9] The poem expresses the regrets of someone who has lost his passionate feelings for his \"old passion\", Cynara.[10] Dowson's Cynara, a name that comes from the Greek word for artichoke, represents a lost love.[11]\n", "The title was printed throughout the 1,037 pages of the book as shown here: Gone with the Wind, using lower case letters for the words with and the. An upper case W for the word with appeared in the title printed on the dust jacket where the words GONE, WITH and WIND were in capital letters in brown ink against a yellow background (GONE WITH the WIND), giving the title a billboard-like presentation. The title was printed in all capitals, partially italicized, on two lines in blue ink: GONE (first line), WITH THE WIND (second line), on the hardcover, which was \"Confederate gray\".[12]\n", "Gone with the Wind takes place in the southern United States in the state of Georgia during the American Civil War (1861\u20131865) and the Reconstruction Era (1865\u20131877) that followed the war. The novel unfolds against the backdrop of rebellion wherein seven southern states, Georgia among them, have declared their secession from the United States (the \"Union\") and formed the Confederate States of America (the \"Confederacy\"), after Abraham Lincoln was elected president with no ballots from ten Southern states where slavery was legal. A dispute over states' rights has arisen[13] involving enslaved African people who were the source of manual labor on cotton plantations throughout the South.\n", "It is April 1861 at the \"Tara\" plantation, owned by Gerald O'Hara, a lucky Irish immigrant, and his wife, Ellen Robillard O\u2019Hara, who is from a coastal aristocratic family of French descent. Their sixteen-year-old daughter, Scarlett, is not beautiful, but men seldom realized it once they were caught up in her charm.[14] It was the day before the men were called to war, Fort Sumter having been fired on two days earlier.\n", "There are brief but vivid descriptions of the South as it began and grew, with backgrounds of the main characters: the stylish and highbrow French, the gentlemanly English, the forced-to-flee and looked-down-upon Irish. Scarlett learns that one of her many beaux, Ashley Wilkes, will soon be engaged to his cousin, Melanie Hamilton. She is heart-stricken. The next day at the Wilkeses' barbecue at \"Twelve Oaks,\" Scarlett tells Ashley she loves him, and he admits he cares for her.[13] However, he knows he would not be happily married to her because of their personality differences. She loses her temper at him, and he silently takes it.\n", "Rhett Butler, who has a reputation as a rogue, had been alone in the library when Ashley and Scarlett entered and felt it wiser to stay unseen during the argument. Rhett applauds Scarlett for the unladylike spirit she displayed with Ashley. Infuriated and humiliated, she tells Rhett, \"You aren't fit to wipe Ashley's boots!\"[13]\n", "After rejoining the other party guests, she learns that war has been declared and the men are going to enlist. Seeking revenge for being jilted by Ashley, Scarlett accepts a marriage proposal from Melanie's brother, Charles Hamilton. They marry two weeks later. Charles dies from measles two months after the war begins. A young widow, she gives birth to her first child, Wade Hampton Hamilton, named after his father's general.[15] She is bound by tradition to wear black and avoid conversation with young men. Scarlett is saddened by these restrictions.\n", "Aunt Pittypat, who is living with Melanie in Atlanta, invites Scarlett to stay with them. In Atlanta, Scarlett's spirits revive, and she is busy with hospital work and sewing circles for the Confederate army. Scarlett encounters Rhett Butler again at a dance for the Confederacy, and he is dressed like a dandy.[16] Although Rhett believes the war is a lost cause, he is blockade running for the profit. The men must bid for a dance with a lady, and Rhett bids \"one hundred fifty dollars-in gold\"[16] for a dance with Scarlett. They waltz to the tune of \"When This Cruel War is Over\", and Scarlett sings the words:\n", "Dearest one! do you remember,\n", "When we first did meet?\n", "When you told me how you loved me,\n", "Kneeling at my feet?\n", "Oh! how proud you stood before me\n", "In your suit of grey,\n", "When you vow\u2019d to me and country,\n", "Ne\u2019er to go astray.\n", "Weeping, sad and lonely,\n", "Sighs and tears how vain,\n", "When this cruel war is over,\n", "Praying then to meet again![16][17][18]\n", "Everyone at the dance is shocked that Rhett would bid for Scarlett, the widow still dressed in black. Melanie comes to Scarlett's defense because she is supporting the cause for which her husband, Ashley, is fighting.\n", "At Christmas (1863), Ashley is granted a furlough from the army. Melanie becomes pregnant with their first child.\n", "The war is going badly for the Confederacy. Atlanta is besieged from three sides (September 1864).[19] The city becomes desperate and hundreds of wounded Confederate soldiers pour in. Melanie goes into labor with only the inexperienced Scarlett to assist, as all the doctors are attending the soldiers. Prissy, a young Negro servant girl, cries out in despair and fear, \"De Yankees is comin!\"[20] In the chaos, Scarlett, left to fend for herself, cries for the comfort and safety of her mother and Tara. The tattered Confederate States Army sets flame to Atlanta and abandons it to the Union Army.\n", "Melanie gives birth to a boy, \"Beau\", and now they must hurry for refuge. Scarlett tells Prissy to go find Rhett, but she is afraid to \"go runnin' roun' in de dahk\". Scarlett says, \"Haven't you any gumption?\"[20] Prissy then finds Rhett, and Scarlett begs him to take herself, Wade, Melanie, Beau, and Prissy to Tara. Rhett laughs at the idea but steals an emaciated horse and a small wagon, and they follow the retreating army out of Atlanta.\n", "Part way to Tara, Rhett has a change of heart and abandons Scarlett to enlist in the army. She makes her way to Tara where she is welcomed on the steps by her father, Gerald. Things have drastically changed: Scarlett's mother is dead, her father has lost his mind with grief, her sisters are sick with typhoid fever, the field slaves left after Emancipation, the Yankees have burned all the cotton, and there is no food in the house. Scarlett avows that she and her family will survive and never be hungry again.\n", "The long tiring struggle for post-war survival begins that has Scarlett working in the fields. There are hungry people to feed and little food. There is the ever-present threat of the Yankees who steal and burn, and at one point, Scarlett pulls Charles's pistol out from her thigh and kills a Yankee marauder with a single shot leaving \"a bloody pit where the nose had been.\"[21]\n", "A long succession of Confederate soldiers returning home stop at Tara to find food and rest. Two men stay on, an invalid Cracker, Will Benteen, and Ashley Wilkes, whose spirit is broken.\n", "Life at Tara slowly begins to recover when new taxes are put on Tara. Scarlett knows only one man with enough money to help her, Rhett Butler. She looks for him in Atlanta only to learn he is in jail. Leaving the jailhouse, she runs into Frank Kennedy, who is betrothed to Scarlett's sister, Suellen, and runs a store in Atlanta. Realizing Frank also has money, Scarlett hatches a plot and tells Frank that Suellen will not marry him. Frank succumbs to Scarlett's feminine charms and he marries her two weeks later knowing he has done \"something romantic and exciting for the first time in his life.\"[22] Always wanting her to be happy and radiant, Frank gives her the money to pay the taxes.\n", "While Frank has a cold and is pampered by Aunt Pittypat, Scarlett goes over the accounts at Frank's store and finds many of his friends owe him money. Scarlett is now terrified about the taxes and decides money, a lot of it, is needed. She takes control of his store, and her business practices leave many Atlantans resentful of her. With a loan from Rhett she buys a sawmill and runs it herself, all very unladylike conduct. To Frank's relief, Scarlett learns she is pregnant, which curtails her activities for a while. She convinces Ashley to come to Atlanta and manage the mill, all the while still in love with him. At Melanie's urging, Ashley takes the job. Melanie becomes the center of Atlanta society, and Scarlett gives birth to Ella Lorena. \"Ella for her grandmother Ellen, and Lorena because it was the most fashionable name of the day for girls.\"[23]\n", "Georgia is under martial law, and life has taken on a new and more frightening tone. For protection, Scarlett keeps Frank's pistol tucked in the upholstery of the buggy. Her trips alone to and from the mill take her past a shanty town where criminal elements live. One evening coming home, she is accosted by two men who try to rob her, but she escapes with the help of Big Sam, the former negro foreman from Tara. Attempting to avenge his wife, Frank and the Ku Klux Klan raid the shanty town whereupon Frank is shot dead. Scarlett is a widow again.\n", "Rhett puts on a charade to keep the raiders from being arrested. He walks into the Wilkeses' home with Hugh Elsing and Ashley, singing and pretending to be drunk. Yankee officers outside question Rhett, and he says he and the other men had been at Belle Watling's brothel that evening, a story Belle later confirms to the officers. The men are indebted to Rhett, and his Scallawag reputation among them improves a notch, but the men's wives, except Melanie, are livid at owing their husbands' lives to Belle Watling.\n", "Frank Kennedy lies in a coffin in the quiet stillness of the parlor in Aunt Pittypat's home. Scarlett is remorseful. She is swigging brandy from Aunt Pitty's swoon bottle when Rhett comes to call. She tells him tearfully, \"I'm afraid I'll die and go to hell.\" He says, \"Maybe there isn't a hell.\"[24] Before she can cry any further, he asks her to marry him saying, \"I always intended having you, one way or another.\"[24] She says she doesn't love him and doesn't want to be married again. However, he kisses her passionately, and in the heat of the moment she agrees to marry him. One year later, Scarlett and Rhett announce their engagement, which becomes the talk of the town.\n", "Mr. and Mrs. Butler honeymoon in New Orleans, spending lavishly. Upon returning to Atlanta, they stay in the bridal suite at the National Hotel while their new home on Peachtree Street is being built. Scarlett chooses a modern Swiss chalet style home like the one she saw in Harper's Weekly, with red wallpaper, thick red carpet, and black walnut furniture. Rhett describes it as an \"architectural horror\".[25] Shortly after they move into their new home, the sardonic jabs between them turn into full-blown quarrels. Scarlett wonders why Rhett married her. Then \"with real hate in her eyes\",[25] she tells Rhett she will have a baby, which she does not want.\n", "Wade is seven years old in 1869 when his half-sister, Eugenie Victoria, named after two queens, is born. She has blue eyes like Gerald O'Hara, and Melanie nicknames her, \"Bonnie Blue,\" in reference to the Bonnie Blue Flag of the Confederacy.\n", "When Scarlett is feeling well again, she makes a trip to the mill and talks to Ashley, who is alone in the office. In their conversation, she comes away believing Ashley still loves her and is jealous of her intimate relations with Rhett, which excites her. She returns home and tells Rhett she does not want more children. From then on, they sleep separately, and when Bonnie is two years old, she sleeps in a little bed beside Rhett (with the light on all night because she is afraid of the dark). Rhett turns his attention towards Bonnie, dotes on her, spoils her, and worries about her reputation when she is older.\n", "Melanie is giving a surprise birthday party for Ashley. Scarlett goes to the mill to keep Ashley there until party time, a rare opportunity for her to see him alone. When she sees him, she feels \"sixteen again, a little breathless and excited.\"[26] Ashley tells her how pretty she looks, and they reminisce about the days when they were young and talk about their lives now. Suddenly Scarlett's eyes fill with tears, and Ashley holds her head against his chest. Ashley sees his sister, India Wilkes, standing in the doorway. Before the party has even begun, a rumor of an affair between Ashley and Scarlett spreads, and Rhett and Melanie hear it. Melanie refuses to accept any criticism of her sister in-law, and India Wilkes is banished from the Wilkeses' home for it, causing a rift in the family.\n", "Rhett, more drunk than Scarlett has ever seen him, returns home the evening of the party long after Scarlett. His eyes are bloodshot, and his mood is dark and violent. He enjoins Scarlett to drink with him. Not wanting him to know she is fearful of him, she throws back a drink and gets up from her chair to go back to her bedroom. He stops her and pins her shoulders to the wall. She tells him he is jealous of Ashley, and Rhett accuses her of \"crying for the moon\"[27] over Ashley. He tells her they could have been happy together saying, \"for I loved you and I know you.\"[27] He then takes her in his arms and carries her up the stairs to her bedroom where passion envelops them.\n", "Next morning Rhett leaves town for three months with Bonnie and Prissy. Scarlett finds herself missing him, but she is still unsure if Rhett loves her, having said it while drunk. She learns she is pregnant with her fourth child.\n", "When Rhett returns, Scarlett waits for him at the top of the stairs. She wonders if Rhett will kiss her, but to her irritation, he does not. He says she looks pale. She says it's because she is pregnant. He sarcastically asks if the father is Ashley. She calls Rhett a cad and tells him no woman would want his baby. He says, \"Cheer up, maybe you'll have a miscarriage.\"[28] She lunges at him, but he dodges, and she tumbles backwards down the stairs. She is seriously ill for the first time in her life, having lost her child and broken her ribs. Rhett is remorseful, believing he has killed her. Sobbing and drunk, he buries his head in Melanie's lap and confesses he had been a jealous cad.\n", "Scarlett, who is thin and pale, goes to Tara taking Wade and Ella with her, to regain her strength and vitality from \"the green cotton fields of home.\"[29] When she returns a healthy woman to Atlanta, she sells the mills to Ashley. She finds Rhett's attitude has noticeably changed. He is sober, kinder, polite, and seemingly disinterested. Though she misses the old Rhett at times, Scarlett is content to leave well enough alone.\n", "Bonnie is four years old in 1873. Spirited and willful, she has her father wrapped around her finger and giving into her every demand. Even Scarlett is jealous of the attention she gets. Rhett rides his horse around town with Bonnie in front of him, but Mammy insists it is not fitting for a girl to ride a horse with her dress flying up. Rhett heeds her words and buys Bonnie a Shetland pony, whom she names \"Mr. Butler,\" and teaches her to ride sidesaddle. Then Rhett pays a boy named Wash twenty-five cents to teach Mr. Butler to jump over wood bars. When Mr. Butler is able to get his fat legs over a one foot high bar, Rhett puts Bonnie on the pony, and soon Mr. Butler is leaping bars and Aunt Melly's rose bushes.\n", "Wearing her blue velvet riding habit with a red feather in her black hat, Bonnie pleads with her father to raise the bar to one and a half feet. He gives in, warning her not to come crying if she falls. Bonnie yells to her mother, \"Watch me take this one!\"[30] The pony gallops towards the wood bar, but trips over it. Bonnie breaks her neck in the fall, killing her.\n", "In the dark days and months following Bonnie's death, Rhett is often drunk and disheveled, while Scarlett, though deeply grieved also, seems to hold up under the strain. With the untimely death of Melanie Wilkes a short time later, Rhett decides he only wants the calm dignity of the genial South he once knew in his youth and leaves Atlanta to find it. Meanwhile, Scarlett dreams of love that has eluded her for so long. However, she still has Tara and knows she can win Rhett back, because \"tomorrow is another day.\"[31]\n", "Margaret Mitchell arranged Gone with the Wind chronologically, basing it on the life and experiences of the main character, Scarlett O'Hara, as she grew from adolescence into adulthood. During the time span of the novel, from 1861 to 1873, Scarlett ages from sixteen to twenty-eight years. The literary technique applied in telling the story is Bildungsroman,[32] which is a type of novel concerned with the moral and psychological growth of the protagonist from youth to adulthood (coming-of-age story). The growth and education of Scarlett O'Hara is influenced by the events of her time.[32] Mitchell used a smooth linear narrative structure. The novel is known for its exceptional \"readability\".[33] The plot is rich with vivid characters.\n", "Gone with the Wind is often placed in the literary sub-genre of the historical romance novel.[34] However, it has been argued the novel does not contain all of the elements of the romance genre,[35] making it simply a historical novel. The novel has also been described as an early classic of the erotic historical genre because it is thought to contain some degree of pornography.[36]\n", "'Way back in the dark days of the Early Sixties, regrettable tho it was\u2014men fought, bled, and died for the freedom of the negro\u2014her freedom!\u2014and she stood by and did her duty to the last ditch\u2014\n", "It was and is her life to serve, and she has done it well.\n", "While shot and shell thundered to release the shackles of slavery from her body and her soul\u2014she loved, fought for, and protected\u2014Us who held her in bondage, her \"Marster\" and her \"Missus!\"\n", "Slavery in Gone with the Wind is a backdrop to a story that is essentially about other things.[38] Southern plantation fiction (also known as Anti-Tom literature) from the early 19th century culminating in Gone With the Wind is written from the perspective and values of the slaveholder and tends to present slaves as docile and happy.[39]\n", "The characters in the novel are organized into two basic groups along class lines: the white planter class, such as Scarlett and Ashley, and the black house servant class. The slaves depicted in Gone with the Wind are primarily loyal house servants, such as Mammy, Pork, Prissy, and Uncle Peter.[40] House servants are the highest \"caste\" in Mitchell's caste system of the slaves.[41] They stay on with their masters after the Emancipation Proclamation of 1863 and subsequent Thirteenth Amendment of 1865 sets them free. Of the servants that stayed on at Tara, Scarlett thinks to herself, \"There were qualities of loyalty and tirelessness and love in them that no strain could break, no money could buy.\"[42]\n", "The field slaves make up the lower class in Mitchell's caste system.[41][43] The field slaves from the Tara plantation and the foreman, Big Sam, are taken away by Confederate soldiers to dig ditches[19] and apparently never return to the plantation. There were yet other field slaves, Mitchell wrote, who were \"loyal\" and \"refused to avail themselves of the new freedom\",[41] but there are no field slave characters in the novel that stay on the plantation after they have been emancipated.\n", "James Stirling, a British writer who visited the Southern United States in 1857, described the distinction between slaves who were house servants and slaves who were field hands in his book, Letters from the Slave States:\n", "In judging of the welfare of the slaves, it is necessary to distinguish the different conditions of slavery. The most important distinction, both as regards numbers and its influence on the wellbeing of the slave, is that between house-servants and farm or field-hands. The house-servant is comparatively well off.[44]\n", "A slave narrative by William Wells Brown published in 1847 spoke of the disparity in conditions between the house servant and the field hand:\n", "During the time that Mr. Cook was overseer, I was a house servant\u2014a situation preferable to a field hand, as I was better fed, better clothed, and not obliged to rise at the ringing bell, but about an half hour after. I have often laid and heard the crack of the whip, and the screams of the slave.[45]\n", "Although the novel is over one thousand pages, Mammy never considers what her life might be like away from Tara.[46] She recognizes her freedom to come and go as she pleases saying, \"Ah is free, Miss Scarlett. You kain sen' me nowhar Ah doan wanter go,\" but Mammy remains duty-bound to \"Miss Ellen's chile\".[24] (Mammy apparently had no real name; at least it is not mentioned in the novel.)\n", "Eighteen years before the publication of Gone with the Wind, an article titled, \"The Old Black Mammy,\" written in the Confederate Veteran in 1918, discussed the romanticized view of the mammy character that had been passed on in literature of the South:\n", "...for her faithfulness and devotion, she has been immortalized in the literature of the South; so the memory of her will never pass, but live on in the tales that are told of those \"dear dead days beyond recall\".[47][48]\n", "Micki McElya, in her book, Clinging to Mammy, suggests the myth of the faithful slave, in the figure of mammy, lingers because white Americans wish to live in a world where African Americans are not angry over the injustice of slavery.[49]\n", "The best-selling anti-slavery novel from the 19th century is Uncle Tom's Cabin, by Harriet Beecher Stowe, published in 1852. Uncle Tom's Cabin is mentioned briefly in Gone with the Wind as being accepted by the Yankees as, \"revelation second only to the Bible\".[42] The enduring interest of both Uncle Tom's Cabin and Gone with the Wind has resulted in lingering stereotypes of 19th-century African American slaves.[50] However, since its publication, Gone with the Wind has become a reference point for subsequent writers about the South, both black and white alike.[51]\n", "\u2014Mammy\n", "The southern belle is an archetype for a young woman of the antebellum American South upper class. The southern belle's attractiveness is not physical beauty, but rather lies in her charm. She is subject to the correct code of female behavior.[53] The novel's heroine, Scarlett O'Hara, charming though not beautiful, is a southern belle.\n", "For young Scarlett, the ideal southern belle is represented by her mother, Ellen O'Hara. In \"A Study in Scarlett\", published in The New Yorker, Claudia Roth Pierpont wrote:\n", "The Southern belle was bred to conform to a subspecies of the nineteenth-century \"lady\"... For Scarlett, the ideal is embodied in her adored mother, the saintly Ellen, whose back is never seen to rest against the back of any chair on which she sits, whose broken spirit everywhere is mistaken for righteous calm...[54]\n", "However, Scarlett is not always willing to conform. Kathryn Lee Seidel, in her book, The Southern Belle in the American Novel, wrote:\n", "...part of her does try to rebel against the restraints of a code of behavior that relentlessly attempts to mold her into a form to which she is not naturally suited.[55]\n", "Scarlett, the figure of a pampered southern belle, lives through an extreme reversal of fortune and wealth, and survives to rebuild Tara and her self-esteem.[56] Scarlett's bad belle traits, her deceitfulness, shrewdness, manipulativeness, and superficiality, in contrast to Melanie's good belle traits, trust, self-sacrifice, and loyalty, enable Scarlett to survive in the post-war South, and pursue her main interest, making money.[57]\n", "Marriage was the goal of all southern belles, and all social and educational pursuits were directed towards it. Regardless of war and the loss of eligible men, young ladies were still subjected to the pressure to marry.[58] By law and Southern social convention, household heads were adult, white propertied males, and all white women and all African Americans were thought to require protection and guidance because they lacked the capacity for reason and self-control.[59]\n", "The Atlanta Historical Society has held a number of Gone with the Wind exhibits, among them a 1994 exhibit titled, \"Disputed Territories: Gone with the Wind and Southern Myths\". One question addressed by the exhibit, \"Was Scarlett a Lady?\", found that historically women of the period were not involved in feminist activities as Scarlett was during Reconstruction when she ran a sawmill. White women performed traditional jobs such as teaching and sewing and generally disliked work outside the home.[60]\n", "During the Civil War, Southern women played a major role as volunteer nurses working in makeshift hospitals. Many were middle- and upper class women who had never worked for wages or seen the inside of a hospital. One such nurse was Ada W. Bacot, a young widow who had lost two children. Bacot came from a wealthy South Carolina plantation family that owned 87 slaves.[61]\n", "In the fall of 1862, Confederate laws were changed to permit the employment of women in hospitals as members of the Confederate Medical Department.[62] Twenty-seven year-old nurse Kate Cumming from Mobile, Alabama, described the primitive hospital conditions in her journal:\n", "They are in the hall, on the gallery, and crowded into very small rooms. The foul air from this mass of human beings at first made me giddy and sick, but I soon got over it. We have to walk, and when we give the men any thing kneel, in blood and water; but we think nothing of it at all.[63]\n", "The Civil War came to an end on April 26, 1865 when Confederate General Johnston surrendered his armies in the Carolinas Campaign to Union General Sherman. Several battles are mentioned or depicted in Gone with the Wind.\n", "The Atlanta Campaign (May\u2013September 1864) took place in northwest Georgia and the area around Atlanta.\n", "Confederate General Johnston fights and retreats from Dalton (May 7\u201313)[19] to Resaca (May 13\u201315) to Kennesaw Mountain (June 27). Union General Sherman suffers heavy losses to the entrenched Confederate army. Unable to pass through Kennesaw, Sherman swings his men around to the Chattahoochee River where the Confederate army is waiting on the opposite side of the river. Once again, General Sherman flanks the Confederate army, forcing Johnston to retreat to Peachtree Creek (July 20), five miles northeast of Atlanta.\n", "The Savannah Campaign was conducted in Georgia during November and December 1864.\n", "Although Abraham Lincoln is mentioned in the novel fourteen times, no reference is made to his assassination on April 14, 1865.\n", "Somebody's darling! so young and so brave!\n", "Wearing still on his pale, sweet face\u2014\n", "Soon to be hid by the dust of the grave\u2014\n", "The lingering light of his boyhood's grace!\n", "Ashley Wilkes is the beau ideal of Southern manhood. A planter by inheritance, Ashley knew the Confederate cause had died at the conclusion of the American Civil War.[68] Ashley's name signifies paleness. His \"pallid skin literalizes the idea of Confederate death\".[69]\n", "He contemplates leaving Georgia for New York City, and had he gone north, he would have been a typical Confederate carpetbagger.[68] Ashley, embittered by war, tells Scarlett he has been \"in a state of suspended animation\"[70] since the surrender. He feels he is not \"shouldering a man's burden\" at Tara and views himself as \"much less than a man\u2014much less, indeed, than a woman\".[70]\n", "A \"young girl's dream of the Perfect Knight\",[71] Ashley is like a young girl himself.[72] With his \"poet's eye\",[73] Ashley has a \"feminine sensitivity\".[74] Scarlett is angered by the \"slur of effeminacy flung at Ashley\" when her father tells her the Wilkes family was \"born queer\".[75] (Mitchell's use of the word queer is for its sexual connotation because queer, in the 1930s, was associated with homosexuality.)[76] Ashley's effeminacy is associated with his appearance, his lack of force and sexual impotency.[77] He rides, plays poker and drinks like \"proper men\", but his heart is not in it, Gerald claims.[75][78] The embodiment of castration, Ashley wears the head of Medusa on his cravat pin.[75][76]\n", "Not only is Scarlett's love interest, Ashley Wilkes, lacking manliness, her husbands, the \"calf-like\"[13] Charles Hamilton, and the \"old-maid in britches\",[13] Frank Kennedy, are unmanly as well. Mitchell is critiquing masculinity in southern society since Reconstruction.[79] Even Rhett Butler, the well groomed dandy,[80] is effeminate or \"gay-coded\".[81] Charles, Frank and Ashley represent the impotence of the post-war white South.[69] Its power and influence has been diminished.\n", "The word scallawag is defined as a loafer, a vagabond, or a rogue.[82] Scallawag had a special meaning after the Civil War as an epithet for a white Southerner who willingly accepted the reforms by the Republicans.[83] Mitchell defines scallawags as \"Southerners who had turned Republican very profitably.\"[84] Rhett Butler is accused of being a \"damned Scallawag.\"[85] In addition to scallawags, there are also other types of scoundrels in the novel: Yankees, carpetbaggers, Republicans, prostitutes and overseers. In the early years of the Civil War, Rhett is called a \"scoundrel\" for his \"selfish gains\" profiteering as a blockade-runner.[86]\n", "As a Scallawag, Rhett is despised. He is the \"dark, mysterious, and slightly malevolent hero loose in the world\".[87] Literary scholars have identified characteristics of Margaret Mitchell's first husband, Berrien \"Red\" Upshaw, in the character of Rhett.[87] Another sees the image of Italian actor Rudolph Valentino, whom Margaret Mitchell interviewed as a young reporter for The Atlanta Journal.[88][89] Fictional hero Rhett Butler has a \"swarthy face, flashing teeth and dark alert eyes\".[90] He is a \"scamp, blackguard, without scruple or honor.\"[90]\n", "The most passionate and virile character in the novel is Rhett with whom Margaret Mitchell associates \"dark sexuality\" and the \"black devil\".[92] Further, Mitchell's romantic hero is colored\u2014black and brown. Rhett's symbolic dark-colored image is placed within the context of two other images: the mythic black rapist and the dark-skinned Arab Sheik played by screen idol Rudolph Valentino in the film, The Sheik. By strategically placing Rhett's image in this manner, Mitchell simultaneously plays upon racial anxieties and sexual fantasies.[93] Rhett's demons are prostitutes and liquor as demonstrated by his intimacy with Belle Watling in whose brothel he often makes his own home,[87] and his bouts of drunkenness. The \"black beast rapist\" is associated with liquor.[94] Rhett is a \"terrifying faceless black bulk\" when he appears before Scarlett in a drunken jealous rage on the night of Ashley's party. He shows Scarlett his \"large brown hands\" and says, \"I could tear you to pieces with them\".[27][94]\n", "With Rhett's \"swarthy face\"[90] juxtaposed against Scarlett's \"magnolia-white skin\",[14] the two white protagonists are a metaphor for an interracial couple, and their romance represents racial conflict.[95]\n", "Rhett and Scarlett's bedroom scene (Chapter 54) is often read as a rape that was meant to suggest Reconstruction fear of black-on-white rape in the South.[92] Others have suggested the book was built around rape fantasies.[96][97] In one interpretation of the scene, the \"dandified dangerous lover\" carries Scarlett up the stairs into her first encounter with the erotic.[98] In another interpretation, a marital rape occurs.[99]\n", "\u2014Margaret Mitchell\n", "If Gone with the Wind has a theme it is that of survival. What makes some people come through catastrophes and others, apparently just as able, strong, and brave, go under? It happens in every upheaval. Some people survive; others don't. What qualities are in those who fight their way through triumphantly that are lacking in those that go under? I only know that survivors used to call that quality 'gumption.' So I wrote about people who had gumption and people who didn't.[1]\n", "\u2014 Margaret Mitchell,1936\n", "Mitchell's use of color in the novel is symbolic and open to interpretation. Red, green, and a variety of hues of each of these colors, are the predominant palette of colors encompassing the character of Scarlett.[118] She is also inextricably linked to white by the color of her skin. Symbolically, red and green have been broadly defined to mean \"vitality\" (red) and \"rebirth\" (green),[118] but these are not the only meanings. Mitchell interwove the two colors into her description of the Tara plantation: \"red fields with springing green cotton\".[15] The red fields are \"blood-colored after rains\".[14] The whitewashed brick plantation house is virtually nondescript by comparison to the plantation fields and sits like an island in a sea of red.[14] In springtime, the lawn around the plantation house turns emerald green.[52]\n", "For the Irish and others, green in the novel represents Mitchell's commemoration of her \"Green Irish heritage\", and is evidenced in the novel by Gerald O'Hara pridefully singing, albeit off-key, \"The Wearin 'o the Green\".[108][119] Scarlett's green-coded Irishness is the strength that ensures she will thrive post-war.[120] Rhett likens Scarlett's strength to the mythological figure Antaeus who stays strong only when he is in contact with his Mother Earth.[29] Scarlett's mythical mother is Tara.[121]\n", "Scarlett is not all green as her name implies the \"erotically-charged color\", red. The only openly scarlet woman in the novel is the red-headed Belle Watling,[122] whose hair is \"too red to be true\".[114] Mammy is reluctant to reveal her red petticoat to Rhett,[25] nevertheless she has sexual knowledge akin to Belle Watling.[123] Scarlett, whom Mitchell pits against the grim realities of war, \"prostitutes\" herself to pay the taxes on Tara. By her name, Scarlett evokes emotions and images of the color scarlet: \"blood, passion, anger, sexuality, madness\".[124]\n", "The sales of Margaret Mitchell's novel in the summer of 1936, at the virtually unprecedented price of three dollars, reached about one million by the end of December.[33] The book was a bestseller by the time reviews began to appear in national magazines.[5] Herschel Brickell, a critic for the New York Evening Post, lauded Mitchell for the way she \"tosses out the window all the thousands of technical tricks our novelists have been playing with for the past twenty years.\"[125]\n", "Ralph Thompson, a book reviewer for The New York Times, was critical of the length of the novel, and wrote in June 1936:\n", "I happen to feel that the book would have been infinitely better had it been edited down to say, 500 pages, but there speaks the harassed daily reviewer as well as the would-be judicious critic. Very nearly every reader will agree, no doubt, that a more disciplined and less prodigal piece of work would have more nearly done justice to the subject-matter.[126]\n", "One criticism leveled at Gone with the Wind is for its portrayal of African Americans in the 19th century South.[128] Former field hands during the early days of Reconstruction are described behaving \"as creatures of small intelligence might naturally be expected to do. Like monkeys or small children turned loose among treasured objects whose value is beyond their comprehension, they ran wild\u2014either from perverse pleasure in destruction or simply because of their ignorance.\"[41]\n", "Commenting on this passage of the novel, Jabari Asim, author of The N Word: Who Can Say It, Who Shouldn't, and Why, says it is, \"one of the more charitable passages in Gone With the Wind, Margaret Mitchell hesitated to blame black \"insolence\"[41] during Reconstruction solely on \"mean niggers,\"[41] of which, she said, there were few even in slavery days.\"[129]\n", "It has also been argued that Mitchell downplayed the violent role of the Ku Klux Klan. Bestselling author Pat Conroy, in his preface to a later edition of the novel, describes Mitchell's portrayal of the Ku Klux Klan as having \"the same romanticized role it had in The Birth of a Nation and appears to be a benign combination of the Elks Club and a men's equestrian society.\"[130]\n", "Regarding the historical inaccuracies of the novel, historian Richard N. Current points out:\n", "No doubt it is indeed unfortunate that Gone with the Wind perpetuates many myths about Reconstruction, particularly with respect to blacks. Margaret Mitchell did not originate them and a young novelist can scarcely be faulted for not knowing what the majority of mature, professional historians did not know until many years later.[131]\n", "In Gone with the Wind Mitchell is blind to racial oppression and \"the inseparability of race and gender\" that defines the southern belle character of Scarlett, according to literary scholar Patricia Yaeger.[132] Yet there are complexities in the way that Mitchell dealt with racial issues. Scarlett was asked by a Yankee woman for advice on who to appoint as a nurse for her children; Scarlett suggested a \"darky\", much to the disgust of the Yankee woman who was seeking an Irish maid, a \"Bridget\".[42] African Americans and Irish Americans are treated \"in precisely the same way\" in Gone with the Wind, writes David O'Connell in his 1996 book, The Irish Roots of Margaret Mitchell's Gone With the Wind. Ethnic slurs on the Irish and Irish stereotypes pervade the novel, O'Connell claims, and Scarlett is not an exception to the insults.[133] Irish scholar Geraldine Higgins notes that Jonas Wilkerson labels Scarlett: \"you highflying, bogtrotting Irish\".[134] Higgins further states the Irish American O'Haras were slaveholders whereas African Americans were held in bondage, therefore the two ethnic groups are not equivalent in the ethnic hierarchy of the novel.[135]\n", "Another criticism of the novel is that it promotes plantation values. Mitchell biographer Marianne Walker, author of Margaret Mitchell & John Marsh: The Love Story Behind Gone with the Wind, is of the opinion that those who believe Gone with the Wind promotes plantation values have not read the book. Walker states it is the popular 1939 film that \"promotes a false notion of the Old South\". She goes on to add that Mitchell had no involvement in the production of the film.[136]\n", "Speaking on the subject of whether Gone with the Wind should be taught in schools, James Loewen, author of Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong, says the novel should be taught in schools. Students should be told that Gone with the Wind presents the \"wrong\" view of slavery, Loewen states.[128] In 1984, an alderman in Waukegan, Illinois challenged the appearance of the book on the reading list of the Waukegan School District on the grounds of \"racism\" and \"unacceptable language\". The main complaint was that the racial slur nigger appears repeatedly in the novel. In the same complaint were several other books: The Nigger of the 'Narcissus', Uncle Tom's Cabin, and The Adventures of Huckleberry Finn.[137]\n", "In 1937, Margaret Mitchell received the Pulitzer Prize for Fiction for Gone with the Wind and the second annual National Book Award from the American Booksellers Association.[138] It is the second favorite book by American readers, just behind the Bible, according to a 2008 Harris Poll.[139] The poll found the novel has its strongest following among women, those aged 44 or more, both Southerners and Midwesterners, both whites and Hispanics, and those who have not attended college. Mitchell's novel was also the second favorite book in the U.S. in a 2014 Harris poll with the Bible again number one.[140] The novel is on the list of best-selling books. As of 2010, more than 30 million copies have been printed in the United States and abroad.[141] TIME magazine critics, Lev Grossman and Richard Lacayo, included the novel on their list of the 100 best English-Language novels from 1923 to the present (2005).[142][143] In 2003 the book was listed at number 21 on the BBC's The Big Read poll of the UK's \"best-loved novel.\"[144]\n", "Gone with the Wind has been adapted several times for stage and screen:\n", "Gone with the Wind has appeared in many places and forms in popular culture:\n", "A wide array of collectibles related to both the novel and film are available for purchase, especially on auction websites. Items include vintage lamps, figurines, matchbooks, cookbooks, collector plates and various editions of the novel.\n", "On June 30, 1986, the 50th anniversary of the day Gone with the Wind went on sale, the U.S. Post Office issued a 1-cent stamp showing an image of Margaret Mitchell. The stamp was designed by Ronald Adair and was part of the U.S. Postal Service's Great Americans series.[162]\n", "On September 10, 1998, the U.S. Post Office issued a 32-cents stamp as part of its Celebrate the Century series recalling various important events in the 20th century. The stamp, designed by Howard Paine, displays the book with its original dust jacket, a white Magnolia blossom, and a hilt placed against a background of green velvet.[162]\n", "To commemorate the 75th anniversary (2011) of the publication of Gone with the Wind in 1936, Scribner published a paperback edition featuring the book's original jacket art.[163]\n", "The Windies are ardent Gone with the Wind fans who follow all the latest news and events surrounding the book and film. They gather periodically in costumes from the film or dressed as Margaret Mitchell. Atlanta, Georgia is their mecca.[164]\n", "One enduring legacy of Gone with the Wind is that people worldwide incorrectly think it was the \"true story\" of the Old South and how it was changed by the American Civil War and Reconstruction. The film adaptation of the novel \"amplified this effect.\"[165] The plantation legend was \"burned\" into the mind of the public through Mitchell's vivid prose.[166] Moreover, her fictional account of the war and its aftermath has influenced how the world has viewed the city of Atlanta for successive generations.[167]\n", "Some readers of the novel have seen the film first and read the text of the novel through the film. One difference between the film and the novel is the staircase scene in which Rhett carries Scarlett up the stairs. In the film, Scarlett weakly struggles and does not scream as Rhett starts up the stairs. In the novel, \"he hurt her and she cried out, muffled, frightened.\"[27][99]\n", "Earlier in the novel, in an intended rape at Shantytown (Chapter 44), Scarlett is attacked by a black man who rips open her basque while a white man grabs hold of the horse's bridle. She is rescued by another black man, Big Sam.[92] In the film, she is attacked by a white man while a black man grabs hold of the horse's bridle.\n", "The Library of Congress began a multiyear \"Celebration of the Book\" in July 2012 with an exhibition on \"Books That Shaped America\", and an initial list of 88 books by American authors that have influenced American lives. Gone with the Wind was included in the Library's list. Librarian of Congress, James H. Billington said:\n", "This list is a starting point. It is not a register of the 'best' American books \u2013 although many of them fit that description. Rather, the list is intended to spark a national conversation on books written by Americans that have influenced our lives, whether they appear on this initial list or not.[168]\n", "Among books on the list considered to be the Great American Novel were Moby-Dick, The Adventures of Huckleberry Finn, The Great Gatsby, The Grapes of Wrath, The Catcher in the Rye, Invisible Man and To Kill a Mockingbird.\n", "Throughout the world, the novel is received for its crosscultural, universal themes: war, love, death, racial conflict, class, gender and generation, which speak especially to women.[169] In the police state of North Korea, readers relate to the novel's theme of survival, finding it to be \"the most compelling message of the novel\".[170]\n", "More than 24 editions of Gone with the Wind have been issued in China in the past few years.[141] Lost in translation, a Taiwanese newspaper claimed that Mitchell's first choice of a title for the book was \"Tote Your Heavy Bag\".[171]\n", "Margaret Mitchell's personal collection of nearly 70 foreign language translations of her novel was given to the Atlanta Public Library after her death.[172]\n", "On August 16, 2012, the Archdiocese of Atlanta announced that it had been bequeathed a 50% stake in the trademarks and literary rights to Gone With the Wind from the estate of Margaret Mitchell's deceased nephew, Joseph Mitchell. One of Mitchell's biographers, Darden Asbury Pyron, stated that Margaret Mitchell had \"an intense relationship\" with her mother, who was a Roman Catholic.\n", "Margaret Mitchell herself had separated from the Catholic Church.[173]\n", "Although some of Mitchell's papers and documents related to the writing of Gone with the Wind were burned after her death, many documents, including assorted draft chapters, were preserved.[174] The last four chapters of the novel are held by the Pequot Library of Southport, Connecticut.[175]\n", "The first printing of 10,000 copies contained an inaccurate release date: \"Published May, 1936\". The May 1936 release was subsequently canceled and the first printing was released in June. The second printing of 25,000 copies contained the correct release date: \"Published June, 1936\" so that the first and the second printing could be distinguished for book collectors. The third printing of 15,000 copies was made in June 1936. Additionally, 50,000 indistinguishable copies were printed for the Book-of-the-Month Club July selection. Gone with the Wind was officially released to the American public on June 30, 1936.[176] A summary table of printings for 1936 is shown below:\n", "Although Mitchell refused to write a sequel to Gone with the Wind, Mitchell's estate authorized Alexandra Ripley to write a sequel, which was titled Scarlett.[179] The book was subsequently adapted into a television mini-series in 1994.[180] A second sequel was authorized by Mitchell's estate titled Rhett Butler's People, by Donald McCaig.[181] The novel parallels Gone With the Wind from Rhett Butler's perspective. In 2010, Mitchell's estate authorized McCaig to write a prequel, which follows the life of the house servant Mammy, whom McCaig names \"Ruth\". The novel, \"Ruth's Journey\", was released in October 2014.[182]\n", "The copyright holders of Gone with the Wind attempted to suppress publication of The Wind Done Gone by Alice Randall,[183] which retold the story from the perspective of the slaves. A federal appeals court denied the plaintiffs an injunction (Suntrust v. Houghton Mifflin) against publication on the basis that the book was parody and therefore protected by the First Amendment. The parties subsequently settled out of court and the book went on to become a New York Times Best Seller.\n", "A book sequel unauthorized by the copyright holders, The Winds of Tara by Katherine Pinotti,[184] was blocked from publication in the United States. The novel was republished in Australia, avoiding U.S. copyright restrictions.\n", "Numerous unauthorized sequels to Gone with the Wind have been published in Russia, mostly under the pseudonym Yuliya Hilpatrik, a cover for a consortium of writers. The New York Times states that most of these have a \"Slavic\" flavor.[185]\n", "Several sequels were written in Hungarian under the pseudonym Audrey D. Milland or Audrey Dee Milland, by at least four different authors (who are named in the colophon as translators to make the book seem a translation from the English original, a procedure common in the 1990s but prohibited by law since then). The first one picks up where Ripley's Scarlett ended, the next one is about Scarlett's daughter Cat. Other books include a prequel trilogy about Scarlett's grandmother Solange and a three-part miniseries of a supposed illegitimate daughter of Carreen.[186]\n", "\n", "http://en.wikipedia.org/wiki/Citizen_Kane\n", "Citizen Kane is a 1941 American drama film directed, co-written, produced by, and starring Orson Welles. The picture was Welles' first feature film. The film was nominated for Academy Awards in nine categories; it won an Academy Award for Best Writing (Original Screenplay) by Herman J. Mankiewicz and Welles. Considered by many critics, filmmakers, and fans to be the greatest film ever made, Citizen Kane was voted the greatest film of all time in five consecutive Sight & Sound\u200a'\u200bs polls of critics, until it was displaced by Vertigo in the 2012 poll. It topped the American Film Institute's 100 Years\u00a0... 100 Movies list in 1998, as well as AFI's 2007 update. Citizen Kane is particularly praised for its cinematography, music, and narrative structure, which were innovative for its time." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The story is a film \u00e0 clef that examines the life and legacy of Charles Foster Kane, played by Welles, a character based in part upon the American newspaper magnate William Randolph Hearst, Chicago tycoons Samuel Insull and Harold McCormick, and aspects of Welles' own life. Upon its release, Hearst prohibited mention of the film in any of his newspapers. Kane's career in the publishing world is born of idealistic social service, but gradually evolves into a ruthless pursuit of power. Narrated principally through flashbacks, the story is told through the research of a newsreel reporter seeking to solve the mystery of the newspaper magnate's dying word: \"Rosebud\".\n", "After his success in the theatre with his Mercury Players, and his controversial 1938 radio broadcast of The War of the Worlds on The Mercury Theatre on the Air, Welles was courted by Hollywood. He signed a contract with RKO Pictures in 1939. Unusual for an untried director, he was given the freedom to develop his own story, to use his own cast and crew, and to have final cut privilege. Following two abortive attempts to get a project off the ground, he wrote the screenplay for Citizen Kane, collaborating on the effort with Herman Mankiewicz. Principal photography took place in 1940 and the film received its American release in 1941.\n", "While a critical success, Citizen Kane failed to recoup its costs at the box office. The film faded from view after its release but was subsequently returned to the fore when it was praised by such French critics as Jean-Paul Sartre and Andr\u00e9 Bazin and given an American revival in 1956.\n", "The film was released on Blu-ray Disc on September 13, 2011, for a special 70th anniversary edition.\n", "\n", "\n", "Charles Foster Kane, an enormously wealthy newspaper publisher, has been living alone in Florida on his vast palatial estate, Xanadu, for the last years of his life, with a \"No Trespassing\" sign on the gate. On his deathbed, he holds a snow globe and utters the single word, \"Rosebud\", before dying; the globe slips from his hand and smashes on the floor. Kane's death becomes sensational news around the world. Newsreel reporter Jerry Thompson becomes intrigued, and decides to learn all he can about Kane's private life to discover the meaning of \"Rosebud\".\n", "The reporter interviews the great man's friends and associates, and Kane's story unfolds as a series of flashbacks. Thompson approaches Kane's second wife, Susan Alexander, now an alcoholic who runs her own nightclub, but she refuses to tell him anything and demands that he leave. Thompson then goes to the private archive of the late Walter Parks Thatcher, a banker who served as Kane's guardian during his childhood and adolescence. Through Thatcher's written memoirs, Thompson learns about Kane's childhood. Thompson then interviews Kane's personal business manager, Mr. Bernstein; his estranged best friend, Jedediah Leland; Susan, for a second time, successfully this time; and, finally, his butler, Raymond, at the Xanadu estate.\n", "These flashbacks reveal that Kane's childhood was spent in poverty in Colorado (his parents ran a boarding house), until \"the world's third largest gold mine\" was discovered on the seemingly worthless property his mother had acquired. His mother, Mary, sends him away to the East to live with Thatcher, so that he may be properly educated. After gaining full control over his trust fund at the age of 25, Kane enters the newspaper business and embarks on a career of yellow journalism. He takes control of the newspaper, the New York Inquirer, and hires the best journalists available. He then rises to power by successfully manipulating public opinion regarding the Spanish American War, marrying the niece of a President of the United States, and campaigning for the office of Governor of New York.\n", "Kane's marriage disintegrates over the years, and he begins an affair with Susan Alexander, a singer. Both his wife and his political opponent discover the affair and this brings an abrupt end to both his marriage and his political aspirations. Kane marries Susan, and forces her into a humiliating operatic career for which she has neither the talent nor the ambition. Kane finally allows her to abandon her singing career after she attempts suicide. After years spent in boredom and isolation on the Xanadu estate, constantly under his dominance, Susan ultimately leaves Kane.\n", "Kane spends his last years building his vast estate and lives alone, interacting only with his staff. The butler recounts that Kane had said \"Rosebud\" after Susan left him, right after seeing and pocketing a snow globe.\n", "Back at Xanadu, Kane's vast number of belongings are catalogued: priceless works of art are intermingled with worthless pieces of modern furniture. Thompson finds that he is unable to solve the mystery and concludes that the meaning of \"Rosebud\" will forever remain an enigma. He theorizes that \"Mr. Kane was a man who got everything he wanted, and then lost it. Maybe Rosebud was something he couldn't get, or something he lost.\" As the film ends, the camera reveals that Rosebud was the name of a sled from Kane's childhood\u2013an allusion to the only time in his life that he was truly happy. The sled, thought to be junk, is burned in a basement furnace by Xanadu's departing staff.\n", "The film's closing credits read, \"Most of the principal actors are new to motion pictures. The Mercury Theatre is proud to introduce them.\"[1] Welles, along with his partner John Houseman, had assembled them into a group known as the Mercury Players to perform his productions in the Mercury Theatre in 1937. After accepting his Hollywood contract in 1939, Welles worked between Los Angeles and New York where the Mercury Theatre continued their weekly radio broadcasts for The Campbell Playhouse.[7] Welles had wanted all the Mercury Players to debut in his first film, but the cancellation of The Heart of Darkness project in December 1939 created a financial crisis for the group and some of the actors worked elsewhere.[7] This caused friction between Welles and Houseman, and their partnership ended.[7]\n", "RKO executives were dismayed that so many of the major roles went to unknowns, but Welles's contract left them with no say in the matter. The film represents the feature film debuts of William Alland, Ray Collins, Joseph Cotten, Agnes Moorehead, Erskine Sanford, Everett Sloane, Paul Stewart, Ruth Warrick and Welles himself.[1]\n", "Welles's notoriety following The War of the Worlds broadcast earned him Hollywood's interest, and RKO studio head George J. Schaefer's unusual contract.[8] Welles made a deal with Schaefer on July 21, 1939, to produce, direct, write, and act in two feature films.[9]:1 The studio had to approve the story and the budget if it exceeded $500,000. Welles was allowed to develop the story without interference, cast his own actors and crew members, and have the privilege of final cut\u00a0\u2013 unheard of at the time for a first-time director.[9]:1 He had spent the first five months of his RKO contract trying to get several projects going with no success. The Hollywood Reporter said, \"They are laying bets over on the RKO lot that the Orson Welles deal will end up without Orson ever doing a picture there.\"[9]:15 First, Welles tried to adapt Heart of Darkness, but there was concern over the idea of depicting it entirely with point of view shots. Welles considered adapting Cecil Day-Lewis' novel The Smiler With The Knife, but realized that to challenge himself with a new medium, he had to write an original story.[10]\n", "Screenwriter Herman J. Mankiewicz, recuperating from a car accident, was in-between jobs. He had originally been hired by Welles to work on The Campbell Playhouse radio program and was available to work on the screenplay for Welles's film. The writer had only received two screenplay credits between 1935 and when he began work on Citizen Kane, and he needed the job.[9]:16 There is dispute amongst historians regarding whose idea it was to use William Randolph Hearst as the basis for Charles Foster Kane. Welles claimed it was his idea while film critic Pauline Kael (in her 1971 essay \"Raising Kane\")[11] and Welles's former business partner, John Houseman, claim that it was Mankiewicz's idea.[9]:17 For some time, Mankiewicz had wanted to write a screenplay about a public figure\u00a0\u2013 perhaps a gangster\u00a0\u2013 whose story would be told by the people that knew him.[12]:484\n", "Mankiewicz had already written an unproduced play about John Dillinger titled The Tree Will Grow. Welles liked the idea of multiple viewpoints but was not interested in playing Dillinger. Mankiewicz and Welles talked about picking someone else to use as a model. They quickly settled on the idea of using Hearst as their central character. Mankiewicz had been a frequent guest at Hearst's parties until he was barred due to his alcoholism. The writer resented this and became obsessed with Hearst and Marion Davies.[12]:484\n", "Hearst had great influence and the power to retaliate within Hollywood, so Welles had Mankiewicz work on the script outside of the city. Because of the writer's drinking problem, Houseman went along to provide assistance and make sure that he stayed focused.[9]:17 Welles also sought inspiration from Howard Hughes and Samuel Insull (who built an opera house for his wife). Although Mankiewicz and Houseman got on well with Welles, they incorporated some of his traits into Kane, such as his temper.[10]\n", "During production, Citizen Kane was referred to as RKO 281. Most of the filming took place between June 29, 1940, and October 23, 1940, in what is now Stage 19 on the Paramount lot in Hollywood.[13] There was some location filming at Balboa Park in San Diego and the San Diego Zoo,[14] and still photographs of Oheka Castle in Huntington, New York, were used in the opening montage, representing Kane's Xanadu estate.[15][16] Welles prevented studio executives of RKO from visiting the set. He understood their desire to control projects, and he knew they were expecting him to do an exciting film that would correspond to his The War of the Worlds radio broadcast. Welles's RKO contract had given him complete control over the production of the film when he signed on with the studio, something that he never again was allowed to exercise when making motion pictures. According to an RKO cost sheet from May 1942, the film cost $839,727 compared to an estimated budget of $723,800.[1]\n", "Robert Carringer, author of The Making of Citizen Kane, described the early stages of the screenplay:\n", "Welles's first step toward the realization of Citizen Kane was to seek the assistance of a screenwriting professional. Fortunately, help was near at hand.\u00a0.\u00a0.\u00a0. When Welles moved to Hollywood, it happened that a veteran screenwriter, Herman Mankiewicz, was recuperating from an automobile accident and between jobs ... Mankiewicz was an expatriate from Broadway who had been writing for films for almost fifteen years.[9]:16\n", "Mankiewicz met newspaper magnate William Randolph Hearst as a result of his friendship with Charles Lederer, another Hollywood screenwriter, who was a close nephew of Marion Davies, Hearst's mistress.[17]:212\u2013213 Pauline Kael wrote that \"Mankiewicz found himself on story-swapping terms with the power behind it all, Hearst himself ... through his friendship with Charles Lederer.\" Mankiewicz eventually saw Hearst as \"... a finagling, calculating, Machiavellian figure,\" noted Kael, \"and he and Lederer often wrote and had printed parodies of Hearst newspapers ...\"[18] Mankiewicz, according to film author Harlan Lebo, was also \"\u2026 one of Hollywood's most notorious personalities.\"[19]:12\n", "Mankiewicz was the older brother of producer-director Joseph Mankiewicz, was a former writer for The New Yorker and The New York Times before moving to Hollywood in 1926. By the time Welles contacted him he had \"... established himself as a brilliant wit, a writer of extraordinary talent, [and] a warm friend to many of the screen world's brightest artists ... [he] produced dialogue of the highest caliber.\"[19]:12\n", "\"Herman Mankiewicz was a legendary figure in Hollywood,\" wrote Welles's associate John Houseman:\n", "The son of a respected New Jersey schoolteacher, one of a brilliant class at Columbia, he had fought the war as a Marine, worked for the World and the Times, collaborated on two unsuccessful plays with two otherwise infallibly successful playwrights, George Kaufman and Marc Connelly, come to California for six weeks to work on a silent film for Lon Chaney and stayed for sixteen years as one of the highest paid and most troublesome men in the business. His behavior, public and private, was a scandal. A neurotic drinker and a compulsive gambler, he was also one of the most intelligent, informed, witty, humane and charming men I have ever known.[20]:447\n", "Welles told Peter Bogdanovich that \"Nobody was more miserable, more bitter, and funnier than Mank ... a perfect monument of self-destruction. But, you know, when the bitterness wasn't focused straight at you, he was the best company in the world.\" When Bogdanovich asked how important Mankiewicz was to the Citizen Kane script, Welles responded, \"Mankiewicz's contribution? It was enormous.\"[2]:52\u201353\n", "Welles had engaged Mankiewicz to do script work on the stalled film project The Smiler with a Knife. Despite a violent quarrel with Houseman in December 1939, after which Houseman had resigned from the Mercury, Welles arranged a lunch at New York's 21 Club with his former partner, and proposed that he work with Mankiewicz on a new project \u2014 \"\u2026 little more than a notion, but an exciting one \u2026,\" Houseman wrote:\n", "Mankiewicz was notoriously unreliable: I asked Orson why he didn't take over the idea and write it himself. He said he didn't want to do that. Besides, Mank had asked for me to work with him. In the name of our former association Orson urged me to fly out, talk to Mankiewicz and, if I shared his enthusiasm, stay and work with him as his collaborator and editor till the script was done. It was an absurd venture, and that night Orson and I flew back to California together.[20]:444\n", "In February 1940 Mankiewicz was put on the Mercury payroll to work on a script with Houseman, a screenplay initially called Orson Welles #1, then American, and finally, Citizen Kane. Writing took place from late February or March through early May 1940.[2]:359\n", "After finishing the script for Citizen Kane, Mankiewicz gave a copy to Lederer, which Kael regarded as foolish:\n", "He was so proud of his script that he lent a copy to Charles Lederer. In some crazily naive way, Mankiewicz seems to have imagined that Lederer would be pleased by how good it was. But Lederer, apparently, was deeply upset and took the script to his aunt and Hearst. It went from them to Hearst's lawyers \u2026 It was probably as a result of Mankiewicz's idiotic indiscretion that the various forces were set in motion that resulted in the cancellation of the premiere at the Radio City Music Hall [and] the commercial failure of Citizen Kane.[18]\n", "Lederer told director Bogdanovich that Kael was wrong in her conclusion, and that she never bothered to check with him about the facts. Lederer said he did not give Davies the script Mankiewicz loaned him: \"I gave it back to him. He asked me if I thought Marion would be offended and I said I didn't think so.\"[2]:557\n", "According to film historian Clinton Heylin, \"... the idea of Citizen Kane was the original conception of Orson Welles, who in early 1940 first discussed the idea with John Houseman, who then suggested that both he and Welles leave for Los Angeles and discuss the idea with scriptwriter Herman Mankiewicz.\" He adds that Mankiewicz \"... probably believed that Welles had little experience as an original scriptwriter ... [and] may even have felt that John Citizen USA, Welles's working title, was a project he could make his own.\"[21]:43\n", "When Houseman returned to California, he sat by the bedside of Mankiewicz\u00a0\u2014 who was convalescing with a triple fracture of his left leg\u00a0\u2014 and heard the basic outline of the story. \"It was something he had been thinking about for years,\" Houseman wrote, \"the idea of telling a man's private life (preferably one that suggested a recognizable American figure), immediately following his death, through the intimate and often incompatible testimony of those who had known him at different times and in different circumstances.\"[20]:448\u2013449\n", "Welles himself had ideas that meshed with that concept and said:\n", "I'd been nursing an old notion\u00a0\u2013 the idea of telling the same thing several times\u00a0\u2013 and showing exactly the same thing from wholly different points of view. Basically, the idea Rashomon used later on. Mank liked it, so we started searching for the man it was going to be about. Some big American figure\u00a0\u2013 couldn't be a politician, because you'd have to pinpoint him. Howard Hughes was the first idea. But we got pretty quickly to the press lords.[2]:53\n", "According to Kael, Mankiewicz \"... was already caught up in the idea of a movie about Hearst ...\" when he was still working at The New York Times in 1925. She learned from his family's babysitter, Marion Fisher, that she once typed as \"... he dictated a screenplay, organized in flashbacks. She recalls that he had barely started on the dictation, which went on for several weeks, when she remarked that it seemed to be about William Randolph Hearst, and he said, 'You're a smart girl.'\"[11]:35\n", "In Hollywood, Mankiewicz had frequented Hearst's parties until his alcoholism got him barred.[12]:484 Hearst was also a person known to Welles. \"Once that was decided\", wrote author Don Kilbourne, \"Mankiewicz, Welles, and John Houseman, a cofounder of the Mercury Theatre, rented a place in the desert, and the task of creating Citizen Kane began.\"[22]:221\n", "This \"place in the desert\" was on the historic Verde ranch on the Mojave River in Victorville. In later years, Houseman gave Mankiewicz \"total\" credit for \"the creation of Citizen Kane's script\" and credited Welles with \"the visual presentation of the picture.\"[19]:32\n", "Mankiewicz was put under contract by Mercury Productions and was to receive no credit for his work as he was hired as a script doctor. According to his contract with RKO, Welles would be given sole screenplay credit, and had already written a rough script consisting of 300 pages of dialogue with occasional stage directions under the title of John Citizen, USA.[12]:487\n", "Welles said: \"Mr. Hearst was quite a bit like Kane, although Kane isn't really founded on Hearst in particular, many people sat for it so to speak\".[23]:78\n", "One of the long standing debates of Citizen Kane has been the proper accreditation of the authorship of the screenplay, which the credits attribute to both Mankiewicz and Welles. Mankiewicz's biographer Richard Meryman notes that the dispute had various causes, including the way the film was promoted. For instance, when RKO opened the film in New York City on May 1, 1941, followed by showings at theaters in other large cities, the publicity programs that were printed included photographs of Welles as \"... the one-man band, directing, acting, and writing.\" In a letter to his father afterward, Mankiewicz wrote, \"I'm particularly furious at the incredibly insolent description of how Orson wrote his masterpiece. The fact is that there isn't one single line in the picture that wasn't in writing\u00a0\u2013 writing from and by me\u00a0\u2013 before ever a camera turned.\"[17]:270\n", "Film historian Otto Friedrich wrote, \"... it made [Mankiewicz] unhappy to hear Welles quoted in Louella Parsons's column, before the question of screen credits was officially settled, as saying, 'So I wrote Citizen Kane. ... Welles later claimed that he planned on a joint credit all along, but Mankiewicz claimed that Welles offered him a bonus of ten thousand dollars if he would let Welles take full credit.\"[24]:91\u201392\n", "Controversy over the authorship of the Citizen Kane screenplay was revived in 1971 by film critic Pauline Kael, whose essay, \"Raising Kane\" was printed in two installments in The New Yorker, and subsequently in The Citizen Kane Book. According to Kael Mankiewicz's personal secretary Rita Alexander stated that she \"... took the dictation from Mankiewicz from the first paragraph to the last ... and later did the final rewriting and the cuts, and handled the script at the studio until after the film was shot. ... [and said] Welles didn't write (or dictate) one line of the shooting script of Citizen Kane.\" Alexander added that \"Welles himself came to dinner once or twice ... [and] she didn't meet him until after Mankiewicz had finished dictating the long first draft.\"[11]:38 However, Welles's secretary Kathryn Trosper typed up Welles's suggestions and corrections, which were incorporated into the final script; Kael did not interview Trosper before producing her article.[25]\n", "Nevertheless, Kael maintained that Mankiewicz went to the Writers Guild and declared that he was the original author. According to Kael, \"... he had ample proof of his authorship, and when he took his evidence to the Screen Writers Guild ... Welles was forced to split the credit and take second place in the listing.\"[11]:38 Charles Lederer, a screenwriter and a source for Kael's article, insisted that the credit never came to the Screen Writers Guild for arbitration.[a][2]:449\n", "Kael argued that Mankiewicz was the true author of the screenplay and therefore responsible for much of what made the film great. This angered many critics of the day, most notably Bogdanovich, a close friend of Welles who rebutted Kael's claims in an October 1972 article for Esquire.[citation needed] Other rebuttals included articles by Joseph McBride (Film Heritage, Fall 1971)[citation needed] and Jonathan Rosenbaum (Film Comment, Spring 1972 and Summer 1972),[citation needed] interviews with George Coulouris and Bernard Herrmann that appeared in Sight & Sound (Spring 1972),[citation needed] and remarks in Welles biographies by Barbara Leaming[citation needed] and Frank Brady[citation needed]. Rosenbaum also reviewed the controversy in his editor's notes to This is Orson Welles (1992).[2]:494\u2013501\n", "\"I happen to disagree with the premise of the whole book, because she tries to pretend that Welles is nothing and that a mediocre writer by the name of Mankiewicz was a hidden Voltaire,\" Bernard Herrmann said during a lecture in 1973. \"I'm not saying that Mankiewicz made no contribution. The titles clearly credit him. Orson says that he did make a valuable contribution. But really, without Orson, all of Mankiewicz's other pictures were nothing, before and after. With Orson, however, something happened to this wonderful man, but he could not have created Citizen Kane.\"[26]\n", "Robert L. Carringer likewise rebutted Kael's conclusions in an article. Carringer refers to early script drafts with Welles's incorporated handwritten contributions, and mentions the issues raised by Kael rested on the evidence of an early draft which was mostly written by Mankiewicz. However Carringer points out that subsequent drafts clarified Welles's contribution to the script:\n", "Fortunately enough evidence to settle the matter has survived. A virtually complete set of script records for Citizen Kane has been preserved in the archives of RKO General Pictures in Hollywood, and these provide almost a day-to-day record of the history of the scripting\u00a0... The full evidence reveals that Welles's contribution to the Citizen Kane script was not only substantial but definitive.[27]:80\n", "Carringer notes that Mankiewicz' principal contribution was on the first two drafts of the screenplay, which he characterizes as being more like \"rough gatherings\" than actual drafts. Houseman accompanied Mankiewicz so as to ensure that the latter's drinking problem did not affect the screenplay. The early drafts established \"... the plot logic and laid down the overall story contours, established the main characters, and provided numerous scenes and lines that would eventually appear in one form or another in the film.\"[27]:115 However he also noted that Kane in the early draft remained a caricature of Hearst rather than the fully developed character of the final film. The main quality missing in the early drafts but present in the final film is \"... the stylistic wit and fluidity that is the most engaging trait of the film itself.\"[27]:116\n", "According to film critic David Thomson, \"No one can now deny Herman Mankiewicz credit for the germ, shape, and pointed language of the screenplay, but no one who has seen the film as often as it deserves to be seen would dream that Welles is not its only begetter.\"[28] Carringer considered that at least three scenes were solely Welles's work and, after weighing both sides of the argument, including sworn testimony from Mercury assistant Richard Baer, concluded, \"We will probably never know for sure, but in any case Welles had at last found a subject with the right combination of monumentality, timeliness, and audacity.\"[9]:11 Harlan Lebo agrees, and adds, \"... of far greater relevance is reaffirming the importance of the efforts that both men contributed to the creation of Hollywood's greatest motion picture.\"[19]:32\n", "Carringer notes that Citizen Kane was unusual in relation to his later films in that it was original material rather than adaptations of existing sources. He cites that Mankiewicz's main contribution was providing him with \"... what any good first writer ought to be able to provide in such a case: a solid, durable story structure on which to build.\"[27]:117\n", "For his part, Welles stated the process of collaborating with Mankiewicz:\n", "The initial ideas for this film and its basic structure were the result of direct collaboration between us; after this we separated and there were two screenplays: one written by Mr. Mankiewicz, in Victorville, and the other, in Beverly Hills, by myself. ... The final version of the screenplay ... was drawn from both sources.[2]:500\n", "Film historian Richard B. Jewell concluded the following:\n", "Besides producing, directing and playing the role of Kane, Welles deserved his co-authorship credit (with Herman J. Mankiewicz) on the screenplay. Film critic Pauline Kael argues otherwise in a 50,000 word essay on the subject, but her case against Welles is one-sided and unsupported by the facts.[29]:164\n", "William Randolph Hearst was born rich. He was the pampered son of an adoring mother. That is the decisive fact about him. Charles Foster Kane was born poor and was raised by a bank.\n", "\u2014 Orson Welles[30][page\u00a0needed]\n", "Orson Welles never confirmed a principal source for the character of Charles Foster Kane. John Houseman, who edited and collaborated on the draft of the script written by Herman Mankiewicz, wrote that Kane is a synthesis of different personalities:\n", "For the basic concept of Charles Foster Kane and for the main lines and significant events of his public life, Mankiewicz used as his model the figure of William Randolph Hearst. To this were added incidents and details invented or derived from other sources.[20]:444\n", "Houseman set out the obvious parallels, \"... to which were grafted anecdotes from other giants of journalism, including Pulitzer, Northcliffe and Mank's first boss, Herbert Bayard Swope.\"[20]:444\n", "The film is commonly regarded as a fictionalized, unrelentingly hostile parody of William Randolph Hearst, in spite of Welles's statement that \"Citizen Kane is the story of a wholly fictitious character.\"[11]:42 According to film historian Don Kilbourne, \"... much of the information for Citizen Kane came from already-published material about Hearst ... [and] some of Kane's speeches are almost verbatim copies of Hearst's. When Welles denied that the film was about the still-influential publisher, he did not convince many people.\"[22]:222\n", "Hearst biographer David Nasaw finds the film's depiction of Hearst unfair:\n", "Welles' Kane is a cartoon-like caricature of a man who is hollowed out on the inside, forlorn, defeated, solitary because he cannot command the total obedience, loyalty, devotion, and love of those around him. Hearst, to the contrary, never regarded himself as a failure, never recognized defeat, never stopped loving Marion [Davies] or his wife. He did not, at the end of his life, run away from the world to entomb himself in a vast, gloomy art-choked hermitage. Orson Welles may have been a great filmmaker, but he was neither a biographer nor a historian.[31]:574\n", "Arguing for the release of Citizen Kane before the RKO board, Welles pointed out the irony that it was Hearst himself who had brought so much attention to the film being about him, and that it was his own columnist, Louella Parsons, who was doing the most to publicize Kane's identification with Hearst. Public denials aside, Welles held the view that Hearst was a public figure and that the facts of a public figure's life were available for writers to reshape and restructure into works of fiction. Welles's legal advisor, Arnold Weissberger, put the issue in the form of a rhetorical question: \"Will a man be allowed in effect to copyright the story of his life?\"[32]:210\u2013211\n", "In an interview in the 1992 book This is Orson Welles, Welles said that he had excised one scene from Mankiewicz's first draft that had certainly been based on Hearst. \"In the original script we had a scene based on a notorious thing Hearst had done, which I still cannot repeat for publication. And I cut it out because I thought it hurt the film and wasn't in keeping with Kane's character. If I'd kept it in, I would have had no trouble with Hearst. He wouldn't have dared admit it was him.[2]:85\n", "Pauline Kael wrote that a vestige of this abandoned subplot survives in a remark made by Susan Alexander to the reporter interviewing her: \"Look, if you're smart, you'll get in touch with Raymond. He's the butler. You'll learn a lot from him. He knows where all the bodies are buried.\" Kael observed, \"It's an odd, cryptic speech. In the first draft, Raymond literally knew where the bodies were buried: Mankiewicz had dished up a nasty version of the scandal sometimes referred to as the Strange Death of Thomas Ince.\"[11] Referring to the suspicious 1924 death of the American film mogul after being a guest on Hearst's yacht, and noting that Kael's principal source was John Houseman, film scholar Jonathan Rosenbaum wrote that \"it seems safe to conclude, even without her prodding, that some version of the story must have cropped up in Mankiewicz's first draft of the script, which Welles subsequently edited and added to.\"[33]\n", "One particular aspect of the character, Kane's profligate collecting of possessions, was directly taken from Hearst. \"And it's very curious\u00a0\u2013 a man who spends his entire life paying cash for objects he never looked at,\" Welles said. \"He just acquired things, most of which were never opened, remained in boxes. It's really a quite accurate picture of Hearst to that extent.\"[2]:50 But Welles himself insisted that there were marked differences between his fictional creation and Hearst. He acknowledged that aspects of Kane were drawn from the lives of two business tycoons familiar from Welles's youth in Chicago\u00a0\u2014 Samuel Insull and Harold Fowler McCormick.[b][2]:49\n", "A financier closely associated with Thomas Edison, Samuel Insull (1859\u20131938) was a man of humble origins who became the most powerful figure in the utilities field.[34] He was married to a Broadway ingenue nearly 20 years his junior, and built the Chicago Civic Opera House. In 1925, after a 26-year absence, Gladys Wallis Insull returned to the stage in a charity revival of The School for Scandal that ran two weeks in Chicago.[35] When the performance was repeated on Broadway in October 1925, Herman Mankiewicz\u00a0\u2014 then the third-string theatre critic for The New York Times\u00a0\u2014 was assigned to review the production. In an incident that became infamous, Mankiewicz returned to the press room drunk and wrote only the first sentence of a negative review before passing out on his typewriter. Mankiewicz resurrected the experience in writing the screenplay for Citizen Kane, incorporating it into the narrative of Jedediah Leland.[17]:77\u201378\n", "In 1926 Insull took a six-year lease on Chicago's Studebaker Theatre and financed a repertory company in which his wife starred. Gladys Insull's nerves broke when her company failed to find success, and the lease expired at the same time Insull's $3 billion financial empire collapsed in the Depression.[36][37] Like that of Charles Foster Kane, the life of Samuel Insull ended in bankruptcy and disgrace.\n", "Like Kane, Harold McCormick was divorced by his aristocratic first wife, Edith Rockefeller, and lavishly promoted the opera career of his only modestly talented second wife, Ganna Walska.[2]:497\n", "According to composer David Raksin, Bernard Herrmann used to say that much of Kane's story was based on McCormick, but that there was also a good deal of Orson Welles himself in the flamboyant character.[38] Welles lost his mother when he was nine years old and his father when he was 15. After this, he became the ward of Chicago's Dr. Maurice Bernstein. Bernstein is the last name of the only major character in Citizen Kane who receives a generally positive portrayal. Although Dr. Bernstein was nothing like the character in the film, Welles said, the use of the name \"Bernstein\" was a family joke. \"I used to call people 'Bernstein' on the radio, all the time, too\u00a0\u2013 just to make him laugh. ... Mank did all the best writing for Bernstein. I'd call that the most valuable thing he gave us.\"[2]:65\u201366\n", "Welles cited financier Basil Zaharoff as another inspiration for Kane. \"I got the idea for the hidden-camera sequence in the Kane 'news digest' from a scene I did on March of Time in which Zaharoff, this great munitions-maker, was being moved around in his rose garden, just talking about the roses, in the last days before he died,\" Welles said.[2]:75 Robert L. Carringer reviewed the December 3, 1936, script of the radio obituary in which Welles played Zaharoff, and found other similarities. In the opening scene, Zaharoff's secretaries are burning masses of secret papers in the enormous fireplace of his castle. A succession of witnesses testify about the tycoon's ruthless practices. \"Finally, Zaharoff himself appears \u2014 an old man nearing death, alone except for his servants in the gigantic palace in Monte Carlo that he had acquired for his longtime mistress. His dying wish is to be wheeled out 'in the sun by that rosebush.'\"[9]:18\n", "In 1940, Welles invited longtime friend and Mercury Theatre colleague Joseph Cotten to join a small group for an initial Read-through at Mankiewicz's house. Cotten wrote:\n", "\"I think I'll just listen,\" Welles said. \"The title of this movie is Citizen Kane, and I play guess who.\" He turned to me. \"Why don't you think of yourself as Jedediah Leland? His name, by the way, is a combination of Jed Harris and your agent, Leland Hayward.\" \"There all resemblance ceases,\" Herman reassured me. These afternoon garden readings continued, and as the Mercury actors began arriving, the story started to breathe.[39]\n", "\"I regard Leland with enormous affection,\" Welles told Bogdanovich.[2]:84 Welles said that the character of Jed Leland was based on drama critic Ashton Stevens, George Stevens's uncle and a close boyhood friend of Welles:\n", "What I knew about Hearst came more from him than from my father\u00a0\u2013 though my father did know him well\u00a0... But Ashton had taught Hearst to play the banjo, which is how he first got to be a drama critic, and, you know, Ashton was really one of the great ones. The last of the dandies\u00a0\u2013 he worked for Hearst for some 50 years or so, and adored him. A gentleman\u00a0... very much like Jed.[2]:66\n", "Regarded as the dean of American drama critics, Ashton Stevens began his journalism career in 1894 in San Francisco and started working for the Hearst newspapers three years later. In 1910 he moved to Chicago, where he covered the theatre for 40 years and became a close friend of Welles's guardian, Dr. Maurice Bernstein.[40]\n", "Mankiewicz incorporated an incident from his own early career as a theatre critic for The New York Times into the narrative of Jed Leland. Mankiewicz was assigned to review the October 1925 opening of The School for Scandal\u00a0\u2014 a production that marked the return of Gladys Wallis to the Broadway stage. A famous ingenue of the 1890s, Wallis had retired upon her marriage to Chicago utilities magnate Samuel Insull but now, 26 years later, used her husband's fortune to form her own repertory company. After her opening-night performance in the role of Lady Teazle, drama critic Mankiewicz returned to the press room \"... full of fury and too many drinks ...,\" wrote biographer Richard Meryman:\n", "He was outraged by the spectacle of a 56-year-old millionairess playing a gleeful 18-year-old, the whole production bought for her like a trinket by a man Herman knew to be an unscrupulous manipulator. Herman began to write: \"Miss Gladys Wallis, an aging, hopelessly incompetent amateur, opened last night in ...\" Then Herman passed out, slumped over the top of his typewriter.[17]:77\u201378\n", "The unconscious Mankiewicz was discovered by his boss, George S. Kaufman, who composed a terse announcement that the Times review would appear the following day.[c][41]\n", "Mankiewicz resurrected the incident for Citizen Kane. After Kane's second wife makes her opera debut, critic Jed Leland returns to the press room drunk. He passes out over the top of his typewriter after writing the first sentence of his review: \"Miss Susan Alexander, a pretty but hopelessly incompetent amateur \u2026\"[42]\n", "It was a real man who built an opera house for the soprano of his choice, and much in the movie was borrowed from that story, but the man was not Hearst. Susan, Kane's second wife, is not even based on the real-life soprano. Like most fictional characters, Susan's resemblance to other fictional characters is quite startling. To Marion Davies she bears no resemblance at all.\n", "\u2014 Orson Welles[30][page\u00a0needed]\n", "The common assumption that the character of Susan Alexander was based on Marion Davies was a major reason William Randolph Hearst tried to destroy Citizen Kane.[d][43] In his foreword to Davies's autobiography, published posthumously in 1975, Orson Welles draws a sharp distinction between the real-life actress and his fictional creation:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "That Susan was Kane's wife and Marion was Hearst's mistress is a difference more important than might be guessed in today's changed climate of opinion. The wife was a puppet and a prisoner; the mistress was never less than a princess. Hearst built more than one castle, and Marion was the hostess in all of them: they were pleasure domes indeed, and the Beautiful People of the day fought for invitations. Xanadu was a lonely fortress, and Susan was quite right to escape from it. The mistress was never one of Hearst's possessions: he was always her suitor, and she was the precious treasure of his heart for more than 30 years, until his last breath of life. Theirs is truly a love story. Love is not the subject of Citizen Kane.[30][page\u00a0needed]\n", "Welles cited Insull's building of the Chicago Opera House, and McCormick's lavish promotion of the opera career of his second wife as direct influences on the screenplay.[e][2]:49 McCormick divorced Edith Rockefeller and married aspiring opera singer Ganna Walska as her fourth husband. He spent thousands of dollars on voice lessons for her and even arranged for Walska to take the lead in a production of Zaza at the Chicago Opera in 1920. Contemporaries said Walska had a terrible voice; The New York Times headlines of the day read, \"Ganna Walska Fails as Butterfly: Voice Deserts Her Again When She Essays Role of Puccini's Heroine\" (January 29, 1925),[citation needed] and \"Mme. Walska Clings to Ambition to Sing\" (July 14, 1927).[citation needed]\n", "\"According to her 1943 memoirs, Always Room at the Top, Walska had tried every sort of fashionable mumbo jumbo to conquer her nerves and salvage her voice,\" reported The New York Times in 1996. \"Nothing worked. During a performance of Giordano's Fedora in Havana she veered so persistently off key that the audience pelted her with rotten vegetables. It was an event that Orson Welles remembered when he began concocting the character of the newspaper publisher's second wife for Citizen Kane.\"[44]\n", "Charles Lederer, Davies's nephew, read a draft of the script before filming began on Citizen Kane. \"The script I read didn't have any flavor of Marion and Hearst,\" Lederer said. \"Robert McCormick was the man it was about.\"[2]:497 (Lederer confuses Walska's husband Harold F. McCormick with another member of the powerful Chicago family, one who may also have inspired Welles\u00a0\u2013 crusading publisher Robert R. McCormick of the Chicago Tribune.) Although there were things based on Marion Davies\u00a0\u2013 jigsaw puzzles and drinking\u00a0\u2013 Lederer noted that they were exaggerated in the film to help define the characterization of Susan Alexander.[2]:497\u2013498\n", "\"As for Marion,\" Orson Welles said, \"she was an extraordinary woman\u00a0\u2013 nothing like the character Dorothy Comingore played in the movie.\"[2]:49\n", "Film tycoon Jules Brulatour's second and third wives, Dorothy Gibson and Hope Hampton, both fleeting stars of the silent screen who later had marginal careers in opera, are also believed to have provided inspiration for the Susan Alexander character.[45] The interview with Susan Alexander Kane in the Atlantic City nightclub was based on a contemporary interview with Evelyn Nesbit Thaw in the run-down club where she was performing.[20]:452\u2013453\n", "The character of political boss Jim Gettys (Ray Collins) is based on Charles F. Murphy, a leader in New York City's infamous Tammany Hall political machine.[11]:61 Hearst and Murphy were political allies in 1902, when Hearst was elected to the U.S. House of Representatives, but the two fell out in 1905 when Hearst ran for mayor of New York. Hearst turned his muckraking newspapers on Tammany Hall in the person of Murphy, who was called \"... the most hungry, selfish and extortionate boss Tammany has ever known.\" Murphy ordered that under no condition was Hearst to be elected. Hearst ballots were dumped into the East River, and new ballots were printed favoring his opponent. Hearst was defeated by some 3,000 votes and his newspapers bellowed against the election fraud. A historic cartoon of Murphy in convict stripes appeared November 10, 1905, three days after the vote.[46] The caption read, \"Look out, Murphy! It's a Short Lockstep from Delmonico's to Sing Sing\u00a0... Every honest voter in New York wants to see you in this costume.\"[47]\n", "In Citizen Kane, \"Boss\" Jim W. Gettys (named \"Edward Rogers\" in the shooting script) admonishes Kane for printing a cartoon showing him in prison stripes:\n", "If I owned a newspaper and if I didn't like the way somebody else was doing things\u00a0\u2013 some politician, say\u00a0\u2013 I'd fight them with everything I had. Only I wouldn't show him in a convict suit with stripes\u00a0\u2014 so his children could see the picture in the paper. Or his mother.\n", "As he pursues Gettys down the stairs, Kane threatens to send him to Sing Sing. The next shot shows a newspaper with pictures of Kane and Susan, and a headline \"Kane Found in Love Nest with 'Singer'.\"[48]\n", "As an inside joke, Welles named Gettys after the father-in-law of Roger Hill, his headmaster at the Todd School and a lifelong friend.[2]:63\n", "Welles credited the \"Rosebud\" device\u00a0\u2013 the journalist's search for the enigmatic meaning of Kane's last word, the device that frames the film\u00a0\u2013 to Mankiewicz. \"Rosebud remained, because it was the only way we could find to get off, as they used to say in vaudeville,\" Welles said. \"It manages to work, but I'm still not too keen about it, and I don't think that he was, either.\" The dialogue eventually reflects the screenwriters' desire to diminish the importance of the word's meaning; \"We did everything we could to take the mickey out of it,\" Welles said.[2]:53\n", "As he began his first draft of the screenplay in early 1940, Mankiewicz mentioned \"Rosebud\" to his secretary. When she asked, \"Who is rosebud?\" he replied, \"It isn't a who, it's an it.\" The symbol of Mankiewicz's own damaged childhood was a treasured bicycle, stolen while he visited the public library and, in punishment, never replaced.[f] \"He mourned that all his life,\" wrote Pauline Kael, who believed Mankiewicz put the emotion of that boyhood loss into the loss that haunted Kane.[11]:60\n", "Hearst biographer Louis Pizzitola reports one historian's statement that \"Rosebud\" was a nickname given to William Randolph Hearst's mother by portrait and landscape painter Orrin Peck. The Peck family were intimates of the Hearsts, and Orrin Peck was said to be nearer to Phoebe Apperson Hearst than her own son.[g][50][51] Another theory of the origin of \"Rosebud\" is the similarity with the dying wish of Basil Zaharoff (who is one of the inspirations for the central character), to be wheeled \"by the rosebush\".[52]\n", "In 1989 author Gore Vidal stated that \"Rosebud\" was a nickname which Hearst had used for the clitoris of Davies. Vidal said that Davies had told this intimate detail to her nephew Lederer, who had mentioned it to him years later.[53][54]\n", "Film critic Roger Ebert said, \"Some people have fallen in love with the story that Herman Mankiewicz, the co-author with Welles of the screenplay, happened to know that 'Rosebud' was William Randolph Hearst's pet name for an intimate part of Marion Davies' anatomy.\"[55][56]\n", "Welles biographer Frank Brady traces the story to the popular press in the late 1970s:\n", "How Orson (or Mankiewicz) could have ever discovered this most private utterance is unexplained and why it took over 35 years for such a suggestive rationale to emerge, although the origins of everything to do with Citizen Kane had continually been placed under literary and cinematic microscopes for decades, is also unknown. If this highly unlikely story is even partially true ... Hearst may have become upset at the implied connotation, although any such connection seems to have been innocent on Welles's part. In any event, this bizarre explanation for the origin of one of the most famous words ever spoken on the screen has now made its way into serious studies of Welles and Citizen Kane.[57]\n", "British film critic Philip French asked Houseman whether there was any truth to the story:\n", "\"Absolutely none,\" he said, pointing out that it was inconceivable that he would not have heard of something so provocative at the time, or that Welles could have kept such a secret for over 40 years.[58]\n", "In 1991 journalist Edward Castle contended that Welles may have borrowed the name of Native American folklorist, educator and author Rosebud Yellow Robe for \"Rosebud\". Castle claimed to have found both of their signatures on the same sign-in sheets at CBS Radio studios in New York, where they both worked on different shows in the late 1930s.[59] The word \"Rosebud\" appears, however, in the first draft script written by Mankiewicz, not Welles.[60]:82\n", "\"Rosebud is the emblem of the security, hope and innocence of childhood, which a man can spend his life seeking to regain,\" summarized Roger Ebert. \"It is the green light at the end of Gatsby's pier; the leopard atop Kilimanjaro, seeking nobody knows what; the bone tossed into the air in 2001.\"[61]\n", "Orson Welles said that his preparation before making Citizen Kane was to watch John Ford's Stagecoach 40 times.[62]\n", "\"I wanted to learn how to make movies, and that's such a classically perfect one \u2014 don't you think so?\" Welles asked director Peter Bogdanovich. \"As it turned out, the first day I ever walked onto a set was my first day as a director. I'd learned whatever I knew in the projection room \u2014 from Ford. After dinner every night for about a month, I'd run Stagecoach, often with some different technician or department head from the studio, and ask questions. 'How was this done?' 'Why was this done?' It was like going to school.\"[2]:28\u201329\n", "Film scholars and historians view Citizen Kane as Welles's attempt to create a new style of filmmaking by studying various forms of film making, and combining them all into one. However, Welles stated that his love for cinema began only when he started the work on Citizen Kane. When asked where he got the confidence as a first-time director to direct a film so radically different from contemporary cinema, he responded, \"Ignorance, ignorance, sheer ignorance \u2014 you know there's no confidence to equal it. It's only when you know something about a profession, I think, that you're timid or careful.\"[23]:80\n", "The most innovative technical aspect of Citizen Kane is the extended use of deep focus.[63] In nearly every scene in the film, the foreground, background and everything in between are all in sharp focus. This was done by cinematographer Gregg Toland through his experimentation with lenses and lighting. Toland described the achievement, made possible by the sensitivity of modern speed film, in an article for Theatre Arts magazine:\n", "New developments in the science of motion picture photography are not abundant at this advanced stage of the game but periodically one is perfected to make this a greater art. Of these I am in an excellent position to discuss what is termed \u201cPan-focus\u201d, as I have been active for two years in its development and used it for the first time in Citizen Kane. Through its use, it is possible to photograph action from a range of eighteen inches from the camera lens to over two hundred feet away, with extreme foreground and background figures and action both recorded in sharp relief. Hitherto, the camera had to be focused either for a close or a distant shot, all efforts to encompass both at the same time resulting in one or the other being out of focus. This handicap necessitated the breaking up of a scene into long and short angles, with much consequent loss of realism. With pan-focus, the camera, like the human eye, sees an entire panorama at once, with everything clear and lifelike.[64]\n", "Any time deep focus was impossible\u00a0\u2013 for example in the scene when Kane finishes a bad review of Alexander's opera while at the same time firing the person who started the review\u00a0\u2013 an optical printer was used to make the whole screen appear in focus (visually layering one piece of film onto another).[9]:92 However, some apparently deep-focus shots were the result of in-camera effects, as in the famous scene where Kane breaks into Susan Alexander's room after her suicide attempt. In the background, Kane and another man break into the room, while simultaneously the medicine bottle and a glass with a spoon in it are in closeup in the foreground. The shot was an in-camera matte shot. The foreground was shot first, with the background dark. Then the background was lit, the foreground darkened, the film rewound, and the scene re-shot with the background action.[9]:82\n", "Another unorthodox method used in the film was the way low-angle shots were used to display a point of view facing upwards, thus allowing ceilings to be shown in the background of several scenes. Breaking with studio convention, every set was built with a ceiling[64] \u2014 many constructed of fabric that ingeniously concealed microphones.[65] Welles felt that the camera should show what the eyes see, and that it was a bad theatrical convention to pretend there was no ceiling \u2014 \"a big lie in order to get all those terrible lights up there,\" he said. He became fascinated with the look of low angles, which made even dull interiors look interesting. One extremely low angle is used to photograph the encounter between Kane and Leland after Kane loses the election. A hole was dug for the camera, which required drilling into the concrete floor.[2]:61\u201362\n", "Toland had approached Welles in 1940 to work on Citizen Kane. Welles's reputation for experimentation in the theatre appealed to Toland and he found a sympathetic partner to \"... test and prove several ideas generally being accepted as radical in Hollywood\".[1] Welles credited Toland on the same card as himself. \"It's impossible to say how much I owe to Gregg. He was superb,\" Welles said.[h][2]:59\u201361\n", "Citizen Kane eschews the traditional linear, chronological narrative, and tells Kane's story entirely in flashback using different points of view, many of them from Kane's aged and forgetful associates, the cinematic equivalent of the unreliable narrator in literature.[66] Welles also dispenses with the idea of a single storyteller and uses multiple narrators to recount Kane's life. The use of multiple narrators was unheard of in Hollywood films.[66] Each narrator recounts a different part of Kane's life, with each story partly overlapping.[67] The film depicts Kane as an enigma, a complicated man who, in the end, leaves viewers with more questions than answers as to his character, such as the newsreel footage where he is attacked for being both a communist and a fascist.[66] The technique of using flashbacks had been used in earlier films such as Wuthering Heights in 1939 and The Power and the Glory in 1933, but no film was as immersed in this technique as Citizen Kane. The use of the reporter Thompson acts as a surrogate for the audience, questioning Kane's associates and piecing together his life.[67]\n", "One of the narrative voices is the News on the March segment,[66] a parody of The March of Time newsreel series in its portentous narration, graphics and visual style. The film-within-a-film even mimics The March of Time's hidden-camera footage of reclusive arms czar Sir Basil Zaharoff in a wheelchair when presenting the later life of Kane.[68] Citizen Kane makes extensive use of stock footage to create the newsreel.[2]:75\n", "One of the story-telling techniques used in Citizen Kane was the use of montage to collapse time and space, using an episodic sequence on the same set while the characters changed costume and make-up between cuts so that the scene following each cut would look as if it took place in the same location, but at a time long after the previous cut. In the breakfast montage, Welles chronicles the breakdown of Kane's first marriage in five vignettes that condense 16 years of story time into two minutes of screen time.[69] Welles said that the idea for the breakfast scene \"... was stolen from The Long Christmas Dinner of Thornton Wilder ... a one-act play, which is a long Christmas dinner that takes you through something like 60 years of a family's life.\"[2]:51\n", "Welles also pioneered several visual effects in order to cheaply shoot things like crowd scenes and large interior spaces. For example, the scene where the camera in the opera house rises dramatically to the rafters to show the workmen showing a lack of appreciation for Susan Alexander Kane's performance, was shot by a camera craning upwards over the performance scene, then a curtain wipe to a miniature of the upper regions of the house, and then another curtain wipe matching it again with the scene of the workmen. Other scenes effectively employed miniatures to make the film look much more expensive than it truly was, such as various shots of Xanadu. A loud, full-screen closeup of a typewriter typing the word \"weak\" magnifies the review for the Chicago Inquirer.[70]\n", "The make-up artist Maurice Seiderman created the make-up for the film.[8] RKO wanted the young Kane to look handsome and dashing, and Seiderman transformed the overweight Welles, beginning with his nose, which Welles always disliked. For the old Kane, Seiderman created a red plastic compound which he applied to Welles, allowing the wrinkles to move naturally.[8] Kane's mustache was made of several hair tufts. Transforming Welles into the old Kane required six to seven hours, meaning he had to start at two in the morning to begin filming at nine. He would hold conferences while sitting in the make-up chair; sometimes working 16 hours a day. Even breaking a leg during filming could not stop him from directing around the clock, and he quickly returned to acting, using a steel leg brace.[8]\n", "\"Before Kane, nobody in Hollywood knew how to set music properly in movies,\" wrote filmmaker Fran\u00e7ois Truffaut in a 1967 essay. \"Kane was the first, in fact the only, great film that uses radio techniques. \u2026 A lot of filmmakers know enough to follow Auguste Renoir's advice to fill the eyes with images at all costs, but only Orson Welles understood that the sound track had to be filled in the same way.\"[71]\n", "In addition to expanding on the potential of sound as a creator of moods and emotions, Welles pioneered a new aural technique, known as the \"lightning-mix\". Welles used this technique to link complex montage sequences via a series of related sounds or phrases. In offering a continuous sound track, Welles was able to join what would otherwise be extremely rough cuts together into a smooth narrative. For example, the audience witnesses Kane grow from a child into a young man in just two shots. As Kane's guardian hands him his sled, Kane begrudgingly wishes him a \"Merry Christmas\". Suddenly we are taken to a shot of his guardian fifteen years later, only to have the phrase completed for us: \"and a Happy New Year\". In this case, the continuity of the soundtrack, not the image, is what makes for a seamless narrative structure.[72]\n", "Welles also carried over techniques from radio not yet popular in films (though they would become staples). Using a number of voices, each saying a sentence or sometimes merely a fragment of a sentence, and splicing the dialogue together in quick succession, the result gave the impression of a whole town talking\u00a0\u2013 and, equally important, what the town was talking about. Welles also favored the overlapping of dialogue, considering it more realistic than the stage and film tradition of characters not stepping on each other's sentences. He also pioneered the technique of putting the audio ahead of the visual in scene transitions (a J-cut); as a scene would come to a close, the audio would transition to the next scene before the visuals did.[citation needed]\n", "There was never any question that the person who would score Welles's first film was Bernard Herrmann.[73]:72 Herrmann was a close collaborator with Welles, composing and conducting music for his Mercury Theatre radio broadcasts.[73]:63 Because it was Herrmann's first motion picture score, RKO wanted to pay him only a small fee, but Welles insisted he be paid at the same rate as Max Steiner.[73]:72 Herrmann's score for Citizen Kane would be nominated for an Academy Award, but would lose out to his own score for the film All That Money Can Buy.[74]\n", "The score for Citizen Kane was a watershed in film soundtrack composition and proved as influential as any of the film's other innovations, establishing Herrmann as an important new voice in film soundtrack composition.[38] The score eschewed the typical Hollywood practice of scoring a film with virtually non-stop music. Instead Herrmann used what he later described as '\"radio scoring\", musical cues typically 5\u201315 seconds in length that bridge the action or suggest a different emotional response.[73]:77\u201378\n", "Where most Hollywood film scores were written quickly, in as few as two or three weeks after filming was completed, Herrmann was given 12 weeks to write the music for Citizen Kane. He had sufficient time to do his own orchestrations and conducting, and worked on the film reel by reel as it was shot and cut. He wrote complete musical pieces for some of the montages, and Welles edited many of the scenes to match their length.[75] One of the most celebrated examples is the breakfast montage, a sequence that begins with a graceful waltz theme and gets darker with each variation on that theme as the passage of time leads to the hardening of Kane's personality and the breakdown of his first marriage.[76][77]\n", "Herrmann realized that musicians slated to play his music were hired for individual unique sessions; there was no need to write for existing ensembles. This meant that he was free to score for unusual combinations of instruments, even instruments that are not commonly heard. In the opening sequence, for example, the tour of Kane's estate Xanadu, Herrmann introduces a recurring leitmotiv played by low woodwinds, including a quartet of alto flutes.[78]\n", "All of the music used in the newsreel came from the RKO music library, edited at Welles's request by the newsreel department to achieve what Herrmann called \"their own crazy way of cutting\". The News on the March theme that accompanies the newsreel titles is \"Belgian March\" by Anthony Collins, from the film Nurse Edith Cavell. Other examples are an excerpt from Alfred Newman's score for Gunga Din (the exploration of Xanadu), Roy Webb's theme for the film Reno (the growth of Kane's empire), and bits of Webb's score for Five Came Back (introducing Walter Parks Thatcher).[73]:79\n", "For Susan Alexander's operatic sequence, Welles suggested that Herrmann compose a witty parody of a Mary Garden vehicle, an aria from Salammb\u00f4.[2]:57 \"Our problem was to create something that would give the audience the feeling of the quicksand into which this simple little girl, having a charming but small voice, is suddenly thrown,\" Herrmann said.[73]:79 Writing in the style of a 19th-century French Oriental opera,[75] Herrmann put the aria in a key that would force the singer to strain to reach the high notes, culminating in a high D, well outside the range of Susan Alexander.[73]:79\u201380 Soprano Jean Forward dubbed the vocal part for actress Dorothy Comingore.[38]\n", "A vocal critic of Pauline Kael's claim that it was Herman Mankiewicz, not Welles, who made the main thrust of the film, Herrmann was especially disparaging of her assertions about the music in Citizen Kane. In her essay \"Raising Kane\", Kael wrote that the production could not afford the fee to perform the opera called for in Mankiewicz's script, Jules Massenet's Tha\u00efs \u2014 a work written for Sibyl Sanderson, one of William Randolph Hearst's loves.[73]:79 \"But Miss Kael never wrote or approached me to ask about the music,\" Herrmann said. \"We could easily have afforded the fee. The point is that its lovely little strings would not have served the emotional purpose of the film.\"[26]\n", "Opera lovers are frequently amused by the parody of vocal coaching that appears in a singing lesson given to Susan Alexander by Signor Matiste. The character attempts to sing the famous cavatina \"Una voce poco fa\" from Il barbiere di Siviglia by Gioachino Rossini, but the lesson is interrupted when Alexander sings a high note flat.[citation needed]\n", "At the beginning of Thompson's second interview of Susan Kane at her nightclub, the tune heard in the background is \"In a Mizz\", a 1939 jazz song by Charlie Barnet and Haven Johnson.[9]:108 \"I kind of based the whole scene around that song,\" Orson Welles said. \"The music is by Nat Cole \u2014 it's his trio.\"[2]:56 Later \u2014 beginning with the lyrics, \"It can't be love\" \u2014 \"In a Mizz\" is performed at the Everglades picnic, framing the fight in the tent between Susan and Kane.[9]:108 Musicians including bandleader Cee Pee Johnson (drums), Alton Redd (vocals), Raymond Tate (trumpet), Buddy Collette (alto sax) and Buddy Banks (tenor sax) are featured.[79]\n", "In the final sequence of the film, which shows the destruction of Rosebud in the fireplace of Kane's castle, Welles choreographed the scene while he had Herrmann's cue playing on the set.[80]\n", "In 1972 Herrmann said, \"I was fortunate to start my career with a film like Citizen Kane, it's been a downhill run ever since!\" Welles loved Herrmann's score and told director Henry Jaglom that it was 50 percent responsible for the film's artistic success.[73]:84\n", "Welles ran a closed set, limited access to dailies, and managed the publicity of Kane, to ensure that its influence from Hearst's life was a secret.[9]:111 Publicity materials stated the film's inspiration was Faust.[10] RKO hoped to release the film in mid-February 1941. Writers for national magazines had early deadlines and so a rough cut was previewed for a select few on January 3, 1941. Friday magazine ran an article drawing point-by-point comparisons between Kane and Hearst and documented how Welles had led on Louella Parsons, Hollywood correspondent for Hearst papers, and made a fool of her in public. Reportedly, she was furious and demanded an immediate preview of the film. James G. Stewart, who was present at the screening, said that she walked out of the film. Soon after, Parsons called George Schaefer and threatened RKO with a lawsuit if they released Kane.[9]:111 The next day, the front page headline in Daily Variety read, \"HEARST BANS RKO FROM PAPERS.\"[81] In two weeks, the ban was lifted for everything except Kane.[9]:111\n", "The Hollywood Reporter ran a front-page story on January 13 that Hearst papers were about to run a series of editorials attacking Hollywood's practice of hiring refugees and immigrants for jobs that could be done by Americans. The goal was to put pressure on the other studios in order to force RKO to shelve Kane.[9]:111 Soon afterwards, Schaefer was approached by Nicholas Schenck, head of MGM's parent company, with an offer on the behalf of Louis B. Mayer and other Hollywood executives to reimburse RKO if it would destroy the film.[9]:111\u2013112 Once RKO's legal team reassured Schaefer, the studio announced on January 21 that Kane would be released as scheduled, and with one of the largest promotional campaigns in the studio's history. Schaefer brought Welles to New York City for a private screening of the film with the New York corporate heads of the studios and their lawyers.[9]:112 There was no objection to its release provided that certain changes, including the removal or softening of specific references that might offend Hearst, were made.[9]:112\u2013113 Welles agreed, and editor Robert Wise (who became a celebrated film director in the 1950s and 60s) was brought in to cut the running time from two hours, two minutes, and 40 seconds to one hour, 59 minutes, and 16 seconds. That cut satisfied the corporate lawyers.[9]:113\n", "Hearing about the film enraged Hearst so much that he banned any advertising, reviewing, or mentioning of it in his papers, and had his journalists libel Welles. Following lobbying from Hearst, the head of Metro-Goldwyn-Mayer, Louis B. Mayer, acting on behalf of the whole film industry, made an offer to RKO Pictures of $805,000 to destroy all prints of the film and burn the negative.[82] Welles used Hearst's opposition to Citizen Kane as a pretext for previewing the film in several opinion-making screenings in Los Angeles, lobbying for its artistic worth against the hostile campaign that Hearst was waging.[82]\n", "When George Schaefer of RKO rejected Hearst's offer to suppress the film, Hearst banned every newspaper and station in his media conglomerate from reviewing\u00a0\u2013 or even mentioning\u00a0\u2013 the film. He also had many movie theaters ban it, and many did not show it through fear of being socially exposed by his massive newspaper empire.[83] The documentary The Battle Over Citizen Kane lays the blame for Citizen Kane\u200a'\u200bs relative failure squarely at the feet of Hearst. The film did decent business at the box office; it went on to be the sixth highest grossing film in its year of release, a modest success its backers found acceptable. Nevertheless, the film's commercial performance fell short of its creators' expectations. Hearst's biographer David Nasaw points out that Hearst's actions were not the only reason Kane failed, however: the innovations Welles made with narrative, as well as the dark message at the heart of the film (that the pursuit of success is ultimately futile) meant that a popular audience could not appreciate its merits.[31]:572\u2013573\n", "Welles claimed that during opening week, a policeman approached him one night and told him: \"Do not go to your hotel room tonight; Hearst has set up an undressed, underage girl to leap into your arms when you enter and a photographer to take pictures of you. Hearst is planning to publish it in all of his papers.\" Welles thanked the man and stayed out all night. However, it is not confirmed whether this was true.[25] Welles also described how he accidentally bumped into Hearst in an elevator at the Fairmont Hotel when Kane was opening in San Francisco. Welles's father had been friends with Hearst, so Welles tried to comfortably ask if Hearst would see the film. Hearst ignored him. \"As he was getting off at his floor, I said 'Charles Foster Kane would have accepted.' No reply\", recalled the director. \"And Kane would have you know. That was his style.\"[10]\n", "Although Hearst tried to suppress the film and limit its success, his efforts backfired in the long run, for now almost every reference to Hearst's life and career includes a reference to the parallels in the film. The irony of Hearst's attempts is that the film is now inexorably connected to him. This connection is reinforced by Hearst's biographer W. A. Swanberg.[citation needed]\n", "Citizen Kane was to open at RKO's flagship theatre, Radio City Music Hall, but did not. A possible factor was Louella Parsons's threat that The American Weekly would run a defamatory story on the grandfather of major RKO stockholder Nelson Rockefeller.[9]:115 Other exhibitors feared retaliation and refused to handle the film. Schaefer lined up a few theaters but Welles grew impatient and threatened RKO with a lawsuit. Hearst papers refused to accept advertising for the film. Kane opened at the RKO Palace on Broadway in New York on May 1, 1941,[1] in Chicago on May 6, and in Los Angeles on May 8.[9]:115 Kane did well in cities and larger towns but fared poorly in more remote areas. RKO still had problems getting exhibitors to show the film. For example, one chain controlling more than 500 theaters got Welles's film as part of a package but refused to play it, reportedly out of fear of Hearst.[9]:117 The Hearst newspapers's disruption of the film's release damaged its box office performance and, as a result, Citizen Kane lost $160,000 during its initial run.[29]:164[84]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The reviews for the film were overwhelmingly positive, although some reviewers were challenged by Welles's break with Hollywood traditions.[85] Kate Cameron, in her review for the New York Daily News, said that Kane was \"... one of the most interesting and technically superior films that has ever come out of a Hollywood studio\".[86] In his review for the New York World-Telegram, William Boehnel said that the film was \"... staggering and belongs at once among the greatest screen achievements\".[87] Otis Ferguson, in his review for The New Republic, said that Kane was \"... the boldest free-hand stroke in major screen production since Griffith and Bitzer were running wild to unshackle the camera\".[88] John O'Hara, in Newsweek, called it \"... the best picture he'd ever seen.\"[82]\n", "The day following the premiere of Citizen Kane, The New York Times critic Bosley Crowther wrote that \"... it comes close to being the most sensational film ever made in Hollywood.\"\n", "Count on Mr. Welles: he doesn't do things by halves. ... Upon the screen he discovered an area large enough for his expansive whims to have free play. And the consequence is that he has made a picture of tremendous and overpowering scope, not in physical extent so much as in its rapid and graphic rotation of thoughts. Mr. Welles has put upon the screen a motion picture that really moves.[89]\n", "Critic James Agate was decidedly negative in an October 1941 review, countering the superlatives given Citizen Kane by critics C. A. Lejeune and Dilys Powell. \"Now imagine my horror, which includes self-distrust, at seeing no more in this film than the well-intentioned, muddled, amateurish thing one expects from high-brows. (Mr. Orson Welles's height of brow is enormous.) ... I thought the photography quite good, but nothing to write to Moscow about, the acting middling, and the whole thing a little dull.\"[90]\n", "Agate continued his review two weeks later:\n", "Citizen Kane has entirely ousted the war as conversation fodder. Waiters ask me what I think of it, and the post is full of it. ... You know now that all the vulgar beef, beer and tobacco barons are vulgar because when they were about seven years of age somebody came and took away their skates. That is one explanation of this alleged world-shaking masterpiece, Citizen Kane. Another point of view is that Citizen Kane is so great a masterpiece that it doesn't need explaining. ... In the meantime I continue to steer a middle course. I regard Citizen Kane as a quite good film which tries to run the psychological essay in harness with your detective thriller, and doesn't quite succeed.[91]\n", "In a 1941 review, Jorge Luis Borges called Citizen Kane a \"metaphysical detective story\", in that \"... [its] subject (both psychological and allegorical) is the investigation of a man's inner self, through the works he has wrought, the words he has spoken, the many lives he has ruined ....\" Borges noted that \"Overwhelmingly, endlessly, Orson Welles shows fragments of the life of the man, Charles Foster Kane, and invites us to combine them and reconstruct him.\" As well, \"Forms of multiplicity and incongruity abound in the film: the first scenes record the treasures amassed by Kane; in one of the last, a poor woman, luxuriant and suffering, plays with an enormous jigsaw puzzle on the floor of a palace that is also a museum.\" Borges points out, \"At the end we realize that the fragments are not governed by a secret unity: the detested Charles Foster Kane is a simulacrum, a chaos of appearances.\"[92][page\u00a0needed]\n", "Citizen Kane, with nine nominations, was the sixteenth film to get more than six Academy Award nominations.[i][93] It was nominated for the following awards:[74]\n", "It was widely thought the film would win most of the awards it was nominated for, but it only won the Best Writing (Original Screenplay) Oscar.[9]:117\n", "Film editor Robert Wise recalled each time Citizen Kane\u200a'\u200bs name was called out as a nominee, the crowd booed.[43] Most of Hollywood did not want the film to see the light of day, considering the threats that William Randolph Hearst had made if it did. According to Variety, bloc voting against Welles by screen extras denied him Best Picture and Actor awards.[94] British film critic Barry Norman attributed this to Hearst's wrath.[8]\n", "The National Board of Review of Motion Pictures gave 1941 \"Best Acting\" awards to Orson Welles and George Coulouris, and the film itself \"Best Picture.\" That same year, The New York Times named it one of the Ten Best Films of the year, and the New York Film Critics Circle Award for \"Best Picture\" also went to Citizen Kane.[95][unreliable source?]\n", "By 1942 Citizen Kane had run its course theatrically and, apart from a few showings at big city arthouse cinemas, it largely vanished from America until 1956. In that period, Kane's and Welles' reputation fell among American critics. In 1949 critic Richard Griffith in his overview of cinema, The Film Till Now, dismissed Kane as \"... tinpot if not crackpot Freud.\"[9]:117\u2013118\n", "Due to World War II, Citizen Kane was little seen in Europe. It was not until 1946 that it was shown in France, where it gained considerable acclaim, particularly from film critics such as Andr\u00e9 Bazin and from Cahiers du cin\u00e9ma writers, including future film directors Fran\u00e7ois Truffaut and Jean-Luc Godard. In his 1950 essay \"The Evolution of the Language of Cinema\", Bazin placed Citizen Kane centre stage as a work which ushered in a new period in cinema.[96]\n", "In the United States, it was neglected and forgotten until its revival on television in the mid-1950s. Three key events in 1956 led to its re-evaluation in the United States: first, RKO was one of the first studios to sell its library to television, and early that year Citizen Kane started to appear on television; second, the film was re-released theatrically to coincide with Welles's return to the New York stage, where he played King Lear; and third, American film critic Andrew Sarris wrote \"Citizen Kane: The American Baroque\" for Film Culture, and described it as \"the great American film.\"[97] During Expo 58, a poll of over 100 film historians named Kane one of the top ten greatest films ever made (the group gave first-place honors to The Battleship Potemkin). When a group of young film directors announced their vote for the top six, they were booed for not including the film.[10]\n", "In the decades since, its critical status as one of the greatest films ever made has grown, with numerous essays and books on it including Peter Cowie's The Cinema of Orson Welles, Ronald Gottesman's Focus on Citizen Kane, a collection of significant reviews and background pieces, and most notably Kael's essay, \"Raising Kane\", which promoted the value of the film to a much wider audience than it had reached before.[9]:120 Despite its criticism of Welles, it further popularized the notion of Citizen Kane as the great American film. The rise of art house and film society circuits also aided in the film's rediscovery.[9]:119\n", "The British magazine Sight & Sound has produced a Top Ten list surveying film critics every decade since 1952, and is regarded as one of the most respected barometers of critical taste.[98] Citizen Kane was a runner up to the top 10 in its 1952 poll but was voted as the greatest film ever made in its 1962 poll,[99] retaining the top spot in every subsequent poll[100][101][102] until 2012, when Vertigo displaced it.[103]\n", "The film has also ranked number one in the following film \"best of\" lists: Editorial Jaguar, FIAF Centenary List, France Critics Top 10, Cahiers du cin\u00e9ma 100 films pour une cin\u00e9math\u00e8que id\u00e9ale,[104] Kinovedcheskie Zapiski, Russia Top 10, Romanian Critics Top 10, Time Out Magazine Greatest Films, and Village Voice 100 Greatest Films. Roger Ebert called Citizen Kane the greatest film ever made: \"But people don't always ask about the greatest film. They ask, 'What's your favorite movie?' Again, I always answer with Citizen Kane.\"[105]\n", "In 1989, the United States Library of Congress deemed the film \"culturally, historically, or aesthetically significant\" and selected it for preservation in the National Film Registry.[106] Citizen Kane was one of the first 25 movies designated as national treasures. The legislation creating the registry was enacted in 1988, growing out of the debate over a movie director's right to block film colorization.[107]\n", "On February 18, 1999, the United States Postal Service honored Citizen Kane by including it in its Celebrate the Century series.[108] The film was honored again February 25, 2003, in a series of U.S. postage stamps marking the 75th anniversary of the Academy of Motion Picture Arts and Sciences. Art director Perry Ferguson represents the behind-the-scenes craftsmen of filmmaking in the series; he is depicted completing a sketch for Citizen Kane.[109]\n", "Citizen Kane was ranked number one in the American Film Institute's polls of film industry artists and leaders in 1998[110] and 2007.[111] \"Rosebud\" was chosen the 17th most memorable movie quotation in a 2005 AFI poll.[112] The film's score was one of 250 nominees for the top 25 film scores in American cinema in another 2005 AFI poll.[113]\n", "The film currently has a 100% rating at Rotten Tomatoes, based on 66 reviews by approved critics.[114]\n", "Despite the critical success of Citizen Kane it nevertheless marked a decline in Welles's fortunes. In the book Whatever Happened to Orson Welles?, Joseph McBride argues that the problems in making Citizen Kane caused lasting damage to his career. The damage started with RKO violating its contract with him by taking his next film, The Magnificent Ambersons, away from him and adding a happy ending against his will.[10] Hollywood's treatment of Welles and his work ultimately led to his self-imposed exile in Europe for much of the rest of his career, where he found a more sympathetic audience.[citation needed]\n", "The documentary The Battle Over Citizen Kane posits that Welles's own life story resembled that of Kane far more than Hearst's: an overreaching wunderkind who ended up mournful and lonely in his old age. Citizen Kane's editor, Robert Wise, summarized: \"Well, I thought often afterwards, only in recent years when I saw the film again two or three years ago when they had the fiftieth anniversary, and I suddenly thought to myself, well, Orson was doing an autobiographical film and didn't realize it, because it's rather much the same, you know. You start here, and you have a big rise and tremendous prominence and fame and success and whatnot, and then tail off and tail off and tail off. And at least the arc of the two lives were very much the same ....\"[43]\n", "Peter Bogdanovich, who was friends with Welles in his later years, disagreed with this on his own commentary on the Citizen Kane DVD, saying that Kane was nothing like Welles. Kane, he said, \"... had none of the qualities of an artist, Orson had all the qualities of an artist.\" Bogdanovich also noted that Welles was never bitter \"... about all the bad things that happened to him ...,\" and was a man who enjoyed life in his final years. In addition, critics have reassessed Welles' career after his death, saying that he wasn't a failed Hollywood filmmaker, but a successful independent filmmaker.[115][page\u00a0needed]\n", "Film critic Kim Newman believed the film's influence was visible in the film noir that followed, as well as the 1942 Hepburn-Tracy film Keeper of the Flame. Martin Scorsese ranks it as one of his favorite films of all time.[116]\n", "The film's structure influenced the biographical films Lawrence of Arabia and Mishima: A Life in Four Chapters\u00a0\u2013 which begin with the subject's death and show their life in flashbacks\u00a0\u2013 as well as Welles's thriller Mr. Arkadin.[10]\n", "The film, for its topic of mass media manipulation of public opinion, is also famous for having been frequently presented as the perfect example to demonstrate the power that media has on influencing the democratic process. This exemplary citation of the film lasted till the end of the 20th century, when the paradigm of mass media depicted in Citizen Kane needed to be updated to take into account more globalized and more internet-based media scenarios. Since the film was based on William Randolph Hearst's actions in the late 19th and early 20th centuries, that model of media influence lasted for almost a century.[117][unreliable source?] Media mogul Rupert Murdoch is sometimes labeled as a latter-day Citizen Kane.[118][119]\n", "In June 1982, Steven Spielberg spent $60,500 to buy a Rosebud sled, one of three balsa sleds used in the closing scenes and the only one that was not burned.[120][121] Spielberg had paid homage to Citizen Kane in the final shot of the government warehouse in his 1981 film, Raiders of the Lost Ark. Spielberg commented, \"Rosebud will go over my typewriter to remind me that quality in movies comes first.\"[122][unreliable source?][123]\n", "After the Spielberg purchase, news outlets began reporting the claim of Arthur Bauer, a retired helicopter pilot in New York, that he owned another Rosebud, the hardwood sled used in Buddy Swan's scenes as the young Charles Foster Kane at the beginning of Citizen Kane. \"I'm sure it could be true,\" Welles said when asked for comment.[124] In early 1942, Bauer was a 12-year-old student in Brooklyn and a member of his school's film club. He entered and won an RKO Pictures publicity contest and selected Rosebud as his prize. In 1996, Bauer's estate offered the painted pine sled at auction through Christie's.[125] Bauer's son told CBS News that his mother had once wanted to paint the sled and use it as a plant stand; \"Instead, my dad said, 'No, just save it and put it in the closet.'\"[126] On December 15, 1996, the hardwood sled was sold to an anonymous bidder in Los Angeles for $233,500.[127]\n", "In December 2007, Welles's personal copy of the last revised draft of Citizen Kane before the shooting script was sold at Sotheby's in New York for $97,000.[128] Welles's Oscar for best original screenplay was offered for sale at the same auction, but failed to reach its estimate of $800,000 to $1.2 million.[128] The Oscar, believed to have been lost by Welles, was rediscovered in 1994. Owned by the Dax Foundation, a Los Angeles based charity,[128] it was sold at auction in 2011 by an anonymous seller to an anonymous buyer for $861,542.[129]\n", "A working draft script for Citizen Kane\u00a0\u2014 with its original title, American\u00a0\u2014 was sold at auction by Sotheby's, March 5\u20136, 2014. A second-draft script marked \"Mr. Welles' working copy\" in pencil on the manila cover, it was expected to bring between $25,080 and $33,440; it sold for $164,692.[130] The same item had been sold by Christie's in December 1991, together with a working script from The Magnificent Ambersons, for $11,000.[131]\n", "A collection of 24 pages from a script of Citizen Kane was sold at auction April 26, 2014, for $15,000.[132] A collection of approximately 235 stills and production photos sold for $7,812.[133] The materials were among those found in boxes and trunks of Welles's personal possessions by his daughter Beatrice Welles.[134]\n", "The composited camera negative of Citizen Kane was destroyed in a New Jersey film laboratory fire in the 1970s. Subsequent prints were ultimately derived from a master positive (a fine-grain preservation element) made in the 1940s and originally intended for use in overseas distribution.[145] The soundtrack had not been lost.[citation needed]\n", "Modern techniques were used to produce a pristine print for a 50th Anniversary theatrical revival reissue in 1991 (released by Paramount Pictures). The 2003 British DVD edition is taken from a master positive held by the British Film Institute. The current US DVD version (released by Warner Home Video) is taken from another digital restoration, supervised by Turner's company.[citation needed] The transfer to Region 1 DVD has been criticized by some film experts for being too bright. Also, in the scene in Bernstein's office (chapter 10), rain falling outside the window has been digitally erased, probably because it was thought to be excessive film grain. These alterations are not present in the UK Region 2, which is also considered to be more accurate in terms of contrast and brightness.[citation needed]\n", "In 2003, Welles's daughter Beatrice sued Turner Entertainment and RKO Pictures, claiming the Welles estate is the legal copyright holder of the film. Her attorney said Orson Welles had left RKO with an exit deal terminating his contracts with the studio, meaning Welles still had an interest in the film, and his previous contract giving the studio the copyright of the film was null and void. Beatrice Welles also claimed, if the courts did not uphold her claim of copyright, RKO nevertheless owed the estate 20% of the profits, from a previous contract which has not been lived up to. On May 30, 2007, the appeals panel agreed Welles could proceed with the lawsuit against Turner Entertainment; the opinion partially overturning the 2004 decision by a lower court judge who had found in favor of Turner Entertainment on the issue of video rights.[146]\n", "In the 1980s, Citizen Kane became a catalyst in the controversy over the colorization of black-and-white films. In November 1986, New York Times film critic Vincent Canby wrote, \"It's something of an irony that at a time when concerned movie makers are trying to raise funds for the preservation of films originally shot in color (and which are now fading fast), other people have come along with grandiose plans to 'colorize' all black-and-white films, including, so help me, Citizen Kane and The Magnificent Ambersons.\"[147]\n", "One high-profile proponent of film colorization was Ted Turner,[148] whose Turner Entertainment Co. acquired exclusive rights for the RKO library.[149] A Turner Entertainment spokesperson initially stated that Citizen Kane would not be colorized: \"We don't think it's appropriate. We think it's fine as it is\".[150] But at a July 1988 news conference called to unveil the newly colored Casablanca, Ted Turner said, \"Citizen Kane? I'm thinking of colorizing it.\"[151]\n", "In January 1989 the Associated Press reported that two companies were producing color tests of Citizen Kane for Turner Entertainment. Criticism increased with the AP's report that filmmaker Henry Jaglom remembered that shortly before his death Orson Welles had implored him to protect Kane from being colorized.[152]\n", "On February 14, 1989, Turner Entertainment president Roger Mayer announced that work to colorize Citizen Kane had been stopped:\n", "Our attorneys looked at the contract between RKO Pictures Inc. and Orson Welles and his production company, Mercury Productions Inc., and, on the basis of their review, we have decided not to proceed with colorization of the movie. \u2026 While a court test might uphold our legal right to colorize the film, provisions of the contract could be read to prohibit colorization without permission of the Welles estate. We have completed restoration of a printing negative which now enables us to show first-rate black-and-white prints of this masterpiece.[153]\n", "\"It was rather well known that Welles had very, very complete controls. His contract is quite unusual,\" Mayer said. \"What we are saying is that when a director has final cut, it is the ultimate in creative control. The other contracts we have checked out are not like this at all.\"[154]\n", "One minute of the colorized test footage of Citizen Kane was included in a special Arena documentary, The Complete Citizen Kane, produced by the BBC in 1991.[155][156]\n", "In December 1989, Turner Home Entertainment released a colorized version of The Magnificent Ambersons on VHS.[157]\n", "The colorization controversy was a factor in the passage of the National Film Preservation Act of 1988. The legislation created the National Film Registry that in September 1989 inducted its first 25 films, including Citizen Kane and Casablanca. \"One major reason for doing this is to require people like the broadcaster Ted Turner who've been adding color to some movies and reediting others for television to put notices on those versions saying that the movies have been altered,\" reported ABC News anchor Peter Jennings.[158]\n", "On September 13, 2011, Citizen Kane was released on Blu-ray disc and DVD in a 70th anniversary box set called The Ultimate Collectors Edition.[159] \"This, quite simply, is the Blu-ray release of the year,\" wrote the San Francisco Chronicle. \"Anyone who thinks Blu-ray doesn't make much of a difference to an older, B&W movie hasn't seen this reference-quality work by Warner Home Video.\"[160] \"Citizen Kane is a film whose visual scintillation is ageless, and you have never seen it look as good as it does here, in Warner's newly restored, 1080p, AVC/MPEG-4 transfer,\" wrote DVD Talk. Supplements include separate commentary tracks by Roger Ebert and Peter Bogdanovich, carried forward from Warner's 60th anniversary edition DVD release; two additional films, The Battle Over Citizen Kane and RKO 281; and packaging extras that include a hardcover booklet and a folio containing a reproduction of the original souvenir program, miniature lobby cards and other memorabilia.[161]\n", "http://en.wikipedia.org/wiki/The_Wizard_of_Oz\n", "The Wizard of Oz may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Titanic\n", "RMS Titanic was a British passenger liner that sank in the North Atlantic Ocean in the early morning of 15\u00a0April 1912 after colliding with an iceberg during her maiden voyage from Southampton, UK to New York City, US. The sinking of Titanic caused the deaths of more than 1,500 people in one of the deadliest peacetime maritime disasters in modern history. The RMS Titanic, the largest ship afloat at the time it entered service, was the second of three Olympic class ocean liners operated by the White Star Line, and was built by the Harland and Wolff shipyard in Belfast with Thomas Andrews as her naval architect. Andrews was among those lost in the sinking. On her maiden voyage, she carried 2,224 passengers and crew." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Under the command of Edward Smith, the ship's passengers included some of the wealthiest people in the world, as well as hundreds of emigrants from Great Britain and Ireland, Scandinavia and elsewhere throughout Europe seeking a new life in North America. A wireless telegraph was provided for the convenience of passengers as well as for operational use. Although Titanic had advanced safety features such as watertight compartments and remotely activated watertight doors, there were not enough lifeboats to accommodate all of those aboard due to outdated maritime safety regulations. Titanic only carried enough lifeboats for 1,178 people\u2014slightly more than half of the number on board, and one-third her total capacity.\n", "After leaving Southampton on 10\u00a0April 1912, Titanic called at Cherbourg in France and Queenstown (now Cobh) in Ireland before heading west to New York.[2] On 14 April 1912, four days into the crossing and about 375 miles (600\u00a0km) south of Newfoundland, she hit an iceberg at 11:40\u00a0p.m. ship's time. The collision caused the ship's hull plates to buckle inwards along her starboard side and opened five of her sixteen watertight compartments to the sea; the ship gradually filled with water. Meanwhile, passengers and some crew members were evacuated in lifeboats, many of which were launched only partly loaded. A disproportionate number of men were left aboard because of a \"women and children first\" protocol followed by some of the officers loading the lifeboats.[3] By 2:20\u00a0a.m., she broke apart and foundered, with well over one thousand people still aboard. Just under two hours after Titanic foundered, the Cunard liner RMS Carpathia arrived on the scene of the sinking, where she brought aboard an estimated 705 survivors.\n", "The disaster was greeted with worldwide shock and outrage at the huge loss of life and the regulatory and operational failures that had led to it. Public inquiries in Britain and the United States led to major improvements in maritime safety. One of their most important legacies was the establishment in 1914 of the International Convention for the Safety of Life at Sea (SOLAS), which still governs maritime safety today. Additionally, several new wireless regulations were passed around the world in an effort to learn from the many missteps in wireless communications\u2014which could have saved many more passengers.[4]\n", "The wreck of Titanic remains on the seabed, split in two and gradually disintegrating at a depth of 12,415 feet (3,784\u00a0m). Since her discovery in 1985, thousands of artefacts have been recovered and put on display at museums around the world. Titanic has become one of the most famous ships in history, her memory kept alive by numerous books, folk songs, films, exhibits, and memorials.\n", "\n", "\n", "The name Titanic was derived from Greek mythology and meant gigantic. Built in Belfast, Ireland, in the United Kingdom of Great Britain and Ireland (as it then was), the RMS Titanic was the second of the three Olympic-class ocean liners\u2014the first was the RMS Olympic and the third was the HMHS Britannic.[5] They were by far the largest vessels of the British shipping company White Star Line's fleet, which comprised 29 steamers and tenders in 1912.[6] The three ships had their genesis in a discussion in mid-1907 between the White Star Line's chairman, J. Bruce Ismay, and the American financier J. P. Morgan, who controlled the White Star Line's parent corporation, the International Mercantile Marine Co. (IMM).\n", "The White Star Line faced a growing challenge from its main rivals Cunard, which had just launched the Lusitania and the Mauretania\u2014the fastest passenger ships then in service\u2014and the German lines Hamburg America and Norddeutscher Lloyd. Ismay preferred to compete on size rather than speed and proposed to commission a new class of liners that would be bigger than anything that had gone before as well as being the last word in comfort and luxury.[7] The company sought an upgrade in their fleet primarily in response to the Cunard giants but also to replace their oldest pair of passenger ships still in service, being the SS Teutonic of 1889 and SS Majestic of 1890. Teutonic was replaced by Olympic while Majestic was replaced by Titanic. Majestic would be brought back into her old spot on White Star's New York service after Titanic's loss.[citation needed]\n", "The ships were constructed by the Belfast shipbuilders Harland and Wolff, who had a long-established relationship with the White Star Line dating back to 1867.[8] Harland and Wolff were given a great deal of latitude in designing ships for the White Star Line; the usual approach was for the latter to sketch out a general concept which the former would take away and turn into a ship design. Cost considerations were relatively low on the agenda and Harland and Wolff was authorised to spend what it needed on the ships, plus a five percent profit margin.[8] In the case of the Olympic-class ships, a cost of \u00a33 million for the first two ships was agreed plus \"extras to contract\" and the usual five percent fee.[9]\n", "Harland and Wolff put their leading designers to work designing the Olympic-class vessels. The design was overseen by Lord Pirrie, a director of both Harland and Wolff and the White Star Line; naval architect Thomas Andrews, the managing director of Harland and Wolff's design department; Edward Wilding, Andrews' deputy and responsible for calculating the ship's design, stability and trim; and Alexander Carlisle, the shipyard's chief draughtsman and general manager.[10] Carlisle's responsibilities included the decorations, equipment and all general arrangements, including the implementation of an efficient lifeboat davit design.[a]\n", "On 29\u00a0July 1908, Harland and Wolff presented the drawings to J. Bruce Ismay and other White Star Line executives. Ismay approved the design and signed three \"letters of agreement\" two days later authorising the start of construction.[13] At this point the first ship\u2014which was later to become Olympic\u2014had no name, but was referred to simply as \"Number 400\", as it was Harland and Wolff's four hundredth hull. Titanic was based on a revised version of the same design and was given the number 401.[14]\n", "Titanic was 882\u00a0feet 9\u00a0inches (269.06\u00a0m) long with a maximum breadth of 92\u00a0feet 6\u00a0inches (28.19\u00a0m). Her total height, measured from the base of the keel to the top of the bridge, was 104 feet (32\u00a0m).[15] She measured 46,328 gross register tons and with a draught of 34\u00a0feet 7\u00a0inches (10.54\u00a0m), she displaced 52,310 tons.[16]\n", "All three of the Olympic-class ships had ten decks (excluding the top of the officers' quarters), eight of which were for passenger use. From top to bottom, the decks were:\n", "Titanic was equipped with three main engines\u2014two reciprocating four-cylinder, triple-expansion steam engines and one centrally placed low-pressure Parsons turbine\u2014each driving a propeller. The two reciprocating engines had a combined output of 30,000\u00a0hp and a further 16,000\u00a0hp was contributed by the turbine.[15] The White Star Line had used the same combination of engines on an earlier liner, the SS Laurentic, where it had been a great success.[26] It provided a good combination of performance and speed; reciprocating engines by themselves were not powerful enough to propel an Olympic-class liner at the desired speeds, while turbines were sufficiently powerful but caused uncomfortable vibrations, a problem that affected the all-turbine Cunard liners Lusitania and Mauretania.[27] By combining reciprocating engines with a turbine, fuel usage could be reduced and motive power increased, while using the same amount of steam.[28]\n", "The two reciprocating engines were each 63 feet (19\u00a0m) long and weighed 720 tons, with their bedplates contributing a further 195 tons.[27] They were powered by steam produced in 29 boilers, 24 of which were double-ended and 5 single-ended, which contained a total of 159 furnaces.[29] The boilers were 15\u00a0feet 9\u00a0inches (4.80\u00a0m) in diameter and 20 feet (6.1\u00a0m) long, each weighing 91.5 tons and capable of holding 48.5 tons of water.[30]\n", "They were heated by burning coal, 6,611 tons of which could be carried in Titanic's bunkers with a further 1,092 tons in Hold 3. The furnaces required over 600 tons of coal a day to be shovelled into them by hand, requiring the services of 176 firemen working around the clock.[31] 100 tons of ash a day had to be disposed of by ejecting it into the sea.[32] The work was relentless, dirty and dangerous, and although firemen were paid relatively generously[31] there was a high suicide rate among those who worked in that capacity.[33]\n", "Exhaust steam leaving the reciprocating engines was fed into the turbine, which was situated aft. From there it passed into a condenser, to increase the efficiency of the turbine and so that the steam could be condensed back into water and reused.[34] The engines were attached directly to long shafts which drove the propellers. There were three, one for each engine; the outer (or wing) propellers were the largest, each carrying three blades of manganese-bronze alloy with a total diameter of 23.5 feet (7.2\u00a0m).[30] The middle propeller was slightly smaller at 17 feet (5.2\u00a0m) in diameter,[35] and could be stopped but not reversed.\n", "Titanic's electrical plant was capable of producing more power than an average city power station of the time.[36] Immediately aft of the turbine engine were four 400\u00a0kW steam-driven electric generators, used to provide electrical power to the ship, plus two 30\u00a0kW auxiliary generators for emergency use.[37] Their location in the stern of the ship meant that they remained operational until the last few minutes before the ship sank.[38]\n", "The interiors of the Olympic-class ships were subdivided into sixteen primary compartments divided by fifteen bulkheads which extended well above the waterline. Eleven vertically closing watertight doors could seal off the compartments in the event of an emergency.[39] The ships' exposed decking was made of pine and teak, while interior ceilings were covered in painted granulated cork to combat condensation.[40] Standing above the decks were four funnels, each painted buff with black tops, (though only three were functional\u2014the last one was a dummy, installed for aesthetic purposes and also for kitchen ventilation)\u2014and two masts, each 155 feet (47\u00a0m) high, which supported derricks for working cargo.\n", "Titanic's rudder was large enough\u2014at 78\u00a0feet 8\u00a0inches (23.98\u00a0m) high and 15\u00a0feet 3\u00a0inches (4.65\u00a0m) long, weighing over 100 tons\u2014that it required steering engines to move it. Two steam-powered steering engines were installed though only one was used at any one time, with the other one kept in reserve. They were connected to the short tiller through stiff springs, to isolate the steering engines from any shocks in heavy seas or during fast changes of direction.[41] As a last resort, the tiller could be moved by ropes connected to two steam capstans.[42] The capstans were also used to raise and lower the ship's five anchors (one port, one starboard, one in the centreline and two kedging anchors).[42]\n", "The ship was equipped with her own waterworks, capable of heating and pumping water to all parts of the vessel via a complex network of pipes and valves. The main water supply was taken aboard while Titanic was in port, but in an emergency the ship could also distil fresh water from seawater, though this was not a straightforward process as the distillation plant quickly became clogged by salt deposits. A network of insulated ducts conveyed warm air, driven by electric fans, around the ship, and First Class cabins were fitted with additional electric heaters.[36]\n", "Titanic was equipped with two 1.5\u00a0kW quenched spark-gap transmitters for wireless telegraphy located in the radio room on the Boat Deck, in the Officers' quarters. One set was used for transmitting messages and the other, located in a soundproofed booth called the \"Silent Room\", for receiving them. The signals were transmitted through two parallel wires strung between the ship's masts, 50 feet (15\u00a0m) above the funnels to avoid the corrosive smoke.[36] The system was one of the most powerful in the world, with a range of up to 1,000 miles (1,609\u00a0km).[43] It was owned and operated by the Marconi International Marine Communication Company rather than the White Star Line, and was intended primarily for passengers rather than ship operations. The function of the two wireless operators\u2014both Marconi employees\u2014was to operate a 24-hour service sending and receiving wireless telegrams for passengers. They did, however, also pass on professional ship messages such as weather reports and ice warnings.[44]\n", "The passenger facilities aboard Titanic aimed to meet the highest standards of luxury. According to Titanic's general arrangement plans, the ship could accommodate 833 First Class Passengers, 614 in Second Class and 1,006 in Third Class, for a total passenger capacity of 2,453. In addition, her capacity for crew members exceeded 900, as most documents of her original configuration have stated that her full carrying capacity for both passengers and crew was approximately 3,547. Her interior design was a departure from that of other passenger liners, which had typically been decorated in the rather heavy style of a manor house or an English country house.[45]\n", "Titanic was laid out in a much lighter style similar to that of contemporary high-class hotels\u2014the Ritz Hotel was a reference point\u2014with First Class cabins finished in the Empire style.[45] A variety of other decorative styles, ranging from the Renaissance to Victorian, were used to decorate cabins and public rooms in First and Second Class areas of the ship. The aim was to convey an impression that the passengers were in a floating hotel rather than a ship; as one passenger recalled, on entering the ship's interior a passenger would \"at once lose the feeling that we are on board ship, and seem instead to be entering the hall of some great house on shore\".[46]\n", "Passengers could use an on-board telephone system, a lending library and a large barber shop.[47] The First Class section had a swimming pool, a gymnasium, a squash court, a Turkish bath, an electric bath and a Verandah Cafe.[46] First Class common rooms were adorned with ornate wood panelling, expensive furniture and other decorations, while the Third Class general room had pine panelling and sturdy teak furniture.[48] The Caf\u00e9 Parisien was located on a sunlit veranda fitted with trellis decorations and offered the best French haute cuisine for First Class passengers.[49]\n", "Third Class (also commonly referred to as Steerage) accommodations aboard Titanic were not as luxurious as First Class, but even so were better than on many other ships of the time. They reflected the improved standards which the White Star Line had adopted for trans-Atlantic immigrant and lower-class travel. On most other North Atlantic passenger ships at the time, Third Class accommodations consisted of little more than open dormitories in the forward end of the vessels, in which hundreds of people were confined, often without adequate food or toilet facilities.\n", "The White Star Line had long since broken that mould. As seen aboard Titanic, all White Star Line passenger ships divided their Third Class accommodations into two sections, always at opposite ends of the vessel from one another. The established arrangement was that single men were quartered in the forward areas, while single women, married couples and families were quartered aft. In addition, while other ships provided only open berth sleeping arrangements, White Star Line vessels provided their Third Class passengers with private, small but comfortable cabins capable of accommodating two, four, six, eight and ten passengers.\n", "Third Class accommodations also included their own dining rooms, as well as public gathering areas including adequate open deck space, which aboard Titanic included the Forecastle Deck forward, the Poop Deck aft, both well decks and a large open space on D Deck which could be used as a social hall. This was supplemented by the addition of a smoking room for men and a reading room for women, and although they were not as glamorous in design as spaces seen in upper class accommodations, they were still far above average for the period.[citation needed]\n", "Leisure facilities were provided for all three classes to pass the time. As well as making use of the indoor amenities such as the library, smoking rooms, and gymnasium, it was also customary for passengers to socialise on the open deck, promenading or relaxing in hired deck chairs or wooden benches. A passenger list was published before the sailing to inform the public which members of the great and good were on board, and it was not uncommon for ambitious mothers to use the list to identify rich bachelors to whom they could introduce their marriageable daughters during the voyage.[50]\n", "One of Titanic's most distinctive features was her First Class staircase, known as the Grand Staircase or Grand Stairway. This descended through seven decks of the ship, from the Boat Deck to E deck in the elegant style depicted in photographs and movies, and then as a more functional and less elegant staircase from there down to F deck.[51] It was capped with a dome of wrought iron and glass that admitted natural light. Each landing off the staircase gave access to ornate entrance halls lit by gold-plated light fixtures.[52]\n", "At the uppermost landing was a large carved wooden panel containing a clock, with figures of \"Honour and Glory Crowning Time\" flanking the clock face.[51] The Grand Staircase was destroyed in Titanic's sinking and is now just a void in the ship which modern explorers have used to access the lower decks.[53] During the filming of James Cameron's Titanic in 1997, his replica of the Grand Staircase was ripped from its foundations by the force of the inrushing water on the set. It has been suggested that during the real event, the entire Grand Staircase was ejected upwards through the dome.[54]\n", "\n", "Although Titanic was primarily a passenger liner, she also carried a substantial amount of cargo. Her designation as a Royal Mail Ship (RMS) indicated that she carried mail under contract with the Royal Mail (and also for the United States Post Office Department). For the storage of letters, parcels and specie (bullion, coins and other valuables) 26,800 cubic feet (760\u00a0m3) of space in her holds was allocated. The Sea Post Office on G Deck was manned by five postal clerks, three Americans and two Britons, who worked thirteen hours a day, seven days a week sorting up to 60,000 items daily.[56]\n", "The ship's passengers brought with them a huge amount of baggage; another 19,455 cubic feet (550.9\u00a0m3) was taken up by first- and second-class baggage. In addition, there was a considerable quantity of regular cargo, ranging from furniture to foodstuffs and even motor cars.[56] Despite later myths, the cargo on Titanic's maiden voyage was fairly mundane; there was no gold, exotic minerals or diamonds, and one of the more famous items lost in the shipwreck, a jewelled copy of the Rubaiyat of Omar Khayyam, was valued at only \u00a3405 (\u00a334,986 today).[57] According to the claims for compensation filed with Commissioner Gilchrist, following the conclusion of the Senate Inquiry, the single most highly valued item of luggage or cargo was a large neoclassical oil painting entitled La Circassienne au Bain by French artist Merry-Joseph Blondel. The painting\u2019s owner, first class passenger Mauritz H\u00e5kan Bj\u00f6rnstr\u00f6m-Steffansson, filed a claim for $100,000 ($2.4 million equivalent in 2014) in compensation for the loss of the artwork. [58]\n", "Titanic was equipped with eight electric cranes, four electric winches and three steam winches to lift cargo and baggage in and out of the hold. It is estimated that the ship used some 415 tons of coal whilst in Southampton, simply generating steam to operate the cargo winches and provide heat and light.[59]\n", "Titanic carried a total of 20 lifeboats: 14 standard wooden Harland and Wolff lifeboats with a capacity of 65\u00a0people each and four Englehardt \"collapsible\" (wooden bottom, collapsible canvas sides) lifeboats (identified as A to D) with a capacity of 47\u00a0people each. In addition, she had two emergency cutters with a capacity of 40\u00a0people each.[60][d] Olympic herself did not even carry the four collapsibles A\u2013D in the 1911\u201312 season. All of the lifeboats were stowed securely on the boat deck and, except for collapsible lifeboats\u00a0A and B, connected to davits by ropes. Those on the starboard side were odd-numbered 1\u201315 from bow to stern, while those on the port side were even-numbered 2\u201316 from bow to stern.[61]\n", "The two cutters were kept swung out, hanging from the davits, ready for immediate use, while collapsible lifeboats\u00a0C and D were stowed on the boat deck (connected to davits) immediately inboard of boats\u00a01 and 2 respectively. A and B were stored on the roof of the officers' quarters, on either side of number\u00a01 funnel. There were no davits to lower them and their weight would make them challenging to launch by hand.[61] Each boat carried (among other things) food, water, blankets, and a spare life belt. Lifeline ropes on the boats' sides enabled them to save additional people from the water if necessary.\n", "Titanic had 16 sets of davits, each able to handle 4 lifeboats. This gave Titanic the ability to carry up to 64 wooden lifeboats[62] which would have been enough for 4,000\u00a0people\u2014considerably more than her actual capacity. However, the White Star Line decided that only 16 wooden lifeboats and four collapsibles would be carried, which could accommodate 1,178\u00a0people, only one-third of Titanic\u200a'\u200bs total capacity. At the time, the Board of Trade's regulations required British vessels over 10,000\u00a0tons to carry 16\u00a0lifeboats with a capacity of 990 occupants.[60]\n", "Therefore, the White Star Line actually provided more lifeboat accommodation than was legally required.[63][e] At the time, lifeboats were intended to ferry survivors from a sinking ship to a rescuing ship\u2014not keep afloat the whole population or power them to shore. Had the SS Californian responded to Titanic's distress calls, the lifeboats would have been adequate to ferry the passengers to safety as planned.[65]\n", "The sheer size of Titanic and her sister ships posed a major engineering challenge for Harland and Wolff; no shipbuilder had ever before attempted to construct vessels this large. The ships were constructed on Queen's Island, now known as the Titanic Quarter, in Belfast Harbour. Harland and Wolff had to demolish three existing slipways and build two new ones, the biggest ever constructed up to that time, to accommodate the giant ships.[9] Their construction was facilitated by an enormous gantry built by Sir William Arrol & Co., a Scottish firm responsible for the building of the Forth Bridge and London's Tower Bridge. The Arrol Gantry stood 228 feet (69\u00a0m) high, was 270 feet (82\u00a0m) wide and 840 feet (260\u00a0m) long, and weighed more than 6,000 tons. It accommodated a number of mobile cranes. A separate floating crane, capable of lifting 200 tons, was brought in from Germany.[66]\n", "The construction of Titanic and Olympic took place virtually in parallel, with Olympic's hull laid down first on 16\u00a0December 1908 and Titanic's on 31\u00a0March 1909.[14] Both ships took about 26 months to build and followed much the same construction process. They were designed essentially as an enormous floating box girder, with the keel acting as a backbone and the frames of the hull forming the ribs. At the base of the ships, a double bottom 5\u00a0feet 3\u00a0inches (1.60\u00a0m) deep supported 300 frames, each between 24 inches (61\u00a0cm) and 36 inches (91\u00a0cm) apart and measuring up to about 66 feet (20\u00a0m) long. They terminated at the bridge deck (B Deck) and were covered with steel plates which formed the outer skin of the ships.[67]\n", "The 2,000 hull plates were single pieces of rolled steel, mostly up to 6 feet (1.8\u00a0m) wide and 30 feet (9.1\u00a0m) long and weighing between 2.5 and 3 tons.[68] Their thickness varied from 1 inch (2.5\u00a0cm) to 1.5 inches (3.8\u00a0cm).[39] The plates were laid in a clinkered (overlapping) fashion from the keel to the bilge. Above that point they were laid in the \"in and out\" fashion, where strake plating was applied in bands (the \"in strakes\") with the gaps covered by the \"out strakes\", overlapping on the edges. Steel welding was still in its infancy so the structure had to be held together with over three million iron and steel rivets which by themselves weighed over 1,200 tons. They were fitted using hydraulic machines or were hammered in by hand.[69]\n", "The work of constructing the ships was difficult and dangerous. For the 15,000 men who worked at Harland and Wolff at the time,[70] safety precautions were rudimentary at best; a lot of the work was dangerous and was carried out without any safety equipment like hard hats or hand guards on machinery. As a result, deaths and injuries were to be expected. During Titanic's construction, 246 injuries were recorded, 28 of them \"severe\", such as arms severed by machines or legs crushed under falling pieces of steel. Six people died on the ship herself while she was being constructed and fitted out and another two died in the shipyard workshops and sheds.[71] Just before the launch a worker was killed when a piece of wood fell on him.[72]\n", "Titanic was launched at 12:15\u00a0p.m. on 31 May 1911 in the presence of Lord Pirrie, J. Pierpoint Morgan and J. Bruce Ismay and 100,000 onlookers.[73] 22 tons of soap and tallow were spread on the slipway to lubricate the ship's passage into the River Lagan.[72] In keeping with the White Star Line's traditional policy, the ship was not formally named or christened with champagne.[73] The ship was towed to a fitting-out berth where, over the course of the next year, her engines, funnels and superstructure were installed and her interior was fitted out.[74]\n", "Although Titanic was virtually identical to the class's lead ship Olympic, a few changes were made to differentiate the two ships. The most noticeable of these was that Titanic (and the third vessel in class Britannic) had a steel screen with sliding windows installed along the forward half of the A Deck promenade. This was installed as a last minute change at the personal request of Bruce Ismay, and was intended to provide additional shelter to first class passengers.[75] These changes made Titanic marginally heavier than her sister, and thus she could claim to be the largest ship afloat. The work took longer than expected due to design changes ordered by Ismay and a temporary pause in work occasioned by the need to repair Olympic, which had been in a collision in September 1911. Had Titanic been finished earlier, she might well have missed her collision with an iceberg.[72]\n", "\n", "Titanic's sea trials began at 6\u00a0a.m. on Tuesday, 2\u00a0April 1912, just two days after her fitting out was finished and eight days before she was due to leave Southampton on her maiden voyage.[76] The trials were delayed for a day due to bad weather, but by Monday morning it was clear and fair.[77] Aboard were 78 stokers, greasers and firemen, and 41\u00a0members of crew. No domestic staff appear to have been aboard. Representatives of various companies travelled on Titanic\u200a'\u200bs sea trials, Thomas Andrews and Edward Wilding of Harland and Wolff and Harold A. Sanderson of IMM. Bruce Ismay and Lord Pirrie were too ill to attend. Jack Phillips and Harold Bride served as radio operators, and performed fine-tuning of the Marconi equipment. Francis Carruthers, a surveyor from the Board of Trade, was also present to see that everything worked, and that the ship was fit to carry passengers.[78]\n", "The sea trials consisted of a number of tests of her handling characteristics, carried out first in Belfast Lough and then in the open waters of the Irish Sea. Over the course of about twelve hours, Titanic was driven at different speeds, her turning ability was tested and a \"crash stop\" was performed in which the engines were reversed full ahead to full astern, bringing her to a stop in 850\u00a0yd (777\u00a0m) or 3 minutes and 15 seconds.[79] The ship covered a distance of about 80 nautical miles (92\u00a0mi; 150\u00a0km), averaging 18 knots (21\u00a0mph; 33\u00a0km/h) and reaching a maximum speed of just under 21 knots (24\u00a0mph; 39\u00a0km/h).[80]\n", "On returning to Belfast at about 7\u00a0p.m., the surveyor signed an \"Agreement and Account of Voyages and Crew\", valid for twelve months, which declared the ship seaworthy. An hour later, Titanic left Belfast again\u2014as it turned out, for the last time\u2014to head to Southampton, a voyage of about 570 nautical miles (660\u00a0mi; 1,060\u00a0km). After a journey lasting about 28 hours she arrived about midnight on 4 April and was towed to the port's Berth 44, ready for the arrival of her passengers and the remainder of her crew.[81]\n", "Both Olympic and Titanic registered Liverpool as their home port. The offices of the White Star Line as well as Cunard were in Liverpool, and up until the introduction of the Olympic, most British ocean liners for both Cunard and White Star, such as Lusitania and Mauretania, sailed out of Liverpool followed by a port of call in Ireland. However, the Olympic class liners were to sail out of the port of Southampton on England's southern coast. Southampton had many advantages over Liverpool, the first being its closer proximity to London.[82]\n", "In addition, Southampton, being on England's southern coast, allowed ships to easily cross the English Channel and make a port of call in northern France, usually at Cherbourg. This allowed British ships to pick up clientele from continental Europe before recrossing the channel and picking up passengers in southern Ireland. The Southampton-Cherbourg-New York run would become so popular that most British ocean liners began using the port after World War I. Out of respect for Liverpool, ships continued to be registered there until the early 1960s. Queen Elizabeth 2 was one of the first ships registered in Southampton when introduced into service by Cunard in 1969.[82]\n", "Titanic's maiden voyage was intended to be the first of many cross-Atlantic journeys between Southampton in England, Cherbourg in France, Queenstown in Ireland and New York in the United States, returning via Plymouth in England on the eastbound leg. Indeed, her entire schedule of voyages through to December 1912 still exists.[83] The White Star Line intended to operate three ships on that route: Titanic, Olympic and the smaller RMS Oceanic.[84]\n", "Each would sail once every three weeks from Southampton and New York, usually leaving at noon each Wednesday from Southampton and each Saturday from New York, thus enabling the White Star Line to offer weekly sailings in each direction. Special trains were scheduled from London and Paris to convey passengers to Southampton and Cherbourg respectively.[84] The deep-water dock at Southampton, then known as the \"White Star Dock\", had been specially constructed to accommodate the new Olympic-class liners, and had opened in 1911.[85]\n", "\n", "Titanic had around 885 crew members on board for her maiden voyage.[86] Like other vessels of her time, she did not have a permanent crew, and the vast majority of crew members were casual workers who only came aboard the ship a few hours before she sailed from Southampton.[87] The process of signing up recruits had begun on 23\u00a0March and some had been sent to Belfast, where they served as a skeleton crew during Titanic's sea trials and passage to England at the start of April.[88]\n", "Captain Edward John Smith, the most senior of the White Star Line's captains, was transferred from Olympic to take command of Titanic.[89] Henry Tingle Wilde also came across from Olympic to take the post of Chief Mate. Titanic's previously designated Chief Mate and First Officer, William McMaster Murdoch and Charles Lightoller, were bumped down to the ranks of First and Second Officer respectively. The original Second Officer, David Blair, was dropped altogether.[90][f]\n", "Titanic's crew were divided into three principal departments: Deck, with 66 crew; Engine, with 325; and Victualling, with 494.[91] The vast majority of the crew were thus not seamen, but were either engineers, firemen, or stokers, responsible for looking after the engines, or stewards and galley staff, responsible for the passengers.[92] Of these, over 97% were male; just 23 of the crew were female, mainly stewardesses.[93] The rest represented a great variety of professions\u2014bakers, chefs, butchers, fishmongers, dishwashers, stewards, gymnasium instructors, laundrymen, waiters, bed-makers, cleaners, and even a printer,[93] who produced a daily newspaper for passengers called the Atlantic Daily Bulletin with the latest news received by the ship's wireless operators.[44][g]\n", "Most of the crew signed on in Southampton on 6\u00a0April;[14] in all, 699 of the crew came from there, and 40 percent were natives of the town.[93] A few specialist staff were self-employed or were subcontractors. These included the five postal clerks, who worked for the Royal Mail and the United States Post Office Department, the staff of the First Class A La Carte Restaurant and the Caf\u00e9 Parisien, the radio operators (who were employed by Marconi) and the eight musicians, who were employed by an agency and travelled as second-class passengers.[95] Crew pay varied greatly, from Captain Smith's \u00a3105 a month (equivalent to \u00a39,071 today) to the \u00a33 10s (\u00a3302 today) that stewardesses earned. The lower-paid victualling staff could, however, supplement their wages substantially through tips from passengers.[94]\n", "Titanic's passengers numbered around 1,317\u00a0people: 324 in First Class, 284 in Second Class. and 709 in Third Class. Of these, 869 (66%) were male and 447 (34%) female. There were 107 children aboard, the largest number of which were in Third Class.[96] The ship was considerably under capacity on her maiden voyage, as she could accommodate 2,566 passengers\u20141,034 First Class, 510 Second Class, and 1,022 Third Class.[97]\n", "Usually, a high prestige vessel like Titanic could expect to be fully booked on its maiden voyage. However, a national coal strike in the UK had caused considerable disruption to shipping schedules in the spring of 1912, causing many crossings to be cancelled. Many would-be passengers chose to postpone their travel plans until the strike was over. The strike had finished a few days before Titanic sailed; however, that was too late to have much of an effect. Titanic was able to sail on the scheduled date only because coal was transferred from other vessels which were tied up at Southampton, such as City of New York and Oceanic as well as coal Olympic had brought back from a previous voyage to New York and which had been stored at the White Star Dock.[75]\n", "Some of the most prominent people of the day booked a passage aboard Titanic, travelling in First Class. Among them were the American millionaire John Jacob Astor IV and his wife Madeleine Force Astor, industrialist Benjamin Guggenheim, Macy's owner Isidor Straus and his wife Ida, Denver millionairess Margaret \"Molly\" Brown,[h] Sir Cosmo Duff Gordon and his wife, couturi\u00e8re Lucy (Lady Duff-Gordon), cricketer and businessman John Borland Thayer with his wife Marian together with their son Jack, the Countess of Rothes, author and socialite Helen Churchill Candee, journalist and social reformer William Thomas Stead, author Jacques Futrelle with his wife May, and silent film actress Dorothy Gibson, among others.[98] Titanic's owner J. P. Morgan was scheduled to travel on the maiden voyage, but cancelled at the last minute.[99] Also aboard the ship were the White Star Line's managing director J. Bruce Ismay and Titanic's designer Thomas Andrews, who was on board to observe any problems and assess the general performance of the new ship.[100]\n", "The exact number of people aboard is not known as not all of those who had booked tickets made it to the ship; about fifty people cancelled for various reasons,[101] and not all of those who boarded stayed aboard for the entire journey.[102] Fares varied depending on class and season. Third Class fares from London, Southampton or Queenstown cost \u00a37 5s (equivalent to \u00a3626 today) while the cheapest First Class fares cost \u00a323 (\u00a31,987 today).[84] The most expensive First Class suites were to have cost up to \u00a3870 in high season (\u00a375,156 today).[97]\n", "On Wednesday 10\u00a0April 1912 Titanic's maiden voyage began. Following the embarkation of the crew the passengers began arriving from 9:30\u00a0a.m. when the London and South Western Railway's boat train from London Waterloo station reached Southampton Terminus railway station on the quayside, right alongside Titanic's berth.[103] The large number of Third Class passengers meant that they were the first to board, with First and Second Class passengers following up to within an hour of departure. Stewards showed them to their cabins and First Class passengers were personally greeted by Captain Smith on boarding.[104] Third Class passengers were inspected for ailments and physical impairments that might lead to them being refused entry to the United States\u2014not a prospect that the White Star Line wished to see, as it would have to carry them back across the Atlantic.[101] 922 passengers were recorded as having embarked Titanic at Southampton. Further passengers were picked up at Cherbourg and Queenstown.[75]\n", "The maiden voyage began on time at noon. An accident was narrowly averted only a few minutes later as Titanic passed the moored liners SS City of New York and Oceanic. Her huge displacement caused both of the smaller ships to be lifted by a bulge of water, then dropped into a trough. New York's mooring cables could not take the sudden strain and snapped, swinging her around stern-first towards Titanic. A nearby tugboat, Vulcan, came to the rescue by taking New York under tow and Captain Smith ordered Titanic's engines to be put \"full astern\".[105] The two ships avoided a collision by a matter of about 4 feet (1.2\u00a0m). The incident delayed Titanic's departure for about an hour while the drifting New York was brought under control.[106]\n", "After making it safely through the complex tides and channels of Southampton Water and the Solent, Titanic headed out into the English Channel. She headed for the French port of Cherbourg, a journey of 77 nautical miles (89\u00a0mi; 143\u00a0km).[107] The weather was windy, very fine but cold and overcast.[108] Because Cherbourg lacked docking facilities for a ship the size of Titanic, tenders had to be used to transfer passengers from shore to ship. The White Star Line operated two at Cherbourg, the SS Traffic and the SS Nomadic. Both had been designed specifically as tenders for the Olympic-class liners and were launched shortly after Titanic.[109] (Nomadic is today the only White Star Line ship still afloat.) Four hours after Titanic left Southampton, she arrived at Cherbourg and was met by the tenders. 274 more passengers boarded Titanic and 24 left aboard the tenders to be conveyed to shore. The process was completed within only 90 minutes and at 8\u00a0p.m. Titanic weighed anchor and left for Queenstown[110] with the weather continuing cold and windy.[108]\n", "At 11:30\u00a0a.m. on Thursday 11\u00a0April, Titanic arrived at Cork Harbour on the south coast of Ireland. It was a partly cloudy but relatively warm day with a brisk wind.[108] Again, the dock facilities were not suitable for a ship of her size, and tenders were used to bring passengers aboard. 113 Third Class and seven Second Class passengers came aboard, while seven passengers left. Among the departures was Father Francis Browne, a Jesuit trainee, who was a keen photographer and took many photographs aboard Titanic, including the last-ever known photograph of the ship. A decidedly unofficial departure was that of a crew member, stoker John Coffey, a native of Queenstown who sneaked off the ship by hiding under mail bags being transported to shore.[111] Titanic weighed anchor for the last time at 1:30\u00a0p.m. and departed on her westward journey across the Atlantic.[111]\n", "\n", "After leaving Queenstown Titanic followed the Irish coast as far as Fastnet Rock,[112] a distance of some 55 nautical miles (63\u00a0mi; 102\u00a0km). From there she travelled 1,620 nautical miles (1,860\u00a0mi; 3,000\u00a0km) along a Great Circle route across the North Atlantic to reach a spot in the ocean known as \"the corner\" south-east of Newfoundland, where westbound steamers carried out a change of course. Titanic sailed only a few hours past the corner on a rhumb line leg of 1,023 nautical miles (1,177\u00a0mi; 1,895\u00a0km) to Nantucket Shoals Light when she made her fatal contact with an iceberg.[113] The final leg of the journey would have been 193 nautical miles (222\u00a0mi; 357\u00a0km) to Ambrose Light and finally to New York Harbor.[114]\n", "The first three days of the voyage from Queenstown passed without incident. From 11\u00a0April to local apparent noon the next day, Titanic covered 484 nautical miles (557\u00a0mi; 896\u00a0km); the following day, 519 nautical miles (597\u00a0mi; 961\u00a0km); and by noon on the final day of her voyage, 546 nautical miles (628\u00a0mi; 1,011\u00a0km). From then until the time of her sinking she travelled another 258 nautical miles (297\u00a0mi; 478\u00a0km), averaging about 21 knots (24\u00a0mph; 39\u00a0km/h).[115]\n", "The weather cleared as she left Ireland under cloudy skies with a headwind. Temperatures remained fairly mild on Saturday 13\u00a0April, but the following day Titanic crossed a cold weather front with strong winds and waves of up to 8 feet (2.4\u00a0m). These died down as the day progressed until, by the evening of Sunday 14\u00a0April, it became clear, calm and very cold.[116]\n", "Titanic received a series of warnings from other ships of drifting ice in the area of the Grand Banks of Newfoundland.[117] Nonetheless the ship continued to steam at full speed, which was standard practice at the time.[118] Although the ship was not trying to set a speed record (a perennial myth[119][120]), timekeeping was a priority, and under prevailing maritime practices, ships were often operated at close to full speed, with ice warnings seen as advisories and reliance placed upon lookouts and the watch on the bridge.[118] It was generally believed that ice posed little danger to large vessels. Close calls with ice were not uncommon, and even head-on collisions had not been disastrous. In 1907 SS Kronprinz Wilhelm, a German liner, had rammed an iceberg but still been able to complete her voyage, and Captain Smith himself had declared in 1907 that he could not \"imagine any condition which would cause a ship to founder. Modern shipbuilding has gone beyond that.\"[121][i]\n", "At 11:40\u00a0p.m. on 14 April (ship's time), lookout Frederick Fleet spotted an iceberg immediately ahead of Titanic and alerted the bridge.[124] First Officer William Murdoch ordered the ship to be steered around the obstacle and the engines to be put in reverse,[125] but it was too late; the starboard side of Titanic struck the iceberg, creating a series of holes below the waterline.[j] Five of the ship's watertight compartments were breached. It soon became clear that the ship was doomed, as she could not survive more than four compartments being flooded. Titanic began sinking bow-first, with water spilling from compartment to compartment as her angle in the water became steeper.[132]\n", "Those aboard Titanic were ill-prepared for such an emergency. In accordance with accepted practices of the time, where ships were seen as largely unsinkable and lifeboats were intended to transfer passengers to nearby rescue vessels,[133][k] Titanic only had enough lifeboats to carry about half of those on board; if the ship had carried her full complement of about 3,339 passengers and crew, only about a third could have been accommodated in the lifeboats.[135] The crew had not been trained adequately in carrying out an evacuation. The officers did not know how many they could safely put aboard the lifeboats and launched many of them barely half-full.[136] Third-class passengers were largely left to fend for themselves, causing many of them to become trapped below decks as the ship filled with water.[137] The \"women and children first\" protocol was generally followed for the loading of the lifeboats[137] and most of the male passengers and crew were left aboard.\n", "At 2:20\u00a0a.m., two hours and forty minutes after Titanic struck the iceberg, her rate of sinking suddenly increased as her forward deck dipped underwater and the sea poured in through open hatches and grates.[138] As her unsupported stern rose out of the water, exposing the propellers, the ship began to break in two between the third and fourth funnels due to the immense strain on the keel.[139] With the bow underwater, and air trapped in the stern, the stern remained afloat and buoyant for a few minutes longer, rising to a nearly vertical angle with hundreds of people still clinging to it,[140] before sinking. For many years it was generally believed the ship sank in one piece; however, when the wreck was located many years later, it was discovered that the ship had fully broken in two. All remaining passengers and crew were plunged into lethally cold water with a temperature of 28\u00a0\u00b0F (\u22122\u00a0\u00b0C).[l] Almost all of those in the water died of cardiac arrest or other causes within 15\u201330 minutes.[143] Only 13 of them were helped into the lifeboats though these had room for almost 500 more people.[144]\n", "Distress signals were sent by wireless, rockets and lamp, but none of the ships that responded was near enough to reach her before she sank.[145] A nearby ship, Californian, which was the last to have been in contact with her before the collision, saw her flares but failed to assist.[146] Around 4\u00a0a.m., RMS Carpathia arrived on the scene in response to Titanic's earlier distress calls.[147] About 710\u00a0people survived the disaster and were conveyed by Carpathia to New York, Titanic's original destination, while 1,500\u00a0people lost their lives.[86] Carpathia's captain described the place as an ice field that had included 20\u00a0large bergs measuring up to 200 feet (61\u00a0m) high and numerous smaller bergs, as well as ice floes and debris from Titanic; passengers described being in the middle of a vast white plain of ice, studded with icebergs.[148]\n", "\n", "Carpathia took three days to reach New York after leaving the scene of the disaster. Her journey was slowed by pack ice, fog, thunderstorms and rough seas.[149] She was, however, able to pass news to the outside world by wireless about what had happened. The initial reports were confused, leading the American press to report erroneously on 15\u00a0April that Titanic was being towed to port by the SS Virginian.[150]\n", "Later that day, confirmation came through that Titanic had been lost and that most of her passengers and crew had died.[151] The news attracted crowds of people to the White Star Line's offices in London, New York, Montreal,[152] Southampton,[153] Liverpool and Belfast.[citation needed] It hit hardest in Southampton, whose people suffered the greatest losses from the sinking.[154] 4 out of 5 crew members came from this town.[155][n]\n", "Carpathia docked at 9:30\u00a0p.m. on 18\u00a0April at New York's Pier 54 and was greeted by some 40,000\u00a0people waiting at the quayside in heavy rain.[158] Immediate relief in the form of clothing and transportation to shelters was provided by the Women's Relief Committee, the Travelers Aid Society of New York, and the Council of Jewish Women, among other organisations.[159] Many of Titanic's surviving passengers did not linger in New York but headed onwards immediately to relatives' homes. Some of the wealthier survivors chartered private trains to take them home, and the Pennsylvania Railroad laid on a special train free of charge to take survivors to Philadelphia. Titanic's 214 surviving crew members were taken to the Red Star Line's steamer SS Lapland, where they were accommodated in passenger cabins.[160]\n", "Carpathia was hurriedly restocked with food and provisions before resuming her journey to Fiume, Austria-Hungary. Her crew were given a bonus of a month's wages by Cunard as a reward for their actions, and some of Titanic's passengers joined together to give them an additional bonus of nearly \u00a3900 (\u00a377,747 today), divided among the crew members.[161]\n", "The ship's arrival in New York led to a frenzy of press interest, with newspapers competing to be the first to report the survivors' stories. Some reporters bribed their way aboard the pilot boat New York, which guided Carpathia into harbour, and one even managed to get onto Carpathia before she docked.[162] Crowds gathered outside newspaper offices to see the latest reports being posted in the windows or on billboards.[163] It took another four days for a complete list of casualties to be compiled and released, adding to the agony of relatives waiting for news of those who had been aboard Titanic.[o]\n", "\n", "In January 1912, the hulls and equipment of Titanic and Olympic were insured through Lloyd's of London. The total coverage was \u00a31,000,000 (\u00a386,386,100 today) per ship. The policy was to be \"free from all average\" under \u00a3150,000, meaning that the insurers would only pay for damage in excess of that sum. The premium, negotiated by brokers Willis Faber & Company (now Willis Group), was 15 s (75 p) per \u00a3100, or \u00a37,500 (\u00a3647,896 today) for the term of one year. Lloyd's paid the White Star Line the full sum owed to them within 30 days.[165]\n", "Many charities were set up to help the victims and their families, many of whom lost their sole breadwinner, or, in the case of many Third Class survivors, everything they owned. On 29\u00a0April opera stars Enrico Caruso and Mary Garden and members of the Metropolitan Opera raised $12,000 in benefits for victims of the disaster by giving special concerts in which versions of \"Autumn\" and \"Nearer My God To Thee\" were part of the program.[166] In Britain, relief funds were organised for the families of Titanic's lost crew members, raising nearly \u00a3450,000 (\u00a338,873,745 today). One such fund was still in operation as late as the 1960s.[167]\n", "Even before the survivors arrived in New York, investigations were being planned to discover what had happened, and what could be done to prevent a recurrence. Inquiries were held in both the United States and Great Britain, the former more robustly critical of traditions and practices, and scathing of the failures involved, and the latter broadly more technical and expert-oriented.[168]\n", "The US Senate's inquiry into the disaster was initiated on 19\u00a0April, a day after Carpathia arrived in New York.[169] The chairman, Senator William Alden Smith, wanted to gather accounts from passengers and crew while the events were still fresh in their minds. Smith also needed to subpoena all surviving British passengers and crew while they were still on American soil, which prevented them from returning to the UK before the American inquiry was completed on 25\u00a0May.[170] The British press condemned Smith as an opportunist, insensitively forcing an inquiry as a means of gaining political prestige and seizing \"his moment to stand on the world stage\". Smith, however, already had a reputation as a campaigner for safety on US railroads, and wanted to investigate any possible malpractices by railroad tycoon J.\u00a0P.\u00a0Morgan, Titanic's ultimate owner.[171]\n", "The British Board of Trade's inquiry into the disaster was headed by Lord Mersey, and took place between 2\u00a0May and 3\u00a0July. Being run by the Board of Trade who had previously approved the ship, it was seen by some as having little interest in its own or White Star's conduct being found negligent.[172]\n", "Each inquiry took testimony from both passengers and crew of Titanic, crew members of Leyland Line's Californian, Captain Arthur Rostron of Carpathia and other experts.[173] The British inquiry also took far greater expert testimony, making it the longest and most detailed court of inquiry in British history up to that time.[174] The two inquiries reached broadly similar conclusions; the regulations on the number of lifeboats that ships had to carry were out of date and inadequate,[175] Captain Smith had failed to take proper heed of ice warnings,[176] the lifeboats had not been properly filled or crewed, and the collision was the direct result of steaming into a dangerous area at too high a speed.[175]\n", "Neither inquiry's findings listed negligence by IMM or the White Star Line as a factor. The US inquiry concluded that since those involved had followed standard practice the disaster was an act of God.[177] The British inquiry concluded that Smith had followed long-standing practice not previously been shown to be unsafe,[178] noting that British ships alone had carried 3.5 million passengers over the previous decade with the loss of just 10 lives,[179] and concluded that Smith had done \"only that which other skilled men would have done in the same position\". The British inquiry also warned that \"what was a mistake in the case of the Titanic would without doubt be negligence in any similar case in the future\".[178]\n", "The recommendations included major changes in maritime regulations to implement new safety measures, such as ensuring that more lifeboats were provided, that lifeboat drills were properly carried out and that wireless equipment on passenger ships was manned around the clock.[180] An International Ice Patrol was set up to monitor the presence of icebergs in the North Atlantic, and maritime safety regulations were harmonised internationally through the International Convention for the Safety of Life at Sea; both measures are still in force today.[181]\n", "One of the most controversial issues examined by the inquiries was the role played by SS\u00a0Californian, which had been only a few miles from Titanic but had not picked up her distress calls or responded to her signal rockets. Californian had warned Titanic by radio of the pack ice that was the reason Californian had stopped for the night, but was rebuked by Titanic's senior wireless operator, Jack Phillips.[182]\n", "Testimony before the British inquiry revealed that at 10:10\u00a0p.m., Californian observed the lights of a ship to the south; it was later agreed between Captain Stanley Lord and Third Officer C.V. Groves (who had relieved Lord of duty at 11:10\u00a0p.m.) that this was a passenger liner.[182] At 11:50\u00a0p.m., the officer had watched that ship's lights flash out, as if she had shut down or turned sharply, and that the port light was now visible.[182] Morse light signals to the ship, upon Lord's order, were made between 11:30\u00a0p.m. and 1:00\u00a0a.m., but were not acknowledged.[183] If Titanic were as far from the Californian as Lord claimed, then he knew, or should have known, that Morse signals would not be visible. A reasonable and prudent course of action would have been to awaken the wireless operator and to instruct him to attempt to contact Titanic by that method. Had Lord done so, it is possible that he could have reached Titanic in time to save additional lives.[65]\n", "Captain Lord had gone to the chartroom at 11:00\u00a0p.m. to spend the night;[184] however, Second Officer Herbert Stone, now on duty, notified Lord at 1:10\u00a0a.m. that the ship had fired five rockets. Lord wanted to know if they were company signals, that is, coloured flares used for identification. Stone said that he did not know and that the rockets were all white. Captain Lord instructed the crew to continue to signal the other vessel with the Morse lamp, and went back to sleep. Three more rockets were observed at 1:50\u00a0a.m. and Stone noted that the ship looked strange in the water, as if she were listing. At 2:15\u00a0a.m., Lord was notified that the ship could no longer be seen. Lord asked again if the lights had had any colours in them, and he was informed that they were all white.[185]\n", "Californian eventually responded. At around 5:30\u00a0a.m., Chief Officer George Stewart awakened wireless operator Cyril Furmstone Evans, informed him that rockets had been seen during the night, and asked that he try to communicate with any ship. He got news of Titanic's loss, Captain Lord was notified, and the ship set out to render assistance. She arrived well after Carpathia had already picked up all the survivors.[186]\n", "The inquiries found that the ship seen by Californian was in fact Titanic and that it would have been possible for Californian to come to her rescue; therefore, Captain Lord had acted improperly in failing to do so.[187][p]\n", "The number of casualties of the sinking is unclear, due to a number of factors. These include confusion over the passenger list, which included some names of people who cancelled their trip at the last minute, and the fact that several passengers travelled under aliases for various reasons and were therefore double-counted on the casualty lists.[189] The death toll has been put at between 1,490 and 1,635\u00a0people.[190] The tables below use figures from the British Board of Trade report on the disaster.[86]\n", "Fewer than a third of those aboard Titanic survived the disaster. Some survivors died shortly afterwards; injuries and the effects of exposure caused the deaths of several of those brought aboard Carpathia.[191] The figures show stark differences in the survival rates of the different classes aboard Titanic. Although only 3\u00a0percent of first-class women were lost, 54\u00a0percent of those in third class died. Similarly, five of six first-class and all second-class children survived, but 52 of the 79 in third class perished.[192]\n", "The last living survivor, Millvina Dean from England, who at only nine weeks old was the youngest passenger on board, died aged 97 on 31 May 2009.[193] A special survivor was crew member Violet Jessop who survived the sinkings of both Titanic and Britannic and was aboard Olympic when she was rammed in 1911.[194]\n", "Once the massive loss of life became known, White Star Line chartered the cable ship CS Mackay-Bennett from Halifax, Nova Scotia, to retrieve bodies.[195] Three other Canadian ships followed in the search: the cable ship Minia,[196] lighthouse supply ship Montmagny and sealing vessel Algerine.[197] Each ship left with embalming supplies, undertakers, and clergy. Of the 333 victims that were eventually recovered, 328 were retrieved by the Canadian ships and five more by passing North Atlantic steamships.[198][q]\n", "The first ship to reach the site of the sinking, the CS\u00a0Mackay-Bennett found so many bodies that the embalming supplies aboard were quickly exhausted. Health regulations required that only embalmed bodies could be returned to port.[200] Captain Larnder of the Mackay-Bennett and undertakers aboard decided to preserve only the bodies of first class passengers, justifying their decision by the need to visually identify wealthy men to resolve any disputes over large estates. As a result, many third class passengers and crew were buried at sea. Larnder identified many of those buried at sea as crew members by their clothing, and stated that as a mariner, he himself would be contented to be buried at sea.[201]\n", "Bodies recovered were preserved for transport to Halifax, the closest city to the sinking with direct rail and steamship connections. The Halifax coroner, John Henry Barnstead, developed a detailed system to identify bodies and safeguard personal possessions. Relatives from across North America came to identify and claim bodies. A large temporary morgue was set up in a curling rink and undertakers were called in from all across eastern Canada to assist.[201] Some bodies were shipped to be buried in their home towns across North America and Europe. About two-thirds of the bodies were identified. Unidentified victims were buried with simple numbers based on the order in which their bodies were discovered. The majority of recovered victims, 150\u00a0bodies, were buried in three Halifax cemeteries, the largest being Fairview Lawn Cemetery followed by the nearby Mount Olivet and Baron de Hirsch cemeteries.[202]\n", "In mid-May 1912, RMS\u00a0Oceanic recovered three bodies over 200 miles (320\u00a0km) from the site of the sinking who were among the original occupants of Collapsible\u00a0A. When Fifth Officer Harold Lowe and six crewmen returned to the wreck site sometime after the sinking in a lifeboat to pick up survivors, they rescued a dozen males and one female from Collapsible\u00a0A, but left the dead bodies of three of its occupants.[r] After their retrieval from Collapsible\u00a0A by Oceanic, the bodies were buried at sea.[203]\n", "The last Titanic body recovered was steward James McGrady, Body No. 330, found by the chartered Newfoundland sealing vessel Algerine on May 22 and buried at Fairview Lawn Cemetery in Halifax on June 12.[204]\n", "Only 333 bodies of Titanic victims were recovered, one in five of the over 1500 victims. Some bodies sank with the ship while currents quickly dispersed bodies and wreckage across hundreds of miles making them difficult to recover. By June one of the last search ships reported that life jackets supporting bodies were coming apart and releasing bodies to sink.[205]\n", "Titanic was long thought to have sunk in one piece and, over the years, many schemes were put forward for raising the wreck. None came to fruition.[206] The fundamental problem was the sheer difficulty of finding and reaching a wreck that lies over 12,000 feet (3,700\u00a0m) below the surface, in a location where the water pressure is over 6,500 pounds per square inch.[207] A number of expeditions were mounted to find Titanic but it was not until 1 September 1985 that a Franco-American expedition succeeded.[208][209]\n", "The team discovered that Titanic had in fact split apart, probably near or at the surface, before sinking to the seabed. The separated bow and stern sections lie about a third of a mile (0.6\u00a0km) apart in a canyon on the continental shelf off the coast of Newfoundland. They are located 13.2 miles (21.2\u00a0km) from the inaccurate coordinates given by Titanic's radio operators on the night of her sinking,[210] and approximately 715 miles (1,151\u00a0km) from Halifax and 1,250 miles (2,012\u00a0km) from New York.\n", "Both sections hit the sea bed at considerable speed, causing the bow to crumple and the stern to collapse entirely. The bow is by far the more intact section and still contains some surprisingly intact interiors. In contrast, the stern is completely wrecked; its decks have pancaked down on top of each other and much of the hull plating was torn off and lies scattered across the sea floor. The much greater level of damage to the stern is probably due to structural damage incurred during the sinking. Thus weakened, the remainder of the stern was flattened by the impact with the sea bed.[211]\n", "The two sections are surrounded by a debris field measuring approximately 5 by 3 miles (8.0\u00a0km \u00d7\u00a04.8\u00a0km).[212] It contains hundreds of thousands of items, such as pieces of the ship, furniture, dinnerware and personal items, which fell from the ship as she sank or were ejected when the bow and stern impacted on the sea floor.[213] The debris field was also the last resting place of a number of Titanic's victims. Most of the bodies and clothes were consumed by sea creatures and bacteria, leaving pairs of shoes and boots\u2014which have proved to be inedible\u2014as the only sign that bodies once lay there.[214]\n", "Since its discovery, the wreck of Titanic has been revisited numerous times by explorers, scientists, filmmakers, tourists and salvagers, who have recovered thousands of items from the debris field for conservation and public display. The ship's condition has deteriorated significantly in recent years, partly due to accidental damage caused by submersibles but mainly because of an accelerating rate of growth of iron-eating bacteria on the hull.[215] It has been estimated that within the next 50 years the hull and structure of Titanic will collapse entirely, eventually leaving only the more durable interior fittings of the ship intermingled with a pile of rust on the sea floor.[216]\n", "Many artefacts from Titanic have been recovered from the sea bed by RMS Titanic Inc., which exhibits them in touring exhibitions around the world and in a permanent exhibition at the Luxor Las Vegas hotel and casino in Las Vegas, Nevada.[217] A number of other museums exhibit artefacts either donated by survivors or retrieved from the floating bodies of victims of the disaster.[218]\n", "On 16 April 2012, a day after the 100th anniversary of the sinking, photos were released showing possible human remains resting on the ocean floor. The photos, taken by Robert Ballard during an expedition led by NOAA in 2004, show a boot and a coat close to Titanic's stern which experts called \"compelling evidence\" that it's the spot where somebody came to rest, and that human remains could be buried in the sediment beneath them.[219] The wreck of the Titanic falls under the scope of the 2001 UNESCO Convention on the Protection of the Underwater Cultural Heritage. This means that all States party to the convention will prohibit the pillaging, commercial exploitation, sale and dispersion of the wreck and its artefacts. Because of the location of the wreck in international waters and the lack of any exclusive jurisdiction over the wreckage area, the convention provides a state co-operation system, by which States inform each other of any potential activity concerning ancient shipwreck sites, like the Titanic, and co-operate to prevent unscientific or unethical interventions.[220][221][222]\n", "After the disaster, recommendations were made by both the British and American Boards of Inquiry stating that ships should carry enough lifeboats for all aboard, mandated lifeboat drills would be implemented, lifeboat inspections would be conducted, etc. Many of these recommendations were incorporated into the International Convention for the Safety of Life at Sea passed in 1914.[223] The convention has been updated by periodic amendments, with a completely new version adopted in 1974.[224] Signatories to the convention followed up with national legislation to implement the new standards. For example in Britain, new \u201cRules for Life Saving Appliances\u201d were passed by the Board of Trade on May 8, 1914 and then applied at a meeting of British steamship companies in Liverpool in June 1914.[225]\n", "Further, the United States government passed the Radio Act of 1912. This act, along with the International Convention for the Safety of Life at Sea, stated that radio communications on passenger ships would be operated 24 hours a day, along with a secondary power supply, so as not to miss distress calls. Also, the Radio Act of 1912 required ships to maintain contact with vessels in their vicinity as well as coastal onshore radio stations.[226] In addition, it was agreed in the International Convention for the Safety of Life at Sea that the firing of red rockets from a ship must be interpreted as a sign of need for help. Once the Radio Act of 1912 was passed it was agreed that rockets at sea would be interpreted as distress signals only, thus removing any possible misinterpretation from other ships.[226]\n", "Finally, the disaster led to the formation and international funding of the International Ice Patrol, an agency of the United States Coast Guard that to the present day monitors and reports on the location of North Atlantic Ocean icebergs that could pose a threat to transatlantic sea traffic. Coast Guard aircraft conduct the primary reconnaissance. In addition, information is collected from ships operating in or passing through the ice area. Except for the years of the two World Wars, the International Ice Patrol has worked each season since 1913. During the period there has not been a single reported loss of life or property due to collision with an iceberg in the patrol area.[227]\n", "Titanic has gone down in history as the ship that was called unsinkable.[s] For more than 100 years she has been the inspiration of fiction and non-fiction. She is commemorated by monuments for the dead and by museums exhibiting artefacts from the wreck. Just after the sinking memorial postcards sold in huge numbers[228] together with memorabilia ranging from tin candy boxes to plates, whiskey jiggers,[229] and even black mourning teddy bears.[230] Several survivors wrote books about their experiences[231] but it was not until 1955 the first historically accurate book A Night to Remember was published.[232]\n", "The first film about the disaster, Saved from the Titanic, was released only 29 days after the ship sank and had an actual survivor as its star\u2014the silent film actress Dorothy Gibson.[233] The British film A Night to Remember (1958) is still widely regarded as the most historically accurate movie portrayal of the sinking,[234] but the most financially successful by far has been James Cameron's Titanic (1997), which became the highest-grossing film in history up to that time.[235]\n", "The Titanic disaster was commemorated through a variety of memorials and monuments to the victims, erected in several English-speaking countries and in particular in cities that had suffered notable losses. These included Southampton, Liverpool and Belfast in the United Kingdom; New York and Washington, D.C. in the United States; and Cobh (formerly Queenstown) in Ireland.[236] A number of museums around the world have displays on Titanic. In Northern Ireland, the ship is commemorated by the Titanic Belfast visitor attraction, opened on 31 March 2012, that stands on the site of the shipyard where Titanic was built.[237]\n", "RMS Titanic Inc., which is authorised to salvage the wreck site, has a permanent Titanic exhibition at the Luxor Las Vegas hotel and casino in Nevada which features a 22-ton slab of the ship's hull. It also runs an exhibition which travels around the world.[238] In Nova Scotia, Halifax's Maritime Museum of the Atlantic displays items that were recovered from the sea a few days after the disaster. They include pieces of woodwork such as panelling from the ship's First Class Lounge and an original deckchair,[239] as well as objects removed from the victims.[240] In 2012 the centenary was marked by plays, radio programmes, parades, exhibition and special trips to the site of the sinking together with commemorative stamps and coins.[154][241][242][243] [244]\n", "In a frequently commented on literary coincidence, Morgan Robertson authored a novel called \"Futility\" in 1898 about a fictional British passenger liner with the plot bearing a number of similarities to the Titanic disaster. In the novel the ship is the SS Titan, a four stacked liner, the largest in the world and considered unsinkable. But like the Titanic she sinks on her maiden voyage after hitting an iceberg and does not have enough lifeboats.[245]\n", "\n", "\n", "\n", "There have been several proposals and studies for a project to build a replica ship based on the Titanic . A project by South African businessman Sarel Gaus was abandoned in 2006, and a project by Australian businessman Clive Palmer was announced in 2012, known as the Titanic II.\n", "Books:\n", "Journals and news articles:\n", "Investigations:\n", "\n", "Coordinates: 41\u00b043\u203257\u2033N 49\u00b056\u203249\u2033W\ufeff / \ufeff41.73250\u00b0N 49.94694\u00b0W\ufeff / 41.73250; -49.94694 \n", "http://en.wikipedia.org/wiki/Lawrence_of_Arabia\n", "World War I" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Thomas Edward Lawrence, CB, DSO (16 August 1888[5]\u00a0\u2013 19 May 1935) was a British Army officer renowned especially for his liaison role during the Sinai and Palestine Campaign, and the Arab Revolt against Ottoman Turkish rule of 1916\u201318. The breadth and variety of his activities and associations, and his ability to describe them vividly in writing earned him international fame as Lawrence of Arabia, a title which was later used for the 1962 film based on his World War I activities.\n", "Lawrence was born illegitimate in Tremadog, Wales in August 1888 to Sir Thomas Chapman and Sarah Junner, a governess who was herself illegitimate. Chapman had left his wife and first family in Ireland to live with Sarah Junner, and they called themselves Mr and Mrs Lawrence. In the summer of 1896 the Lawrences moved to Oxford, where in 1907\u201310 young Lawrence studied History at Jesus College and graduated with First Class Honours. He became a practising archaeologist in the Middle East, working at various excavations with David George Hogarth and Leonard Woolley. In 1908, he joined the Oxford University Officers' Training Corps and underwent a two-year training course.[6] In January 1914, before the outbreak of World War I, Lawrence was co-opted by the British Army to undertake a military survey of the Negev Desert while doing archaeological research.\n", "Lawrence's public image resulted in part from the sensationalized reportage of the revolt by an American journalist, Lowell Thomas, as well as from Lawrence's autobiographical account, Seven Pillars of Wisdom (1922). In 1935, Lawrence was fatally injured in a motorcycle accident in Dorset.\n", "\n", "\n", "Lawrence was born on 16 August 1888 in Tremadog, Caernarfonshire (now Gwynedd), Wales, in a house named Gorphwysfa, now known as Snowdon Lodge.[8] His Anglo-Irish father, Thomas Robert Tighe Chapman, who in 1914 inherited the title of Westmeath in Ireland as seventh Baronet, had left his wife Edith for his daughters' governess Sarah Junner. Junner's mother, Elizabeth Junner, had named as Sarah's father a \"John Junner -- shipwright journeyman\", though she had been living as an unmarried servant in the household of a John Lawrence, ship's carpenter, just four months earlier.[9][10]\n", "Thomas Chapman and Sarah Junner did not marry but were known as Mr and Mrs Lawrence. They had five sons; Thomas Edward was the second eldest. From Wales the family moved to Kirkcudbright, Galloway, in southwestern Scotland, then Dinard in Brittany, then to Jersey. In 1894\u201396 the family lived at Langley Lodge (now demolished), set in private woods between the eastern borders of the New Forest and Southampton Water in Hampshire. Mr Lawrence sailed and took the boys to watch yacht racing in the Solent. By the time they left, the eight-year-old Ned (as Lawrence became known) had developed a taste for the countryside and outdoor activities.\n", "In the summer of 1896 the Lawrences moved to 2, Polstead Road in Oxford, where, until 1921, they lived under the names of Mr and Mrs Lawrence. Lawrence attended the City of Oxford High School for Boys, where one of the four houses was later named \"Lawrence\" in his honour; the school closed in 1966.[11] Lawrence and one of his brothers became commissioned officers in the Church Lads' Brigade at St Aldate's Church.\n", "Lawrence claimed that circa 1905, he ran away from home and served for a few weeks as a boy soldier with the Royal Garrison Artillery at St Mawes Castle in Cornwall, from which he was bought out. No evidence of this can be found in army records.[12]\n", "At the age of 15, Lawrence and his schoolfriend Cyril Beeson bicycled around Berkshire, Buckinghamshire and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities, and made rubbings of their monumental brasses.[13] Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum.[13] The Ashmolean's Annual Report for 1906 said the two teenage boys \"by incessant watchfulness secured everything of antiquarian value which has been found\".[13] In the summers of 1906 and 1907, Lawrence and Beeson toured France by bicycle, collecting photographs, drawings, and measurements of medieval castles.[13]\n", "From 1907 to 1910, Lawrence studied History at Jesus College, Oxford.[14] In the summer of 1909, he set out alone on a three-month walking tour of crusader castles in Ottoman Syria, during which he travelled 1,000\u00a0mi (1,600\u00a0km) on foot. Lawrence graduated with First Class Honours after submitting a thesis entitled The influence of the Crusades on European Military Architecture\u2014to the end of the 12th century, based on his field research with Beeson in France,[13] notably in Ch\u00e2lus, and his solo research in the Middle East.[15]\n", "On completing his degree in 1910, Lawrence commenced postgraduate research in medieval pottery with a Senior Demy, a form of scholarship, at Magdalen College, Oxford, which he abandoned after he was offered the opportunity to become a practising archaeologist in the Middle East, at Carchemish in the expedition which D. G. Hogarth was setting up on behalf of the British Museum. Lawrence was a polyglot whose published work demonstrates competence in Ancient Greek, Arabic, and French.\n", "In December 1910, he sailed for Beirut and on arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under Hogarth and R. Campbell Thompson of the British Museum. He would later state that everything he had accomplished, he owed to Hogarth.[16] As the site lay near an important crossing on the Baghdad Railway, knowledge gathered there proved to be of considerable importance to the military subsequently. While excavating at Carchemish, Lawrence met Gertrude Bell, who was to work with him later on in setting up the state of Iraq.\n", "In late 1911, Lawrence returned to England for a brief sojourn. By November he was en route to Beirut for a second season at Carchemish, where he was to work with Leonard Woolley. Before resuming work there, however, he briefly worked with Flinders Petrie at Kafr Ammar in Egypt. Between the spring of 1912 and the autumn of 1913, Lawrence stayed at Carchemish for four excavation seasons, residing in a spacious excavation house, newly built inside the site by himself and Woolley on behalf of the British Museum (the ruins of this house are still quite impressive and have been recently excavated by the Turco-Italian Archaeological Expedition at Karkemish, unearthing there hundreds of modern and ancient objects left behind by the British and basically ignored by the Turkish soldiers who subsequently occupied the site[3]). In 1913 Lawrence and Woolley brought back to Oxford for a trip Dahoum and the foreman Hamoudi.[17]\n", "In January 1914, Woolley and Lawrence were co-opted by the British military as an archaeological smokescreen for a British military survey of the Negev Desert. They were funded by the Palestine Exploration Fund to search for an area referred to in the Bible as the \"Wilderness of Zin\"; along the way, they undertook an archaeological survey of the Negev Desert. The Negev was of strategic importance, as it would have to be crossed by any Ottoman army attacking Egypt in the event of war. Woolley and Lawrence subsequently published a report of the expedition's archaeological findings,[18] but a more important result was an updated mapping of the area, with special attention to features of military relevance such as water sources. Lawrence also visited Aqaba and Petra.\n", "From March to May 1914, Lawrence worked again at Carchemish. Following the outbreak of hostilities in August 1914, Lawrence did not immediately enlist in the British Army; on the advice of S.F. Newcombe he held back until October, when he was commissioned on the General List and posted to the intelligence staff in Cairo before the end of the year.[citation needed]\n", "At the outbreak of the war Lawrence was a university post-graduate researcher who had for years travelled extensively within the Ottoman Empire provinces of the Levant (Transjordan and Palestine) and Mesopotamia (Syria and Iraq) under his own name. As such he had become known to the Ottoman Interior Ministry authorities and their German technical advisers, travelling on the German-designed, built, and financed railways during the course of his research.[19]\n", "The Arab Bureau of Britain's Foreign Office conceived a campaign of internal insurgency against the Ottoman Empire in the Middle East. The Arab Bureau had long felt it likely that a campaign instigated and financed by outside powers, supporting the breakaway-minded tribes and regional challengers to the Turkish government's centralised rule of their empire, would pay great dividends in the diversion of effort that would be needed to meet such a challenge. The Arab Bureau had recognised the strategic value of what is today called the \"asymmetry\" of such conflict. The Ottoman authorities would have to devote from a hundred to a thousand times the resources to contain the threat of such an internal rebellion compared to the Allies' cost of sponsoring it.\n", "With his first-hand knowledge of Syria, the Levant, and Mesopotamia (not to mention having already worked as a part-time civilian army intelligence officer), on his formal enlistment in 1914 Lawrence was posted to Cairo on the Intelligence Staff of the GOC Middle East.[20] The British government in Egypt sent Lawrence to work with the Hashemite forces in the Arabian Hejaz in October 1916.[21] There he met and worked with Herbert Garland.[22]\n", "During the war, Lawrence fought alongside Arab irregular troops under the command of Emir Faisal, a son of Sherif Hussein of Mecca, in extended guerrilla operations against the armed forces of the Ottoman Empire. Lawrence obtained assistance from the Royal Navy to turn back an Ottoman attack on Yanbu in December 1916.[21] Lawrence's major contribution to the revolt was convincing the Arab leaders (Faisal and Abdullah) to co-ordinate their actions in support of British strategy. He persuaded the Arabs not to make a frontal assault on the Ottoman stronghold in Medina but allow the Turkish army to tie up troops in the city garrison. The Arabs were then free to direct most of their attention to the Turks' weak point, the Hejaz railway that supplied the garrison. This vastly expanded the battlefield and tied up even more Ottoman troops, who were then forced to protect the railway and repair the constant damage. Lawrence developed a close relationship with Faisal, whose Arab Northern Army was to become the main beneficiary of British aid.[23]\n", "In 1917, Lawrence arranged a joint action with the Arab irregulars and forces including Auda Abu Tayi (until then in the employ of the Ottomans) against the strategically located but lightly defended[24][25][26] town of Aqaba. On 6 July, after a surprise overland attack, Aqaba fell to Lawrence and the Arab forces. After Aqaba, Lawrence was promoted to major, and the new commander-in-chief of the Egyptian Expeditionary Force, General Sir Edmund Allenby, agreed to his strategy for the revolt, stating after the war:\n", "I gave him a free hand. His cooperation was marked by the utmost loyalty, and I never had anything but praise for his work, which, indeed, was invaluable throughout the campaign. He was the mainspring of the Arab movement and knew their language, their manners and their mentality.\"[27]\n", "Lawrence now held a powerful position, as an adviser to Faisal and a person who had Allenby's confidence.\n", "In January 1918, the battle of Tafileh, an important region southeast of the Dead Sea, was fought using Arab regulars under the command of Jafar Pasha al-Askari.[28] The battle was a defensive engagement that turned into an offensive rout and was described in the official history of the war as a \"brilliant feat of arms\".[28] Lawrence was awarded the Distinguished Service Order for his leadership at Tafileh and was promoted to Lieutenant Colonel.[28]\n", "By the summer of 1918, the Turks were offering a substantial reward for Lawrence's capture, with one officer writing in his notes; \"Though a price of \u00a315,000 has been put on his head by the Turks, no Arab has, as yet, attempted to betray him. The Sharif of Mecca [King of the Hedjaz] has given him the status of one of his sons, and he is just the finely tempered steel that supports the whole structure of our influence in Arabia. He is a very inspiring gentleman adventurer.\"[28]\n", "Lawrence was involved in the build-up to the capture of Damascus in the final weeks of the war. Much to his disappointment, and contrary to instructions he had issued, he was not present at the city's formal surrender, having arrived several hours after the city had fallen. Lawrence entered Damascus around 9am on 1 October 1918 but was only the third arrival of the day; the first was the 10th Australian Light Horse Brigade, led by Major A.C.N. 'Harry' Olden who formally accepted the surrender of the city from acting Governor Emir Said.[29] In newly liberated Damascus \u2014 which he had envisaged as the capital of an Arab state \u2014 Lawrence was instrumental in establishing a provisional Arab government under Faisal. The latter's rule as king, however, came to an abrupt end in 1920, after the battle of Maysaloun, when the French Forces of General Gouraud, under the command of General Mariano Goybet, entered Damascus, destroying Lawrence's dream of an independent Arabia.\n", "During the closing years of the war Lawrence sought, with mixed success, to convince his superiors in the British government that Arab independence was in their interests. The secret Sykes-Picot Agreement between France and Britain contradicted the promises of independence he had made to the Arabs and frustrated his work.[30]\n", "In 1918, he cooperated with war correspondent Lowell Thomas for a short period. During this time Thomas and his cameraman Harry Chase shot a great deal of film and many photographs, which Thomas used in a highly lucrative film that toured the world after the war.\n", "[Lowell Thomas] went to Jerusalem where he met Lawrence, whose enigmatic figure in Arab uniform fired his imagination. With Allenby's permission he linked up with Lawrence for a brief couple of weeks ... Returning to America, Thomas, early in 1919, started his lectures, supported by moving pictures of veiled women, Arabs in their picturesque robes, camels and dashing Bedouin cavalry, which took the nation by storm, after running at Madison Square Gardens in New York. On being asked to come to England, he made the condition he would do so if asked by the King and given Drury Lane or Covent Garden ... He opened at Covent Garden on 14 August 1919 ... And so followed a series of some hundreds of lectures--film shows, attended by the highest in the land ...\"[31]\n", "Lawrence returned to the United Kingdom a full Colonel.[33] Immediately after the war, Lawrence worked for the Foreign Office, attending the Paris Peace Conference between January and May as a member of Faisal's delegation. He served for much of 1921 as an advisor to Winston Churchill at the Colonial Office.\n", "On 17 May 1919 the Handley Page Type O carrying Lawrence on a flight to Egypt crashed at the airport of Roma-Centocelle. The pilot and co-pilot were killed; Lawrence survived with a broken shoulder blade and two broken ribs.[34] During his brief hospitalisation, he was visited by King Victor Emmanuel III.[35]\n", "In August 1919 Lowell Thomas launched a colourful photo show in London entitled With Allenby in Palestine which included a lecture, dancing, and music.[36] Initially, Lawrence played only a supporting role in the show, but when Thomas realised that it was the photos of Lawrence dressed as a Bedouin that had captured the public's imagination, he photographed him again, in London, in Arab dress.[36] With the new photos, Thomas re-launched his show as With Allenby in Palestine and Lawrence in Arabia in early 1920; it was extremely popular.[36] Thomas' shows made the previously-obscure Lawrence into a household name.[36]\n", "In August 1922, Lawrence enlisted in the Royal Air Force as an aircraftman under the name John Hume Ross. At the RAF recruiting centre in Covent Garden, London, he was interviewed by a recruiting officer \u2013 Flying Officer W. E. Johns, later to be well known as the author of the Biggles series of novels.[37] Johns rejected Lawrence's application as he correctly believed \"Ross\" was a false name. Lawence admitted this was so and the documents he provided were false and left. But he returned some time later with an RAF Messenger, carrying a written order for Johns to accept Lawrence.[38]\n", "However, Lawrence was forced out of the RAF in February 1923 after being exposed. He changed his name to T. E. Shaw and joined the Royal Tank Corps in 1923. He was unhappy there and repeatedly petitioned to rejoin the RAF, which finally readmitted him in August 1925.[39] A fresh burst of publicity after the publication of Revolt in the Desert (see below) resulted in his assignment to a remote base in British India in late 1926, where he remained until the end of 1928. At that time he was forced to return to Britain after rumours began to circulate that he was involved in espionage activities.\n", "He purchased several small plots of land in Chingford, built a hut and swimming pool there, and visited frequently. This was removed in 1930 when the Chingford Urban District Council acquired the land and passed it to the City of London Corporation, but re-erected the hut in the grounds of The Warren, Loughton, where it remains, neglected, today. Lawrence's tenure of the Chingford land has now been commemorated by a plaque fixed on the sighting obelisk on Pole Hill.\n", "He continued serving in the RAF based at Bridlington, East Riding of Yorkshire, specialising in high-speed boats and professing happiness, and it was with considerable regret that he left the service at the end of his enlistment in March 1935.\n", "Lawrence was a keen motorcyclist, and, at different times, had owned eight Brough Superior motorcycles.[40][41] His last SS100 (Registration GW 2275) is privately owned but has been on loan to the National Motor Museum, Beaulieu[42] and the Imperial War Museum in London.[43] Among the books Lawrence is known to have carried with him on his military campaigns is Thomas Malory's Morte D'Arthur. Accounts of the 1934 discovery of the Winchester Manuscript of the Morte include a report that Lawrence followed Eugene Vinaver\u2014a Malory scholar\u2014by motorcycle from Manchester to Winchester upon reading of the discovery in The Times.[44]\n", "At the age of 46, two months after leaving military service, Lawrence was fatally injured in an accident on his Brough Superior SS100 motorcycle in Dorset, close to his cottage, Clouds Hill, near Wareham. A dip in the road obstructed his view of two boys on their bicycles; he swerved to avoid them, lost control, and was thrown over the handlebars.[45] He died six days later on 19 May 1935.[45] The spot is marked by a small memorial at the side of the road.\n", "One of the doctors attending him was the neurosurgeon Hugh Cairns, who consequently began a long study of the unnecessary loss of life by motorcycle dispatch riders through head injuries. His research led to the use of crash helmets by both military and civilian motorcyclists.[46]\n", "The Moreton estate, which borders Bovington Camp, was owned by Lawrence's cousins, the Frampton family. Lawrence had rented and later bought Clouds Hill from the Framptons. He had been a frequent visitor to their home, Okers Wood House, and had for years corresponded with Louisa Frampton. With his body wrapped in the Union Flag, Lawrence's mother arranged with the Framptons for him to be buried in their family plot at Moreton.[47][48] His coffin was transported on the Frampton estate's bier. Mourners included Winston and Clementine Churchill, E. M. Forster and Lawrence's youngest brother, Arnold.[49]\n", "A bust of Lawrence was placed in the crypt at St Paul's Cathedral, London and a stone effigy by Eric Kennington remains in the Anglo-Saxon church of St Martin, Wareham in Dorset.[50]\n", "Throughout his life, Lawrence was a prolific writer. A large portion of his output was epistolary; he often sent several letters a day. Several collections of his letters have been published. He corresponded with many notable figures, including George Bernard Shaw, Edward Elgar, Winston Churchill, Robert Graves, No\u00ebl Coward, E. M. Forster, Siegfried Sassoon, John Buchan, Augustus John and Henry Williamson. He met Joseph Conrad and commented perceptively on his works. The many letters that he sent to Shaw's wife, Charlotte, are revealing as to his character.[51]\n", "In his lifetime, Lawrence published three major texts. The most significant was his account of the Arab Revolt, Seven Pillars of Wisdom. Two were translations: Homer's Odyssey, and The Forest Giant \u2014 the latter an otherwise forgotten work of French fiction. He received a flat fee for the second translation, and negotiated a generous fee plus royalties for the first.\n", "Lawrence's major work is Seven Pillars of Wisdom, an account of his war experiences. In 1919 he had been elected to a seven-year research fellowship at All Souls College, Oxford, providing him with support while he worked on the book. In addition to being a memoir of his experiences during the war, certain parts also serve as essays on military strategy, Arabian culture and geography, and other topics. Lawrence re-wrote Seven Pillars of Wisdom three times; once \"blind\" after he lost the manuscript while changing trains at Reading railway station.\n", "The list of his alleged \"embellishments\" in Seven Pillars is long, though many such allegations have been disproved with time, most definitively in Jeremy Wilson's authorised biography. However Lawrence's own notebooks refute his claim to have crossed the Sinai Peninsula from Aqaba to the Suez Canal in just 49 hours without any sleep. In reality this famous camel ride lasted for more than 70 hours and was interrupted by two long breaks for sleeping which Lawrence omitted when he wrote his book.[52]\n", "Lawrence acknowledged having been helped in the editing of the book by George Bernard Shaw. In the preface to Seven Pillars, Lawrence offered his \"thanks to Mr. and Mrs. Bernard Shaw for countless suggestions of great value and diversity: and for all the present semicolons.\"\n", "The first public edition was published in 1926 as a high-priced private subscription edition, printed in London by Herbert John Hodgson and Roy Manning Pike, with illustrations by Eric Kennington, Augustus John, Paul Nash, Blair Hughes-Stanton and his wife Gertrude Hermes. Lawrence was afraid that the public would think that he would make a substantial income from the book, and he stated that it was written as a result of his war service. He vowed not to take any money from it, and indeed he did not, as the sale price was one third of the production costs.[53] This, along with his \"saintlike\" generosity, left Lawrence in substantial debt.[54]\n", "Revolt in the Desert was an abridged version of Seven Pillars, which he began in 1926 and was published in March 1927 in both limited and trade editions.[55] He undertook a needed but reluctant publicity exercise, which resulted in a best-seller. Again he vowed not to take any fees from the publication, partly to appease the subscribers to Seven Pillars who had paid dearly for their editions. By the fourth reprint in 1927, the debt from Seven Pillars was paid off. As Lawrence left for military service in India at the end of 1926, he set up the \"Seven Pillars Trust\" with his friend D. G. Hogarth as a trustee, in which he made over the copyright and any surplus income of Revolt in the Desert. He later told Hogarth that he had \"made the Trust final, to save myself the temptation of reviewing it, if Revolt turned out a best seller.\"\n", "The resultant trust paid off the debt, and Lawrence then invoked a clause in his publishing contract to halt publication of the abridgment in the United Kingdom. However, he allowed both American editions and translations, which resulted in a substantial flow of income. The trust paid income either into an educational fund for children of RAF officers who lost their lives or were invalided as a result of service, or more substantially into the RAF Benevolent Fund.\n", "Lawrence left unpublished The Mint,[56] a memoir of his experiences as an enlisted man in the Royal Air Force (RAF). For this, he worked from a notebook that he kept while enlisted, writing of the daily lives of enlisted men and his desire to be a part of something larger than himself: the Royal Air Force. The book is stylistically very different from Seven Pillars of Wisdom, using sparse prose as opposed to the complicated syntax found in Seven Pillars. It was published posthumously, edited by his brother, Professor A. W. Lawrence.\n", "After Lawrence's death, A. W. Lawrence inherited Lawrence's estate and his copyrights as the sole beneficiary. To pay the inheritance tax, he sold the U.S. copyright of Seven Pillars of Wisdom (subscribers' text) outright to Doubleday Doran in 1935. Doubleday still controls publication rights of this version of the text of Seven Pillars of Wisdom in the USA. In 1936 Prof. Lawrence split the remaining assets of the estate, giving Clouds Hill and many copies of less substantial or historical letters to the nation via the National Trust, and then set up two trusts to control interests in T. E. Lawrence's residual copyrights. To the original Seven Pillars Trust, Prof. Lawrence assigned the copyright in Seven Pillars of Wisdom, as a result of which it was given its first general publication. To the Letters and Symposium Trust, he assigned the copyright in The Mint and all Lawrence's letters, which were subsequently edited and published in the book T. E. Lawrence by his Friends (edited by A. W. Lawrence, London, Jonathan Cape, 1937).\n", "A substantial amount of income went directly to the RAF Benevolent Fund or for archaeological, environmental, or academic projects. The two trusts were amalgamated in 1986 and, on the death of Prof. A. W. Lawrence in 1991, the unified trust also acquired all the remaining rights to Lawrence's works that it had not owned, plus rights to all of Prof. Lawrence's works.\n", "Lawrence's biographers have discussed his sexuality at considerable length, and this discussion has spilled into the popular press.[58]\n", "There is no reliable evidence for consensual sexual intimacy between Lawrence and any person. His friends have expressed the opinion that he was asexual,[59][60] and Lawrence himself specifically denied, in multiple private letters, any personal experience of sex.[61] While there were suggestions that Lawrence had been intimate with Dahoum, who worked with Lawrence at a pre-war archaeological dig in Carchemish,[62] and fellow-serviceman R.A.M. Guy,[63] his biographers and contemporaries have found them unconvincing.[62][63][64]\n", "The dedication to his book Seven Pillars is a poem titled \"To S.A.\" which opens:\n", "Lawrence was never specific about the identity of \"S.A.\" There are many theories which argue in favour of individual men, women, and the Arab nation. The most popular is that S.A. represents (at least in part) his companion Selim Ahmed, \"Dahoum\", who apparently died of typhus before 1918.[65]\n", "Although Lawrence lived in a period during which official opposition to homosexuality was strong, his writing on the subject was tolerant. In Seven Pillars, when discussing relationships between young male fighters in the war, he refers on one occasion to \"the openness and honesty of perfect love\"[66] and on another to \"friends quivering together in the yielding sand with intimate hot limbs in supreme embrace\".[67] In a letter to Charlotte Shaw he wrote \"I've seen lots of man-and-man loves: very lovely and fortunate some of them were.\"[68]\n", "In both Seven Pillars and a 1919 letter to a military colleague,[69] Lawrence describes an episode on 20 November 1917 in which, while reconnoitring Dera'a in disguise, he was captured by the Ottoman military, heavily beaten, and sexually abused by the local Bey and his guardsmen. The precise nature of the sexual contact is not specified. There have been allegations that the episode was an invention of Lawrence\u2019s and (with some evidence) that the injuries Lawrence claims to have suffered were exaggerated.[70] Although there is no independent testimony, the multiple consistent reports, and the absence of evidence for outright invention in Lawrence's works, make the account believable to his biographers.[71] At least three of Lawrence's biographers (Malcolm Brown, John E. Mack, and Jeremy Wilson) have argued this episode had strong psychological effects on Lawrence which may explain some of his unconventional behaviour in later life.\n", "There is considerable evidence that Lawrence was a masochist. In his description of the Dera'a beating, Lawrence wrote \"a delicious warmth, probably sexual, was swelling through me\", and also included a detailed description of the guards' whip in a style typical of masochists' writing.[72] In later life, Lawrence arranged to pay a military colleague to administer beatings to him,[58] and to be subjected to severe formal tests of fitness and stamina.[73] While John Bruce, who first wrote on this topic, included some other claims which were not credible, Lawrence's biographers regard the beatings as established fact.[74]\n", "John E. Mack sees a possible connection between T. E.'s masochism and the childhood beatings he had received from his mother[75] for routine misbehaviours.[76] His brother Arnold thought the beatings had been given for the purpose of breaking T. E.'s will.[76] Writing in 1997, Angus Calder noted that it is \"astonishing\" that earlier commentators discussing Lawrence's apparent masochism and self-loathing failed to consider the impact on Lawrence of having lost his brothers Frank and Will on the Western front, along with many other school friends.[77]\n", "Lawrence was made a Companion of the Order of the Bath and awarded the Distinguished Service Order and the French L\u00e9gion d'Honneur, though in October 1918 he refused to be made a Knight Commander of the Most Excellent Order of the British Empire. A bronze bust of Lawrence was placed in the crypt of St Paul's Cathedral alongside the tombs of Britain's greatest military leaders.[78] An English Heritage blue plaque marks Lawrence's childhood home at 2 Polstead Road, Oxford, OX2, and another appears on his London home at 14 Barton Street Westminster, SW1.[79][80] In 2002, Lawrence was named 53rd in the BBC's list of the 100 Greatest Britons following a UK-wide vote.[81]\n", "http://en.wikipedia.org/wiki/The_Godfather:_Part_II\n", "The Godfather Part II is a 1974 American crime epic produced and directed by Francis Ford Coppola from a screenplay co-written with Mario Puzo, starring Al Pacino and Robert De Niro. Partially based on Puzo's 1969 novel The Godfather, the film is both sequel and prequel to The Godfather, presenting parallel dramas: one picks up the 1958 story of Michael Corleone (Pacino), the new Don of the Corleone crime family, protecting the family business in the aftermath of an attempt on his life; the prequel covers the journey of his father, Vito Corleone (De Niro), from his Sicilian childhood to the founding of his family enterprise in New York City." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film's reception was almost uniformly positive, with some deeming it superior to the 1972 original, an Oscar winner for Best Picture.[3] Nominated for eleven Academy Awards and the only sequel to win for Best Picture, its six Oscars included Best Director for Coppola, Best Supporting Actor for De Niro and Best Adapted Screenplay for Coppola and Puzo. Pacino won the BAFTA Award for Best Actor and was nominated for the Academy Award for Best Actor.\n", "Both this film and its predecessor remain highly influential films in the gangster genre. In 1997, the American Film Institute ranked it as the 32nd-greatest film in American film history and it kept its rank 10 years later.[4] It was selected for preservation in the U.S. National Film Registry in 1993.[5]\n", "Another sequel, The Godfather Part III, was released in 1990.\n", "\n", "\n", "On the occasion of the 1958 first communion party for his son, Michael Corleone has a series of meetings in his role as the Don of his crime family. With Nevada Senator Pat Geary, he discusses the terms of a fourth state gaming license for the Corleones, but the two only trade insults and demand payoffs. Johnny Ola arrives to express support for Michael on behalf of Florida gangster Hyman Roth. At the same time as the Don tries to manage his depressed sister Connie and older brother Fredo, Corleone caporegime Frank Pentangeli is upset that his boss will not help him defend New York against the Rosato brothers, who work for the Jewish Roth. That night, Michael survives an assassination attempt at his home and puts consigliere Tom Hagen in charge, reassuring him of their fraternal bond.\n", "In Miami, Michael tells Roth that Pentangeli was behind the assassination attempt; he then tells Pentangeli that Roth ordered it and asks him to cooperate. Pentangeli meets the Rosatos; their men ambush him, saying they act on Michael's orders, but a passing policeman interrupts them and they flee, leaving Pentangeli for dead.\n", "Geary finds himself in Fredo's brothel with a dead prostitute and no memory of how he got there; he accepts Tom's offer of \"friendship\" to cover up the incident.\n", "After witnessing a rebel suicide bombing in Havana, Cuba, Michael becomes convinced of the rebels' resolve to overthrow the dictator Fulgencio Batista. Fredo brings Michael the money for a deal with Roth, but instead of turning it over to Roth, Michael asks who put out the hit on Pentangeli. Roth is reminded of his late friend Moe Greene\u2014dead in a spate of Corleone killing\u2014saying, \"This is the business we've chosen. I didn't ask who gave the order because it had nothing to do with business!\" As they go to the President's New Year's Eve party, Michael tells Fredo that he knows Roth plans to kill him as he leaves the party and later Fredo reveals that he knew Johnny Ola, despite his previous denial. Michael's bodyguard strangles Ola but is killed by police before he can finish off the ailing Roth. Michael embraces his brother, revealing that he knows he was behind the plot on his life but the party breaks up as word spreads that the rebels are taking over; Fredo flees in the chaos. Back home, Tom informs Michael that Roth is recovering in Miami and that Kay's pregnancy has miscarried.\n", "In Washington, D.C., a Senate committee investigating the Corleone family cannot find evidence to implicate Michael until a surprise witness is called. Pentangeli, ensconced in FBI witness protection and ready to avenge the attempt on his life, is prepared to confirm accusations against Michael until his Sicilian brother attends the hearing at the Don's side; Pentangeli denies his sworn statements and the hearing dissolves in an uproar. Afterwards, Michael violently prevents Kay from leaving with their children; she retaliates with the revelation that her miscarriage was actually an abortion.\n", "Michael and Tom observe that Roth's strategy to destroy Michael is well planned. Fredo is returned to Nevada, where he privately explains himself to Michael. He was upset about being passed over to head the family, and helped Roth, thinking there would be something in it for him, unaware, he swears, of their plans on Michael's life. He informs his brother that the Senate Committee's chief counsel is on Roth's payroll. Michael disowns Fredo and instructs Al Neri that \"I don't want anything to happen to him while my mother's alive.\"\n", "Carmela Corleone dies. At the funeral, a reformed Connie implores Michael to forgive Fredo. Michael relents and embraces Fredo, but stares intently at Al Neri. Roth is refused asylum and even entry to Israel. Over Tom's dissent, Michael plans his revenge. Tom visits Pentangeli and offers to spare his family, reminding him that failed plotters against the Roman Emperor took their own lives.\n", "Connie helps Kay visit her children, but Michael closes the door on any forgiveness.\n", "As he arrives in Miami to be taken into custody, Hyman Roth is shot in the stomach and killed by Rocco Lampone, who is immediately shot dead by FBI agents. Frank Pentangeli is discovered dead in his bathtub with slit wrists. Al shoots Fredo while they are fishing on Lake Tahoe.\n", "Michael sits alone by the lake at the family compound.\n", "The Godfather Part II was shot between October 1, 1973 and June 19, 1974, and was the last major American motion picture to have release prints made with Technicolor's dye imbibition process until the late 1990s. The scenes that took place in Cuba were shot in Santo Domingo, Dominican Republic.[6] Charles Bluhdorn, whose Gulf+Western conglomerate owned Paramount, felt strongly about developing the Dominican Republic as a movie-making site.\n", "The Lake Tahoe house and grounds portrayed in the film are Fleur du Lac, the summer estate of Henry J. Kaiser on the California side of the lake. The only structures used in the movie that still remain are the complex of old native stone boathouses with their wrought iron gates. Although Fleur du Lac is private property and no one is allowed ashore there, the boathouses and multi-million dollar condominiums may be viewed from the lake.\n", "Unlike with the first film, Coppola was given near-complete control over production. In his commentary, he said this resulted in a shoot that ran very smoothly despite multiple locations and two narratives running parallel within one film.[7]\n", "Production nearly ended before it began when Pacino's lawyers told Coppola that he had grave misgivings with the script and was not coming. Coppola spent an entire night rewriting it before giving it to Pacino for his review. Pacino approved and the production went forward.[7]\n", "Coppola discusses his decision to make this the first major motion picture to use \"Part II\" in its title in the director's commentary on the DVD edition of the film released in 2002. Paramount was initially opposed because they believed the audience would not be interested in an addition to a story they had already seen. But the director prevailed, and the film's success began the common practice of numbered sequels.\n", "Still, three weeks prior to the release, film critics and journalists pronounced Part II a disaster. The cross-cutting between Vito and Michael's parallel stories were judged too frequent, not allowing enough time to leave a lasting impression on the audience. Coppola and the editors returned to the cutting room to change the film's narrative structure, but could not complete the work in time, leaving the final scenes poorly timed at the opening.[8]\n", "The Godfather Part II did not surpass the original film commercially, but in North America it grossed $47.5 million on a $13 million budget.[2] It was Paramount Pictures' highest-grossing film of 1974 and was the fifth-highest-grossing picture in North America that year.\n", "The Godfather Part II ranks among the most critically and artistically successful films in history. Whether considered separately or with its predecessor as one work, it is widely accepted as one of world cinema's greatest achievements. Many critics compare it favorably to the original\u00a0\u2013 although it is rarely ranked higher on lists of \"greatest\" films.\n", "The Godfather Part II:\n", "Pacino's performance in The Godfather Part II has been praised as perhaps his best, and the Academy of Motion Picture Arts and Sciences was criticized for not awarding him the Best Actor Oscar which went that year to Art Carney for his role in Harry and Tonto. It has come to be seen by some as one of the greatest performances in film history. In 2006, Premiere issued its list of \"The 100 Greatest Performances of all Time\", ranking Pacino's performance at #20.[11] Later in 2009, Total Film issued \"The 150 Greatest Performances of All Time\", ranking Pacino's performance at #4.[12]\n", "Coppola created The Godfather Saga expressly for American television in a 1975 release that combined The Godfather and The Godfather Part II with unused footage from those two films in a chronological telling that toned down the violent, sexual, and profane material for its NBC debut on November 18, 1977. In 1981, Paramount released the Godfather Epic boxed set, which also told the story of the first two films in chronological order, again with additional scenes, but not redacted for broadcast sensibilities. Coppola returned to the film again in 1992 when he updated that release with footage from The Godfather Part III and more unreleased material. This home viewing release, under the title The Godfather Trilogy 1901\u20131980, had a total run time of 583 minutes (9 hours, 43 minutes), not including the set's bonus documentary by Jeff Werner on the making of the films, \"The Godfather Family: A Look Inside\".\n", "The Godfather DVD Collection was released on October 9, 2001 in a package[13] that contained all three films\u2014each with a commentary track by Coppola\u2014and a bonus disc that featured a 73-minute documentary from 1991 entitled The Godfather Family: A Look Inside and other miscellany about the film: the additional scenes originally contained in The Godfather Saga; Francis Coppola's Notebook (a look inside a notebook the director kept with him at all times during the production of the film); rehearsal footage; a promotional featurette from 1971; and video segments on Gordon Willis's cinematography, Nino Rota's and Carmine Coppola's music, the director, the locations and Mario Puzo's screenplays. The DVD also held a Corleone family tree, a \"Godfather\" timeline, and footage of the Academy Award acceptance speeches.[14]\n", "The restoration was confirmed by Francis Ford Coppola during a question-and-answer session for The Godfather Part III, when he said that he had just seen the new transfer and it was \"terrific\".\n", "After a careful restoration of the first two movies, The Godfather movies were released on DVD and Blu-ray Disc on September 23, 2008, under the title The Godfather: The Coppola Restoration. The work was done by Robert A. Harris of Film Preserve. The Blu-ray Disc box set (four discs) includes high-definition extra features on the restoration and film. They are included on Disc 5 of the DVD box set (five discs).\n", "Other extras are ported over from Paramount's 2001 DVD release. There are slight differences between the repurposed extras on the DVD and Blu-ray Disc sets, with the HD box having more content.[15]\n", " This film was the first sequel to win the Academy Award for Best Picture,[16] and remains the only time the prize went to a sequel of a Best Picture winner. Along with The Lord of the Rings it shares the distinction that all of its installments were nominated for Best Picture.\n", "The video game based on the film was released in April 2009 by Electronic Arts.[23]\n", "http://en.wikipedia.org/wiki/Psycho\n", "Psycho may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Sunset_Blvd.\n", "Sunset Boulevard is a street in the western part of Los Angeles County, California that stretches from Figueroa Street in Downtown Los Angeles to the Pacific Coast Highway at the Pacific Ocean in Pacific Palisades." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "Approximately 22 miles (35\u00a0km) in length,[1] the boulevard roughly traces the arc of mountains that form part of the northern boundary of the Los Angeles Basin, following the path of a 1780s cattle trail from the Pueblo de Los Angeles to the ocean.[2]\n", "From Downtown Los Angeles, it heads northwest, to Hollywood, through which it travels due west for several miles before it bends southwest towards the ocean. It passes through or near Echo Park, Silver Lake, Los Feliz, Hollywood, West Hollywood, Beverly Hills, and Holmby Hills. In Bel-Air, Sunset Boulevard runs along the northern boundary of UCLA's Westwood campus. The boulevard continues through Brentwood to Pacific Palisades where it terminates at the Pacific Coast Highway intersection.\n", "The boulevard is winding and treacherous in some areas. It is at least four lanes wide along its entire route. Sunset is frequently congested with traffic loads beyond its design capacity.\n", "Sunset Boulevard historically extended farther east than it now does, starting at Alameda Street near Union Station and beside Olvera Street in the historic section of Downtown. The portion of Sunset Boulevard east of Figueroa Street was renamed Cesar Chavez Avenue[1] in 1994 along with Macy Street and Brooklyn Avenue in honor of the late Mexican-American union leader and civil rights activist.\n", "In 1877, one of the earlier real estate owners from \"back East\" Horace H. Wilcox, decided to subdivide his more than 20 acres of land (mostly orchards and vineyards) along Sunset Boulevard, including what is today Hollywood and Vine.[3]\n", "In 1890, Belgian diplomat Victor Ponet bought 240 acres of the former Rancho La Brea land grant.[4] His son-in-law, Francis S. Montgomery, inherited this property and created Sunset Plaza.[5]\n", "In 1921, a westward expansion of Sunset began, extending the road from the then-current terminus at Sullivan Canyon through Santa Monica to the coast. This land, a portion of the original 1838 holdings of Fransisco Marquez, stretched across a mesa and became known as the \"Riviera section.\" Will Rogers, who had bought much of this land as an investment, later donated it to the State of California creating Will Rogers State Beach.[6] Circa 1931, Sunset was a paved road from Horn Avenue to Havenhurst Avenue.[7]\n", "During the early 20th Century, Marchessault Street formed the northeastern edge of the Plaza and was open to motor traffic. Sunset Boulevard began as a westward continuation of Marchessault, directly across Main Street and skirting the northern edge of the Plaza Church property,[8] then continuing approximately northeastward to the intersection of what was then Macy Street and Broadway.[9] At some time around 1960, when several thoroughfares in the Civic Center and Plaza area were either obliterated or realigned, Macy Street between Main and Broadway was rededicated as the easternmost section of Sunset Boulevard, while the original first two blocks became part of a large parking lot that covers this area. Today the old route is still visible as the main entrance to this lot and the driveway that runs through it from that point.[10]\n", "The Sunset Strip portion of Sunset Boulevard in West Hollywood has been famous for its active nightlife at least since the 1950s.[11]\n", "In the 1970s the area between Gardner Street and Western Avenue was a center for street prostitution.[12] Shortly after a well publicized June 1995 incident police raids drove out the majority of prostitutes on the Boulevard.\n", "Part of Sunset Boulevard in Hollywood is also sometimes called \"Guitar Row\" due to the large number of guitar stores and music industry-related businesses,[13] including the recording studios Sunset Sound Studios and United Western Recorders.\n", "The portion of Sunset Boulevard that passes through Beverly Hills was once named Beverly Boulevard.\n", "The boulevard is commemorated in Billy Wilder's 1950 film Sunset Boulevard, the Andrew Lloyd Webber musical of the same name, and the 1950s television series 77 Sunset Strip. Jan and Dean's 1960s hit song \"Dead Man's Curve\" refers to a section of the road near Bel Air estates just north of UCLA's Drake Stadium where Jan Berry almost died in an automobile accident in 1966.[14] The Buffalo Springfield song \"For What It's Worth\" was written about a riot at Pandora's Box, a Sunset Strip club, in 1966.[15]\n", "Metro Local lines 2 and 302 operate on Sunset Boulevard. The Metro Red Line operates a subway station at Vermont Avenue.\n", "Coordinates: 34\u00b004\u203251\u2033N 118\u00b025\u203252\u2033W\ufeff / \ufeff34.0807\u00b0N 118.431\u00b0W\ufeff / 34.0807; -118.431\n", "http://en.wikipedia.org/wiki/Vertigo\n", "Vertigo /\u02c8v\u025crt\u0268\u0261o\u028a/ (from the Latin vert\u014d \"a whirling or spinning movement\"[1]) is a subtype of dizziness in which a patient inappropriately experiences the perception of motion (usually a spinning motion) due to dysfunction of the vestibular system.[2][3][4] It is often associated with nausea and vomiting as well as a balance disorder, causing difficulties with standing or walking. There are three types of vertigo. The first is known as objective[5][6] and describes when the patient has the sensation that objects in the environment are moving. The second type of vertigo is known as subjective[5][6] and refers to when the patient feels as if they are moving. The third type is known as pseudovertigo,[7] an intensive sensation of rotation inside the patient's head. While this classification appears in textbooks, it has little to do with the pathophysiology or treatment of vertigo." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Dizziness[8] and vertigo are common medical issues and affect approximately 20%-30% of the general population.[9][10] Vertigo can occur in people of all ages. The prevalence of vertigo rises with age and is about two to three times higher in women than in men.[4][9] It accounts for about 2-3% of emergency department visits.[4] The main causes of vertigo are benign paroxysmal positional vertigo,[8][11][12] M\u00e9ni\u00e8re's disease,[8][12] vestibular neuritis,[8][12] and labyrinthitis,[12] but may also be caused by a concussion,[3] a vestibular migraine[12] or vertiginous epilepsy.[13] Excessive drinking of alcohol can also cause symptoms of vertigo. Repetitive spinning, as in familiar childhood games, can induce short-lived vertigo by disrupting the inertia of the fluid in the vestibular system; this is known as physiologic vertigo.[14]\n", "\n", "\n", "Vertigo is classified into either peripheral or central depending on the location of the dysfunction of the vestibular pathway,[15] although it can also be caused by psychological factors.[16]\n", "Vertigo caused by problems with the inner ear or vestibular system, which is composed of the semicircular canals, the vestibule (utricle and saccule), and the vestibular nerve is called \"peripheral\", \"otologic\" or \"vestibular\" vertigo.[5][17] The most common cause is benign paroxysmal positional vertigo (BPPV), which accounts for 32% of all peripheral vertigo.[17] Other causes include M\u00e9ni\u00e8re's disease (12%), superior canal dehiscence syndrome, labyrinthitis, and visual vertigo.[17][18] Any cause of inflammation such as common cold, influenza, and bacterial infections may cause transient vertigo if it involves the inner ear, as may chemical insults (e.g., aminoglycosides)[19] or physical trauma (e.g., skull fractures). Motion sickness is sometimes classified as a cause of peripheral vertigo.\n", "Patients with peripheral vertigo typically present with mild to moderate imbalance, nausea, vomiting, hearing loss, tinnitus, fullness, and pain in the ear.[17] In addition, lesions of the internal auditory canal may be associated with facial weakness on the same side.[17] Due to a rapid compensation process, acute vertigo as a result of a peripheral lesion tends to improve in a short period of time (days to weeks).[17]\n", "Vertigo that arises from injury to the balance centers of the central nervous system (CNS), often from a lesion in the brainstem or cerebellum,[5][8][20] is called \"central\" vertigo and is generally associated with less prominent movement illusion and nausea than vertigo of peripheral origin.[21] Central vertigo has accompanying neurologic deficits (such as slurred speech and double vision), and pathologic nystagmus (which is pure vertical/torsional).[17][21] Central pathology can cause disequilibrium which is the sensation of being off balance. The balance disorder associated with central lesions causing vertigo is often so severe that many patients are unable to stand or walk.[17]\n", "A number of conditions that involve the central nervous system may lead to vertigo including: lesions caused by infarctions or hemorrhage, tumors present in the cerebellopontine angle such as a vestibular schwannoma or cerebellar tumors,[8][15] epilepsy,[2] cervical spine disorders such as cervical spondylosis,[15] degenerative ataxia disorders,[8] migraine headaches,[8] lateral medullary syndrome, Chiari malformation,[8] multiple sclerosis,[8] parkinsonism, as well as cerebral dysfunction.[17] Central vertigo may not improve or may do so more slowly than vertigo caused by disturbance to peripheral structures.[17]\n", "Vertigo is a sensation of spinning while stationary.[22] It is commonly associated with nausea or vomiting,[2] unsteadiness (postural instability),[20] falls,[23] can affect a person's thoughts, and difficulties in walking.[24] Recurrent episodes in those with vertigo are common and frequently impair the quality of life.[4] Blurred vision, difficulty in speaking, a lowered level of consciousness, and hearing loss may also occur. The signs and symptoms of vertigo can present as a persistent (insidious) onset or an episodic (sudden) onset.[25]\n", "Persistent onset vertigo is characterized by symptoms lasting for longer than one day[25] and is caused by degenerative changes that affect balance as people age. Naturally, the nerve conduction slows with aging and a decreased vibratory sensation is common.[26] Additionally, there is a degeneration of the ampulla and otolith organs with an increase in age.[27] Persistent onset is commonly paired with central vertigo signs and systems.[25]\n", "The characteristics of an episodic onset vertigo is indicated by symptoms lasting for a smaller, more memorable amount of time, typically lasting for only seconds to minutes.[25] Typically, episodic vertigo is correlated with peripheral symptoms and can be the result of but not limited to diabetic neuropathy or autoimmune disease.\n", "Motion sickness is one of the most prominent symptoms of vertigo and develops most often in persons with inner ear problems. The feeling of dizziness and lightheadedness is often accompanied by nystagmus (an involuntary movement of the eye characterized by a smooth pursuit eye movement followed by a rapid saccade in the opposite direction of the smooth pursuit eye movement). During a single episode of vertigo, this action will occur repeatedly. Symptoms can fade while sitting still with the eyes closed.\n", "Tests for vertigo often attempt to elicit nystagmus and to differentiate vertigo from other causes of dizziness such as presyncope, hyperventilation syndrome, disequilibrium, or psychiatric causes of lightheadedness.[12] Tests of vestibular system (balance) function include: electronystagmography (ENG),[12] Dix-Hallpike maneuver,[12] rotation tests, head-thrust test,[8] caloric reflex test,[8][28] and computerized dynamic posturography (CDP).[29] CT scans or MRIs are sometimes used by physicians when diagnosing vertigo.[2]\n", "Tests of auditory system (hearing) function include pure tone audiometry, speech audiometry, acoustic reflex, electrocochleography (ECoG), otoacoustic emissions(OAE), and the auditory brainstem response test.[29]\n", "A number of specific conditions can cause vertigo. In the elderly, however, the condition is often multifactorial.[4]\n", "Benign paroxysmal positional vertigo (BPPV) is the most common vestibular disorder[9] and occurs when loose calcium carbonate debris has broken off of the otoconial membrane and enters a semicircular canal thereby creating the sensation of motion.[8][12] Patients with BPPV may experience brief periods of vertigo, usually under a minute,[8] which occur with change in position.[30] It is the most common process of vertigo.[4] It occurs in 0.6% of the population yearly with 10% having an attack during their lifetime.[4] It is believed to be due to a mechanical malfunction of the inner ear.[4] BPPV may be diagnosed with the Dix-Hallpike test and can be effectively treated with repositioning movements such as the Epley maneuver.[4][11][30][31]\n", "Vestibular migraine is the association of vertigo and migraines and is one of the most common causes of recurrent, spontaneous episodes of vertigo.[4][9] The etiology of vestibular migraines is currently unclear;[9] however, one hypothesized cause is that the stimulation of the trigeminal nerve leads to nystagmus in individuals suffering from migraines.[12] Other suggested causes of vestibular migraines include the following: unilateral neuronal instability of the vestibular nerve, idiopathic asymmetric activation of the vestibular nuclei in the brainstem, and vasospasm of the blood vessels supplying the labyrinth or central vestibular pathways resulting in ischemia to these structures.[2] Vestibular migraines are estimated to affect 1-3% of the general population[4][12] and may affect 10% of migraine patients.[12] Additionally, vestibular migraines tend to occur more often in women and rarely affect individuals after the sixth decade of life.[9]\n", "M\u00e9ni\u00e8re's disease is a vestibular disorder of unknown origin, but is thought to be caused by an increase in the amount of endolymphatic fluid present in the inner ear (endolymphatic hydrops).[12] However, this idea has not been directly confirmed with histopathologic studies but electrophysiologic studies have been suggestive of this mechanism.[32] M\u00e9ni\u00e8re's disease frequently presents with recurrent, spontaneous attacks of severe vertigo in combination with ringing in the ears (tinnitus), a feeling of pressure or fullness in the ear (aural fullness), severe nausea or vomiting, imbalance, and hearing loss.[8][25][32] As the disease worsens, hearing loss will progress.\n", "Vestibular neuritis presents with severe vertigo[4] with associated nausea, vomiting, and generalized imbalance and is believed to be caused by a viral infection of the inner ear though several theories have been put forward and the etiology remains uncertain.[8][33] Individuals with vestibular neuritis do not typically have auditory symptoms but may experience a sensation of aural fullness or tinnitus.[33] Persisting balance problems may remain in 30% of people affected.[4]\n", "The neurochemistry of vertigo includes six primary neurotransmitters that have been identified between the three-neuron arc[34] that drives the vestibulo-ocular reflex (VOR). Glutamate maintains the resting discharge of the central vestibular neurons, and may modulate synaptic transmission in all three neurons of the VOR arc. Acetylcholine appears to function as an excitatory neurotransmitter in both the peripheral and central synapses. Gamma-Aminobutyric acid (GABA) is thought to be inhibitory for the commissures of the medial vestibular nucleus, the connections between the cerebellar Purkinje cells, and the lateral vestibular nucleus, and the vertical VOR.\n", "Three other neurotransmitters work centrally. Dopamine may accelerate vestibular compensation. Norepinephrine modulates the intensity of central reactions to vestibular stimulation and facilitates compensation. Histamine is present only centrally, but its role is unclear. Dopamine, histamine, serotonin, and acetylcholine are neurotransmitters thought to produce vomiting.[8] It is known that centrally acting antihistamines modulate the symptoms of acute symptomatic vertigo.[35]\n", "Definitive treatment depends on the underlying cause of vertigo.[8] M\u00e9ni\u00e8re's disease patients have a variety of treatment options to consider when receiving treatment for vertigo and tinnitus including: a low-salt diet, intratympanic injections of the antibiotic gentamicin, a benzodiazepine such as diazepam to reduce vertigo by sedating the vestibular system,[36] or surgical measures such as a shunt or ablation of the labyrinth in refractory cases.[37] Other treatment options for vertigo may include the following:[38]\n", "M: EAR\n", "anat (e/p)/phys/devp\n", "noco/cong, epon\n", "proc, drug (S2)\n", "M: PSO/PSI\n", "mepr\n", "dsrd (o, p, m, p, a, d, s), sysi/epon, spvo\n", "proc (eval/thrp), drug (N5A/5B/5C/6A/6B/6D)\n", "M: OLF\n", "anat, recp\n", "sysi\n", "-\n", "M: TST\n", "anat, phys\n", "sysi\n", "\u2013\n", "http://en.wikipedia.org/wiki/On_the_Waterfront\n", "On the Waterfront is a 1954 American crime drama film about union violence and corruption amongst longshoremen. The film was directed by Elia Kazan and written by Budd Schulberg. It stars Marlon Brando and features Karl Malden, Lee J. Cobb, Rod Steiger, and, in her film debut, Eva Marie Saint. The soundtrack score was composed by Leonard Bernstein. It is based on Crime on the Waterfront, a series of articles published in the New York Sun by Malcolm Johnson that won the 1949 Pulitzer Prize for Local Reporting. The stories detailed widespread corruption, extortion, and racketeering on the waterfronts of Manhattan and Brooklyn." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "On the Waterfront was a critical and commercial success and received 12 Academy Award nominations, winning eight, including Best Picture, Best Actor for Brando, Best Supporting Actress for Saint, and Best Director for Kazan. In 1997 it was ranked by the American Film Institute as the eighth-greatest American movie of all time. It is Bernstein's only original film score not adapted from a stage production with songs.\n", "\n", "\n", "Mob-connected union boss Johnny Friendly (Lee J. Cobb) gloats about his iron-fisted control of the waterfront. The police and the Waterfront Crime Commission know that Friendly is behind a number of murders, but witnesses play \"D and D\" (\"deaf and dumb\"), accepting their subservient position rather than risking the danger and shame of informing.\n", "Terry Malloy (Marlon Brando) is a dockworker whose brother Charley \"The Gent\" (Rod Steiger) is Friendly's right-hand man. Some years earlier, Terry had been a promising boxer, until Friendly had Charley instruct him to deliberately lose a fight that he could have won, so that Friendly could win money betting against him.\n", "Terry meets and is smitten by Edie (Eva Marie Saint), the sister of Joey Doyle (Ben Wagner). She has shamed \"waterfront priest\" Father Barry (Karl Malden) into fomenting action against the mob-controlled union. Terry is used to coax Joey, a popular dockworker, into an ambush, preventing him from testifying against Friendly before the Crime Commission. Terry assumed that Friendly's enforcers were only going to \"lean\" on Joey in an effort to pressure him to avoid talking, and is surprised when Joey is killed. Although Terry resents being used as a tool in Joey's death, and despite Father Barry's impassioned \"sermon on the docks\" reminding the longshoremen that Christ walks among them and that every murder is a Calvary, Terry is nevertheless willing to remain \"D and D\".\n", "Soon both Edie and Father Barry urge Terry to testify. Another dockworker, Timothy J. \"Kayo\" Dugan (Pat Henning), who agrees to testify after Father Barry's promise of unwavering support, ends up dead after Friendly arranges for him to be crushed by a load of whiskey in a staged accident.\n", "As Terry, tormented by his awakening conscience, increasingly leans toward testifying, Friendly decides that Terry must be killed unless Charley can coerce him into keeping quiet. Charley tries bribing Terry with a good job and finally threatens Terry by holding a gun against him, but recognizes that he has failed to sway Terry, who places the blame for his own downward spiral on his well-off brother. In what has become an iconic scene, Terry reminds Charley that had it not been for the fixed fight, Terry's career would have bloomed. \"I coulda' been a contender\", laments Terry to his brother, \"Instead of a bum, which is what I am \u2013 let's face it.\" Charley gives Terry the gun and advises him to run. Friendly, having had Charley watched, has Charley murdered, his body hanged in an alley as bait to get at Terry. Terry sets out to shoot Friendly, but Father Barry obstructs that course of action and finally convinces Terry to fight Friendly by testifying.\n", "After the testimony, Friendly announces that Terry will not find employment anywhere on the waterfront. Edie tries persuading him to leave the waterfront with her, but he nonetheless shows up during recruitment at the docks. When he is the only man not hired, Terry openly confronts Friendly, calling him out and proclaiming that he is proud of what he did.\n", "Finally the confrontation develops into a vicious brawl, with Terry getting the upper hand until Friendly's thugs gang up on Terry and nearly beat him to death. The dockworkers, who witnessed the confrontation, declare their support for Terry and refuse to work unless Terry is working too. Finally, the badly wounded Terry forces himself to his feet and enters the dock, followed by the other longshoremen despite Friendly's threats.\n", "On the Waterfront was filmed over 36 days on location in various places in Hoboken, New Jersey, including the docks, workers' slum dwellings, bars, littered alleys, and rooftops. Furthermore, some of the labor boss's goons in the film\u2014Abe Simon as Barney, Tony Galento as Truck, and Tami Mauriello as Tullio\u2014were actual former professional heavyweight boxers.\n", "Terry Malloy's (Brando's) fight against corruption was in part modeled after whistle-blowing longshoreman Anthony DiVincenzo, who testified before a real-life Waterfront Commission on the facts of life on the Hoboken Docks and suffered a degree of ostracism for his deed. DiVincenzo sued and settled, many years after, with Columbia Pictures over the appropriation of what he considered his story. DiVincenzo claimed to have recounted his story to screenwriter Budd Schulberg during a month-long session of waterfront barroom meetings. Schulberg attended DiVincenzo's waterfront commission testimony every day during the hearing.\n", "Karl Malden's character, Father Barry, was based on the real-life \"waterfront priest\" Father John M. Corridan, S.J., a Jesuit priest, graduate of Regis High School who operated a Roman Catholic labor school on the west side of Manhattan. Father Corridan was interviewed extensively by Budd Schulberg, who wrote the foreword to a biography of Father Corridan, Waterfront Priest, by Allen Raymond. The church used for the exterior scenes in the film was the historic Our Lady of Grace in Hoboken, built in 1874, while the interiors were shot at the Church of St. Peter and St. Paul, also in Hoboken, at 400 Hudson Street.[1]\n", "The film is widely considered to be Kazan's answer to those who criticized him for identifying eight (former) Communists in the film industry before the House Committee on Un-American Activities (HUAC) in 1952. Kazan's critics included his friend and collaborator, the noted playwright Arthur Miller, who had written the original screenplay\u2014titled The Hook\u2014for the film that would become On the Waterfront. Miller was replaced by Budd Schulberg, also a witness before HUAC.[2]\n", "Budd Schulberg later published a novel simply titled Waterfront that was much closer to his original screenplay than the version released on screen. Among several differences is that Terry Malloy is brutally murdered.\n", "Upon its release, the film received positive reviews from critics and was a commercial success, earning an estimated $4.2 million in rentals at the North American box office in 1954.[3] In his July 29, 1954, review, New York Times critic A. H. Weiler hailed the film as a masterpiece, calling it \"an uncommonly powerful, exciting, and imaginative use of the screen by gifted professionals.\"[4]\n", "In 1989, the film was deemed \"culturally, historically or aesthetically significant\" by the Library of Congress and selected for preservation in the United States National Film Registry. Film critic Roger Ebert lauded the film, stating that Brando and Kazan changed acting in American movies forever, and then added it to his \"Great Movies\" list.\n", "It is also on the Vatican's list of 45 greatest films, compiled in 1995.[5]\n", "Review aggregation website Rotten Tomatoes retrospectively collected 55 reviews and gave the film a score of 100%, with an average rating of 9.1 out of 10.[6]\n", "\n", "Academy Awards\n", "\n", "On the Waterfront was nominated for twelve Academy Awards and won eight of them.[7]\n", "After Marlon Brando won the Academy Award for Best Actor, it was stolen and did not turn up until much later, when a London auction house contacted him and informed him of its whereabouts. Before that he had been using it to help hold his front door open.\n", "American Film Institute recognition\n", " The first home video release of the film was in 1984, on VHS and Beta. The first DVD version was released in 2001. Among the special features is the featurette \"Contender: Mastering the Method,\" a video photo gallery, an interview with Elia Kazan, an audio commentary, filmographies, production notes, and theatrical trailers. The film has been added to the Criterion Collection.\n", "Notes\n", "Bibliography\n", "http://en.wikipedia.org/wiki/Forrest_Gump\n", "Forrest Gump is a 1994 American epic romantic-comedy-drama film based on the 1986 novel of the same name by Winston Groom. The film was directed by Robert Zemeckis and starred Tom Hanks, Robin Wright, Gary Sinise, Mykelti Williamson, and Sally Field. The story depicts several decades in the life of Forrest Gump, a slow-witted and na\u00efve, but good-hearted and athletically prodigious, man from Alabama who witnesses, and in some cases influences, some of the defining events of the latter half of the 20th century in the United States; more specifically, the period between Forrest's birth in 1944 and 1982. The film differs substantially from Winston Groom's novel on which it was based, including Gump's personality and several events that were depicted." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Principal photography took place in late 1993, mainly in Georgia, North Carolina, and South Carolina. Extensive visual effects were used to incorporate the protagonist into archived footage and to develop other scenes. A comprehensive soundtrack was featured in the film, using music intended to pinpoint specific time periods portrayed on screen. Its commercial release made it a top-selling soundtrack, selling over twelve million copies worldwide.\n", "Released in the United States on July 6, 1994, Forrest Gump received critical acclaim and became a commercial success as the top grossing film in North America released that year, being the first major success for Paramount Pictures since the studio's sale to Viacom earlier in the year. The film earned over $677\u00a0million worldwide during its theatrical run. The film won the Academy Awards for Best Picture, Best Director for Robert Zemeckis, Best Actor for Tom Hanks, Best Adapted Screenplay for Eric Roth, Best Visual Effects, and Best Film Editing. It also garnered multiple other awards and nominations, including Golden Globes, People's Choice Awards, and Young Artist Awards, among others. Since the film's release varying interpretations have been made of the film's protagonist and its political symbolism. In 1996, a themed restaurant, Bubba Gump Shrimp Company, opened based on the film and has since expanded to multiple locations worldwide. The scene of Gump running across the country is often referred to when real-life people attempt the feat.[2] In 2011, the Library of Congress selected Forrest Gump for preservation in the United States National Film Registry as being \"culturally, historically, or aesthetically significant\".[3]\n", "\n", "\n", "While waiting at a bus stop in 1981, Forrest Gump (Tom Hanks) begins telling his life story to strangers who sit next to him on the bench. His story begins with his being named for a relative, Nathan Bedford Forrest, and proceeds to the leg braces he had to wear as a child in the 1950s, which resulted in other children bullying him. He lives with his mother (Sally Field), who tells him that \"stupid is as stupid does.\" His mother runs a rooming house and Forrest teaches one of their guests, a young Elvis Presley (Peter Dobson), a hip-swinging dance. On a bus for his first day of school, Forrest meets Jenny, with whom he immediately falls in love, and they become best friends. One day, while fleeing from bullies, Forrest's leg braces break apart and he discovers that he can run very fast. Despite his below-average intelligence, his speed earns him an athletic scholarship to the University of Alabama. While in college, he witnesses George Wallace's Stand in the Schoolhouse Door, is named an All-American football player, and meets President John F. Kennedy.\n", "After graduating, Forrest enlists in the United States Army, where he befriends former shrimp fisherman Benjamin Buford \"Bubba\" Blue (Mykelti Williamson), and they agree to go into the shrimping business together once they end their service. They are sent to Vietnam, and while on patrol their platoon is ambushed. Forrest saves four of the men in his platoon, including platoon leader First Lieutenant Dan Taylor (Gary Sinise), but Bubba is killed. Forrest himself is wounded and receives the Medal of Honor from President Lyndon B. Johnson. While recovering from his injuries, Forrest meets Lieutenant Dan, who has had both of his legs amputated due to his injuries. He is furious at Forrest for leaving him a \"cripple\" and cheating him out of his destiny to die in battle.\n", "Forrest discovers an aptitude for ping pong and begins playing for the U.S. Army team, eventually competing against Chinese teams on a goodwill tour. He visits the White House again and meets President Richard Nixon, who provides him a room at the Watergate hotel, where Forrest inadvertently helps expose the Watergate scandal. He again encounters Lieutenant Dan, now an embittered drunk living on welfare. Dan is scornful of Forrest's plans to enter the shrimping business and mockingly promises to be Forrest's first mate if he ever succeeds.\n", "Forrest is discharged from the military and uses money from a ping pong endorsement to buy a shrimping boat, fulfilling his wartime promise to Bubba. Lieutenant Dan keeps his own promise and joins Forrest as first mate. They initially have little luck, but after Hurricane Carmen wrecks every other shrimping boat in the region, the Bubba Gump Shrimp Company becomes a huge success. Forrest returns home to care for his ailing mother, who dies soon afterwards. He leaves the company in the hands of Dan, who invests the proceeds of the company in shares of Apple Computer, making them both wealthy.\n", "Jenny returns to visit Forrest and stays with him. He proposes but she turns him down. They make love, but she quietly slips away the next morning. Distraught, Forrest decides to go for a run, which turns into a three-year coast-to-coast marathon. Forrest becomes a celebrity, attracting a band of followers. One day he stops his marathon suddenly and returns home, where he receives a letter from Jenny asking to meet.\n", "This brings Forrest to the bus stop where he began telling his story at the start of the film. He tells the woman he is talking to at this point that he is trying to get to Henry Street. She tells him he does not need to take a bus because it is only 6 blocks away. Forrest gets up and leaves, and this ends the narration part of the film, as well as the comedy part. During his reunion with Jenny, Forrest discovers they have a young son, also named Forrest (Haley Joel Osment). Jenny reveals that she is suffering from an unspecified viral illness, presumably HIV/AIDS. She proposes and he accepts, and they return to Alabama with Forrest Jr. and marry. At his wedding, he meets Lieutenant Dan, who now has titanium alloy prosthetic legs and can walk (although he still has a cane at this point), as well as his fiancee.\n", "Eventually, Jenny dies of her illness. Forrest waits with Forrest Jr. for the bus to pick him up for his first day of school, and watches his feather bookmark float off in the wind.\n", "\"The writer, Eric Roth, departed substantially from the book. We flipped the two elements of the book, making the love story primary and the fantastic adventures secondary. Also, the book was cynical and colder than the movie. In the movie, Gump is a completely decent character, always true to his word. He has no agenda and no opinion about anything except Jenny, his mother and God.\"\n", "The film is based on the 1986 novel by Winston Groom. Both center on the character of Forrest Gump. However, the film primarily focuses on the first eleven chapters of the novel, before skipping ahead to the end of the novel with the founding of Bubba Gump Shrimp Co. and the meeting with Forrest, Jr. In addition to skipping some parts of the novel, the film adds several aspects to Gump's life that do not occur in the novel, such as his needing leg braces as a child and his run across the United States.[16]\n", "Gump's core character and personality are also changed from the novel; among other things his film character is less of an autistic savant\u2014in the novel, while playing football at the university, he fails craft and gym, but receives a perfect score in an advanced physics class he is enrolled in by his coach to satisfy his college requirements.[16] The novel also features Gump as an astronaut, a professional wrestler, and a chess player.[16]\n", "Two directors were offered the opportunity to direct the film before Robert Zemeckis was selected. Terry Gilliam turned down the offer to direct.[17] Barry Sonnenfeld was attached to the film, but left to direct Addams Family Values.[18]\n", "Filming began in August 1993 and ended in December of that year.[19] Although most of the film is set in Alabama, filming took place mainly in and around Beaufort, South Carolina, as well as parts of coastal Virginia and North Carolina,[7] including a running shot on the Blue Ridge Parkway.[20] Downtown portions of the fictional town of Greenbow were filmed in Varnville, South Carolina.[21] The scene of Forrest running through Vietnam while under fire was filmed on Fripp Island, South Carolina.[22] Additional filming took place on the Biltmore Estate in Asheville, North Carolina and along the Blue Ridge Parkway near Boone, North Carolina. The most notable place was Grandfather Mountain where a part of the road is named \"Forrest Gump Curve\".[23] The Gump family home set was built along the Combahee River near Yemassee, South Carolina and the nearby land was used to film Curran's home as well as some of the Vietnam scenes.[24] Over 20\u00a0palmetto trees were planted to improve the Vietnam scenes.[24] Forrest Gump narrated his life's story in Chippewa Square in Savannah, Georgia as he sat at a bus stop bench. There were other scenes filmed in and around the Savannah area as well, including a running shot on the Richard V. Woods Memorial Bridge in Beaufort while he was being interviewed by the press, and on West Bay Street in Savannah.[24] Most of the college campus scenes were filmed in Los Angeles at the University of Southern California. The lighthouse that Forrest runs across to reach the Atlantic Ocean the first time is the Marshall Point Lighthouse in Port Clyde, Maine.\n", "Ken Ralston and his team at Industrial Light & Magic were responsible for the film's visual effects. Using CGI techniques, it was possible to depict Gump meeting deceased personages and shaking their hands. Hanks was first shot against a blue screen along with reference markers so that he could line up with the archive footage.[25] To record the voices of the historical figures, voice doubles were hired and special effects were used to alter the mouth movements for the new dialogue.[15] Archival footage was used and with the help of such techniques as chroma key, image warping, morphing, and rotoscoping, Hanks was integrated into it.\n", "In one Vietnam War scene, Gump carries Bubba away from an incoming napalm attack. To create the effect, stunt actors were initially used for compositing purposes. Then, Hanks and Williamson were filmed, with Williamson supported by a cable wire as Hanks ran with him. The explosion was then filmed, and the actors were digitally added to appear just in front of the explosions. The jet fighters and napalm canisters were also added by CGI.[26]\n", "The CGI removal of actor Gary Sinise's legs, after his character had them amputated, was achieved by wrapping his legs with a blue fabric, which later facilitated the work of the \"roto-paint\" team to paint out his legs from every single frame. At one point, while hoisting himself into his wheelchair, his legs are used for support.[27]\n", "The scene where Forrest spots Jenny at a peace rally at the Lincoln Memorial and Reflecting Pool in Washington, D.C., required visual effects to create the large crowd of people. Over two days of filming, approximately 1,500 extras were used.[28] At each successive take, the extras were rearranged and moved into a different quadrant away from the camera. With the help of computers, the extras were multiplied to create a crowd of several hundred thousand people.[7][28]\n", "The film received generally positive reviews. The review aggregator website Rotten Tomatoes reported that 71% of critics gave the film a positive review based on a sample of 79\u00a0reviews.[29] At the website Metacritic the film earned a rating of 82/100 based on 19\u00a0reviews by mainstream critics.[30]\n", "The story was commended by several critics. Roger Ebert of the Chicago Sun-Times wrote, \"I've never met anyone like Forrest Gump in a movie before, and for that matter I've never seen a movie quite like 'Forrest Gump.' Any attempt to describe him will risk making the movie seem more conventional than it is, but let me try. It's a comedy, I guess. Or maybe a drama. Or a dream. The screenplay by Eric Roth has the complexity of modern fiction...The performance is a breathtaking balancing act between comedy and sadness, in a story rich in big laughs and quiet truths...What a magical movie.\"[31] Todd McCarthy of Variety wrote that the film \"has been very well worked out on all levels, and manages the difficult feat of being an intimate, even delicate tale played with an appealingly light touch against an epic backdrop.\"[32] The film did receive notable pans from several major reviewers. Anthony Lane of The New Yorker called the film \"Warm, wise, and wearisome as hell.\"[33] Owen Gleiberman of Entertainment Weekly said that the film \"reduces the tumult of the last few decades to a virtual-reality theme park: a baby-boomer version of Disney's America.\"[34]\n", "Critics had mixed views on the main character. Gump has been compared with various characters and people including Huckleberry Finn, Bill Clinton, and Ronald Reagan.[35][36][37] Peter Chomo writes that Gump acts as a \"social mediator and as an agent of redemption in divided times\".[38] Peter Travers of Rolling Stone called Gump \"everything we admire in the American character \u2013 honest, brave, loyal.\"[39] The New York Times reviewer Janet Maslin called Gump a \"hollow man\" who is \"self-congratulatory in his blissful ignorance, warmly embraced as the embodiment of absolutely nothing.\"[40] Marc Vincenti of Palo Alto Weekly called the character \"a pitiful stooge taking the pie of life in the face, thoughtfully licking his fingers.\"[41] Bruce Kawin and Gerald Mast's textbook on film history notes that Forrest Gump's dimness was a metaphor for glamorized nostalgia in that he represented a blank slate by which the Baby Boomer generation projected their memories of those events.[42]\n", "The film is commonly seen as a polarizing one for audiences, with Entertainment Weekly writing in 2004, \"Nearly a decade after it earned gazillions and swept the Oscars, Robert Zemeckis's ode to 20th-century America still represents one of cinema's most clearly drawn lines in the sand. One half of folks see it as an artificial piece of pop melodrama, while everyone else raves that it's sweet as a box of chocolates.\"[43]\n", "Produced on a budget of $55\u00a0million, Forrest Gump opened in 1,595\u00a0theaters in its first weekend of domestic release, earning $24,450,602.[1] Motion picture business consultant and screenwriter Jeffrey Hilton suggested to producer Wendy Finerman to double the P&A (film marketing budget) based on his viewing of an early print of the film. The budget was immediately increased, per his advice. The film placed first in the weekend's box office, narrowly beating The Lion King, which was in its fourth week of release.[1] For the first ten weeks of its release, the film held the number one position at the box office.[44] The film remained in theaters for 42\u00a0weeks, earning $329.7\u00a0million in the United States and Canada, making it the fourth-highest grossing film at that time (behind only E.T. the Extra-Terrestrial, Star Wars IV: A New Hope, and Jurassic Park).[44][45]\n", "The film took 66\u00a0days to surpass $250\u00a0million and was the fastest grossing Paramount film to pass $100\u00a0million, $200\u00a0million, and $300\u00a0million in box office receipts (at the time of its release).[46][47][48] The film had gross receipts of $329,694,499 in the U.S. and Canada and $347,693,217 in international markets for a total of $677,387,716 worldwide.[1] Even with such revenue, the film was known as a \"successful failure\"\u2014due to distributors' and exhibitors' high fees, Paramount's \"losses\" clocked in at $62 million, leaving executives realizing the necessity of better deals.[49] This has, however, also been associated with Hollywood accounting, where expenses are inflated in order to minimize profit sharing.\n", "Forrest Gump was first released on VHS tape on April 27, 1995, as a two-disc Laserdisc set on April 28, 1995, (including the \"Through the Eyes of Forrest\" special feature), before being released in a two-disc DVD set on August 28, 2001. Special features included director and producer commentaries, production featurettes, and screen tests.[50] The film was released on Blu-ray disc in November 2009.[51]\n", "The film won the 67th Academy Awards for the Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing. The film was nominated for seven Golden Globe Awards, winning three of them: Best Actor \u2013 Motion Picture Drama, Best Director \u2013 Motion Picture, and Best Motion Picture \u2013 Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film).\n", "In addition to the film's multiple awards and nominations, it has also been recognized by the American Film Institute on several of its lists. The film ranks 37th on 100 Years...100 Cheers, 71st on 100 Years...100 Movies, and 76th on 100 Years...100 Movies (10th Anniversary Edition). In addition, the quote \"Mama always said life was like a box of chocolates. You never know what you're gonna get.\" was ranked 40th on 100 Years...100 Movie Quotes.[52] The film also ranked at number 240 on Empire\u200a'\u200bs list of the 500 Greatest Movies of All Time.[53]\n", "In December 2011, Forrest Gump was selected for preservation in the Library of Congress' National Film Registry.[54] The Registry said that the film was \"honored for its technological innovations (the digital insertion of Gump seamlessly into vintage archival footage), its resonance within the culture that has elevated Gump (and what he represents in terms of American innocence) to the status of folk hero, and its attempt to engage both playfully and seriously with contentious aspects of the era's traumatic history.\"[55]\n", "American Film Institute Lists\n", "Winston Groom was paid $350,000 for the screenplay rights to his novel Forrest Gump and was contracted for a 3\u00a0percent share of the film's net profits.[56] However, Paramount and the film's producers did not pay him, using Hollywood accounting to posit that the blockbuster film lost money. Tom Hanks, by contrast, contracted for the film's gross receipts instead of a salary, and he and director Zemeckis each received $40\u00a0million.[56][57] Additionally, Groom was not mentioned once in any of the film's six Oscar-winner speeches.[58]\n", "Groom's dispute with Paramount was later effectively resolved after Groom declared he was satisfied with Paramount's explanation of their accounting, this coinciding with Groom receiving a 7-figure contract with Paramount for film rights to another of his books, titled 'Gump & Co.'[59]\n", "\"I don't want to sound like a bad version of 'the child within'. But the childlike innocence of Forrest Gump is what we all once had. It's an emotional journey. You laugh and cry. It does what movies are supposed to do: make you feel alive.\"\n", "Various interpretations have been suggested for the feather present at the opening and conclusion of the film. Sarah Lyall of The New York Times noted several suggestions that were made about the feather: \"Does the white feather symbolize the unbearable lightness of being? Forrest Gump's impaired intellect? The randomness of experience?\"[60] Hanks interpreted the feather as: \"Our destiny is only defined by how we deal with the chance elements to our life and that's kind of the embodiment of the feather as it comes in. Here is this thing that can land anywhere and that it lands at your feet. It has theological implications that are really huge.\"[61] Sally Field compared the feather to fate, saying: \"It blows in the wind and just touches down here or there. Was it planned or was it just perchance?\"[62] Visual effects supervisor Ken Ralston compared the feather to an abstract painting: \"It can mean so many things to so many different people.\"[63]\n", "The feather is stored in a book titled Curious George, Forrest's favorite book, which his mother read to him, connecting the scene's present time with his childhood in the 1940s. The placement of the feather in the book is directly on a picture of the monkey walking on a tightrope. Whether that was intentional or not, it is very symbolic. The feather also has a correlation with Jenny's constant obsession with \"becoming a bird and flying far far away\" due to the abuse (sexual and physical) she endured from her father. She goes as far in the film as to ask Forrest \"if [she] jumped off the bridge, could [she] fly?\"\n", "In Tom Hanks' words, \"The film is non-political and thus non-judgmental.\"[37] Nevertheless, in 1994, CNN's Crossfire debated whether the film promoted conservative values or was an indictment of the counterculture movement of the 1960s. Thomas Byers, in a Modern Fiction Studies article, called the film \"an aggressively conservative film\".[64]\n", "\"...all over the political map, people have been calling Forrest their own. But, Forrest Gump isn't about politics or conservative values. It's about humanity, it's about respect, tolerance and unconditional love.\"\n", "It has been noted that while Gump follows a very conservative lifestyle, Curran's life is full of countercultural embrace, complete with drug usage, promiscuity, and antiwar rallies, and that their eventual marriage might be a kind of reconciliation.[31] Jennifer Hyland Wang argued in a Cinema Journal article that Curran's death to an unnamed virus \"...symbolizes the death of liberal America and the death of the protests that defined a decade [1960s].\" She also notes that the film's screenwriter, Eric Roth, when developing the screenplay from the novel, had \"...transferred all of Gump's flaws and most of the excesses committed by Americans in the 1960s and 1970s to her [Curran].\"[38]\n", "Other commentators believe that the film forecast the 1994 Republican Revolution and used the image of Forrest Gump to promote movement leader Newt Gingrich's traditional, conservative values. Jennifer Hyland Wang observes that the film idealizes the 1950s, as evidenced by the lack of \"whites only\" signs in Gump's southern childhood, and \"revisions\" the 1960s as a period of social conflict and confusion. She argues that this sharp contrast between the decades criticizes the counterculture values and reaffirms conservatism.[65] As viewed by political scientist Joe Paskett,[33] this film is \"one of the best films of all time\".[66] Wang argued that the film was used by Republican politicians to illustrate a \"traditional version of recent history\" to gear voters towards their ideology for the congressional elections.[38] In addition, presidential candidate Bob Dole cited the film's message in influencing his campaign due to its \"...message that has made [the film] one of Hollywood's all-time greatest box office hits: no matter how great the adversity, the American Dream is within everybody's reach.\"[38]\n", "In 1995, National Review included Forrest Gump in its list of the \"Best 100 Conservative Movies\" of all time.[67] Then, in 2009, the magazine ranked the film number four on its 25 Best Conservative Movies of the Last 25 Years list.[68] \"Tom Hanks plays the title character, an amiable dunce who is far too smart to embrace the lethal values of the 1960s. The love of his life, wonderfully played by Robin Wright Penn, chooses a different path; she becomes a drug-addled hippie, with disastrous results.\"[68]\n", "James Burton, a communication arts professor at Salisbury University, argued that conservatives claimed Forrest Gump as their own due less to the content of the film and more to the historical and cultural context of 1994. Burton claimed that the film's content and advertising campaign were affected by the cultural climate of the 1990s, which emphasized family values and \"American values\"\u2014values epitomized in the successful book Hollywood vs. America. He claimed that this climate influenced the apolitical nature of the film, which allowed for many different political interpretations.[69]\n", "Burton points out that many conservative critics and magazines (John Simon, James Bowman, the World Report) initially either criticized the film or praised it only for its non-political elements. Only after the popularity of the film was well-established did conservatives embrace the film as an affirmation of traditional values. Burton implies that the liberal-left could have prevented the conservatives from claiming rights to the film, had it chosen to vocalize elements of the film such as its criticism of military values. Instead, the liberal-left focused on what the film omitted, such as the feminist and civil rights movements.[69]\n", "Some commentators see the conservative readings of Forrest Gump as indicants of the death of irony in American culture. Vivian Sobchack notes that the film's humor and irony relies on the assumption of the audience's historical (self-) consciousness.[69]\n", "The 32-song soundtrack from the film was released on July 6, 1994. With the exception of a lengthy suite from Alan Silvestri's score, all the songs are previously released; the soundtrack includes songs from Elvis Presley, Fleetwood Mac, Creedence Clearwater Revival, Aretha Franklin, Lynyrd Skynyrd, Three Dog Night, The Byrds, The Doors, The Mamas & the Papas, The Doobie Brothers, Simon & Garfunkel, Bob Seger, and Buffalo Springfield among others. Music producer Joel Sill reflected on compiling the soundtrack: \"We wanted to have very recognizable material that would pinpoint time periods, yet we didn't want to interfere with what was happening cinematically.\"[70] The two-disc album has a variety of music from the 1950s\u20131980s performed by American artists. According to Sills, this was due to Zemeckis' request, \"All the material in there is American. Bob (Zemeckis) felt strongly about it. He felt that Forrest wouldn't buy anything but American.\"[70]\n", "The soundtrack reached a peak of number 2 on the Billboard album chart.[70] The soundtrack went on to sell twelve\u00a0million copies, and is one of the top selling albums in the United States.[71] The score for the film was composed and conducted by Alan Silvestri and released on August 2, 1994.\n", "The screenplay for the sequel was written by Eric Roth in 2001. It is based on the original novel's sequel, Gump and Co. that was written by Winston Groom in 1995. Roth's script begins with Forrest sitting on a bench waiting for his son to return from school. After the September 11 attacks, Roth, Zemeckis, and Hanks decided the story was no longer \"relevant.\"[72] In March 2007, however, it was reported that Paramount producers took another look at the screenplay.[73]\n", "On the very first page of the sequel novel, Forrest Gump tells readers \"Don't never let nobody make a movie of your life's story,\" though \"Whether they get it right or wrong, it doesn't matter.\"[74] The first chapter of the book suggests that the real-life events surrounding the film have been incorporated into Forrest's storyline, and that Forrest got a lot of media attention as a result of the film.[16] During the course of the sequel novel, Gump runs into Tom Hanks and at the end of the novel is the film's release, including Gump going on The David Letterman Show and attending the Academy Awards.\n", "http://en.wikipedia.org/wiki/The_Sound_of_Music\n", "The Sound of Music (1959) is a musical with music by Richard Rodgers, lyrics by Oscar Hammerstein II and a book by Howard Lindsay and Russel Crouse. It is based on the memoir of Maria von Trapp, The Story of the Trapp Family Singers. Many songs from the musical have become standards, such as \"Edelweiss\", \"My Favorite Things\", \"Climb Ev'ry Mountain\", \"Do-Re-Mi\", and the title song \"The Sound of Music\"." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The original Broadway production,[1] starring Mary Martin and Theodore Bikel, opened on November 16, 1959; the original London production opened at The Palace Theatre on May 18, 1961 starring Jean Bayless and Roger Dann. The show has enjoyed numerous productions and revivals since then. It was adapted as a 1965 film musical starring Julie Andrews and Christopher Plummer, which won five Academy Awards. The Sound of Music was the final musical written by Rodgers and Hammerstein; Hammerstein died of cancer nine months after the Broadway premiere.\n", "\n", "\n", "After viewing The Trapp Family, a 1956 West German film about the von Trapp family, and its 1958 sequel (Die Trapp-Familie in Amerika), stage director Vincent J. Donehue thought that the project would be perfect for his friend Mary Martin; Broadway producers Leland Hayward and Richard Halliday (Martin's husband) agreed.[2] The producers originally envisioned a non-musical play that would be written by Lindsay and Crouse and that would feature songs from the repertoire of the Trapp Family Singers. Then they decided to add an original song or two, perhaps by Rodgers and Hammerstein. But it was soon agreed that the project should feature all new songs and be a musical rather than a play.[3]\n", "Details of the history of the von Trapp family were altered for the musical. The real Georg Ludwig von Trapp did live with his family in a villa in Aigen, a suburb of Salzburg, and Maria von Trapp (born Maria Augusta Kutschera) had been sent to be a tutor to one of the children. Lindsey and Crouse altered the story so that Maria was governess to all of them. The names and ages of the children were also altered, as was Maria's original surname (the show used \"Rainer\" instead of \"Kutschera\"). The von Trapps spent some years in Austria after Maria and the Captain married and was offered a commission to Germany's navy. Since Von Trapp opposed the Nazis by that time the family left Austria after the Anschluss, they went by train to Italy and then traveled to London and the United States.[4] To make the story more dramatic, Lindsey and Crouse had the family, soon after Maria's and the Captain's wedding, escape over the mountains to Switzerland on foot.\n", "In Salzburg, Austria, just before World War II, nuns from Nonnberg Abbey sing the Dixit Dominus. One of the postulants, Maria Rainer, is on the nearby mountainside regretting leaving the beautiful hills (\"The Sound of Music\") where she was brought up. She returns late. The Mother Abbess and the other nuns consider what to do about her (\"Maria\"). Maria explains her lateness, saying she was raised on that mountain, and also apologizes for singing in the garden without permission. The Mother Abbess joins her in song (\"My Favorite Things\").[5] The Mother Abbess tells her that she should spend some time outside the abbey to decide whether she is ready for the monastic life. She will act as the governess to the seven children of a widower, Austro-Hungarian Navy submarine Captain Georg von Trapp.\n", "Maria arrives at the villa of Captain von Trapp. He explains her duties and summons the children with a boatswain's call. They march in, clad in uniforms. He teaches her their individual signals on the call, but she openly disapproves of this militaristic approach. Alone with them, she breaks through their wariness and teaches them the basics of music (\"Do-Re-Mi\").\n", "Rolf, a young messenger, delivers a telegram and then meets with the oldest child, Liesl, outside the villa. He claims he knows what is right for her because he is a year older than she (\"Sixteen Going on Seventeen\"). They kiss, and he runs off, leaving her screaming with joy. Meanwhile, the housekeeper, Frau Schmidt, gives Maria material to make new clothes, as she had given all her possessions to the poor. She sees Liesl slipping in through the window, wet from a sudden thunderstorm, but agrees to keep her secret. The other children are frightened by the storm. Maria sings \"The Lonely Goatherd\" to distract them.\n", "Captain von Trapp arrives a month later with Elsa Schr\u00e4der and Max Detweiler. Elsa tells Max that something is preventing the Captain from marrying her. He opines that only poor people have the time for great romances (\"How Can Love Survive\"). Rolf enters, looking for Liesl, and greets them with \"Heil\". The Captain orders him away, saying that he is Austrian, not German. Maria and the children leapfrog in, wearing playclothes that she made from old drapes. Infuriated, the Captain sends them off to change. She tells him that they need him to love them, and he angrily orders her back to the abbey. As she apologizes, they hear the children singing \"The Sound of Music\", which she had taught them, to welcome Elsa Schr\u00e4der. He joins in, and he then embraces them. Alone with Maria, he asks her to stay, thanking her for bringing music back into his house. Elsa is suspicious of her until she explains that she will be returning to the abbey in September.\n", "The Captain gives a party to introduce Elsa, and guests argue over the Anschluss. Kurt asks Maria to teach him to dance the L\u00e4ndler. When he is unable to negotiate a complicated figure, the Captain steps in to demonstrate. He and Maria dance until they come face-to-face, and she breaks away, embarrassed and confused. Discussing the expected marriage between Elsa and the Captain, Brigitta tells Maria that she thinks Maria and the Captain are really in love with each other. Elsa asks the Captain to allow the children say goodnight to the guests with a song, \"So Long, Farewell\". Max is amazed at their talent and wants them for the Kaltzberg Festival, which he is organizing. The guests leave for the dining room, and Maria slips out the front door with her luggage.\n", "At the abbey, Maria says that she is ready to take her monastic vows; but the Mother Abbess realizes that she is running away from her feelings. She tells her to face the Captain and discover if they love each other, and tells her to search for and find the life she was meant to live (\"Climb Ev'ry Mountain\").\n", "Max teaches the children how to sing on stage. When the Captain tries to lead them, they complain that he is not doing it as Maria did. He tells them that he has asked Elsa to marry him. They try to cheer themselves up by singing \"My Favorite Things\", but are unsuccessful until they hear Maria singing on her way to rejoin them. Learning of the wedding plans, she decides to stay only until the Captain can arrange for another governess. Max and Elsa argue with him about the imminent Anschluss, trying to convince him that it is inevitable (\"No Way to Stop It\"). When he refuses to compromise, Elsa breaks off the engagement. Alone, the Captain and Maria finally admit their love, desiring only to be \"An Ordinary Couple\". As they marry, the nuns reprise \"Maria\" against the wedding processional.\n", "During the honeymoon, Max prepares the children to perform at the Kaltzberg Festival. Herr Zeller, the Gauleiter, demands to know why they are not flying the flag of the Third Reich now that the Anschluss has occurred. The Captain and Maria return early from their honeymoon before the Festival. In view of developments, he refuses to allow the children to sing. Max argues that they would sing for Austria, but the Captain points out that it no longer exists. Maria and Liesl discuss romantic love; Maria predicts that in a few years Liesl will be married (\"Sixteen Going on Seventeen (Reprise)\"). Rolf enters with a telegram that offers the Captain a commission in the German Navy and Liesl is upset to discover that Rolf is now a committed Nazi. The Captain consults Maria and decides that they must secretly flee Austria. German Admiral von Schreiber arrives to find out why Captain Von Trapp has not answered the telegram. He explains that the German Navy holds him in high regard, offers him the commission, and tells him to report immediately to Bremerhaven to assume command. Maria says that he cannot leave immediately, as they are all singing in the Festival concert, and the Admiral agrees to wait until after it.\n", "At the concert, after the von Trapps sing an elaborate reprise of \"Do-Re-Mi\", Max brings out the Captain's guitar. Captain von Trapp sings \"Edelweiss\", as a subliminal goodbye to his homeland, while using Austria's national flower as a symbol to declare his loyalty to the country. Max asks for an encore and announces that this is the von Trapp family's last chance to sing together, as the honor guard waits to escort the Captain to his new command. While the judges decide on the prizes, the von Trapps sing \"So Long, Farewell\", leaving the stage in small groups. Max then announces the runners-up, stalling as much as possible. When he announces that the first prize goes to the von Trapps and they do not appear, the Nazis start a search. The family hides at the Abbey, and Sister Margaretta tells them that the borders have been closed. The Nazis do not find them until Rolf comes upon them. He calls his lieutenant, but upon seeing Liesl, he reports that he has found no one. To help them flee, the nuns have secretly sabotaged the cars of the Nazis. The Von Trapps flee over the mountains (the Alps) as the nuns reprise \"Climb Ev'ry Mountain\".\n", "Sources: Rodgers & Hammerstein[8] Guidetomusicaltheatre.com[9]\n", "The Sound of Music opened on Broadway at the Lunt-Fontanne Theatre on November 16, 1959, moved to the Mark Hellinger Theatre on November 6, 1962 and closed on June 15, 1963 after 1,443 performances. The director was Vincent J. Donehue, and the choreographer was Joe Layton. The original cast included Mary Martin (at age 46) as Maria, Theodore Bikel as Captain Georg von Trapp, Patricia Neway as Mother Abbess, Kurt Kasznar as Max Detweiler, Marion Marlowe as Elsa Schrader, Brian Davies as Rolf and Lauri Peters as Liesl. Sopranos Patricia Brooks and June Card were ensemble members in the original production. The show tied for the Tony Award for Best Musical with Fiorello!. Other awards included Martin for Best Actress in a Musical, Neway for Best Featured Actress, Best Scenic Design (Oliver Smith) and Best Musical Direction (Frederick Dvonch). Bikel and Kasznar were nominated for acting awards, and Donehue was nominated for his direction. The entire children's cast was nominated for Best Featured Actress category as a single nominee, even though two children were boys.\n", "Martha Wright replaced Martin in the role of Maria on Broadway in October 1961, followed by Karen Gantz in July 1962, Jeannie Carson in August 1962[11] and Nancy Dussault in September 1962. Jon Voight, who eventually married co-star Lauri Peters, was a replacement for Rolf. The national tour starred Florence Henderson as Maria and Beatrice Krebs as Mother Abbess. It opened at the Grand Riviera Theater, Detroit, on February 27, 1961 and closed November 23, 1963 at the O'Keefe Centre, Toronto. Henderson was succeeded by Barbara Meister in June 1962. Theodore Bikel was not satisfied playing the role of the Captain, because of the role's limited singing,[citation needed] and Bikel did not like to play the same role over and over again. In his autobiography, he writes: \"I promised myself then that if I could afford it, I would never do a run as long as that again.\"[12] The original Broadway cast album sold three million copies.\n", "The musical premiered in London's West End at the Palace Theatre on May 18, 1961, and ran for 2,385 performances. It was directed by Jerome Whyte and used the original New York choreography, supervised by Joe Layton, and the original sets designed by Oliver Smith. The cast included Jean Bayless as Maria, followed by Sonia Rees, Roger Dann as Captain von Trapp, Constance Shacklock as Mother Abbess, Eunice Gayson as Elsa Schrader, Harold Kasket as Max Detweiler, Barbara Brown as Liesl, Nicholas Bennett as Rolf and Olive Gilbert as Sister Margaretta.[13]\n", "In 1981, at producer Ross Taylor's urging, Petula Clark agreed to star in a revival of the show at the Apollo Victoria Theatre in London's West End. Michael Jayston played Captain von Trapp, Honor Blackman was the Baroness and June Bronhill the Mother Abbess. Other notable cast members included Helen Anker, John Bennett and Martina Grant.[14] Despite Clark's misgivings that, at age 49, she was too old to play the role convincingly, Clark opened to unanimous rave reviews (and the largest advance sale in the history of British theatre at that time). Maria von Trapp herself, present at the opening night performance, described Clark as \"the best\" Maria ever. Clark extended her initial six-month contract to thirteen months. Playing to 101 percent of seating capacity, the show set the highest attendance figure for a single week (October 26\u201331, 1981) of any British musical production in history (as recorded in The Guinness Book of Theatre).[15] This was the first stage production to incorporate the two additional songs (\"Something Good\" and \"I Have Confidence\") that Richard Rodgers composed for the film version.[16] The song \"My Favorite Things\" was placed into the same context as in the film version and the short verse \"A Bell is No Bell\" was extended into a full-length song for Maria and the Mother Abbess while \"The Lonely Goatherd\" was set in a new scene at a village fair. The cast recording of this production was the first to be recorded digitally. In 2010 the UK label 'Pet Sounds' officially released the album on CD with two bonus tracks from the original Epic 45rpm single issued to promote the production.\n", "In 1998, director Susan H. Schulman staged the first Broadway revival of The Sound of Music, with Rebecca Luker as Maria and Michael Siberry as Captain von Trapp. It also featured Patti Cohenour as Mother Abbess, Jan Maxwell as Elsa Schrader, Fred Applegate as Max Detweiler, Dashiell Eaves as Rolf, Patricia Conolly as Frau Schmidt and Laura Benanti, in her Broadway debut, as Luker's understudy. Later, Luker and Siberry were replaced by Richard Chamberlain as the Captain and Benanti as Maria. Lou Taylor Pucci made his Broadway debut as the understudy for Kurt von Trapp. This revival opened on March 12, 1998, at the Martin Beck Theatre, where it ran for 15 months. It then went on tour in North America. This production was nominated for a Tony Award for Best Revival of a Musical.\n", "An Andrew Lloyd Webber production opened on November 15, 2006, at the London Palladium and ran until February 2009, produced by Live Nation's David Ian and Jeremy Sams. Following failed negotiations with Hollywood star Scarlett Johansson,[17] the role of Maria was cast through a UK talent search reality TV show called How Do You Solve a Problem like Maria? The talent show was produced by (and starred) Andrew Lloyd Webber and featured presenter/comedian Graham Norton and a judging panel of David Ian, John Barrowman and Zoe Tyler.\n", "Connie Fisher was selected by public voting as the winner of the show. In early 2007, Fisher suffered from a heavy cold that prevented her from performing for two weeks. To prevent further disruptions, an alternate Maria, Aoife Mulholland, a fellow contestant on How Do You Solve a Problem like Maria?, played Maria on Monday evenings and Wednesday matinee performances. Simon Shepherd was originally cast as Captain von Trapp, but after two preview performances he was withdrawn from the production, and Alexander Hanson moved into the role in time for the official opening date along with Lesley Garrett as the Mother Abbess. After Garrett left, Margaret Preece took the role. The cast also featured Lauren Ward as the Baroness, Ian Gelber as Max, Sophie Bould as Liesl, and Neil McDermott as Rolf. Other notable replacements have included Simon Burke and Simon MacCorkindale as the Captain and newcomer Amy Lennox as Liesl. Summer Strallen replaced Fisher in February 2008, with Mulholland and later Gemma Baird portraying Maria on Monday evenings and Wednesday matinees.\n", "The revival received enthusiastic reviews, especially for Fisher, Preece, Bould and Garrett. A cast recording of the London Palladium cast was released.[18] The production closed on February 21, 2009, after a run of over two years[19] and was followed by a UK national tour, described below.\n", "On March 2, 1965, 20th Century Fox released a film adaption of the musical starring Julie Andrews as Maria Rainer and Christopher Plummer as Captain Georg von Trapp. It was produced and directed by Robert Wise with the screenplay adaption written by Ernest Lehman. Two songs were written by Rodgers specifically for the film, \"I Have Confidence\" and \"Something Good\".\n", "A live televised production of the musical aired on December 5, 2013 on NBC. It was directed by Beth McCarthy-Miller and Rob Ashford.[47] Carrie Underwood starred as Maria Rainer, with Stephen Moyer as Captain von Trapp, Christian Borle as Max, Laura Benanti as Elsa, and Audra McDonald as the Mother Abbess.[48] The broadcast was repeated on December 14, 2013.[49] The production was released on DVD on Dec. 17, 2013.[50]\n", "Most reviews of the original Broadway production were favorable. Richard Watts, Jr. of the New York Post stated that the show had \"strangely gentle charm that is wonderfully endearing. The Sound of Music strives for nothing in the way of smash effects, substituting instead a kind of gracious and unpretentious simplicity.\"[51] The New York World-Telegram and Sun pronounced The Sound of Music \"the loveliest musical imaginable. It places Rodgers and Hammerstein back in top form as melodist and lyricist. The Lindsay-Crouse dialogue is vibrant and amusing in a plot that rises to genuine excitement.\"[51] The New York Journal American's review opined that The Sound of Music is \"the most mature product of the team ... it seemed to me to be the full ripening of these two extraordinary talents\".[51]\n", "Brooks Atkinson of The New York Times gave a mixed assessment. He praised Mary Martin's performance, saying \"she still has the same common touch ... same sharp features, goodwill, and glowing personality that makes music sound intimate and familiar\" and stated that \"the best of the Sound of Music is Rodgers and Hammerstein in good form\". However, he said, the libretto \"has the hackneyed look of the musical theatre replaced with Oklahoma! in 1943. It is disappointing to see the American musical stage succumbing to the clich\u00e9s of operetta.\"[51] Walter Kerr's review in the New York Herald Tribune was unfavorable: \"Before The Sound of Music is halfway through its promising chores it becomes not only too sweet for words but almost too sweet for music\", stating that the \"evening suffer(s) from little children\".[51]\n", "Columbia Masterworks recorded the original Broadway cast album a week after the show's 1959 opening. The album was the label's first deluxe package in a gatefold jacket, priced $1 higher than previous cast albums. It was #1 on Billboard's best-selling albums chart for 16 weeks in 1960.[52] It is currently available on CD from Sony in the Columbia Broadway Masterworks series.[53]\n", "The 1960 London production was recorded by EMI and has been issued on CD on the Broadway Angel Label.[54]\n", "The 1965 film soundtrack was released by RCA Victor and is one of the most successful soundtrack albums in history, having sold over 10 million copies worldwide.[55] Recent CD editions incorporate musical material from the film that would not fit on the original LP. The label has also issued the soundtrack in German, Italian, Spanish and French editions.\n", "RCA Victor also released an album of the 1998 Broadway revival produced by Hallmark Entertainment and featuring the full revival cast, including Rebecca Luker, Michael Siberry, Jan Maxwell and Fred Applegate.[56]\n", "The Telarc label made a studio cast recording of The Sound of Music, with the Cincinnati Pops Orchestra conducted by Erich Kunzel (1987). The lead roles went to opera stars: Frederica von Stade as Maria, H\u00e5kan Hageg\u00e5rd as Captain von Trapp, and Eileen Farrell as the Mother Abbess.[16] The recording \"includes both the two new songs written for the film version and the three Broadway songs they replace, as well as a previously unrecorded verse of \"An Ordinary Couple\"\".[57]\n", "The 2006 London revival was recorded and has been released on the Decca Broadway label.[58]\n", "There have been numerous studio cast albums and foreign cast albums issued, though many have only received regional distribution. According to the cast album database, there are 62 recordings of the score that have been issued over the years.[59]\n", "The original recording reached number 15 on the Dutch MegaCharts albums chart.[60] A recording for the version at the Vlaamse Opera company peaked at number 23 on the Ultrapop 100 albums chart in Flanders.[61]\n", "The 2013 NBC television production starring Carrie Underwood and Stephen Moyer was released on CD and digital download on December 3, 2013 under the Sony Masterworks label. Also featured on the album are Audra McDonald, Laura Benanti and Christian Borle.\n", "http://en.wikipedia.org/wiki/West_Side_Story\n", "West Side Story is an American musical with a libretto by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim, and conception and choreography by Jerome Robbins. It was inspired by William Shakespeare's play Romeo and Juliet." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The story is set in the Upper West Side neighborhood in New York City in the mid-1950s, an ethnic, blue-collar neighborhood. (In the early 1960s much of the neighborhood would be cleared in an urban renewal project for the Lincoln Center, changing the neighborhood's character.)[1][2] The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The members of the Sharks, from Puerto Rico, are taunted by the Jets, a caucasian gang.[3] The young protagonist, Tony, a former member of the Jets and best friend of the gang leader, Riff, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theatre. Bernstein's score for the musical includes \"Something's Coming\", \"Maria\", \"America\", \"Somewhere\", \"Tonight\", \"Jet Song\", \"I Feel Pretty\", \"A Boy Like That\", \"One Hand, One Heart\", \"Gee, Officer Krupke\", and \"Cool\".\n", "The original 1957 Broadway production, directed and choreographed by Jerome Robbins and produced by Robert E. Griffith and Harold Prince, marked Sondheim's Broadway debut. It ran for 732 performances before going on tour. The production was nominated for six Tony Awards including Best Musical in 1957,[4] but the award for Best Musical went to Meredith Willson's The Music Man. Robbins won the Tony for his choreography and Oliver Smith won for his scenic designs. The show had an even longer-running London production, a number of revivals and international productions. A 1961 musical film of the same name, directed by Robert Wise and Robbins, starred Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn. The film was nominated for eleven Academy Awards and won ten, including George Chakiris for Supporting Actor, Rita Moreno for Supporting Actress, and the Best Picture.\n", "\n", "\n", "In 1947, Jerome Robbins approached Leonard Bernstein and Arthur Laurents about collaborating on a contemporary musical adaptation of Romeo and Juliet. He proposed that the plot focus on the conflict between an Irish Catholic family and a Jewish family living on the Lower East Side of Manhattan,[5] during the Easter\u2013Passover season. The girl has survived the Holocaust and emigrated from Israel; the conflict was to be centered around anti-Semitism of the Catholic \"Jets\" towards the Jewish \"Emeralds\" (a name that made its way into the script as a reference).[6] Eager to write his first musical, Laurents immediately agreed. Bernstein wanted to present the material in operatic form, but Robbins and Laurents resisted the suggestion. They described the project as \"lyric theatre\", and Laurents wrote a first draft he called East Side Story. Only after he completed it did the group realize it was little more than a musicalization of themes that had already been covered in plays like Abie's Irish Rose. When he opted to drop out, the three men went their separate ways, and the piece was shelved for almost five years.[7][8]\n", "In 1955, theatrical producer Martin Gabel was working on a stage adaptation of the James M. Cain novel Serenade, about an opera singer who comes to the realization he is homosexual, and he invited Laurents to write the book. Laurents accepted and suggested Bernstein and Robbins join the creative team. Robbins felt if the three were going to join forces, they should return to East Side Story, and Bernstein agreed. Laurents, however, was committed to Gabel, who introduced him to the young composer/lyricist Stephen Sondheim. Sondheim auditioned by playing the score for Saturday Night, his musical that was scheduled to open in the fall. Laurents liked the lyrics but was not impressed with the music. Sondheim did not care for Laurents' opinion. Serenade ultimately was shelved.[9]\n", "Laurents was soon hired to write the screenplay for a remake of the 1934 Greta Garbo film The Painted Veil for Ava Gardner. While in Hollywood, he contacted Bernstein, who was in town conducting at the Hollywood Bowl. The two met at the Beverly Hills Hotel, and the conversation turned to juvenile delinquent gangs, a fairly recent social phenomenon that had received major coverage on the front pages of the morning newspapers due to a Chicano turf war. Bernstein suggested they rework East Side Story and set it in Los Angeles, but Laurents felt he was more familiar with Puerto Ricans and Harlem than he was with Mexican Americans and Olvera Street. The two contacted Robbins, who was enthusiastic about a musical with a Latin beat. He arrived in Hollywood to choreograph the dance sequences for The King and I, and he and Laurents began developing the musical while working on their respective projects, keeping in touch with Bernstein, who had returned to New York. When the producer of The Painted Veil replaced Gardner with Eleanor Parker and asked Laurents to revise his script with her in mind, he backed out of the film, freeing him to devote all his time to the stage musical.[10]\n", "In New York, Laurents went to the opening night party for a new play by Ugo Betti, and there he met Sondheim, who had heard that East Side Story, now retitled West Side Story, was back on track. Bernstein had decided he needed to concentrate solely on the music, and he and Robbins had invited Betty Comden and Adolph Green to write the lyrics, but the team opted to work on Peter Pan instead. Laurents asked Sondheim if he would be interested in tackling the task. Initially he resisted, because he was determined to write the full score for his next project (Saturday Night had been aborted), but Oscar Hammerstein convinced him that he would benefit from the experience, and he accepted.[11] Meanwhile, Laurents had written a new draft of the book changing the characters' backgrounds: Anton, once an Irish American, was now of Polish and Irish descent, and the formerly Jewish Maria had become a Puerto Rican.[12]\n", "The original book Laurents wrote closely adhered to Romeo and Juliet, but the characters based on Rosaline and the parents of the doomed lovers were eliminated early on. Later the scenes related to Juliet's faking her death and committing suicide also were deleted. Language posed a problem; four-letter curse words were uncommon in the theatre at the time, and slang expressions were avoided for fear they would be dated by the time the production opened. Laurents ultimately invented what sounded like real street talk but actually was not: \"cut the frabba-jabba\", for example.[13] Sondheim converted long passages of dialogue, and sometimes just a simple phrase like \"A boy like that would kill your brother\", into lyrics. With the help of Oscar Hammerstein, Laurents convinced Bernstein and Sondheim to move \"One Hand, One Heart\", which he considered too pristine for the balcony scene, to the scene set in the bridal shop, and as a result \"Tonight\" was written to replace it. Laurents felt that the building tension needed to be alleviated in order to increase the impact of the play's tragic outcome, so comic relief in the form of Officer Krupke was added to the second act. He was outvoted on other issues: he felt the lyrics to \"America\" and \"I Feel Pretty\" were too witty for the characters singing them, but they stayed in the score and proved to be audience favorites. Another song, \"Kid Stuff\", was added and quickly removed during the Washington, D.C. tryout when Laurents convinced the others it was helping tip the balance of the show into typical musical comedy.[14]\n", "Bernstein composed West Side Story and Candide concurrently, which led to some switches of material between the two works.[15] Tony and Maria's duet, \"One Hand, One Heart\", was originally intended for Cunegonde in Candide. The music of \"Gee, Officer Krupke\" was pulled from the Venice scene in Candide.[16] Laurents explained the style that the creative team finally decided on:[17]\n", "Just as Tony and Maria, our Romeo and Juliet, set themselves apart from the other kids by their love, so we have tried to set them even further apart by their language, their songs, their movement. Wherever possible in the show, we have tried to heighten emotion or to articulate inarticulate adolescence through music, song or dance.\n", "The show was nearly complete in the fall of 1956, but almost everyone on the creative team needed to fulfill other commitments first. Robbins was involved with Bells Are Ringing, then Bernstein with Candide, and in January 1957 A Clearing in the Woods, Laurents' latest play, opened and quickly closed.[18] When a backers' audition failed to raise any money for West Side Story late in the spring of 1957, only two months before the show was to begin rehearsals, producer Cheryl Crawford pulled out of the project.[19] Every other producer had already turned down the show, deeming it too dark and depressing. Bernstein was despondent, but Sondheim convinced his friend Hal Prince, who was in Boston overseeing the out-of-town tryout of the new George Abbott musical New Girl in Town, to read the script. He liked it but decided to ask Abbott, his longtime mentor, for his opinion, and Abbott advised him to turn it down. Prince, aware that Abbott was the primary reason New Girl was in trouble, decided to ignore him, and he and his producing partner Robert Griffith flew to New York to hear the score.[20] In his memoirs, Prince recalled, \"Sondheim and Bernstein sat at the piano playing through the music, and soon I was singing along with them.\"[16]\n", "Prince began cutting the budget and raising money. Robbins then announced he did not want to choreograph the show, but changed his mind when Prince agreed to an eight-week dance rehearsal period (instead of the customary four), since there was to be more dancing in West Side Story than in any previous Broadway show,[16] and allowed Robbins to hire Peter Gennaro as his assistant.[21] Originally, when considering the cast, Laurents wanted James Dean for the lead role of Tony, but the actor had recently died. Sondheim found Larry Kert and Chita Rivera, who created the roles of Tony and Anita, respectively. Getting the work on stage was still not easy. Bernstein said:[22]\n", "Everyone told us that [West Side Story] was an impossible project ... And we were told no one was going to be able to sing augmented fourths, as with \"Ma-ri-a\" ... Also, they said the score was too rangy for pop music ... Besides, who wanted to see a show in which the first-act curtain comes down on two dead bodies lying on the stage?... And then we had the really tough problem of casting it, because the characters had to be able not only to sing but dance and act and be taken for teenagers. Ultimately, some of the cast were teenagers, some were 21, some were 30 but looked 16. Some were wonderful singers but couldn't dance very well, or vice versa ... and if they could do both, they couldn't act.\n", "Throughout the rehearsal period, the New York newspapers were filled with articles about gang warfare, keeping the show's plot timely. Robbins kept the cast members playing the Sharks and the Jets separate in order to discourage them from socializing with each other and reminded everyone of the reality of gang violence by posting news stories on the bulletin board backstage.[23] Robbins wanted a gritty realism from his sneaker- and jeans-clad cast. He gave the ensemble more freedom than Broadway dancers had previously been given to interpret their roles, and the dancers were thrilled to be treated like actors instead of just choreographed bodies.[24] As the rehearsals wore on, Bernstein fought to keep his score together, as other members of the team called on him to cut out more and more of the sweeping or complex \"operatic\" passages.[16] Columbia Records initially declined to record the cast album, saying the score was too depressing and too difficult.[6]\n", "There were problems with Oliver Smith's designs. His painted backdrops were stunning, but the sets were, for the most part, either shabby looking or too stylized. Prince refused to spend money on new construction, and Smith was obliged to improve what he had as best he could with very little money to do it.[25]\n", "The pre-Broadway run in Washington, D.C. was a critical and commercial success, although none of the reviews mentioned Sondheim, listed as co-lyricist, who was overshadowed by the better-known Bernstein. Bernstein magnanimously removed his name as co-author of the lyrics, although Sondheim was uncertain he wanted to receive sole credit for what he considered to be overly florid contributions by Bernstein. Robbins demanded and received a \"Conceived by\" credit, and used it to justify his making major decisions regarding changes in the show without consulting the others. As a result, by opening night on Broadway, none of his collaborators were talking to him.[26]\n", "It has been rumored that while Bernstein was off trying to fix the musical Candide, Sondheim wrote some of the music for West Side Story, and that Bernstein's co-lyricist billing mysteriously disappeared from the credits of West Side Story during the tryout, presumably as a trade-off.[27] However, Suskin states in Show Tunes that \"As the writing progressed and the extent of Bernstein's lyric contributions became less, the composer agreed to rescind his credit...Contrary to rumor, Sondheim did not write music for the show; his only contribution came on \"Something's Coming\", where he developed the main strain of the chorus from music Bernstein wrote for the verse.[28])\n", "Two rival teenage gangs, the Jets (Caucasian) and the Sharks (Puerto Rican), struggle for control of the neighborhood somewhere in the West Side of New York City amidst the police (Prologue). They are warned by Lt. Schrank and Officer Krupke to stop fighting on their beat. The police chase the Sharks off, and then the Jets plan how they can assure their continued dominance of the street. The Jets' leader, Riff, suggests setting up a rumble with the Sharks. He plans to make the challenge to Bernardo, the Sharks' leader, that night at the neighborhood dance. Riff wants to convince his friend and former member of the Jets, Tony, to meet the Jets at the dance Some of the Jets are unsure of his loyalty, but Riff is adamant that Tony is still one of them,(\"Jet Song\"). Riff meets Tony while he's working at Doc's Drugstore to persuade him to come. Tony initially refuses, but Riff wins him over. Tony is convinced that something important is round the corner, (\"Something's Coming\").\n", "Maria works in a bridal shop with Anita, the girlfriend of her brother, Bernardo. Maria has just arrived from Puerto Rico for her arranged marriage to Chino, a friend of Bernardo's. Maria confesses to Anita that she is not in love with Chino. Anita makes Maria a dress to wear to the neighborhood dance.\n", "At the dance, after introductions, the teenagers begin to dance; soon a challenge dance is called (\"Dance at the Gym\"), during which Tony and Maria (who aren't taking part in the challenge dance) see each other across the room and are drawn to each other. They dance together, forgetting the tension in the room, fall in love, and kiss, but Bernardo pulls his sister from Tony and sends her home. Riff and Bernardo agree to meet for a War Council at Doc's, a drug store which is considered neutral ground, but meanwhile, an infatuated and happy Tony finds Maria's building and serenades her outside her bedroom (\"Maria\"). She appears on her fire escape, and the two profess their love for one another (\"Tonight\"). Meanwhile, Anita, Rosalia, and the other Shark girls discuss the differences between the territory of Puerto Rico and the mainland United States of America, with Anita defending America, and Rosalia yearning for Puerto Rico (\"America\").\n", "The Jets get antsy while waiting for the Sharks inside Doc's Drug Store. Riff helps them let out their aggression (\"Cool\"). The Sharks arrive to discuss weapons to use in the rumble. Tony suggests \"a fair fight\" (fists only), which the leaders agree to, despite the other members' protests. Bernardo believes that he will fight Tony, but must settle for fighting Diesel, Riff's second-in-command, instead. This is followed by a monologue by the ineffective Lt. Schrank trying to find out the location of the rumble. Tony tells Doc about Maria. Doc is worried for them while Tony is convinced that nothing can go wrong; he is in love.\n", "The next day, Maria is in a very happy mood at the bridal shop, as she anticipates seeing Tony again. However, she learns about the upcoming rumble from Anita and is dismayed. When Tony arrives, Maria asks him to stop the fight altogether, which he agrees to do. Before he goes, they dream of their wedding (\"One Hand, One Heart\"). Tony, Maria, Anita, Bernardo and the Sharks, and Riff and the Jets all anticipate the events to come that night (\"Tonight Quintet\"). The gangs meet under the highway and, as the fight between Bernardo and Diesel begins, Tony arrives and tries to stop it. Though Bernardo taunts Tony, ridiculing his attempt to make peace and provoking him in every way, Tony keeps his composure. When Bernardo pushes Tony, Riff punches him in Tony's defense. The two draw their switchblades and get in a fight (\"The Rumble\"). Tony attempts to intervene, inadvertently leading to Riff being fatally stabbed by Bernardo. Tony kills Bernardo in a fit of rage, which in turn provokes an all-out fight like the fight in the Prologue. The sound of approaching police sirens is heard, and everyone scatters, except Tony, who stands in shock at what he has done. The tomboy, Anybody's, who stubbornly wishes that she could become a Jet, tells Tony to flee from the scene at the last moment. Only the bodies of Riff and Bernardo remain.\n", "Blissfully unaware of the gangs' plans for that night, Maria daydreams about seeing Tony with her friends\u2014Rosalia, Consuelo, Teresita and Francisca (\"I Feel Pretty\"). Later, as Maria dances on the roof happily because she has seen Tony and believes he went to stop the rumble. Chino brings the news that Tony has killed Bernardo. Maria flees to her bedroom, praying that Chino is lying. Tony arrives to see Maria and she initially pounds on his chest with rage, but she still loves him. They plan to run away together. As the walls of Maria's bedroom disappear, they find themselves in a dreamlike world of peace (\"Somewhere\").\n", "Two of the Jets, A-Rab and Baby John, are set on by Officer Krupke, but they manage to escape him. They meet the rest of the gang, now led by Action. To cheer themeselves up, they lampoon Officer Krupke, and the other adults who don't understand them, (\"Gee Officer Krupke\"). Anybody's arrives and tells the Jets she has been spying on the Puerto Ricans- she has discovered that Chino is looking for Tony with a gun. The gang separates to find Tony. Action accepts Anybody's into the Jets, and includes her in the search. Anybody's falls in love with him.\n", "A grieving Anita arrives at Maria's apartment. As Tony leaves, he tells Maria to meet him at Doc's so they can run away to the country. In spite of her attempts to conceal it, Anita sees that Tony has been with Maria, and launches an angry tirade against him, (\"A Boy Like That\"). Maria counters by telling Anita how powerful love is, (\"I Have a Love\"), though, and Anita realizes that Maria loves Tony as much as she had loved Bernardo. She admits that Chino has a gun and is looking for Tony.\n", "Lt. Schrank arrives to question Maria about her brother's death, and Anita agrees to go to Doc's to tell Tony to wait. Unfortunately, the Jets, including Anybody's, who have found Tony, have congregated at Doc's, and they taunt Anita with racist slurs and eventually simulate rape. Doc arrives and stops them. Anita is furious, and in anger spitefully delivers the wrong message, telling the Jets that Chino has shot Maria dead.\n", "Doc relates the news to Tony, who has been dreaming of heading to the countryside to have children with Maria. Feeling there is no longer anything to live for, Tony leaves to find Chino, begging for him to shoot him as well. Just as Tony sees Maria alive, Chino arrives and shoots Tony. The Jets, Sharks, and adults flock around the lovers. Maria holds Tony in her arms (and sings a quiet, brief reprise of \"Somewhere\") as he dies. Angry at the death of another friend, the Jets move towards the Sharks but Maria takes Chino's gun and tells everyone that \"all of [them]\" killed Tony and the others because of their hate for each other, and,\"Now I can kill too, because now I have hate!\" she yells. However, she is unable to bring herself to fire the gun and drops it, crying in grief. Gradually, all the members of both gangs assemble on either side of Tony's body, showing that the feud is over. The Jets and Sharks form a procession, and together carry Tony away, with Maria the last one in the procession.\n", "Male Jets\n", "Male Sharks\n", "Female Jets\n", "Female Sharks\n", "Adults\n", "After tryouts in Washington, D.C. and Philadelphia beginning in August 1957, the original Broadway production opened at the Winter Garden Theatre on September 26, 1957 to positive reviews. The production was directed and choreographed by Jerome Robbins, produced by Robert E. Griffith and Harold Prince and starred Larry Kert as Tony, Carol Lawrence as Maria, Chita Rivera as Anita and David Winters as Baby John, the youngest of the gang members. Robbins won the Tony Award for Best Choreographer, and Oliver Smith won the Tony for Best Scenic Designer. Also nominated were Carol Lawrence, as Best Actress in a Supporting Role in a Musical, Max Goberman as Best Musical Director and Conductor, and Irene Sharaff for Best Costume Design. Carol Lawrence received the 1958 Theatre World Award. Lighting was designed by Jean Rosenthal. The production ran for 732 performances at the Winter Garden Theatre before touring and then returning to the Winter Garden Theatre in 1960 for another 253 performance engagement.\n", "The other principal or notable cast members in the original production were: Anybody's: Lee Becker, Riff: Michael Callan, A-Rab: Tony Mordente, Action: Eddie Roll, Big Deal: Martin Charnin, Gee-Tar: Tommy Abbott; Velma: Carole D'Andrea, Bernardo: Ken Le Roy, Chino: Jamie Sanchez, Nibbles: Ronnie Lee; Rosalia: Marilyn Cooper, Consuelo: Reri Grist, Teresita: Carmen Gutierrez, Francisca: Elizabeth Taylor; Lt. Schrank: Arch Johnson, Doc: Art Smith, and Krupke: William Bramley.\n", "Several dances from West Side Story were included in the Tony Award-winning 1989 Broadway production, Jerome Robbins' Broadway.\n", "The 1958 European premiere at the Manchester Opera House transferred to London, where it opened at Her Majesty's Theatre in the West End on December 12, 1958 and ran until June 1961 with a total of 1,039 performances. Robbins directed and choreographed, and it was co-choreographed by Peter Gennaro, with scenery by Oliver Smith. Featured performers were George Chakiris, who won an Academy Award as Bernardo in the 1961 film version, as Riff, Marlys Watters as Maria, Don McKay as Tony, and Chita Rivera reprising her Broadway role as Anita.[29] David Holliday, who had been playing Gladhand since the London opening, took over as Tony, playing opposite Roberta D'Esti's Maria, and Mary Preston as Anita.\n", "In February 1962, the West End (H. M. Tennent) production launched a five-month Scandinavian tour opening in Copenhagen, continuing to Oslo, Goteborg, Stockholm and Helsinki. Robert Jeffrey took over from David Holliday as Tony and Jill Martin played Maria.\n", "A Broadway revival opened at the Minskoff Theatre on February 14, 1980 and closed on November 30, 1980, after 333 performances. It was directed and choreographed by Robbins, with the book scenes co-directed by Gerald Freedman; produced by Gladys Nederlander and Tom Abbott and Lee Becker Theodore assisted the choreography reproduction.[30] The original scenic, lighting, and costume designs were used. It starred Ken Marshall as Tony, Hector Jamie Mercado as Bernardo, Josie de Guzman as Maria, and Debbie Allen as Anita. Both de Guzman and Allen received Tony Award nominations as Best Featured Actress in a Musical, and the musical was nominated as Best Reproduction (Play or Musical). Allen won the Drama Desk Award as Outstanding Featured Actress in a Musical. Other notable cast members in the revival included Brent Barrett as Diesel, Harolyn Blackwell as Francisca, Stephen Bogardus as Mouth Piece, Reed Jones as Big Deal, Mark Morales as Chino, and Sammy Smith as Doc.\n", "The Minskoff production subsequently opened the Nervi Festival in Genoa, Italy in July 1981 with Josie de Guzman as Maria and Brent Barrett as Tony.[31]\n", "In 2007, Arthur Laurents stated, \"I've come up with a way of doing [West Side Story] that will make it absolutely contemporary without changing a word or a note.\"[32] He directed a pre-Broadway production of West Side Story at the National Theatre in Washington, D.C. that ran from December 15, 2008 through January 17, 2009. The Broadway revival began previews at the Palace Theatre on February 23, 2009 and opened on March 19, 2009.[33][34] The production wove Spanish lyrics and dialogue into the English libretto. The translations are by Tony Award winner Lin-Manuel Miranda. Laurents stated, \"The musical theatre and cultural conventions of 1957 made it next to impossible for the characters to have authenticity. Every member of both gangs was always a potential killer even then. Now they actually will be. Only Tony and Maria try to live in a different world\".[35][36][37] In August 2009, some of the lyrics for \"A Boy Like That\" (\"Un Hombre Asi\") and \"I Feel Pretty\" (\"Me Siento Hermosa\"), which were previously sung in Spanish in the revival, were changed back to the original English.[38] However, the Spanish lyrics sung by the Sharks in the \"Tonight\" (Quintet) remained in Spanish.\n", "The cast featured Matt Cavenaugh as Tony, Josefina Scaglione as Maria and Karen Olivo as Anita.[39] Olivo won the Tony Award for Best Featured Actress, while Scaglione was nominated for the award for Leading Actress.[40][41] The cast recording won the Grammy Award for Best Musical Show Album.[42] In July 2010, the producers reduced the size of the orchestra, replacing five musicians with an off-stage synthesizer.[43] The production closed on January 2, 2011 after 748 performances and 27 previews.[44] The revival sold 1,074,462 tickets on Broadway over the course of nearly two years.[45]\n", "The New York City Center Light Opera Company production opened on April 8, 1964 at the New York City Center and closed May 3, 1964 after a limited engagement of 31 performances. Tony was Don McKay, Maria was Julia Migenes and Anita was played by Luba Lisa. It was staged by Gerald Freedman based on Robbins' original concept, and the choreography was re-mounted by Tom Abbott.\n", "The Musical Theater of Lincoln Center and Richard Rodgers production opened at the New York State Theater, Lincoln Center, on June 24, 1968 and closed on September 7, 1968 after 89 performances. Direction and choreography were reproduced by Lee Theodore, and scenery was by Oliver Smith. Tony was Kurt Peterson and Maria was Victoria Mallory.\n", "The musical has also been adapted to be performed as Deaf Side Story using both English and American Sign Language, with deaf Sharks and hearing Jets.[46]\n", "A 1959 national tour launched on July 1, 1959. The show hit Denver, Los Angeles, San Francisco, Chicago, Detroit, Cincinnati, Cleveland, Baltimore, Philadelphia, and Boston. This tour transferred back on Broadway Apr 27, 1960 \u2013 Dec 10, 1960 at the Winter Garden Theater in New York City.\n", "A 1987 U.S. tour starred Jack Wagner as Tony, with Valarie Pettiford as Anita and was directed by Alan Johnson.[47] A bus and truck (non-Equity) tour was produced in 1998 by City Vision Theatricals.[citation needed] A national tour, directed by Alan Johnson, was produced in 2002.[48]\n", "A national tour of the 2009 Broadway revival began in October 2010 at the Fisher Theatre in Detroit, Michigan.[49] The cast features Kyle Harris as Tony and Ali Ewoldt as Maria.[50] After a very successful year, the tour was sent out for another year.[51][52] A Non-equity tour version of the 2009 Revival, presented by Troika Entertainment, began in fall 2012.[53]\n", "Several regional opera companies have produced West Side Story. San Diego Civic Light Opera (1983), Pittsburgh Civic Light Opera (1965, 1967, 1974, 1984, 1990, 1999, 2008),[54] and Banff Musical Theatre (1984) were among the first smaller regional companies to produce it. Michigan Opera Theatre was the first major American Opera Company to produce West Side Story in late 1985.\n", "In 1986 Starlight Theatre of Kansas City in Kansas City, MO presented a production and in 1989 North Shore Music Theatre in Beverly, MA had a very successful production. Both of these productions were directed by Jack Allison and choreographed by Thom Warren\n", "In 1961, a tour of Israel, Africa and the Near East was mounted. The Japanese Takarazuka Revue has also performed the show twice. It was produced by the Moon Troupe in 1998 and again in 1999 by the Star Troupe. A Hong Kong production was produced in 2000 with Cantonese lyrics, featuring Hong Kong rock star Paul Wong as Tony. It was staged at the outdoor plaza of Hong Kong Cultural Center.\n", "In 1977, \"Amor Sin Barreras\" was produced in Mexico City by Alfonso Rosas Prigo, & Ruben Boido, Direction by Ruben Boido, presented at the Hidalgo Theater. Gualberto Castro played the part of Tony; Maria Medina was Maria, other cast members were Luis Torner, Lupita Sandoval, Edgar Flores, Macaria, Ema Pulido, and Julieta Bracho.\n", "From 1982\u20131984 a tour of South America, Israel and Europe was mounted with talent from New York. Included in the cast were Thom Warren, Richard Renzaneth, John Charles Kelly, Pamela Khoury, Michael McCord,and RJ Peters. The Director/Choreographers for that production were Jay Norman and Lee Theodore, veterans of the Original Broadway Cast.\n", "A UK national tour started in 1997 and starred David Habbin as Tony, Katie Knight Adams as Maria and Anna-Jane Casey as Anita. The production was very well received and transferred to London's West End opening at the Prince Edward Theatre in October 1998, transferring to the Prince of Wales Theatre where it closed in January 2000. The production subsequently toured the UK for a second time.[55]\n", "The Austrian Bregenz Festival presented West Side Story in a German translation by Marcel Prawy in 2003 and 2004, directed by the Francesca Zambello, followed by a German tour.[56] A French language adaptation, translated by Philippe Gobeille, opened in Montreal, Quebec in March 2008.[57] A Philippine version premiered on September 5, 2008 at the Meralco Theatre. It featured Christian Bautista as Tony, Karylle and Joanna Ampil as Maria.[58] In 2008, an adaptation played in Portugal, directed by Filipe La F\u00e9ria, with the name West Side Story \u2013 Amor Sem Barreiras, in the Politeama Theater, in Lisbon, with Ricardo Soler and Rui Andrade playing the character Tony and B\u00e1rbara Barradas and C\u00e1tia Tavares playing Maria. Anita is portrayed by L\u00facia Moniz and Anabela.\n", "In 2007, the Fulton Opera House in Lancaster, Pennsylvania and 5th Avenue Theatre in Seattle, Washington were the only professional theaters in the United States to be granted the production rights to West Side Story on the 50th anniversary of its Broadway opening. To mark the occasion, the Fulton joined with the Lancaster Symphony Orchestra for the first time to supply the musical score under the direction of Maestro Stephen Gunzenhauser. The production, during the Fulton's 155th season, ran from September 6, 2007 to September 30, 2007.[59]\n", "An international tour (2005\u20132010), directed and choreographed by Joey McKneely and produced by BB Promotion played in Tokyo, Paris, Austria, Switzerland, Germany, Singapore, S\u00e3o Paulo, France, Taiwan, China, Italy, Rotterdam and Madrid.[60][61]\n", "Canada's Stratford Shakespeare Festival performed West Side Story in 1999, starring Tyley Ross as Tony and Ma-Anne Dionisio as Maria, and again in 2009,[62] with Chilina Kennedy as Maria and Paul Nolan as Tony. Gary Griffin directed.\n", "In June 2011, a Lima production was produced by \"Preludio Asociaci\u00f3n Cultural\" with Marco Zunino as Tony, Rossana Fern\u00e1ndez-Maldonado as Maria, Jes\u00fas Neyra as Bernardo, Tati Alc\u00e1ntara as Anita and Joaqu\u00edn de Orbegoso as Riff.[63]\n", "In December 2011, an Indonesia production was produced by Nino Theatre with Manda Alaysia as Maria, Bimo Reisnanda as Bernardo, Zara Fathy as Anita, Ton Dorino as Riff.\n", "In May 2012, a Belarusian production directed by Anastasia Grinenko (Belarus), with choreography by Paul Emerson (USA) and Dmitry Yakubovich (Belarus) opened at the Belarus State Musical Theatre.\n", "The creators' innovations in dance, music and theatrical style resulted in strong reactions from the critics. Walter Kerr wrote in the New York Herald Tribune on September 27, 1957:[64]\n", "The radioactive fallout from West Side Story must still be descending on Broadway this morning. Director, choreographer, and idea-man Jerome Robbins has put together, and then blasted apart, the most savage, restless, electrifying dance patterns we've been exposed to in a dozen seasons .... the show rides with a catastrophic roar over the spider-web fire-escapes, the shadowed trestles, and the plain dirt battlegrounds of a big city feud ... there is fresh excitement in the next debacle, and the next. When a gang leader advises his cohorts to play it \"Cool\", the intolerable tension between an effort at control and the instinctive drives of these potential killers is stingingly graphic. When the knives come out, and bodies begin to fly wildly through space under buttermilk clouds, the sheer visual excitement is breathtaking .... Mr. Bernstein has permitted himself a few moments of graceful, lingering melody: in a yearning \"Maria\", in the hushed falling line of \"Tonight\", in the wistful declaration of \"I Have a Love\". But for the most part he has served the needs of the onstage threshing machine ... When hero Larry Kert is stomping out the visionary insistence of \"Something's Coming\" both music and tumultuous story are given their due. Otherwise it's the danced narrative that takes urgent precedence ...\n", "The other reviews generally joined in speculation about how the new work would influence the course of musical theatre. Typical was John Chapman's review in the New York Daily News on September 27, 1957, headed: \"West Side Story a Splendid and Super-Modern Musical Drama\".\n", "The American theatre took a venturesome forward step when the firm of Griffith & Prince presented West Side Story at the Winter Garden last evening. This is a bold new kind of musical theatre \u2013 a juke-box Manhattan opera. It is, to me, extraordinarily exciting .... the manner of telling the story is a provocative and artful blend of music, dance and plot \u2013 and the music and the dancing are superb. In [the score], there is the drive, the bounce, the restlessness and the sweetness of our town. It takes up the American musical idiom where it was left when George Gershwin died. It is fascinatingly tricky and melodically beguiling, and it marks the progression of an admirable composer ...\n", "Time magazine found the dance and gang warfare more compelling than the love story and noted that the show's \"putting choreography foremost, may prove a milestone in musical-drama history ...\"[65][66]\n", "While critics speculated about the comic-tragic darkness of the musical, audiences were captivated. The story appealed to society's undercurrent of rebellion from authority that surfaced in 1950s films like Rebel without a Cause. West Side Story took this one step further by combining the classic and the hip. Robbins' energetic choreography and Bernstein's grand score accentuated the satiric, hard-edged lyrics of Sondheim, and Laurents' capture of the angry voice of urban youth. The play was criticized for glamorizing gangs, and its portrayal of Puerto Ricans and lack of authentic Latin casting were weaknesses. Yet, the song \"America\" shows the triumph of the spirit over the obstacles often faced by immigrants. The musical also made points in its description of troubled youth and the devastating effects of poverty and racism. Juvenile delinquency is seen as an ailment of society: \"No one wants a fella with a social disease!\" One writer summed up the reasons for the show's popularity in these terms: \"On the cusp of the 1960s, American society, still recovering from the enormous upheaval of World War II, was seeking stability and control.\"\n", "The score for West Side Story was orchestrated by Sid Ramin and Irwin Kostal following detailed instructions from Bernstein, who then wrote revisions on their manuscript (the original, heavily annotated by Ramin, Kostal and Bernstein himself is in the Rare Books and Manuscripts Library at Columbia University).[67] Ramin, Kostal, and Bernstein are billed as orchestrators for the show.\n", "The licensed orchestration is as follows:[68]\n", "In 1961, Bernstein prepared a suite of orchestral music from the show, titled Symphonic Dances from West Side Story:\n", "Recordings of West Side Story include:\n", "2010 Won a Grammy for Best Musical Show Album\n", "On October 18, 1961, a film adaptation of the musical was released. It received praise from critics and the public, and became the second highest grossing film of the year in the United States. The film won ten Academy Awards in its eleven nominated categories, including Best Picture, as well as a special award for Robbins. The film holds the distinction of being the musical film with the most Academy Award wins (10 wins), including Best Picture. The soundtrack album made more money than any other album before it.\n", "In addition to Bernstein's own West Side Story Suite, the music has been adapted by The Buddy Rich Big Band, which arranged and recorded \"West Side Story Medley\" on the 1966 album Buddy Rich's Swingin' New Big Band, and The Stan Kenton Orchestra, which recorded Johnny Richards' 1961 Kenton's West Side Story, an album of jazz orchestrations based on the Bernstein scores. It won the 1962 Grammy Award for Best Jazz Recording by a Large Group.\n", "Songs from the musical have been recorded by popular artists and adapted to various other performances:\n", "http://en.wikipedia.org/wiki/Star_Wars\n", "Star Wars is an American epic space opera franchise centered on a film series created by George Lucas. The film series, consisting of two trilogies (and an upcoming third), has spawned an extensive media franchise called the Expanded Universe including books, television series, computer and video games, and comic books. These supplements to the franchise resulted in significant development of the series' fictional universe, keeping the franchise active in the 16-year interim between the two film trilogies. The franchise depicts a galaxy described as far, far away in the distant past, and it commonly portrays Jedi as a representation of good, in conflict with the Sith, their evil counterpart. Their weapon of choice, the lightsaber, is commonly recognized in popular culture. The franchise's storylines contain many themes, with strong influences from philosophy and religion." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The first film in the series was originally released on May 25, 1977, under the title Star Wars, by 20th Century Fox, and became a worldwide pop culture phenomenon, followed by two sequels, released at three-year intervals. Sixteen years after the release of the trilogy's final film, the first in a new prequel trilogy of films was released. The three prequel films were also released at three-year intervals, with the final film of the trilogy released on May 19, 2005. In 2012, The Walt Disney Company acquired Lucasfilm for $4.05 billion and announced that it would produce three new films, with the first film, Star Wars: The Force Awakens, planned for release in 2015.[1] 20th Century Fox still retains the distribution rights to the first two Star Wars trilogies, owning permanent rights for the original film Episode IV: A New Hope, while holding the rights to Episodes I\u2013III, V and VI until May 2020.[2]\n", "Reactions to the original trilogy were positive, with the last film being considered the weakest, while the prequel trilogy received a more mixed reaction, with most of the praise being for the final film, according to most review aggregator websites. All six of the main films in the series were nominated for or won Academy Awards. All of the main films have been box office successes, with the overall box office revenue generated by the Star Wars films (including the theatrical Star Wars: The Clone Wars) totalling $4.38\u00a0billion,[3] making it the fifth-highest-grossing film series.[4] The success has also led to multiple re-releases in theaters for the series.\n", "\n", "\n", "The events depicted in Star Wars media take place in a fictional galaxy. Many species of alien creatures (often humanoid) are depicted. Robotic droids are also commonplace and are generally built to serve their owners. Space travel is common, and many planets in the galaxy are members of a Galactic Republic, later reorganized as the Galactic Empire.\n", "One of the prominent elements of Star Wars is the \"Force\", an omnipresent energy that can be harnessed by those with that ability, known as Force-sensitives. It is described in the first produced film as \"an energy field created by all living things [that] surrounds us, penetrates us, [and] binds the galaxy together.\"[5] The Force allows users to perform various supernatural feats (such as telekinesis, clairvoyance, precognition, and mind control) and can amplify certain physical traits, such as speed and reflexes; these abilities vary between characters and can be improved through training. While the Force can be used for good, it has a dark side that, when pursued, imbues users with hatred, aggression, and malevolence. The six films feature the Jedi, who use the Force for good, and the Sith, who use the dark side for evil in an attempt to take over the galaxy. In the Star Wars Expanded Universe, many dark side users are Dark Jedi rather than Sith, mainly because of the \"Rule of Two\" (see Sith Origin).[5][6][7][8][9][10]\n", "The film series began with Star Wars, released on May 25, 1977. This was followed by two sequels: The Empire Strikes Back, released on May 21, 1980, and Return of the Jedi, released on May 25, 1983. The opening crawl of the sequels disclosed that they were numbered as \"Episode V\" and \"Episode VI\" respectively, though the films were generally advertised solely under their subtitles. Though the first film in the series was simply titled Star Wars, with its 1981 re-release it had the subtitle Episode IV: A New Hope added to remain consistent with its sequel, and to establish it as the middle chapter of a continuing saga.[11]\n", "In 1997, to correspond with the 20th anniversary of A New Hope, Lucas released a \"Special Edition\" of the Star Wars trilogy to theaters. The re-release featured alterations to the three films, primarily motivated by the improvement of CGI and other special effects technologies, which allowed visuals that were not possible to achieve at the time of the original filmmaking. Lucas continued to make changes to the films for subsequent releases, such as the first ever DVD release of the original trilogy on September 21, 2004 and the first ever Blu-ray release of all six films on September 16, 2011.[12] Reception of the Special Edition was mixed,[13][14][15][16] prompting petitions and fan edits to produce restored copies of the original trilogy.[17][18]\n", "More than two decades after the release of the original film, the series continued with a prequel trilogy; consisting of Episode I: The Phantom Menace, released on May 19, 1999; Episode II: Attack of the Clones, released on May 16, 2002; and Episode III: Revenge of the Sith, released on May 19, 2005.[19] On August 15, 2008, Star Wars: The Clone Wars was released theatrically as a lead-in to the weekly animated TV series of the same name. Star Wars: The Force Awakens is scheduled for release on December 18, 2015. In 2013, it was announced the original Star Wars film will be the first Hollywood film to be dubbed into Navajo.[20]\n", "The original trilogy begins with the Galactic Empire nearing completion of the Death Star space station, which will allow the Empire to crush the Rebel Alliance, an organized resistance formed to combat Emperor Palpatine's tyranny. Palpatine's Sith apprentice Darth Vader captures Princess Leia, a member of the rebellion who has stolen the plans to the Death Star and hidden them in the astromech droid R2-D2. R2, along with his protocol droid counterpart C-3PO, escapes to the desert planet Tatooine. There, the droids are purchased by farm boy Luke Skywalker and his step-uncle and aunt. While Luke is cleaning R2, he accidentally triggers a message put into the droid by Leia, who asks for assistance from the legendary Jedi Knight Obi-Wan Kenobi. Luke later assists the droids in finding the exiled Jedi, who is now passing as an old hermit under the alias Ben Kenobi. When Luke asks about his father, whom he has never met, Obi-Wan tells him that Anakin Skywalker was a great Jedi who was betrayed and murdered by Vader.[22] Obi-Wan and Luke hire the smuggler Han Solo and his Wookiee co-pilot Chewbacca to take them to Alderaan, Leia's home world, which they eventually find has been destroyed by the Death Star. Once on board the space station, Luke and Han rescue Leia while Obi-Wan allows himself to be killed during a lightsaber duel with Vader; his sacrifice allows the group to escape with the plans that help the Rebels destroy the Death Star. Luke himself (guided by the power of the Force) fires the shot that destroys the deadly space station during the Battle of Yavin.[5]\n", "Three years later, Luke travels to find the Jedi Master Yoda, now living in exile on the swamp-infested world of Dagobah, to begin his Jedi training. However, Luke's training is interrupted when Vader lures him into a trap by capturing Han and his friends at Cloud City. During a fierce lightsaber duel, Vader reveals that he is Luke's father and attempts to turn him to the dark side of the Force.[9] Luke escapes and, after rescuing Han from the gangster Jabba the Hutt, returns to Yoda to complete his training, only to find the 900-year-old Jedi Master on his deathbed. Before he dies, Yoda confirms that Vader is Luke's father. Moments later, Obi-Wan's spirit tells Luke that he must confront his father once again before he can become a Jedi, and that Leia is his twin sister.\n", "As the Rebels attack the second Death Star, Luke engages Vader in another lightsaber duel as the Emperor watches; both Sith Lords intend to turn Luke to the dark side and take him as their apprentice. During the duel, Luke succumbs to his anger and brutally overpowers Vader, but controls himself at the last minute; realizing that he is about to suffer his father's fate, he spares Vader's life and proudly declares his allegiance to the Jedi. An enraged Palpatine then attempts to kill Luke with Force lightning, a sight that moves Vader to turn and kill the Emperor, suffering mortal wounds in the process. Redeemed, Anakin Skywalker dies in his son's arms. Luke becomes a full-fledged Jedi, and the Rebels destroy the second Death Star.[10]\n", "The prequel trilogy begins (32 years before the original film) with the corrupt Trade Federation setting up a blockade of battleships around the planet Naboo. The Sith Lord Darth Sidious had secretly planned the blockade to give his alter ego, Senator Palpatine, a pretense to overthrow and replace the Supreme Chancellor of the Galactic Republic. At the Chancellor's request, the Jedi Knight Qui-Gon Jinn and his apprentice, a younger Obi-Wan Kenobi, are sent to Naboo to negotiate with the Federation. However, the two Jedi are forced to instead help the Queen of Naboo, Padm\u00e9 Amidala, escape from the blockade and plea her planet's crisis before the Republic Senate on Coruscant. When their starship is damaged during the escape, they land on Tatooine for repairs, where Qui-Gon discovers a nine-year-old Anakin Skywalker. Qui-Gon comes to believe that Anakin is the \"Chosen One\" foretold by Jedi prophecy to bring balance to the Force, and he helps liberate the boy from slavery. The Jedi Council, led by Yoda, reluctantly allows Obi-Wan to train Anakin after Qui-Gon is killed by Palpatine's first apprentice, Darth Maul, during the Battle of Naboo.[6]\n", "The remainder of the prequel trilogy chronicles Anakin's gradual descent to the dark side as he fights in the Clone Wars, which Palpatine secretly engineers to destroy the Jedi Order and lure Anakin into his service.[7] Anakin and Padm\u00e9 fall in love and secretly wed, and eventually Padm\u00e9 becomes pregnant. Anakin has a prophetic vision of Padm\u00e9 dying in childbirth, and Palpatine convinces him that the dark side of the Force holds the power to save her life. Desperate, Anakin submits to Palpatine's Sith teachings and is renamed Darth Vader.\n", "While Palpatine re-organizes the Republic into the tyrannical Empire, Vader participates in the extermination of the Jedi Order, culminating in a lightsaber duel between himself and Obi-Wan on the volcanic planet Mustafar. Obi-Wan defeats his former apprentice and friend, severing his limbs and leaving him to burn to death on the shores of a lava flow. Palpatine arrives shortly afterward and saves Vader by placing him into a mechanical black mask and suit of armor that serves as a permanent life support system. At the same time, Padm\u00e9 dies while giving birth to twins Luke and Leia. Obi-Wan and Yoda, now the only remaining Jedi alive, agree to separate the twins and keep them hidden from both Vader and the Emperor, until the time comes when Anakin's children can be used to help overthrow the Empire.[8]\n", "Aside from its well known science fictional technology, Star Wars features elements such as knighthood, chivalry, and princesses that are related to archetypes of the fantasy genre.[23] The Star Wars world, unlike fantasy and science-fiction films that featured sleek and futuristic settings, was portrayed as dirty and grimy. Lucas' vision of a \"used future\" was further popularized in the science fiction-horror films Alien,[24] which was set on a dirty space freighter; Mad Max 2, which is set in a post-apocalyptic desert; and Blade Runner, which is set in a crumbling, dirty city of the future. Lucas made a conscious effort to parallel scenes and dialogue between films, and especially to parallel the journeys of Luke Skywalker with that of his father Anakin when making the prequels.[6]\n", "Star Wars contains many themes of political science that mainly favor democracy over dictatorship. Political science has been an important element of Star Wars since the franchise first launched in 1977. The plot climax of Star Wars is modeled after the fall of the democratic Roman Republic and the formation of an empire.[25][26][27] Star Wars also reflects on the events in America following the September 11 attacks. Some[who?] have drawn similarities between the rise in authoritarianism from around the beginning of Clone Wars until the end of the Old Republic and the United States government's actions after 9/11, specifically passage of the Patriot Act in 2001.[28][29]\n", "All six films of the Star Wars series were shot in an aspect ratio of 2.39:1. The original trilogy was shot with anamorphic lenses. Episodes IV and V were shot in Panavision, while Episode VI was shot in Joe Dunton Camera (JDC) scope. Episode I was shot with Hawk anamorphic lenses on Arriflex cameras, and Episodes II and III were shot with Sony's CineAlta high-definition digital cameras.[30]\n", "Lucas hired Ben Burtt to oversee the sound effects on A New Hope. Burtt's accomplishment was such that the Academy of Motion Picture Arts and Sciences presented him with a Special Achievement Award because it had no award at the time for the work he had done.[31] Lucasfilm developed the THX sound reproduction standard for Return of the Jedi.[32] John Williams composed the scores for all six films. Lucas' design for Star Wars involved a grand musical sound, with leitmotifs for different characters and important concepts. Williams' Star Wars title theme has become one of the most famous and well-known musical compositions in modern music history.[33]\n", "Lucas hired 'the Dean of Special Effects' John Stears, who created R2-D2, Luke Skywalker's Landspeeder, the Jedi Knights' lightsabers, and the Death Star.[34][35] The technical lightsaber choreography for the original trilogy was developed by leading filmmaking sword-master Bob Anderson. Anderson trained actor Mark Hamill (Luke Skywalker) and performed all the sword stunts as Darth Vader during the lightsaber duels in The Empire Strikes Back and Return of the Jedi, wearing Vader's costume. Anderson's role in the original Star Wars trilogy was highlighted in the film Reclaiming the Blade, where he shares his experiences as the fight choreographer developing the lightsaber techniques for the movies.[36]\n", "In 1971, Universal Studios agreed to make American Graffiti and Star Wars in a two-picture contract, although Star Wars was later rejected in its early concept stages. American Graffiti was completed in 1973 and, a few months later, Lucas wrote a short summary called \"The Journal of the Whills\", which told the tale of the training of apprentice CJ Thorpe as a \"Jedi-Bendu\" space commando by the legendary Mace Windy.[37] Frustrated that his story was too difficult to understand, Lucas then began writing a 13-page treatment called The Star Wars on April 17, 1973, which had thematic parallels with Akira Kurosawa's The Hidden Fortress.[38] By 1974, he had expanded the treatment into a rough draft screenplay, adding elements such as the Sith, the Death Star, and a protagonist named Annikin Starkiller.\n", "For the second draft, Lucas made heavy simplifications, and introduced the young hero on a farm as Luke Starkiller. Annikin became Luke's father, a wise Jedi knight. \"The Force\" was also introduced as a mystical energy field. The next draft removed the father character and replaced him with a substitute named Ben Kenobi, and in 1976 a fourth draft had been prepared for principal photography. The film was titled Adventures of Luke Starkiller, as taken from the Journal of the Whills, Saga I: The Star Wars. During production, Lucas changed Luke's name to Skywalker and altered the title to simply The Star Wars and finally Star Wars.[39]\n", "At that point, Lucas was not expecting the film to become part of a series. The fourth draft of the script underwent subtle changes that made it more satisfying as a self-contained film, ending with the destruction of the Empire itself by way of destroying the Death Star. However, Lucas had previously conceived of the film as the first in a series of adventures. Later, he realized the film would not in fact be the first in the sequence, but a film in the second trilogy in the saga. This is stated explicitly in George Lucas' preface to the 1994 reissue of Splinter of the Mind's Eye:\n", "It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell\u2014three trilogies\u2014and I realized, in making my way through the back story and after story, that I was really setting out to write the middle story.\n", "The second draft contained a teaser for a never-made sequel about \"The Princess of Ondos,\" and by the time of the third draft some months later Lucas had negotiated a contract that gave him rights to make two sequels. Not long after, Lucas met with author Alan Dean Foster, and hired him to write these two sequels as novels.[40] The intention was that if Star Wars were successful, Lucas could adapt the novels into screenplays.[41] He had also by that point developed an elaborate backstory to aid his writing process.[42]\n", "When Star Wars proved successful, Lucas decided to use the film as the basis for an elaborate serial, although at one point he considered walking away from the series altogether.[43] However, Lucas wanted to create an independent filmmaking center\u2014what would become Skywalker Ranch\u2014and saw an opportunity to use the series as a financing agent.[44] Alan Dean Foster had already begun writing the first sequel novel, but Lucas decided to abandon his plan to adapt Foster's work; the book was released as Splinter of the Mind's Eye the following year. At first Lucas envisioned a series of films with no set number of entries, like the James Bond series. In an interview with Rolling Stone in August 1977, he said that he wanted his friends to each take a turn at directing the films and giving unique interpretations on the series. He also said that the backstory in which Darth Vader turns to the dark side, kills Luke's father and fights Ben Kenobi on a volcano as the Galactic Republic falls would make an excellent sequel.\n", "Later that year, Lucas hired science fiction author Leigh Brackett to write Star Wars II with him. They held story conferences and, by late November 1977, Lucas had produced a handwritten treatment called The Empire Strikes Back. The treatment is similar to the final film, except that Darth Vader does not reveal he is Luke's father. In the first draft that Brackett would write from this, Luke's father appears as a ghost to instruct Luke.[45]\n", "Brackett finished her first draft in early 1978; Lucas has said he was disappointed with it, but before he could discuss it with her, she died of cancer.[46] With no writer available, Lucas had to write his next draft himself. It was this draft in which Lucas first made use of the \"Episode\" numbering for the films; Empire Strikes Back was listed as Episode II.[47] As Michael Kaminski argues in The Secret History of Star Wars, the disappointment with the first draft probably made Lucas consider different directions in which to take the story.[48] He made use of a new plot twist: Darth Vader claims to be Luke's father. According to Lucas, he found this draft enjoyable to write, as opposed to the yearlong struggles writing the first film, and quickly wrote two more drafts,[49] both in April 1978. He also took the script to a darker extreme by having Han Solo imprisoned in carbonite and left in limbo.[9]\n", "This new story point of Darth Vader being Luke's father had drastic effects on the series. Michael Kaminski argues in his book that it is unlikely that the plot point had ever seriously been considered or even conceived of before 1978, and that the first film was clearly operating under an alternate storyline where Vader was separate from Luke's father;[50] there is not a single reference to this plot point before 1978. After writing the second and third drafts of Empire Strikes Back in which the point was introduced, Lucas reviewed the new backstory he had created: Anakin Skywalker was Ben Kenobi's brilliant student and had a child named Luke, but was swayed to the dark side by Emperor Palpatine (who became a Sith and not simply a politician). Anakin battled Ben Kenobi on the site of a volcano and was wounded, but then resurrected as Darth Vader. Meanwhile Kenobi hid Luke on Tatooine while the Republic became the Empire and Vader systematically hunted down and killed the Jedi.[51]\n", "With this new backstory in place, Lucas decided that the series would be a trilogy, changing Empire Strikes Back from Episode II to Episode V in the next draft.[49] Lawrence Kasdan, who had just completed writing Raiders of the Lost Ark, was then hired to write the next drafts, and was given additional input from director Irvin Kershner. Kasdan, Kershner, and producer Gary Kurtz saw the film as a more serious and adult film, which was helped by the new, darker storyline, and developed the series from the light adventure roots of the first film.[52]\n", "By the time he began writing Episode VI in 1981 (then titled Revenge of the Jedi), much had changed. Making Empire Strikes Back was stressful and costly, and Lucas' personal life was disintegrating. Burned out and not wanting to make any more Star Wars films, he vowed that he was done with the series in a May 1983 interview with Time magazine. Lucas' 1981 rough drafts had Darth Vader competing with the Emperor for possession of Luke\u2014and in the second script, the \"revised rough draft\", Vader became a sympathetic character. Lawrence Kasdan was hired to take over once again and, in these final drafts, Vader was explicitly redeemed and finally unmasked. This change in character would provide a springboard to the \"Tragedy of Darth Vader\" storyline that underlies the prequels.[53]\n", "After losing much of his fortune in a divorce settlement in 1987, Lucas had no desire to return to Star Wars, and had unofficially canceled his sequel trilogy by the time of Return of the Jedi.[54] Nevertheless, the prequels, which were only still a series of basic ideas partially pulled from his original drafts of \"The Star Wars\" continued to fascinate him with the possibilities of technical advances would make it possible to revisit his 20-year-old material. After Star Wars became popular once again, in the wake of Dark Horse's comic book line and Timothy Zahn's trilogy of novels, Lucas saw that there was still a large audience. His children were older, and with the explosion of CGI technology he was now considering returning to directing.[55] By 1993 it was announced, in Variety among other sources, that he would be making the prequels. He began penning more to the story, now indicating the series would be a tragic one examining Anakin Skywalker's fall to the dark side. Lucas also began to change how the prequels would exist relative to the originals; at first they were supposed to be a \"filling-in\" of history tangential to the originals, but now he saw that they could form the beginning of one long story that started with Anakin's childhood and ended with his death. This was the final step towards turning the film series into a \"Saga\".[56]\n", "In 1994, Lucas finally had his first screenplay titled Episode I: The Beginning. Following the release of that film, Lucas announced that he would also be directing the next two, and began working on Episode II at that time.[57] The first draft of Episode II was completed just weeks before principal photography, and Lucas hired Jonathan Hales, a writer from The Young Indiana Jones Chronicles, to polish it.[58] Unsure of a title, Lucas had jokingly called the film \"Jar Jar's Great Adventure.\"[59] In writing The Empire Strikes Back, Lucas initially decided that Lando Calrissian was a clone and came from a planet of clones which caused the \"Clone Wars\" mentioned by Princess Leia in A New Hope;[60][61] he later came up with an alternate concept of an army of clone shocktroopers from a remote planet which attacked the Republic and were repelled by the Jedi.[62] The basic elements of that backstory became the plot basis for Episode II, with the new wrinkle added that Palpatine secretly orchestrated the crisis.[7]\n", "Lucas began working on Episode III before Attack of the Clones was released, offering concept artists that the film would open with a montage of seven Clone War battles.[63] As he reviewed the storyline that summer, however, he says he radically re-organized the plot.[64] Michael Kaminski, in The Secret History of Star Wars, offers evidence that issues in Anakin's fall to the dark side prompted Lucas to make massive story changes, first revising the opening sequence to have Palpatine kidnapped and his apprentice, Count Dooku, murdered by Anakin as the first act in the latter's turn towards the dark side.[65] After principal photography was complete in 2003, Lucas made even more massive changes in Anakin's character, re-writing his entire turn to the dark side; he would now turn primarily in a quest to save Padm\u00e9's life, rather than the previous version in which that reason was one of several, including that he genuinely believed that the Jedi were evil and plotting to take over the Republic. This fundamental re-write was accomplished both through editing the principal footage, and new and revised scenes filmed during pick-ups in 2004.[66]\n", "Lucas often exaggerated the amount of material he wrote for the series; much of it stemmed from the post\u20101978 period when the series grew into a phenomenon. Michael Kaminski explained that these exaggerations were both a publicity and security measure. Kaminski rationalized that since the series' story radically changed throughout the years, it was always Lucas' intention to change the original story retroactively because audiences would only view the material from his perspective.[8][67] When congratulating the producers of the TV series Lost in 2010, Lucas himself jokingly admitted, \"when Star Wars first came out, I didn't know where it was going either. The trick is to pretend you've planned the whole thing out in advance. Throw in some father issues and references to other stories\u00a0\u2013 let's call them homages\u00a0\u2013 and you've got a series\".[68]\n", "A sequel trilogy was reportedly planned (Episodes VII, VIII and IX) by Lucasfilm as a sequel to the original Star Wars trilogy (Episodes IV, V and VI), released between 1977 and 1983.[69] While the similarly discussed Star Wars prequel trilogy (Episodes I, II and III) was ultimately released between 1999 and 2005, Lucasfilm and George Lucas had for many years denied plans for a sequel trilogy, insisting that Star Wars is meant to be a six-part series.[70][71] In May\u00a02008\u00a0(2008-05), speaking about the upcoming Star Wars: The Clone Wars, Lucas maintained his status on the sequel trilogy:\n", "\"I get asked all the time, 'What happens after Return of the Jedi?,' and there really is no answer for that. The movies were the story of Anakin Skywalker and Luke Skywalker, and when Luke saves the galaxy and redeems his father, that's where that story ends.\"[72]\n", "In January 2012, Lucas announced that he would step away from blockbuster films and instead produce smaller art-house films. In an interview regarding whether or not the scrutiny he received from the prequel trilogy and the alterations made on the original trilogy were a factor in his retirement, Lucas stated:\n", "\"Why would I make any more,... when everybody yells at you all the time and says what a terrible person you are?\"[73]\n", "In October 2012, The Walt Disney Company agreed to buy Lucasfilm and announced that Star Wars Episode VII would be released in 2015. The co-chairman of Lucasfilm, Kathleen Kennedy became president of the company, reporting to Walt Disney Studios chairman Alan Horn. In addition, Kennedy will serve as executive producer on new Star Wars feature films, with franchise creator and Lucasfilm founder Lucas serving as creative consultant.[74] The screenplay for Episode VII was originally set to be written by Michael Arndt,[75] but in October 2013 it was announced that writing duties would be taken over by Lawrence Kasdan and J. J. Abrams.[76] On January 25, 2013, The Walt Disney Studios and Lucasfilm officially announced J. J. Abrams as Star Wars Episode VII\u200a'\u200bs director and producer, along with Bryan Burk and Bad Robot Productions.[77]\n", "On November 20, 2012, The Hollywood Reporter reported that Lawrence Kasdan, writer of The Empire Strikes Back and Return of the Jedi, and Simon Kinberg will write and produce Episodes VIII and IX.[78] Kasdan and Kinberg were later confirmed as creative consultants on those films, in addition to writing stand-alone films. In addition, John Williams, who wrote the music for the previous six episodes, has been hired to compose the music for Episodes VII, VIII and IX.[79]\n", "On June 21, 2014 it was reported that Looper director Rian Johnson would direct Episode VIII with Ram Bergman as a producer. Reports initially claimed he would direct Episode IX as well, but it was later revealed he would only write a story treatment for Episode IX.[80][81] When asked about Episode VIII in an August 2014 interview, Johnson said \"it's boring to talk about, because the only thing I can really say is, I\u2019m just happy. I don\u2019t have the terror I kind of expected I would, at least not yet. I\u2019m sure I will at some point.\u201d[82]\n", "On February 5, 2013, Disney CEO Bob Iger confirmed the development of two stand-alone films, each individually written by Lawrence Kasdan and Simon Kinberg.[83] On February 6, Entertainment Weekly reported that Disney is working on two films featuring Han Solo and Boba Fett.[84] Disney CFO Jay Rasulo has described the stand-alone films as origin stories.[85] Kathleen Kennedy explained that the stand-alone films will not crossover with the films of the sequel trilogy, stating, \"George was so clear as to how that works. The canon that he created was the Star Wars saga. Right now, Episode VII falls within that canon. The spin-off movies, or we may come up with some other way to call those films, they exist within that vast universe that he created. There is no attempt being made to carry characters (from the stand-alone films) in and out of the saga episodes. Consequently, from the creative standpoint, it's a roadmap that George made pretty clear.\"[86] On May 22, 2014, it was announced that Godzilla director Gareth Edwards would direct the first stand-alone feature, to be released on December 16, 2016, with Gary Whitta writing the film.[87] On June 4, 2014, it was announced that Chronicle director Josh Trank would direct the second stand-alone feature.[88]\n", "At a ShoWest convention in 2005, Lucas demonstrated new technology and stated that he planned to release the six films in a new 3D film format, beginning with A New Hope in 2007.[89] However, by January 2007, Lucasfilm stated on StarWars.com that \"there are no definitive plans or dates for releasing the Star Wars saga in 3-D.\" At Celebration Europe in July 2007, Rick McCallum confirmed that Lucasfilm is \"planning to take all six films and turn them into 3-D,\" but they are \"waiting for the companies out there that are developing this technology to bring it down to a cost level that makes it worthwhile for everybody\".[90] In July 2008, Jeffrey Katzenberg, the CEO of DreamWorks Animation, revealed that Lucas plans to redo all six of the movies in 3D.[91] In late September 2010, it was announced that The Phantom Menace would be theatrically re-released in 3-D on February 10, 2012.[92][93] The plan was to re-release all six films in order, with the 3-D conversion process taking up to a year to complete for each film.[94] However, the 3D re-releases of episodes II and III have been postponed to enable Lucasfilm to concentrate on Episode VII.[95]\n", "The six films together were nominated for 25 Academy Awards, of which they won ten. Three of these were Special Achievement Awards.\n", "The term Expanded Universe (EU) is an umbrella term for officially licensed Star Wars material outside of the six feature films. The material expands the stories told in the films, taking place anywhere from 25,000 years before The Phantom Menace to 140 years after Return of the Jedi. The first Expanded Universe story appeared in Marvel Comics' Star Wars #7 in January 1978 (the first six issues of the series having been an adaptation of the film), followed quickly by Alan Dean Foster's novel Splinter of the Mind's Eye the following month.[119]\n", "Despite Disney's acquisition of the product, George Lucas retains artistic control over the Star Wars universe. For example, the death of central characters and similar changes in the status quo requires his approval before authors were allowed to proceed. In addition, Lucasfilm Licensing and the new Lucasfilm Story Group devote efforts to ensure continuity between the works of various authors across companies.[120] Elements of the Expanded Universe have been adopted by Lucas for use in the films, such as the name of capital planet Coruscant, which first appeared in Timothy Zahn's novel Heir to the Empire before being used in The Phantom Menace. Additionally, Lucas so liked the character Aayla Secura, who was introduced in Dark Horse Comics' Star Wars series, that he included her as a character in Attack of the Clones.[121]\n", "Lucas has played a large role in the production of various television projects, usually serving as storywriter or executive producer.[122] Star Wars has had numerous radio adaptations. A radio adaptation of A New Hope was first broadcast on National Public Radio in 1981. The adaptation was written by science fiction author Brian Daley and directed by John Madden. It was followed by adaptations of The Empire Strikes Back in 1983 and Return of the Jedi in 1996. The adaptations included background material created by Lucas but not used in the films. Mark Hamill, Anthony Daniels, and Billy Dee Williams reprised their roles as Luke Skywalker, C-3PO, and Lando Calrissian, respectively, except in Return of the Jedi in which Luke was played by Joshua Fardon and Lando by Arye Gross. The series also used John Williams' original score from the films and Ben Burtt's original sound designs.[123]\n", "While Lucasfilm strived to maintain internal consistency between the films and television content with the expanded universe, only the films and the second Clone Wars television series are regarded as absolute canon, since Lucas worked on them directly. On April 25, 2014\u2014anticipating future film installments\u2014the company announced that they had devised a \"story group\" to oversee and co-ordinate all creative development. The first new on-screen canon to be produced will be the television series Star Wars Rebels. Previous EU titles will be re-reprinted under the \"Legends\" banner.[124]\n", "In addition to the two trilogies and The Clone Wars film, several other authorized films have been produced:\n", "Following the success of the Star Wars films and their subsequent merchandising, several animated television series have been created:\n", "Star Wars-based fiction predates the release of the first film, with the 1976 novelization of Star Wars (ghost-written by Alan Dean Foster and credited to Lucas). Foster's 1978 novel, Splinter of the Mind's Eye, was the first Expanded Universe work to be released. In addition to filling in the time between A New Hope and The Empire Strikes Back, this additional content greatly expanded the Star Wars timeline before and after the film series. Star Wars fiction flourished during the time of the original trilogy (1977\u201383) but slowed to a trickle afterwards. In 1992, however, Timothy Zahn's Thrawn trilogy debuted, sparking a new interest in the Star Wars universe. Since then, several hundred tie-in novels have been published by Bantam and Del Rey. A similar resurgence in the Expanded Universe occurred in 1996 with the Steve Perry novel Shadows of the Empire, set in between The Empire Strikes Back and Return of the Jedi, and accompanying video game and comic book series.[128]\n", "LucasBooks radically changed the face of the Star Wars universe with the introduction of the New Jedi Order series, which takes place some 20 years after Return of the Jedi and stars a host of new characters alongside series originals. For younger audiences, three series have been introduced. The Jedi Apprentice series follows the adventures of Obi-Wan Kenobi and his master Qui-Gon Jinn in the years before The Phantom Menace. The Jedi Quest series follows the adventures of Obi-Wan and his apprentice Anakin Skywalker in between The Phantom Menace and Attack of the Clones. The Last of the Jedi series follows the adventures of Obi-Wan and another surviving Jedi almost immediately, set in between Revenge of the Sith and A New Hope.\n", "Following Disney's purchase of the franchise, Disney Publishing Worldwide also announced that Del Rey would publish a new line of canon Star Wars books under the Lucasfilm Story Group being released starting in September on a bi-monthly schedule.[129] The Star Wars Legends banner would be used for those Extended Universe materials that are in print.[130]\n", "Marvel Comics published Star Wars comic book series and adaptations from 1977 to 1986. A wide variety of creators worked on this series, including Roy Thomas, Archie Goodwin, Howard Chaykin, Al Williamson, Carmine Infantino, Gene Day, Walt Simonson, Michael Golden, Chris Claremont, Whilce Portacio, Jo Duffy, and Ron Frenz. The Los Angeles Times Syndicate published a Star Wars newspaper strip by Russ Manning, Goodwin and Williamson[131][132] with Goodwin writing under a pseudonym. In the late 1980s, Marvel announced it would publish a new Star Wars comic by Tom Veitch and Cam Kennedy. However, in December 1991, Dark Horse Comics acquired the Star Wars license and used it to launch a number of ambitious sequels to the original trilogy instead, including the popular Dark Empire stories.[133] They have since gone on to publish a large number of original adventures set in the Star Wars universe. There have also been parody comics, including Tag and Bink.[134] On January 3, 2014, Marvel Comics, now a part of the Walt Disney Company, announced that it will once again publish Star Wars comic books and graphic novels, taking over from Dark Horse.[135]\n", "Since 1977, dozens of board, card, video, miniature, and tabletop role-playing games, among other types, have been published bearing the Star Wars name, beginning in 1977 with the board game Star Wars: Escape from the Death Star[136] (not to be confused with another board game with the same title, published in 1990).[137] Star Wars video games commercialization started in 1982 with Star Wars: The Empire Strikes Back published for the Atari 2600 by Parker Brothers. Since then, Star Wars has opened the way to a myriad of space-flight simulation games, first-person shooter games, role-playing video games, RTS games, and others. Three different official tabletop role-playing games have been developed for the Star Wars universe: a version by West End Games in the 1980s and 1990s, one by Wizards of the Coast in the 2000s and one by Fantasy Flight Games in the 2010s.\n", "The best-selling games so far are the Lego Star Wars and the Battlefront series, with 12\u00a0million and 10\u00a0million units respectively[138][139] while the most critically acclaimed is the first Knights of the Old Republic.[140] The most recently released games are Lego Star Wars: The Complete Saga, Lego Star Wars III: The Clone Wars, Star Wars: The Force Unleashed and Star Wars: The Force Unleashed II, for the PS3, PSP, PS2, Xbox 360, Nintendo DS and Wii. While The Complete Saga focuses on all six episodes of the series, The Force Unleashed, of the same name of the multimedia project which it is a part of, takes place in the largely unexplored time period between Revenge of the Sith and A New Hope and casts players as Darth Vader's \"secret apprentice\" hunting down the remaining Jedi. The game features a new game engine, and was released on September 16, 2008 in the United States.[141][142] There are three more titles based on the Clone Wars which were released for the Nintendo DS (Star Wars: The Clone Wars \u2013 Jedi Alliance) and Wii (Star Wars: The Clone Wars \u2013 Lightsaber Duels and Star Wars: The Clone Wars \u2013 Republic Heroes).\n", "Star Wars trading cards have been published since the first 'blue' series, by Topps, in 1977.[143] Dozens of series have been produced, with Topps being the licensed creator in the United States. Some of the card series are of film stills, while others are original art. Many of the cards have become highly collectible with some very rare \"promos\", such as the 1993 Galaxy Series II \"floating Yoda\" P3 card often commanding US$\u202f1\u202f000 or more. While most \"base\" or \"common card\" sets are plentiful, many \"insert\" or \"chase cards\" are very rare.[144] From 1995 until 2001, Decipher, Inc. had the license for, created and produced a collectible card game based on Star Wars; the Star Wars Collectible Card Game (also known as SWCCG).\n", "The board game Risk has been adapted to the series in two editions by Hasbro: and Star Wars Risk: The Clone Wars Edition[145] (2005) and Risk: Star Wars Original Trilogy Edition[146] (2006). From July 25 to August 15, 2013, Disney's online game Club Penguin hosted a Star Wars Takeover event based on the films.[147]\n", "The Star Wars saga has inspired many fans to create their own non-canon material set in the Star Wars galaxy. In recent years, this has ranged from writing fan-fiction to creating fan films. In 2002, Lucasfilm sponsored the first annual Official Star Wars Fan Film Awards, officially recognizing filmmakers and the genre. Because of concerns over potential copyright and trademark issues, however, the contest was initially open only to parodies, mockumentaries, and documentaries. Fan-fiction films set in the Star Wars universe were originally ineligible, but in 2007 Lucasfilm changed the submission standards to allow in-universe fiction entries.[148]\n", "While many fan films have used elements from the licensed Expanded Universe to tell their story, they are not considered an official part of the Star Wars canon. However, the lead character from the Pink Five series was incorporated into Timothy Zahn's 2007 novel Allegiance, marking the first time a fan-created Star Wars character has ever crossed into the official canon.[149] Lucasfilm, for the most part, has allowed but not endorsed the creation of these derivative fan-fiction works, so long as no such work attempts to make a profit from or tarnish the Star Wars franchise in any way.[150]\n", "Before Disney's acquisition of the franchise, George Lucas had established a partnership in 1986 with Disney and its Walt Disney Imagineering division to create Star Tours, an attraction that opened at Disneyland in 1987. The attraction also had subsequent incarnations at other Disney theme parks worldwide, with the exception of Hong Kong Disneyland.\n", "The attractions at Disneyland and Disney's Hollywood Studios closed in 2010 and at Tokyo Disneyland in 2012 to allow the rides to be converted into Star Tours\u2014The Adventures Continue. The successor attraction opened at Disney's Hollywood Studios and Disneyland in 2011, and Tokyo Disneyland in 2013.\n", "The Jedi Training Academy is a live show where children are selected to learn the teachings of the Jedi Knights and the Force to become Padawan learners. The show is present at the Rebels stage at Disney's Hollywood Studios and at the Tomorrowland Terrace at Disneyland.\n", "The Walt Disney World Resort's Disney's Hollywood Studios park hosts an annual festival, Star Wars Weekends during specific dates from May to June. The event began in 1997.\n", "In August 2014 it was reported that in 2015, Walt Disney Co. plans to add a major Star Wars presence in all of their theme parks which is rumored to include a Star Wars themed expansion of their Hollywood Studios theme park.[151] When asked whether or not Disney has an intellectual property franchise that\u2019s comparable to Harry Potter at Universal theme parks, Disney chairman Bob Iger mentioned Cars and the Disney Princesses, and promised that Star Wars, \u201cis going to be just that.\u201d[152]\n", "Several animal species have been named after Star Wars characters.\n", "The Star Wars saga has had a significant impact on modern American pop culture. Both the films and characters have been parodied in numerous films and television.\n", "In 1989, the Library of Congress selected the original Star Wars film for preservation in the U.S. National Film Registry, as being \"culturally, historically, or aesthetically significant.\"[168] Its sequel, The Empire Strikes Back, was selected in 2010.[169][170] Despite these callings for archival, it is unclear whether copies of the 1977 and 1980 theatrical sequences of Star Wars and Empire\u2014or copies of the 1997 Special Edition versions\u2014have been archived by the NFR, or indeed if any copy has been provided by Lucasfilm and accepted by the Registry.[171][172]\n", "http://en.wikipedia.org/wiki/E.T._the_Extra-Terrestrial\n", "E.T. the Extra-Terrestrial (often referred to simply as E.T.) is a 1982 American science fiction film coproduced and directed by Steven Spielberg and written by Melissa Mathison, featuring special effects by Carlo Rambaldi and Dennis Muren, and starring Henry Thomas, Dee Wallace, Robert MacNaughton, Drew Barrymore and Peter Coyote. It tells the story of Elliott (played by Thomas), a lonely boy who befriends an extraterrestrial, dubbed \"E.T.\", who is stranded on Earth. Elliott and his siblings help it return home while attempting to keep it hidden from their mother and the government." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The concept for the film was based on an imaginary friend Spielberg created after his parents' divorce in 1960. In 1980, Spielberg met Mathison and developed a new story from the stalled science fiction/horror film project Night Skies. It was shot from September to December 1981 in California on a budget of US$10.5 million. Unlike most motion pictures, it was shot in roughly chronological order, to facilitate convincing emotional performances from the young cast.\n", "Released on June 11, 1982 by Universal Pictures, E.T was a blockbuster, surpassing Star Wars to become the highest-grossing film of all time\u2014a record it held for ten years until Jurassic Park, another Spielberg-directed film, surpassed it in 1993. It remains the 46th highest-grossing film of all time, and the highest-grossing film of the 1980s. Critics acclaimed it as a timeless story of friendship, and it ranks as the greatest science fiction film ever made in a Rotten Tomatoes survey. The film was re-released in 1985, and then again in 2002 to celebrate its 20th anniversary, with altered shots and additional scenes.\n", "\n", "\n", "In a California forest, a group of alien botanists collect flora samples. When government agents appear on the scene, the aliens flee in their spaceship, leaving one of their own behind. The scene shifts to a suburban home, where a 10-year-old boy named Elliott is trying to hang out with his 16-year-old brother Michael and his friends. As he returns from picking up a pizza, Elliott discovers that something is hiding in their tool shed. The creature promptly flees upon being discovered. Despite his family's disbelief, Elliott lures the alien from the forest to his bedroom using a trail of Reese's Pieces. Before he goes to sleep, Elliott realizes the alien is imitating his movements. Elliott feigns illness the next morning to stay home from school and play with the alien. Later that day, Michael and their five-year-old sister Gertie meet the alien. They decide to keep him hidden from their mother. When they ask it about its origin, the alien levitates several balls to represent its solar system and then demonstrates its powers by reviving a dead plant.\n", "At school the next day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication due to the alien drinking beer, and he begins freeing all the frogs in a biology class. As the alien watches John Wayne kiss Maureen O'Hara in The Quiet Man, Elliott kisses a girl he likes.\n", "The alien learns to speak English by repeating what Gertie says as she watches Sesame Street and, at Elliott's urging, dubs itself \"E.T.\" E.T. reads a comic strip where Buck Rogers, stranded, calls for help by building a makeshift communication device, and is inspired to try it himself. He gets Elliott's help in building a device to \"phone home\" by using a Speak & Spell toy. Michael notices that E.T.'s health is declining and that Elliott is referring to himself as \"we\".\n", "On Halloween, Michael and Elliott dress E.T. as a ghost so they can sneak him out of the house. Elliott and E.T. ride a bicycle to the forest, where E.T. makes a successful call home. The next morning, Elliott wakes up in the field, only to find E.T. gone, so he returns home to his distressed family. Michael searches for and finds E.T. dying in a ditch and takes him to Elliott, who is also dying. Mary becomes frightened when she discovers her son's illness and the dying alien, just as government agents invade the house. Scientists set up a medical facility there, quarantining Elliott and E.T. Their link disappears and E.T. then appears to die while Elliott recovers. A grief-stricken Elliott is left alone with the motionless alien when he notices a dead flower, the plant E.T. had previously revived, coming back to life. E.T. reanimates and reveals that his people are returning. Elliott and Michael steal a van that E.T. had been loaded into and a chase ensues, with Michael's friends joining them as they attempt to evade the authorities by bicycle. Suddenly facing a police roadblock, they escape as E.T. uses telekinesis to lift them into the air and toward the forest.\n", "Standing near the spaceship, E.T.'s heart glows as he prepares to return home. Mary, Gertie and \"Keys,\" a government agent, show up. E.T. says goodbye to Michael and Gertie, as she presents E.T. with the flower that he had revived. Before entering the spaceship, E.T. tells Elliott \"I'll be right here,\" pointing his glowing finger to his forehead. He then picks up the flower Gertie gave him, walks into the spaceship and takes off, leaving a rainbow in the sky as Elliott and the rest of them watches the ship leave.\n", "Having worked with Cary Guffey on Close Encounters of the Third Kind, Spielberg felt confident in working with a cast composed mostly of child actors.[3] For the role of Elliott, he auditioned hundreds of boys[4] before Robert Fisk suggested Henry Thomas for the role.[5] Thomas, who auditioned in an Indiana Jones costume, did not perform well in the formal testing, but got the filmmakers' attention in an improvised scene.[3] Thoughts of his dead dog inspired his convincing tears.[6] Robert MacNaughton auditioned eight times to play Michael, sometimes with boys auditioning for Elliott. Spielberg felt Drew Barrymore had the right imagination for mischievous young Gertie after she impressed him with a story that she led a punk rock band.[5] Spielberg enjoyed working with the children, and he later said that the experience made him feel ready to be a father.[7]\n", "The major voice work for E.T. was performed by Pat Welsh, an elderly woman who lived in Marin County, California. Welsh smoked two packets of cigarettes a day, which gave her voice a quality that sound effects creator Ben Burtt liked. She spent nine-and-a-half hours recording her part, and was paid $380 by Burtt for her services.[8] Burtt also recorded 16 other people and various animals to create E.T.'s \"voice\". These included Spielberg; Debra Winger; Burtt's sleeping wife, who had a cold; a burp from his USC film professor; and raccoons, otters, and horses.[9][10]\n", "Doctors working at the USC Medical Center were recruited to play the doctors who try to save E.T. after government agents take over Elliott's house. Spielberg felt that actors in the roles, performing lines of technical medical dialogue, would come across as unnatural.[7] During post-production, Spielberg decided to cut a scene featuring Harrison Ford as the principal at Elliott's school. The scene featured his character reprimanding Elliott for his behavior in science class and warning of the dangers of underage drinking. He is then taken aback as Elliott's chair rises from the floor, while E.T. is levitating his \"phone\" equipment up the staircase with Gertie.[5]\n", "After his parents' divorce in 1960, Spielberg filled the void with an imaginary alien companion. Spielberg said that E.T. was \"a friend who could be the brother I never had and a father that I didn't feel I had anymore.\"[11] During 1978, Spielberg announced he would shoot a film entitled Growing Up, which he would film in 28 days. The project was set aside because of delays on 1941, but the concept of making a small autobiographical film about childhood would stay with Spielberg.[8] He also thought about a follow-up to Close Encounters of the Third Kind, and began to develop a darker project he had planned with John Sayles called Night Skies in which malevolent aliens terrorize a family.[8]\n", "Filming Raiders of the Lost Ark in Tunisia left Spielberg bored, and memories of his childhood creation resurfaced.[12] He told screenwriter Melissa Mathison about Night Skies, and developed a subplot from the failed project, in which Buddy, the only friendly alien, befriends an autistic child. Buddy's abandonment on Earth in the script's final scene inspired the E.T. concept.[12] Mathison wrote a first draft titled E.T. and Me in eight weeks,[12] which Spielberg considered perfect.[5] The script went through two more drafts, which deleted an \"Eddie Haskell\"-esque friend of Elliott. The chase sequence was also created, and Spielberg also suggested having the scene where E.T. got drunk.[8] Columbia Pictures, which had been producing Night Skies, met Spielberg to discuss the script. The studio passed on it, calling it \"a wimpy Walt Disney movie\", so Spielberg approached the more receptive Sid Sheinberg, president of MCA.[13]\n", "Carlo Rambaldi, who designed the aliens for Close Encounters of the Third Kind, was hired to design the animatronics of E.T. Rambaldi's own painting Women of Delta led him to give the creature a unique, extendable neck.[5] The creature's face was inspired by the faces of Carl Sandburg, Albert Einstein and Ernest Hemingway.[14] Producer Kathleen Kennedy visited the Jules Stein Eye Institute to study real and glass eyeballs. She hired Institute staffers to create E.T.'s eyes, which she felt were particularly important in engaging the audience.[3] Four E.T. heads were created for filming, one as the main animatronic and the others for facial expressions, as well as a costume.[14] Two dwarfs, Tamara De Treaux and Pat Bilon,[8] as well as 12-year-old Matthew DeMeritt, who was born without legs,[15] took turns wearing the costume, depending on what scene was being filmed. DeMeritt actually walked on his hands and played all scenes where E.T. walked awkwardly or fell over. The head of the E.T. puppet was placed above the head of the actors, and the actors could see through slits in the puppet's chest.[5] Caprice Roth, a professional mime, filled prosthetics to play E.T.'s hands.[3] The puppet was created in three months at the cost of $1.5 million.[16] Spielberg declared it was \"something that only a mother could love.\"[5] Mars, Incorporated found E.T. so ugly that the company refused to allow M&M's to be used in the film, believing the creature would frighten children. This allowed The Hershey Company the opportunity to market Reese's Pieces.[17] Science and technology educator Henry Feinberg created E.T.'s communicator device.[18][19]\n", "E.T. began shooting in September 1981.[20] The project was filmed under the cover name A Boy's Life, as Spielberg did not want anyone to discover and plagiarize the plot. The actors had to read the script behind closed doors, and everyone on set had to wear an ID card.[3] The shoot began with two days at a high school in Culver City, and the crew spent the next 11 days moving between locations at Northridge and Tujunga.[8] The next 42 days were spent at Culver City's Laird International Studios, for the interiors of Elliott's home. The crew shot at a redwood forest near Crescent City for the production's last six days.[8][12] Spielberg shot the film in roughly chronological order to achieve convincingly emotional performances from his cast. In the scene in which Michael first encounters the alien, the creature's appearance caused MacNaughton to jump back and knock down the shelves behind him. The chronological shoot gave the young actors an emotional experience as they bonded with E.T., making the hospital sequences more moving.[7] Spielberg ensured the puppeteers kept away from the set to maintain the illusion of a real alien. For the first time in his career, he did not storyboard most of the film, in order to facilitate spontaneity in the performances.[20] The film was shot so adults, except for Dee Wallace, are never seen from the waist up in the film's first half, as a tribute to Tex Avery's cartoons.[5] The shoot was completed in 61 days, four days ahead of schedule.[12] According to Spielberg, the memorable scene where E.T. disguises himself as a stuffed animal in Elliott's closet was suggested by colleague Robert Zemeckis, after he read a draft of the screenplay that Spielberg had sent him.[21]\n", "Longtime Spielberg collaborator John Williams, who composed the film's musical score, described the challenge of creating a score that would generate sympathy for such an odd-looking creature. As with their previous collaborations, Spielberg liked every theme Williams composed and had it included. Spielberg loved the music for the final chase so much that he edited the sequence to suit it.[22] Williams took a modernist approach, especially with his use of polytonality, which refers to the sound of two different keys played simultaneously. The Lydian mode can also be used in a polytonal way. Williams combined polytonality and the Lydian mode to express a mystic, dreamlike and heroic quality. His theme\u2014emphasizing coloristic instruments such as the harp, piano, celesta, and other keyboards, as well as percussion\u2014suggests E.T.'s childlike nature and his \"machine.\"[23]\n", "There were allegations that the film was plagiarized from a 1967 script, The Alien, by Indian Bengali director Satyajit Ray. Ray stated, \"E.T. would not have been possible without my script of The Alien being available throughout the United States in mimeographed copies.\" Spielberg denied this claim, stating, \"I was a kid in high school when his script was circulating in Hollywood.\"[24] Star Weekend Magazine disputes Spielberg's claim, pointing out that he had graduated from high school in 1965 and began his career as a director in Hollywood in 1969.[25] Besides E.T., some believe that an earlier Spielberg film, Close Encounters of the Third Kind, was also inspired by The Alien.[26][27]\n", "Veteran filmmakers Martin Scorsese and Richard Attenborough too pointed out Spielberg's influences from Ray's script.[28]\n", "Spielberg drew the story of E.T. from his parents' divorce;[30] Gary Arnold of The Washington Post called the film \"essentially a spiritual autobiography, a portrait of the filmmaker as a typical suburban kid set apart by an uncommonly fervent, mystical imagination\".[31] References to Spielberg's childhood occur throughout: Elliott feigns illness by holding his thermometer to a light bulb while covering his face with a heating pad, a trick frequently employed by the young Spielberg.[32] Michael's picking on Elliott echoes Spielberg's teasing of his younger sisters,[5] and Michael's evolution from tormentor to protector reflects how Spielberg had to take care of his sisters after their father left.[7]\n", "Critics have focused on the parallels between E.T.'s life and Elliott, who is \"alienated\" by the loss of his father.[33][34] A.O. Scott of The New York Times wrote that while E.T. \"is the more obvious and desperate foundling\", Elliott \"suffers in his own way from the want of a home.\"[35] E.T. is the first and last letter of Elliott's name.[36] At the film's heart is the theme of growing up. Critic Henry Sheehan described the film as a retelling of Peter Pan from the perspective of a Lost Boy (Elliott): E.T. cannot survive physically on Earth, as Pan could not survive emotionally in Neverland; government scientists take the place of Neverland's pirates.[37] Vincent Canby of The New York Times similarly observed that the film \"freely recycles elements from [...] Peter Pan and The Wizard of Oz\".[38] Some critics have suggested that Spielberg's portrayal of suburbia is very dark, contrary to popular belief. According to A.O. Scott, \"The suburban milieu, with its unsupervised children and unhappy parents, its broken toys and brand-name junk food, could have come out of a Raymond Carver story.\"[35] Charles Taylor of Salon.com wrote, \"Spielberg's movies, despite the way they're often characterized, are not Hollywood idealizations of families and the suburbs. The homes here bear what the cultural critic Karal Ann Marling called 'the marks of hard use'.\"[30]\n", "Other critics found religious parallels between E.T. and Jesus.[39][40] Andrew Nigels described E.T.'s story as \"crucifixion by military science\" and \"resurrection by love and faith\".[41] According to Spielberg biographer Joseph McBride, Universal Pictures appealed directly to the Christian market, with a poster reminiscent of Michelangelo's The Creation of Adam and a logo reading \"Peace\".[12] Spielberg answered that he did not intend the film to be a religious parable, joking, \"If I ever went to my mother and said, 'Mom, I've made this movie that's a Christian parable,' what do you think she'd say? She has a kosher restaurant on Pico and Doheny in Los Angeles.\"[29]\n", "As a substantial body of film criticism has built up around E.T., numerous writers have analyzed the film in other ways as well. E.T. has been interpreted as a modern fairy tale[42] and in psychoanalytic terms.[34][42] Producer Kathleen Kennedy noted that an important theme of E.T. is tolerance, which would be central to future Spielberg films such as Schindler's List.[5] Having been a loner as a teenager, Spielberg described the film as \"a minority story\".[43] Spielberg's characteristic theme of communication is partnered with the ideal of mutual understanding: he has suggested that the story's central alien-human friendship is an analogy for how real-world adversaries can learn to overcome their differences.[44]\n", "E.T. was previewed in Houston, Texas, where it received high marks from viewers.[12] The film premiered at the 1982 Cannes Film Festival's closing gala,[45][46] and was released in the United States on June 11, 1982. It opened at number one with a gross of $11 million, and stayed at the top of the box office for six weeks; it then fluctuated between the first and second positions until October, before returning to the top spot for the final time in December.[47]\n", "In 1983, the film surpassed Star Wars as the highest-grossing film of all-time,[48] and by the end of its theatrical run it had grossed $359 million in North America and $619 million worldwide.[2][49] Spielberg earned $500,000 a day from his share of the profits,[50][51] while The Hershey Company's profits rose 65% due to the film's prominent use of Reese's Pieces.[17] The \"Official E. T. Fan Club\" offered photographs, a newsletter that let readers \"relive the film's unforgettable moments [and] favorite scenes\", and a phonographic record with \"phone home\" and other sound clips.[52]\n", "The film was re-released in 1985 and 2002, earning another $60 million and $68 million respectively,[53][54] for a worldwide total of $792 million with North America accounting for $435 million.[2] E.T. held the global record until it was usurped by Jurassic Park\u2014another Spielberg-directed film\u2014in 1993,[55] although it managed to hold on to the domestic record for a further four years, where a Star Wars reissue reclaimed the record.[56] It was eventually released on VHS and laserdisc on October 27, 1988; to combat piracy, the tapeguards and tape hubs on the videocassettes were colored green, the tape itself was affixed with a small, holographic sticker of the 1963 Universal logo (much like the holograms on a credit card), and encoded with Macrovision.[6] In North America alone, VHS sales came to $75 million.[57]\n", "E.T. was the first major film to have been seriously affected by video piracy. The usual account is that the public in some areas were becoming impatient at long delays getting E.T. to their cinemas; an illegal group realized this, got hold of a copy of the film for a night by bribing a projectionist, and made it into a video by projecting the film with a sound and video recording device. The resulting video was used as a master to run off very many copies, which were widely sold illegally.[58]\n", "Critics acclaimed E.T. as a classic. Roger Ebert wrote, \"This is not simply a good movie. It is one of those movies that brush away our cautions and win our hearts.\"[45] Michael Sragow of Rolling Stone called Spielberg \"a space age Jean Renoir.... [F]or the first time, [he] has put his breathtaking technical skills at the service of his deepest feelings\".[61] Leonard Maltin would include it in his list of \"100 Must-See Films of the 20th Century\" as one of only two movies from the 1980s.[62] George Will was one of the few to pan the film, feeling it spread subversive notions about childhood and science.[63]\n", "E.T. the Extra-Terrestrial holds a 98% rating on Rotten Tomatoes.[64] It has a Metacritic score of 94.[65] In addition to the many impressed critics, President Ronald Reagan and First Lady Nancy Reagan were moved by the film after a screening at the White House on June 27, 1982.[51] Princess Diana was even in tears after watching the film.[5] On September 17, 1982, the film was screened at the United Nations, and Spielberg received the U.N. Peace Medal.[66]\n", "The film was nominated for nine Oscars at the 55th Academy Awards, including Best Picture. Gandhi won that award, but its director, Richard Attenborough, declared, \"I was certain that not only would E.T. win, but that it should win. It was inventive, powerful, [and] wonderful. I make more mundane movies.\"[67] It won four Academy Awards: Best Original Score, Best Sound (Robert Knudson, Robert Glass, Don Digirolamo, Gene Cantamessa), Best Sound Effects Editing (Charles L. Campbell and Ben Burtt), and Best Visual Effects (Carlo Rambaldi, Dennis Muren and Kenneth F. Smith).[68]\n", "At the 40th Golden Globe Awards, the film won Best Picture in the Drama category and Best Score; it was also nominated for Best Director, Best Screenplay, and Best New Male Star for Henry Thomas. The Los Angeles Film Critics Association awarded the film Best Picture, Best Director, and a \"New Generation Award\" for Melissa Mathison.[69]\n", "The film won Saturn Awards for Best Science Fiction Film, Best Writing, Best Special Effects, Best Music, and Best Poster Art, while Henry Thomas, Robert McNaughton, and Drew Barrymore won Young Artist Awards. In addition to his Golden Globe and Saturn, composer John Williams won 2 Grammy Awards and a BAFTA for the score. E.T. was also honored abroad: the film won the Best Foreign Language Film award at the Blue Ribbon Awards in Japan, Cinema Writers Circle Awards in Spain, C\u00e9sar Awards in France, and David di Donatello in Italy.[70]\n", "In American Film Institute polls, E.T. the Extra-Terrestrial has been voted the 24th greatest film of all time,[71] the 44th most heart-pounding,[72] and the sixth most inspiring.[73] Other AFI polls rated it as having the 14th greatest music score[74] and as the third greatest science-fiction film.[75] The line \"E.T. phone home\" was ranked 15th on AFI's 100 Years...100 Movie Quotes list,[76] and 48th on Premiere's top movie quote list.[77] The character of Elliott was nominated for AFI's 100 Years...100 Heroes & Villains as one of the 50 greatest heroes.[78] In 2005, the film topped a Channel 4 poll of the 100 greatest family films,[79] and was also listed by Time as one of the 100 best films ever made.[80]\n", "In 2003, Entertainment Weekly called the film the eighth most \"tear-jerking\";[81] in 2007, in a survey of both films and television series, the magazine declared E.T. the seventh greatest work of science-fiction media in the past 25 years.[82] The Times also named E.T. as their ninth favorite alien in a film, calling it \"one of the best-loved non-humans in popular culture\".[83] The film is among the top ten in the BFI list of the 50 films you should see by the age of 14. In 1994, E.T. was selected for preservation in the U.S. National Film Registry.[84]\n", "In 2011, ABC aired Best in Film: The Greatest Movies of Our Time, revealing the results of a poll of fans conducted by ABC and People magazine: E.T. was selected as the fifth best film of all time and the second best science fiction film.\n", "On October 22, 2012, Madame Tussauds unveiled wax likenesses of E.T. at six of its international locations.[85]\n", "An extended version of the film, including altered special effects, was released on March 22, 2002. Certain shots of E.T. had bothered Spielberg since 1982, as he did not have enough time to perfect the animatronics. Computer-generated imagery (CGI), provided by Industrial Light & Magic (ILM), was used to modify several shots, including ones of E.T. running in the opening sequence and being spotted in the cornfield. The spaceship's design was also altered to include more lights. Scenes shot for but not included in the original version were introduced. These included E.T. taking a bath, and Gertie telling Mary that Elliott went to the forest on Halloween night. Spielberg did not add the scene featuring Harrison Ford, feeling that would reshape the film too drastically. Spielberg became more sensitive about the scene where gun-wielding federal agents confront Elliott and his escaping friends and had the guns digitally replaced with walkie-talkies.[5]\n", "At the premiere, John Williams conducted a live performance of the score.[86] The new release grossed $68 million in total, with $35 million coming from Canada and the United States.[54] The changes to the film, particularly the escape scene, were criticized as political correctness. Peter Travers of Rolling Stone wondered, \"Remember those guns the feds carried? Thanks to the miracle of digital, they're now brandishing walkie-talkies.... Is this what two decades have done to free speech?\"[87] Chris Hewitt of Empire wrote, \"The changes are surprisingly low-key...while ILM's CGI E.T. is used sparingly as a complement to Carlo Rambaldi's extraordinary puppet.\"[88] South Park ridiculed many of the changes in the 2002 episode \"Free Hat\".[89]\n", "The two-disc DVD release which followed in October 22, 2002 contained the original theatrical and 20th Anniversary extended versions of the film. Spielberg personally demanded the release to feature both versions.[90] The two-disc edition, as well as a three-disc collector's edition containing a \"making of\" book and special features that were unavailable on the two-disc edition,[91] were placed in moratorium on December 31, 2002. Later, E.T. was re-released on DVD as a single-disc re-issue in 2005, featuring only the 20th Anniversary version.\n", "In a June 2011 interview, Spielberg said that in the future\n", "There's going to be no more digital enhancements or digital additions to anything based on any film I direct.... When people ask me which E.T. they should look at, I always tell them to look at the original 1982 E.T. If you notice, when we did put out E.T. we put out two E.T.s. We put out the digitally enhanced version with the additional scenes and for no extra money, in the same package, we put out the original '82 version. I always tell people to go back to the '82 version.[92]\n", "A 30th Anniversary edition was released on October 9, 2012 for Blu-ray and DVD, which included a fully restored version of the original film, re-instating the original animatronic close-ups and the shotguns.[93]\n", "In July 1982, during the film's first theatrical run, Spielberg and Mathison wrote a treatment for a sequel to be titled E.T. II: Nocturnal Fears. It would have shown Elliott and his friends kidnapped by evil aliens and follow their attempts to contact E.T. for help. Spielberg decided against pursuing the sequel, feeling it \"would do nothing but rob the original of its virginity\".[94]\n", "Atari, Inc. made a video game based on the film for the Atari 2600. Released in 1982, it was widely considered to be one of the worst video games ever made.\n", "William Kotzwinkle, author of the film's novelization, wrote a sequel, E.T.: The Book of the Green Planet, which was published in 1985. In the novel, E.T. returns home to the planet Brodo Asogi, but is subsequently demoted and sent into exile. E.T. then attempts to return to Earth by effectively breaking all of Brodo Asogi's laws.[95] E.T. Adventure, a theme park ride, debuted at Universal Studios Florida in 1990. The $40 million attraction features the title character saying goodbye to visitors by name.[12]\n", "In 1998, E.T. was licensed to appear in television public service announcements produced by the Progressive Corporation. The announcements featured E.T.'s voice reminding drivers to \"buckle up\" their safety belts. Traffic signs depicting a stylized E.T. wearing a safety belt were installed on selected roads around the United States.[96] The following year, British Telecommunications launched the \"Stay in Touch\" campaign, with E.T. as the star of various advertisements. The campaign's slogan was \"B.T. has E.T.\", with \"E.T.\" also taken to mean \"extra technology\".[97] At Spielberg's suggestion, George Lucas included members of E.T.'s species as background characters in Star Wars Episode I: The Phantom Menace (1999).[98]\n", " \n", "http://en.wikipedia.org/wiki/2001:_A_Space_Odyssey\n", "2001: A Space Odyssey is a science-fiction narrative, produced in 1968 as both a novel, written by Arthur\u00a0C. Clarke, and a film, directed by Stanley Kubrick. It is a part of Clarke's Space Odyssey series. Both the novel and the film are partially based on Clarke's short story \"The Sentinel\", written in 1948 as an entry in a BBC short story competition, and \"Encounter in the Dawn\", published in 1953 in the magazine Amazing Stories." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "After deciding on Clarke's 1948 short story \"The Sentinel\" as the starting point, and with the themes of man's relationship with the universe in mind, Clarke sold Kubrick five more of his stories to use as background materials for the film. These included \"Breaking Strain\", \"Out of the Cradle, Endlessly Orbiting...\", \"Who's There?\", \"Into the Comet\", and \"Before Eden\".[1] Additionally, important elements from two more Clarke stories, \"Encounter at Dawn\" and (to a somewhat lesser extent) \"Rescue Party\", made their way into the finished project.[2] One other element (crossing vacuum without an intact pressure suit) is from the short story \"Take a Deep Breath\".\n", "The monolith, as a central theme in the movie, has been cited as a sort of Von Neumann probe. According to Michio Kaku,[3] Kubrick was intending to include a brief scene indicating the monolith as a sort of alien spacecraft; however, Kubrick decided to cut that scene out shortly before the film's release.\n", "Clarke was originally going to write the screenplay for the film, but this proved to be more tedious than he had anticipated. Instead, Kubrick and Clarke decided it would be best to write a prose treatment first and then adapt it for the film and novel upon its completion.\n", "Clarke and Kubrick jointly developed the screenplay and treatment, which were loosely based on The Sentinel and incorporated elements from various other Clarke stories. Clarke wrote the novel adaptation independently. Although the film has become famous due to its groundbreaking visual effects and ambiguous, abstract nature, the film and book were intended to complement each other.\n", "The film was written by Clarke and Kubrick and featured specialist artwork by Roy Carnon.[4] The film is notable for its scientific realism, pioneering special effects, and provocatively ambiguous imagery and sound in place of traditional narrative techniques.\n", "Despite receiving mixed reviews upon release, 2001: A Space Odyssey is today thought by some critics to be one of the greatest films ever made and is widely regarded as the best science fiction film of all time. It was nominated for four Academy Awards, and received one for visual effects. It also won the Kansas City Film Critics Circle Best Director and Best Film awards of 1968. In 1991, 2001: A Space Odyssey was deemed culturally significant by the United States Library of Congress and selected for preservation in the National Film Registry.\n", "A musical score was commissioned for the film and composed by Alex North, but Kubrick ultimately decided not to use it, in favour of the classical pieces he used as guides during shooting. These included Richard Strauss's \" Also Sprach Zarathustra\", Johann Strauss' \"Blue Danube Waltz\", and music by twentieth-century composers Aram Khachaturian and Gyorgy Ligeti.\n", "Arthur C. Clarke wrote the novel. He developed it concurrently with the film version and published it in 1968, after the film's release. The Lost Worlds of 2001 (1972) elaborates on Clarke and Kubrick's collaboration.[5]\n", "The novel has numerous differences from the film. Most notably, the setting for the part three (of four) in the book is not Jupiter, as in the film, but Saturn.\n", "2001: A Space Odyssey was the name of an oversized comic book adaptation of the 1968 film of the same name and a 10-issue monthly series \"expanding\" on the ideas presented in the film and the eponymous Arthur C. Clarke novel. Jack Kirby wrote and pencilled both the adaptation and the series, which were published by Marvel Comics beginning in 1976.\n", "The Space Odyssey series is a science fiction series of four novels, primarily written by the science-fiction writer Arthur C. Clarke, and two films created from 1948 to 1997. Stanley Kubrick directed the first film, 2001: A Space Odyssey (1968). He also co-authored the treatment and screenplay with Clarke, based on the seed idea in an earlier short story by Clarke (which bears little relation to the film other than the idea of an alien civilisation's having left something to alert them to mankind's attaining the ability to space travel). Clarke's novel 2001: A Space Odyssey was published in 1968. Kubrick had no involvement in any of the later projects.\n", "Peter Hyams directed the second film, 2010 (1984). He also wrote the screenplay based on Clarke's novel, 2010: Odyssey Two (1982). Clarke was not directly involved in Hyams' film's production as he had been with the Kubrick's film.\n", "http://en.wikipedia.org/wiki/The_Silence_of_the_Lambs\n", "The Silence of the Lambs or Silence of the Lamb may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Chinatown\n", "A Chinatown (Chinese: \u5510\u4eba\u8857, Cantonese jyutping: tong4 jan4 gaai1) is historically any ethnic enclave of expatriate Chinese, Hong Kongese, Singaporean, Macanese and Taiwanese people (outside China, Taiwan, Hong Kong, and Macao). Areas known as \"Chinatown\" exist throughout the world, including the Americas, Europe, Africa, Australasia, Asia." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "The Oxford Dictionary defines \"Chinatown\" as \"... a district of any non-Chinese town, especially a city or seaport, in which the population is predominantly of Chinese origin\".[1] However, according to a television station in Hawaii, that definition is not necessarily true, as they said Chinatowns nowadays have little to do with China.[2] Even further, the line between Little Saigon and Chinatown is blurred as some \"Vietnamese\" enclaves are in fact some city's \"second Chinatown\", and some \"Chinatowns\" are in fact pan-Asian, meaning they could also be counted as Koreatown or Little India.[3]\n", "Further ambiguities with the term can include Chinese ethnoburbs which by definition are \"...suburban ethnic clusters of residential areas and business districts in large metropolitan areas [4] where the intended purpose is to be \"... as isolated from the white population as Hispanics\".[5] A New York Times article blurs the line further by categorizing very different Chinatowns such as New York's Chinatown, which exists in an urban setting as \"traditional\", Monterey Park's Chinatown which exists in a \"suburban\" setting (and labeled as such), and Austin Texas' Chinatown, which is in essence a \"Chinese themed mall\", known as \"fabricated\". This contrasts with narrower definitions, where the term only described Chinatown in a city setting.[6]\n", "Trading centres populated predominantly by Chinese men and their native spouses have long existed throughout Southeast Asia. Emigration to other parts of the world from China accelerated in the 1860s with the signing of the Treaty of Peking (1860), which opened the border for free movement. Early emigrants came primarily from the coastal provinces of Guangdong (Canton, Kwangtung) and Fujian (Fukien, Hokkien) in southeastern China \u2013 where the people generally speak Cantonese, Hakka, Teochew (Chiuchow) and Hokkien.\n", "As conditions in China have improved in recent decades, many Chinatowns have lost their initial mission, which was to provide a transitional place into a new culture. As net migration slows, the smaller Chinatowns have slowly decayed, often to the point of becoming purely historical and no longer serving as ethnic enclaves.[7]\n", "Binondo's Chinatown located in Manila, Philippines is the oldest Chinatown in the world, established in 1594.[8]\n", "Several Asian Chinatowns, although not yet called by that name, have a long history. Those in Nagasaki, Japan,[9] Binondo in Manila, and Hoi An in central Vietnam[10] all existed in 1600. Glodok, the Chinese quarter of Jakarta, Indonesia, dates to 1740.[11] The Chinatown centered on Yaowarat Road in Bangkok, Thailand, was founded at the same time as the city itself, in 1782.[12]\n", "Chinatowns also appeared in the Indian city of Kolkata (once Hakka-influenced) and formerly in Mumbai.\n", "An early enclave of Chinese people emerged in the 1830s in Liverpool, England when the first direct trading vessel from China arrived in Liverpool's docks to trade in goods including silk and cotton wool.[13] Many Chinese immigrants arrived in Liverpool in the late 1850s in the employ of the Blue Funnel Shipping Line, a cargo transport company established by Alfred Holt. The commercial shipping line created strong trade links between the cities of Shanghai, Hong Kong and Liverpool, mainly in the importation of silk, cotton and tea.[13]\n", "The Chinatown in San Francisco is one of the largest in North America and the oldest north of Mexico. It served as a port of entry for early Chinese immigrants from the 1850s to the 1900s.[14] The area was the one geographical region deeded by the city government and private property owners which allowed Chinese persons to inherit and inhabit dwellings within the city. Many Chinese found jobs working for large companies seeking a source of labor, most famously as part of the Central Pacific[15] on the Transcontinental Railroad. Other early immigrants worked as mine workers or independent prospectors hoping to strike it rich during the 1849 Gold Rush. Other cities in North America where Chinatowns were founded in the mid-nineteenth century include almost every major settlement along the West Coast from San Diego to Victoria.\n", "Economic opportunity drove the building of further Chinatowns in the United States. The initial Chinatowns were built in the Western United States in states such as California, Oregon, Washington, Idaho, Utah, Colorado, and Arizona. As the transcontinental railroad was built, more Chinatowns started to appear in railroad towns such as St. Louis, Chicago, Cincinnati, Pittsburgh, Butte Montana, and many east coast cities such as New York City, Boston, Philadelphia, Providence, and Baltimore. With the passage of the Emancipation Proclamation, many southern states such as Arkansas, Louisiana, and Georgia began to hire Chinese for work in place of slave labor.\n", "The history of Chinatowns was not always peaceful, especially when labor disputes arose. Racial tensions flared when lower-paid Chinese workers replaced white miners in many mountain-area Chinatowns, such as in Wyoming with the Rock Springs Massacre. Many of these frontier Chinatowns became extinct as American racism surged and the Chinese Exclusion Act was passed.\n", "Other Chinatowns in European capitals, including Paris and London, were established at the turn of the 20th century. The first Chinatown in London was located in the Limehouse area of the East End of London[16] at the start of the 20th century. The Chinese population engaged in business which catered to the Chinese sailors who frequented the Docklands. The area acquired a bad reputation from exaggerated reports of opium dens and slum housing.\n", "France received a large settlement of Chinese immigrant laborers, mostly from the city of Wenzhou, in the Zhejiang province of China. Significant Chinatowns sprung up in Belleville and the 13th arrondissement of Paris.\n", "\n", "By the late 1970s, refugees and exiles from the Vietnam War played a significant part in the redevelopment of Chinatowns in developed Western countries. As a result, many Chinatowns have become pan-Asian business districts and residential neighborhoods. By contrast, most Chinatowns in the past had been largely inhabited by Chinese from southeastern China.\n", "In recent years, newer Chinatowns have started to take on a role as historical and touristic centers. Many of the newer Chinatowns like the ones in Albany, New York have been created as an attraction rather than an enclave, intended to give the feeling of the \"old Chinatown\" in an upscale setting.[22] The new Chinatown in Raleigh, North Carolina will be built with a five-star hotel, and is intended mainly as a visitor attraction.[23]\n", "Newer Chinatowns, such as those in Richmond, BC, Las Vegas, Dubai, and Santo Domingo have received official recognition recently. The Chinese-themed malls in Las Vegas; Chamblee, Georgia (Atlanta metro); North Miami Beach, Florida (Miami metro); Orlando; Richardson, Texas (Dallas metro); Austin, Texas; Rockville, Maryland (Washington D.C. metro) and, most recently, Albany, New York, show trends toward this style of Chinatown. Notable examples include Aberdeen Centre in Richmond, BC, and Splendid China Mall in Scarborough, Ontario, Canada.\n", "One notable feature of Chinese-themed malls is the presence of Chinese supermarkets and Chinese banks, as in the Quincy, Massachusetts suburban Boston Chinatown mall anchored by Kam Man Food.[24]\n", "The trend is generally away from the traditional urban style Chinatowns, according to that same article,[which?] citing parking as a major issue. The more recent urban examples such as West Argyle Street Historic District in Chicago, Illinois, exemplify a pan-Asian district that is generally considered to be a satellite of the original core district. In the metropolitan Boston area, significant Chinese populations have grown in Malden, Massachusetts; Quincy, Massachusetts; and the Allston-Brighton neighborhood of the City of Boston, relieving crowding in the original core Chinatown. These satellite areas are generally well-connected to the core Chinatown by good rapid transit services. According to the Huffington Post, the newer modern Chinatowns tend not to be tourist attractions like their downtown core counterparts, but can offer similar food choices.[25]\n", "Bonnie Tsui in her book states that the newer \"commercial Chinatowns\" rely on the Chinatown being built before the local Chinese population arrives.[26]\n", "The features described below are characteristic of many modern Chinatowns.\n", "The early Chinatowns such as those in San Francisco and California in the United States were naturally destinations for people of Chinese descent as migration were the result of opportunities such as the California Gold Rush and the Transcontinental Railroad drawing the population in, creating natural Chinese enclaves that were almost always 100% exclusively of the Chinese race, which included both people born in China and in the enclave, in this case American born Chinese.[27] In some free countries such as the United States and Canada, housing laws that prevent discrimination also allows neighborhoods that may have been characterized as \"All Chinese\" to also allow non-Chinese to reside in these communities. For example, the Chinatown in Philadelphia show sizeable white and black races residing within the community.[28] A recent study also suggests that the demographic change is also driven by gentrification of what were previously Chinatown neighborhoods. The influx of luxury housing is speeding up the gentrification of such neighborhoods. The study suggests that the \"major\" Chinatowns of Boston and New York are actually \"in danger\" of losing their Chinese characteristics causing the major Chinatown of Washington, D.C to merely be historical neighborhoods that cease to be ethnic enclaves.[29] The trend for these types of natural enclaves are on the decline, only to be replaced by newer \"Disneyland-like\" attractions, such as a new Chinatown that will be built in the Catskills region of New York[30] This includes the endangerment of existing historical Chinatowns that will eventually stop serving the needs of Chinese immigrants. Newer developments like those in Norwich, Connecticut, San Gabriel Valley and the newer enclave on the Gold Coast in Australia are not necessarily considered \"Chinatowns\" in the sense that they do not necessarily contain the Chinese architectures or Chinese language signs as signatures of an officially sanctioned area that was designated either in law or signage stating so, which differentiates areas that are called \"Chinatowns\" versus locations that have \"significant\" populations of people of Chinese descent. For example, San Jose, California in the United States has 63,434 people (2010 U.S. Census) of Chinese descent, and yet \"does not have a Chinatown.\" Some \"official\" Chinatowns have Chinese populations much lower than that.[31]\n", "Many tourist-destination metropolitan Chinatowns can be distinguished by large red arch entrance structures known in Mandarin Chinese as Paifang (sometimes accompanied by imperial guardian lion statues on either side of the structure, to greet visitors). Other Chinese architectural styles such as the Chinese Garden of Friendship in Sydney Chinatown and the Chinese stone lions at the gate to the Victoria, BC Chinatown are present in some Chinatowns. Mahale Chiniha, the Chinatown in Iran, contains many buildings that were done in the Chinese architectural style.\n", "Paifangs usually have special inscriptions in Chinese. Historically, these gateways were donated to a particular city as a gift from the Republic of China and People's Republic of China, or local governments (such as Chinatown, San Francisco), and business organizations. The long-neglected Chinatown in Havana, Cuba, received materials for its paifang from the People's Republic of China as part of the Chinatown's gradual renaissance. Construction of these red arches is often financed by local financial contributions from the Chinatown community. Some of these structures span an entire intersection, and some are smaller in height and width. Some paifang can be made of wood, masonry, or steel and may incorporate an elaborate or simple design.\n", "Chinese characters are very commonly seen in areas officially labeled as \"Chinatown\", and many stores that are located in such districts use Chinese calligraphy on store front signs. Many Chinatowns, such as the one in Oakland, California, employ bilingual street signs that are in Chinese as well as English.\n", "In Washington, DC's Chinatown, storefront signs are required to have a translation in Chinese characters when the establishment is located in this district, whether the store is Chinese in nature or not. Local franchises of national chains, such as Starbucks coffeeshops and CVS drugstores conform to this rule.[32]\n", "Most Chinatowns are centered on food, and as a result Chinatowns worldwide are usually popular destinations for various ethnic Chinese and other Asian cuisines such as Vietnamese, Thai, and Malaysian. Some Chinatowns, such as in Singapore, have developed their own localized style of Chinese cuisine. Chinatown restaurants serve both as major economic components and as social gathering places. In the Chinatowns in many western countries, restaurant work may be the only type of employment available for poorer immigrants, especially those who cannot converse fluently in the language of the adopted country. Most Chinatowns generally have a range of authentic and touristic restaurants.\n", "Generally, restaurants serving authentic Chinese food primarily to immigrant customers have never conformed to Chinatown restaurant stereotypes. Because of ethnic Chinese immigration and the expanded palate of many contemporary cultures, the remaining American Chinese and Canadian Chinese cuisine restaurants are seen as anachronisms, but remain popular and profitable. In many Chinatowns, there are now many large, authentic Cantonese seafood restaurants, restaurants specializing in other varieties of Chinese cuisine such as Hakka cuisine, Szechuan cuisine, Shanghai cuisine, and small restaurants with delicatessen foods.\n", "Cantonese seafood restaurants (\u6d77\u9bae\u9152\u5bb6, pronounced in Cantonese as hoy seen jau ga) typically use a large dining room layout, have ornate designs, and specialize in seafood such as expensive Chinese-style lobsters, crabs, prawns, clams, and oysters, all kept live in fish tanks until preparation. Some seafood restaurants may also offer dim sum in the morning through the early afternoon hours, as waiters announce the names of dishes while pushing steaming carts of food and pastries around the restaurant. These restaurants are also a popular place for weddings, banquets, and other special events.\n", "These types of restaurants flourished and became in vogue in Hong Kong during the 1960s, and subsequently began opening in various Chinatowns overseas. Owing to their higher menu prices and greater amount of investment capital required to open and manage one (due to higher levels of staffing needed), they tend to be more common in Chinatowns and satellite communities in developed countries and in fairly affluent Chinese immigrant communities, notably in Australia, Canada, and the United States, where they have received significant population of Hong Kong Chinese \u00e9migr\u00e9s. Poorer immigrants usually cannot start these kinds of restaurants, although they too are employed in them. There are generally fewer of them in the older Chinatowns; for example, they are practically non-existent in Vancouver's Chinatown, but are found in its suburbs such as Richmond, British Columbia, Canada. Competition between these restaurants is often fierce; hence owners of seafood restaurants hire and even \"steal\" the best chefs, many of whom are from Hong Kong.[citation needed]\n", "Also, Chinese barbecue deli restaurants, called siu laap (\u71d2\u81d8) and sometimes called a \"noodle house\" or mein ga (\u9eb5\u5bb6), are generally more modest in size and decor, and serve less expensive fare such as wonton noodles (or wonton mein), chow fun (\u7092\u7c89, stir-fry rice noodles), Yeung Chow fried rice (\u63da\u5dde\u7092\u98ef), and rice porridge or congee, known as juk in Cantonese Chinese. They also tend to have displays of whole pre-cooked roasted ducks and suckling pigs hanging in their windows, a common feature in most Chinatowns worldwide. These delis also serve barbecue pork (\u53c9\u71d2, cha siu), tripe, chicken feet, and other Chinese-style items less familiar to the typical Western palate. Food is usually intended for take-out. Some of these Chinatown restaurants sometimes have the reputation of being \"greasy spoons\" and reputation for poor service, whereas others may be clean and well-lit, with contemporary decor and attentive waitstaff.\n", "Vietnamese immigrants, both ethnic Chinese and non-Chinese, have opened restaurants in many Chinatowns, serving Vietnamese pho beef noodle soups and Franco-Vietnamese sandwiches. Some immigrants have also started restaurants serving Teochew Chinese cuisine. Some Chinatowns old and new may also contain several pan-Asian restaurants offering a variety of Asian noodles under one roof.\n", "Often lit by neon signage, restaurants offering chop suey or chow mein, mainly for the benefit of non-Chinese customers, were frequent in older Chinatowns. These dishes also are offered in standard barbecue restaurants and takeouts (take-away restaurants).\n", "A special feature of the Chinatown in Lima, Peru (Barrio Chino de Lima) is the chifa, a Chinese-Peruvian type of restaurant which mixes Cantonese Chinese cuisine with local Peruvian flavors. Chifa is the Peruvian Spanish derivative of the Cantonese phrase jee fon (\u994e\u98ef), which renders as \"cook rice\" or as \"cook meal'\". This type of restaurant is popular with native Peruvians.\n", "Most Chinatown businesses are engaged in the import-export and wholesale businesses; hence a large number of trading companies are found in Chinatowns.\n", "In addition to the restaurant trade, grocery stores and seafood markets serve a key function in Chinatown economies, and these stores sell Chinese ingredients to such restaurants as well as to the general public. Some markets are wholesalers, while smaller Chinatown grocers and markets are often characterized by sidewalk vegetable and fruit stalls, a quintessential image of many Chinatowns. Many local residents buy fresh food daily, taking advantage of its ready availability, and also avoiding the space, ventilation, and electrical requirements of large refrigerators at home.\n", "Stores also sell a variety of grocery items imported from East Asia (chiefly Mainland China, Taiwan, Japan, and South Korea) and Southeast Asia (principally Vietnam, Thailand, and Malaysia). For example, most Chinatown markets stock items such as sacks of Thai jasmine rice, Chinese chrysanthemum and oolong teas, bottles of oyster sauce, rice vermicelli, Hong Kong soybean beverages, Malaysian snack items, Taiwanese rice crackers, and Japanese seaweed and Chinese specialties such as black duck eggs (often used in rice porridge), bok choy, and water chestnuts. These markets may also sell fish (especially tilapia) and other seafood items, which are kept alive in aquariums, for Chinese and other Asian cuisine dishes. Until recently, these items generally could not be found outside the Chinatown enclaves, although since the 1970s Asian supermarkets have proliferated in the suburbs of North America and Australia, competing strongly with the old Chinatown markets.\n", "Many Chinatowns have had ethnic bakeries for years, offering a large variety of steamed, boiled, or fried delicacies as well as baked goods. Most of the foods on offer were of Chinese origin, but storekeepers often added items adopted or adapted from the surrounding national culture. Chinese bakeries in Hong Kong, Singapore, and Taiwan were especially influential in mixing ingredients and techniques from other world cultures, developing new foods that have become standard items. In North America and elsewhere, the non-Chinese population has gradually discovered these delicacies, and Chinese bakeries have begun to sell their products to a wider market.\n", "Street vendors selling low-priced fruits and vegetables, clothes, newspapers, knickknacks, and knockoffs are common in urban Chinatowns.\n", "Small ginseng and herb shops are common in most Chinatowns, selling products used in traditional Chinese medicine. The Canadian government has stepped up policing of Chinese traditional medicinal stores and on a few occasions several Chinese stores in Vancouver and Toronto have been raided for products taken from the harvesting of rare and endangered species, such as tiger bone, bear paw and bear gall bladder.[citation needed] This has been alleged by some Chinese to be racial persecution, despite environmental and moral concerns.[citation needed]\n", "Chinatowns may contain small businesses that sell imported VCDs and DVDs of Chinese-language films and karaoke. The VCDs are mainly titles of Hong Kong and PRC films. However, there are also VCDs of Japanese anime and occasionally pornography. Often, imported bootleg DVDs and VCDs are sold owing to lax enforcement of copyright laws.\n", "In keeping with Buddhist and Taoist funeral traditions, Chinese specialty shops also sell incense and funeral items which provide material comfort in the afterlife of the deceased. Shops sell specially crafted replicas of small paper houses, paper radios, paper televisions, paper telephones, paper jewelry, and other symbolic material items. They also sell \"hell money\" currency notes, intended to be ritually burned in a furnace.\n", "These businesses also sell red, wooden Buddhist altars and small statues for worship. Per Chinese custom, an offering of fresh oranges is usually placed in front of the statue in the altar. Sometimes altars are stacked atop each other. These altars may be found in many Chinatown businesses as well as homes, to bring good luck and prosperity.\n", "Many early Chinatowns featured large numbers of Chinese-owned chop suey restaurants, laundry businesses, and opium dens, until around the mid-20th century when most of these businesses began to disappear. Though some remain, they are generally seen as anachronisms.[citation needed] In early years of Chinatowns, the opium dens were patronized as a relaxation and to escape the harsh and brutal realities of a hostile non-Chinese society, although in North American Chinatowns, they were also frequented by non-Chinese. Additionally, due to the inability on the part of Chinese immigrant men to bring a wife and lack of available local Chinese women for men to marry, brothels became common in some Chinatowns of the 19th century. Chinese laundries, which were labor-intensive but required very little capital or language fluency, were fairly common.\n", "These traditional businesses no longer exist in many Chinatowns and have been replaced by Chinese grocery stores, restaurants that serve more authentic Chinese cuisine, and other establishments. While opium dens no longer exist, illegal basement gambling parlors are still places of recreation in many Chinatowns, where men gather to play mahjong and other games.\n", "Many Chinatowns close off streets for parades, street festivals, Chinese acrobatics and martial arts demonstrations, and carnival rides, at the request of the promoters or organizers of major events. Smaller festivals may also be held in a parking lot/car park, playground, local park, or school grounds within Chinatown.\n", "Most Chinatowns present Chinese New Year (also known as Lunar New Year) festivities with dragon and lion dances accompanied by the rhythm of clashing cymbals, clanging on a gong, clapping of hardwood clappers, pounding of drums, and loud Chinese firecrackers. Special performances are held in front of Chinese businesses, where the \"lion\" character attempts to \"eat\" a head of lettuce or to catch an orange in its mouth. The lion costume typically contains two dancers, and performances may involve several athletic stunts. Dragon dancers often perform in larger groups, animating a long tubular dragon costume. In return, storekeepers usually donate some money to the performers, who usually belong to local martial arts clubs.\n", "Ironically, many lion and dragon dances are considered better preserved in true form in overseas Chinatowns rather than in China itself. This discrepancy is attributed to the fact that traditional Chinese customs, including lion and dragon dances, were unable to flourish during the political and social instabilities of Imperial China under rule of the Qing Dynasty, and were almost eliminated completely under the Communist regime of the People's Republic of China under Chairman Mao Zedong. However, due to the migration of Chinese all over the world (particularly Southeast Asia), these dance traditions were continued by overseas Chinese and performed in Chinatowns.\n", "Chinese New Year dragon and lion dances are intended particularly to scare off evil spirits and bring good fortune to the community. They are also specially commissioned to celebrate a grand opening of a new Chinatown business, such as a restaurant or bank. Ceremonial wreaths and leafy green plants with red-colored ribbons strewn across are also usually placed in front of new Chinatown businesses by well-wishers (particularly family members, wholesalers, community organizations, and so on), to assure future success.\n", "The Mid-Autumn Festival or \"August Moon Festival\" is an annual celebration that occurs sometime between August to October, depending on the lunar calendar and local customs. Many stores sell special mooncakes in conjunction with this particular festival. In addition to street celebrations, dragon boat races are held on this occasion in some cities.\n", "Some Chinatowns hold an annual \"Miss Chinatown\" beauty pageant, such as Miss New York Chinese Pageant (formerly known as Miss Greater Chinatown NYC Beauty Pageant), \"Miss Chinatown San Francisco,\" \"Mr & Miss Chinatown Philippines,\" \"Miss Chinatown Hawaii,\" \"Miss Chinatown Houston\" or \"Miss Chinatown Atlanta\"[citation needed].\n", "A major component of many Chinatowns is the family benevolent association, which provides some degree of aid to immigrants. These associations generally provide social support, religious services, death benefits (members' names in Chinese are generally enshrined on tablets and posted on walls), meals, and recreational activities for ethnic Chinese, especially for older Chinese migrants. Membership in these associations can be based on members sharing a common Chinese surname or belonging to a common clan, spoken Chinese dialect, specific village, region or country of origin, and so on. Many have their own facilities.\n", "Some examples include San Francisco's prominent Chinese Consolidated Benevolent Association (\u4e2d\u83ef\u7e3d\u6703\u9928), aka Chinese Six Companies, and Los Angeles' Southern California Teochew Association. The Chinese Consolidated Benevolent Association is among the largest umbrella groups of benevolent associations in the North America, which branches in several Chinatowns. Politically, the CCBA has traditionally been aligned with the Kuomintang and the Republic of China.\n", "The London Chinatown Chinese Association is active in Chinatown, London. Paris has an institution in the Association des R\u00e9sidents en France d'origine indochinoise and it servicing overseas Chinese immigrants in Paris who were born in the former French Indochina.\n", "Traditionally, Chinatown-based associations have also been aligned on ethnic Chinese business interests, such as restaurant, grocery, and laundry (antiquated) associations in Chinatowns in North America. In Chicago's Chinatown, the On Leong Merchants Association was active.\n", "Although the term \"Chinatown\" was first used in Asia, it does not come from a Chinese language. Its earliest appearance seems to have been in connection with the Chinese quarter of Singapore, which by 1844 was already being called \"China Town\" or \"Chinatown\" by the British colonial government.[37][38] This may have been a word-for-word translation into English of the Malay name for that quarter, which in those days was probably \"Kampong China\" or possibly \"Kota China\" or \"Kampong Tionghua/Chunghwa/Zhonghua\". As noted below, Singaporean Chinese themselves used other names.\n", "The first appearance of a Chinatown outside Singapore may have been in 1852, in a book by the Rev. Hatfield, who applied the term to the Chinese part of the main settlement on the remote South Atlantic island of St. Helena.[39] The island was a regular way-station on the voyage to Europe and North America from Indian Ocean ports, including Singapore.\n", "One of the earliest American usages dates to 1855, when San Francisco newspaper The Daily Alta California described a \"pitched battle on the streets of [SF's] Chinatown.\" [40] Other Alta articles from the late 1850s make it clear that areas called \"Chinatown\" existed at that time in several other California cities, including Oroville and San Andres.[41][42] By 1869, \"Chinatown had acquired its full modern meaning all over the U.S. and Canada. For instance, an Ohio newspaper wrote: \"From San Diego to Sitka..., every town and hamlet has its 'Chinatown'.\"[43]\n", "In British publications before the 1890s, \"Chinatown\" appeared mainly in connection with California. At first, Australian and New Zealand journalists also regarded Chinatowns as Californian phenomena. However, they began using the term to denote local Chinese communities as early as 1861 in Australia[44] and 1873 in New Zealand.[45] In most other countries, the custom of calling local Chinese communities \"Chinatowns\" is not older than the twentieth century.\n", "Several alternate English names for Chinatown include China Town (generally used in British and Australian English), The Chinese District, Chinese Quarter, and China Alley (an antiquated term used primarily in several rural towns in the western United States for a Chinese community; some of these are now historical sites). In the case of Lillooet, British Columbia, Canada, China Alley was a parallel commercial street adjacent to the town's Main Street, enjoying a view over the river valley adjacent and also over the main residential part of Chinatown, which was largely of adobe construction. All traces of Chinatown and China Alley there have disappeared, despite a once large and prosperous community.\n", "In Chinese, Chinatown is usually called \"\u5510\u4eba\u8857\", in Cantonese Tong yan gai, in Mandarin T\u00e1ngr\u00e9nji\u0113, in Hakka Tong ngin gai, and in Toisan Hong ngin gai, literally meaning \"Tang people's street(s)\". The Tang Dynasty was a zenith of the Chinese civilization, after which some Chinese\u2014especially in the South\u2014call themselves. Some Chinatowns are indeed just one single street, such as the relatively short Fisgard Street in Victoria, British Columbia, Canada or the sprawling 4-mile (6.4\u00a0km) new Chinatown in Houston, Texas.\n", "A more modern Chinese name is \u83ef\u57e0 (Cantonese: Waa Fau, Mandarin: Hu\u00e1b\u00f9) meaning \"Chinese City\", used in the semi-official Chinese translations of some cities' documents and signs. B\u00f9, pronounced sometimes in Mandarin as f\u00f9, usually means seaport; but in this sense, it means city or town. Likewise, Tong yan fau (\u5510\u4eba\u57e0 \"Tang people's town\") is also used in Cantonese nowadays. The literal word-for-word translation of Chinatown\u2014Zh\u014dnggu\u00f3 Ch\u00e9ng (\u4e2d\u570b\u57ce) is also used, but more frequently by visiting Chinese nationals rather than immigrants of Chinese descent who live in various Chinatowns.\n", "In Francophone regions (such as France and Quebec), Chinatown is often referred to as le quartier chinois (the Chinese Quarter; plural: les quartiers chinois). The most prominent Francophone Chinatowns are located in Paris and Montreal.\n", "The Spanish-language term is usually el barrio chino (the Chinese neighborhood; plural: los barrios chinos), used in Spain and Latin America. (However, barrio chino or its Catalan cognate barri xines do not always refer to a Chinese neighborhood: these are also common terms for a disreputable district with drugs and prostitution, and often no connection to the Chinese.).\n", "The Vietnamese term for Chinatown is Khu ng\u01b0\u1eddi Hoa, due to the prevalence of the Vietnamese language in Chinatowns of Paris, Los Angeles, Toronto, and Montreal as ethnic Chinese from Vietnam have set up shop in them. Other countries also have idiosyncratic names for Chinatown in local languages and in Chinese; however, some local terms may not necessarily translate as Chinatown. For example, Singapore's tourist-centric Chinatown is called in local Singaporean Mandarin Ni\u00fach\u0113sh\u01d4i (\u725b\u8f66\u6c34), which literally means \"Ox-cart water\" from the Malay 'Kreta Ayer' in reference to the water carts that used to ply the area.\n", "Some languages have adopted the English-language term, such as Dutch, German, and Bahasa Malaysia. In Malaysia, the term Chinatown is named under administrative reason. Instead, the name Chee Chong Kai (\u8328\u5382\u8857) is preferred and agreed upon by the locals. Chee in Hakka means tapioca, chong means factory and kai means street. This is originated from a factory that was set up by Yap Ah Loy, a rich Kapitan (a Chinese immigrant who had administrative and political power under the British rule) that made tapioca. Chee Chong Kai is also called jalan Petaling or \"Petaling Street\".\n", "There are three noteworthy Chinatowns in Africa located in the coastal African nations of Madagascar, Mauritius, and South Africa. South Africa has the largest Chinatown and the largest Chinese population of any African country and remains a popular destination for Chinese immigrants coming to Africa. The Chinatown on Derrick Avenue in Cyrildene, Johannesburg is South Africa's largest Chinatown.\n", "In the Americas, which includes the United States, Canada, and Latin America, Chinatowns have been around since the 1800s. The most prominent ones exist in the United States and Canada in New York City, San Francisco, Vancouver, and Toronto. New York City is home to several Chinatowns in and around Manhattan, Flushing, and Brooklyn. There is also a Little Fuzhou developing in Manhattan and in a nearby area of Brooklyn. San Francisco, a Pacific port city, has the oldest and longest continuous running Chinatown in the Western Hemisphere.[82][83][84] In Canada, Vancouver's Chinatown is the country's largest[85] and Toronto's Chinatown is an ethnic enclave in Downtown Toronto, Ontario, Canada, with a high concentration of ethnic Chinese residents and businesses extending along Dundas Street West and Spadina Avenue.\n", "The oldest Chinatown in the Latin America is in Mexico City which dates back to at least the early 17th century.[86] Since the 1970s, new arrivals have typically hailed from Hong Kong, Macau, and Taiwan. Latin American Chinatowns may include the descendants of original migrants \u2013 often of mixed Chinese and Latino parentage \u2013 and more recent immigrants from East Asia. Most Asian Latin Americans are of Cantonese and Hakka origin. Estimates widely vary on the number of Chinese descendants in Latin America. Notable Chinatowns also exist in Buenos Aires, Argentina and Lima, Peru.\n", "Chinatowns in Asia are widespread with a large concentration of overseas Chinese in East Asia and Southeast Asia and ethnic Chinese whose ancestors came from southern China \u2013 particularly the provinces of Guangdong, Fujian, and Hainan \u2013 and settled in countries such as Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Singapore, the Philippines, Thailand, and Vietnam centuries ago\u2014starting as early as the Tang Dynasty, but mostly notably in the 17th through the 19th centuries (during the reign of the Qing Dynasty), and well into the 20th century.\n", "The Chinatown of Melbourne lies within the Melbourne Central Business District and centers on the eastern end of Little Bourke Street. It extends between the corners of Swanston and Exhibition Streets. Melbourne's Chinatown originated during the Victorian gold rush in 1851, and is notable as the oldest Chinatown in Australia. It has also been claimed to be the longest continuously running Chinese community outside of Asia, but only because the 1906 San Francisco earthquake all but destroyed the Chinatown in San Francisco in California.[82][83][84]\n", "Sydney's main Chinatown centers on Sussex Street in the Sydney downtown. It stretches from Central Station in the east to Darling Harbour in the west, and is Australia's largest Chinatown.\n", "The Chinatown of Adelaide was originally built in the 1960s and was renovated in the 1980s. It is located near Adelaide Central Market and the Adelaide Bus Station. There are additional Chinatowns in Brisbane and Perth in Australia.\n", "Several urban Chinatowns exist in major European capital cities. There is Chinatown, London, England as well major Chinatowns in Birmingham and Manchester. Berlin, Germany has two established Chinatowns, with the Dong Xuan Center around Herzbergstrasse of Lichtenberg in the East, and the area around Kantstrasse of Charlottenburg in the West. Antwerp, Belgium has also seen an upstart Chinese community, that has been recognized by the local authorities since 2011.[87] The city council of Cardiff has plans to recognize the Chinese Diaspora in the city.[88]\n", "The Chinatown in Paris, located in the 13th arrondissement, is the largest in Europe, where many Vietnamese \u2013 specifically ethnic Chinese refugees from Vietnam \u2013 have settled and in Belleville in the northeast of Paris as well as in Lyon. In Italy, there are Chinatowns in Milan at Via Luigi canonica and Via Paolo Sarpi and also in Rome and Prato. In the Netherlands, Chinatowns exist in Amsterdam, Rotterdam and the Hague.\n", "In the United Kingdom, several exist in Birmingham, Liverpool, London, Manchester and Newcastle upon Tyne. The Chinatown in Liverpool is the oldest Chinese community in Europe.[89] The Chinatown in London was established in the Limehouse district in the late 19th century. The Chinatown in Manchester is located in central Manchester.\n", "Chinatowns in the Middle East have existed in the past, are a relatively new destination for Chinese immigrants compared with the rest of the world, particularly when compared with the United States, Canada, Australia, and Europe. For example, relatively new Chinatowns were built in Iran and Dubai as completely new settlement, unlike those in the other parts of the world where they were actual enclaves. Dubai has an example of a Chinese-themed mall on a very large scale, considered the largest in the world.[citation needed]\n", "Chinatowns have been referenced in various films including \"The Joy Luck Club\", \"Big Trouble in Little China\", and \"Chinatown\". Also, many films in which Jackie Chan appears in reference locations in Chinatown, particularly the \"Rush Hour\" series with Chris Tucker.\n", "Chinatowns have also been mentioned in the song Kung Fu Fighting by Carl Douglas whose song lyrics says \"... There was funky China men from funky Chinatown....\"[90]\n", "The martial arts actor Bruce Lee is well known as a person who was born in the Chinatown of San Francisco. Other notable Chinese Americans such as Gary Locke (governor of Washington state) and Jeremy Lin (NBA basketball player) grew up in suburbs with lesser connections to traditional Chinatowns. Neighborhood activists and politicians have increased in prominence in some cities, and some are starting to attract support from non-Chinese voters.\n", "http://en.wikipedia.org/wiki/The_Bridge_on_the_River_Kwai\n", "The Bridge on the River Kwai is a 1957 Second World War film directed by David Lean, based on the eponymous French novel (1952) by Pierre Boulle. The film is a work of fiction but borrows the construction of the Burma Railway in 1942\u201343 for its historical setting. It stars William Holden, Jack Hawkins, Alec Guinness and Sessue Hayakawa. The movie was filmed in Ceylon (now known as Sri Lanka). The bridge in the film was located near Kitulgala." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film was widely praised, winning seven Academy Awards (including Best Picture) at the 30th Academy Awards; in 1997 this film was deemed \"culturally, historically, or aesthetically significant\" and selected for preservation in the United States Library of Congress National Film Registry. It is widely considered to be one of the greatest films of all time.[3][4]\n", "\n", "\n", "In World War II, British prisoners arrive at a Japanese prison camp in western Burma.[5] The commandant, Colonel Saito (Sessue Hayakawa), informs them that all prisoners, regardless of rank, are to work on the construction of a railway bridge over the River Kwai. The senior British officer, Lieutenant Colonel Nicholson (Alec Guinness), reminds Saito that the Geneva Conventions exempt officers from manual labour.\n", "At the following morning's assembly, Nicholson orders his officers to remain behind when the enlisted men are sent off to work. Saito slaps him across the face with his copy of the conventions and threatens to have them shot, but Nicholson refuses to back down. When Major Clipton (James Donald), the British medical officer, intervenes, Saito leaves the officers standing all day in the intense tropical heat. That evening, the officers are placed in a punishment hut, while Nicholson is locked in an iron box.\n", "Meanwhile, three prisoners attempt to escape. Two are shot dead, but United States Navy Commander Shears (William Holden), gets away, although badly wounded. He stumbles into a village. The villagers help him escape by boat.\n", "Nicholson refuses to compromise. Meanwhile, the prisoners are working as little as possible and sabotaging whatever they can. Should Saito fail to meet his deadline, he would be obliged to commit ritual suicide. Desperate, Saito uses the anniversary of Japan's victory in the Russo-Japanese War as an excuse to save face and announces a general amnesty, releasing Nicholson and his officers.\n", "Nicholson conducts an inspection and is shocked by the poor job being done by his men. Over the protests of some of his officers, he orders Captain Reeves (Peter Williams) and Major Hughes (John Boxer) to design and build a proper bridge, despite its military value to the Japanese, for the sake of maintaining his men's morale. The Japanese engineers had chosen a poor site, so the original construction is abandoned and a new bridge is begun downstream.\n", "Shears is enjoying his hospital stay in Ceylon, when British Major Warden (Jack Hawkins) asks him to volunteer for a commando mission to destroy the bridge before it's completed. Shears is appalled at the idea and reveals that he is not an officer at all. He switched uniforms with a dead officer after the sinking of their cruiser as a ploy to get better treatment. Warden already knows this. Faced with the prospect of being charged with impersonating an officer, Shears volunteers.\n", "Meanwhile, Nicholson drives his men hard to complete the bridge on time. For him, its completion will exemplify the ingenuity and hard work of the British Army for generations. When he asks that their Japanese counterparts join in as well, a resigned Saito replies that he has already given the order.\n", "The commandos parachute in, with one man being killed on landing. Later, Warden is wounded in an encounter with a Japanese patrol and has to be carried on a litter. He, Shears, and Canadian Lieutenant Joyce (Geoffrey Horne) reach the river in time with the assistance of Siamese women bearers and their village chief, Khun Yai. Under cover of darkness, Shears and Joyce plant explosives on the bridge towers below the water line.\n", "A train carrying soldiers and important dignitaries is scheduled to be the first to cross the bridge the following day, so Warden waits to destroy both. However, at daybreak the commandos are horrified to see that the water level has dropped, exposing the wire connecting the explosives to the detonator. Making a final inspection, Nicholson spots the wire and brings it to Saito's attention. As the train is heard approaching, they hurry down to the riverbank to investigate.\n", "Joyce, manning the detonator, breaks cover and stabs Saito to death. Aghast, Nicholson yells for help, while attempting to stop Joyce from reaching the detonator. When Joyce is shot dead by Japanese fire, Shears swims across the river, but is fatally wounded as he reaches Nicholson. Recognizing the dying Shears, Nicholson exclaims, \"What have I done?\" Warden fires his mortar, mortally wounding Nicholson. The dazed colonel stumbles towards the detonator and collapses on the plunger, just in time to blow up the bridge and send the train hurtling into the river below. Witnessing the carnage, Clipton shakes his head uttering, \"Madness!\u00a0... Madness!\"\n", "The largely fictional film plot is loosely based on the building in 1943 of one of the railway bridges over the Mae Klong\u2014renamed Khwae Yai in the 1960s\u2014at a place called Tha Ma Kham, five kilometres from the Thai town of Kanchanaburi.\n", "According to the Commonwealth War Graves Commission:\n", "\"The notorious Burma-Siam railway, built by Commonwealth, Dutch and American prisoners of war, was a Japanese project driven by the need for improved communications to support the large Japanese army in Burma. During its construction, approximately 13,000 prisoners of war died and were buried along the railway. An estimated 80,000 to 100,000 civilians also died in the course of the project, chiefly forced labour brought from Malaya and the Dutch East Indies, or conscripted in Siam (Thailand) and Burma. Two labour forces, one based in Siam and the other in Burma, worked from opposite ends of the line towards the centre.\"[6]\n", "The incidents portrayed in the film are mostly fictional, and though it depicts bad conditions and suffering caused by the building of the Burma Railway and its bridges, historically the conditions were much worse than depicted.[7] The real senior Allied officer at the bridge was British Lieutenant Colonel Philip Toosey. Some consider the film to be an insulting parody of Toosey.[8] On a BBC Timewatch programme, a former prisoner at the camp states that it is unlikely that a man like the fictional Nicholson could have risen to the rank of lieutenant colonel; and if he had, due to his collaboration he would have been \"quietly eliminated\" by the other prisoners. Julie Summers, in her book The Colonel of Tamarkan, writes that Pierre Boulle, who had been a prisoner of war in Thailand, created the fictional Nicholson character as an amalgam of his memories of collaborating French officers.[8] He strongly denied the claim that the book was anti-British, although many involved in the film itself (including Alec Guinness) felt otherwise.[9]\n", "Toosey was very different from Nicholson and was certainly not a collaborator who felt obliged to work with the Japanese. Toosey in fact did as much to delay the building of the bridge as possible. Whereas Nicholson disapproves of acts of sabotage and other deliberate attempts to delay progress, Toosey encouraged this: termites were collected in large numbers to eat the wooden structures, and the concrete was badly mixed.[8][10]\n", "Boulle outlined the reasoning which led him to conceive the character of Nicholson in an interview which forms part of the 1969 BBC2 documentary \"Return to the River Kwai\" made by former POW John Coast. A transcript of the interview and the documentary as a whole can be found in the new edition of John Coast's book Railroad of Death.[11] Coast's documentary sought to highlight the real history behind the film (partly through getting ex-POWs to question its factual basis, for example Dr Hugh de Wardener and Lt-Col Alfred Knights), which had angered so many former POWs and the documentary itself was described by one newspaper reviewer when it was shown on Boxing Day 1974 (The Bridge on the River Kwai had been shown on BBC1 on Christmas Day 1974) as \"Following the movie, this is a rerun of the antidote.\"[12]\n", "Some of the characters in the film have the names of real people who were involved in the Burma Railway. Their roles and characters, however, are fictionalised. For example, a Sergeant-Major Risaburo Saito was in real life second in command at the camp. In the film, a Colonel Saito is camp commandant. In reality, Risaburo Saito was respected by his prisoners for being comparatively merciful and fair towards them; Toosey later defended him in his war crimes trial after the war, and the two became friends.\n", "The destruction of the bridge as depicted in the film is entirely fictional. In fact, two bridges were built: a temporary wooden bridge and a permanent steel/concrete bridge a few months later. Both bridges were used for two years, until they were destroyed by Allied aerial bombing. The steel bridge was repaired and is still in use today. The movie also depicts the Japanese as poor engineers when in fact many were graduates of some of the best engineering schools including several American and British universities.\n", "The screenwriters, Carl Foreman and Michael Wilson, were on the Hollywood blacklist and could only work on the film in secret. The two did not collaborate on the script; Wilson took over after Lean was dissatisfied with Foreman's work. The official credit was given to Pierre Boulle (who did not speak English), and the resulting Oscar for Best Screenplay (Adaptation) was awarded to him. Only in 1984 did the Academy rectify the situation by retroactively awarding the Oscar to Foreman and Wilson, posthumously in both cases. Subsequent releases of the film finally gave them proper screen credit. David Lean himself also claimed that producer Sam Spiegel cheated him out of his rightful part in the credits since he had had a major hand in the script.[13]\n", "The film was relatively faithful to the novel, with two major exceptions. Shears, who is a British commando officer like Warden in the novel, became an American sailor who escapes from the POW camp. Also, in the novel, the bridge is not destroyed: the train plummets into the river from a secondary charge placed by Warden, but Nicholson (never realising \"what have I done?\") does not fall onto the plunger, and the bridge suffers only minor damage. Boulle nonetheless enjoyed the film version though he disagreed with its climax.\n", "Many directors were considered for the project, among them John Ford, William Wyler, Howard Hawks, Fred Zinnemann and Orson Welles.[citation needed]\n", "The film was an international co-production between companies in Britain and the United States.[14] It is set in Burma, but was filmed mostly near Kitulgala, Ceylon (now Sri Lanka), with a few scenes shot in England.\n", "Director David Lean clashed with his cast members on multiple occasions, particularly Alec Guinness and James Donald, who thought the novel was anti-British. Lean had a lengthy row with Guinness over how to play the role of Nicholson; Guinness wanted to play the part with a sense of humour and sympathy, while Lean thought Nicholson should be \"a bore.\" On another occasion, Lean and Guinness argued over the scene where Nicholson reflects on his career in the army. Lean filmed the scene from behind Guinness, and exploded in anger when Guinness asked him why he was doing this. After Guinness was done with the scene, Lean said \"Now you can all fuck off and go home, you English actors. Thank God that I'm starting work tomorrow with an American actor (William Holden).\"[15]\n", "Alec Guinness later said that he subconsciously based his walk while emerging from \"the Oven\" on that of his son Matthew when Matthew was recovering from polio. Guinness called his walk from the Oven to Saito's hut while being saluted by his men the \"finest work I'd ever done.\"[citation needed]\n", "Lean nearly drowned when he was swept away by a river current during a break from filming; Geoffrey Horne saved his life.[citation needed]\n", "The filming of the bridge explosion was to be done on 10 March 1957, in the presence of S.W.R.D. Bandaranaike, then Prime Minister of Ceylon, and a team of government dignitaries. However, cameraman Freddy Ford was unable to get out of the way of the explosion in time, and Lean had to stop filming. The train crashed into a generator on the other side of the bridge and was wrecked. It was repaired in time to be blown up the next morning, with Bandaranaike and his entourage present.[citation needed]\n", "According to the supplemental material in the Blu-ray digipak, a thousand tons of explosives were used to blow up the bridge. This is highly unlikely, as the film shows roughly 50\u00a0kg of plastic explosive being used simply to knock down the bridge's supports.\n", "According to Turner Classic Movies, the producers nearly suffered a catastrophe following the filming of the bridge explosion. To ensure they captured the one-time event, multiple cameras from several angles were used. Ordinarily, the film would have been taken by boat to London, but due to the Suez crisis this was impossible; therefore the film was taken by air freight. When the shipment failed to arrive in London, a worldwide search was undertaken. To the producers' horror the film containers were found a week later on an airport tarmac in Cairo, sitting in the hot Egyptian sun. Although it was not exposed to sunlight, the heat-sensitive colour film stock should have been hopelessly ruined; however, when processed the shots were perfect and appeared in the film.\n", "A memorable feature of the film is the tune that is whistled by the POWs\u2014the first strain of the march \"Colonel Bogey\"\u2014when they enter the camp.[16] The march was written in 1914 by Kenneth J. Alford, a pseudonym of British Bandmaster Frederick J. Ricketts. The Colonel Bogey strain was accompanied by a counter-melody using the same chord progressions, then continued with film composer Malcolm Arnold's own composition \"The River Kwai March,\" played by the off-screen orchestra taking over from the whistlers, though Arnold's march was not heard in completion on the soundtrack. Mitch Miller had a hit with a recording of both marches.\n", "Besides serving as an example of British fortitude and dignity in the face of privation, the \"Colonel Bogey March\" suggested a specific symbol of defiance to British film-goers, as its melody was used for the song \"Hitler Has Only Got One Ball.\" Lean wanted to introduce Nicholson and his soldiers into the camp singing this song, but Sam Spiegel thought it too vulgar, and so whistling was substituted. However, the lyrics were, and continue to be, so well known to the British public that they didn't need to be laboured.\n", "The soundtrack of the film is largely diegetic; background music is not widely used. In many tense, dramatic scenes, only the sounds of nature are used. An example of this is when commandos Warden and Joyce hunt a fleeing Japanese soldier through the jungle, desperate to prevent him from alerting other troops.\n", "Arnold won an Academy Award for the film's score.\n", "Lean later used another Allford march, \"The Voice of the Guns,\" in Lawrence of Arabia.\n", "Variety reported that this film was the #1 moneymaker of 1958, with a US take of $18,000,000.[17] The second highest moneymaker of 1958 was Peyton Place at $12,000,000; in third place was Sayonara at $10,500,000.[17]\n", "The movie was re-released in 1964 and earned an estimated $2.6 million in North American rentals.[18]\n", "The Bridge on the River Kwai won seven Oscars:\n", "It was nominated for\n", "Winner of 3 BAFTA Awards\n", "Winner of 3 Golden Globes\n", "Recipient of one nomination\n", "The film has been selected for preservation in the United States National Film Registry.\n", "Channel 4 held a poll to find the 100 Greatest War Movies in 2005: The Bridge on the River Kwai came in at #10, behind Black Hawk Down and in front of The Dam Busters.\n", "The British Film Institute placed The Bridge on the River Kwai as the eleventh greatest British film.\n", "The 167-minute film was first telecast, uncut, by ABC-TV in color on the evening of 25 September 1966, as a three hours-plus ABC Movie Special. The telecast of the film lasted more than three hours because of the commercial breaks. It was still highly unusual at that time for a television network to show such a long film in one evening; most films of that length were still generally split into two parts and shown over two evenings. But the unusual move paid off for ABC\u2014the telecast drew huge ratings. On the evenings of 28 and 29 January 1973, ABC broadcast another David Lean colour spectacular, Lawrence of Arabia, but that broadcast 'was split into two parts over two evenings, due to the film's nearly four-hour length.[19]\n", "The film was restored in 1985 by Columbia Pictures. The separate dialogue, music and effects were located and remixed with newly recorded \"atmospheric\" sound effects.[20] The image was restored by OCS, Freeze Frame, and Pixel Magic with George Hively editing.[21]\n", "On 2 November 2010 Columbia Pictures released a newly restored The Bridge on the River Kwai for the first time on Blu-ray. According to Columbia Pictures, they followed an all-new 4K digital restoration from the original negative with newly restored 5.1 audio.[22] The original negative for the feature was scanned at 4k (roughly four times the resolution in High Definition), and the colour correction and digital restoration were also completed at 4k. The negative itself manifested many of the kinds of issues one would expect from a film of this vintage: torn frames, imbedded emulsion dirt, scratches through every reel, colour fading. Unique to this film, in some ways, were other issues related to poorly made optical dissolves, the original camera lens and a malfunctioning camera. These problems resulted in a number of anomalies that were very difficult to correct, like a ghosting effect in many scenes that resembles color mis-registration, and a tick-like effect with the image jumping or jerking side-to-side. These issues, running throughout the film, were addressed to a lesser extent on various previous DVD releases of the film and might not have been so obvious in standard definition.[23]\n", "Coordinates: 14\u00b002\u203227\u2033N 99\u00b030\u203211\u2033E\ufeff / \ufeff14.04083\u00b0N 99.50306\u00b0E\ufeff / 14.04083; 99.50306\n", "http://en.wikipedia.org/wiki/Singin'_in_the_Rain\n", "Singin' in the Rain is a 1952 American musical comedy film directed by Gene Kelly and Stanley Donen, starring Kelly, Donald O'Connor and Debbie Reynolds, and choreographed by Kelly and Donen. It offers a lighthearted depiction of Hollywood in the late '20s, with the three stars portraying performers caught up in the transition from silent films to \"talkies.\"" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film was only a modest hit when first released, with O'Connor's Best Supporting Actor win at the Golden Globes, Comden and Green's win at the Writers Guild of America Awards, and the best supporting actress Oscar nomination for Jean Hagen being the only major recognitions. However, it was accorded its legendary status by contemporary critics. It is now frequently described as one of the best musicals ever made,[3] and the best film ever made in the \"Arthur Freed Unit\" at Metro-Goldwyn-Mayer. It topped the AFI's 100 Years of Musicals list, and is ranked as the fifth greatest American motion picture of all time in its updated list of the greatest American films in 2007.\n", "\n", "\n", "Don Lockwood is a popular silent film star with humble roots as a singer, dancer and stuntman. Don barely tolerates his vapid, shallow leading lady, Lina Lamont, though their studio, Monumental Pictures, links them romantically to increase their popularity. Lina herself is convinced they are in love, despite Don's protestations otherwise.\n", "At the premiere of his newest film, The Royal Rascal, Don tells the gathered crowd an exaggerated version of his life story, including his motto, which is \"Dignity. Always dignity\". His words are humorously contradicted by flashbacks showing him taking on a wide range of menial and humiliating roles on stage and in film alongside his best friend Cosmo Brown.\n", "To escape from his fans after the premiere, Don jumps into a passing car driven by Kathy Selden. She drops him off, but not before claiming to be a stage actress and sneering at his \"undignified\" accomplishments. Later, at a party, the head of Don's studio, R.F. Simpson, shows a short demonstration of a Vitaphone talking picture[4] but his guests are unimpressed. To Don's amusement and Kathy's embarrassment, she pops out of a mock cake right in front of him as part of the entertainment; Kathy, it turns out, is a chorus girl. Furious at Don's teasing, she throws a real cake at him, only to hit Lina right in the face. Don is smitten with her, but she runs off into the night. Don searches for her for weeks after discovering she was fired, believing himself to be responsible, but Lina tells him while filming a love scene that she made sure Kathy lost her job as an act of revenge and jealousy. Later, Don finds Kathy working in another Monumental Pictures production and they apologize to each other. She confesses to having been a fan of Don all along and they begin to fall in love.\n", "After a rival studio has an enormous hit with its first talking picture, 1927's The Jazz Singer, R.F. decides he has no choice but to convert the next Lockwood and Lamont film, The Dueling Cavalier, into a talkie. The production is beset with difficulties in capturing sound, but by far the worst problem is Lina's grating voice. An exasperated diction coach tries to teach her how to speak properly, but to no avail. Don also takes diction lessons (albeit with much better results). The Dueling Cavalier's test screening is a disaster; the actors' speaking is barely audible thanks to the awkward placing of the microphones, Don repeats the line \"I love you\" to Lina over and over, to the audience's derisive laughter,[5] and in the middle of the film, the sound goes out of synchronization, with hilarious results.\n", "After the premiere, Don, Kathy and Cosmo come up with the idea to turn The Dueling Cavalier into a musical called The Dancing Cavalier, complete with a modern musical number called \"Broadway Melody\". Don will be able to show off his natural singing and dancing talent, but they are stumped when they must think about what to do with Lina. Cosmo, inspired by a scene in \"The Dueling Cavalier\" where Lina's voice was out of sync, suggests they dub Lina's voice with Kathy's. They bring the idea to R.F., who goes ahead with it. When Lina finds out, she is infuriated. She becomes even angrier when she discovers that R.F. intends to give Kathy a screen credit and a big publicity promotion. Lina, after consulting lawyers, threatens to sue R.F. unless he cancels Kathy's buildup and orders her to continue working uncredited as Lina's voice. R.F. reluctantly agrees to her demands.\n", "The premiere of The Dancing Cavalier is a tremendous success. When the audience clamors for Lina to sing live, Don, Cosmo, and R.F. improvise and get her to lip sync into the microphone while Kathy, hidden behind the stage curtain, sings into a second one. While Lina is \"singing\", Don, Cosmo and R.F. gleefully raise the curtain. When Cosmo replaces Kathy at the microphone, the sham becomes obvious. Embarrassed, Lina flees in humiliation. A distressed Kathy tries to run away as well, but not before Don proudly announces to the audience that she's \"the real star of the film\". The final shot shows Kathy and Don kissing in front of a billboard for their new film, Singin' in the Rain.\n", "Singin' in the Rain was originally conceived by MGM producer Arthur Freed, the head of the \"Freed Unit\" responsible for turning out MGM's lavish musicals, as a vehicle for his catalog of songs written with Nacio Herb Brown for previous MGM musical films of the 1929-39 period.[9] Screenwriters Betty Comden and Adolph Green contributed lyrics to one new song.[10]\n", "All songs have lyrics by Freed and music by Brown, unless otherwise indicated.[10] Some of the songs, such as \"Broadway Rhythm\", \"Should I?\", and most notably \"Singin' in the Rain,\" were featured in numerous films. The films listed below mark the first time each song was presented on screen.\n", "In the famous dance routine in which Gene Kelly sings the title song while twirling an umbrella, splashing through puddles and getting soaked to the skin, Kelly was sick with a 103\u00a0\u00b0F (39\u00a0\u00b0C) fever.[13] The rain in the scene caused Kelly's wool suit to shrink during filming. A common myth is that Kelly managed to perform the entire song in one take, thanks to cameras placed at predetermined locations. However this was not the case as the filming of the sequence took place over 2\u20133 days.[14] Another myth is that the rain was mixed with milk in order for the drops to show up on camera; the desired visual effect was produced, albeit with difficulty, through backlighting.[15][16]\n", "Debbie Reynolds was not a dancer at the time she made Singin' in the Rain; her background was as a gymnast.[12] Kelly apparently insulted her for her lack of dance experience, upsetting her. In a subsequent encounter when Fred Astaire was in the studio, he found Reynolds crying under a piano. Hearing what had happened, Astaire volunteered to help her with her dancing. Kelly later admitted that he had not been kind to Reynolds and was surprised that she was still willing to talk to him afterwards. After shooting the \"Good Morning\" routine, Reynolds' feet were bleeding.[12] Years later, she was quoted as saying that \"Singin' in the Rain and childbirth were the two hardest things I ever had to do in my life.\"[17]\n", "Donald O'Connor had to be hospitalized after filming the \"Make 'em Laugh\" sequence. He smoked up to four packs of cigarettes a day.[14]\n", "Most of the costumes from this film were eventually acquired by Debbie Reynolds and housed in her massive collection of original film costumes, sets and props. Many of these items were sold at a 2011 auction in Hollywood. While most items were sold to private collectors, Donald O'Connor's green check \"Fit As a Fiddle\" suit and shoes were purchased by Costume World, Inc. and are now on permanent display at the Costume World Broadway Collection Museum in Pompano Beach, Florida.[citation needed]\n", "According to MGM records, during the film's initial theatrical release it made $3,263,000 in the US and Canada and $2,367,000 internationally, earning the studio a profit of $666,000.[1] It was the tenth highest grossing movie of the year in the US and Canada.[18][19]\n", "For her role as Lina Lamont, Jean Hagen was nominated for the Academy Award for Best Supporting Actress. The film was also nominated for a Best Original Music Score.\n", "Donald O'Connor won a Golden Globe for this film.[20] Betty Comden and Adolph Green received the Writers Guild of America for the best written American musical.[21]\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "Singin' in the Rain has appeared twice on Sight and Sound's list of the ten best films of all time, in 1982 and 2002. Its position in 1982 was at number 4 on the critics list; on the 2002 critics' list it was listed as number 10 and it tied for 19 on the directors' list.[22] Review aggregate website Rotten Tomatoes reported that 100% of critics gave the film a positive review based on 47 reviews, with an average score of 9.2/10. The film is currently No. 14 on Rotten Tomatoes' list of best rated films.[23] Rotten Tomatoes summarizes the critical consensus as, \"Clever, incisive, and funny, Singin' in the Rain is a masterpiece of the classical Hollywood musical.\"[24] In 2008, Singin' in the Rain was placed on Empire's 500 Greatest Movies of All Time List, ranking at #8, the highest ranked G-rated movie on the list.\n", "In 1989, Singin' in the Rain was among the first 25 films chosen for the newly established National Film Registry for films that are deemed \"culturally, historically or aesthetically significant\" by the United States Library of Congress and selected for preservation.\n", "American Film Institute recognition\n", "The 40th Anniversary Edition VHS version released in 1992 includes a documentary, the original trailer, and Reynolds' solo rendition of \"You Are My Lucky Star,\" which had been cut from the final film.[25]\n", "According to the audio commentary on the 2002 Special Edition DVD, the original negative was destroyed in a fire, but despite this, the film has been digitally restored for its DVD release. A Blu-ray edition was released in July 2012.\n", "http://en.wikipedia.org/wiki/It's_a_Wonderful_Life\n", "It's a Wonderful Life is a 1946 American Christmas fantasy comedy-drama film produced and directed by Frank Capra, based on the short story \"The Greatest Gift\", which Philip Van Doren Stern wrote in 1939 and published privately in 1945.[3] The film is considered one of the most loved films in American cinema and has become traditional viewing during the Christmas season." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film stars James Stewart as George Bailey, a man who has given up his dreams in order to help others and whose imminent suicide on Christmas Eve brings about the intervention of his guardian angel, Clarence Odbody (Henry Travers). Clarence shows George all the lives he has touched and how different life in his community of Bedford Falls would be had he never been born.\n", "Despite initially performing poorly at the box office because of high production costs and stiff competition at the time of its release, the film has come to be regarded as a classic and is a staple of Christmas television in many households.[4][5] Theatrically, the film's break-even point was $6.3\u00a0million, approximately twice the production cost, a figure it never came close to achieving in its initial release. An appraisal in 2006 reported: \"Although it was not the complete box office failure that today everyone believes\u00a0... it was initially a major disappointment and confirmed, at least to the studios, that Capra was no longer capable of turning out the populist features that made his films the must-see, money-making events they once were.\"[6]\n", "It's a Wonderful Life is considered one of the most critically acclaimed films ever made. It was nominated for five Academy Awards including Best Picture and has been recognized by the American Film Institute as one of the 100 best American films ever made,[3] placing number 11 on its initial 1998 greatest movie list, and would also place number one on its list of the most inspirational American films of all time.[7] Capra revealed that this was his personal favorite among the films he directed and that he screened it for his family every Christmas season.[8]\n", "In Bedford Falls, New York,[N 2] on Christmas Eve, George Bailey is deeply troubled and suicidal. Prayers for his well-being from friends and family reach Heaven. Clarence Odbody, Angel 2nd Class, is assigned to visit Earth to save George, thereby earning his wings. God the Father and St. Joseph review George's life with Clarence.\n", "As a 12-year-old boy in 1919, George saved the life of his younger brother Harry, who had fallen through the ice on a frozen pond, and because of his heroic action, George lost the hearing in his left ear. Later, while working in the local pharmacy, George noticed that the druggist, Mr. Gower, despondent over receiving a telegram that his son had died from influenza, had mistakenly filled a child's prescription with poison; George stopped Gower and saved him from killing the child and irrevocably ruining his own life.\n", "George grows up and dreams of travelling the world. In 1928, he waits for Harry to graduate from high school and replace him at the Bailey Building and Loan Association, vital to the townspeople. On Harry's graduation night, George, now 21 and preparing to travel before attending college, discusses his future with Mary Hatch, who has long had a crush on him. Later that evening, George's absent-minded Uncle Billy interrupts them to tell George that his father has had a stroke, which proves fatal.\n", "George gives up his summer travel plans to stay in Bedford Falls and sort out the firm's affairs, and a few months later, Mr. Henry F. Potter, a rapacious slumlord and a member of the Building and Loan Association board, tries to persuade the board of directors to dissolve the Building and Loan. His main objection is to their providing home loans for the working poor. George talks them into rejecting Potter's proposal, but they agree only on condition that George run the Building and Loan. Giving his college money to Harry, George delays his plans with the understanding that his younger brother, Harry, will take over upon graduation.\n", "When Harry graduates from college, he unexpectedly brings home a wife, whose father has offered Harry an excellent job. Although Harry vows to decline the offer out of respect for his brother, George cannot deny Harry such a fine opportunity and decides to keep running the Building and Loan, knowing that this will kill his dream to travel the world.\n", "George calls on Mary, who has recently returned home from college. After several arguments, they reveal their love for each other, and marry soon after. As they depart for their honeymoon, they witness a run on the bank that leaves the Building and Loan in danger of collapse. The couple quell the panic by using the $2,000 set aside for their honeymoon to satisfy the depositors' immediate needs. Mary enlists the help of George's two best friends, Bert, a policeman, and Ernie, a cab driver, to create a faux tropical setting for a substitute honeymoon. The newlywed couple embrace while Bert and Ernie sing in the background.\n", "George never manages to leave Bedford Falls, but does start Bailey Park, an affordable housing project. With his own interests compromised, Potter tries to hire him away, offering him a $20,000 salary,[N 3] along with the promise of business trips to Europe, something that George always wanted to do. George, initially tempted, turns Potter down after realizing that Potter intends to close down the Building and Loan and take full control of Bedford Falls. He and Mary then raise four children: Pete, Janie, Tommy and Zuzu.\n", "When World War II erupts, George is unable to enlist, because of his bad ear. Harry becomes a Navy fighter pilot and shoots down 15 enemy planes, two of which were targeting a ship full of troops in the Pacific. For his bravery, Harry is awarded the Medal of Honor.\n", "On Christmas Eve morning, as the town prepares a hero's welcome for Harry, Uncle Billy is on his way to Potter's bank to deposit $8,000 of the Building and Loan's cash funds. He greets Potter (who has the newspaper reporting Harry's heroics) and taunts him by reading the headlines aloud. Potter angrily snatches the paper, but Billy inattentively allows the money to be snatched with it. Potter opens the paper, notices the money and keeps it, knowing that misplacement of bank money would result in bankruptcy for the Building and Loan and criminal charges for George. Uncle Billy can't remember what happened to the money, and with a bank examiner present, he and George frantically search the town which turns up nothing. George is devastated that he is apparently destined to face scandal and jail and takes his anger and frustrations out on his family.\n", "A desperate George appeals to Potter for a loan. Potter sarcastically turns George down, and then swears out a warrant for his arrest for bank fraud. George, now completely depressed, gets drunk at the bar owned by his friend, Giuseppe Martini, where he silently prays for help. After crashing his car into a tree, George staggers to a bridge, intending to commit suicide, feeling he is \"worth more dead than alive\" because of a life insurance policy. Before he can leap, Clarence jumps in first and pretends to be drowning. After George rescues him, Clarence reveals himself to be George's guardian angel.\n", "George does not believe him and bitterly wishes he had never been born. Inspired by this comment, Clarence shows George what the town would have been like without him. In this alternate scenario, Bedford Falls is instead named Pottersville, and is home to sleazy nightclubs, pawn shops, and immoral people. Bailey Park has never been built, and remains an old cemetery. George notices that he can now hear in his left ear, that his lip is not bleeding, his clothes are dry and that he does not have Zuzu's flower petals, as he never existed in the alternate reality.\n", "Mr. Gower was sent to prison for poisoning the child and is despised and homeless. Martini does not own the bar. Martini's bartender Nick owns the bar, and runs it in a more reckless manner. George's friend Violet Bick is a taxi-dancer and is being arrested as George passes the location of the Building and Loan, now the location of the dance hall where Violet works. Ernie is helplessly poor, with his family having forsaken him. Uncle Billy has been in an insane asylum for many years since he lost his brother and the family business. Harry is dead as a result of George not being there to save him from drowning, and the servicemen he would have saved also died. George's mother is a bitter widow, and Mary is a shy, single spinster librarian. Clarence then explains how George single-handedly prevented this dire fate. He, and he alone, kept Potter in check, preventing the town from descending into squalor and vice.\n", "George runs back to the bridge and begs to be allowed to live again. His prayer is answered, and he runs home joyously, where the authorities are waiting to arrest him. Mary, Uncle Billy, and a flood of townspeople arrive with more than enough donations to save George and the Building and Loan. George's friend Sam Wainwright sends him a $25,000 line of credit by telegram.\n", "Harry also arrives to support his brother, and toasts George as \"the richest man in town\". In the pile of donated funds, George finds a copy of The Adventures of Tom Sawyer inscribed, \"Dear George: Remember no man is a failure who has friends. P.S. Thanks for the wings! Love, Clarence.\" A bell on the Christmas tree rings, and his daughter, Zuzu, remembers aloud that it means an angel has just earned his wings. George realizes that he truly has a wonderful life.\n", "The contention that James Stewart is often referred to as Capra's only choice to play George Bailey is disputed by film historian Stephen Cox, who indicates that \"Henry Fonda was in the running.\"[13][14]\n", "Although it was stated that Jean Arthur, Ann Dvorak and Ginger Rogers were all considered for the role of Mary before Donna Reed won the part, this list is also disputed by Cox as he indicates that Jean Arthur was first offered the part but had to turn it down for a prior commitment on Broadway before Capra turned to Olivia de Havilland, Martha Scott and Ann Dvorak. Ginger Rogers was offered the female lead, but turned it down because she considered it \"too bland\". In Chapter 26 of her autobiography Ginger: My Story, she questioned her decision by asking her readers: \"Foolish, you say?\"\n", "A long list of actors were considered for the role of Potter (originally named Herbert Potter): Edward Arnold, Charles Bickford, Edgar Buchanan, Louis Calhern, Victor Jory, Raymond Massey, Vincent Price and even Thomas Mitchell.[14] However, Lionel Barrymore, who eventually won the role, was a famous Ebenezer Scrooge in radio dramatizations of A Christmas Carol at the time and was a natural choice for the role. Barrymore had also worked with Capra on his 1938 Best Picture Oscar winner, You Can't Take It with You.\n", "H.B. Warner, who was cast as the drugstore owner Mr. Gower, actually studied medicine before going into acting. He was also in some of Capra's other films, including Mr. Deeds Goes to Town, Lost Horizon, You Can't Take It with You, and Mr. Smith Goes to Washington.[15] In the silent era, he had played the role of Jesus Christ in Cecil B. DeMille's The King of Kings (1927). The name Gower came from Capra's employer Columbia Pictures, which had been located on Gower Street for many years. Also on Gower Street was a drugstore that was a favorite for the studio's employees.[16]\n", "Charles Williams, who was cast as Eustace Bailey, and Mary Treen, who was cast as Matilda \"Tilly\" Bailey, were both B-list actors, as they both had appeared in 90 films each before filming It's a Wonderful Life.[17]\n", "Jimmy the raven (Uncle Billy's pet) appeared in You Can't Take It with You and each subsequent Capra film.[13][18]\n", "The original story \"The Greatest Gift\" was written by Philip Van Doren Stern in November 1939. After being unsuccessful in getting the story published, he decided to make it into a Christmas card, and mailed 200 copies to family and friends in December 1943.[19][N 5] The story came to the attention of RKO producer David Hempstead, who showed it to Cary Grant's Hollywood agent, and in April 1944, RKO Pictures bought the rights to the story for $10,000, hoping to turn the story into a vehicle for Grant.[21] RKO created three unsatisfactory scripts before shelving the planned movie, and Grant went on to make another Christmas movie staple, The Bishop's Wife.[N 6][23]\n", "At the suggestion of RKO studio chief Charles Koerner, Frank Capra read \"The Greatest Gift\" and immediately saw its potential. RKO, anxious to unload the project, in 1945 sold the rights to Capra's production company, Liberty Films, which had a nine-film distribution agreement with RKO, for $10,000,[N 7] and threw in the three scripts for free.[19] Capra, along with writers Frances Goodrich and Albert Hackett, with Jo Swerling, Michael Wilson, and Dorothy Parker brought in to \"polish\" the script,[25] turned the story and what was worth using from the three scripts into a screenplay that Capra would rename It's a Wonderful Life.[19] The script underwent many revisions throughout pre-production and during filming.[26] Final screenplay credit went to Goodrich, Hackett and Capra, with \"additional scenes\" by Jo Swerling.\n", "Seneca Falls, New York claims that when Frank Capra visited their town in 1945, he was inspired to model Bedford Falls after it. The town has an annual \"It's a Wonderful Life festival\" in December.[27] In mid-2009, The Hotel Clarence opened in Seneca Falls, named for George Bailey's guardian angel. On December 10, 2010, the \"It's a Wonderful Life\" Museum opened in Seneca Falls, with Karolyn Grimes, who played Zuzu in the movie, cutting the ribbon.[28]\n", "Both James Stewart (from Indiana, Pennsylvania) and Donna Reed (from Denison, Iowa) came from small towns. Stewart's father ran a small hardware store where James worked for years. Reed demonstrated her rural roots by winning an impromptu bet with Lionel Barrymore when he challenged her to milk a cow on set.[29]\n", "It's a Wonderful Life was shot at RKO Radio Pictures Studio in Culver City, California, and the 89 acre RKO movie ranch in Encino,[30] where \"Bedford Falls\" consisted of Art Director Max Ree's Oscar-winning sets originally designed for the 1931 epic film Cimarron that covered 4 acres (1.6 ha), assembled from three separate parts, with a main street stretching 300\u00a0yards (three city blocks), with 75 stores and buildings, and a residential neighborhood.[31] For It's a Wonderful Life Capra built a working bank set, added a tree-lined center parkway, and planted 20 full grown oak trees to existing sets.[32]\n", "Pigeons, cats, and dogs were allowed to roam the mammoth set in order to give the \"town\" a lived-in feel.[18] Due to the requirement to film in an \"alternate universe\" setting as well as during different seasons, the set was extremely adaptable. RKO created \"chemical snow\" for the film in order to avoid the need for dubbed dialogue when actors walked across the earlier type of movie snow, made up of crushed cornflakes.[33] Filming started on April 15, 1946 and ended on July 27, 1946, exactly on deadline for the 90-day principal photography schedule.[22]\n", "RKO's movie ranch in Encino, a filming location of \"Bedford Falls\", was razed in 1954.[N 8] There are only two surviving locations from the film. The first is the swimming pool that was unveiled during the famous dance scene where George courts Mary. It is located in the gymnasium at Beverly Hills High School and is still in operation as of 2013. The second is the \"Martini home\", in La Ca\u00f1ada Flintridge, California.[35]\n", "During filming, in the scene where Uncle Billy gets drunk at Harry and Ruth's welcome home/newlyweds' party, George points him in the right direction home. As the camera focuses on George, smiling at his uncle staggering away, a crash is heard in the distance and Uncle Billy yells, \"I'm all right! I'm all right!\" Equipment on the set had actually been accidentally knocked over; Capra left in Thomas Mitchell's impromptu ad lib (although the \"crashing\" noise was augmented with added sound effects).\n", "Dimitri Tiomkin had written \"Death Telegram\" and \"Gower's Deliverance\" for the drugstore scenes, but in the editing room Capra elected to go with no music for those scenes. Those changes, along with others, led to a falling out between Tiomkin and Capra. Tiomkin had worked on a lot of Capra's previous films, and was saddened that Capra decided to have the music pared or toned down, moved, or cut entirely. He felt as though his work was being seen as a mere suggestion. In his autobiography Please Don't Hate Me, he said of the incident, \"an all around scissors job\".[36]\n", "The products and advertisements featured in Mr. Gower's drugstore include Coca-Cola, Paterson tobacco pipes, La Unica cigars, Camel cigarettes, Lucky Strike cigarettes, Chesterfield cigarettes, Sweet Caporal cigarettes (with a sign that says \"Ask Dad he knows\" that plays a role in the plot), Vaseline hair tonic, Penetro cough syrup, Pepto-Bismol, Bayer Aspirin (\"for colds and influenza\"), and The Saturday Evening Post.[37]\n", "In an earlier draft of the script, the scene where George saves his brother Harry as a child was different. The scene had the boys playing ice hockey on the river (which is on Potter's property) as Potter watches with disdain. George shoots the puck, but it goes astray and breaks the \"No Trespassing\" sign and lands in Potter's yard. Potter becomes irate, and the gardener releases the attack dogs, which causes the boys to flee. Harry falls in the ice, and George saves him with the same results.[38]\n", "Another scene that was in an earlier version of the script had young George visiting his father at his work. After George tells off Mr. Potter and closes the door, he considers asking Uncle Billy about his drugstore dilemma. Billy is talking on the phone to the bank examiner, and lights his cigar and throws his match in the wastebasket. This scene explains that Tilly (short for Matilda) and Eustace are both his cousins (not Billy's kids though), and Tilly is on the phone with her friend Martha and says, \"Potter's here, the bank examiner's coming. It's a day of judgment.\" As George is about to interrupt Tilly on the phone, Billy cries for help and Tilly runs in and puts the fire out with a pot of coffee. George decides he is probably better off dealing with the situation by himself.[36]\n", "Capra had filmed a number of sequences that were subsequently cut, the only remnants remaining being rare stills that have been unearthed.[39] A number of alternative endings were considered, with Capra's first script having Bailey falling to his knees reciting \"The Lord's Prayer\" (the script also called for an opening scene with the townspeople in prayer). Feeling that an overly religious tone did not have the emotional impact of the family and friends rushing to rescue George Bailey, the closing scenes were rewritten.[40][41][42]\n", "It's a Wonderful Life premiered at the Globe Theatre in New York on December 20, 1946, to mixed reviews.[22] While Capra considered the contemporary critical reviews to be either universally negative or at best dismissive,[43] Time said, \"It's a Wonderful Life is a pretty wonderful movie. It has only one formidable rival (Goldwyn's The Best Years of Our Lives) as Hollywood's best picture of the year. Director Capra's inventiveness, humor and affection for human beings keep it glowing with life and excitement.\"[44]\n", "Bosley Crowther, writing for The New York Times, complimented some of the actors, including Stewart and Reed, but concluded that \"the weakness of this picture, from this reviewer's point of view, is the sentimentality of it\u2014its illusory concept of life. Mr. Capra's nice people are charming, his small town is a quite beguiling place and his pattern for solving problems is most optimistic and facile. But somehow they all resemble theatrical attitudes rather than average realities.\"[45]\n", "The film, which went into general release on January 7, 1947, placed 26th ($3.3 million) in box office revenues for 1947[2] (out of more than 400 features released),[46] one place ahead of another Christmas film, Miracle on 34th Street. The film was supposed to be released in January 1947, but was moved up to December 1946 to make it eligible for the 1946 Academy Awards. This move was seen as worse for the film, as 1947 did not have quite the stiff competition as 1946. If it had entered the 1947 Awards, its biggest competition would have been Miracle on 34th Street. The number one grossing movie of 1947, The Best Years of Our Lives, made $11.5 million.[2]\n", "The film recorded a loss of $525,000 at the box office for RKO.[47]\n", "On May 26, 1947, the FBI issued a memo stating \"With regard to the picture \"It's a Wonderful Life\", [redacted] stated in substance that the film represented rather obvious attempts to discredit bankers by casting Lionel Barrymore as a 'scrooge-type' so that he would be the most hated man in the picture. This, according to these sources, is a common trick used by Communists. [In] addition, [redacted] stated that, in his opinion, this picture deliberately maligned the upper class, attempting to show the people who had money were mean and despicable characters.\"[48][49]\n", "The film's elevation to the status of a beloved classic came decades after its initial release, when it became a television staple during Christmas season in the late 1970s. This came as a welcome surprise to Frank Capra and others involved with its production. \"It's the damnedest thing I've ever seen,\" Capra told The Wall Street Journal in 1984. \"The film has a life of its own now, and I can look at it like I had nothing to do with it. I'm like a parent whose kid grows up to be president. I'm proud... but it's the kid who did the work. I didn't even think of it as a Christmas story when I first ran across it. I just liked the idea.\"[50] In a 1946 interview, Capra described the film's theme as \"the individual's belief in himself\" and that he made it \"to combat a modern trend toward atheism\".[50] In an interview with Michael Parkinson in 1973, James Stewart declared that out of all the movies he had made, It's a Wonderful Life was his favorite.[51]\n", "Somewhat more iconoclastic views of the film and its content are occasionally expressed. In 1947, film critic Manny Farber wrote, \"To make his points [Capra] always takes an easy, simple-minded path that doesn't give much credit to the intelligence of the audience\", and adds that there are only a \"few unsentimental moments here and there.\"[52][N 9] Wendell Jamieson, in a 2008 article for The New York Times which was generally positive in its analysis of the film, interpreted it as \"a terrifying, asphyxiating story about growing up and relinquishing your dreams, of seeing your father driven to the grave before his time, of living among bitter, small-minded people. It is a story of being trapped, of compromising, of watching others move ahead and away, of becoming so filled with rage that you verbally abuse your children, their teacher and your oppressively perfect wife.\"[53]\n", "In a 2010 Salon.com piece, Richard Cohen described It's a Wonderful Life as \"the most terrifying Hollywood film ever made\". In the \"Pottersville\" sequence, he wrote, George is not \"seeing the world that would exist had he never been born\", but rather \"the world as it does exist, in his time and also in our own.\"[54] Nine years earlier, another Salon writer, Gary Kamiya, had expressed the opposing view that \"Pottersville rocks!\", adding, \"The gauzy, Currier-and-Ives veil Capra drapes over Bedford Falls has prevented viewers from grasping what a tiresome and, frankly, toxic environment it is... We all live in Pottersville now.\"[55]\n", "In 1990, It's a Wonderful Life was deemed \"culturally, historically, or aesthetically significant\" by the United States Library of Congress and selected for preservation in their National Film Registry.\n", "In 2002, Britain's Channel 4 ranked It's a Wonderful Life as the seventh greatest film ever made in its poll \"The 100 Greatest Films\" and in 2006, the film reached No. 37 in the same channel's \"100 Greatest Family Films\".\n", "In June 2008, AFI revealed its 10 Top 10, the best ten films in ten \"classic\" American film genres, after polling over 1,500 people from the creative community. It's a Wonderful Life was acknowledged as the third-best film in the fantasy genre.[56][57]\n", "The film's popularity continues, and it currently holds an 8.7 out of 10 rating on the IMDb consumer reviews and a 93% \"Fresh\" rating on Rotten Tomatoes.\n", "Prior to the Los Angeles release of It's a Wonderful Life, Liberty Films mounted an extensive promotional campaign that included a daily advertisement highlighting one of the film's players, along with comments from reviewers. Jimmy Starr wrote, \"If I were an Oscar, I'd elope with It's a Wonderful Life lock, stock and barrel on the night of the Academy Awards\". The New York Daily Times offered an editorial in which it declared the film and James Stewart's performance to be worthy of Academy Award consideration.[58]\n", "It's a Wonderful Life received five Academy Award nominations:[59]\n", "It's a Wonderful Life won just the one Academy Award, in the Technical Achievement category for developing a new method of creating artificial snow.[60] Before It's a Wonderful Life, fake movie snow was mostly made from cornflakes painted white. And it was so loud when stepped on that any snow filled scenes with dialogue had to be re-dubbed afterwards. RKO studio's head of special effects, Russell Sherman, developed a new compound, utilizing water, soap flakes, foamite and sugar.[61]\n", "The Best Years of Our Lives, a drama about servicemen attempting to return to their pre-World War II lives, won most of the awards that year, including four of the five for which It's a Wonderful Life was nominated. (The award for \"Best Sound Recording\" was won by The Jolson Story.) The Best Years of Our Lives was also an outstanding commercial success, ultimately becoming the highest grossing film of the decade, in contrast to the more modest initial box office returns of It's a Wonderful Life.[62]\n", "It's a Wonderful Life received a Golden Globe Award:\n", "Capra won the \"Best Motion Picture Director\" award from the Golden Globes, and a \"CEC Award\" from the Cinema Writers Circle in Spain, for Mejor Pel\u00edcula Extranjera (Best Foreign Film). Jimmy Hawkins won a \"Former Child Star Lifetime Achievement Award\" from the Young Artist Awards in 1994; the award recognized his role as Tommy Bailey as igniting his career, which lasted until the mid-1960s.[63]\n", "American Film Institute lists\n", "Liberty Films was purchased by Paramount Pictures, and remained a subsidiary until 1951. In 1955, M. & A. Alexander purchased the movie. This included key rights to the original television syndication, the original nitrate film elements, the music score, and the film rights to the story on which the film is based, \"The Greatest Gift\".[N 10] National Telefilm Associates (NTA) took over the rights to the film soon thereafter.\n", "A clerical error at NTA prevented the copyright from being renewed properly in 1974.[67][68] Despite the lapsed copyright, television stations that aired it still were required to pay royalties. Although the film's images had entered the public domain, the film's story was still protected by virtue of it being a derivative work of the published story \"The Greatest Gift\", whose copyright was properly renewed by Philip Van Doren Stern in 1971.[69][70][N 11] The film became a perennial holiday favorite in the 1980s, possibly due to its repeated showings each holiday season on hundreds of local television stations. It was mentioned during the deliberations on the Copyright Term Extension Act of 1998.[69][71]\n", "In 1993, Republic Pictures, which was the successor to NTA, relied on the 1990 U.S. Supreme Court ruling in Stewart v. Abend (which involved another Stewart film, Rear Window) to enforce its claim to the copyright. While the film's copyright had not been renewed, Republic still owned the film rights to \"The Greatest Gift\"; thus the plaintiffs were able to argue its status as a derivative work of a work still under copyright.[69][72] NBC is licensed to show the film on U.S. network television, and traditionally shows it twice during the holidays, with one showing on Christmas Eve. Paramount (via parent company Viacom's 1998 acquisition of Republic's then-parent, Spelling Entertainment) once again has distribution rights for the first time since 1955.[69][73]\n", "Due to all the above actions, this is one of the few RKO films not controlled by Turner Entertainment/Warner Bros. in the US. It is also one of two Capra films which Paramount owns despite not having originally released it\u2014the other is Broadway Bill (originally from Columbia, remade by Paramount as Riding High in 1950).[69]\n", "Director Capra met with Wilson Markle about having Colorization, Inc., colorize It's a Wonderful Life based on an enthusiastic response to the colorization of Topper from actor Cary Grant.[74] The company's art director Brian Holmes prepared 10 minutes of colorized footage from It's a Wonderful Life for Capra to view, which resulted in Capra signing a contract with Colorization, Inc., and his \"enthusiastic agree[ment] to pay half the $260,000 cost of colorizing the movie and to share any profits\" and giving \"preliminary approval to making similar color versions of two of his other black-and-white films, Meet John Doe (1941) and Lady for a Day (1933)\".[74] However, the film was believed to be in the public domain at the time, and as a result Markle and Holmes responded by returning Capra's initial investment, eliminating his financial participation, and refusing outright to allow the director to exercise artistic control over the colorization of his films, leading Capra to join in the campaign against the process.[74]\n", "Three colorized versions have been produced. The first was released by Hal Roach Studios in 1986. The second was authorized and produced by the film's permanent owner, Republic Pictures, in 1989. Both Capra and Stewart took a critical stand on the colorized editions.[75] The Hal Roach color version was re-released in 1989 to VHS through the cooperation of Video Treasures. A third colorized version was produced by Legend Films and released on DVD in 2007 with the approval of Capra's estate.[citation needed]\n", "Throughout the 1980s and early 1990s, when the film was still under public domain status, It's A Wonderful Life was released on VHS by a variety of home video companies. Among the companies that released the film on home video before Republic Pictures stepped in were Meda Video (which would later become Media Home Entertainment), Kartes Video Communications (under its Video Film Classics label), GoodTimes Home Video and Video Treasures (now Anchor Bay Entertainment). After Republic reclaimed the rights to the film, all unofficial VHS copies of the film in print were destroyed.[72] Artisan Entertainment (under license from Republic) took over home video rights in the mid-1990s. Artisan was later sold to Lions Gate Entertainment, which continued to hold US home video rights until late 2005 when they reverted to Paramount, who also owns video rights throughout Region 4 (Latin America and Australia) and in France. Video rights in the rest of the world are held by different companies; for example, the UK rights are with Universal Studios.\n", "In 1993, due in part to the confusion of the ownership and copyright issues, Kinesoft Development, with the support of Republic Pictures, released It's a Wonderful Life as one of the first commercial feature-length films on CD-ROM for the Windows PC (Windows 3.1). Predating commercial DVDs by several years, it included such features as the ability to follow along with the complete shooting script as the film was playing.[76] [N 12]\n", "Given the state of video playback on the PC at the time of its release, It's a Wonderful Life for Windows represented another first, as the longest running video on a computer. Prior to its release, Windows could only play back approx. 32,000 frames of video, or about 35 minutes at 15 frames per second. Working with Microsoft, Kinesoft was able to enhance the video features of Windows to allow for the complete playback of the entire film\u00a0\u2014 all of this on a PC with a 486SX processor and only 8\u00a0MB of RAM.[77]\n", "The film has seen multiple DVD releases since the availability of the DVD format. In the autumn of 2001, Republic issued the movie twice, once in August, and again with different packaging in September of that same year. On October 31, 2006, Paramount released a newly restored \"60th Anniversary Edition\". On November 13, 2007, Paramount released a two-disc \"special edition\" DVD of the film that contained both the original theatrical black-and-white version, and a new, third colorized version, produced by Legend Films using the latest colorization technology. On November 3, 2009, Paramount released a DVD version with a \"Collector's Edition Ornament\", and a Blu-ray edition.\n", "The film was twice adapted for radio in 1947, first on Lux Radio Theater (March 10) and then on The Screen Guild Theater (December 29), then again on the Screen Guild Theater broadcast of March 15, 1951. James Stewart and Donna Reed reprised their roles for all three radio productions. Stewart also starred in the May 8, 1949 radio adaptation presented on the Screen Director's Playhouse.\n", "A musical stage adaptation of the film, titled A Wonderful Life, was written by Sheldon Harnick and Joe Raposo. This version was first performed at the University of Michigan in 1986, but a planned professional production was stalled by legal wrangling with the estate of Philip Van Doren Stern. It was eventually performed in Washington, D.C. by Arena Stage in 1991, and had revivals in the 21st century, including a staged concert version in New York City in 2005 and several productions by regional theatres.\n", "Another musical stage adaptation of the film, titled It's a Wonderful Life\u00a0\u2013 The Musical, was written by Bruce Greer and Keith Ferguson. This version premiered at the Majestic Theatre, Dallas, Texas in 1998. It was an annual Christmas show at the theatre for five years. It has since been performed at venues all around the United States.[78]\n", "The film was also adapted into a play in two acts by James W. Rodgers. It was first performed on December 15, 1993 at Paul Laurence Dunbar High School. The play opens with George Bailey contemplating suicide and then goes back through major moments in his life. Many of the scenes from the movie are only alluded to or mentioned in the play rather than actually dramatized. For example, in the opening scene Clarence just mentions George having saved his brother Harry after the latter had fallen through the ice.[79]\n", "It's a Wonderful Life: A Live Radio Play, a stage adaptation presented as a 1940s radio show, was adapted by Joe Landry and has been produced around the United States since 1997. The script is published by Playscripts, Inc.\n", "In 1997, PBS aired Merry Christmas, George Bailey, taped from a live performance of the 1947 Lux Radio Theatre script at the Pasadena Playhouse. The presentation, which benefited the Elizabeth Glaser Pediatric AIDS Foundation, featured an all-star cast including Bill Pullman as George, Nathan Lane as Clarence, Martin Landau as Mr. Potter, Penelope Ann Miller as Mary, and Sally Field as Mother Bailey.[80]\n", "Philip Grecian's 2006 radio play based on the film It's a Wonderful Life is a faithful adaptation, now in its third incarnation, that has been performed numerous times by local theatres in Canada.[81]\n", "In a June 2011 interview, John McDaniel told Saint Louis Magazine, \"I'm in the throes of writing a musical version\u00a0... right now, working with Kathie Lee Gifford, who's doing the lyrics. I find we're mostly writing to character: Is it George, or the old guy who runs the bank? What do they want, what are they trying to do, what is the mood of that\u00a0\u2014 is it staccato, are they agitated, is it a ballad?\"[82]\n", "The Last Temptation of Clarence Odbody is a novel written by John Pierson. The novel imagines the future lives of various characters if George had not survived his jump into the river.[83]\n", "A sequel aimed for 2015 release is in development, to be called It's a Wonderful Life: The Rest of the Story. It will be written by Bob Farnsworth and Martha Bolton and follow the angel of George Bailey's daughter Zuzu (played once again by Karolyn Grimes), as she teaches Bailey's evil grandson how different the world would have been if he had never been born. Producers are looking for directors and hope to shoot the film with a $25\u2013$35 million budget in Louisiana early in 2014.[84]\n", "The film has been announced as being produced by Star Partners and Hummingbird Productions, neither of which are affiliated with Paramount, owners of the original film (Farnsworth claimed that It's a Wonderful Life was in the public domain). Days later, a Paramount spokesperson claimed that they were not granted permission to make the film, and it cannot be made without the necessary paperwork. \"To date, these individuals have not obtained any of the necessary rights, and we would take all appropriate steps to protect those rights,\" the spokesperson said.[85]\n", "It's a Wonderful Life has been popularized in modern cultural references in many of the mainstream media. Due to the proliferation of these references, a few examples will suffice to illustrate the film's impact.\n", "In a 1997 review, film historian James Berardinelli commented on the parallels between this film and the classic Charles Dickens tale A Christmas Carol. In both stories, a man revisits his life and potential death (or non-existence) with the help of supernatural agents, culminating in a joyous epiphany and a renewed view of his life.[91]\n", "The film was remade as the 1977 television movie It Happened One Christmas. Lionel Chetwynd based the screenplay on the original Van Doren Stern short story and the 1946 screenplay. This remake employed gender-reversal, with Marlo Thomas as the protagonist Mary Bailey, Wayne Rogers as George Hatch, and Cloris Leachman as the angel Clara Oddbody.[N 13] Leachman received her second Emmy nomination for this role. In a significant departure from his earlier roles, Orson Welles was cast as Mr. Potter.[N 14] Following initial positive reviews, the made-for-television film was rebroadcast twice in 1978 and 1979, but has not been shown since on national re-broadcasts, nor issued in home media.[N 15][92]\n", "In 1991, another made-for-television film called Clarence starred Robert Carradine in a new tale of the helpful angel.[93][94]\n", "Streaming audio\n", "http://en.wikipedia.org/wiki/Some_Like_It_Hot\n", "Some Like It Hot is a 1959 American comedy film directed by Billy Wilder and starring Marilyn Monroe, Tony Curtis and Jack Lemmon. The supporting cast includes George Raft, Pat O'Brien, Joe E. Brown, Joan Shawlee and Nehemiah Persoff." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "In 2000, the American Film Institute listed Some Like It Hot as the greatest American comedy film of all time.\n", "\n", "\n", "It is February 1929 in the city of Chicago. Joe is a jazz saxophone player, irresponsible gambler and ladies' man; his friend Jerry is a sensible jazz double-bass player. They accidentally witness the Saint Valentine's Day Massacre. When the gangsters, led by \"Spats\" Colombo, spot them, the two run for their lives.\n", "Penniless and in a mad rush to get out of town, the two musicians take a job with Sweet Sue and her Society Syncopators, an all-female band headed to Miami. Disguised as women and calling themselves Josephine and Daphne, they board a train with the band and their male manager, Bienstock. Before they board the train, Joe and Jerry notice Sugar Kane, the band's vocalist and ukulele player.\n", "Joe and Jerry become enamored of Sugar and compete for her affection while maintaining their disguises. Sugar confides that she has sworn off male saxophone players, who have stolen her heart in the past and left her with \"the fuzzy end of the lollipop\". She has set her sights on finding a sweet, bespectacled millionaire in Florida. During the forbidden drinking and partying on the train, Josephine and Daphne become intimate friends with Sugar, and have to struggle to remember that they are supposed to be girls and cannot make a pass at her.\n", "Once in Miami, Joe woos Sugar by assuming a second disguise as a millionaire named Junior, the heir to Shell Oil, while feigning disinterest in Sugar. An actual millionaire, an aging mama's boy, the much-married Osgood Fielding III, tries repeatedly to pick up Daphne, who rebuffs him. Osgood invites Daphne for a champagne supper on his yacht. Joe convinces Daphne to keep Osgood occupied onshore so that Junior can take Sugar to Osgood's yacht, passing it off as his. Once on the yacht, Junior explains to Sugar that, due to psychological trauma, he is impotent and frigid, but that he would marry anyone who could change that. Sugar tries to arouse some sexual response in Junior, and begins to succeed. Meanwhile, Daphne and Osgood dance the tango till dawn.\n", "When Joe and Jerry get back to the hotel, Jerry explains that Osgood has proposed marriage to Daphne and that he, as Daphne, has accepted, anticipating an instant divorce and huge cash settlement when his ruse is revealed. Joe convinces Jerry that he cannot actually marry Osgood.\n", "The hotel hosts a conference for \"Friends of Italian Opera\", who are actually mobsters. Spats and his gang from Chicago recognize Joe and Jerry as the witnesses to the Valentine's Day murders. Joe and Jerry, fearing for their lives, realize they must quit the band and leave the hotel. Joe breaks Sugar's heart by telling her that he, Junior, has to marry a woman of his father's choosing and move to Venezuela.\n", "After several chases, Joe and Jerry witness additional mob killings, this time of Spats and his crew. Joe, dressed as Josephine, sees Sugar onstage singing that she will never love again. He kisses her before he leaves, and Sugar realizes that Joe is both Josephine and Junior.\n", "Sugar runs from the stage at the end of her performance and is able to jump into the launch from Osgood's yacht just as it is leaving the dock with Joe, Jerry, and Osgood. Joe tells Sugar that he is not good enough for her, that she would be getting the \"fuzzy end of the lollipop\" yet again, but Sugar wants him anyway. Jerry, for his part, comes up with a list of reasons why he and Osgood cannot get married, ranging from a smoking habit to infertility. Osgood dismisses them all; he loves Daphne and is determined to go through with the marriage. Exasperated, Jerry removes his wig and shouts, \"I'm a man!\" Osgood simply responds, \"Well, nobody's perfect.\"\n", "The film is based on a screenplay by Robert Thoeren and Michael Logan for the French comedy Fanfare d\u2019Amour (1935). The original story was also the basis for the German comedy Fanfaren der Liebe (1951) by director Kurt Hoffmann. Neumann's version is rather a musical comedy without gangster in the script. Some Like It Hot is often seen as a remake of Fanfare d\u2019Amour und Fanfaren der Liebe[citation needed] Some Like It Hot was not the first time that Wilder worked with costume comedy: His first American movie was The Major and the Minor, where Ginger Rogers dressed as a 12-year-old to get a cheaper train ticket.[2]\n", "Marilyn Monroe worked for 10% of the gross in excess of $4 million, Tony Curtis for 5% of the gross over $2 million and Billy Wilder 17.5% of the first million after breakeven and 20% thereafter.[3]\n", "The Florida segment, at the fictitious \"Seminole Ritz\", was filmed at the Hotel Del Coronado in Coronado, California.[4]\n", "The studio hired famed aerialist and female impersonator Barbette to coach Lemmon and Curtis on gender illusion for the film.[5]\n", "Tony Curtis is frequently quoted as saying that kissing Marilyn Monroe was like \"kissing Hitler\". However, during a 2001 interview with Leonard Maltin, Curtis stated that he had never made this claim.[6] In his 2008 autobiography, Curtis notes that he did make the statement to the film crew, but it was meant in a joking manner.[7] During his appearance at the Jules Verne Festival in France in 2008, Curtis claimed on the set of Laurent Ruquier's TV show that he and Monroe were lovers in the late 1940s when they were first struggling for recognition in films.\n", "After working with Monroe on \"The Seven Year Itch,\" Wilder swore he would never work with her again, but he was delighted when he heard that she had read the script for Some Like It Hot and wanted to play the part of Sugar. \"It's wonderful that Monroe wanted that part,\" he said in an interview. \"We had a big, big bomb there in that cannon that we could shoot off. We would not have that sex thing.\"\n", "Joe E. Brown was not the original choice for the role of Osgood. It was not until Wilder and Diamond heard him at a Los Angeles Dodgers game that the idea entered their minds. As Wilder remembers, \"There was a loudspeaker on the field behind home plate, and people talking, and now comes the next speaker and it's Joe E. Brown. And I said, 'That's our guy, that's our guy!' Nobody ever thought of him.\"\n", "The famous final line of the film, \"Well, nobody's perfect,\" was suggested by Diamond, and was supposed to be a placeholder until Wilder and Diamond could come up with what they hoped would be a much better line. As revealed in \"Conversations with Billy Wilder\", a book of interviews between Billy Wilder and Cameron Crowe, Wilder said to Diamond, \"Look, let's go back to your line, 'Nobody's perfect.' Let's send it to the mimeograph department so that they have something, and then we're going to really sit down and make a real funny last line.\"\n", "Some Like it Hot received widespread critical acclaim. Rotten Tomatoes reports a score of 96%, with an average score of 8.9 out of 10. Roger Ebert says about the movie, \"Wilder's 1959 comedy is one of the enduring treasures of the movies, a film of inspiration and meticulous craft.\"\n", "The film earned an estimated $7.2 million in rentals in the US and Canada during its first year of release, making it one of the biggest hits of the year.[8] However because so much of the profits were given away to key participants, UA only made $500,000 during the first year (compared to Wilder who earned $1.2 million, Monroe $800,000 and Curtis $500,000).[3]\n", "Despite critical accolades, at the time of release it was one of the only American films to receive a \"C\" or Condemned rating by the Roman Catholic Church's Legion of Decency. [9]\n", "An unsold television pilot was filmed by Mirisch Productions in 1961 featuring Vic Damone and Tina Louise. As a favor to the production company, Jack Lemmon and Tony Curtis agreed to film cameo appearances, returning as their original characters, Daphne and Josephine, at the beginning of the pilot. Their appearance sees them in a hospital where Jerry (Lemmon) is being treated for his impacted back tooth and Joe (Curtis) is the same O blood type.[24]\n", "In 1972, a musical play based on the screenplay of the film, entitled Sugar, opened on Broadway, starring Elaine Joyce, Robert Morse, Tony Roberts and Cyril Ritchard, with book by Peter Stone, lyrics by Bob Merrill, and (all-new) music by Jule Styne. A 1991 production of this show in London featured Tommy Steele and retained the original title. In 2002, Tony Curtis performed in a stage production of the film. He portrayed the character originally played by Joe E. Brown.\n", "http://en.wikipedia.org/wiki/12_Angry_Men\n", "Twelve Angry Men is a drama written by Reginald Rose concerning the jury of a homicide trial. It was broadcast initially as a television play in 1954. The following year it was adapted for the stage, and in 1957 was made into a highly successful film. Since then it has been adapted, remade, and homaged numerous times." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "The play concerns the deliberations of the jury of a homicide trial. At the beginning, they have a nearly unanimous decision of guilty, with a single dissenter of not guilty, who throughout the play sows a seed of reasonable doubt. It was first made as a 1954 teleplay by Reginald Rose for the Studio One anthology television series, and was aired as a CBS live production on 20 September 1954. The drama was later rewritten for the stage in 1955 under the same title.\n", "Rose wrote several stage adaptations of the story. In 1964, Leo Genn appeared in the play on the London stage. In other theatrical adaptations in which female actors are cast, the play is retitled 12 Angry Jurors, 12 Angry Men and Women or 12 Angry Women.[1][2]\n", "In 2004, the Roundabout Theatre Company presented a Broadway production of the play, starring Boyd Gaines as a more combative Juror No. 8, with James Rebhorn (No. 4), Philip Bosco (No. 3), and Robert Prosky as the voice of the judge. In 2007, 12 Angry Men ran on a national theatre tour with Richard Thomas and George Wendt starring as Jurors No. 8 and No. 1, respectively. The 2008 tour does not include Wendt but features another television personality, Kevin Dobson of Kojak and Knots Landing, as Juror No. 10.[3]\n", "The London West End production of the play opened in November 2013, originally running until 1st March 2014, but recently extended until 14th June 2014, at the Garrick Theatre starring Tom Conti, Jeff Fahey, Nick Moran and Robert Vaughn.[4]\n", "It was rewritten again in 1957 as a feature film, 12 Angry Men which Sidney Lumet directed, and which starred Henry Fonda. It was nominated for Academy Awards in the categories of Best Director, Best Picture, and Best Writing of Adapted Screenplay.\n", "In 1963, the German Television Channel ZDF produced a film adaption under the title Die zw\u00f6lf Geschworenen.[5]\n", "Indian director Basu Chatterjee remade it as Ek Ruka Hua Faisla in 1986.\n", "In 2007, Russian film director Nikita Mikhalkov completed 12, his remake of the film. The jury of the 64th Venice Film Festival assigned its special prize to this remake \"to acknowledge the consistent brilliance of Nikita Mikhalkov's body of work.\"[6]\n", "12 Angry Men was remade for television in 1997. Directed by William Friedkin, the remake stars George C. Scott, James Gandolfini, Tony Danza, William Petersen, Ossie Davis, Hume Cronyn, Courtney B. Vance, Armin Mueller-Stahl, Mykelti Williamson, Edward James Olmos, Dorian Harewood, and Jack Lemmon. In this production, the judge is a woman and four of the jurors are black, but most of the action and dialogue of the film are identical to the original. Modernizations include a prohibition on smoking in the jury room, the changing of references to income and pop culture figures, more dialogue relating to race, and occasional profanity.\n", "In 2005, L.A. Theatre Works recorded an audio version of 12 Angry Men, directed by John de Lancie, with a cast including Dan Castellaneta, Jeffrey Donovan, Hector Elizondo, Robert Foxworth, Kevin Kilner, Richard Kind, Armin Shimerman, Joe Spano and Steve Vinovich.[7]\n", "Many television series have episodes based on the teleplay. These include Hancock's Half Hour,[8] Picket Fences, Perfect Strangers, Family Matters, The Dead Zone, Early Edition, The Odd Couple, King of the Hill, Matlock, 7th Heaven, Veronica Mars, Monk, Hey Arnold!, Peep Show (TV series), My Wife and Kids, Robot Chicken, Charmed, and The Simpsons.\n", "http://en.wikipedia.org/wiki/Dr._Strangelove_or:_How_I_Learned_to_Stop_Worrying_and_Love_the_Bomb\n", "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, more commonly known simply as Dr. Strangelove, is a 1964 satirical black comedy film that satirizes the nuclear scare. Under the American studio Columbia Pictures, the film was directed, produced, and co-written by Stanley Kubrick, stars Peter Sellers and George C. Scott, and features Sterling Hayden, Keenan Wynn, and Slim Pickens. Production took place in the United Kingdom. The film is loosely based on Peter George's Cold War thriller novel Red Alert (also known as Two Hours to Doom)." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The story concerns an unhinged United States Air Force general who orders a first strike nuclear attack on the Soviet Union. It follows the President of the United States, his advisers, the Joint Chiefs of Staff, and a Royal Air Force (RAF) officer as they try to recall the bombers to prevent a nuclear apocalypse. It separately follows the crew of one B-52 bomber as they try to deliver their payload.\n", "In 1989, the United States Library of Congress included it in the first group of films selected for preservation in the National Film Registry. It was listed as number three on AFI's 100 Years...100 Laughs list.\n", "\n", "\n", "United States Air Force Brigadier General Jack D. Ripper (Sterling Hayden) is commander of Burpelson Air Force Base, which houses the SAC 843rd Bomb Wing equipped with B-52 bombers. The 843rd is currently on airborne alert, in flight just hours from the Soviet border.\n", "General Ripper orders his executive officer, Group Captain Lionel Mandrake of the UK Royal Air Force, to put the base on alert. Ripper also issues 'Wing Attack Plan R' to the patrolling aircraft, one of which is commanded by Major T. J. \"King\" Kong (Slim Pickens). All of the aircraft commence an attack flight on Russia, and set their radios to allow communications only through the CRM 114 discriminator, which is programmed to transmit only communications preceded by a secret three-letter code known only to General Ripper.\n", "Mandrake discovers that no order for war has been issued by the Pentagon, and tries to stop Ripper, who locks them both in his office. Ripper tells Mandrake that he believes the Soviets have been using fluoridation of United States' water supplies to pollute the \"precious bodily fluids\" of Americans. Mandrake realizes that General Ripper is insane.\n", "At the Pentagon, General Buck Turgidson briefs President Merkin Muffley and other officers and aides about the attack in the \"War Room\". President Muffley is shocked to learn that such orders could be given without his authorization, but Turgidson reminds him that Plan R \u2013 enabling a senior officer to launch a strike against the Soviets if all superiors have been killed in a first strike on Washington D.C. \u2013 allows such an action. Turgidson reports that his men are trying every possible three-letter CRM code to issue the stand-down order; but that this could take over two days, and the planes are due to reach their targets in about an hour. Muffley orders the Army chief to storm the base and arrest General Ripper.\n", "Turgidson attempts to convince Muffley to let the attack continue, and to use the element of surprise to annihilate the Soviet military altogether before they can strike back; but Muffley refuses to be party to a nuclear first strike. Instead, he brings Soviet ambassador Alexei de Sadeski (Peter Bull) into the War Room, to telephone Soviet premier Dimitri Kissov on the \"Hot Line\". Muffley warns the Premier of the impending attack, and offers to reveal the planes' positions and targets so that the Russians can protect themselves.\n", "After a heated discussion in Russian with the Premier, the ambassador informs President Muffley that the Soviet Union has created a doomsday device, which consists of many buried bombs jacketed with \"Cobalt Thorium G\" connected to a computer network set to detonate them automatically, should any nuclear attack strike their country. Within two months after detonation, the Cobalt Thorium G would encircle the earth in a radioactive cloud, wiping out all human and animal life and rendering the surface of the earth uninhabitable for 93 years. When the President's wheelchair-bound scientific advisor, former Nazi Dr. Strangelove, points out that such a doomsday device would only be an effective deterrent if everyone knew about it, de Sadeski replies that the Russian Premier had planned to reveal its existence to the world the following week.\n", "Meanwhile, United States Army forces arrive at Burpelson, which is still sealed by General Ripper's order. A bloody battle ensues, and the Army forces eventually take over the base. Ripper kills himself, fearing he will be tortured into revealing the recall code. A US soldier named Colonel \"Bat\" Guano forces his way into Ripper's office, where Mandrake identifies Ripper's CRM code from his desk blotter (\"OPE,\" a variant of both \"Peace on Earth\" and \"Purity of Essence\"). Mandrake relays this code to the Pentagon with difficulty via payphone, the only working method of communication. Using the recall code, SAC successfully recalls most of the aircraft. However, President Muffley learns that a surface to air missile has ruptured the fuel tank of Major Kong's plane and destroyed its communications device, making it impossible to recall this particular plane, even with the correct recall code. President Muffley tells the Soviets the plane's target to help them find it; but he does not realize that because of the shortened range of the crippled aircraft, Major Kong has selected a closer target. When the plane approaches the new target, its damaged bomb doors fail to open at first. Major Kong adjusts the wiring, whereupon the doors open and the nuclear bomb falls, with Kong straddling it, and detonates, triggering the doomsday machine.\n", "Dr. Strangelove recommends that the President gather several hundred thousand people, with a high female-to-male ratio (10 to 1), to live in deep mineshafts where the radiation would not penetrate, and to then institute a breeding program to repopulate the Earth when the radiation has subsided. Turgidson warns that the Soviets will likely do the same, and worries about a \"mineshaft gap\". In the middle of this discussion, Dr. Strangelove miraculously rises from his wheelchair, takes a few small steps, and shouts, \"Mein F\u00fchrer! I can walk!\". The film then cuts to a montage of nuclear detonations, accompanied by Vera Lynn's recording of \"We'll Meet Again\".\n", "Columbia Pictures agreed to finance the film on condition that Peter Sellers play at least four major roles. This condition stemmed from the studio's opinion that much of the success of Kubrick's previous film Lolita (1962) was based on Sellers's performance, in which his single character assumes a number of identities. Sellers had also played three roles in The Mouse That Roared (1959). Kubrick accepted the demand, later explaining that \"such crass and grotesque stipulations are the sine qua non of the motion-picture business.\"[6][7]\n", "Sellers ended up playing three of the four roles written for him. He had been expected to play Air Force Major T. J. \"King\" Kong, the B-52 Stratofortress aircraft commander, but from the beginning Sellers was reluctant. He felt his workload was too heavy and he worried he would not properly portray the character's Texas accent. Kubrick pleaded with him and asked screenwriter Terry Southern (who had been raised in Texas) to record a tape with Kong's lines spoken in the correct accent. Using Southern's tape, Sellers managed to get the accent right, and started shooting the scenes in the airplane, but then Sellers sprained an ankle and could not work in the cramped cockpit set.[6][7][9]\n", "Sellers is said to have improvised much of his dialogue, with Kubrick incorporating the ad-libs into the written screenplay so that the improvised lines became part of the canonical screenplay, a practice known as retroscripting.[10]\n", "According to film critic Alexander Walker, the author of biographies of both Sellers and Kubrick, the role of Lionel Mandrake was the easiest of the three for Sellers to play, as he was aided by his experience of mimicking his superiors while serving in the RAF during World War II.[10] There is also a heavy resemblance to Sellers's friend and occasional co-star Terry-Thomas and prosthetic-limbed RAF ace Douglas Bader.\n", "For his performance as President Merkin Muffley, Sellers flattened his natural English accent to resemble an American Midwesterner. Sellers drew inspiration for the role from Adlai Stevenson,[10] a former Illinois governor who was the Democratic candidate for the 1952 and 1956 presidential elections and the U.N. ambassador during the Cuban Missile Crisis.\n", "In early takes, Sellers faked cold symptoms to emphasize the character's apparent weakness. This caused frequent laughter among the film crew, ruining several takes. Kubrick ultimately found this comic portrayal inappropriate, feeling that Muffley should be a serious character.[10] In later takes Sellers played the role straight, though the President's cold is still evident in several scenes.\n", "In keeping with Kubrick's satirical character names, a \"merkin\" is a pubic hair wig. The president is bald, and his last name is \"Muffley\"; both are additional homages to a merkin.\n", "Dr. Strangelove is an ex-Nazi scientist, suggesting Operation Paperclip, the US effort to recruit top German technical talent at the end of World War II.[11][12] He serves as President Muffley's scientific adviser in the War Room. When General Turgidson wonders aloud what kind of name \"Strangelove\" is, saying to Mr. Staines (Jack Creley) that it is not a \"Kraut name,\" Staines responds that Strangelove's original German surname was \"Merkw\u00fcrdigliebe,\" without mentioning that \"Merkw\u00fcrdigliebe\" translates to \"Strangelove\" in English. Twice in the film, Strangelove \"accidentally\" addresses the president as \"Mein F\u00fchrer\". Dr. Strangelove did not appear in the book Red Alert.[13]\n", "The character is an amalgamation of RAND Corporation strategist Herman Kahn, mathematician and Manhattan Project principal John von Neumann, rocket scientist Wernher von Braun (a central figure in Nazi Germany's rocket development program recruited to the US after the war), and Edward Teller, the \"father of the hydrogen bomb.\"[14] There is a common misconception that the character was based on Henry Kissinger, but Kubrick and Sellers denied this;[15] Sellers said, \"Strangelove was never modeled after Kissinger\u2014that's a popular misconception. It was always Wernher Von Braun.\"[16]\n", "The wheelchair-bound Strangelove furthers a Kubrick trope of the menacing, seated antagonist, first depicted in Lolita through the character \"Dr. Zaempf.\"[17] Strangelove's accent was influenced by that of Austrian-American photographer Weegee, who worked for Kubrick as a special photographic effects consultant.[10] Strangelove's appearance echoes the mad scientist archetype as seen in the character Rotwang in Fritz Lang's film Metropolis (1927). Sellers's Strangelove takes from Rotwang the single black gloved hand (which in Rotwang's case is mechanical because of a lab accident), the wild hair and, most importantly, his inability to be completely controlled by political power.[18] According to film critic Alexander Walker, Sellers improvised Dr. Strangelove's lapse into the Nazi salute, borrowing one of Kubrick's black leather gloves for the uncontrollable hand that makes the gesture. Dr. Strangelove apparently suffers from diagnostic apraxia (alien hand syndrome). Kubrick wore the gloves on the set to avoid being burned when handling hot lights, and Sellers, recognizing the potential connection to Lang's work, found them to be menacing.[10]\n", "Slim Pickens, an established character actor and veteran of many Western films, was eventually chosen to replace Sellers as Major Kong after Sellers's injury. Terry Southern's biographer, Lee Hill, said the part was originally written with John Wayne in mind, and that Wayne was offered the role after Sellers was injured but he immediately turned it down.[19] Dan Blocker of the Bonanza western television series was approached to play the part, but according to Southern, Blocker's agent rejected the script as being \"too pinko.\"[20] Kubrick then recruited Pickens, whom he knew from Pickens's work in Marlon Brando's One-Eyed Jacks.[19]\n", "Fellow actor James Earl Jones recalls, \"He was Major Kong on and off the set\u2014he didn't change a thing\u2014his temperament, his language, his behavior.\" Pickens was not told that the movie was a comedy and was only given the script for scenes he was in, to get him to play it \"straight.\"[21]\n", "Kubrick biographer John Baxter explains, in the documentary Inside the Making of Dr. Strangelove:\n", "As it turns out, Slim Pickens had never left the United States. He had to hurry and get his first passport. He arrived on the set, and somebody said, \"Gosh, he's arrived in costume!,\" not realizing that that's how he always dressed\u00a0... with the cowboy hat and the fringed jacket and the cowboy boots\u2014and that he wasn't putting on the character\u2014that's the way he talked.\n", "Pickens, who had previously played only minor supporting and character roles, said his appearance as Maj. Kong greatly improved his career. He later commented, \"After Dr. Strangelove the roles, the dressing rooms and the checks all started getting bigger.\"[22]\n", "Kubrick tricked Scott into playing the role of Gen. Turgidson far more ridiculously than Scott was comfortable doing. Kubrick talked Scott into doing over the top \"practice\" takes, which Kubrick told Scott would never be used, as a way to warm up for the \"real\" takes. Kubrick used these takes in the final film, causing Scott to swear never to work with Kubrick again.[23]\n", "During the filming, Kubrick and Scott had different opinions regarding certain scenes, but Kubrick got Scott to conform largely by repeatedly beating him at chess, which they played frequently on the set.[24] Scott, a skilled player himself, later said that while he and Kubrick may not have always seen eye to eye, he respected Kubrick immensely for his skill at chess.\n", "Stanley Kubrick started with nothing but a vague idea to make a thriller about a nuclear accident, building on the widespread Cold War fear for survival.[25] While doing research, Kubrick gradually became aware of the subtle and paradoxical \"balance of terror\" between nuclear powers. At Kubrick's request, Alastair Buchan (the head of the Institute for Strategic Studies), recommended the thriller novel Red Alert by Peter George.[26] Kubrick was impressed with the book, which had also been praised by game theorist and future Nobel Prize in Economics winner Thomas Schelling in an article written for the Bulletin of the Atomic Scientists and reprinted in The Observer,[27] and immediately bought the film rights.[28] In 2006, Schelling wrote that conversations between Kubrick, Schelling, and George in late 1960 about a treatment of Red Alert updated with intercontinental missiles eventually led to the making of the film.[29]\n", "In collaboration with George, Kubrick started writing a screenplay based on the book. While writing the screenplay, they benefited from some brief consultations with Schelling and, later, Herman Kahn.[30] In following the tone of the book, Kubrick originally intended to film the story as a serious drama. But, as he later explained during interviews, he began to see comedy inherent in the idea of mutual assured destruction as he wrote the first draft. Kubrick said:\n", "My idea of doing it as a nightmare comedy came in the early weeks of working on the screenplay. I found that in trying to put meat on the bones and to imagine the scenes fully, one had to keep leaving out of it things which were either absurd or paradoxical, in order to keep it from being funny; and these things seemed to be close to the heart of the scenes in question.[31]\n", "Among the titles Kubrick considered for the film were Dr. Doomsday or: How to Start World War III Without Even Trying, Dr. Strangelove's Secret Uses of Uranus, and Wonderful Bomb.[32] After deciding to make the film a black comedy, Kubrick brought in Terry Southern as a co-writer. The choice was influenced by reading Southern's comic novel The Magic Christian, which Kubrick had received as a gift from Peter Sellers,[6] and which itself became a Sellers film in 1969.\n", "Dr. Strangelove was filmed at Shepperton Studios, near London, as Sellers was in the middle of a divorce at the time and unable to leave England.[33] The sets occupied three main sound stages: the Pentagon War Room, the B-52 Stratofortress bomber and the last one containing both the motel room and General Ripper's office and outside corridor.[6] The studio's buildings were also used as the Air Force base exterior. The film's set design was done by Ken Adam, the production designer of several James Bond films (at the time he had already worked on Dr. No). The black and white cinematography was by Gilbert Taylor, and the film was edited by Anthony Harvey and Stanley Kubrick (uncredited). The original musical score for the film was composed by Laurie Johnson and the special effects were by Wally Veevers. The theme of the chorus from the bomb run scene is a modification of When Johnny Comes Marching Home. Sellers and Kubrick got on famously during the film's production and shared a love of photography.[34]\n", "For the War Room, Ken Adam first designed a two-level set which Kubrick initially liked, only to decide later that it was not what he wanted. Adam next began work on the design that was used in the film, an expressionist set that was compared with The Cabinet of Dr. Caligari and Fritz Lang's Metropolis. It was an enormous concrete room (130 feet (40\u00a0m) long and 100 feet (30\u00a0m) wide, with a 35-foot (11\u00a0m)-high ceiling[28]) suggesting a bomb shelter, with a triangular shape (based on Kubrick's idea that this particular shape would prove the most resistant against an explosion). One side of the room was covered with gigantic strategic maps reflecting in a shiny black floor inspired by the dance scenes in old Fred Astaire films. In the middle of the room there was a large circular table lit from above by a circle of lamps, suggesting a poker table. Kubrick insisted that the table be covered with green baize (although this could not be seen in the black and white film) to reinforce the actors' impression that they are playing 'a game of poker for the fate of the world.'[35] Kubrick asked Adam to build the set ceiling in concrete to force the director of photography to use only the on-set lights from the circle of lamps. Moreover, each lamp in the circle of lights was carefully placed and tested until Kubrick was happy with the result.[36]\n", "Lacking cooperation from the Pentagon in the making of the film, the set designers reconstructed the aircraft cockpit to the best of their ability by comparing the cockpit of a B-29 Superfortress and a single photograph of the cockpit of a B-52, and relating this to the geometry of the B-52's fuselage. The B-52 was state-of-the-art in the 1960s, and its cockpit was off-limits to the film crew. When some United States Air Force personnel were invited to view the reconstructed B-52 cockpit, they said that \"it was absolutely correct, even to the little black box which was the CRM.\"[10] It was so accurate that Kubrick was concerned whether Ken Adam's production design team had done all of their research legally, fearing a possible investigation by the FBI.[10]\n", "In several shots of the B-52 flying over the polar ice en route to Russia, the shadow of the actual camera plane, a Boeing B-17 Flying Fortress, is visible on the snow below. The B-52 was a scale model composited into the Arctic footage which was sped up to create a sense of jet speed.[37] Home movie footage included in Inside the Making of Dr. Strangelove on the 2001 Special Edition DVD release of the film shows clips of the B-17 with a cursive \"Dr. Strangelove\" painted over the rear entry hatch on the right side of the fuselage.\n", "Red Alert author Peter George collaborated on the screenplay with Kubrick and satirist Terry Southern. Red Alert was more solemn than its film version and it did not include the character Dr. Strangelove, though the main plot and technical elements were quite similar. A novelization of the actual film, rather than a re-print of the original novel, was published by George, based on an early draft in which the narrative is bookended by the account of aliens who, having arrived at a desolated Earth, try to piece together what has happened. This novelisation is to be reissued in December 2014 by Candy Jar Books, featuring never-before-published material on Strangelove's early career.[38]\n", "During the filming of Dr. Strangelove, Stanley Kubrick learned that Fail-Safe, a film with a similar theme, was being produced. Although Fail-Safe was to be an ultra-realistic thriller, Kubrick feared that its plot resemblance would damage his film's box office potential, especially if it were released first. Indeed, the novel Fail-Safe (on which the film of the same name is based) is so similar to Red Alert that Peter George sued on charges of plagiarism and settled out of court.[39] What worried Kubrick most was that Fail-Safe boasted acclaimed director Sidney Lumet and first-rate dramatic actors Henry Fonda as the American President and Walter Matthau as the advisor to the Pentagon, Professor Groeteschele. Kubrick decided to throw a legal wrench into Fail-Safe's production gears. Lumet recalled in the documentary, Inside the Making of Dr. Strangelove: \"We started casting. Fonda was already set\u00a0... which of course meant a big commitment in terms of money. I was set, Walter [Bernstein, the screenwriter] was set\u00a0... And suddenly, this lawsuit arrived, filed by Stanley Kubrick and Columbia Pictures.\"\n", "Kubrick argued that Fail-Safe's own 1960 source novel Fail-Safe had been plagiarized from Peter George's Red Alert, to which Kubrick owned creative rights, and pointed out unmistakable similarities in intentions between the characters Groeteschele and Strangelove. The plan worked, and Fail-Safe opened eight months behind Dr. Strangelove, to critical acclaim but mediocre ticket sales.\n", "The end of the film shows Dr. Strangelove exclaiming \"Mein F\u00fchrer, I can walk!\" before cutting to footage of nuclear explosions, with Vera Lynn singing \"We'll Meet Again.\" This footage comes from nuclear tests such as shot BAKER of Operation Crossroads at Bikini Atoll, the Trinity test, the bombing of Nagasaki, a test from Operation Sandstone and the hydrogen bomb tests from Operation Redwing and Operation Ivy. In some shots, old warships (such as the German heavy cruiser Prinz Eugen), which were used as targets, are plainly visible. In others the smoke trails of rockets used to create a calibration backdrop can be seen.\n", "Former Goon Show writer, and friend of Sellers, Spike Milligan, was credited with suggesting the Vera Lynn music for the ending.\n", "It was originally planned for the film to end with a scene that was filmed, with everyone in the war room involved in a pie fight.\n", "Accounts vary as to why the pie fight was cut. In a 1969 interview, Kubrick said: \"I decided it was farce and not consistent with the satiric tone of the rest of the film.\"[33] Critic Alexander Walker observed that \"the cream pies were flying around so thickly that people lost definition, and you couldn't really say whom you were looking at.\"[10] Nile Southern, son of screenwriter Terry Southern, suggested the fight was intended to be less jovial. \"Since they were laughing, it was unusable, because instead of having that totally black, which would have been amazing, like, this blizzard, which in a sense is metaphorical for all of the missiles that are coming, as well, you just have these guys having a good old time. So, as Kubrick later said, 'it was a disaster of Homeric proportions.'\"[10]\n", "A first test screening of the film was scheduled for November 22, 1963, the day of the John F. Kennedy assassination. The film was just weeks from its scheduled premiere, but because of the assassination the release was delayed until late January 1964, as it was felt that the public was in no mood for such a film any sooner.\n", "One line by Slim Pickens\u2014\"a fella could have a pretty good weekend in Dallas with all that stuff\"\u2014was dubbed to change \"Dallas\" to \"Vegas\", since Dallas was the city where Kennedy was killed.[40] The original reference to Dallas survives in the French-subtitled version of the film.\n", "The assassination also serves as another possible reason why the pie-fight scene was cut. In the scene, after Muffley takes a pie in the face, General Turgidson exclaims: \"Gentlemen! Our gallant young president has been struck down in his prime!\" Editor Anthony Harvey stated that \"[the scene] would have stayed, except that Columbia Pictures were horrified, and thought it would offend the president's family.\"[41] Kubrick and others have said that the scene had been cut earlier because it was not consistent with the rest of the film.[40]\n", "In 1994 the film was re-released. While the 1964 release used the 1.85:1 aspect ratio, the new print was in the slightly squarer 1.66:1 (5:3) ratio that Kubrick had originally intended.[42]\n", "Dr. Strangelove takes passing shots at numerous Cold War attitudes, such as the \"missile gap\", but it primarily focuses its satire on the theory of mutual assured destruction (MAD),[43] in which each side is supposed to be deterred from a nuclear war by the prospect of a universal cataclysmic disaster regardless of who \"won\". Military strategist and former physicist Herman Kahn, in his 1960 On Thermonuclear War, used the theoretical example of a doomsday machine to illustrate the concept of MAD;[44] in effect, Kahn argued, both sides already had a sort of doomsday machine, since their nuclear arsenals were large enough to destroy most life on Earth. Kahn, a leading 1950s critic of American strategy, urged America to plan for a limited nuclear war, and later in the 1960s became one of the architects of the MAD doctrine. Kahn held that a nuclear war was inherently suicidal (because it is unwinnable)[citation needed] thus neither side would be willing to engage in all-out nuclear war. Kahn came over as cold and calculating, for example in his willingness to estimate how many human lives the United States could lose and still rebuild economically.[45] This attitude is reflected in Turgidson's remark to the president about the outcome of a preemptive nuclear war: \"Mr. President, I'm not saying we wouldn't get our hair mussed. But I do say no more than ten to twenty million killed, tops, uh, depending on the breaks.\" Turgidson has a binder that is labelled \"World Targets in Megadeaths\", a term coined in 1953 by Kahn and popularized in his 1960 book On Thermonuclear War.\n", "The plan to regenerate the human race from the people sheltered in mineshafts is a parody of Nelson Rockefeller's, Edward Teller's, Herman Kahn's, and Chet Holifield's 1961 plan to spend billions of dollars on a nationwide network of concrete-lined underground fallout shelters capable of holding millions of people.[46] This proposed fallout shelter network has similarities and contrasts to that of the very real and robust Swiss civil defense network. Switzerland has an overcapacity of nuclear fallout shelters for the country's population size, and by law, new homes must still be built with a fallout shelter.[47][48]\n", "To refute early 1960s novels and Hollywood films like Fail-Safe and Dr. Strangelove which raised questions about U.S. control over nuclear weapons, the Air Force produced a documentary film\u2014SAC Command Post\u2014to demonstrate its responsiveness to presidential command and its tight control over nuclear weapons.[49]\n", "In the months following the film's release director Stanley Kubrick received a fan letter from Legrace G. Benson of the Dept. of History of Art at Cornell University describing his interpretation of the film as being sexually-layered. The director wrote back to Benson and confirmed his interpretation, \"Seriously, you are the first one who seems to have noticed the sexual framework from intromission (the planes going in) to the last spasm (Kong's ride down and detonation at target).\"[50]\n", "The film was a popular success, earning US$4,420,000 in rentals in North America during its initial theatrical release.[51]\n", "It was selected for preservation in the United States National Film Registry. In 2000 readers of Total Film magazine voted it the 24th greatest comedic film of all time. It holds a 100% rating on Rotten Tomatoes based on 61 reviews.[52] It is ranked number 21 in the All-Time High Scores chart of Metacritic's Video/DVD section with an average score of 96.[53] It is also listed as number 26 on Empire's 500 Greatest Movies of All Time.\n", "Dr. Strangelove is on Roger Ebert's list of Great Movies,[54] described as \"arguably the best political satire of the century.\" It was also rated as the fifth greatest film in the 2002 Sight & Sound's directors' poll\u2014the only comedy in the top ten.[55]\n", "The film was nominated for four Academy Awards and also seven BAFTA Awards, of which it won four.\n", "In addition, the film won the best written American comedy award from the Writers Guild of America and a Hugo Award for Best Dramatic Presentation and the Grand Prix of the Belgian Film Critics Association.\n", "Kubrick won two awards for best director, from the New York Film Critics Circle and the Italian National Syndicate of Film Journalists, and was nominated for one by the Directors Guild of America.\n", "The film ranked #32 on TV Guide's list of the 50 Greatest Movies on TV (and Video).[57]\n", "In 1995 Kubrick enlisted Terry Southern to script a sequel titled Son of Strangelove. Kubrick had Terry Gilliam in mind to direct. The script was never completed, but index cards laying out the story's basic structure were found among Southern's papers after his October 1995 death; it was set largely in underground bunkers, where Dr. Strangelove had taken refuge with a group of women. In 2013 Gilliam commented: \"I was told after Kubrick died\u2014by someone who had been dealing with him\u2014that he had been interested in trying to do another Strangelove with me directing. I never knew about that until after he died but I would have loved to.\"[64]\n", "http://en.wikipedia.org/wiki/Amadeus\n", "Amadeus is a play by Peter Shaffer, which gives a highly fictionalized account of the lives of the composers Wolfgang Amadeus Mozart and Antonio Salieri. First performed in 1979, Amadeus was inspired by a short 1830 play by Alexander Pushkin called Mozart and Salieri (which was also used as the libretto for an opera of the same name by Nikolai Rimsky-Korsakov in 1897)." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "In the play, significant use is made of the music of Mozart, Salieri and other composers of the period. The premieres of Mozart's operas The Abduction from the Seraglio, The Marriage of Figaro, Don Giovanni, and The Magic Flute are each the setting for key scenes of the play.\n", "Amadeus won the 1981 Tony Award for Best Play. It was adapted by Shaffer for the 1984 Academy Award winning film of the same name.\n", "\n", "\n", "Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.\n", "At the opening of the tale, Salieri is an old man, having long outlived his fame. Speaking directly to the audience, he claims to have used poison to assassinate Mozart, and promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart himself lacks the grace and charm of his compositions: When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber.\n", "Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.\n", "Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic \"public\" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.\n", "The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a confession of having murdered Mozart with arsenic. He survives, however, and his confession is met with disbelief, leaving him to wallow once again in mediocrity.\n", "Shaffer used artistic license in his portrayals of both Mozart and Salieri. Documentary evidence suggests that there was some antipathy between the two men, but the idea that Salieri was the instigator of Mozart's demise is not taken seriously by scholars of the men's lives and careers. While historically there may have been actual rivalry and tension between Mozart and Salieri, there is also evidence that they enjoyed a relationship marked by mutual respect.[1] As an example, Salieri later tutored Mozart's son Franz in music. He also conducted some of Mozart's works, both in Mozart's lifetime and afterwards.[2]\n", "Writer David Cairns called Amadeus \"myth-mongering\" and argued against Shaffer's alleged portrait of Mozart as \"two contradictory beings, sublime artist and fool\", positing instead that Mozart was \"fundamentally well-integrated\". Cairns also rejects the \"romantic legend\" that Mozart always wrote out perfect manuscripts of works already completely composed in his head, citing major and prolonged revisions to several manuscripts (see: Mozart's compositional method).[citation needed]\n", "Amadeus was first presented at the Royal National Theatre, London in 1979, directed by Sir Peter Hall and starring Paul Scofield as Salieri, Simon Callow as Mozart, and Felicity Kendal as Constanze. (Callow later appeared in the film version in a different role.) It was later transferred in modified form to the West End, starring Frank Finlay as Salieri.[3] The cast also included Andrew Cruickshank (Rosenberg), Basil Henson (von Strack), Philip Locke (Greybig), John Normington (Joseph II) and Nicholas Selby (van Swieten).[4]\n", "The play premiered on Broadway in 1980 with Ian McKellen as Salieri, Tim Curry as Mozart, and Jane Seymour as Constanze. It ran for 1,181 performances and was nominated for seven Tony Awards (best actor for both McKellen and Curry, best director for Peter Hall, best play, best costume design, lighting, and set design for John Bury), of which it won five (including a best actor Tony for McKellen).[5] During the run of the play McKellen was replaced by John Wood, Frank Langella, David Dukes, David Birney, John Horton, and Daniel Davis. Curry was replaced by Peter Firth, Peter Crook, Dennis Boutsikaris, John Pankow, Mark Hamill,[6] and John Thomas Waite. Also playing Constanze were Amy Irving, Suzanne Lederer, Michele Farr, Caris Corfman and Maureen Moore.\n", "Adam Redfield and Terry Finn appeared as Mozart and Constanze, respectively, in the 1984 Virginia Stage Company production. Performed at the Wells Theatre in Norfolk, the drama was directed by Charles Towers.[citation needed]\n", "The play was revived in 1999 at the Music Box Theatre, New York City, directed again by Peter Hall and ran for 173 performances (December 15, 1999 - May 14, 2000), receiving Tony Award nominations for Best Revival and Best Actor in a Play (David Suchet, who played Salieri).[citation needed] Also in the cast were Michael Sheen as Mozart, Cindy Katz as Constanze and David McCallum as Joseph II.\n", "In July 2006, the Los Angeles Philharmonic presented a production of portions from the latest revision of the play at the Hollywood Bowl. Neil Patrick Harris starred as Mozart, Kimberly Williams-Paisley as Constanze Mozart, and Michael York as Salieri. Leonard Slatkin conducted the Philharmonic Orchestra.[7]\n", "Rupert Everett played Salieri in a production at the newly refurbished Chichester Festival Theatre from July 12, 2014 - August 2, 2014. The cast also featured Joshua McGuire as Mozart, Jessie Buckley as Constanze and John Standing as Count Orsini-Rosenberg. Simon Jones played Joseph II. Peter Shaffer attended the play himself at the closing performance.\n", "The 1984 film adaptation won an Academy Award for Best Picture. In total, the film won eight Academy Awards. It starred F. Murray Abraham as Salieri (winning the Oscar for Best Actor for this role), Tom Hulce as Mozart, and Elizabeth Berridge as Constanze. The play was thoroughly reworked by Shaffer and the film's director, Milo\u0161 Forman with scenes and characters not found in the play.[8] While the focus of the play is primarily on Salieri, the film goes further into developing the characters of both composers.\n", "In 1983, BBC Radio 3 broadcast the play directed by Sir Peter Hall and starring the original cast of his National Theatre production. The cast included:\n", "This radio production was re-broadcast on 2 January 2011 as part of Radio 3's Genius of Mozart season.[9]\n", "To celebrate Mozart's 250th birthday in 2006, BBC Radio 2 broadcast an adaptation by Neville Teller of Shaffer's play in eight fifteen-minute episodes directed by Peter Leslie Wilde and narrated by F. Murray Abraham as Salieri[10] (re-broadcast 24 May \u2013 2 June 2010 on BBC Radio 7).\n", "http://en.wikipedia.org/wiki/Apocalypse_Now\n", "153 minutes (Theatrical)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Apocalypse Now is a 1979 American epic war film set during the Vietnam War, directed and produced by Francis Ford Coppola and starring Marlon Brando, Martin Sheen, and Robert Duvall. The film follows the central character, U.S. Army special operations officer Captain Benjamin L. Willard (Sheen), of MACV-SOG, on a mission to kill the renegade and presumed insane U.S. Army Special Forces Colonel Walter E. Kurtz (Brando).\n", "The screenplay by John Milius and Coppola came from Milius's idea of changing Joseph Conrad's novella Heart of Darkness into the Vietnam War era. It also draws from Michael Herr's Dispatches,[2] the film version of Conrad's Lord Jim[citation needed] which shares the same character of Marlow with Heart of Darkness, and Werner Herzog's Aguirre, the Wrath of God (1972).[3]\n", "The film has been noted for the problems encountered while making it. These problems were chronicled in the documentary Hearts of Darkness: A Filmmaker's Apocalypse, which recounted the stories of Brando arriving on the set overweight and completely unprepared; costly sets being destroyed by severe weather; and its lead actor (Sheen) suffering a heart attack while on location. Problems continued after production as the release was postponed several times while Coppola edited millions of feet of footage.\n", "Upon release, Apocalypse Now earned widespread critical acclaim and its cultural effect and philosophical themes have been extensively discussed since. It is now widely regarded as one of the greatest films ever.[4][5][6] Honored with the Palme d'Or at Cannes, and nominated for the Academy Award for Best Picture and the Golden Globe Award for Best Motion Picture \u2013 Drama, the film was also deemed \"culturally, historically or aesthetically significant\" and was selected for preservation by the National Film Registry in 2000. In the Sight and Sound Greatest Films poll, the film was ranked #14.\n", "\n", "\n", "In 1969, U.S. Army Captain and special operations veteran Benjamin L. Willard (Martin Sheen), returns to Saigon since his involvement in the Vietnam War, drinks heavily and hallucinates alone in his room. One day military intelligence officers Lt. General Corman (G. D. Spradlin) and Colonel Lucas (Harrison Ford) approach him with a top-secret assignment to follow the Nung River into the remote jungle, find rogue Special Forces Colonel Walter E. Kurtz and kill him. Kurtz apparently went insane and now commands his own Montagnard troops inside neutral Cambodia.\n", "Willard joins a Navy PBR commanded by \"Chief\" (Albert Hall) and crewmen Lance (Sam Bottoms), \"Chef\" (Frederic Forrest) and \"Mr. Clean\" (Larry Fishburne). They rendezvous with reckless Lieutenant Colonel Bill Kilgore (Robert Duvall), a commander of an attack helicopter squadron, who initially scoffs at them. Kilgore befriends Lance, both being keen surfers, and agrees to escort them through the Viet Cong-filled coastal mouth of the Nung River due to the surfing conditions there. Amid napalm air strikes on the locals and Ride of the Valkyries playing over the helicopter loudspeakers, the beach is taken and Kilgore orders others to surf it amid enemy fire. While Kilgore nostalgically regales about a previous strike, Willard gathers his men to the PBR, transported via helicopter, and begins the journey upriver.\n", "Willard sifts through files on Kurtz, learning that he was a model officer and possible future General. The crew later encounters a tiger and visit a supply depot USO show featuring Playboy Playmates which goes awry. Afterwards, the crew inspect a civilian sampan for weapons but Mr. Clean panics and machine-guns everyone on board. Willard coldly shoots dead the only severely wounded survivor to prevent any further delay of his mission. Tension arises between Chief and Willard as Willard believes himself to be in command of the PBR, while Chief prioritizes other objectives over Willard's secret mission. Reaching the chaos of a US outpost at a bridge under attack, Willard learns that the missing commanding officer, Captain Colby (Scott Glenn), was sent on an earlier mission to kill Kurtz.\n", "Meanwhile, Lance and Chef are continually under the influence of drugs. Lance in particular smears his face with camouflage paint and becomes withdrawn. The next day, while reading mail that was delivered to the PBR earlier, Lance pops open a purple smoke grenade for fun, but catches the attention of an unseen enemy in the trees and as a direct result, the boat is fired upon, killing Mr. Clean and making Chief even more hostile toward Willard. Ambushed again, by Montagnard warriors, they return fire despite Willard's objections. Eventually, the crew cease fire immediately when Chief is impaled with a spear and tries to pull Willard onto the spearhead before dying. Afterwards, Willard confides in the two surviving crew members about the mission, which initially infuriates Chef and a short-lived tirade ensues, but they reluctantly agree to continue upriver, where they find the banks littered with mutilated bodies. Arriving at Kurtz's outpost at last, Willard takes Lance with him to the village, leaving Chef behind with orders to call an airstrike on the village if they do not return.\n", "In the camp, the two soldiers are met by an American freelance photographer (Dennis Hopper), who manically praises Kurtz's genius. As they proceed, Willard and Lance see corpses and severed heads scattered about the temple that serves as Kurtz's living quarters and encounter Colby, who is nearly catatonic. Willard is bound and brought before Kurtz (Marlon Brando) in the darkened temple, where Kurtz derides him as an errand boy. Meanwhile, Chef prepares to call in the airstrike but is kidnapped. Later imprisoned, Willard screams helplessly as Kurtz drops Chef's severed head into his lap. After some time, Willard is released and given the freedom of the compound. Kurtz lectures him on his theories of war, humanity and civilization while praising the ruthlessness and dedication of the Viet Cong. Kurtz discusses his son and asks that Willard tell his son everything about him in the event of his death.\n", "That night, as the villagers ceremonially slaughter a water buffalo, Willard enters Kurtz's chamber as Kurtz is making a tape recording, and attacks him with a machete. Lying mortally wounded on the ground, Kurtz whispers his final words \"The horror ... the horror ...\" before dying. Willard discovers substantial typed work of Kurtz's writings and takes it with him before exiting. Willard descends the stairs from Kurtz's chamber and drops his weapon. The villagers do likewise and allow Willard to take Lance by the hand and lead him to the boat. The two of them ride away as Kurtz's final words echo eerily.\n", "Several actors who were, or later became, prominent stars have minor roles in the movie including Harrison Ford, G. D. Spradlin, Scott Glenn, R. Lee Ermey and Laurence Fishburne. Fishburne was only fourteen years old when shooting began in March 1976, and he lied about his age in order to get cast in his role.[8] Apocalypse Now took so long to finish that Fishburne was seventeen (the same age as his character) by the time of its release.\n", "Although inspired by Joseph Conrad's Heart of Darkness, the film deviates extensively from its source material. The novella, based on Conrad's experience as a steamboat captain in Africa, is set in the Congo Free State during the 19th century.[9] Kurtz and Marlow (who is named Willard in the movie) work for a Belgian trading company that brutally exploits its native African workers.\n", "When Marlow arrives at Kurtz's outpost, he discovers that Kurtz has gone insane and is lording over a small tribe as a god. The novella ends with Kurtz dying on the trip back and the narrator musing about the darkness of the human psyche: \"the heart of an immense darkness\".\n", "In the novella, Marlow is the pilot of a river boat sent to collect ivory from Kurtz's outpost, only gradually becoming infatuated with Kurtz. In fact, when he discovers Kurtz in terrible health, Marlow makes an effort to bring him home safely. In the movie, Willard is an assassin dispatched to kill Kurtz. Nevertheless, the depiction of Kurtz as a god-like leader of a tribe of natives and his malarial fever, Kurtz's written exclamation \"Exterminate the brutes!\" (which appears in the film as \"Drop the bomb. Exterminate them All!\") and his last words \"The horror! The horror!\" are taken from Conrad's novella.\n", "Coppola argues that many episodes in the film\u2014the spear and arrow attack on the boat, for example\u2014respect the spirit of the novella and in particular its critique of the concepts of civilization and progress. Other episodes adapted by Coppola, the Playboy Playmates' (Sirens) exit, the lost souls, \"taking me home\" attempting to reach the boat and Kurtz's tribe of (white-faced) natives parting the canoes (gates of Hell) for Willard, (with Chef and Lance) to enter the camp are likened to Virgil and \"The Inferno\" (Divine Comedy) by Dante. While Coppola replaced European colonialism with American interventionism, the message of Conrad's book is still clear.[10]\n", "Coppola's interpretation of the Kurtz character is often speculated to have been modeled after Tony Poe, a highly decorated Vietnam-era paramilitary officer from the CIA's Special Activities Division.[11] Poe's actions in Vietnam and in the 'Secret War' in neighbouring Laos, in particular his highly unorthodox and often savage methods of waging war, show many similarities to those of the fictional Kurtz; for example, Poe was known to drop severed heads into enemy-controlled villages as a form of psychological warfare and use human ears to record the number of enemies his indigenous troops had killed. He would send these ears back to his superiors as proof of the efficacy of his operations deep inside Laos.[12][13] Coppola denies that Poe was a primary influence and says the character was loosely based on Special Forces Colonel Robert B. Rheault, whose 1969 arrest over the murder of suspected double agent Thai Khac Chuyen in Nha Trang generated substantial contemporary news coverage.[14]\n", "In the film, shortly before Colonel Kurtz dies, he recites part of T. S. Eliot's poem \"The Hollow Men\". Not only is Kurtz in the novel characterized as \"hollow at the core\", the poem is preceded in printed editions by the epigraph \"Mistah Kurtz\u00a0\u2013 he dead\", a quotation from Conrad's Heart of Darkness.\n", "Two books seen opened on Kurtz's desk in the film are From Ritual to Romance by Jessie Weston and The Golden Bough by Sir James Frazer, the two books that Eliot cited as the chief sources and inspiration for his poem \"The Waste Land\". Eliot's original epigraph for \"The Waste Land\" was this passage from Heart of Darkness, which ends with Kurtz's final words:[15]\n", "Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision,\u00a0\u2013 he cried out twice, a cry that was no more than a breath\u00a0\u2013\n", "When Willard is first introduced to Dennis Hopper's character, the photojournalist describes his own worth in relation to that of Kurtz with: \"I should have been a pair of ragged claws/Scuttling across the floors of silent seas\", from \"The Love Song of J. Alfred Prufrock\".\n", "While working as an assistant for Francis Ford Coppola on The Rain People, George Lucas and Steven Spielberg encouraged their friend and filmmaker John Milius to write a Vietnam War film.[16] Milius came up with the idea for adapting the plot of Joseph Conrad's Heart of Darkness to the Vietnam War setting. He had read the novel when he was a teenager and was reminded about it by one of his college lecturers who had mentioned the several unsuccessful attempts to adapt it into a movie.[17][note 1]\n", "Coppola gave Milius $15,000 to write the screenplay with the promise of an additional $10,000 if it were green-lit.[18][19] Milius claims that he wrote the screenplay in 1969[17] and originally called it The Psychedelic Soldier.[20] He wanted to use Conrad's novel as \"a sort of allegory. It would have been too simple to have followed the book completely\".[18]\n", "Milius based the character of Willard and some of Kurtz's on a friend of his, Fred Rexer, who had experienced, first-hand, the scene related by Marlon Brando's character wherein the arms of villagers are hacked off by the Viet Cong. Kurtz was based on Robert B. Rheault, head of special forces in Vietnam.[21]\n", "At one point, Coppola told Milius, \"Write every scene you ever wanted to go into that movie\",[17] and he wrote ten drafts, amounting to over a thousand pages.[22] Milius changed the film's title to Apocalypse Now after being inspired by a button badge popular with hippies during the 1960s that said \"Nirvana Now\". He was also influenced by an article written by Michael Herr titled, \"The Battle for Khe Sanh\", which referred to drugs, rock 'n' roll, and people calling airstrikes down on themselves.[17] He was also inspired by such films as Dr Strangelove.\n", "Milius says the classic line \"Charlie don't surf\" was inspired by a comment Ariel Sharon made during the Six Day War, when he went skin diving after capturing enemy territory and announced \"We're eating their fish\". He says the line \"I love the smell of Napalm in the morning\" just came to him.[23]\n", "Milius had no desire to direct the film himself and felt that Lucas was the right person for the job.[17] Lucas worked with Milius for four years developing the film, alongside his work on other films, including his script for Star Wars.[24] He approached Apocalypse Now as a black comedy,[25] and intended to shoot the film after making THX 1138, with principal photography to start in 1971.[18] Lucas' friend and producer Gary Kurtz traveled to the Philippines, scouting suitable locations. They intended to shoot the film in both the rice fields between Stockton and Sacramento, California and on-location in Vietnam, on a $2 million budget, cin\u00e9ma v\u00e9rit\u00e9 style, using 16 mm cameras, and real soldiers, while the war was still going on.[17][24][26] However, due to the studios' safety concerns and Lucas' involvement with American Graffiti and Star Wars, Lucas decided to shelve the project for the time being.[18][24]\n", "Coppola was drawn to Milius' script, which he described as \"a comedy and a terrifying psychological horror story\".[27] In the spring of 1974, Coppola discussed with friends and co-producers Fred Roos and Gray Frederickson the idea of producing the film.[28] He asked Lucas and then Milius to direct Apocalypse Now, but both men were involved with other projects;[28] in Lucas' case, he got the go-ahead to make Star Wars, and declined the offer to direct Apocalypse Now.[17] Coppola was determined to make the film and pressed ahead himself. He envisioned the film as a definitive statement on the nature of modern war, the difference between good and evil, and the impact of American society on the rest of the world. The director said that he wanted to take the audience \"through an unprecedented experience of war and have them react as much as those who had gone through the war\".[27]\n", "In 1975, while promoting The Godfather Part II in Australia, Coppola and his producers scouted possible locations for Apocalypse Now in Cairns in northern Queensland, that had jungle resembling Vietnam.[29] He decided to make his film in the Philippines for its access to American equipment and cheap labor. Production coordinator Fred Roos had already made two low-budget films there for Monte Hellman, and had friends and contacts in the country.[27] Coppola spent the last few months of 1975 revising Milius' script and negotiating with United Artists to secure financing for the production. According to Frederickson, the budget was estimated between $12\u201314 million.[30] Coppola's American Zoetrope assembled $8 million from distributors outside the United States and $7.5 million from United Artists who assumed that the film would star Marlon Brando, Steve McQueen, and Gene Hackman.[27] Frederickson went to the Philippines and had dinner with President Ferdinand Marcos to formalize support for the production and to allow them to use some of the country's military equipment.[31]\n", "Steve McQueen was Coppola's first choice to play Willard, but the actor did not accept because he did not want to leave America for 17 weeks.[27] Al Pacino was also offered the role but he too did not want to be away for that long a period of time and was afraid of falling ill in the jungle as he had done in the Dominican Republic during the shooting of The Godfather Part II.[27] Jack Nicholson, Robert Redford, and James Caan were approached to play either Kurtz or Willard.[26]\n", "Coppola and Roos had been impressed by Martin Sheen's screen test for Michael in The Godfather and he became their top choice to play Willard, but the actor had already accepted another project and Harvey Keitel was cast in the role based on his work in Martin Scorsese's Mean Streets.[32] Principal photography began three weeks later. Within a few days, Coppola was unhappy with Harvey Keitel's take on Willard, saying that the actor \"found it difficult to play him as a passive onlooker\".[26] After viewing early footage, the director took a plane back to Los Angeles and replaced Keitel with Martin Sheen. By early 1976, Coppola had persuaded Marlon Brando to play Kurtz for an enormous fee of $3.5 million for a month's work on location in September 1976. Dennis Hopper was cast as a kind of Green Beret sidekick for Kurtz and when Coppola heard him talking nonstop on location, he remembered putting \"the cameras and the Montagnard shirt on him, and we shot the scene where he greets them on the boat\".[26]\n", "On March 1, 1976, Coppola and his family flew to Manila and rented a large house there for the five-month shoot.[26] Sound and photographic equipment had been coming in from California since late 1975.\n", "Typhoon Olga wrecked the sets at Iba and on May 26, 1976, production was closed down.[33] Dean Tavoularis remembers that it \"started raining harder and harder until finally it was literally white outside, and all the trees were bent at forty-five degrees\".[33] One part of the crew was stranded in a hotel and the others were in small houses that were immobilized by the storm. The Playboy Playmate set had been destroyed, ruining a month's shooting that had been scheduled. Most of the cast and crew went back to the United States for six to eight weeks. Tavoularis and his team stayed on to scout new locations and rebuild the Playmate set in a different place. Also, the production had bodyguards watching constantly at night and one day the entire payroll was stolen. According to Coppola's wife, Eleanor, the film was six weeks behind schedule and $2 million over budget.[33]\n", "Coppola flew back to the U.S. in June 1976. He read a book about Genghis Khan to get a better handle on the character of Kurtz.[33] After filming commenced, Marlon Brando arrived in Manila very overweight and began working with Coppola to rewrite the ending.[34] The director downplayed Brando's weight by dressing him in black, photographing only his face, and having another, taller actor double for him in an attempt to portray Kurtz as an almost mythical character.[34]\n", "After Christmas 1976, Coppola viewed a rough assembly of the footage but still needed to improvise an ending. He returned to the Philippines in early 1977 and resumed filming.[34] On March 5, 1977, Sheen had a heart attack and struggled for a quarter of a mile to reach help.[35] He was back on the set on April 19. A major sequence in a French plantation cost hundreds of thousands of dollars but was cut from the final film. Rumors began to circulate that Apocalypse Now had several endings but Richard Beggs, who worked on the sound elements, said, \"There were never five endings, but just the one, even if there were differently edited versions\".[35] These rumors came from Coppola departing frequently from the original screenplay. Coppola admitted that he had no ending because Brando was too fat to play the scenes as written in the original script. With the help of Dennis Jakob, Coppola decided that the ending could be \"the classic myth of the murderer who gets up the river, kills the king, and then himself becomes the king\u00a0\u2014 it's the Fisher King, from The Golden Bough\".[35]\n", "A water buffalo was slaughtered with a machete for the climactic scene. The scene was inspired by a ritual performed by a local Ifugao tribe which Coppola had witnessed along with his wife (who filmed the ritual later shown in the documentary Hearts of Darkness) and film crew. Although this was an American production subject to American animal cruelty laws, scenes like this filmed in the Philippines were not policed or monitored and the American Humane Association gave the film an \"unacceptable\" rating.[36] Principal photography ended on May 21, 1977.[37]\n", "Japanese composer Isao Tomita was scheduled to provide an original score, with Coppola desiring the film's soundtrack to sound like Tomita's electronic adaptation of The Planets by Gustav Holst. Tomita went as far as to accompany the film crew in the Philippines, but label contracts ultimately prevented his involvement.[38] In the summer of 1977, Coppola told Walter Murch that he had four months to assemble the sound. Murch realized that the script had been narrated but Coppola abandoned the idea during filming.[37] Murch thought that there was a way to assemble the film without narration but it would take ten months and decided to give it another try.[39] He put it back in, recording it all himself. By September, Coppola told his wife that he felt \"there is only about a 20% chance [I] can pull the film off\".[40] He convinced United Artists executives to delay the premiere from May to October 1978. Author Michael Herr received a call from Zoetrope in January 1978 and was asked to work on the film's narration based on his well-received book about Vietnam, Dispatches.[40] Herr said that the narration already written was \"totally useless\" and spent a year writing various narrations with Coppola giving him very definite guidelines.[40]\n", "Murch had problems trying to make a stereo soundtrack for Apocalypse Now because sound libraries had no stereo recordings of weapons.[40] The sound material brought back from the Philippines was inadequate, because the small location crew lacked the time and resources to record jungle sounds and ambient noises. Murch and his crew fabricated the mood of the jungle on the soundtrack. Apocalypse Now had novel sound techniques for a movie, as Murch insisted on recording the most up-to-date gunfire and employed the Dolby Stereo 70 mm Six Track system for the 70mm release. This used two channels of sound from behind the audience as well as three channels of sound from behind the movie screen.[40] The 35mm release used the new Dolby Stereo optical stereo system, that has a single surround channel and three screen channels.\n", "In May 1978, Coppola postponed the opening until spring of 1979 and screened a \"work in progress\" for 900 people in April 1979 that was not well received.[41] That same year, he was invited to screen Apocalypse Now at the Cannes Film Festival.[42] United Artists were not keen on showing an unfinished version in front of so many members of the press but Coppola remembered that The Conversation won the Palme d'Or and agreed, less than a month prior to the start of the festival, to screen Apocalypse Now at Cannes. The week prior to Cannes, Coppola arranged three sneak previews of slightly different versions. He allowed critics to attend the screenings and believed that they would honor the embargo placed on reviews. On May 14, Rona Barrett reviewed the film on television and called it \"a disappointing failure\".[42] At Cannes, Zoetrope technicians worked during the night before the screening to install additional speakers on the theater walls, to achieve Murch's 5.1 soundtrack.[42] On August 15, 1979 Apocalypse Now was released in the U.S. in 15 theaters equipped to play the first Dolby Stereo 70mm film with stereo surround sound.\n", "At the time of its release, many rumors surrounded the ending of Apocalypse Now. Coppola stated an ending was written in haste in which Willard and Kurtz joined forces and repelled the air strike on the compound; however, Coppola never fully agreed with the two going out in apocalyptic intensity, preferring to end the film in a more encouraging manner.\n", "When Coppola originally organized the ending of the movie, he had two choices. One involved Willard leading Lance by the hand as everyone in Kurtz's base throws down their weapons, and ends with images of Willard's boat pulling away from Kurtz's compound superimposed over the face of a stone idol which then fades into black. Another option showed an air strike being called and the base being blown to bits in a spectacular display, consequently killing everyone left within it.\n", "The original 1979 70mm exclusive theatrical release ended with Willard's boat, the stone statue, then fade to black with no credits, save for '\"Copyright 1979 Omni Zoetrope\"' right after the film ends. This mirrors the lack of any opening titles and supposedly stems from Coppola's original intention to \"tour\" the film as one would a play: the credits would have appeared on printed programs provided before the screening began.[43]\n", "There have been, to date, many variations of the end credit sequence, beginning with the 35mm general release version, where Coppola elected to show the credits superimposed over shots of Kurtz's base exploding.[43] Rental prints circulated with this ending, and can be found in the hands of a few collectors. Some versions of this had the subtitle \"A United Artists release\", while others had \"An Omni Zoetrope release\". The network television version of the credits ended with \"...from MGM/UA Entertainment Company\" (the film made its network debut shortly after the merger of MGM and UA). One variation of the end credits can be seen on both YouTube and as a supplement on the current Lionsgate Blu-ray.\n", "In any case, when Coppola heard that audiences interpreted this as an air strike called by Willard, Coppola pulled the film from its 35 mm run, and put credits on a black screen. (However, prints with the \"air strike\" footage continued to circulate to \"repertory\" theatres well into the 1980s.) In the DVD commentary, Coppola explains that the images of explosions had not been intended to be part of the story; they were intended to be seen as completely separate from the film. He had added them to the credits because he had captured the footage during the demolition of the sets (required by the Philippine government), which was filmed with multiple cameras fitted with different film stocks and lenses to capture the explosions at different speeds.[44]\n", "A 289-minute workprint circulates as a video bootleg, containing extra material not included in either the original theatrical release or the \"redux\" version.[45]\n", "In 2001, Coppola released Apocalypse Now Redux in cinemas and subsequently on DVD. This is an extended version that restores 49 minutes of scenes cut from the original film. Coppola has continued to circulate the original version as well: the two versions are packaged together in the Complete Dossier DVD, released on August 15, 2006 and in the Blu-ray edition released on October 19, 2010.\n", "The longest section of added footage in the Redux version is a chapter involving the de Marais family's rubber plantation, a holdover from the colonization of French Indochina, featuring Coppola's two sons Gian-Carlo and Roman as children of the family. These scenes were removed from the 1979 cut, which premiered at Cannes. In behind-the-scenes footage in Hearts of Darkness, Coppola expresses his anger, on the set, at the technical aspects of the shot scenes, the result of tight allocation of resources. At the time of the Redux version, it was possible to digitally enhance the footage to accomplish Coppola's vision. In the scenes, the French family patriarchs argue about the positive side of colonialism in Indochina and denounce the betrayal of the military men in the First Indochina War. Hubert de Marais argues that French politicians sacrificed entire battalions at \u0110i\u1ec7n Bi\u00ean Ph\u1ee7, and tells Willard that the US created the Viet Cong (as the Viet Minh) to fend off Japanese invaders.\n", "Other added material includes extra combat footage before Willard meets Kilgore, a humorous scene in which Willard's team steals Kilgore's surfboard (which sheds some light on the hunt for the mangoes), a follow-up scene to the dance of the Playboy Playmates, in which Willard's team finds the Playmates awaiting evacuation after their helicopter has run out of fuel (trading two barrels of fuel for two hours with the Bunnies), and a scene of Kurtz reading from a Time magazine article about the war, surrounded by Cambodian children.\n", "A deleted scene titled \"Monkey Sampan\" shows Willard and the PBR crew suspiciously eyeing an approaching sampan juxtaposed to Montagnard villagers joyfully singing \"Light My Fire\" by The Doors. As the sampan gets closer, Willard realizes there are monkeys on it and no helmsman. Finally, just as the two boats pass, the wind turns the sail and exposes a naked dead civilian tied to the sail boom. His body is mutilated and looks as though the man had been whipped. The singing stops. It is assumed the man was tortured by the Viet Cong. As they pass on by, Chief notes out loud, \"That's comin' from where we're going, Captain.\" The boat then slowly passes the giant tail of a shot down B-52 bomber as the noise of engines way up in the sky is heard. Coppola said that he made up for cutting this scene by having the PBR pass under an airplane tail in the final cut.\n", "A three-hour version of Apocalypse Now was screened as a \"work in progress\" at the 1979 Cannes Film Festival and met with prolonged applause.[46] At the subsequent press conference, Coppola criticized the media for attacking him and the production during their problems filming in the Philippines and famously uttered, \"We had access to too much money, too much equipment, and little by little we went insane\", and \"My film is not about Vietnam, it is Vietnam\".[46] The filmmaker upset newspaper critic Rex Reed who reportedly stormed out of the conference. Apocalypse Now won the Palme d'Or for best film along with Volker Schl\u00f6ndorff's The Tin Drum - a decision that was reportedly greeted with \"some boos and jeers from the audience\".[47]\n", "Apocalypse Now performed well at the box office when it opened in August 1979.[46] The film initially opened in one theater in New York City, Toronto, and Hollywood, grossing USD $322,489 in the first five days. It ran exclusively in these three locations for four weeks before opening in an additional 12 theaters on October 3, 1979 and then several hundred the following week.[48] The film grossed over $78 million domestically with a worldwide total of approximately $150 million.[43]\n", "The film was re-released on August 28, 1987 in six cities to capitalize on the success of Platoon, Full Metal Jacket, and other Vietnam War movies.[49] New 70mm prints were shown in Los Angeles, San Francisco, San Jose, Seattle, St. Louis, and Cincinnati\u00a0\u2014 cities where the film did financially well in 1979. The film was given the same kind of release as the exclusive engagement in 1979 with no logo or credits and audiences were given a printed program.[49]\n", "Upon its release, Apocalypse Now received near-universal critical acclaim. In his original review, Roger Ebert wrote, \"Apocalypse Now achieves greatness not by analyzing our 'experience in Vietnam', but by re-creating, in characters and images, something of that experience\".[50] In his review for the Los Angeles Times, Charles Champlin wrote, \"as a noble use of the medium and as a tireless expression of national anguish, it towers over everything that has been attempted by an American filmmaker in a very long time\".[48]\n", "Ebert added Coppola's film to his list of Great Movies, stating: \"Apocalypse Now is the best Vietnam film, one of the greatest of all films, because it pushes beyond the others, into the dark places of the soul. It is not about war so much as about how war reveals truths we would be happy never to discover\".[51]\n", "Other reviews were less positive; Frank Rich in Time said: \"While much of the footage is breathtaking, Apocalypse Now is emotionally obtuse and intellectually empty\".[52]\n", "Various commentators have debated whether Apocalypse Now is an anti-war or pro-war film. Some commentators' evidence of the film's anti-war message include the purposeless brutality of the war, the absence of military leadership, and the imagery of machinery destroying nature.[53] Advocates of the film's pro-war stance, however, view these same elements as a glorification of war and the assertion of American supremacy. According to Frank Tomasulo, \u201cthe U.S. foisting its culture on Vietnam,\u201d including the destruction of a village so that soldiers could surf, affirms the film's pro-war message.[53] Additionally, a Marine named Anthony Swofford recounted how his platoon watched Apocalypse Now before being sent to Iraq in 1990 in order to get excited for war.[54] According to Coppola, the film may be considered anti-war, but is even more anti-lie: \u201c...the fact that a culture can lie about what's really going on in warfare, that people are being brutalized, tortured, maimed, and killed, and somehow present this as moral is what horrifies me, and perpetuates the possibility of war\u201d.[55]\n", "In May 2011, a newly restored digital print of Apocalypse Now was released in UK cinemas, distributed by Optimum Releasing. Total Film magazine gave the film a five-star review, stating: \"This is the original cut rather than the 2001 \u2018Redux\u2019 (be gone, jarring French plantation interlude!), digitally restored to such heights you can, indeed, get a nose full of the napalm.\"[56]\n", "Rotten Tomatoes ranked the film 99% \"Certified Fresh\" with an average rating of 8.9/10, and the stated consensus that \"Francis Ford Coppola's haunting, hallucinatory Vietnam war epic is cinema at its most audacious and visionary\".[57]\n", "Today, the movie is widely regarded by many as a masterpiece of the New Hollywood era, and is frequently cited as one of the greatest films of all time.[5][6][58] Roger Ebert considered it to be the finest film on the Vietnam war and included it on his list for the 2002 Sight and Sound poll for the greatest movie of all time.[59][60] It is on the American Film Institute's 100 Years...100 Movies list at number 28, but it dropped two spots to number 30 on their 10th anniversary list. Kilgore's quote, \"I love the smell of napalm in the morning,\" written by Milius, was number 12 on the AFI's 100 Years...100 Movie Quotes list and was also voted the fourth greatest movie speech of all time in a 2004 poll.[61] It is listed at number 7 on Empire\u200a'\u200bs 2008 list of the 500 greatest movies of all time. Entertainment Weekly ranked Apocalypse Now as having one of the \"10 Best Surfing Scenes\" in cinema.[62]\n", "In 1981, shortly after introduction of martial law in Poland, a British-Polish photographer Chris Niedenthal took an iconic photo presenting a SKOT APC in front of Moscow Cinema (Kino Moskwa) with the film's poster behind it.[63]\n", "In 2002, Sight and Sound magazine polled several critics to name the best film of the last 25 years and Apocalypse Now was named number one. It was also listed as the second best war film by viewers on Channel 4's 100 Greatest War Films and was the second rated war movie of all time based on the Movifone list (after Schindler's List) and the IMDb War movie list (after The Longest Day). It is ranked number 1 on Channel 4's 50 Films to See Before You Die. In a 2004 poll of UK film fans, Blockbuster listed Kilgore's eulogy to napalm as the best movie speech.[64] The helicopter attack scene with the Ride of the Valkyries soundtrack was chosen as the most memorable film scene ever by Empire magazine (although the same track was used earlier in 1915 to similar effect in the score written to accompany the silent film The Birth of a Nation). This scene is recalled in one of the last acts of the 2012 video game Far Cry 3 as the song is played while the character shoots from a helicopter.[65]\n", "In 2009, the London Film Critics' Circle voted Apocalypse Now the best movie of the last 30 years.[66]\n", "In 2011, actor Charlie Sheen, son of Martin Sheen, started playing clips from the film on his live tour and played the film in its entirety during post-show parties. One of Charlie Sheen's films, the 1993 comedy Hot Shots! Part Deux, includes a brief scene in which Charlie is riding a boat up a river in Iraq while on a rescue mission and passes Martin, as Captain Willard, going the other way. As they pass, each man shouts to the other \"I loved you in Wall Street!\", referring to the 1987 film that had featured both of them. Additionally, the promotional material for Hot Shots! Part Deux included a mockumentary that aired on HBO titled Hearts of Hot Shots! Part Deux\u2014A Filmmaker's Apology, in parody of the 1991 documentary Hearts of Darkness: A Filmmaker's Apocalypse, about the making of Apocalypse Now.[67]\n", "Other\n", "The film was also ranked #7 on Empire's 500 Greatest Movies of all time.\n", "The first home video releases of Apocalypse Now were pan-and-scan versions of the original 35 mm Technovision anamorphic 2.35:1 print, and the closing credits, white on black background, were presented in compressed 1.33:1 full-frame format to allow all credit information to be seen on standard televisions. The first letterboxed appearance, on Laserdisc on December 29, 1991, cropped the film to a 2:1 aspect ratio (conforming to the Univisium spec created by cinematographer Vittorio Storaro), and included a small degree of pan-and-scan processing at the insistence of Coppola and Storaro. The end credits, from a videotape source rather than a film print, were still crushed for 1.33:1 and zoomed to fit the anamorphic video frame. All DVD releases have maintained this aspect ratio in anamorphic widescreen, but present the film without the end credits, which were treated as a separate feature. The Blu-ray releases of Apocalypse Now restore the film to a 2.35:1 aspect ratio, making it the first home video release to effectively display the film in its true aspect ratio; the theatrical release had an aspect ratio of 2.39:1.\n", "As a DVD extra, the footage of the explosion of the Kurtz compound was featured without text credits but included commentary by Coppola, explaining the various endings based on how the film was screened.\n", "On the cover of the Redux DVD, Willard is erroneously listed as \"Lieutenant Willard\".\n", "Hearts of Darkness: A Filmmaker's Apocalypse (American Zoetrope/Cineplex Odeon Films) (1991) Directed by Eleanor Coppola, George Hickenlooper and Fax Bahr\n", "Apocalypse Now \u2013 The Complete Dossier DVD (Paramount Home Entertainment) (2006) Disc 2 extras include:\n", "The Post Production of Apocalypse Now: Documentary (four featurettes covering the editing, music and sound of the film through Coppola and his team)\n", "http://en.wikipedia.org/wiki/Gandhi\n", "Mohandas Karamchand Gandhi (pronounced\u00a0[\u02c8mo\u02d0\u0266\u0259nd\u032aa\u02d0s \u02c8k\u0259r\u0259mt\u0283\u0259nd\u032a \u02c8\u0261a\u02d0nd\u032a\u02b1i]\u00a0( listen); 2 October 1869\u00a0\u2013 30 January 1948) was the preeminent leader of Indian independence movement in British-ruled India. Employing nonviolent civil disobedience, Gandhi led India to independence and inspired movements for civil rights and freedom across the world. The honorific Mahatma (Sanskrit: \"high-souled\", \"venerable\"[2])\u2014applied to him first in 1914 in South Africa,[3]\u2014is now used worldwide. He is also called Bapu (Gujarati: endearment for \"father\",[4] \"papa\"[4][5]) in India." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Born and raised in a Hindu merchant caste family in coastal Gujarat, western India, and trained in law at the Inner Temple, London, Gandhi first employed nonviolent civil disobedience as an expatriate lawyer in South Africa, in the resident Indian community's struggle for civil rights. After his return to India in 1915, he set about organising peasants, farmers, and urban labourers to protest against excessive land-tax and discrimination. Assuming leadership of the Indian National Congress in 1921, Gandhi led nationwide campaigns for easing poverty, expanding women's rights, building religious and ethnic amity, ending untouchability, but above all for achieving Swaraj or self-rule.\n", "Gandhi famously led Indians in challenging the British-imposed salt tax with the 400\u00a0km (250\u00a0mi) Dandi Salt March in 1930, and later in calling for the British to Quit India in 1942. He was imprisoned for many years, upon many occasions, in both South Africa and India. Gandhi attempted to practise nonviolence and truth in all situations, and advocated that others do the same. He lived modestly in a self-sufficient residential community and wore the traditional Indian dhoti and shawl, woven with yarn hand spun on a charkha. He ate simple vegetarian food, and also undertook long fasts as the means to both self-purification and social protest.\n", "Gandhi's vision of a free India based on religious pluralism, however, was challenged in the early 1940s by a new Muslim nationalism which was demanding a separate Muslim homeland carved out of India.[6] Eventually, in August 1947, Britain granted independence, but the British Indian Empire[6] was partitioned into two dominions, a Hindu-majority India and Muslim Pakistan.[7] As many displaced Hindus, Muslims, and Sikhs made their way to their new lands, religious violence broke out, especially in the Punjab and Bengal. Eschewing the official celebration of independence in Delhi, Gandhi visited the affected areas, attempting to provide solace. In the months following, he undertook several fasts unto death to promote religious harmony. The last of these, undertaken on 12 January 1948 at age 78,[8] also had the indirect goal of pressuring India to pay out some cash assets owed to Pakistan.[8] Some Indians thought Gandhi was too accommodating.[8][9] Nathuram Godse, a Hindu nationalist, assassinated Gandhi on 30 January 1948 by firing three bullets into his chest at point-blank range.[9]\n", "Indians widely describe Gandhi as the father of the nation.[10][11] His birthday, 2 October, is commemorated as Gandhi Jayanti, a national holiday, and world-wide as the International Day of Nonviolence. He was the mentor of Indira Gandhi.\n", "\n", "\n", "Mohandas Karamchand Gandhi[12] was born on 2 October 1869[1] in Porbandar (also known as Sudamapuri), a coastal town on the Kathiawar Peninsula and then part of the small princely state of Porbandar in the Kathiawar Agency of the British Indian Empire. His father, Karamchand Gandhi (1822\u20131885), served as the diwan (chief minister) of Porbander state. His mother, Putlibai, who was from a Pranami Vaishnava family,[13][14] was Karamchand's fourth wife, the first three wives having apparently died in childbirth.[15][16] M. K. Gandhi had two brothers and one sister. Mohandas was the youngest of them.\n", "The Indian classics, especially the stories of Shravana and king Harishchandra, had a great impact on Gandhi in his childhood. In his autobiography, he admits that they left an indelible impression on his mind. He writes: \"It haunted me and I must have acted Harishchandra to myself times without number.\" Gandhi's early self-identification with truth and love as supreme values is traceable to these epic characters.[17][18]\n", "In May 1883, the 13-year-old Mohandas was married to 14-year-old Kasturbai Makhanji (her first name was usually shortened to \"Kasturba\", and affectionately to \"Ba\") in an arranged child marriage, according to the custom of the region.[19] In the process, he lost a year at school.[20] Recalling the day of their marriage, he once said, \"As we didn't know much about marriage, for us it meant only wearing new clothes, eating sweets and playing with relatives.\" However, as was prevailing tradition, the adolescent bride was to spend much time at her parents' house, and away from her husband.[21] In 1885, when Gandhi was 15, the couple's first child was born, but survived only a few days. Gandhi's father, Karamchand Gandhi, had also died earlier that year.[22] The religious background was eclectic. Gandhi's father was Hindu[23] Modh Baniya[24] and his mother was from Pranami Vaishnava family. Religious figures were frequent visitors to the home.[25]\n", "Mohandas and Kasturba had four more children, all sons: Harilal, born in 1888; Manilal, born in 1892; Ramdas, born in 1897; and Devdas, born in 1900.[19] At his middle school in Porbandar and high school in Rajkot, Gandhi remained a mediocre student. He shone neither in the classroom nor on the playing field. One of the terminal reports rated him as \"good at English, fair in Arithmetic and weak in Geography; conduct very good, bad handwriting.\" He passed the matriculation exam at Samaldas College in Bhavnagar, Gujarat, with some difficulty. Gandhi's family wanted him to be a barrister, as it would increase the prospects of succeeding to his father's post.[26]\n", "In 1888, Gandhi travelled to London, England, where he studied law and jurisprudence and enrolled at the Inner Temple with the intention of becoming a barrister. His time in London was influenced by a vow he had made to his mother upon leaving India, in the presence of a Jain monk, to observe the precepts of sexual abstinence as well as abstinence from meat and alcohol.[27] Gandhi tried to adopt \"English\" customs, including taking dancing lessons. However, he could not appreciate the bland vegetarian food offered by his landlady and was frequently hungry until he found one of London's few vegetarian restaurants. Influenced by Henry Salt's writing, he joined the Vegetarian Society, was elected to its executive committee,[28] and started a local Bayswater chapter.[15] Some of the vegetarians he met were members of the Theosophical Society, which had been founded in 1875 to further universal brotherhood, and which was devoted to the study of Buddhist and Hindu literature. They encouraged Gandhi to join them in reading the Bhagavad Gita both in translation as well as in the original.[28] Not having shown interest in religion before, he became interested in religious thought.\n", "Gandhi was called to the bar in June 1891 and then left London for India, where he learned that his mother had died while he was in London and that his family had kept the news from him.[28] His attempts at establishing a law practice in Bombay failed because he was psychologically unable to cross-question witnesses. He returned to Rajkot to make a modest living drafting petitions for litigants, but he was forced to stop when he ran foul of a British officer.[15][28] In 1893, he accepted a year-long contract from Dada Abdulla & Co., an Indian firm, to a post in the Colony of Natal, South Africa, a part of the British Empire.[15]\n", "Gandhi was 24 when he arrived in South Africa[29] to work as a legal representative for the Muslim Indian Traders based in the city of Pretoria.[30] He spent 21 years in South Africa, where he developed his political views, ethics and political leadership skills.[citation needed]\n", "Indians in South Africa were led by wealthy Muslims, who employed Gandhi as a lawyer, and by impoverished Hindu indentured labourers with very limited rights. Gandhi considered them all to be Indians, taking a lifetime view that \"Indianness\" transcended religion and caste. He believed he could bridge historic differences, especially regarding religion, and he took that belief back to India where he tried to implement it. The South African experience exposed handicaps to Gandhi that he had not known about. He realised he was out of contact with the enormous complexities of religious and cultural life in India, and believed he understood India by getting to know and leading Indians in South Africa.[31]\n", "In South Africa, Gandhi faced the discrimination directed at all coloured people. He was thrown off a train at Pietermaritzburg after refusing to move from the first-class. He protested and was allowed on first class the next day.[32] Travelling farther on by stagecoach, he was beaten by a driver for refusing to move to make room for a European passenger.[33] He suffered other hardships on the journey as well, including being barred from several hotels. In another incident, the magistrate of a Durban court ordered Gandhi to remove his turban, which he refused to do.[34]\n", "These events were a turning point in Gandhi's life and shaped his social activism and awakened him to social injustice. After witnessing racism, prejudice and injustice against Indians in South Africa, Gandhi began to question his place in society and his people's standing in the British Empire.[35]\n", "Gandhi extended his original period of stay in South Africa to assist Indians in opposing a bill to deny them the right to vote. He asked Joseph Chamberlain, the British Colonial Secretary, to reconsider his position on this bill.[30] Though unable to halt the bill's passage, his campaign was successful in drawing attention to the grievances of Indians in South Africa. He helped found the Natal Indian Congress in 1894,[15][32] and through this organisation, he moulded the Indian community of South Africa into a unified political force. In January 1897, when Gandhi landed in Durban, a mob of white settlers attacked him[36] and he escaped only through the efforts of the wife of the police superintendent. However, he refused to press charges against any member of the mob, stating it was one of his principles not to seek redress for a personal wrong in a court of law.[15]\n", "In 1906, the Transvaal government promulgated a new Act compelling registration of the colony's Indian population. At a mass protest meeting held in Johannesburg on 11 September that year, Gandhi adopted his still evolving methodology of Satyagraha (devotion to the truth), or nonviolent protest, for the first time.[37] He urged Indians to defy the new law and to suffer the punishments for doing so. The community adopted this plan, and during the ensuing seven-year struggle, thousands of Indians were jailed, flogged, or shot for striking, refusing to register, for burning their registration cards or engaging in other forms of nonviolent resistance. The government successfully repressed the Indian protesters, but the public outcry over the harsh treatment of peaceful Indian protesters by the South African government forced South African leader Jan Christiaan Smuts, himself a philosopher, to negotiate a compromise with Gandhi. Gandhi's ideas took shape, and the concept of Satyagraha matured during this struggle.\n", "Gandhi focused his attention on Indians while in South Africa and opposed the idea that Indians should be treated at the same level as native Africans while in South Africa.[38][39][40] He also stated that he believed \"that the white race of South Africa should be the predominating race.\"[41] After several treatments he received from Whites in South Africa, Gandhi began to change his thinking and apparently increased his interest in politics.[42] White rule enforced strict segregation among all races and generated conflict between these communities. Bhana and Vahed argue that Gandhi, at first, shared racial notions prevalent of the times and that his experiences in jail sensitized him to the plight of South Africa's indigenous peoples.[43]\n", "During the Boer war Gandhi volunteered in 1900 to form a group of ambulance drivers. He wanted to disprove the British idea that Hindus were not fit for \"manly\" activities involving danger and exertion. Gandhi raised eleven hundred Indian volunteers. They were trained and medically certified to serve on the front lines. At Spion Kop Gandhi and his bearers had to carry wounded soldiers for miles to a field hospital because the terrain was too rough for the ambulances. Gandhi was pleased when someone said that European ambulance corpsmen could not make the trip under the heat without food or water. General Redvers Buller mentioned the courage of the Indians in his dispatch. Gandhi and thirty-seven other Indians received the War Medal.[44]\n", "In 1906, when the British declared war against the Zulu Kingdom in Natal, Gandhi encouraged the British to recruit Indians.[45] He argued that Indians should support the war efforts to legitimise their claims to full citizenship.[45] The British accepted Gandhi's offer to let a detachment of 20 Indians volunteer as a stretcher-bearer corps to treat wounded British soldiers. This corps was commanded by Gandhi and operated for less than two months.[46] The experience taught him it was hopeless to directly challenge the overwhelming military power of the British army\u2014he decided it could only be resisted in nonviolent fashion by the pure of heart.[47]\n", "In 1910, Gandhi established an idealistic community called 'Tolstoy Farm' near Johannesburg, where he nurtured his policy of peaceful resistance.[48]\n", "After blacks gained the right to vote in South Africa, Gandhi was proclaimed a national hero with numerous monuments.[49]\n", "In 1915, Gandhi returned to India permanently. He brought an international reputation as a leading Indian nationalist, theorist and organiser. He joined the Indian National Congress and was introduced to Indian issues, politics and the Indian people primarily by Gopal Krishna Gokhale. Gokhale was a key leader of the Congress Party best known for his restraint and moderation, and his insistence on working inside the system. Gandhi took Gokhale's liberal approach based on British Whiggish traditions and transformed it to make it look wholly Indian.[50]\n", "Gandhi took leadership of Congress in 1920 and began a steady escalation of demands (with intermittent compromises or pauses) until on 26 January 1930 the Indian National Congress declared the independence of India. The British did not recognise the declaration, and more negotiations ensued, with Congress taking a role in provincial government in the late 1930s. Gandhi and Congress withdrew their support of the Raj when the Viceroy declared war on Germany in September 1939 without consulting anyone. Tensions escalated until Gandhi demanded immediate independence in 1942 and the British responded by imprisoning him and tens of thousands of Congress leaders for the duration. Meanwhile the Muslim League did cooperate with Britain and moved, against Gandhi's strong opposition, to demands for a totally separate Muslim state of Pakistan. In August 1947 the British partitioned the land, with India and Pakistan each achieving independence on terms that Gandhi disapproved.[51]\n", "In April 1918, during the latter part of World War I, the Viceroy invited Gandhi to a War Conference in Delhi.[52] Perhaps to show his support for the Empire and help his case for India's independence,[53] Gandhi agreed to actively recruit Indians for the war effort.[54] In contrast to the Zulu War of 1906 and the outbreak of World War I in 1914, when he recruited volunteers for the Ambulance Corps, this time Gandhi attempted to recruit combatants. In a June 1918 leaflet entitled \"Appeal for Enlistment\", Gandhi wrote \"To bring about such a state of things we should have the ability to defend ourselves, that is, the ability to bear arms and to use them...If we want to learn the use of arms with the greatest possible despatch, it is our duty to enlist ourselves in the army.\"[55] He did, however, stipulate in a letter to the Viceroy's private secretary that he \"personally will not kill or injure anybody, friend or foe.\"[56]\n", "Gandhi's war recruitment campaign brought into question his consistency on nonviolence. Gandhi's private secretary noted that \"The question of the consistency between his creed of 'Ahimsa' (nonviolence) and his recruiting campaign was raised not only then but has been discussed ever since.\"[54]\n", "Gandhi's first major achievements came in 1918 with the Champaran and Kheda agitations of Bihar and Gujarat. The Champaran agitation pitted the local peasantry against their largely British landlords who were backed by the local administration. The peasantry was forced to grow Indigo, a cash crop whose demand had been declining over two decades, and were forced to sell their crops to the planters at a fixed price. Unhappy with this, the peasantry appealed to Gandhi at his ashram in Ahmedabad. Pursuing a strategy of nonviolent protest, Gandhi took the administration by surprise and won concessions from the authorities.[57]\n", "In 1918, Kheda was hit by floods and famine and the peasantry was demanding relief from taxes. Gandhi moved his headquarters to Nadiad,[58] organising scores of supporters and fresh volunteers from the region, the most notable being Vallabhbhai Patel.[59] Using noncooperation as a technique, Gandhi initiated a signature campaign where peasants pledged non-payment of revenue even under the threat of confiscation of land. A social boycott of mamlatdars and talatdars (revenue officials within the district) accompanied the agitation. Gandhi worked hard to win public support for the agitation across the country. For five months, the administration refused but finally in end-May 1918, the Government gave way on important provisions and relaxed the conditions of payment of revenue tax until the famine ended. In Kheda, Vallabhbhai Patel represented the farmers in negotiations with the British, who suspended revenue collection and released all the prisoners.[60]\n", "In 1919 Gandhi, with his weak position in Congress, decided to broaden his political base by increasing his appeal to Muslims. The opportunity came in the form of the Khilafat movement, a worldwide protest by Muslims against the collapsing status of the Caliph, the leader of their religion. The Ottoman Empire had lost the World War and was dismembered, as Muslims feared for the safety of the holy places and the prestige of their religion.[61] Although Gandhi did not originate the All-India Muslim Conference,[62] which directed the movement in India, he soon became its most prominent spokesman and attracted a strong base of Muslim support with local chapters in all Muslim centres in India.[63] As a mark of solidarity with Indian Muslims he returned the medals that had been bestowed on him by the British government for his work in the Boer and Zulu Wars. He believed that the British government was not being honest in its dealings with Muslims on the Khilafat issue. His success made him India's first national leader with a multicultural base and facilitated his rise to power within Congress, which had previously been unable to influence many Indian Muslims. In 1920 Gandhi became a major leader in Congress.[64][65] By the end of 1922 the Khilafat movement had collapsed.[66]\n", "Gandhi always fought against \"communalism\", which pitted Muslims against Hindus in Indian politics, but he could not reverse the rapid growth of communalism after 1922. Deadly religious riots broke out in numerous cities, including 91 in Uttar Pradesh alone.[67][68] At the leadership level, the proportion of Muslims among delegates to Congress fell sharply, from 11% in 1921 to under 4% in 1923.[69]\n", "With Congress now behind him in 1920, Gandhi had the base to employ noncooperation, nonviolence and peaceful resistance as his \"weapons\" in the struggle against the British Raj. His wide popularity among both Hindus and Muslims made his leadership possible; he even convinced the extreme faction of Muslims to support peaceful noncooperation.[63] The spark that ignited a national protest was overwhelming anger at the Jallianwala Bagh massacre (or Amritsar massacre) of hundreds of peaceful civilians by British troops in Punjab. Many Britons celebrated the action as needed to prevent another violent uprising similar to the Rebellion of 1857, an attitude that caused many Indian leaders to decide the Raj was controlled by their enemies. Gandhi criticised both the actions of the British Raj and the retaliatory violence of Indians. He authored the resolution offering condolences to British civilian victims and condemning the riots which, after initial opposition in the party, was accepted following Gandhi's emotional speech advocating his principle that all violence was evil and could not be justified.[70]\n", "After the massacre and subsequent violence, Gandhi began to focus on winning complete self-government and control of all Indian government institutions, maturing soon into Swaraj or complete individual, spiritual, political independence.[71] During this period, Gandhi claimed to be a \"highly orthodox Hindu\" and in January 1921 during a speech at a temple in Vadtal, he spoke of the relevance of noncooperation to Hindu Dharma, \"At this holy place, I declare, if you want to protect your 'Hindu Dharma', non-cooperation is first as well as the last lesson you must learn up.\".[72]\n", "In December 1921, Gandhi was invested with executive authority on behalf of the Indian National Congress. Under his leadership, the Congress was reorganised with a new constitution, with the goal of Swaraj. Membership in the party was opened to anyone prepared to pay a token fee. A hierarchy of committees was set up to improve discipline, transforming the party from an elite organisation to one of mass national appeal. Gandhi expanded his nonviolence platform to include the swadeshi policy\u2014the boycott of foreign-made goods, especially British goods. Linked to this was his advocacy that khadi (homespun cloth) be worn by all Indians instead of British-made textiles. Gandhi exhorted Indian men and women, rich or poor, to spend time each day spinning khadi in support of the independence movement.[73]\n", "Gandhi even invented a small, portable spinning wheel that could be folded into the size of a small typewriter.[74] This was a strategy to inculcate discipline and dedication to weeding out the unwilling and ambitious and to include women in the movement at a time when many thought that such activities were not respectable activities for women. In addition to boycotting British products, Gandhi urged the people to boycott British educational institutions and law courts, to resign from government employment, and to forsake British titles and honours.[75]\n", "\"Non-cooperation\" enjoyed widespread appeal and success, increasing excitement and participation from all strata of Indian society. Yet, just as the movement reached its apex, it ended abruptly as a result of a violent clash in the town of Chauri Chaura, Uttar Pradesh, in February 1922. Fearing that the movement was about to take a turn towards violence, and convinced that this would be the undoing of all his work, Gandhi called off the campaign of mass civil disobedience.[76] This was the third time that Gandhi had called off a major campaign.[77] Gandhi was arrested on 10 March 1922, tried for sedition, and sentenced to six years' imprisonment. He began his sentence on 18 March 1922. He was released in February 1924 for an appendicitis operation, having served only two years.[78]\n", "Without Gandhi's unifying personality, the Indian National Congress began to splinter during his years in prison, splitting into two factions, one led by Chitta Ranjan Das and Motilal Nehru favouring party participation in the legislatures, and the other led by Chakravarti Rajagopalachari and Sardar Vallabhbhai Patel, opposing this move. Furthermore, cooperation among Hindus and Muslims, which had been strong at the height of the nonviolence campaign, was breaking down. Gandhi attempted to bridge these differences through many means, including a three-week fast in the autumn of 1924, but with limited success.[79] In this year, Gandhi was persuaded to preside over the Congress session to be held in Belgaum. Gandhi agreed to become president of the session on one condition: that Congressmen should take to wearing homespun khadi. In his long political career, this was the only time when he presided over a Congress session.[80]\n", "Gandhi stayed out of active politics and, as such, the limelight for most of the 1920s. He focused instead on resolving the wedge between the Swaraj Party and the Indian National Congress, and expanding initiatives against untouchability, alcoholism, ignorance and poverty. He returned to the fore in 1928. In the preceding year, the British government had appointed a new constitutional reform commission under Sir John Simon, which did not include any Indian as its member. The result was a boycott of the commission by Indian political parties. Gandhi pushed through a resolution at the Calcutta Congress in December 1928 calling on the British government to grant India dominion status or face a new campaign of noncooperation with complete independence for the country as its goal. Gandhi had not only moderated the views of younger men like Subhas Chandra Bose and Jawaharlal Nehru, who sought a demand for immediate independence, but also reduced his own call to a one year wait, instead of two.[81]\n", "The British did not respond. On 31 December 1929, the flag of India was unfurled in Lahore. 26 January 1930 was celebrated as India's Independence Day by the Indian National Congress meeting in Lahore. This day was commemorated by almost every other Indian organisation. Gandhi then launched a new Satyagraha against the tax on salt in March 1930. This was highlighted by the famous Salt March to Dandi from 12 March to 6 April, where he marched 388 kilometres (241\u00a0mi) from Ahmedabad to Dandi, Gujarat to make salt himself. Thousands of Indians joined him on this march to the sea. This campaign was one of his most successful at upsetting British hold on India; Britain responded by imprisoning over 60,000\u00a0people.[82]\n", "Gandhi strongly favoured the emancipation of women, and he went so far as to say that \"the women have come to look upon me as one of themselves.\" He opposed purdah, child marriage, untouchability, and the extreme oppression of Hindu widows, up to and including sati. He especially recruited women to participate in the salt tax campaigns and the boycott of foreign products.[83] Sarma concludes that Gandhi's success in enlisting women in his campaigns, including the salt tax campaign, anti-untouchability campaign and the peasant movement, gave many women a new self-confidence and dignity in the mainstream of Indian public life.[84]\n", "Congress in the 1920s appealed to peasants by portraying Gandhi as a sort of messiah, a strategy that succeeded in incorporating radical forces within the peasantry into the nonviolent resistance movement. In thousands of villages plays were performed that presented Gandhi as the reincarnation of earlier Indian nationalist leaders, or even as a demigod. The plays built support among illiterate peasants steeped in traditional Hindu culture. Similar messianic imagery appeared in popular songs and poems, and in Congress-sponsored religious pageants and celebrations. The result was that Gandhi became not only a folk hero but the Congress was widely seen in the villages as his sacred instrument.[85]\n", "The government, represented by Lord Edward Irwin, decided to negotiate with Gandhi. The Gandhi\u2013Irwin Pact was signed in March 1931. The British Government agreed to free all political prisoners, in return for the suspension of the civil disobedience movement. Also as a result of the pact, Gandhi was invited to attend the Round Table Conference in London as the sole representative of the Indian National Congress. The conference was a disappointment to Gandhi and the nationalists, because it focused on the Indian princes and Indian minorities rather than on a transfer of power. Lord Irwin's successor, Lord Willingdon, taking a hard line against nationalism, began a new campaign of controlling and subduing the nationalist movement. Gandhi was again arrested, and the government tried and failed to negate his influence by completely isolating him from his followers.[86]\n", "In 1932, through the campaigning of the Dalit leader B. R. Ambedkar, the government granted untouchables separate electorates under the new constitution, known as the Communal Award. In protest, Gandhi embarked on a six-day fast on 20 September 1932, while he was imprisoned at the Yerwada Jail, Pune.[87] The resulting public outcry successfully forced the government to adopt an equitable arrangement (Poona Pact) through negotiations mediated by Palwankar Baloo.[87] This was the start of a new campaign by Gandhi to improve the lives of the untouchables, whom he named Harijans, the children of God.[88] On 8 September 1931, Gandhi who was sailing on SS Rajputana, to the second Round Table Conference in London, met Meher Baba in his cabin on board the ship, and discussed issues of untouchables, politics, state Independence and spirituality[89]\n", "On 8 May 1933, Gandhi began a 21-day fast of self-purification and launched a one-year campaign to help the Harijan movement.[90] This new campaign was not universally embraced within the Dalit community, as Ambedkar condemned Gandhi's use of the term Harijans as saying that Dalits were socially immature, and that privileged caste Indians played a paternalistic role. Ambedkar and his allies also felt Gandhi was undermining Dalit political rights. Gandhi had also refused to support the untouchables in 1924\u201325 when they were campaigning for the right to pray in temples. Because of Gandhi's actions, Ambedkar described him as \"devious and untrustworthy\".[77] Gandhi, although born into the Vaishya caste, insisted that he was able to speak on behalf of Dalits, despite the presence of Dalit activists such as Ambedkar.[91] Gandhi and Ambedkar often clashed because Ambedkar sought to remove the Dalits out of the Hindu community, while Gandhi tried to save Hinduism by exorcising untouchability. Ambedkar complained that Gandhi moved too slowly, while Hindu traditionalists said Gandhi was a dangerous radical who rejected scripture. Guha noted in 2012 that, \"Ideologues have carried these old rivalries into the present, with the demonization of Gandhi now common among politicians who presume to speak in Ambedkar's name.\"[92]\n", "In 1934 Gandhi resigned from Congress party membership. He did not disagree with the party's position but felt that if he resigned, his popularity with Indians would cease to stifle the party's membership, which actually varied, including communists, socialists, trade unionists, students, religious conservatives, and those with pro-business convictions, and that these various voices would get a chance to make themselves heard. Gandhi also wanted to avoid being a target for Raj propaganda by leading a party that had temporarily accepted political accommodation with the Raj.[93]\n", "Gandhi returned to active politics again in 1936, with the Nehru presidency and the Lucknow session of the Congress. Although Gandhi wanted a total focus on the task of winning independence and not speculation about India's future, he did not restrain the Congress from adopting socialism as its goal. Gandhi had a clash with Subhas Chandra Bose, who had been elected president in 1938, and who had previously expressed a lack of faith in nonviolence as a means of protest.[94] Despite Gandhi's opposition, Bose won a second term as Congress President, against Gandhi's nominee, Dr. Pattabhi Sitaramayya; but left the Congress when the All-India leaders resigned en masse in protest of his abandonment of the principles introduced by Gandhi.[95][96] Gandhi declared that Sitaramayya's defeat was his defeat.[97]\n", "Gandhi initially favoured offering \"nonviolent moral support\" to the British effort when World War II broke out in 1939, but the Congressional leaders were offended by the unilateral inclusion of India in the war without consultation of the people's representatives. All Congressmen resigned from office.[98] After long deliberations, Gandhi declared that India could not be party to a war ostensibly being fought for democratic freedom while that freedom was denied to India itself. As the war progressed, Gandhi intensified his demand for independence, calling for the British to Quit India in a speech at Gowalia Tank Maidan. This was Gandhi's and the Congress Party's most definitive revolt aimed at securing the British exit from India.[99]\n", "Gandhi was criticised by some Congress party members and other Indian political groups, both pro-British and anti-British. Some felt that not supporting Britain more in its struggle against Nazi Germany was unethical. Others felt that Gandhi's refusal for India to participate in the war was insufficient and more direct opposition should be taken, while Britain fought against Nazism, it continued to refuse to grant India Independence. Quit India became the most forceful movement in the history of the struggle, with mass arrests and violence on an unprecedented scale.[100]\n", "In 1942, although still committed in his efforts to \"launch a nonviolent movement\", Gandhi clarified that the movement would not be stopped by individual acts of violence, saying that the \"ordered anarchy\" of \"the present system of administration\" was \"worse than real anarchy.\"[101][102] He called on all Congressmen and Indians to maintain discipline via ahimsa, and Karo ya maro (\"Do or die\") in the cause of ultimate freedom.[103]\n", "Gandhi and the entire Congress Working Committee were arrested in Bombay by the British on 9 August 1942. Gandhi was held for two years in the Aga Khan Palace in Pune. It was here that Gandhi suffered two terrible blows in his personal life. His 50-year old secretary Mahadev Desai died of a heart attack 6\u00a0days later and his wife Kasturba died after 18 months imprisonment on 22 February 1944; six weeks later Gandhi suffered a severe malaria attack. He was released before the end of the war on 6 May 1944 because of his failing health and necessary surgery; the Raj did not want him to die in prison and enrage the nation. He came out of detention to an altered political scene\u2014the Muslim League for example, which a few years earlier had appeared marginal, \"now occupied the centre of the political stage\"[104] and the topic of Muhammad Ali Jinnah's campaign for Pakistan was a major talking point. Gandhi met Jinnah in September 1944 in Bombay but Jinnah rejected, on the grounds that it fell short of a fully independent Pakistan, his proposal of the right of Muslim provinces to opt out of substantial parts of the forthcoming political union.[105][106]\n", "While the leaders of Congress languished in jail, the other parties supported the war and gained organizational strength. Underground publications flailed at the ruthless suppression of Congress, but it had little control over events.[107] At the end of the war, the British gave clear indications that power would be transferred to Indian hands. At this point Gandhi called off the struggle, and around 100,000 political prisoners were released, including the Congress's leadership.[108]\n", "As a rule, Gandhi was opposed to the concept of partition as it contradicted his vision of religious unity.[109] Concerning the partition of India to create Pakistan, while the Indian National Congress and Gandhi called for the British to quit India, the Muslim League passed a resolution for them to divide and quit, in 1943.[110] Gandhi suggested an agreement which required the Congress and Muslim League to cooperate and attain independence under a provisional government, thereafter, the question of partition could be resolved by a plebiscite in the districts with a Muslim majority.[111] When Jinnah called for Direct Action, on 16 August 1946, Gandhi was infuriated and personally visited the most riot-prone areas to stop the massacres.[112] He made strong efforts to unite the Indian Hindus, Muslims, and Christians and struggled for the emancipation of the \"untouchables\" in Hindu society.[113]\n", "On 14 and 15 August 1947 the Indian Independence Act was invoked. In border areas some 10\u201312 million people moved from one side to another and upwards of a half million were killed in communal riots pitting Hindus, Muslims, and Sikhs against each other.[114] But for his teachings, the efforts of his followers, and his own presence, there perhaps could have been much more bloodshed during the partition, according to prominent Norwegian historian, Jens Arup Seip.[115]\n", "Stanley Wolpert has argued, the \"plan to carve up British India was never approved of or accepted by Gandhi...who realised too late that his closest comrades and disciples were more interested in power than principle, and that his own vision had long been clouded by the illusion that the struggle he led for India's independence was a nonviolent one.\"[116]\n", "Mohandas Karamchand Gandhi was assassinated in the garden of the former Birla House (now Gandhi Smriti) at 5:17 PM on 30 January 1948. Accompanied by his grandnieces, Gandhi was on his way to address a prayer meeting, when his assassin, Nathuram Godse, fired three bullets from a Beretta 9\u00a0mm pistol into his chest at point-blank range.[117] Godse was a Hindu nationalist with links to the extremist Hindu Mahasabha, who held Gandhi guilty of favouring Pakistan and strongly opposed the doctrine of nonviolence.[118] Godse and his co-conspirator were tried and executed in 1949. Gandhi's memorial (or Sam\u0101dhi) at R\u0101j Gh\u0101t, New Delhi, bears the epigraph \"H\u0113 Ram\" (Devanagari: \u0939\u0947\u00a0! \u0930\u093e\u092e or, He R\u0101m), which may be translated as \"Oh God\". These are widely believed to be Gandhi's last words after he was shot, though the veracity of this statement has been disputed.[119] Prime Minister Jawaharlal Nehru addressed the nation through radio:[120]\n", "Friends and comrades, the light has gone out of our lives, and there is darkness everywhere, and I do not quite know what to tell you or how to say it. Our beloved leader, Bapu as we called him, the father of the nation, is no more. Perhaps I am wrong to say that; nevertheless, we will not see him again, as we have seen him for these many years, we will not run to him for advice or seek solace from him, and that is a terrible blow, not only for me, but for millions and millions in this country.\u2014Jawaharlal Nehru's address to Gandhi[121]\n", "Gandhi's death was mourned nationwide. Over two million people joined the five-mile long funeral procession that took over five hours to reach Raj Ghat from Birla house, where he was assassinated. Gandhi's body was transported on a weapons carrier, whose chassis was dismantled overnight to allow a high-floor to be installed so that people could catch a glimpse of his body. The engine of the vehicle was not used, instead four drag-ropes manned by 50 people each pulled the vehicle.[122] All Indian-owned establishments in London remained closed in mourning as thousands of people from all faiths and denominations and Indians from all over Britain converged at India House in London.[123]\n", "While India mourned and communal (inter-religious) violence escalated, there were calls for retaliation, and even an invasion of Pakistan by the Indian army. Nehru and Patel, the two strongest figures in the government and in Congress, had been pulling in opposite directions; the assassination pushed them together. They agreed the first objective must be to calm the hysteria.[124] They called on Indians to honour Gandhi's memory and even more his ideals.[125] They used the assassination to consolidate the authority of the new Indian state. The government made sure everyone knew the guilty party was not a Muslim. Congress tightly controlled the epic public displays of grief over a two-week period\u2014the funeral, mortuary rituals and distribution of the martyr's ashes\u2014as millions participated and hundreds of millions watched. The goal was to assert the power of the government and legitimise the Congress Party's control. This move built upon the massive outpouring of Hindu expressions of grief. The government suppressed the RSS, the Muslim National Guards, and the Khaksars, with some 200,000 arrests. Gandhi's death and funeral linked the distant state with the Indian people and made more understand why religious parties were being suppressed during the transition to independence for the Indian people.[126]\n", "By Hindu tradition the ashes were to be spread on a river. Gandhi's ashes were poured into urns which were sent across India for memorial services.[127] Most were immersed at the Sangam at Allahabad on 12 February 1948, but some were secretly taken away. In 1997, Tushar Gandhi immersed the contents of one urn, found in a bank vault and reclaimed through the courts, at the Sangam at Allahabad.[128][129] Some of Gandhi's ashes were scattered at the source of the Nile River near Jinja, Uganda, and a memorial plaque marks the event. On 30 January 2008, the contents of another urn were immersed at Girgaum Chowpatty. Another urn is at the palace of the Aga Khan in Pune[128] (where Gandhi had been imprisoned from 1942 to 1944) and another in the Self-Realization Fellowship Lake Shrine in Los Angeles.[130]\n", "Gandhism designates the ideas and principles Gandhi promoted. Of central importance is nonviolent resistance. A Gandhian can mean either an individual who follows, or a specific philosophy which is attributed to, Gandhism.[57] M. M. Sankhdher argues that Gandhism is not a systematic position in metaphysics or in political philosophy. Rather, it is a political creed, an economic doctrine, a religious outlook, a moral precept, and especially, a humanitarian world view. It is an effort not to systematize wisdom but to transform society and is based on an undying faith in the goodness of human nature.[131] However Gandhi himself did not approve of the notion of \"Gandhism\", as he explained in 1936:\n", "There is no such thing as \"Gandhism\", and I do not want to leave any sect after me. I do not claim to have originated any new principle or doctrine. I have simply tried in my own way to apply the eternal truths to our daily life and problems...The opinions I have formed and the conclusions I have arrived at are not final. I may change them tomorrow. I have nothing new to teach the world. Truth and nonviolence are as old as the hills.[132]\n", "Historian R.B. Cribb argues that Gandhi's thought evolved over time, with his early ideas becoming the core or scaffolding for his mature philosophy. In London he committed himself to truthfulness, temperance, chastity, and vegetarianism. His return to India to work as a lawyer was a failure, so he went to South Africa for a quarter century, where he absorbed ideas from many sources, most of them non-Indian.[133] Gandhi grew up in an eclectic religious atmosphere and throughout his life searched for insights from many religious traditions.[134] He was exposed to Jain ideas through his mother who was in contact with Jain monks. Themes from Jainism that Gandhi absorbed included asceticism; compassion for all forms of life; the importance of vows for self-discipline; vegetarianism; fasting for self-purification; mutual tolerance among people of different creeds; and \"syadvad\", the idea that all views of truth are partial, a doctrine that lies at the root of Satyagraha.[135] He received much of his influence from Jainism particularly during his younger years.[136]\n", "Gandhi's London experience provided a solid philosophical base focused on truthfulness, temperance, chastity, and vegetarianism. When he returned to India in 1891, his outlook was parochial and he could not make a living as a lawyer. This challenged his belief that practicality and morality necessarily coincided. By moving in 1893 to South Africa he found a solution to this problem and developed the central concepts of his mature philosophy.[137] N. A. Toothi[138] felt that Gandhi was influenced by the reforms and teachings of Swaminarayan, stating \"Close parallels do exist in programs of social reform based on to nonviolence, truth-telling, cleanliness, temperance and upliftment of the masses.\"[139] Vallabhbhai Patel, who grew up in a Swaminarayan household was attracted to Gandhi due to this aspect of Gandhi's doctrine.[140]\n", "Gandhi's ethical thinking was heavily influenced by a handful of books, which he repeatedly meditated upon. They included especially Plato's Apology and John Ruskin's Unto this Last (1862) (both of which he translated into his native Gujarati); William Salter's Ethical Religion (1889); Henry David Thoreau's On the Duty of Civil Disobedience (1849); and Leo Tolstoy's The Kingdom of God Is Within You (1894). Ruskin inspired his decision to live an austere life on a commune, at first on the Phoenix Farm in Natal and then on the Tolstoy Farm just outside Johannesburg, South Africa.[31]\n", "Balkrishna Gokhale argues that Gandhi took his philosophy of history from Hinduism and Jainism, supplemented by selected Christian traditions and ideas of Tolstoy and Ruskin. Hinduism provided central concepts of God's role in history, of man as the battleground of forces of virtue and sin, and of the potential of love as an historical force. From Jainism, Gandhi took the idea of applying nonviolence to human situations and the theory that Absolute Reality can be comprehended only relatively in human affairs.[141]\n", "Historian Howard Spodek argues for the importance of the culture of Gujarat in shaping Gandhi's methods. Spodek finds that some of Gandhi's most effective methods such as fasting, noncooperation and appeals to the justice and compassion of the rulers were learned as a youth in Gujarat. Later on, the financial, cultural, organizational and geographical support needed to bring his campaigns to a national audience were drawn from Ahmedabad and Gujarat, his Indian residence 1915\u20131930.[142]\n", "Along with the book mentioned above, in 1908 Leo Tolstoy wrote A Letter to a Hindu, which said that only by using love as a weapon through passive resistance could the Indian people overthrow colonial rule. In 1909, Gandhi wrote to Tolstoy seeking advice and permission to republish A Letter to a Hindu in Gujarati. Tolstoy responded and the two continued a correspondence until Tolstoy's death in 1910 (Tolstoy's last letter was to Gandhi).[143] The letters concern practical and theological applications of nonviolence.[144] Gandhi saw himself a disciple of Tolstoy, for they agreed regarding opposition to state authority and colonialism; both hated violence and preached non-resistance. However, they differed sharply on political strategy. Gandhi called for political involvement; he was a nationalist and was prepared to use nonviolent force. He was also willing to compromise.[145] It was at Tolstoy Farm where Gandhi and Hermann Kallenbach systematically trained their disciples in the philosophy of nonviolence.[146]\n", "Gandhi dedicated his life to the wider purpose of discovering truth, or Satya. He tried to achieve this by learning from his own mistakes and conducting experiments on himself. He called his autobiography The Story of My Experiments with Truth.[147]\n", "Bruce Watson argues that Gandhi based Satyagraha on the Vedantic ideal of self-realization, and notes it also contains Jain and Buddhist notions of nonviolence, vegetarianism, the avoidance of killing, and 'agape' (universal love). Gandhi also borrowed Christian-Islamic ideas of equality, the brotherhood of man, and the concept of turning the other cheek.[148]\n", "Gandhi stated that the most important battle to fight was overcoming his own demons, fears, and insecurities. Gandhi summarised his beliefs first when he said \"God is Truth\". He would later change this statement to \"Truth is God\". Thus, satya (truth) in Gandhi's philosophy is \"God\".[149]\n", "The essence of Satyagraha (a name Gandhi invented meaning \"adherence to truth\"[150]) is that it seeks to eliminate antagonisms without harming the antagonists themselves and seeks to transform or \"purify\" it to a higher level. A euphemism sometimes used for Satyagraha is that it is a \"silent force\" or a \"soul force\" (a term also used by Martin Luther King Jr. during his famous \"I Have a Dream\" speech). It arms the individual with moral power rather than physical power. Satyagraha is also termed a \"universal force\", as it essentially \"makes no distinction between kinsmen and strangers, young and old, man and woman, friend and foe.\"[151]\n", "Gandhi wrote: \"There must be no impatience, no barbarity, no insolence, no undue pressure. If we want to cultivate a true spirit of democracy, we cannot afford to be intolerant. Intolerance betrays want of faith in one's cause.\"[152] Civil disobedience and noncooperation as practised under Satyagraha are based on the \"law of suffering\",[153] a doctrine that the endurance of suffering is a means to an end. This end usually implies a moral upliftment or progress of an individual or society. Therefore, noncooperation in Satyagraha is in fact a means to secure the cooperation of the opponent consistently with truth and justice.[154]\n", "Although Gandhi was not the originator of the principle of nonviolence, he was the first to apply it in the political field on a large scale.[155] The concept of nonviolence (ahimsa) and nonresistance has a long history in Indian religious thought. Gandhi explains his philosophy and way of life in his autobiography The Story of My Experiments with Truth. Gandhi realised later that this level of nonviolence required incredible faith and courage, which he believed everyone did not possess. He therefore advised that everyone need not keep to nonviolence, especially if it were used as a cover for cowardice, saying, \"where there is only a choice between cowardice and violence, I would advise violence.\"[156][157]\n", "Gandhi thus came under some political fire for his criticism of those who attempted to achieve independence through more violent means. His refusal to protest against the hanging of Bhagat Singh, Sukhdev, Udham Singh and Rajguru were sources of condemnation among some parties.[158][159]\n", "Of this criticism, Gandhi stated, \"There was a time when people listened to me because I showed them how to give fight to the British without arms when they had no arms ... but today I am told that my nonviolence can be of no avail against the [Hindu\u2013Moslem riots] and, therefore, people should arm themselves for self-defense.\"[160]\n", "Gandhi's views came under heavy criticism in Britain when it was under attack from Nazi Germany, and later when the Holocaust was revealed. He told the British people in 1940, \"I would like you to lay down the arms you have as being useless for saving you or humanity. You will invite Herr Hitler and Signor Mussolini to take what they want of the countries you call your possessions... If these gentlemen choose to occupy your homes, you will vacate them. If they do not give you free passage out, you will allow yourselves, man, woman, and child, to be slaughtered, but you will refuse to owe allegiance to them.\"[161] George Orwell remarked that Gandhi's methods confronted 'an old-fashioned and rather shaky despotism which treated him in a fairly chivalrous way', not a totalitarian Power, 'where political opponents simply disappear.' [162]\n", "In a post-war interview in 1946, he said, \"Hitler killed five million Jews. It is the greatest crime of our time. But the Jews should have offered themselves to the butcher's knife. They should have thrown themselves into the sea from cliffs... It would have aroused the world and the people of Germany... As it is they succumbed anyway in their millions.\"[163] Gandhi believed this act of \"collective suicide\", in response to the Holocaust, \"would have been heroism\".[164]\n", "One of the Gandhi's major strategies, first in South Africa and then in India, was uniting Muslims and Hindus to work together in opposition to British imperialism. In 1919\u201322 he won strong Muslim support for his leadership in the Khilafat Movement to support the historic Ottoman Caliphate. By 1924, that Muslim support had largely evaporated.[165][166]\n", "In 1931, he suggested that while he could understand the desire of European Jews to emigrate to Palestine, he opposed any movement that supported British colonialism or violence. Muslims throughout India and the Middle East strongly opposed the Zionist plan for a Jewish state in Palestine, and Gandhi (and Congress) supported the Muslims in this regard. By the 1930s all major political groups in India opposed a Jewish state in Palestine.[167]\n", "This led to discussions concerning the persecution of the Jews in Germany and the emigration of Jews from Europe to Palestine, which Gandhi framed through the lens of Satyagraha.[168][169] In 1937, Gandhi discussed Zionism with his close Jewish friend Hermann Kallenbach.[170] He said Zionism was not the right answer to the Jewish problem[171] and instead recommended Satyagraha. Gandhi thought the Zionists in Palestine represented European imperialism and used violence to achieve their goals; he argued that \"the Jews should disclaim any intention of realizing their aspiration under the protection of arms and should rely wholly on the goodwill of Arabs. No exception can possibly be taken to the natural desire of the Jews to found a home in Palestine. But they must wait for its fulfillment till Arab opinion is ripe for it.\"[168] In 1938, Gandhi stated that his \"sympathies are all with the Jews. I have known them intimately in South Africa. Some of them became life-long companions.\" Philosopher Martin Buber was highly critical of Gandhi's approach and in 1939 wrote an open letter to him on the subject. Gandhi reiterated his stance on the use of Satyagraha in Palestine in 1947.[172]\n", "Stephen Hay argues that Gandhi in London looked into numerous religious and intellectual currents. He especially appreciated how the theosophical movement encouraged a religious eclecticism and an antipathy to atheism. Hay says the vegetarian movement had the greatest impact for it was Gandhi's point of entry into other reformist agendas of the time.[173] The idea of vegetarianism is deeply ingrained in Hindu and Jain traditions in India, especially in his native Gujarat.[174] Gandhi was close to the chairman of the London Vegetarian Society, Dr. Josiah Oldfield, and corresponded with Henry Stephens Salt, a vegetarian campaigner. Gandhi became a strict vegetarian. He wrote the book The Moral Basis of Vegetarianism and wrote for the London Vegetarian Society's publication.[175] Gandhi was somewhat of a food faddist taking his own goat to travels so he could always have fresh milk.[176]\n", "Gandhi noted in The Story of My Experiments with Truth, that vegetarianism was the beginning of his deep commitment to Brahmacharya; without total control of the palate, his success in following Brahmacharya would likely falter. \"You wish to know what the marks of a man are who wants to realize Truth which is God\", he wrote. \"He must reduce himself to zero and have perfect control over all his senses-beginning with the palate or tongue.\"[177][178] Gandhi also stated that he followed a fruitarian diet for five years but discontinued it due to pleurisy and pressure from his doctor. He thereafter resumed a vegetarian diet.\n", "Gandhi used fasting as a political device, often threatening suicide unless demands were met. Congress publicised the fasts as a political action that generated widespread sympathy. In response the government tried to manipulate news coverage to minimise his challenge to the Raj. He fasted in 1932 to protest the voting scheme for separate political representation for Dalits; Gandhi did not want them segregated. The government stopped the London press from showing photographs of his emaciated body, because it would elicit sympathy. Gandhi's 1943 hunger strike took place during a two-year prison term for the anticolonial Quit India movement. The government called on nutritional experts to demystify his action, and again no photos were allowed. However, his final fast in 1948, after India was independent, was lauded by the British press and this time did include full-length photos.[179]\n", "Alter argues that Gandhi's fixation on diet and celibacy were much deeper than exercises in self-discipline. Rather, his beliefs regarding health offered a critique of both the traditional Hindu system of ayurvedic medicine and Western concepts. This challenge was integral to his deeper challenge to tradition and modernity, as health and nonviolence became part of the same ethics.[180]\n", "In 1906 Gandhi, although married and a father, vowed to abstain from sexual relations. In the 1940s, in his mid-seventies, he brought his grandniece Manubehn to sleep naked in his bed as part of a spiritual experiment in which Gandhi could test himself as a \"brahmachari.\" Several other young women and girls also sometimes shared his bed as part of his experiments.[181] Gandhi's behaviour was widely discussed and criticised by family members and leading politicians, including Nehru. Some members of his staff resigned, including two editors of his newspaper who left after refusing to print parts of Gandhi's sermons dealing with his sleeping arrangements. But Gandhi said that if he wouldn't let Manu sleep with him, it would be a sign of weakness.[182]\n", "Gandhi discussed his experiment with friends and relations; most disagreed and the experiment ceased in 1947.[183] Religious studies scholar Veena Howard argues that Gandhi made \"creative use\"[184]:130 of his celibacy and his authority as a mahatma \"to reinterpret religious norms and confront unjust social and religious conventions relegating women to lower status.\"[184]:130 According to Howard, Gandhi \"developed his discourse as a religious renouncer within India's traditions to confront repressive social and religious customs regarding women and to bring them into the public sphere, during a time when the discourse on celibacy was typically imbued with masculine rhetoric and misogynist inferences.... his writings show a consistent evolution of his thought toward creating an equal playing field for members of both sexes and even elevating women to a higher plane\u2014all through his discourse and unorthodox practice of brahmacharya.\"[184]:137\n", "Gandhi's educational policies reflected Nai Talim ('Basic Education for all'), a spiritual principle which states that knowledge and work are not separate. It was a reaction against the British educational system and colonialism in general, which had the negative effect of making Indian children alienated and career-based; it promoted disdain for manual work, the development of a new elite class, and the increasing problems of industrialisation and urbanisation. The three pillars of Gandhi's pedagogy were its focus on the lifelong character of education, its social character and its form as a holistic process. For Gandhi, education is 'the moral development of the person', a process that is by definition 'lifelong'.[185]\n", "Nai Talim evolved out of the spiritually oriented education program at Tolstoy Farm in South Africa, and Gandhi's work at the ashram at Sevagram after 1937.[186] After 1947 the Nehru government's vision of an industrialised, centrally planned economy had scant place for Gandhi's village-oriented approach.[187]\n", "Rudolph argues that after a false start in trying to emulate the English in an attempt to overcome his timidity, Gandhi discovered the inner courage he was seeking by helping his countrymen in South Africa. The new courage consisted of observing the traditional Bengali way of \"self-suffering\" and, in finding his own courage, he was enabled also to point out the way of 'Satyagraha' and 'ahimsa' to the whole of India.[188] Gandhi's writings expressed four meanings of freedom: as India's national independence; as individual political freedom; as group freedom from poverty; and as the capacity for personal self-rule.[189]\n", "Gandhi was a self-described philosophical anarchist,[190] and his vision of India meant an India without an underlying government.[191] He once said that \"the ideally nonviolent state would be an ordered anarchy.\"[192] While political systems are largely hierarchical, with each layer of authority from the individual to the central government have increasing levels of authority over the layer below, Gandhi believed that society should be the exact opposite, where nothing is done without the consent of anyone, down to the individual. His idea was that true self-rule in a country means that every person rules his or herself and that there is no state which enforces laws upon the people.[193]\n", "This would be achieved over time with nonviolent conflict mediation, as power is divested from layers of hierarchical authorities, ultimately to the individual, which would come to embody the ethic of nonviolence. Rather than a system where rights are enforced by a higher authority, people are self-governed by mutual responsibilities. On returning from South Africa, when Gandhi received a letter asking for his participation in writing a world charter for human rights, he responded saying, \"in my experience, it is far more important to have a charter for human duties.\"[194]\n", "A free India did not mean merely transferring the established British administrative structure into Indian hands. He warned, \"you would make India English. And when it becomes English, it will be called not Hindustan but Englishtan. This is not the Swaraj I want.\"[195] Tewari argues that Gandhi saw democracy as more than a system of government; it meant promoting both individuality and the self-discipline of the community. Democracy was a moral system that distributed power and assisted the development of every social class, especially the lowest. It meant settling disputes in a nonviolent manner; it required freedom of thought and expression. For Gandhi, democracy was a way of life.[196]\n", "A free India for Gandhi meant the flourishing of thousands of self-sufficient small communities who rule themselves without hindering others. Gandhian economics focused on the need for economic self-sufficiency at the village level. His policy of \"sarvodaya\"[197] called for ending poverty through improved agriculture and small-scale cottage industries in every village.[198] Gandhi challenged Nehru and the modernizers in the late 1930s who called for rapid industrialisation on the Soviet model; Gandhi denounced that as dehumanising and contrary to the needs of the villages where the great majority of the people lived.[199] After Gandhi's death Nehru led India to large-scale planning that emphasised modernisation and heavy industry, while modernising agriculture through irrigation. Historian Kuruvilla Pandikattu says \"it was Nehru's vision, not Gandhi's, that was eventually preferred by the Indian State.\"[200] After Gandhi's death activists inspired by his vision promoted their opposition to industrialisation through the teachings of Gandhian economics. According to Gandhi, \"Poverty is the worst form of violence.\"[citation needed]\n", "Gandhi was a prolific writer. One of Gandhi's earliest publications, Hind Swaraj, published in Gujarati in 1909, is recognised[by whom?] as the intellectual blueprint of India's independence movement. The book was translated into English the next year, with a copyright legend that read \"No Rights Reserved\".[201] For decades he edited several newspapers including Harijan in Gujarati, in Hindi and in the English language; Indian Opinion while in South Africa and, Young India, in English, and Navajivan, a Gujarati monthly, on his return to India. Later, Navajivan was also published in Hindi. In addition, he wrote letters almost every day to individuals and newspapers.[202]\n", "Gandhi also wrote several books including his autobiography, The Story of My Experiments with Truth (Gujar\u0101t\u012b \"\u0ab8\u0aa4\u0acd\u0aaf\u0aa8\u0abe \u0aaa\u0acd\u0ab0\u0aaf\u0acb\u0a97\u0acb \u0a85\u0aa5\u0ab5\u0abe \u0a86\u0aa4\u0acd\u0aae\u0a95\u0aa5\u0abe\"), of which he bought the entire first edition to make sure it was reprinted.[77] His other autobiographies included: Satyagraha in South Africa about his struggle there, Hind Swaraj or Indian Home Rule, a political pamphlet, and a paraphrase in Gujarati of John Ruskin's Unto This Last.[203] This last essay can be considered his programme on economics. He also wrote extensively on vegetarianism, diet and health, religion, social reforms, etc. Gandhi usually wrote in Gujarati, though he also revised the Hindi and English translations of his books.[204]\n", "Gandhi's complete works were published by the Indian government under the name The Collected Works of Mahatma Gandhi in the 1960s. The writings comprise about 50,000 pages published in about a hundred volumes. In 2000, a revised edition of the complete works sparked a controversy, as it contained a large number of errors and omissions.[205] The Indian government later withdrew the revised edition.[206]\n", "The word Mahatma, while often mistaken for Gandhi's given name in the West, is taken from the Sanskrit words maha (meaning Great) and atma (meaning Soul). Rabindranath Tagore is said to have accorded the title to Gandhi.[207] In his autobiography, Gandhi nevertheless explains that he never valued the title, and was often pained by it.[208][209][210]\n", "Gandhi influenced important leaders and political movements. Leaders of the civil rights movement in the United States, including Martin Luther King, James Lawson, and James Bevel, drew from the writings of Gandhi in the development of their own theories about nonviolence.[211][212][213] King said \"Christ gave us the goals and Mahatma Gandhi the tactics.\"[214] King sometimes referred to Gandhi as \"the little brown saint.\"[215] Anti-apartheid activist and former President of South Africa, Nelson Mandela, was inspired by Gandhi.[216] Others include Khan Abdul Ghaffar Khan,[217] Steve Biko, and Aung San Suu Kyi.[218]\n", "In his early years, the former President of South Africa Nelson Mandela was a follower of the nonviolent resistance philosophy of Gandhi.[216] Bhana and Vahed commented on these events as \"Gandhi inspired succeeding generations of South African activists seeking to end White rule. This legacy connects him to Nelson Mandela...in a sense Mandela completed what Gandhi started.\"[43]\n", "Gandhi's life and teachings inspired many who specifically referred to Gandhi as their mentor or who dedicated their lives to spreading Gandhi's ideas. In Europe, Romain Rolland was the first to discuss Gandhi in his 1924 book Mahatma Gandhi, and Brazilian anarchist and feminist Maria Lacerda de Moura wrote about Gandhi in her work on pacifism. In 1931, notable European physicist Albert Einstein exchanged written letters with Gandhi, and called him \"a role model for the generations to come\" in a letter writing about him.[219] Einstein said of Gandhi:\n", "Mahatma Gandhi's life achievement stands unique in political history. He has invented a completely new and humane means for the liberation war of an oppressed country, and practised it with greatest energy and devotion. The moral influence he had on the consciously thinking human being of the entire civilized world will probably be much more lasting than it seems in our time with its overestimation of brutal violent forces. Because lasting will only be the work of such statesmen who wake up and strengthen the moral power of their people through their example and educational works. We may all be happy and grateful that destiny gifted us with such an enlightened contemporary, a role model for the generations to come.\n", "Generations to come will scarce believe that such a one as this walked the earth in flesh and blood.\n", "Lanza del Vasto went to India in 1936 intending to live with Gandhi; he later returned to Europe to spread Gandhi's philosophy and founded the Community of the Ark in 1948 (modelled after Gandhi's ashrams). Madeleine Slade (known as \"Mirabehn\") was the daughter of a British admiral who spent much of her adult life in India as a devotee of Gandhi.[220][221]\n", "In addition, the British musician John Lennon referred to Gandhi when discussing his views on nonviolence.[222] At the Cannes Lions International Advertising Festival in 2007, former US Vice-President and environmentalist Al Gore spoke of Gandhi's influence on him.[223]\n", "U.S. President Barack Obama in a 2010 address to the Parliament of India said that:\n", "I am mindful that I might not be standing before you today, as President of the United States, had it not been for Gandhi and the message he shared with America and the world.[224]\n", "Obama in September 2009 said that his biggest inspiration came from Mahatma Gandhi. His reply was in response to the question 'Who was the one person, dead or live, that you would choose to dine with?'. He continued that \"He's somebody I find a lot of inspiration in. He inspired Dr. King with his message of nonviolence. He ended up doing so much and changed the world just by the power of his ethics.\"[225]\n", "Time Magazine named The 14th Dalai Lama, Lech Wa\u0142\u0119sa, Martin Luther King, Cesar Chavez, Aung San Suu Kyi, Benigno Aquino, Jr., Desmond Tutu, and Nelson Mandela as Children of Gandhi and his spiritual heirs to nonviolence.[226] The Mahatma Gandhi District in Houston, Texas, United States, an ethnic Indian enclave, is officially named after Gandhi.[227]\n", "In 2007, the United Nations General Assembly declared Gandhi's birthday 2 October as \"the International Day of Nonviolence.\"[228] First proposed by UNESCO in 1948, as the School Day of Nonviolence and Peace (DENIP in Spanish),[229] 30 January is observed as the School Day of Nonviolence and Peace in schools of many countries[230] In countries with a Southern Hemisphere school calendar, it is observed on 30 March.[230]\n", "Time magazine named Gandhi the Man of the Year in 1930. Gandhi was also the runner-up to Albert Einstein as \"Person of the Century\"[231] at the end of 1999. The Government of India awards the annual Gandhi Peace Prize to distinguished social workers, world leaders and citizens. Nelson Mandela, the leader of South Africa's struggle to eradicate racial discrimination and segregation, was a prominent non-Indian recipient. In 2011, Time magazine named Gandhi as one of the top 25 political icons of all time.[232]\n", "Gandhi did not receive the Nobel Peace Prize, although he was nominated five times between 1937 and 1948, including the first-ever nomination by the American Friends Service Committee,[233] though he made the short list only twice, in 1937 and 1947.[113] Decades later, the Nobel Committee publicly declared its regret for the omission, and admitted to deeply divided nationalistic opinion denying the award.[113] Gandhi was nominated in 1948 but was assassinated before nominations closed. That year, the committee chose not to award the peace prize stating that \"there was no suitable living candidate\" and later research shows that the possibility of awarding the prize posthumously to Gandhi was discussed and that the reference to no suitable living candidate was to Gandhi.[113] When the 14th Dalai Lama was awarded the Prize in 1989, the chairman of the committee said that this was \"in part a tribute to the memory of Mahatma Gandhi\".[113]\n", "Mahatma Gandhi has been portrayed in film, literature, and in the theatre. Ben Kingsley portrayed him in the 1982 film Gandhi, which won the Academy Award for Best Picture. Gandhi was a central figure in the 2006 Bollywood comedy film Lage Raho Munna Bhai. The 1996 film The Making of the Mahatma documented Gandhi's time in South Africa and his transformation from an inexperienced barrister to recognised political leader.[234]\n", "Anti-Gandhi themes have also been showcased through films and plays. The 1995 Marathi play Gandhi Virudh Gandhi explored the relationship between Gandhi and his son Harilal. The 2007 film, Gandhi, My Father was inspired on the same theme. The 1989 Marathi play Me Nathuram Godse Boltoy and the 1997 Hindi play Gandhi Ambedkar criticised Gandhi and his principles.[235][236]\n", "Several biographers have undertaken the task of describing Gandhi's life. Among them are D. G. Tendulkar with his Mahatma. Life of Mohandas Karamchand Gandhi in eight volumes, and Pyarelal and Sushila Nayyar with their Mahatma Gandhi in 10 volumes. There is another documentary, Mahatma: Life of Gandhi, 1869\u20131948, which is 14 chapters and six hours long.[237] The 2010 biography, Great Soul: Mahatma Gandhi and His Struggle With India by Joseph Lelyveld contained controversial material speculating about Gandhi's sexual life.[238] Lelyveld, however, stated that the press coverage \"grossly distort[s]\" the overall message of the book.[239] The 2014 film Welcome Back Gandhi takes a fictionalized look at how Gandhi might react to modern day India.[240]\n", "India, with its rapid economic modernisation and urbanisation, has rejected Gandhi's economics[241] but accepted much of his politics and continues to revere his memory. Reporter Jim Yardley notes that, \"modern India is hardly a Gandhian nation, if it ever was one. His vision of a village-dominated economy was shunted aside during his lifetime as rural romanticism, and his call for a national ethos of personal austerity and nonviolence has proved antithetical to the goals of an aspiring economic and military power.\" By contrast Gandhi is \"given full credit for India's political identity as a tolerant, secular democracy.\"[242]\n", "Gandhi's birthday, 2 October, is a national holiday in India, Gandhi Jayanti. Gandhi's image also appears on paper currency of all denominations issued by Reserve Bank of India, except for the one rupee note.[243] Gandhi's date of death, 30 January, is commemorated as a Martyrs' Day in India.[244]\n", "There are two temples in India dedicated to Gandhi.[245] One is located at Sambalpur in Orissa and the other at Nidaghatta village near Kadur in Chikmagalur district of Karnataka.[245] The Gandhi Memorial in Kanyakumari resembles central Indian Hindu temples and the Tamukkam or Summer Palace in Madurai now houses the Mahatma Gandhi Museum.[246]\n", " \n", "http://en.wikipedia.org/wiki/The_Lord_of_the_Rings:_The_Return_of_the_King\n", "The Lord of the Rings: The Return of the King is a 2003 epic fantasy film directed by Peter Jackson based on the second and third volumes of J. R. R. Tolkien's The Lord of the Rings.[2][3] It is the third and final installment in The Lord of the Rings film trilogy, following The Fellowship of the Ring (2001) and The Two Towers (2002)." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "As Sauron launches the final stages of his conquest of Middle-earth, Gandalf the Wizard and Th\u00e9oden King of Rohan rally their forces to help defend Gondor's capital Minas Tirith from the looming threat. Aragorn finally claims the throne of Gondor and, with the aid of Legolas the Elf and Gimli the Dwarf summons the Army of the Dead to help him defeat Sauron. Still, it comes down to the Hobbits, Frodo and Sam, to bear the burden of the One Ring and deal with the treachery of Gollum. After a long journey they finally arrive in the dangerous lands of Mordor, seeking to destroy the Ring in the place it was created, the volcanic fires of Mount Doom.\n", "Released on 17 December 2003, The Lord of the Rings: The Return of the King received rave reviews and universal acclaim[4] and became one of the greatest critical and box-office successes of all time, being only the second film to gross $1 billion worldwide, becoming the highest grossing film from New Line Cinema, as well as the biggest financial success for Time Warner in general, until Harry Potter and the Deathly Hallows \u2013 Part 2 surpassed The Return of the King\u200a'\u200bs final gross in 2011. The film was the highest-grossing film of 2003.\n", "Notably, it won all 11 Academy Awards for which it was nominated, therefore holding the record for highest Oscar sweep. The wins included the awards for Best Picture, the first and only time a fantasy film has done so; it was also the second sequel to win a Best Picture Oscar (following The Godfather Part II) and Best Director. The film is tied for largest number of Academy Awards won with Ben-Hur (1959) and Titanic (1997).\n", "\n", "\n", "In a flashback, the Hobbits D\u00e9agol and Sm\u00e9agol are fishing near the Gladden Fields when D\u00e9agol accidentally goes overboard and discovers the One Ring in the river bed. Sm\u00e9agol, immediately corrupted by the Ring, murders D\u00e9agol for it and is later exiled into the wilderness where he eventually becomes the creature \"Gollum\". In the present, Gollum is leading Frodo Baggins and Samwise Gamgee to an entrance near Minas Morgul.\n", "King Th\u00e9oden, Aragorn, Gandalf the White and the other heroes of Helm's Deep reunite with Merry and Pippin as Treebeard and the Ents have secured Isengard with Saruman a prisoner within his tower. In the extended edition, Saruman attempts to negotiate with Th\u00e9oden and Gandalf for his freedom, but rejects Gandalf's conditional offer and shoots a fireball at him. Gandalf repels the attack and breaks Saruman's staff, taking away his powers. Meanwhile Gr\u00edma, fed up with Saruman's abuse, fatally stabs him from behind before he is killed by Legolas. A dying Saruman falls from the tower where he is then impaled on a spiked waterwheel. His palant\u00edr is quickly recovered by Pippin before Gandalf confiscates it.\n", "Later that night, however, Pippin's curiosity for the palant\u00edr results with Sauron attacking the Hobbit's mind. But knowing Pippin would have a glimpse of Sauron\u2019s plans, Gandalf deduces that he is planning to attack Minas Tirith, and rides there with Pippin. They find Denethor, the Steward of Gondor, full of grief for his lost son Boromir and paranoid over Aragorn\u2019s claim to the throne. To compensate for Boromir's death defending him, Pippin swears service to Denethor. The armies of Mordor, led by the Witch-king and the Nazg\u00fbl, drive Faramir and his men from their final stronghold of Osgiliath. At Gandalf's instruction, Pippin secretly lights the distress beacon to signal Th\u00e9oden to assemble the Rohirrim for battle.\n", "On the way, Aragorn is informed by Elrond that Arwen did not go to the Undying Lands, and is now dying. He gives Aragorn the sword And\u00faril to acquire the service of the Army of the Dead, who owe allegiance to the heir of Isildur. Aragorn, with Legolas and Gimli, ventures into the Paths of the Dead and demands the loyalty of the King of the Dead. Th\u00e9oden rides to war, unaware that \u00c9owyn and Merry have secretly joined his forces.\n", "After being sent by Denethor on a fruitless mission to reclaim Osgiliath, Faramir is mortally wounded as his horse drags his unconscious body back to Minas Tirith with Sauron's armies at its heels. Believing he has lost both sons, Denethor descends into madness with Gandalf forced to organize the city defenses. As the siege rages on, Denethor loses all hope for Minas Tirith and intends to burn himself and Faramir, expelling Pippin from his service when he tries to stop him. Pippin and Gandalf manage to save Faramir, but watch as a burning Denethor falls off a ledge to his death. Th\u00e9oden's army arrives and decimates the Orcs before being overwhelmed by Haradrim riding on Oliphaunts while the Witch-king singles out and kills Th\u00e9oden. \u00c9owyn desperately stands before the Witch-King, but is overpowered by the Nazg\u00fbl as he proclaims that no man can kill him. However, Merry stabs him from behind and \u00c9owyn slays him, causing him to be undone not by a man, but a woman and Hobbit. Finally, Aragorn arrives with the Army of the Dead and routs Sauron's forces, ending the battle. Aragorn frees the Army of the Dead and their souls go to the afterlife.\n", "As the events occur, on the way to Minas Morgul, Sam overhears Gollum's plans to murder them and take the Ring yet Frodo refuses to believe him. Hoping to remove Sam as an obstacle as they climb up the cliff to the secret way to Mordor, Gollum manipulates Frodo into driving Sam off before leaving him at the mercy of the giant spider Shelob. Though Frodo manages to dispose of Gollum, he is paralyzed as Sam arrives to drive Shelob off. Believing Frodo to be dead, he takes Sting and the Ring, then learns of his friend's condition as he follows an Orc patrol that takes Frodo's body to the nearby watchtower guarding the entrance to Mordor. Taking advantage of the Orcs warring amongst themselves, Sam sneaks in and rescues Frodo while returning the Ring to him. The two continue the journey to Mount Doom.\n", "Meanwhile, Aragorn leads his remaining men to the Black Gate of Mordor to distract Sauron\u2019s forces for Frodo to reach Mount Doom. As Sam carries the weakened Frodo up the volcano, Gollum reappears and attacks them. Though Frodo succumbs to the Ring's power as he reaches the Crack of Doom, Gollum bites off the Hobbit's finger to reclaim the Ring. In the resulting struggle, Gollum falls into the lava while Sam saves Frodo as the Ring is destroyed. As a result, Sauron is obliterated and most of Mordor collapses while the surviving Orcs flee. Frodo and Sam are saved from the erupting volcano by Gandalf and the Eagles.\n", "Soon after, Aragorn is crowned king and marries Arwen while the four Hobbits are honoured for their deeds. Four years after they return home to the Shire, Frodo departs Middle-earth for the Undying Lands alongside Bilbo, Gandalf and the Elves, bringing an end to the Fellowship while giving Sam his book detailing their adventures together.\n", "Like the preceding films in the trilogy, The Return of the King has an ensemble cast,[5] and some of the cast and their respective characters include:\n", "There are also cameos from Peter Jackson, Richard Taylor, Gino Acevedo, Rick Porras and Andrew Lesnie on the Corsair ship, although all of them but Jackson appear only in the Extended Edition. Jackson also has another unofficial cameo, as Sam's hand stepping into view when he confronts Shelob.[7] Sean Astin's daughter played Sam and Rosie's older daughter Elanor in the last scene of the film; in the same scene, Sarah McLeod's daughter plays their younger daughter. Jackson's children also cameo as Gondorian extras, while Christian Rivers played a Gondorian soldier guarding the Beacon Pippin lights, and is later seen wounded. Royd Tolkien cameos as a Ranger in Osgiliath,[8] while in the Extended Edition Howard Shore appears as a celebrating soldier at Edoras. Additionally, four of the designers of The Lord of the Rings Strategy Battle Game are featured as Rohirrim at the Pelennor.[9] At the end of the film, during the closing credits, each cast member gets a sketched portrait morphed with the real photograph beside their name, which were sketched by Alan Lee, an idea suggested by Ian McKellen.[10]\n", "The film contains major scenes that occurred in the middle portion of the novel The Two Towers but were not included in the film The Lord of the Rings: The Two Towers, such as Shelob and the palant\u00edr subplot, owing to Jackson's realigning events of the film to fit the timeline as described in the book's Appendices, rather than the main prose.[11] Saruman's murder by Gr\u00edma (seen only in the Extended Edition) is moved into the Isengard visit because of the cutting of the Scouring of the Shire. In the film, Saruman drops the palant\u00edr, whereas in the book Gr\u00edma throws it at the Fellowship, unaware of its value. While the parting of Gandalf from Th\u00e9oden's company in The Two Towers occurs hastily at Dol Baran with the appearance of a Nazg\u00fbl on a winged steed, here he leaves from Edoras after the entire company arrives there to recuperate after the Battle of Helm's Deep. The muster of Gondor is absent from the film, and the major captains and generals, including Imrahil and the Knights of Dol Amroth, are not present.\n", "Denethor, the Steward of Gondor, was a more tragic character in the book. The film only focuses on his overwhelming grief over the death of Boromir as to ignore Sauron's threat (in the book he already lights the beacons), and is driven over the edge by Faramir's injury. The film only hints at his use of the palant\u00edr which drives him mad, information revealed in the Pyre scene, which is more violent than the book. Jackson also has Denethor jump off the Citadel in addition to burning himself on the Pyre, one of the earliest changes.[12]\n", "The Battle of the Pelennor Fields is altered: Faramir never goes on a suicide mission, and the conflict is a simplification of the siege of Osgiliath. With generals such as Forlong and Imrahil absent, Gandalf commands the defence of Minas Tirith owing to Denethor's despair. While Denethor gives command to Gandalf in the book, in this film Gandalf forcibly takes control as Denethor tells the men to flee rather than fight. The Orcs also never get into the city in the book. The Witch-king enters and stands off against Gandalf before the Rohirrim arrive, but in the film Orcs invade the city after Grond breaks the Gate. The confrontation takes place while Gandalf journeys to save Faramir in the Extended Edition, during which Gandalf has his staff broken in the film (but not in the book). A subplot in which the Rohirrim are aided by the primitive Dr\u00faedain into entering the besieged Gondor is also excised. The Red Arrow brought by a messenger from Gondor to ask for aid is absent. \u00c9owyn's presence on the battlefield is unknown to the reader until she takes off her helmet, but in the film the audience is aware, as it would have been difficult to have Miranda Otto playing a man.[13] When hope seems lost, Gandalf comforts Pippin with a description of the Undying Lands, which is a descriptive passage in the book's final chapter.[11] The film depicts the Army of the Dead fighting in the Battle, whereas in the book they are released from service prior to this, after helping Aragorn defeat the Corsairs of Umbar at the port city of Pelargir in Lebennin; Aragorn's reinforcements are merely more Gondorians, and the D\u00fanedain, Aragorn's people (the rangers of the North). An unstoppable and invulnerable force, the Dead wipe out Sauron's forces. The film also cuts out several supporting characters, such as: Halbarad, a friend of Aragorn's, who helps lead the D\u00fanedain, Beregond, a member of the Citadel Guard of Gondor, whom Pippin befriends, and Elladan and Elrohir, the twin sons of Elrond who deliver Aragorn's banner and accompany him to the Pelennor Fields. Elladan and Elrohir are replaced by Elrond in the film, instead delivering And\u00faril, and then returning to Rivendell. The film also altered the circumstances of Th\u00e9oden's death; his death speech, in which he names \u00c9omer the new king in the book, is trimmed and delivered to \u00c9owyn instead, with an earlier scene in the Extended Edition even implying that she is next in line for the throne. Th\u00e9oden's rallying cries before the initial charge are in fact spoken by \u00c9omer in the book upon his realisation that \u00c9owyn is also apparently dead.[11]\n", "In the film Aragorn leads the entire remaining force of Rohan and Gondor's men to the Black Gate without incident. In the book tactics are discussed, forces divide and fight smaller skirmishes in An\u00f3rien and Ithilien before the army (only a fraction of the full remaining strength of the nations of men) reach the Morannon. The romance that develops between \u00c9owyn and Faramir during their recoveries in the Houses of Healing is also largely cut, presumably to keep the focus on Aragorn and Arwen; the subplot is only briefly referenced in the Extended Edition with a scene where the two hold hands.[11] Sam and Frodo's major rift in their friendship, due to Gollum's machinations, never takes place in the book, but was added by the writers in believing that it added drama and more complexity to the character of Frodo. Frodo enters Shelob's lair alone in the film, whereas in the book he and Sam entered together. This was done to make the scene more horrific with Frodo being alone, and Sam's rescue at the last minute more dramatic. Also, in the film we do not know that Sam has the Ring until he gives it back to Frodo, whereas in the book the reader knows that Sam has the Ring. Gollum's fall into the lava of Mount Doom was also rewritten for the film, as the writers felt Tolkien's original idea (Gollum simply slips and falls off) was anti-climactic. Originally, an even greater deviation was planned: Frodo would heroically push Gollum over the ledge to destroy him and the Ring, but the production team eventually realised that it looked more like Frodo murdering Gollum. As a result, they had Frodo and Gollum struggle for possession of the Ring and both slip over the edge by accident.[11]\n", "In addition to the absent footage from the film are the other major attacks by Sauron on various regions of Middle-earth, referenced only briefly in the main text of The Return of the King,[11] and expanded upon in the Appendices; the invasion of Rohan by the orcs of Moria, the attacks on Lothl\u00f3rien and the Woodland Realm of Thranduil by the forces of Dol Guldur, and the attack on Dale and the Lonely Mountain by a force of Easterlings.[11] There are several changes in the Battle of the Black Gate: Merry is not present there in the book, Pippin does not kill a troll as he does in the novel, the eagles fight and defeat some of the mounted Nazg\u00fbl (while Frodo putting on the One Ring distracted the Nazg\u00fbl, who raced away to Mount Doom in the book before a confrontation could occur), and Aragorn kills the Mouth of Sauron in the extended edition of the film but not in the book.[11] There was an even larger change planned: Sauron himself would come out in physical form to battle Aragorn, who would only be saved by the destruction of the Ring. Jackson eventually realised it ignored the point of Aragorn's true bravery in distracting Sauron's army against overwhelming odds, and a computer generated Troll was placed over footage of Sauron in the finished film. The ending is streamlined so as not to include the Scouring of the Shire, which was always seen by the screenwriters as anti-climactic.[11]\n", "Extra dialogue in Merry and Pippin's first scene at Isengard reuniting them with Aragorn, Legolas and Gimli was added. There is also the final confrontation between Gandalf and Saruman, in which Saruman is stabbed to death by Wormtongue, who is killed by Legolas in turn. Saruman lands on a water wheel and drops the palant\u00edr. Edoras is extended, with the party containing a drinking game between Legolas and Gimli. Aragorn enters the Great Hall and has a conversation with \u00c9owyn about a dream she had, about a great wave over a green countryside.\n", "At Minas Tirith, Pippin explains to Denethor how Boromir died, and Gandalf explains to Pippin how Gondor fell into ruin. Frodo, Sam and Gollum discover a ruined and defaced statue at the Crossroads. When the Morgul signal for war begins, Sam warns Gollum about betrayal, eventually setting up the separation. When the Orcs cross the river it is shown the Gondorians were surprised, expecting an attack at Cair Andros. To further set up the battle, we also see Merry swearing loyalty to Th\u00e9oden at Edoras after the lighting of the beacons. After Faramir arrives in Minas Tirith, there is a scene where Denethor confronts him for not taking the Ring, which includes his vision of Boromir. There is a friendly chat between Pippin and Faramir which sets up Pippin's later attempts to rescue him.\n", "The Paths of the Dead sequence is heavily extended. A sequence involving an avalanche of skulls, and Aragorn's emergence from the mountain where the King of the Dead accepts his offer is integrated back into the film. This leads onto Aragorn attacking the Corsair ships, which includes a cameo by Peter Jackson as a character killed by Legolas. During the siege of Minas Tirith, the Orcs use a small battering ram on the gates before Grond arrives, and Gandalf confronts the Witch-king as he comes to rescue Faramir, when his staff is broken. Gothmog also chases \u00c9owyn during the battle, and attempts to finish her off before he is killed by Aragorn and Gimli.\n", "The scenes between the end of the Pelennor battle and Black Gate battle are extended. Pippin's search for Merry is digitally revised for a nighttime environment to give the impression he has been searching for almost the entire day. \u00c9omer also finds \u00c9owyn on the field and mourns when he thinks she is dead. Aragorn heals her and she falls in love with Faramir. Before the march to the Black Gate, Aragorn confronts Sauron in the palant\u00edr, however Sauron reveals to Aragorn an image of an unconscious Arwen, which frightens Aragorn into backing away, in which Aragorn drops the Evenstar and it shatters. Sam and Frodo get more time in Mordor: the fight among the orcs in the tower of Cirith Ungol is longer, and after Sam rescues Frodo, a sequence reveals a surviving Uruk sneaking off with Frodo's mithril shirt. Frodo and Sam are also diverted into the Orc march to the Black Gate and escape on a long journey, during which they throw away the last of their gear. Sam also sees a star through the clouds, symbolizing hope whilst Frodo merely rests with a burn on his neck. At the Black Gate, Aragorn, Gandalf, Legolas, Gimli, Pippin, Merry, and \u00c9omer are first confronted by the Mouth of Sauron, suggesting that Frodo is dead, providing additional meaning to Aragorn's line \"For Frodo\". There is a final line of dialogue in which Gollum admits he lied about protecting Frodo.\n", "The Lord of the Rings film trilogy is unusual in that it was, up until the release of Jackson's prequel trilogy The Hobbit, the only series whose separate instalments were written and shot simultaneously (excluding pick up shoots). Jackson found The Return of the King the easiest of the films to make, because it contained the climax of the story, unlike the other two films.[14] The Return of the King was originally the second of two planned films under Miramax from January 1997 to August 1998,[15] and more or less in its finished structure as the first film was to end with The Two Towers' Battle of Helm's Deep.[16] Filming took place under multiple units across New Zealand, between 11 October 1999 and 22 December 2000, with pick up shoots for six weeks in 2003 before the film's release.\n", "Middle-earth as envisioned by Jackson was primarily designed by Alan Lee and John Howe, former Tolkien illustrators, and created by Weta Workshop, who handled all the trilogy's weapons, armour, miniatures, prosthetics and creatures, as well as the Art Department which built the sets. Richard Taylor headed Weta, while Grant Major and Dan Hennah organised the planning and building respectively.\n", "The city of Minas Tirith, glimpsed briefly in both the previous two films is seen fully in this film, and with it the Gondorian civilisation. The enormous soundstage was built at Dry Creek Quarry, outside Wellington, from the Helm's Deep set. That set's gate became Minas Tirith's second, while the Hornburg exterior became that of the Extended Edition's scene where Gandalf confronts the Witch-king. New structures included the 8m tall Gate, with broken and unbroken versions, with a working opening and closing mechanism, with its engravings inspired by the Baptistry of San Giovanni. There were also four levels of streets with heraldic motifs for every house, as inspired by Siena.[17]\n", "There was also the Citadel, the exterior of which was in the Stone Street Studios backlot, using forced perspective. It contains the withered White Tree, built from polystyrene by Brian Massey and the Greens Department with real branches, influenced by ancient and gnarled Lebanese olive trees. The interior was within a three-story former factory in Wellington, and colour wise is influenced by Charlemagne's Chapel, with a throne for Denethor carved from stone and polystyrene statues of past Kings. The Gondorian armour is designed to represent an evolution from the N\u00famen\u00f3reans of the first film's prologue, with a simplified sea bird motif. 16th-century Italian and German armour served as inspiration,[18] while civilians wear silver and blacks as designed by Ngila Dickson, continuing an ancient/medieval Mediterranean Basin look.[19]\n", "Minas Morgul, the Staircase and Tower of Cirith Ungol as well as Shelob's Lair were designed by Howe, with the Morgul road using forced perspective into a bluescreened miniature. Howe's design of Minas Morgul was inspired from the experience of having a wisdom tooth pulled out: in the same way, the Orcs have put their twisted designs on to a former Gondorian city.[20] Cirith Ungol was based on Tolkien's design, but when Richard Taylor felt it as \"boring\", it was redesigned with more tipping angles.[21] The interior set, like Minas Tirith, was built as a few multiple levels that numerous camera takes would suggest a larger structure.[17]\n", "The third film introduces the enormous spider Shelob. Shelob was designed in 1999,[21] with the body based on a tunnelweb spider and the head with numerous growths selected by Peter Jackson's children from one of many sculpts. Jackson himself took great joy in planning the sequence, being an arachnophobe himself.[18] Shelob's Lair was inspired by sandstone and sculpted from the existing Caverns of Isengard set.[17]\n", "The Return of the King also brings into focus the Dead Men of Dunharrow and the evil Haradrim from the south of Middle-earth, men who ride the m\u00fbmakil. The Dead Men have a Celtic influence, as well as lines and symmetry to reflect their morbid state,[17] while their underground city is influenced by Petra.[20] The Haradrim were highly influenced by African culture, until Philippa Boyens expressed concern over the possibility of offensiveness, so the finished characters instead bear influence from Kiribati, in terms of weaving armour from bamboo, and the Aztecs, in use of jewellery. Also built was a single dead m\u00fbmak.[18] Other minor cultures include the Corsairs, with an exotic, swarthy look, and the Grey Havens, Elven structures adapted to stone, with influence from J. M. W. Turner paintings.[21]\n", "The Return of the King was shot during 2000, though Astin's coverage from Gollum's attempt to separate Frodo and Sam was filmed on 24 November 1999, when floods in Queenstown interrupted the focus on The Fellowship of the Ring.[7] Some of the earliest scenes shot for the film were in fact the last. Hobbiton, home of the Hobbits, was shot in January 2000 with early scenes from The Fellowship of the Ring, with the exterior shot at a Matamata farm, while interior scenes shot at Stone Street Studios in Wellington,[22] shared with the Grey Havens sequence. Due to the high emotions of filming the scene, the cast were in despair when they were required to shoot it three times, due to a continuity flaw in Sean Astin's costume, and then negatives producing out-of-focus reels.[7] Also shared with the previous films was the Rivendell interior in May.\n", "The Battle of the Black Gate was filmed in April[23] at the Rangipo Desert, a former minefield.[citation needed] New Zealand soldiers were hired as extras while guides were on the lookout for unexploded mines. Also a cause for concern were Monaghan and Boyd's scale doubles during a charge sequence. In the meantime, Wood, Astin and Serkis filmed at Mount Ruapehu for the Mount Doom exteriors. In particular, they spent two hours shooting Sam lifting Frodo on to his back with cross-camera coverage.[7]\n", "Scenes shot in June were the Paths of the Dead across various locations, including Pinnacles.[23] In July the crew shot some Shelob scenes, and in August and September time was spent on the scenes in Isengard. Monaghan and Boyd tried numerous takes of their entrance, stressing the word \"weed\" as they smoked pipe-weed. Christopher Lee spent his part of his scene mostly alone, though McKellen and Hill arrived on the first day for a few lines to help.[7]\n", "Edoras exteriors were shot in October. The Ride of the Rohirrim, where Th\u00e9oden leads the charge into the Orc army, was filmed in Twizel with 150 extras on horseback. The Battle of the Pelennor Fields has more extensive use of computer-generated imagery, in contrast to the more extensive use of live action in the Battle of Helm's Deep in the second film. Also filmed were the attempts by Faramir to recapture Osgiliath,[24] as were scenes in the city itself.[25] At this point production was very hectic, with Jackson moving around ten units per day, and production finally wrapped on the Minas Tirith sets, as well as second units shooting parts of the siege. Just as the Hobbit actors' first scene was hiding from a Ringwraith under a tree, their last scene was the bluescreened reaction shot of the inhabitants of Minas Tirith bowing to them.[7]\n", "The 2003 pick-ups were filmed in the Wellington studio car park, with many parts of sets and blue-screens used to finish off scenes, which the design team had to work 24 hours to get the right sets ready for a particular day.[17] The shoot continued for two months, and became an emotional time of farewells for the cast and crew. The film has the most extensive list of re-shoots given for the trilogy. Jackson took his time to re-shoot Aragorn's coronation, rushed into a single day under second unit director Geoff Murphy on 21 December 2000. Jackson also re-shot scenes in and around Mount Doom,[7] and Th\u00e9oden's death, right after Bernard Hill was meant to wrap.[13]\n", "There was also the new character of Gothmog. This was a major new design addition for the film, as Jackson felt the Mordor Orcs were \"pathetic\" compared to the Uruk-hai of the second film after watching assembly cuts, and thus Weta created grotesque new \"\u00fcber Orcs\" as antagonists for the audience to focus on. Christian Rivers also redesigned the Witch-king and all of his scenes were re-shot, because of confusion from non-readers over whether or not Sauron was on the battlefield.[18]\n", "With the positive response to Bloom, Legolas was given a fight with a m\u00fbmak,[26] and Howard Shore also appeared in a cameo during Legolas and Gimli's drinking game at Edoras.[27] The final scenes shot were Aragorn escaping the Skull avalanche, and Frodo finishing his book. The cast also received various props associated with their characters, although John Rhys-Davies burned his final Gimli prosthetic. Viggo Mortensen headbutted the stunt team goodbye.[7] Pick-ups ended on 27 June 2003.[26]\n", "Scenes shot afterwards included various live-action shots of Riders for the Battle of the Pelennor Fields and a reaction shot of Serkis as Gollum finally realises Frodo intends to destroy the Ring, shot in Jackson's house.[28] For the Extended DVD, in March 2004 Jackson created a few shots of skulls rolling over for the avalanche scene; this was the final piece of footage ever shot for the trilogy, and Jackson noted that it must be the first time a director had shot scenes for a film after it had already won the Oscar.[29]\n", "Post-production began in November 2002, with the completion of the 4\u00bd hour assembly cut of the film that Annie Collins had been completing over 2001 and 2002, from 4-hour dailies. For example, Th\u00e9oden leading the charge went from 150 minutes of takes to a finished 90 seconds.[30] Jackson reunited with longtime collaborator Jamie Selkirk to edit the final film. Like The Two Towers, they would have to deal with multiple storylines, and Jackson paid attention to each storyline at a time before deciding where to intercut. Most importantly they spent three weeks working on the last 45 minutes of the film,[28] for appropriate intercutting and leaving out scenes such as the Mouth of Sauron, and the fates of characters like Legolas, Gimli, \u00c9owyn and Faramir.[11] The film inherited scenes originally planned to go into the second film, including the reforging of Narsil, Gollum's backstory, and Saruman's exit. But the Saruman scene posed a structural problem: killing off the second film's villain when the plot has Sauron as the main villain.[28] Despite pick-ups and dubs, the scene was cut, causing controversy with fans and Saruman actor Christopher Lee, as well as a petition to restore the scene.[31] Lee nonetheless contributed to the DVDs and was at the Copenhagen premiere, although on the other hand he says he will never understand the reason for the cut and his relationship with Jackson is chilly.[32] They would, however, later reconcile upon Lee's casting in Jackson's Hobbit films. Jackson only had a lock on 5 out of 10 reels, and had to churn out 3 reels in 3 weeks to help finish the film. It was finally completed on 12 November 2003.[33] Jackson never had a chance to view the film in full due to the hectic schedule, and only saw the film from beginning to end on 1 December at the Wellington premiere; according to Elijah Wood, his response was \"yup, it's good, pretty good\".[29]\n", "The Return of the King contains 1,488 visual effect shots, nearly three times the number from the first film and almost twice that of the second. Visual effects work began with Alan Lee and Mark Lewis compositing various photographs of New Zealand landscape to create the digital arena of the Pelennor Fields in November 2002. Gary Horsfield also created a digital version of the Barad-d\u00fbr during his Christmas break at home by himself, for the film's climax. In the meantime, Jackson and Christian Rivers used computers to plan the enormous battle up until February 2003, when the shots were shown to Weta Digital. To their astonishment, 60 planned shots had gone up to 250, and 50,000 characters were now 200,000.[34] Nevertheless they pressed on, soon delivering 100 shots a week, 20 a day, and as the deadline neared within the last two months, often working until 2\u00a0am.[33]\n", "For the battle, they recorded 450 motions for the MASSIVE digital horses (though deaths were animated), and also had to deal with late additions in the film, such as Trolls bursting through Minas Tirith's gates as well as the creatures that pull Grond to the gate,[18] and redoing a shot of two m\u00fbmakil \u00c9omer takes down that had originally taken six months in two days. On a similar note of digital creatures, Shelob's head sculpture was scanned by a Canadian company for 10 times more detail than Weta had previously been able to capture.[34]\n", "Like the previous films, there are also extensive morphs between digital doubles for the actors. This time, there was Sam falling off Shelob, where the morph takes place as Astin hits the ground. Legolas attacking a m\u00fbmak required numerous transitions to and fro, and Gollum's shots of him having recovered the One Ring and falling into the Crack of Doom were fully animated.[34] The King of the Dead is played by an actor in prosthetics, and his head occasionally morphs to a more skull-like digital version, depending on the character's mood. The Mouth of Sauron also had his mouth enlarged 200% for unsettling effect.[17]\n", "The Return of the King also has practical effects. In the Pyre of Denethor sequence, as the Steward of Gondor throws Pippin out of the Tomb, John Noble threw a size double named Fon onto a prostrate Billy Boyd, who immediately pushed his head into camera to complete the illusion. A few burning torches were also reflected off a plate of glass and into the camera for when Gandalf's horse Shadowfax kicks Denethor onto the pyre. Because of Jackson's requirement for complete representation of his fantasy world, numerous miniatures were built, such as 1:72 scale miniature of Minas Tirith, which rises 7m high and is 6.5m in diameter. 1:14 scale sections of the city were also required, and the Extended Edition scene of the collapsing City of the Dead has 80,000 small skulls, amounting in total to a single cubic meter.[20] The miniatures team concluded in November with the Black Gate, after 1000 days of shooting, and the final digital effects shot done was the Ring's destruction, on 25 November.[33]\n", "The Sound department spent the early part of the year searching for the right sounds. A Tasmanian devil was Shelob's shriek, which in turn gave inspiration for Weta's animators, while the m\u00fbmakil is the beginning and end of a lion roar. Human screams and a donkey screech were mixed into Sauron's fall and broken glass was used for the collapsing sounds. For missile trading during Minas Tirith's siege, construction workers dropped actual 2 ton stone blocks previously lifted by a construction crane. Mixing began at a new studio on 15 August, although unfinished building work caused some annoyances.[35] The mixers finished on 15 November, after three months of non-stop work.[33]\n", "The music was composed by Howard Shore, who previously composed the first two parts of the trilogy. Shore watched the assembly cut of the film,[27] and had to write seven minutes of music per day to keep up with the schedule.[33] The score sees the full introduction of the Gondor theme, originally heard during Boromir's speeches at the Council of Elrond in The Fellowship of the Ring and at Osgiliath in The Two Towers\u200a'\u200b Extended Edition. Actors Billy Boyd, Viggo Mortensen and Liv Tyler also contributed to the film's music. Boyd sings on screen as Faramir charges towards Osgiliath, Mortensen sings on screen as he is crowned King, and in the Extended Edition Tyler sings as Aragorn heals \u00c9owyn.\n", "Ren\u00e9e Fleming, Ben Del Maestro and James Galway also contribute to the soundtrack. Fleming sings as Arwen has a vision of her son and when Gollum recovers the One Ring. Del Maestro sings when Gandalf lights his staff to save fleeing Gondorian soldiers from Osgiliath as the Nazg\u00fbl attack. Galway plays the flute as Frodo and Sam climb Mount Doom. The end title song, \"Into the West\", was composed by Shore with lyrics by Fran Walsh. Annie Lennox (formerly of Eurythmics) performed it and also received songwriting credit. The song was partially inspired by the premature death from cancer of a young New Zealand filmmaker named Cameron Duncan who had befriended Peter Jackson.[27]\n", "After two years of attention and acclaim since the release of The Fellowship of the Ring, audience and critical anticipation for the final instalment was extremely high. The world premiere was held in Wellington's Embassy Theatre, on 1 December 2003, and was attended by the director and many of the stars. It was estimated that over 100,000 people lined the streets, more than a quarter of the city's population.[36]\n", "The film earned $377,845,905 in the United States and Canada and $742,083,616 in other countries for a worldwide total of $1,119,929,521. Worldwide, it is the eighth highest-grossing film,[37] the highest-grossing 2003 film[38] and the highest-grossing instalment in The Lord of the Rings trilogy.[39] It was the second film in history to earn over $1 billion.\n", "In the US and Canada, it is the twenty-first highest-grossing film,[40] the highest-grossing 2003 film,[41] and the highest-grossing instalment in The Lord of the Rings trilogy.[39] The film set an opening Wednesday record with $34.5 million.[42] This record was first surpassed by Spider-Man 2 and ranks as the seventh largest Wednesday opening.[43] The film opened a day earlier for a midnight showing and it accounted for about $8\u00a0million. This was nearly twice the first-day total of The Lord of the Rings: The Fellowship of the Ring (which earned $18.2 million on its opening day in 2001), and a significant increase over The Lord of the Rings: The Two Towers as well (which earned $26.1 million on its debut in 2002). Part of the grosses came from the Trilogy Tuesday event, in which the Extended Editions of the first two films were played on 16 December before the first midnight screening. It went on to make an opening weekend of $72.6 million ($124.1 million with weekday previews).[44] Its Friday-to-Sunday opening weekend was a record-high for December (first surpassed by I Am Legend).[45] The film also set single-day records for Christmas Day and New Year's Day (both first surpassed by Meet the Fockers).[46][47]\n", "Outside the US and Canada, it is the seventh highest-grossing film,[48] the highest-grossing 2003 film[49] and the highest-grossing film of the trilogy.[39] On its first day (Wednesday, 17 December 2003), the film earned $23.5 million from 19 countries[42] and, during the 5-day weekend as a whole, it set an opening-weekend record outside the US and Canada with $125.9 million.[50] It set opening-day records in 13 of them, including the United Kingdom, Germany, Austria, Belgium, Holland, Spain, Greece, Switzerland, Scandinavia (as well as separately in Sweden, Finland, Norway and Denmark), Mexico, Chile and Puerto Rico.[42][50] It set opening-weekend records in the United Kingdom ($26.5 million in five days), Germany, Spain, Sweden, Denmark and Switzerland. In New Zealand, where filming took place, the film set opening day, opening weekend, single-day, Friday gross, Saturday gross and Sunday gross records with $1.7 million in four days.[50]\n", "The substantial increase in initial box office totals caused optimistic studio executives to forecast that The Lord of the Rings: The Return of the King would surpass The Lord of the Rings: The Two Towers in total earnings. If this proved to be true, then this would be the first blockbuster movie trilogy for each successive film to earn more at the box office than its predecessor, when all three films were blockbuster successes. The Lord of the Rings: Return of the King has helped The Lord of the Rings franchise to become the highest-grossing motion picture trilogy worldwide of all time with $2,917,506,956, beating other notable ones such as the Star Wars trilogies,[51] and surviving from being out-grossed by subsequent trilogies like Pirates of the Caribbean and Harry Potter, despite ticket price inflation.\n", "These figures do not include income from DVD sales, TV rights, etc. It has been estimated[52] that the gross income from non-box office sales and merchandise has been at least equal to the box office for all three films. If this is so, the total gross income for the trilogy would be in the region of $6\u00a0billion following an investment of $300\u00a0million ($426\u00a0million including marketing costs).\n", "The Return of the King holds a 94% \"Fresh\" rating on the aggregate review site Rotten Tomatoes, based on 245 reviews, with an average score of 8.6. The site's main consensus reads \"Visually breathtaking and emotionally powerful, The Lord of the Rings: The Return of the King is a moving and satisfying conclusion to a great trilogy\".[53] The film holds a score of 94 out of 100 on Metacritic, based on 41 reviews, indicating \"Universal Acclaim\".[54]\n", "Roger Ebert of the Chicago Sun-Times gave three and a half stars out of four saying, \"\"Return of the King\" is such a crowning achievement, such a visionary use of all the tools of special effects, such a pure spectacle, that it can be enjoyed even by those who have not seen the first two films.\"[55]Richard Corliss of Time named it the best film of the year.[56] The main criticism of The Lord of the Rings: The Return of the King was its running time, particularly the epilogue; even rave reviews for the film commented on its length. Joel Siegel of Good Morning America said in his review for the film (which he gave an 'A'): \"If it didn't take forty-five minutes to end, it'd be my best picture of the year. As it is, it's just one of the great achievements in film history.\"[57] There was also criticism regarding the Army of the Dead's appearance, rapidly ending the Battle of the Pelennor Fields.[58]\n", "In February 2004, a few months following release, the film was voted as No. 8 on Empire\u200a'\u200bs 100 Greatest Movies of All Time, compiled from readers' top 10 lists. This forced the magazine to abandon its policy of only allowing films being older than 12 months to be eligible.[59] In 2007, Total Film named The Return of the King the third best film of the past decade (Total Film\u200a'\u200bs publication time), behind The Matrix and Fight Club.[60]\n", "The film was nominated for eleven Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, Best Original Score, Best Original Song, Best Visual Effects, Best Art Direction, Best Costume Design, Best Make-up, Best Sound Mixing and Best Film Editing. At the 76th Academy Awards in 2004, the film won all the categories for which it was nominated and it holds the record for highest Academy Award totals along with Titanic and Ben Hur.[61]\n", "The film also won four Golden Globes (including Best Picture for Drama and Best Director),[62][63][64] five BAFTAs, two MTV Movie Awards, two Grammy Awards, nine Saturn Awards, the New York Film Critics Circle award for Best Picture, the Nebula Award for Best Script, and the Hugo Award for Best Dramatic Presentation, Long Form.\n", "The film was nominated for the 10th Anniversary Edition of AFI's 100 Years...100 Movies.[65]\n", "The theatrical edition of the film was released on VHS and DVD on 25 May 2004. The DVD was a 2-disc set with extras on the second disc. The theatrical DVD sets for the two previous films were released eight months after the films were released, but Return of the King's set was completed in five because it did not have to market a sequel (the previous films had to wait for footage of their sequels to become available for a ten-minute preview). However, it contained a seven-minute trailer of the entire trilogy.\n", "The Return of the King followed the precedent set by its predecessors by releasing an Extended Edition (251 minutes) with new editing and added special effects and music, along with four commentaries and six hours of supplementary material, plus 10 minutes of fan-club credits. However, this set took longer to produce than the others because the cast and crew, no longer based in New Zealand for the trilogy, were spread all over the world working on other projects.[66] The set was finally released on 10 December 2004 in the UK and 14 December in the U.S. The final ten minutes comprises a listing of the charter members of the official fan club who had paid for three-year charter membership.\n", "A collectors' box set was also released, which included the Extended Set plus a sculpture of Minas Tirith and a bonus 50-minute music documentary DVD, Howard Shore: Creating The Lord of the Rings Symphony: A Composer's Journey Through Middle-earth. The DVD has a DTS-ES soundtrack. The DVD also features two humorous Easter Eggs, one where Dominic Monaghan plays a German interviewer with Elijah Wood via satellite and another where Vince Vaughn and Ben Stiller attempt to convince Jackson to make a sequel, originally shown at the 2004 MTV Movie Awards. Both can be accessed via a Ring icon on the last page of both Disc 1 and 2's scene indexes. On 29 August 2006, a Limited Edition of The Return of the King was released. This Limited Edition contains two discs; the first is a two-sided DVD containing both the Theatrical and Extended editions of the film. The second disc is a bonus disc that contains a new behind-the-scenes documentary.\n", "The theatrical Blu-ray release was released in the United States on 6 April 2010.[67] The individual Blu-ray disc of The Return of the King was released on 14 September 2010 with the same special features as the complete trilogy release, except there was no digital copy.[68] The Extended Edition was released in the United States on 28 June 2011.[69] It has a runtime of 263 minutes.[70]\n", "http://en.wikipedia.org/wiki/Gladiator\n", "A gladiator (Latin: gladiator, \"swordsman\", from gladius, \"sword\") was an armed combatant who entertained audiences in the Roman Republic and Roman Empire in violent confrontations with other gladiators, wild animals, and condemned criminals. Some gladiators were volunteers who risked their legal and social standing and their lives by appearing in the arena. Most were despised as slaves, schooled under harsh conditions, socially marginalized, and segregated even in death." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Irrespective of their origin, gladiators offered spectators an example of Rome's martial ethics and, in fighting or dying well, they could inspire admiration and popular acclaim. They were celebrated in high and low art, and their value as entertainers was commemorated in precious and commonplace objects throughout the Roman world.\n", "The origin of gladiatorial combat is open to debate. There is evidence of it in funeral rites during the Punic Wars of the 3rd century BCE, and thereafter it rapidly became an essential feature of politics and social life in the Roman world. Its popularity led to its use in ever more lavish and costly games.\n", "The games reached their peak between the 1st century BC and the 2nd century AD, and they finally declined during the early 5th century after the adoption of Christianity as state church of the Roman Empire in 380, although beast hunts (venationes) continued into the 6th century.\n", "\n", "\n", "Early literary sources seldom agree on the origins of gladiators and the gladiator games.[1] In the late 1st century BC, Nicolaus of Damascus believed they were Etruscan.[2] A generation later, Livy wrote that they were first held in 310 BC by the Campanians in celebration of their victory over the Samnites.[3] Long after the games had ceased, the 7th century AD writer Isidore of Seville derived Latin lanista (manager of gladiators) from the Etruscan word for \"executioner,\" and the title of Charon (an official who accompanied the dead from the Roman gladiatorial arena) from Charun, psychopomp of the Etruscan underworld.[4] Roman historians emphasized the gladiator games as a foreign import, most likely Etruscan. This preference informed most standard histories of the Roman games in the early modern era.[5]\n", "Reappraisal of the evidence supports a Campanian origin, or at least a borrowing, for the games and gladiators.[6] The earliest known Roman gladiator schools (ludi) were in Campania.[7] Tomb frescoes from Paestum (4th century BC) show paired fighters, with helmets, spears and shields, in a propitiatory funeral blood-rite that anticipates early Roman gladiator games.[8] Compared to these images, supporting evidence from Etruscan tomb-paintings is tentative and late. The Paestum frescoes may represent the continuation of a much older tradition, acquired or inherited from Greek colonists of the 8th century BC.[9]\n", "Livy dates the earliest Roman gladiator games to 264 BC, in the early stages of Rome's First Punic War against Carthage. Decimus Iunius Brutus Scaeva had three gladiator pairs fight to the death in Rome's \"cattle market\" Forum (Forum Boarium) to honor his dead father, Brutus Pera. This is described as a munus (plural: munera), a commemorative duty owed the manes of a dead ancestor by his descendants.[10] The gladiator type used (according to a single, later source), was Thracian,[11] but the development of the munus and its gladiator types was most strongly influenced by Samnium's support for Hannibal and subsequent punitive expeditions by Rome and her Campanian allies; the earliest and most frequently mentioned type was the Samnite.[12]\n", "The war in Samnium, immediately afterwards, was attended with equal danger and an equally glorious conclusion. The enemy, besides their other warlike preparation, had made their battle-line to glitter with new and splendid arms. There were two corps: the shields of the one were inlaid with gold, of the other with silver...The Romans had already heard of these splendid accoutrements, but their generals had taught them that a soldier should be rough to look on, not adorned with gold and silver but putting his trust in iron and in courage...The Dictator, as decreed by the senate, celebrated a triumph, in which by far the finest show was afforded by the captured armour. So the Romans made use of the splendid armour of their enemies to do honour to their gods; while the Campanians, in consequence of their pride and in hatred of the Samnites, equipped after this fashion the gladiators who furnished them entertainment at their feasts, and bestowed on them the name Samnites. (Livy 9.40)[13]\n", "Livy's account skirts the funereal, sacrificial function of early Roman gladiator combats and underlines the later theatrical ethos of the gladiator show: splendidly, exotically armed and armoured barbarians, treacherous and degenerate, are dominated by Roman iron and native courage.[14] His plain Romans virtuously dedicate the magnificent spoils of war to the Gods. Their Campanian allies stage a dinner entertainment using gladiators who may not be Samnites, but play the Samnite role. Other groups and tribes would join the cast list as Roman territories expanded. Most gladiators were armed and armoured in the manner of the enemies of Rome.[15] The munus became a morally instructive form of historic enactment in which the only honourable option for the gladiator was to fight well, or else die well.[16]\n", "In 216 BC, Marcus Aemilius Lepidus, late consul and augur, was honoured by his sons with three days of gladiatora munera in the Forum Romanum, using twenty-two pairs of gladiators.[17] Ten years later, Scipio Africanus gave a commemorative munus in Iberia for his father and uncle, casualties in the Punic Wars. High status non-Romans, and possibly Romans too, volunteered as his gladiators.[18] The context of the Punic Wars and Rome's near-disastrous defeat at the Battle of Cannae (216 BCE) link these early games to munificence, the celebration of military victory and the religious expiation of military disaster; these munera appear to serve a morale-raising agenda in an era of military threat and expansion.[19] The next recorded munus, held for the funeral of Publius Licinius in 183 BC, was more extravagant. It involved three days of funeral games, 120 gladiators, and public distribution of meat (visceratio data)[20]\u00a0\u2013 a practice that reflected the gladiatorial fights at Campanian banquets described by Livy and later deplored by Silius Italicus.[21]\n", "The enthusiastic adoption of gladiatoria munera by Rome's Iberian allies shows how easily, and how early, the culture of the gladiator munus permeated places far from Rome itself. By 174 BC, \"small\" Roman munera (private or public), provided by an editor of relatively low importance, may have been so commonplace and unremarkable they were not considered worth recording:[22]\n", "Many gladiatorial games were given in that year, some unimportant, one noteworthy beyond the rest\u00a0\u2014 that of Titus Flamininus which he gave to commemorate the death of his father, which lasted four days, and was accompanied by a public distribution of meats, a banquet, and scenic performances. The climax of the show which was big for the time was that in three days seventy four gladiators fought.[23]\n", "In 105 BC, the ruling consuls offered Rome its first taste of state-sponsored \"barbarian combat\" demonstrated by gladiators from Capua, as part of a training program for the military. It proved immensely popular.[24] The ludi (state games), sponsored by the ruling elite and dedicated to a deity such as Jupiter, a divine or heroic ancestor (and later, during the Imperium, the well-being and numen of the emperor),[25] began to include the gladiator contests formerly restricted to private munera.[26]\n", "By the closing years of the politically and socially unstable Late Republic, gladiator games provided their sponsors with extravagantly expensive but effective opportunities for self-promotion while offering cheap, exciting entertainment to their clients.[27] Gladiators became big business for trainers and owners, for politicians on the make and those who had reached the top. A politically ambitious privatus (private citizen) might postpone his deceased father's munus to the election season, when a generous show might drum up votes; those in power and those seeking it needed the support of the plebeians and their tribunes, whose votes might be won with an exceptionally spectacular show, sometimes even the mere promise of one.[28] Sulla, during his term as praetor, showed his usual acumen in breaking his own sumptuary laws to give the most lavish munus yet seen in Rome, on occasion of his wife's funeral.[29]\n", "Ownership of gladiators or a gladiator school gave muscle and flair to Roman politics.[30][31][32] In 65 BC, newly elected curule aedile Julius Caesar topped Sulla's display with games he justified as munus to his father, who had died twenty years before. Despite an already enormous personal debt, he used three hundred and twenty gladiator pairs in silvered armour.[33] He had wanted more but the nervous Senate, mindful of the recent Spartacus revolt, fearful of Caesar's burgeoning private armies and even more fearful of his overwhelming popularity, imposed a limit of 320 pairs as the maximum number of gladiators a citizen could keep in Rome.[34] Caesar's showmanship was unprecedented not only in scale and expense but in putting aside a Republican tradition of munera as funeral offerings.[35] The practical differences between ludi and munera were beginning to blur.[36]\n", "Gladiatorial games, usually linked with beast shows, spread throughout the Republic and beyond.[37] Anti-corruption laws of 65 and 63 BCE attempted but signally failed to curb their political usefulness to sponsors.[38] Following Caesar's assassination and the Roman Civil War, Augustus assumed Imperial authority over the games, including munera, and formalised their provision as a civic and religious duty.[39] His revision of sumptuary law capped private and public expenditure on munera, claiming to save the Roman elite from the bankruptcies they would otherwise suffer, and restricted their performance to the festivals of Saturnalia and Quinquatria.[40] Henceforth, the ceiling cost for a praetor's \"economical\" but official munus of a maximum 120 gladiators was to be 25,000 denarii ($500,000). \"Generous\" Imperial ludi might cost no less than 180,000 denarii ($3.6 million).[41][42] Throughout the Empire, the greatest and most celebrated games would now be identified with the state-sponsored Imperial cult, which furthered public recognition, respect and approval for the Emperor, his law, and his agents.[43] Between 108 and 109 CE, Trajan celebrated his Dacian victories using a reported 10,000 gladiators (and 11,000 animals) over 123 days.[44] The cost of gladiators and munera continued to spiral out of control. Legislation of 177 CE by Marcus Aurelius did little to stop it, and was completely ignored by his son, Commodus.[45]\n", "The decline of the munus was a far from straightforward process.[46] The crisis of the 3rd century imposed increasing military demands on the imperial purse, from which the Roman Empire never quite recovered, and lesser magistrates found the obligatory munera an increasingly unrewarding tax on the doubtful privileges of office. Still, emperors continued to subsidize the games as a matter of undiminished public interest.[47] In the early 3rd century, the Christian writer Tertullian had acknowledged their power over the Christian flock, and was compelled to be blunt: the combats were murder, their witnessing spiritually and morally harmful and the gladiator an instrument of pagan human sacrifice.[48] In the next century, Augustine deplored the youthful fascination of his friend (and later fellow-convert and Bishop) Alypius, with the munera spectacle as inimical to a Christian life and salvation.[49] Amphitheatres continued to host the spectacular administration of Imperial justice: in 315 Constantine I condemned child-snatchers ad bestias in the arena. Ten years later, he banned the gladiator munera:\n", "In times in which peace and peace relating to domestic affairs prevail bloody demonstrations displease us. Therefore, we order that there may be no more gladiator combats. Those who were condemned to become gladiators for their crimes are to work from now on in the mines. Thus they pay for their crimes without having to pour their blood.[50]\n", "An imperially sanctioned munus at some time in the 330s suggests that yet again, imperial legislation to curb the games proved ineffective, not least when Constantine defied his own law.[51] In 365, Valentinian I (r. 364\u2013375) threatened to fine a judge who sentenced Christians to the arena and in 384 he attempted, like most of his predecessors, to limit the expenses of munera.[52][53][54]\n", "In 393, Theodosius (r. 379\u2013395) adopted Nicene Christianity as the state church of the Roman Empire and banned pagan festivals.[55] The ludi continued, very gradually shorn of their stubbornly pagan munera. Honorius (r. 395\u2013423) legally ended munera in 399, and again in 404, at least in the Western half of the Empire according to Theodoret, because of the martyrdom of Saint Telemachus by spectators at a munus.[56] Valentinian III (r. 425\u2013455) repeated the ban in 438, perhaps effectively, though venationes continued beyond 536.[57] By this time, the popularity of munera had waned, unlike the theatrical shows, and the chariot races which, at least in the Eastern Empire, continued to attract the crowds, and a generous Imperial subsidy.\n", "It is not known how many gladiatoria munera were given throughout the Roman period. Many, if not most, involved venationes, and in the later Empire some may have been only that. In the early Imperial era, the attested munera given by local politicians in Pompeii and neighbouring towns were dispersed from March to November. They included a provincial magnate's five-day munus of thirty pairs, plus beast-hunts.[58] One single late primary source, the Calendar of Furius Dionysius Philocalus for 354, survives to suggest how the gladiator featured among a multitude of official festivals in the Late Empire period. In that year, 176 days were reserved for spectacles of various kinds. Of these, 102 days were for theatrical shows, 64 for chariot races and just 10 in December for gladiator games and venationes.[59] Thomas Wiedemann interprets this in the much earlier context of the Historia Augusta, in which Alexander Severus (r. 222\u2013235) was said to intend the redistribution of munera throughout the year. This would have broken with the traditional positioning of the major gladiator games at the year's end: as Wiedemann points out, December was the month for Saturnalia, the festival in which the lowest became the highest, and in which death was linked to renewal.\n", "The trade in gladiators was Empire-wide, and subjected to official supervision. Rome's military success produced a supply of soldier-prisoners who were redistributed for use in State mines or amphitheatres and for sale on the open market. For example, in the aftermath of the Jewish Revolt, the gladiator schools received an influx of Jews\u00a0\u2013 those rejected for training would have been sent straight to the arenas as noxii (lit. \"hurtful ones\").[60] The best\u00a0\u2013 the most robust\u00a0\u2013 were sent to Rome. In Rome's military ethos, enemy soldiers who had surrendered or allowed their own capture and enslavement had been granted an unmerited gift of life. Their training as gladiators would give them opportunity to redeem their honour in the munus.[61]\n", "Two other sources of gladiators, found increasingly during the Principate and the relatively low military activity of the Pax Romana, were slaves condemned to the arena, to gladiator schools or games (ad ludum gladiatorium)[62] as punishment for crimes, and paid volunteers (auctorati) who by the late Republic may have comprised approximately half\u00a0\u2013 and possibly the most capable half\u00a0\u2013 of all gladiators.[63] The use of volunteers had a precedent in the Iberian munus of Scipio Africanus; but none of those had been paid.[18] For Romans, \"gladiator\" would have meant a schooled fighter, sworn and contracted to a master.\n", "For the poor, and for non-citizens, enrollment in a gladiator school offered a trade, regular food, housing of sorts and a fighting chance of fame and fortune. Gladiators customarily kept their prize money and any gifts they received, and these could be substantial. Tiberius offered several retired gladiators 100,000 sesterces ($500,000) each to return to the arena.[64] Nero gave the gladiator Spiculus property and residence \"equal to those of men who had celebrated triumphs.\" [65] Mark Antony promoted gladiators to his personal guard.[66]\n", "From the 60s CE female gladiators appear, as \"exotic markers of exceptionally lavish spectacle\".[67] In 66 CE, Nero had Ethiopian women, men and children fight at a munus to impress King Tiridates I of Armenia.[68] Romans seem to have found the idea of a female gladiator novel and entertaining, or downright absurd; Juvenal titillates his readers with a woman named \"Mevia\", hunting boars in the arena \"with spear in hand and breasts exposed\",[69] and Petronius mocks the pretensions of a rich, low-class citizen, whose munus includes a woman fighting from a cart or chariot.[70] A munus of 89 CE, during Domitian's reign, featured a battle between female gladiators and dwarfs.[71] In Halicarnassus, a 2nd-century CE relief depicts two female combatants named \"Amazon\" and \"Achillia\"; their match ended in a draw.[72] In the same century, an epigraph praises one of Ostia's local elite as the first to \"arm women\" in the history of its games.[72] Female gladiators probably submitted to the same regulations and training as their male counterparts.[73] Roman morality required that all gladiators be of the lowest social classes, and emperors who failed to respect this distinction earned the scorn of posterity; Cassius Dio takes pains to point out that when the much admired emperor Titus used female gladiators, they were of acceptably low class.[67]\n", "Some regarded female gladiators as a symptom of corrupted Roman sensibilities, morals and womanhood, regardless of class. Before he became emperor, Septimius Severus may have attended the Antiochene Olympic Games, which had been revived by the emperor Commodus and included traditional Greek female athletics. His attempt to give Rome a similarly dignified display of female athletics was met by the crowd with ribald chants and cat-calls.[74] Probably as a result, he banned the use of female gladiators in 200 CE.[75][76]\n", "Caligula, Titus, Hadrian, Lucius Verus, Caracalla, Geta and Didius Julianus were all said to have performed in the arena (either in public or private) but risks to themselves were minimal.[77] Claudius, characterised by his historians as morbidly cruel and boorish, fought a whale trapped in the harbor in front of a group of spectators.[78] Commentators invariably disapproved of such performances.[79]\n", "Commodus was a fanatical participant at the ludi, much to the shame of the Senate, whom he loathed, and the probable delight of the populace at large. He fought as a secutor, styling himself \"Hercules Reborn\". As a bestiarius, he was said to have killed 100 lions in one day, almost certainly from a platform set up around the arena perimeter which allowed him to safely demonstrate his marksmanship. On another occasion, he decapitated a running ostrich with a specially designed dart, carried the bloodied head and his sword over to the Senatorial seats and gesticulated as though they were next.[80] He was said to have restyled Nero's colossal statue in his own image as \"Hercules Reborn\" and re-dedicated it to himself with the inscription; \"Champion of secutores; only left-handed fighter to conquer twelve times one thousand men.\" For this, he drew a gigantic stipend from the public purse.[81]\n", "The earliest munera took place at or near the tomb of the deceased and these were organised by their munerator (who made the offering). Later games were held by an editor, either identical with the munerator or an official employed by him. As time passed, these titles and meanings may have merged.[82] In the Republican era, private citizens could own and train gladiators, or lease them from a lanista (owner of a gladiator training school). From the Principate onwards, private citizens could hold munera and own gladiators only under Imperial permission, and the role of editor was increasingly tied to state officialdom.\n", "Legislation by Claudius required that quaestors, the lowest rank of Roman magistrate, personally subsidise two-thirds of the costs of games for their small-town communities\u00a0\u2013 in effect, both an advertisement of their personal generosity and a part-purchase of their office. Bigger games were put on by senior magistrates, who could better afford them. The largest and most lavish of all were paid for by the emperor himself.[83][84] An outline of these later games can be conjectured, using written histories, contemporary accounts, statuary, ephemera, memorabilia and stylised pictographic evidence.[85] Almost all the evidence comes from the Late Republic and Empire, and much of it from Pompeii.[83][86]\n", "Games were advertised beforehand on conspicuously placed billboards, giving the reason for the game, its editor, venue, date and the number of paired gladiators (ordinarii) to be used. Other highlighted features could include details of venationes, executions, music and any luxuries to be provided for the spectators, including a decorated awning against the sun, and water sprinklers. Food, drink, sweets and occasionally \"door prizes\" could be offered. For enthusiasts, a more detailed program (libellus) was prepared for the day of the munus, showing the names, types and match records of gladiator pairs (of interest to gamblers) and their order of appearance. Copies of the libellus were distributed among the crowd on the day of the match.[87] Left-handed gladiators were advertised as an interesting rarity; they were trained to fight right-handers, which gave them advantage over most opponents and produced an interestingly unorthodox combination.[88]\n", "The night before the munus, the gladiators were given a banquet and opportunity to order their personal and private affairs; Futrell notes its similarity to a ritualistic \"last meal\".[89] These were probably both family and public events which included even the noxii and damnati and they may have been used to drum up more publicity for the coming match.[90][91]\n", "From Augustus's time, official munera seem to have followed a standard sequence.[92] A procession (pompa) entered the arena led by lictors bearing fasces that signified the magistrate-editor's power over life and death. They were followed by a small band of tubicines playing a fanfare. Images of the gods were carried in to \"witness\" the proceedings, followed by a scribe (to record the outcome) and a man carrying the palm branch used to honour victors. The magistrate editor entered among a retinue who carried the arms and armour to be used; more musicians followed, then horses. The gladiators presumably came in last.[93]\n", "These official games usually began with venationes (beast hunts) and bestiarii (beast fighting) gladiators. Sometimes beasts were unharmed and simply exhibited.[94] Next came the ludi meridiani, of variable content but usually involving executions of noxii (sometimes as \"mythological\" re-enactments) or others condemned (damnati) to the arena.[95] Gladiators may have been involved in these though the crowd, and the gladiators themselves, preferred the \"dignity\" of an even contest.[96] There were also comedy fights; some may have been lethal. A crude Pompeian graffito suggests a burlesque of musicians, dressed as animals named Ursus tibicen (flute-playing bear) and Pullus cornicen (horn-blowing chicken), perhaps as accompaniment to clowning by paegniarii during a \"mock\" contest of the ludi meridiani.[97]\n", "Before the listed contests were fought, the gladiators may have held informal warm-up matches, using blunted or dummy weapons\u00a0\u2013 some munera, however, may have used blunted weapons throughout.[98] The editor, his representative or an honoured guest would check the weapons (probatio armorum) for the scheduled matches.[99] These were the highlight of the day, and were as inventive, varied and novel as the editor could afford. Armatures could be very costly\u00a0\u2013 some were flamboyantly decorated with exotic feathers, jewels and precious metals. Increasingly the munus was the editor's gift to spectators who had come to expect the best as their due.[100] In late Republican munera, between 10 and 13 pairs could have fought on one day; this assumes one match at a time in the course of an afternoon.[90] Fights were interspersed or accompanied by music, perhaps intended to accentuate or follow the action. Music may have heightened the suspense during a gladiator's appeal; blows may have been accompanied by trumpet-blasts. The gravestones of several musicians and gladiators mention such modulations.[101] The Zliten mosaic in Libya (circa 80\u2013100 CE) shows musicians playing an accompaniment to provincial games (with gladiators, bestiarii, or venatores and prisoners attacked by beasts). Their instruments are a long straight trumpet (tubicen), a large curved horn (Cornu) and a water organ (hydraulis).[102] Similar representations (musicians, gladiators and bestiari) are found on a tomb relief in Pompeii.[103]\n", "In the earliest munera, death was considered the proper outcome of combat. During the Imperial era, matches were sometimes advertised sine missione (without release [from the sentence of death]), which suggests that missio (the sparing of a defeated gladiator's life) had become a common practice at the games. The contract between editor and lanista could include compensation for unexpected deaths.[104][105] As the demand for gladiators began to exceed supply, matches sine missione were officially banned, a pragmatic Augustan decision that also happened to reflect popular demands for \"natural justice\". Refusals by Caligula and Claudius to spare popular but defeated fighters did nothing to boost their own popularity. In most circumstances, a gladiator who fought well was likely to be spared.[106]\n", "Among the cognoscenti, bravado and skill in combat were esteemed over mere bloodshed; some gladiators made their careers and reputation from bloodless victories. Suetonius describes an exceptional munus by Nero, in which no-one was killed, \"not even noxii (enemies of the state).\"[107]\n", "By common custom, the spectators decided whether or not a losing gladiator should be spared, and chose the winner in the rare event of a \"standing tie\".[108][109] Most matches employed a senior referee (summa rudis) and an assistant, shown in mosaics with long staffs (rudes) to caution or separate opponents at some crucial point in the match. A gladiator's self-acknowledged defeat, signaled by a raised finger (ad digitum), told the referee to stop the combat and refer to the editor, whose decision would usually rest on the crowd's mood. During the match, referees exercised judgement and discretion; they could stop bouts entirely, or pause them to allow combatants rest, refreshment and a \"rub-down\".[110]\n", "Most gladiators fought at two or three munera annually. An unknown number died in their first match and a few fought in up to 150 combats.[111] At a Pompeian match between chariot-fighters, Publius Ostorius, with previous 51 wins to his credit, was granted missio after losing to Scylax, with 26 victories.[112] A single bout probably lasted between 10\u201315 minutes, or 20 minutes at most;[113] Spectators preferred well matched ordinarii with complementary fighting styles but other combinations are found, such as several gladiators fighting together or the serial replacement of a match loser by a new gladiator, who would fight the winner.[114]\n", "Victors received the palm branch and an award from the editor. An outstanding fighter might receive a laurel crown and money from an appreciative crowd but for anyone originally condemned ad ludum the greatest reward was manumission (i.e., emancipation), symbolised by the gift of a wooden training sword or staff (rudis) from the editor. Martial describes a match between Priscus and Verus, who fought so evenly and bravely for so long that when both acknowledged defeat at the same instant, Titus awarded victory and a rudis to each.[115] Flamma was awarded the rudis four times, but chose to remain a gladiator. His gravestone in Sicily includes his record: \"Flamma, secutor, lived 30 years, fought 34 times, won 21 times, fought to a draw 9 times, defeated 4 times, a Syrian by nationality. Delicatus made this for his deserving comrade-in-arms.\"[116]\n", "Popular factions supported favourite gladiators and gladiator types.[117] Under Augustan legislation, the Samnite type was renamed secutor (equipped with an oblong or \"large\" shield called a scutum), whose supporters were secutarii.[118] As the games evolved, any lightly armed, defensive fighter could be included in this group. The heavily armoured and armed Thracian types (Thraex) and Murmillo, who fought with smaller shields called a parma, were parmularii (small shield), as were their supporters. Trajan preferred the parmularii and Domitian the secutarii; Marcus Aurelius took neither side. Nero seems to have enjoyed the brawls between rowdy, enthusiastic and sometimes violent factions, but called in the troops if they went too far.[119][120]\n", "Once a band of five retiarii in tunics, matched against the same number of secutores, yielded without a struggle; but when their death was ordered, one of them caught up his trident and slew all the victors. Caligula bewailed this in a public proclamation as a most cruel murder.[121]\n", "There were also local rivalries. At Pompeii's amphitheatre, trading of insults between Pompeians and Nucerian spectators during public ludi led to stone throwing and riot. Many were killed or wounded. Nero banned gladiator munera (though not the games) at Pompeii for ten years as punishment. The story is told in graffiti and high quality wall painting, with much boasting of Pompeii's \"victory\" over Nuceria.[122]\n", "The earliest named gladiator school (singular: ludus; plural: ludi) is that of Aurelius Scaurus at Capua\u00a0\u2013 he was lanista of the gladiators employed by the state circa 105 BCE to instruct the legions and simultaneously entertain the public.[123] Few other lanistae are known by name: they were head of their familia gladiatoria, with legal power over life and death of every family member, including servi poenae, auctorati and ancillaries but socially they were infames, on a footing with pimps and butchers and despised as price gougers.[124] No such stigma was attached to a gladiator owner (munerarius or editor) of good family, high status and independent means;[125] Cicero congratulated his friend Atticus on buying a splendid troop\u00a0\u2013 if he rented them out, he might recover their entire cost after two performances.[126]\n", "The Spartacus revolt had originated in a gladiator school privately owned by Lentulus Batiatus, and had been suppressed only after a protracted series of costly, sometimes disastrous campaigns by regular Roman troops. In the late Republican era, a fear of similar uprisings, the usefulness of gladiator schools in creating private armies, and the exploitation of munera for political gain led to increased restrictions on gladiator school ownership, siting and organisation. By Domitian's time, many had been more or less absorbed by the State, including those at Pergamum, Alexandria, Praeneste and Capua.[127] The city of Rome itself had four; the Ludus Magnus (the largest and most important, housing up to about 2,000 gladiators), Ludus Dacicus, Ludus Gallicus, and the Ludus Matutinus, which trained bestiarii.[82]\n", "In the Imperial era, volunteers required a magistrate's permission to join a school as auctorati.[128] If this was granted, the school's physician assessed their suitability. Their contract (auctoramentum) stipulated how often they were to perform, their fighting style and earnings. A condemned bankrupt or debtor accepted as novice (novicius) could negotiate with his lanista or editor for the partial or complete payment of his debt. Faced with runaway re-enlistment fees for skilled auctorati, Marcus Aurelius set their upper limit at 12,000 sesterces.[129]\n", "All prospective gladiators, whether volunteer or condemned, were bound to service by a sacred oath (sacramentum).[130] Novices (novicii) trained under teachers of particular fighting styles, probably retired gladiators.[131] They could ascend through a hierarchy of grades (singular: palus) in which primus palus was the highest.[132] Lethal weapons were prohibited in the schools\u00a0\u2013 weighted, blunt wooden versions were probably used. Fighting styles were probably learned through constant rehearsal as choreographed \"numbers\". An elegant, economical style was preferred. Training included preparation for a stoical, unflinching death. Successful training required intense commitment.[133]\n", "Those condemned ad ludum were probably branded or marked with a tattoo (stigma, plural stigmata) on the face, legs and/or hands. These stigmata may have been text\u00a0\u2013 fugitive slaves were marked thus on the forehead until Constantine banned the use of facial stigmata in 325 CE. Soldiers were marked on the hand.[134]\n", "Gladiators were typically accommodated in cells, arranged in barrack formation around a central practice arena. Juvenal describes the segregation of gladiators according to type and status, suggestive of rigid hierarchies within the schools: \"even the lowest scum of the arena observe this rule; even in prison they're separate\". Retiarii were kept away from damnati, and \"fag targeteers\" from \"armoured heavies\". As most ordinarii at games were from the same school, this kept potential opponents separate and safe from each other until the lawful munus.[135] Discipline could be extreme, even lethal.[136] Remains of a Pompeian ludus site attest to developments in supply, demand and discipline; in its earliest phase, the building could accommodate 15\u201320 gladiators. Its replacement could have housed about 100 and included a very small cell, probably for lesser punishments and so low that standing was impossible.[137]\n", "Despite the harsh discipline, gladiators represented a substantial investment for their lanista and were otherwise well cared for. Their high-energy, vegetarian diet combined barley, boiled beans, oatmeal, ash (believed to help fortify the body) and dried fruit. Compared to modern athletes, they were probably overweight, but this may have \"protected their vital organs from the cutting blows of their opponents\". The same research suggests they may have fought barefoot.[138][139]\n", "Regular massage and high quality medical care helped mitigate an otherwise very severe training regimen. Part of Galen's medical training was at a gladiator school in Pergamum where he saw (and would later criticise) the training, diet, and long term health prospects of the gladiators.[140]\n", "\"He vows to endure to be burned, to be bound, to be beaten, and to be killed by the sword.\" The gladiator's oath as cited by Petronius (Satyricon, 117).\n", "Modern customs and institutions offer few useful parallels to the legal and social context of the gladiatoria munera[141] In Roman law, anyone condemned to the arena or the gladiator schools (damnati ad ludum) was a servus poenae (slave of the penalty), and was considered to be under sentence of death unless manumitted.[142] A rescript of Hadrian reminded magistrates that \"those sentenced to the sword\" should be despatched immediately \"or at least within the year\". Those sentenced to the ludi should not be discharged before five years or three years if awarded manumission.[143] On the one hand, only slaves found guilty of specific offences could be sentenced to the arena, and citizens were legally exempt from this sentence. On the other hand, citizens found guilty of particular offenses could be stripped of citizenship, formally enslaved and sentenced as slaves; and freedmen or freedwomen offenders could be legally reverted to slavery.[144] Arena punishment could be meted for banditry, theft and arson, or treasonous acts such as rebellion, census evasion to avoid paying due taxes and refusal to swear lawful oaths.[145]\n", "Offenders seen as particularly obnoxious to the state (noxii) received the most humiliating punishments.[146] By the 1st century BCE, noxii were being condemned to the beasts (damnati ad bestias) in the arena, with almost no chance of survival, or were made to kill each other.[147] From the early Imperial era, some were forced to participate in humiliating and novel forms of mythological or historical enactment, culminating in their execution.[148]\n", "Those judged less harshly might be condemned ad ludum venatorium or ad gladiatorium\u00a0\u2013 combat with animals or gladiators\u00a0\u2013 and armed as thought appropriate. These damnati at least might put on a good show and retrieve some respect. They might even\u00a0\u2013 and occasionally did\u00a0\u2013 survive to fight another day. Some may even have become \"proper\" gladiators.[149]\n", "The phenomenon of the \"volunteer\" gladiator is more problematic. All contracted volunteers, including those of equestrian and senatorial class, were legally enslaved by their auctoratio because it involved their potentially lethal submission to a master.[150] Nor does the citizen or free volunteer's \"professional\" status translate into modern terms. All arenarii (those who appeared in the arena) were \"infames by reputation\", a form of social dishonour which excluded them from most of the advantages and rights of citizenship. Payment for such appearances compounded their infamia.[151] The legal and social status of even the most popular and wealthy auctorati was thus marginal at best. They could not vote, plead in court nor leave a will; unless they were manumitted, their lives and property belonged to their masters.[152] Nevertheless, there is evidence of informal if not entirely lawful practices to the contrary. Some \"unfree\" gladiators bequeathed money and personal property to wives and children, possibly via a sympathetic owner or familia; some had their own slaves and gave them their freedom.[153] One gladiator was even granted \"citizenship\" to several Greek cities of the Eastern Roman world.[154]\n", "Among the most admired and skilled auctorati were those who, having been granted manumission, volunteered to fight in the arena.[155] Some of these highly trained and experienced specialists may have had no other practical choice open to them. Their legal status \u2014 slave or free \u2014 is uncertain. Under Roman law, a former gladiator could not \"offer such services [as those of a gladiator] after manumission, because they cannot be performed without endangering [his] life.\"[156]\n", "Caesar's munus of 46 BCE included at least one equestrian, son of a Praetor, and possibly two senatorial volunteers.[157] Under Augustus, senators and equestrians and their descendants were formally excluded from the infamia of association with the arena and its personnel (arenarii). However, some magistrates\u00a0\u2013 and some later Emperors\u00a0\u2013 tacitly or openly condoned such transgressions and some volunteers were prepared to embrace the resulting loss of status. Some did so for payment, some for military glory and, in one recorded case, for personal honour.[158] In 11 CE, Augustus, who enjoyed the games, bent his own rules and allowed equestrians to volunteer because \"the prohibition was no use\".[159] Under Tiberius, the Larinum decree[160] (19 CE) reiterated the laws which Augustus himself had waived. Thereafter, Caligula flouted them and Claudius strengthened them. Nero and Commodus ignored them. Valentinian II, some hundreds of years later, protested against the same infractions and repeated similar laws: his was an officially Christian empire.[161]\n", "One very notable social renegade was an aristocratic descendant of the Gracchi, infamous for his marriage (as a bride) to a male horn player. He made a voluntary and \"shameless\" arena appearance not only as a lowly retiarius tunicatus but in woman's attire and a conical hat adorned with gold ribbon. In Juvenal's account, he seems to have relished the scandalous self-display, applause and the disgrace he inflicted on his more sturdy opponent by repeatedly skipping away from the confrontation.[162]\n", "As munera grew larger and more popular, open spaces such as the Forum Romanum were adapted (as the Forum Boarium had been) as venues in Rome and elsewhere, with temporary, elevated seating for the patron and high status spectators; they were popular but not truly public events:\n", "A show of gladiators was to be exhibited before the people in the market-place, and most of the magistrates erected scaffolds round about, with an intention of letting them for advantage. Caius commanded them to take down their scaffolds, that the poor people might see the sport without paying anything. But nobody obeying these orders of his, he gathered together a body of labourers, who worked for him, and overthrew all the scaffolds the very night before the contest was to take place. So that by the next morning the market-place was cleared, and the common people had an opportunity of seeing the pastime. In this, the populace thought he had acted the part of a man; but he much disobliged the tribunes his colleagues, who regarded it as a piece of violent and presumptuous interference.[163][164]\n", "Towards the end of the Republic, Cicero (Murena, 72\u20133) still describes gladiator shows as ticketed\u00a0\u2014 their political usefulness was served by inviting the rural tribunes of the plebs, not the people of Rome en masse \u2013 but in Imperial times, poor citizens in receipt of the corn dole were allocated at least some free seating, possibly by lottery.[165] Others had to pay. Ticket scalpers (Locarii) sometimes sold or let out seats at inflated prices. Martial wrote that \"Hermes [a gladiator who always drew the crowds] means riches for the ticket scalpers\".[166]\n", "The earliest known Roman amphitheatre was built at Pompeii by Sullan colonists, around 70 BCE.[167] The first in the city of Rome was the extraordinary wooden Amphitheatre of Gaius Scribonius Curio (built in 53 BCE).[168] The first part-stone amphitheatre in Rome was inaugurated in 29\u201330 BCE, in time for the triple triumph of Octavian (later Augustus).[169] Shortly after it burned down in 64 CE, Vespasian began its replacement, later known as the Amphitheatrum Flavium (Colosseum), which seated 50,000 spectators and would remain the largest in the Empire. It was inaugurated by Titus in 80 CE, the personal gift of the Emperor to the people of Rome, paid for by the Imperial share of booty after the Jewish Revolt.[170]\n", "Amphitheatres were usually oval in plan. Their seating tiers surrounded the arena below, where the community's judgments were meted out, in full view of all. From across the stands, crowd and editor could assess each other's character and temperament. For the crowd, amphitheatres afforded unique opportunities for free expression and free speech (theatralis licentia). Petitions could be submitted to the editor (as magistrate) in full view of the community. Factiones and claques could vent their spleen on each other, and occasionally on Emperors. The emperor Titus's dignified yet confident ease in his management of an amphitheatre crowd and its factions were taken as a measure of his enormous popularity and the rightness of his imperium. The amphitheatre munus thus served the Roman community as living theatre and a court in miniature, in which judgement could be served not only on those in the arena below, but on their judges.[171][172][173] Amphitheatres also provided a means of social control. Their seating was \"disorderly and indiscriminate\" until Augustus prescribed its arrangement in his Social Reforms. To persuade the Senate, he expressed his distress on behalf of a Senator who could not find seating at a crowded games in Puteoli:\n", "In consequence of this the senate decreed that, whenever any public show was given anywhere, the first row of seats should be reserved for senators; and at Rome he would not allow the envoys of the free and allied nations to sit in the orchestra, since he was informed that even freedmen were sometimes appointed. He separated the soldiery from the people. He assigned special seats to the married men of the commons, to boys under age their own section and the adjoining one to their preceptors; and he decreed that no one wearing a dark cloak should sit in the middle of the house. He would not allow women to view even the gladiators except from the upper seats, though it had been the custom for men and women to sit together at such shows. Only the Vestal virgins were assigned a place to themselves, opposite the praetor's tribunal.[174]\n", "These arrangements do not seem to have been strongly enforced.[119]\n", "The proximity of death defined the munus for all concerned. To die well, a gladiator should never ask for mercy, nor cry out.[175] A \"good death\" redeemed a defeated gladiator from the dishonourable weakness and passivity of defeat, and provided a noble example to those who watched:[176]\n", "For death, when it stands near us, gives even to inexperienced men the courage not to seek to avoid the inevitable. So the gladiator, no matter how faint-hearted he has been throughout the fight, offers his throat to his opponent and directs the wavering blade to the vital spot. (Seneca. Epistles, 30.8)\n", "Some mosaics show defeated gladiators kneeling in preparation for the moment of death. Seneca's \"vital spot\" seems to have meant the neck.[177] Gladiator remains from Ephesus confirm this.[178]\n", "The body of a gladiator who had died well was placed on a couch of Libitina and removed from the arena with dignity. Once in the arena morgue, the corpse would have been stripped of armour, and probably had its throat cut to prove that dead was dead. The Christian author Tertullian, commenting on ludi meridiani in Roman Carthage during the peak era of the games, describes a more humiliating method of removal. One arena official, dressed as the \"brother of Jove\", Dis Pater (god of the underworld) strikes the corpse with a mallet. Another, dressed as Mercury, tests for life-signs with a heated \"wand\"; once confirmed as dead, the body is dragged from the arena.[179] Whether these victims were gladiators or noxii is unknown. Modern pathological examination confirms the probably fatal use of a mallet on some, but not all the gladiator skulls found in a gladiators' cemetery.[180] Kyle (1998) proposes that gladiators who disgraced themselves might have been subjected to the same indignities as noxii, denied the relative mercies of a quick death and dragged from the arena as carrion.[181] Whether the corpse of such a gladiator could be redeemed from further ignominy by friends or familia is not known.[182]\n", "The average gladiator lifespan was short; few survived more than 10 matches or lived past the age of 30. One (Felix) is known to have lived to 45 and one retired gladiator lived to 90. George Ville calculated an average age at death at 27 for gladiators (based on headstone evidence), with mortality \"among all who entered the arena\" around the 1st century CE at 19/100. A rise in the risk of death for losers, from 1/5 to 1/4 between the early and later Imperial periods, seems to suggest missio was granted less often.[183] Marcus Junkelmann disputes Ville's calculation for average age at death; the majority would have received no headstone, and would have died early in their careers, at 18\u201325 years of age.[184] Historians Keith Hopkins and Mary Beard tentatively estimate a total of 400 arenas throughout the Roman Empire at its greatest extent, with a combined total of 8,000 deaths per annum from all causes, including execution, combat and accident.[185]\n", "Death and disposal therefore perpetuated the divisions and judgements of society. In the pre-Christian era, the highest status funerals involved expensive, prolonged cremation ceremonies, sometimes complete with a munus offering. At the opposite extreme, the noxii (and possibly other damnati) could be thrown into rivers or dumped unburied.[186] This extended their damnatio beyond death into perpetual oblivion and their shade (manes) to restless wandering upon the earth as dreadful larvae or lemures.[187] All others\u00a0\u2013 citizens, slaves or free\u00a0\u2013 were usually buried beyond the town or city limits to avoid the ritual and physical pollution of their community. Gladiators were segregated in separate cemeteries. Even for those whose death had brought honourable release, the taint of infamia was perpetual.[188]\n", "Memorials were a major expense, and testify only to those who prospered. Gladiators could subscribe to a union (collegia) which ensured proper burial, with compensation for wives and children. The gladiator's familia or one of its members (including lanistae, comrades, wives and children) sometimes paid.[189]\n", "Tomb inscriptions from the Eastern Roman Empire include these brief examples:\n", "\"The familia set this up in memory of Saturnilos.\"\n", "\"For Nikepharos, son of Synetos, Lakedaimonian, and for Narcissus the secutor. Titus Flavius Satyrus set up this monument in his memory from his own money.\"\n", "\"For Hermes. Paitraeites with his cell-mates set this up in memory\".[190]\n", "The hand of Nemesis in a gladiator's death absolved him from ignominy. His virtus could thus be remembered in perpetuity, and he could be memorialised as a skilled fighter, one worth avenging:\n", "\"I, Victor, left-handed, lie here, but my homeland was in Thessalonica. Doom killed me, not the liar Pinnas. No longer let him boast. I had a fellow gladiator, Polyneikes, who killed Pinnas and avenged me. Claudius Thallus set up this memorial from what I left behind as a legacy.\"[191]\n", "A man who knows how to conquer in war is a man who knows how to arrange a banquet and put on a show.[192]\n", "Rome was essentially a landowning military aristocracy. From the early days of the Republic, ten years of military service were a citizen's duty and a prerequisite for election to public office. Devotio (willingness to sacrifice one\u2019s life to the greater good) was central to the Roman military ideal, and was the core of the Roman military oath. It applied from highest to lowest alike in the chain of command.[193] As a soldier committed his life (voluntarily, at least in theory) to the greater cause of Rome's victory, he was not expected to survive defeat.[194]\n", "The Punic Wars of the late 3rd century BCE\u00a0\u2013 in particular the near-catastrophic defeat of Roman arms at Cannae\u00a0\u2013 had long lasting effects on the Republic, its citizen armies, and the development of the gladiatorial munera. In the aftermath of Cannae, Scipio Africanus crucified Roman deserters and had non-Roman deserters thrown to the beasts.[195] The Senate refused to ransom Hannibal's Roman captives: instead, they made drastic preparations:\n", "In obedience to the Books of Destiny, some strange and unusual sacrifices were made, human sacrifices amongst them. A Gaulish man and a Gaulish woman and a Greek man and a Greek woman were buried alive under the Forum Boarium...They were lowered into a stone vault, which had on a previous occasion also been polluted by human victims, a practice most repulsive to Roman feelings. When the gods were believed to be duly propitiated...Armour, weapons, and other things of the kind were ordered to be in readiness, and the ancient spoils gathered from the enemy were taken down from the temples and colonnades. The dearth of freemen necessitated a new kind of enlistment; 8,000 sturdy youths from amongst the slaves were armed at the public cost, after they had each been asked whether they were willing to serve or no. These soldiers were preferred, as there would be an opportunity of ransoming them when taken prisoners at a lower price.[196]\n", "The account notes, uncomfortably, the proximity of recent human sacrifice. While the Senate mustered their willing slaves, Hannibal offered his dishonoured Roman captives a chance for honourable death, in what Livy describes as something very like the Roman munus. The munus thus represented an essentially military, self-sacrificial ideal, taken to extreme fulfillment in the gladiator's oath.[173] By the devotio of a voluntary oath, a slave might achieve the quality of a Roman (Romanitas), become the embodiment of true virtus (manliness, or manly virtue), and paradoxically, be granted missio while remaining a slave.[130] The gladiator as a specialist fighter, and the ethos and organization of the gladiator schools, would inform the development of the Roman military as the most effective force of its time.[197] In 107 BCE, the Marian Reforms established the Roman army as a professional body. Two years later, following its defeat at Arausio:\n", "...weapons training was given to soldiers by P. Rutilius, consul with C. Mallis. For he, following the example of no previous general, with teachers summoned from the gladiatorial training school of C. Aurelus Scaurus, implanted in the legions a more sophisticated method of avoiding and dealing a blow and mixed bravery with skill and skill back again with virtue so that skill became stronger by bravery's passion and passion became more wary with the knowledge of this art.[24]\n", "The military were great aficionados of the games, and supervised the schools. Many schools and amphitheatres were sited at or near military barracks, and some provincial army units owned gladiator troupes.[198] As the Republic wore on, the term of military service increased from ten to the sixteen years formalised by Augustus in the Principate. It would rise to twenty, and later, to twenty five years. Roman military discipline was ferocious; severe enough to provoke mutiny, despite the consequences. A career as a volunteer gladiator may have seemed an attractive option for some.[199]\n", "In the Year of the Four Emperors, Otho's troops at Bedriacum included 2000 gladiators. Opposite him on the field, Vitellius's army was swollen by levies of slaves, plebs and gladiators.[200] In 167 CE, troop depletions by plague and desertion may have prompted Marcus Aurelius to draft gladiators at his own expense.[201] During the Civil Wars that led to the Principate, Octavian (later Augustus) acquired the personal gladiator troop of his erstwhile opponent, Mark Antony. They had served their late master with exemplary loyalty but thereafter, they disappear from the record.[66]\n", "Roman writing as a whole demonstrates a deep ambivalence towards the gladiatoria munera. Even the most complex and sophisticated munera of the Imperial era evoked the ancient, ancestral dii manes of the underworld and were framed by the protective, lawful rites of sacrificium. Their popularity made their co-option by the state inevitable; Cicero acknowledged their sponsorship as a political imperative.[202] Despite the popular adulation of gladiators, they were set apart, despised; and despite Cicero's contempt for the mob, he shared their admiration: \"Even when [gladiators] have been felled, let alone when they are standing and fighting, they never disgrace themselves. And suppose a gladiator has been brought to the ground, when do you ever see one twist his neck away after he has been ordered to extend it for the death blow?\" His own death would later emulate this example.[203][204] Yet, Cicero could also refer to his popularist opponent Clodius, publicly and scathingly, as a bustuarius\u00a0\u2013 literally, a \"funeral-man\", implying that Clodius has shown the moral temperament of the lowest sort of gladiator. Such finer distinctions aside, \"gladiator\" could be (and was) used as an insult throughout the Roman period.[205] Silius Italicus wrote, as the games approached their peak, that the degenerate Campanians had devised the very worst of precedents, which now threatened the moral fabric of Rome: \"It was their custom to enliven their banquets with bloodshed and to combine with their feasting the horrid sight of armed men fighting; often the combatants fell dead above the very cups of the revelers, and the tables were stained with streams of blood. Thus demoralised was Capua.\"[206] Death might be rightly meted out as punishment, or met with equanimity in peace or war as a gift of fate, but if it was inflicted as a form of secular entertainment, with no underlying moral or religious purpose, it could only pollute and demean those who witnessed it.[207]\n", "The munus itself could be interpreted as pious necessity, but its increasing luxury corroded Roman virtue, and created an un-Roman appetite for profligacy and self-indulgence.[208] Caesar's 46 BCE ludi were hardly justified as munus after a 20 year interval since his father's death, in which case they were mere entertainment for political gain, a waste of lives, and of money, better doled out to needy army veterans.[209] Yet for Seneca, and for Marcus Aurelius\u00a0\u2013 both professed Stoics\u00a0\u2013 the degradation of gladiators in the munus highlighted their Stoic virtues: their unconditional obedience to their master and to fate, and equanimity in the face of death. Having \"neither hope nor illusions\", the gladiator could transcend his own debased nature, and disempower death itself by meeting it face to face. Courage, dignity, altruism and loyalty were morally redemptive; Lucian idealised this principle in his story of Sisinnes, who voluntarily fought as a gladiator, earned 10,000 drachmas and used it to buy freedom for his friend, Toxaris.[210] Seneca had a lower opinion of the mob's un-Stoical appetite for ludi meridiani: \"Man [is]...now slaughtered for jest and sport; and those whom it used to be unholy to train for the purpose of inflicting and enduring wounds are thrust forth exposed and defenceless.\"[173]\n", "These accounts seek a higher moral meaning from the munus, but Ovid's very detailed (though satirical) instructions for seduction in the amphitheatre suggest that the spectacles could generate a potent and dangerously sexual atmosphere.[119] Augustan seating prescriptions placed women\u00a0\u2013 excepting the Vestals, who were legally inviolate\u00a0\u2013 as far as possible from the action of the arena floor; or tried to. There remained the thrilling possibility of clandestine sexual transgression by high-caste spectators and their heroes of the arena. Such assignations were a source for gossip and satire but some became unforgivably public:[211]\n", "What was the youthful charm that so fired Eppia? What hooked her? What did she see in him to make her put up with being called \"the gladiator's moll\"? Her poppet, her Sergius, was no chicken, with a dud arm that prompted hope of early retirement. Besides his face looked a proper mess, helmet-scarred, a great wart on his nose, an unpleasant discharge always trickling from one eye. But he was a gladiator. That word makes the whole breed seem handsome, and made her prefer him to her children and country, her sister, her husband. Steel is what they fall in love with.[212]\n", "Eppia\u00a0\u2013 a senator's wife\u00a0\u2013 and her Sergius eloped to Egypt, where he deserted her. Most gladiators would have aimed lower. Two wall graffiti in Pompeii describe Celadus the Thraex as \"the sigh of the girls\" and \"the glory of the girls\"\u00a0\u2013 which may or may not have been Celadus' own wishful thinking.[213]\n", "In the later Imperial era, Servius Maurus Honoratus uses the same disparaging term as Cicero\u00a0\u2013 bustuarius\u00a0\u2013 for gladiators.[214] Tertullian used it somewhat differently\u00a0\u2013 all victims of the arena were sacrificial in his eyes\u00a0\u2013 and expressed the paradox of the arenarii as a class, from a Christian viewpoint:\n", "On the one and the same account they glorify them and they degrade and diminish them; yes, further, they openly condemn them to disgrace and civil degradation; they keep them religiously excluded from council chamber, rostrum, senate, knighthood, and every other kind of office and a good many distinctions. The perversity of it! They love whom they lower; they despise whom they approve; the art they glorify, the artist they disgrace.[215]\n", "Very little evidence survives for the religious beliefs of gladiators as a class, or their expectations of an afterlife. Modern scholarship offers little support for the once-prevalent notion that gladiators, along with venatores and bestiarii were personally or professionally dedicated to the cult of Nemesis. Rather, she seems to have been associated with Imperial power, and thus with the arena as a place of Imperial justice and retribution. One gladiator's tomb dedication clearly states that her decisions are not to be trusted.[216]\n", "In this new Play, I attempted to follow the old custom of mine, of making a fresh trial; I brought it on again. In the first Act I pleased; when in the meantime a rumor spread that gladiators were about to be exhibited; the populace flock together, make a tumult, clamor aloud, and fight for their places: meantime, I was unable to maintain my place.[217]\n", "Images of gladiators could be found throughout the Republic and Empire, among all classes. Walls in the 2nd century BCE \"Italian Agora\" at Delos were decorated with paintings of gladiators. Mosaics dating from the 2nd through 4th centuries CE have been invaluable in the reconstruction of combat and its rules, gladiator types and the development of the munus. Throughout the Roman world, ceramics, lamps, gems and jewellery, mosaics, reliefs, wall paintings and statuary offer evidence, sometimes the best evidence, of the clothing, props, equipment, names, events, prevalence and rules of gladiatorial combat. Earlier periods provide only occasional, perhaps exceptional examples.[86][218] The Gladiator Mosaic in the Galleria Borghese displays several gladiator types, and the Bignor Roman Villa mosaic from Provincial Britain shows Cupids as gladiators. Souvenir ceramics were produced depicting named gladiators in combat; similar images of higher quality, were available on more expensive articles in high quality ceramic, glass or silver.\n", "Pliny the Elder gives vivid examples of the popularity of gladiator portraiture in Antium and an artistic treat laid on by an adoptive aristocrat for the solidly plebeian citizens of the Roman Aventine:\n", "When a freedman of Nero was giving a gladiatorial show at Antium, the public porticoes were covered with paintings, so we are told, containing life-like portraits of all the gladiators and assistants. This portraiture of gladiators has been the highest interest in art for many centuries now, but it was Gaius Terentius who began the practice of having pictures made of gladiatorial shows and exhibited in public; in honour of his grandfather who had adopted him he provided thirty pairs of Gladiators in the Forum for three consecutive days, and exhibited a picture of the matches in the Grove of Diana.[219]\n", "Gladiator show fight in Trier in 2005.\n", "Nimes, 2005.\n", "Carnuntum, Austria, 2007.\n", "Video of a show fight at the Roman Villa Borg, Germany, in 2011 (Retarius vs. Secutor, Thraex vs. Murmillo).\n", "http://en.wikipedia.org/wiki/From_Here_to_Eternity\n", "From Here to Eternity is a 1953 drama film directed by Fred Zinnemann and based on the novel of the same name by James Jones. The picture deals with the tribulations of three soldiers, played by Burt Lancaster, Montgomery Clift, and Frank Sinatra, stationed on Hawaii in the months leading up to the attack on Pearl Harbor. Deborah Kerr and Donna Reed portray the women in their lives and the supporting cast includes Ernest Borgnine, Philip Ober, Jack Warden, Mickey Shaughnessy, Claude Akins, and George Reeves." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film won eight Academy Awards out of 13 nominations, including for Picture, Best Director (Fred Zinnemann), Adapted Screenplay, Supporting Actor (Frank Sinatra) and Supporting Actress (Donna Reed).[2] The film's title comes originally from a quote from Rudyard Kipling's 1892 poem \"Gentlemen-Rankers\", about soldiers of the British Empire who had \"lost [their] way\" and were \"damned from here to eternity\".\n", "\n", "\n", "In 1941, bugler and career soldier Private Robert E. Lee Prewitt (Montgomery Clift) transfers to a rifle company at Schofield Barracks on the island of Oahu. Captain Dana \"Dynamite\" Holmes (Philip Ober) has heard he is a talented middleweight boxer and wants him to join his regimental boxing team in order to secure a promotion. Prewitt refuses, having stopped fighting because he blinded his sparring partner and close friend over a year before. Holmes is adamant, but so is Prewitt.\n", "Holmes makes life as miserable as possible for Prewitt, hoping he will give in. Holmes orders First Sergeant Milton Warden (Burt Lancaster) to prepare general court-martial papers after Sergeant Galovitch (John Dennis) first insults Prewitt, then gives an unreasonable order which Prewitt refuses to obey. Warden, however, suggests that he try to get Prewitt to change his mind by doubling up on company punishment. Warden's goal is not to punish Prewitt, but to prevent a court-martial for a career soldier. The other non-commissioned officers assist in the conspiracy. Prewitt is supported only by his friend, Private Angelo Maggio (Frank Sinatra).\n", "Meanwhile, Warden begins an affair with Holmes' neglected wife Karen (Deborah Kerr). Warden tells Karen the penalty for their affair is a twenty-year prison sentence. Sergeant Maylon Stark (George Reeves) has told Warden about Karen's many previous affairs at Fort Bliss, including with him. As their relationship develops, Warden asks Karen about her affairs to test her sincerity. Karen relates that Holmes has been unfaithful to her most of their marriage. She miscarried one night when Holmes returned home from seeing a hat-check girl, drunk and unable to call a doctor, resulting in her being unable to bear any more children. She then affirms her love for Warden.\n", "Prewitt and Maggio spend their liberty at the New Congress Club, a gentlemen's club where Prewitt falls for Lorene (Donna Reed). She wants to marry a \"proper\" man with a \"proper\" job and live a \"proper\" life. Maggio and Staff Sergeant James R. Judson (Ernest Borgnine) nearly come to blows at the club over Judson's loud piano playing, which interferes with Maggio's dancing.\n", "Later, Judson provokes Maggio by taking his photograph of his sister from him, kissing it, and whispering in Prewitt's ear. Maggio smashes a barstool over Judson's head. Judson pulls a switchblade, but Warden intervenes. When Judson advances on Warden, Warden breaks a beer bottle to make a makeshift weapon, causing Judson to back down. However, Judson warns Maggio that sooner or later he will end up in the stockade, where Judson is the Sergeant of the Guard.\n", "Karen tells Warden that if he became an officer, she could divorce Holmes and marry him. Warden reluctantly agrees to consider it. Warden gives Prewitt a weekend pass. He goes to see Lorene. Maggio then walks in drunk, having deserted his post. The military police arrest Maggio, and he is sentenced to six months in the stockade where Judson is waiting.\n", "Then Sergeant Galovitch picks a fight with Prewitt. At first, Prewitt refuses to fight back, then resorts to only body blows. His fighting spirit re-emerges, and Prewitt comes close to knocking Galovitch out before Holmes finally stops the fight. Galovitch accuses Prewitt of starting the fight, but the man in charge of the detail says that it was Galovitch. Holmes lets him off the hook and disperses the crowd. The entire incident is witnessed by the base commander, who orders an investigation by the Inspector General. After Holmes' motives are revealed, the base commander orders a court-martial. When Holmes begs for an alternative, an aide suggests that Holmes resign his commission. Holmes' replacement, Captain Ross (John Bryant), reprimands the others involved and has the boxing team's framed photographs and trophies removed. He then demotes Galovitch to private and puts him in charge of the latrine.\n", "Maggio escapes the stockade and dies in Prewitt's arms after telling of the abuse he suffered at Judson's hands. Prewitt tracks Judson down and kills him with the same switchblade Judson pulled on Maggio earlier, but sustains a serious stomach wound. Prewitt goes into hiding at Lorene's house.\n", "When the Japanese attack Pearl Harbor, Prewitt attempts to rejoin his company under cover of darkness, but is shot dead by a patrol. Warden notes the irony that the boxing tournament has been canceled because of the attack.\n", "When Karen finds out that Warden did not apply for officer training, she realizes they have no future together. She returns to the mainland with her husband. Lorene and Karen meet on the ship. Lorene tells Karen that Lorene's fianc\u00e9 was a bomber pilot who was heroically killed during the attack. Karen recognizes Prewitt's name, but says nothing.\n", "James Jones, the novel's author, makes an uncredited appearance chatting to hostesses and other soldiers in the scene where Ernest Borgnine (Fatso) plays the piano at the New Congress Club.\n", "Hollywood legend has it that Frank Sinatra got the role in the movie because of his alleged Mafia connections, and that this was the basis for a similar subplot in The Godfather.[3] However, this has been dismissed on several occasions by the cast and crew of the film. Director Fred Zinneman commented that \"...the legend about a horse's head having been cut off is pure invention, a poetic license on the part of Mario Puzo who wrote The Godfather.\"[3] More plausible is the notion that Sinatra's then-wife Ava Gardner persuaded studio head Harry Cohn's wife to use her influence with him; this version is related by Kitty Kelley in her Sinatra biography.[3]\n", "Joan Crawford and Gladys George were offered roles, but George lost her role when the director decided he wanted to cast the female roles against type while Crawford's demands to be filmed by her own cameraman led the studio to take a chance on Deborah Kerr, also playing against type.[4]\n", "The on-screen chemistry between Lancaster and Kerr may have spilled off-screen; it was alleged that the stars became romantically involved during filming.[5]\n", "Two songs are noteworthy: \"Re-Enlistment Blues\" and \"From Here to Eternity\",[6] by Robert Wells and Fred Karger.\n", "Opening to rave reviews, From Here to Eternity proved to be an instant hit with critics and the public alike, the Southern California Motion Picture Council extolling: \"A motion picture so great in its starkly realistic and appealing drama that mere words cannot justly describe it.\" Variety agreed: \"The James Jones bestseller, 'From Here to Eternity,' has become an outstanding motion picture in this smash screen adaptation. It is an important film from any angle, presenting socko entertainment for big business. The cast names are exceptionally good, the exploitation and word-of-mouth values are topnotch, and the prospects in all playdates are very bright whether special key bookings or general run.\" [7]\n", "Of the actors, Variety went on to say, \"Burt Lancaster, whose presence adds measurably to the marquee weight of the strong cast names, wallops the character of Top Sergeant Milton Warden, the professional soldier who wet-nurses a weak, pompous commanding officer and the GIs under him. It is a performance to which he gives depth of character as well as the muscles which had gained marquee importance for his name. Montgomery Clift, with a reputation for sensitive, three-dimensional performances, adds another to his growing list as the independent GI who refuses to join the company boxing team, taking instead the \"treatment\" dished out at the C.O.'s instructions. Frank Sinatra scores a decided hit as Angelo Maggio, a violent, likeable Italo-American GI. While some may be amazed at this expression of the Sinatra talent versatility, it will come as no surprise to those who remember the few times he has had a chance to be something other than a crooner in films.[7]\n", "The New York Post applauded Frank Sinatra, remarking that \"He proves he is an actor by playing the luckless Maggio with a kind of doomed gaiety that is both real and immensely touching.\" Newsweek also stated that \"Frank Sinatra, a crooner long since turned actor, knew what he was doing when he plugged for the role of Maggio.\"\n", "The cast agreed, Burt Lancaster commenting in the book Sinatra: An American Legend that \"His fervour (Sinatra), his bitterness had something to do with the character of Maggio, but also with what he had gone through the last number of years. A sense of defeat and the whole world crashing in on him... They all came out in that performance.\"[3]\n", "With a gross of $30.5 million equating to earnings of $12.2 million, From Here to Eternity was not only one of the top grossing films of 1953, but one of the ten highest-grossing films of the decade. Adjusted for inflation, its box office gross would be equivalent to in excess of US$240 million in recent times.[1]\n", "William Holden, who won the Best Actor Oscar for Stalag 17, felt that Lancaster or Clift should have won. Sinatra would later comment that he thought his performance of heroin addict Frankie Machine in The Man With the Golden Arm was more deserving of an Oscar than his role as Maggio.\n", "http://en.wikipedia.org/wiki/Saving_Private_Ryan\n", "Saving Private Ryan is a 1998 American epic war film set during the Invasion of Normandy in World War II. Directed by Steven Spielberg and written by Robert Rodat, the film is notable for its graphic and realistic portrayal of war, and for the intensity of its opening 27 minutes, which depict the Omaha Beach assault of June 6, 1944. It follows United States Army Rangers Captain John H. Miller (Tom Hanks) and a squad (Tom Sizemore, Edward Burns, Barry Pepper, Vin Diesel, Giovanni Ribisi, Adam Goldberg and Jeremy Davies) as they search for a paratrooper, Private First Class James Francis Ryan (Matt Damon), who is the last-surviving brother of four servicemen." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Saving Private Ryan received universal critical acclaim, winning several awards for film, cast, and crew as well as earning significant returns at the box office. The film grossed US$481.8 million worldwide, making it the second highest-grossing film of the year. The Academy of Motion Picture Arts and Sciences nominated the film for eleven Academy Awards; Spielberg's direction won him a second Academy Award for Best Director, with four more awards going to the film. Saving Private Ryan was released on home video in May 1999, earning $44 million from sales.\n", "\n", "\n", "On the morning of June 6, 1944, the beginning of the Normandy Invasion, American soldiers prepare to land on Omaha Beach. They struggle against German infantry, machine gun nests, and artillery fire. Captain John H. Miller, a company commander of the 2nd Ranger Battalion, survives the initial landing and assembles a group of his Rangers to penetrate the German defences, leading to a breakout from the beach. In Washington, D.C, at the U.S. War Department, General George Marshall is informed that three of the four brothers of the Ryan family were killed in action and that their mother is to receive all three telegrams in the same day. He learns that the fourth son, Private First Class James Francis Ryan, is a paratrooper, and is missing in action somewhere in Normandy. Marshall, after reading Abraham Lincoln's Bixby letter, orders that Ryan be found and sent home immediately.\n", "Three days after D-Day, Miller receives orders to find Ryan and bring him back from the front. He assembles six men from his company\u2014 TSgt. Mike Horvath, Privates Richard Reiben, Stanley Mellish, Adrian Caparzo, Danny Jackson, medic Irwin Wade\u2014and T/5 Timothy Upham, a cartographer who speaks French and German, loaned from another unit. Miller and his men move out to Neuville; there, they meet a platoon from the 101st Airborne Division, and Caparzo dies after being shot by a sniper. Eventually, they locate a Private James Ryan, but soon learn that he is not their man. They find a member of Ryan's regiment who informs them that his drop zone was at Vierville and that his and Ryan's companies had the same rally point. Once they reach it, Miller meets a friend of Ryan's, who reveals that Ryan is defending a strategically important bridge over the Merderet River in the town of Ramelle. On the way to Ramelle, Miller decides to neutralize a German machine gun position, despite the misgivings of his men. Wade is fatally wounded in the ensuing skirmish, but Miller prevents a surviving German from being executed and sets him free. No longer confident in Miller's leadership, Reiben declares his intention to desert the squad and the mission, prompting a confrontation with Horvath. The argument heats up until Miller defuses the situation by revealing his origins, which the squad had earlier set up a betting pool upon. Reiben then reluctantly decides to stay.\n", "Upon arrival at Ramelle, Miller and the squad come upon a small group of paratroopers, one of whom is Ryan. Ryan is told of his brothers' deaths, the mission to bring him home, and that two men had been lost in the quest to find him. He is distressed at the loss of his brothers, but does not feel it is fair to go home, asking Miller to tell his mother that he intends to stay \"with the only brothers [he has] left.\" Miller decides to take command and defend the bridge with what little manpower and resources are available. Elements of the 2nd SS Panzer Division arrive with infantry and armor. In the ensuing battle, while inflicting heavy German casualties, most of the Americans\u2014including Jackson, Mellish, and Horvath\u2014are killed. While attempting to blow the bridge, Miller is shot and mortally wounded by the German prisoner set free earlier, who has returned to battle alongside the SS. Just before a Tiger tank reaches the bridge, an American P-51 Mustang flies over and destroys it, followed by American reinforcements who rout the remaining Germans. Upham executes the German who shot Miller and allows the rest to flee.\n", "Reiben and Ryan are with Miller as he dies and says his last words, \"James ... earn this. Earn it.\" In the present day, the elderly Ryan and his family visit the Normandy American Cemetery and Memorial. Ryan stands at Miller's grave and asks his wife to confirm that he has led a good life, that he is a \"good man\" and thus worthy of the sacrifice of Miller and the others. His wife replies \"You are.\" At this point, Ryan stands at attention and delivers a military salute towards Miller's grave.\n", "In 1994, Robert Rodat saw a monument in Putney Corners, New Hampshire, memorializing Americans who were killed from the American Civil War to the Vietnam War. He noticed the names of eight siblings who died during the American Civil War. Inspired by the story, Rodat did some research and decided to write a similar story set in World War II. Rodat's script was submitted to producer Mark Gordon, who liked the story but only accepted the text after 11 redrafts. Gordon shared the finished script with Hanks, who liked it and in turn passed it along to Spielberg to direct. A shooting date was set for June 27, 1997.[3]\n", "Before filming began, several of the film's stars, including Edward Burns, Barry Pepper, Vin Diesel, Adam Goldberg, Giovanni Ribisi, and Tom Hanks, endured ten days of \"boot camp\" training led by Marine veteran Dale Dye and Warriors, Inc., a California-based company that specializes in training actors for realistic military portrayals.[4] Matt Damon was intentionally not brought into the camp, to make the rest of the group feel resentment towards the character.[5]\n", "Spielberg had already demonstrated his interest in World War II themes with the films 1941, Empire of the Sun, Schindler's List, and the Indiana Jones series. Spielberg later co-produced the World War II themed television miniseries Band of Brothers and its counterpart The Pacific with Tom Hanks. When asked about this by American Cinematographer, Spielberg said, \"I think that World War II is the most significant event of the last 100 years; the fate of the baby boomers and even Generation X was linked to the outcome. Beyond that, I've just always been interested in World War II. My earliest films, which I made when I was about 14 years old, were combat pictures that were set both on the ground and in the air. For years now, I've been looking for the right World War II story to shoot, and when Robert Rodat wrote Saving Private Ryan, I found it.\"[6]\n", "The D-Day scenes were shot in Ballinesker Beach, Curracloe Strand, Ballinesker, just east of Curracloe, County Wexford, Ireland.[7][8][9] Filming began June 27, 1997, and lasted for two months.[10][11][12] Some shooting was done in Normandy, for the Normandy American Cemetery and Memorial in Colleville-sur-Mer and Calvados. Other scenes were filmed in England, such as a former British Aerospace factory in Hatfield, Hertfordshire, Thame Park, Oxfordshire and Wiltshire. Production was due to also take place in Seaham, County Durham, but government restrictions disallowed this.[13]\n", "Saving Private Ryan has received critical acclaim for its realistic portrayal of World War II combat. In particular, the sequence depicting the Omaha Beach landings was named the \"best battle scene of all time\" by Empire magazine and was ranked number one on TV Guide's list of the \"50 Greatest Movie Moments\".[14] The scene cost US$12 million and involved up to 1,500 extras, some of whom were members of the Irish Reserve Defence Forces. Members of local reenactment groups such as the Second Battle Group were cast as extras to play German soldiers.[15] In addition, twenty to thirty actual amputees were used to portray American soldiers maimed during the landing.[16] Spielberg did not storyboard the sequence, as he wanted spontaneous reactions and for \"the action to inspire me as to where to put the camera\".[17]\n", "The historical representation of Charlie Company's actions, led by its commander, Captain Ralph E. Goranson, was well maintained in the opening sequence. The sequence and details of the events are very close to the historical record, including the seasickness experienced by many of the soldiers as the landing craft moved toward the shoreline, significant casualties among the men as they disembarked from the boats, and difficulty linking up with adjacent units on the shore. The contextual details of the Company's actions were well maintained, for instance, the correct code names for the sector Charlie Company assaulted, and adjacent sectors, were used. Included in the cinematic depiction of the landing was a follow-on mission of clearing a bunker and trench system at the top of the cliffs which was not part of the original mission objectives for Charlie Company, but which they did undertake after the assault on the beach.[18]\n", "The landing craft used included twelve actual World War II examples, 10 LCVPs and 2 LCMs, standing in for the British LCAs that the Ranger Companies rode in to the beach during Operation Overlord.[18][19] The film-makers used underwater cameras to better depict soldiers being hit by bullets in the water. Forty barrels of fake blood were used to simulate the effect of blood in the seawater.[16] This degree of realism was more difficult to achieve when depicting World War II German armored vehicles, as few examples survive in operating condition. The Tiger I tanks in the film were copies built on the chassis of old, but functional, Soviet T-34 tanks.[20] The two vehicles described in the film as Panzers were meant to portray Marder III tank destroyers. One was created for the film using the chassis of a Czech-built Panzer 38(t) tank[21] similar to the construction of the original Marder III; the other was a cosmetically modified Swedish SAV m/43 assault gun, which also used the 38(t) chassis.[22]\n", "Inevitably, some artistic license was taken by the filmmakers for the sake of drama. One of the most notable is the depiction of the 2nd SS Panzer Division Das Reich, as the adversary during the fictional Battle of Ramelle. The 2nd SS was not engaged in Normandy until July, and then at Caen against the British and Canadians, one hundred miles east.[23] Furthermore, the Merderet River bridges were not an objective of the 101st Airborne Division but of the 82nd Airborne Division, part of Mission Boston.[24] Much has been said about various \"tactical errors\" made by both the German and American forces in the film's climactic battle. Spielberg responded, saying that in many scenes he opted to replace sound military tactics and strict historical accuracy for dramatic effect.[25] Some other technical errors were also made, often censored, including the mistaken reversed orientation of the beach barriers; the tripod obstructions with a mine at the apex. To achieve a tone and quality that was true to the story as well as reflected the period in which it is set, Spielberg once again collaborated with cinematographer Janusz Kami\u0144ski, saying, \"Early on, we both knew that we did not want this to look like a Technicolor extravaganza about World War II, but more like color newsreel footage from the 1940s, which is very desaturated and low-tech.\" Kami\u0144ski had the protective coating stripped from the camera lenses, making them closer to those used in the 1940s. He explains that \"without the protective coating, the light goes in and starts bouncing around, which makes it slightly more diffused and a bit softer without being out of focus.\" The cinematographer completed the overall effect by putting the negative through bleach bypass, a process that reduces brightness and color saturation. The shutter timing was set to 90 or 45 degrees for many of the battle sequences, as opposed to the standard of 180-degree timing. Kami\u0144ski clarifies, \"In this way, we attained a certain staccato in the actors' movements and a certain crispness in the explosions, which makes them slightly more realistic.\"[26]\n", "Saving Private Ryan was a critical and commercial success and is credited with contributing to a resurgence in America's interest in World War II. Old and new films, video games, and novels about the war enjoyed renewed popularity after its release.[27] The film's use of desaturated colors, hand-held cameras, and tight angles has profoundly influenced subsequent films and video games.[28][29] Saving Private Ryan was released in 2,463 theaters on July 24, 1998, and grossed $30.5 million on its opening weekend. The film grossed $216.5 million in North America and $265.3 million in other territories, bringing its worldwide total to $481.8 million and making it the highest-grossing domestic film of the year.[1]\n", "The film received critical acclaim and has a 'certified fresh' rating of 93% on Rotten Tomatoes based on 123 reviews with an average score of 8.6 out of 10. The consensus states \"Anchored by another winning performance from Hanks, Spielberg's unflinchingly realistic war film virtually redefines the genre.\"[30] The film also has a score of 90 out of 100 on Metacritic based on 34 reviews indicating 'universal acclaim'.[31]\n", "Much of the praise went for the realistic battle scenes[32] and the actors' performances.[33] It earned some criticism for ignoring the contributions of several other countries to the D-Day landings in general and at Omaha Beach specifically.[34] The most direct example of the latter is that during the actual landing the 2nd Rangers disembarked from British ships and were taken to Omaha Beach by Royal Navy landing craft (LCAs). The film depicts them as being United States Coast Guard-crewed craft (LCVPs and LCMs) from an American ship, the USS\u00a0Thomas Jefferson\u00a0(APA-30).[18][35][36] This criticism was far from universal with other critics recognizing the director's intent to make an \"American\" film.[37] The film was not released in Malaysia after Spielberg refused to cut the violent scenes;[38] however, the film was finally released there on DVD with an 18SG certificate much later in 2005. Many critics associations, such as New York Film Critics Circle and Los Angeles Film Critics Association, chose Saving Private Ryan as Film of the Year.[39] Roger Ebert gave it four stars out of four and called it \"a powerful experience\".[33]\n", "Filmmaker Quentin Tarantino has expressed admiration for the film and has cited it as an influence on his 2009 war epic, Inglourious Basterds.[40] Conversely, film director and military veteran Oliver Stone has accused the film of promoting \"the worship of World War II as the good war,\" and has lumped it alongside films such as Gladiator and Black Hawk Down that he believes were well-made, but may have inadvertently contributed to Americans' readiness for the 2003 invasion of Iraq.[41] In defense of the film's portrait of warfare, Brian De Palma commented, \"The level of violence in something like Saving Private Ryan makes sense because Spielberg is trying to show something about the brutality of what happened.\"[42]\n", "Actor Richard Todd, who performed in The Longest Day and was amongst the first of the Allied soldiers to land in Normandy, said the film was \"Rubbish. Overdone.\"[43] Other World War II veterans, however, stated that the film was the most realistic depiction of combat they had ever seen.[44] The film was so realistic that combat veterans of D-Day and Vietnam left theaters rather than finish watching the opening scene depicting the Normandy invasion. Their visits to posttraumatic stress disorder counselors rose in number after the film's release, and many counselors advised \"'more psychologically vulnerable'\" veterans to avoid watching it.[45]\n", "Screenwriter William Goldman wrote a scathing essay criticizing the film, including:\n", "Just when you think Spielberg has stooped as low as even he can, new thresholds are reached. Four agonizing minutes of pretentious syrup, climaxing when Matt asks his wife has he been a good man? What is she going to answer? Her husband is clearly having a breakdown. She says yes and Matt\u2014wait for it\u2014he salutes!...What to say about Spielberg at this stage of his career? He will win his second Oscar for this work, and probably a third when he finds another 'important' subject to hide behind. (Religious persecution, racial injustice, patriotism.) I have never met him, never been in a room with him, but no person can come so far in such a killingly competitive business without having a reservoir of anger and rage and darkness hiding in there somewhere. I just wish once he would let it show. There is no reason for him to do anything else than what he has been doing. The movies are wildly successful at the box-office, the critics bow. And if he had directed Bambi, guess what? Bambi's mother would never have died.[46]\n", "The film was nominated for eleven Academy Awards, with wins for Best Cinematography, Best Sound, Best Sound Effects Editing, Best Film Editing, and Best Director for Spielberg, but lost the Best Picture award to Shakespeare in Love, being one of a few that have won the Best Director award without also winning Best Picture. The Academy's decision to not award the film with the Best Picture Oscar has resulted in much criticism in recent years, many of whom believe it is one of the biggest Oscar snubs.[47] The film also won the Golden Globes for Best Picture\u00a0\u2013 Drama and Director, the BAFTA Award for Special Effects and Sound, the Directors Guild of America Award, a Grammy Award for Best Film Soundtrack, the Producers Guild of America Golden Laurel Award, and the Saturn Award for Best Action, Adventure, or Thriller Film.[39] In June 2008, the American Film Institute revealed its \"Ten Top Ten\"\u2014the best ten films in ten \"classic\" American film genres\u2014after polling over 1,500 people from the creative community. Saving Private Ryan was listed as the eighth best film in the epic films genre.[48]\n", "On Veterans Day from 2001\u20132004, the American Broadcasting Company aired the film uncut and with limited commercial interruption. The network airings were given a TV-MA rating, as the violent battle scenes and the profanity were left intact. The 2004 airing was marred by pre-emptions in many markets because of the language, in the backlash of Super Bowl XXXVIII's halftime show controversy.[54] However, critics and veterans' groups such as the American Legion and the Veterans of Foreign Wars assailed those stations and their owners, including Hearst-Argyle Television (owner of 12 ABC affiliates); Scripps Howard Broadcasting (owner of six); and Belo (the owner of four) for putting profits ahead of programming and honoring those who gave their lives at wartime, saying the stations made more money running their own programming instead of being paid by the network to carry the film, especially during a sweeps period. A total of 65 ABC affiliates\u201428% of the network\u2014did not clear the available timeslot for the film, even with the offer of The Walt Disney Company, ABC's parent, to pay all fines for language to the Federal Communications Commission.[55] In the end, however, no complaints were lodged against ABC affiliates who showed Ryan, perhaps because even conservative watchdogs like the Parents Television Council supported the unedited rebroadcast of the film.[56] Additionally, some ABC affiliates in other markets that were near affected markets, such as Youngstown, Ohio ABC affiliate WYTV (which is viewable in parts of the Columbus, Cleveland, and Pittsburgh markets, none of which aired the film), still aired the film and gave those nearby markets the option of viewing the film.[57] TNT and Turner Classic Movies have also broadcast the film.[58][59]\n", "The film was released on home video in May 1999 with a VHS release that earned over $44 million.[60] The DVD release became available in November of the same year,[61] and was one of the best-selling titles of the year, with over 1.5 million units sold.[62] The DVD was released in two separate versions: one with Dolby Digital and the other with DTS 5.1 surround sound. Besides the different 5.1 tracks, the two DVDs are identical. The film was also issued in a very limited 2-disc LaserDisc release in November 1999, making it one of the very last feature films to ever be issued in this format, as LaserDiscs ceased manufacturing and distribution by the year's end, due in part to the growing popularity of DVDs.[63]\n", "In 2004, a Saving Private Ryan special edition DVD was released to commemorate the 60th anniversary of D-Day. This two-disc edition was also included in a box set titled World War II Collection, along with two documentaries produced by Spielberg, Price For Peace (about the Pacific War) and Shooting War (about war photographers, narrated by Tom Hanks).[64] The film was released on Blu-ray Disc on April 26, 2010 in the UK and on May 4, 2010 in the US, as part of Paramount Home Video's premium Sapphire Series.[65] However, only weeks after its release, Paramount issued a recall due to audio synchronization problems.[66] The studio issued an official statement acknowledging the problem, which they attributed to an authoring error by Technicolor that escaped the quality control process, and that they had already begun the process of replacing the defective discs.[67]\n", "The Niland brothers were four American brothers of German descent from Tonawanda, New York, serving in the military during World War II. Of the four, two survived the war, but for a time it was believed that only one, Frederick \"Fritz\" Niland, had survived. After the reported deaths of his three brothers, Fritz was sent back to the United States to complete his service and only later learned that his brother Edward, missing and presumed dead, was actually captive in a Japanese POW camp in Burma.\n", "\n", "http://en.wikipedia.org/wiki/Unforgiven\n", "Unforgiven is a 1992 American Western film produced and directed by Clint Eastwood with a screenplay written by David Webb Peoples. The film portrays William Munny, an aging outlaw and killer who takes on one more job years after he had turned to farming. A dark Western that deals frankly with the uglier aspects of violence and how easily complicated truths are distorted into simplistic myths about the Old West, it stars Eastwood in the lead role, with Gene Hackman, Morgan Freeman, and Richard Harris. Eastwood has stated that this would be his last Western for fear of repeating himself or imitating someone else's work.[2]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Eastwood dedicated the movie to deceased directors and mentors Don Siegel and Sergio Leone. The film won four Academy Awards: Best Picture and Best Director for Clint Eastwood, Best Supporting Actor for Gene Hackman, and Best Film Editing for editor Joel Cox. Eastwood was nominated for the Academy Award for Best Actor for his performance, but he lost to Al Pacino for Scent of a Woman. In 2004, Unforgiven was added to the United States National Film Registry as being deemed \"culturally, historically, or aesthetically significant\".\n", "The film was the third Western to win the Oscar for Best Picture, following Cimarron (1931) and Dances With Wolves (1990).\n", "\n", "\n", "A group of prostitutes in Big Whiskey, Wyoming, led by Strawberry Alice, offer a $1,000 reward to whoever can kill Quick Mike and \"Davey-Boy\" Bunting, two cowboys who disfigured Delilah Fitzgerald. The local sheriff, Little Bill Daggett, a former gunfighter and keeper of the peace, is worried about their incentive, as he does not allow guns or criminals in his town. Little Bill had given the two men leniency, despite their crime.\n", "Miles away in Kansas, the Schofield Kid, a boastful young man, visits the pig farm of William Munny, seeking to recruit him to kill the cowboys. In his youth, Munny was a bandit notorious as a cold-blooded murderer. Now a repentant widower raising two children, he has sworn off alcohol and killing. Though Munny initially refuses to help with the execution, his farm is failing, putting his children's future in jeopardy. Munny reconsiders a few days later and sets off to catch up with the Kid. On his way, Munny recruits Ned Logan, another retired gunfighter, who leaves his wife to go along.\n", "Back in Wyoming, gunfighter English Bob, and old acquaintance and rival of Little Bill, is also seeking the reward and arrives in Big Whiskey with a biographer, W. W. Beauchamp. Little Bill and his deputies disarm Bob, and Bill beats him savagely, hoping to discourage other would-be killers. That night in the town jail, Little Bill begins to dissect the boastful stories that Bob has been telling Mr. Beauchamp, revealing him to be a cowardly backshooter rather than the heroic figure he has made himself out to be to his biographer. The next morning he ejects Bob from town, but Beauchamp decides to stay and write about Bill. He has impressed the biographer with his tales of old gunfights and seeming knowledge of the inner workings of a gunfighter's psyche.\n", "Munny, Logan and the Kid arrive later during a rain storm; they go to the saloon/whorehouse to discover the cowboys' location. With a bad fever after riding in the rain, Munny is sitting alone in the saloon when Little Bill and his deputies arrive to confront him. With no idea of Munny's past, Little Bill beats him and kicks him out of the saloon after finding a pistol on him. Logan and the Kid, upstairs getting \"advances\" on their payment from the prostitutes, escape out a back window. The three regroup at a barn outside of town, where they nurse Munny back to health.\n", "Three days later, they ambush a group of cowboys and kill Bunting. Logan and Munny no longer have much stomach for murder. Logan decides to return home while Munny feels they must finish what they started. Munny and the Kid head to the cowboys' ranch, where the Kid ambushes Quick Mike in an outhouse and kills him. After they escape, a distraught Kid confesses he had never killed anyone before. Munny advises him to drink more whiskey to numb the pain of realizing that when you kill someone, you take everything they have, and ever will have. The Kid renounces life as a gunfighter and plans to return home.\n", "When Little Sue meets the two men to give them the reward, they learn that Logan was captured by Little Bill's men and tortured to death. He had revealed the names of his two accomplices before dying, after which his corpse was displayed outside the saloon. After this, The Kid heads back to Kansas to deliver the reward money to Munny's children and Logan's wife. Munny takes Ned's whiskey bottle from the kid, takes a few gulps, and heads into town to take revenge on Little Bill.\n", "That night, Munny arrives and sees that Logan's corpse is indeed displayed in a coffin outside the saloon. Inside, Little Bill has assembled a posse to pursue Munny and the Kid. Munny walks in alone and kills Skinny Dubois, the saloon owner and pimp. After some tense dialogue, a gunfight ensues, leaving Bill wounded and several of his deputies dead. Munny orders everyone out if they didn't want to get killed. Just as a wounded Little Bill weakly lifts his pistol and cocks it, Munny turns and kicks it from his hand. Bill says he doesn't deserve this and curses Munny before the latter finishes him with a final gunshot, telling Bill that \"deserve's got nothing to do with it\". Munny threatens the townsfolk before finally leaving town, warning that he will return if Logan is not buried properly or if any prostitutes are further harmed.\n", "A brief epilogue states that Munny was rumored to have moved to San Francisco, where he prospered in dry goods.\n", "The film was written by David Webb Peoples, who had written the Oscar-nominated film The Day After Trinity and co-wrote Blade Runner.[3] The concept for the film dated to 1976, when it was developed under the titles The Cut-Whore Killings and The William Munny Killings.[3] Eastwood delayed the project, partly because he wanted to wait until he was old enough to play the lead and to savor it as the last of his western films.\n", "Much of the cinematography for the film was shot in Alberta in August 1991 by director of photography Jack Green.[4] Filming took place between August 26, 1991 and November 12, 1991.[5] Production designer Henry Bumstead, who had worked with Eastwood on High Plains Drifter, was hired to create the \"drained, wintry look\" of the western.[4]\n", "Unforgiven received near-universal acclaim. Review aggregator Rotten Tomatoes registers a \"Certified Fresh\" 95% approval rating among reviews. Many critics acclaimed the film for its noir-ish moral ambiguity and atmosphere. They also acclaimed it as a fitting eulogy to the western genre. Jack Methews of the Los Angeles Times described it as \"The finest classical western to come along since perhaps John Ford's 1956 The Searchers.\" Richard Corliss in Time wrote that the film was \"Eastwood's meditation on age, repute, courage, heroism\u00a0\u2013 on all those burdens he has been carrying with such grace for decades.\"[6]\n", "Gene Siskel and Roger Ebert criticized the work; though the latter gave it a positive vote, both criticized the picture for being too long and having too many superfluous characters (such as Harris' English Bob, who enters and leaves without meeting the protagonists). Despite his reservations, Ebert eventually included the film in his \"Great Movies\" list.[7]\n", "Unforgiven was released on Blu-ray Book (a Blu-ray Disc with book packaging) on February 21, 2012. Special features include an audio commentary by the Clint Eastwood biographer, Richard Schickel; four documentaries including \"All on Accounta Pullin' a Trigger\", \"Eastwood & Co.: Making Unforgiven\", \"Eastwood...A Star\", and \"Eastwood on Eastwood\", and more.[8]\n", "The film debuted at the top position in its opening weekend.[9][10] Its earnings of $15,018,007 ($7,252 average from 2,071 theaters) on its opening weekend was the best ever opening for an Eastwood film at that time.[6] It spent a total of 3 weeks as the #1 movie in North America. In its 35th weekend (April 2\u20134, 1993), capitalizing on its Oscar wins, the film returned to the Top 10 (spending 3 weeks total), ranking at #8 with a gross of $2,538,358 ($2,969 average from 855 theaters), an improvement of 197 percent over the weekend before where it made $855,188 ($1,767 average from 484 theaters). The film closed on July 15, 1993, having spent nearly a full year in theaters (343 days / 49 weeks), having earned $101,157,447 in North America, and another $58,000,000 overseas for a total of $159,157,447 worldwide.[11]\n", "In June 2008, Unforgiven was listed as the fourth best American film in the western genre (behind The Searchers, High Noon, and Shane) in the American Film Institute's \"AFI's 10 Top 10\" list.[12][13]\n", "The film is listed in AFI's 100 Years... 100 Movies. In 2005, Time named it one of the 100 best movies of the last 80 years. It was also admitted to the National Film Registry in 2004.\n", "The music for the Unforgiven film trailer, which appeared in theatres and on some of the DVDs, was composed by Randy J. Shams and Tim Stithem in 1992.\n", "In 1992, the film poster designer, longtime Eastwood collaborator Bill Gold, won the prestigious Key Art award from The Hollywood Reporter.[14]\n", "A Japanese remake directed by Lee Sang-il and starring Ken Watanabe was released in 2013. The plot is very similar to the original, but takes place during the Meji period in Japan with Watanabe's character being a samurai of old regime instead of a bandit.\n", "http://en.wikipedia.org/wiki/Raiders_of_the_Lost_Ark\n", "Raiders of the Lost Ark (later marketed as Indiana Jones and the Raiders of the Lost Ark) is a 1981 American adventure film directed by Steven Spielberg. It was produced by Frank Marshall and Howard Kazanjian, executive produced by George Lucas, written by Lawrence Kasdan and based on a story of George Lucas and Philip Kaufman. Starring Harrison Ford, it was the first installment in the Indiana Jones film franchise to be released, though it is the second in internal chronological order. It pits Indiana Jones (Ford) against a group of Nazis who are searching for the Ark of the Covenant, which Adolf Hitler believes will make his army invincible. The film co-stars Karen Allen as Indiana's former lover, Marion Ravenwood; Paul Freeman as Indiana's nemesis, French archaeologist Ren\u00e9 Belloq; John Rhys-Davies as Indiana's sidekick, Sallah; Ronald Lacey as Gestapo agent Arnold Toht; and Denholm Elliott as Indiana's colleague, Marcus Brody." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film originated from Lucas' desire to create a modern version of the serials of the 1930s and 1940s. Production was based at Elstree Studios, England; but filming also took place in La Rochelle, Tunisia, Hawaii, and California from June to September 1980.\n", "Released on June 12, 1981, Raiders of the Lost Ark became the year's top-grossing film and remains one of the highest-grossing films ever made. It was nominated for nine Academy Awards in 1982, including Best Picture, and won four (Best Art Direction, Best Film Editing, Best Sound, Best Visual Effects) and a fifth Special Achievement Award for its Sound Effects Editing. The film's critical and popular success led to three additional films, Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), and Indiana Jones and the Kingdom of the Crystal Skull (2008), the television series The Young Indiana Jones Chronicles (1992\u20131996), and 15 video games as of 2009. In 1999, the film was included in the U.S. Library of Congress' National Film Registry as having been deemed \"culturally, historically, or aesthetically significant\".\n", "Raiders is ranked among the greatest films of all time in the action-adventure genre and often in general.\n", "\n", "\n", "In 1936, archaeologist Indiana Jones braves an ancient booby-trapped temple in Peru and retrieves a golden idol. He is confronted by rival archaeologist Ren\u00e9 Belloq and the indigenous Hovito people. Surrounded and outnumbered, Jones is forced to surrender the idol to Belloq and escapes aboard a waiting floatplane.\n", "Jones returns to his teaching position at Marshall College, where he is interviewed by two Army Intelligence agents. They inform him that the Nazis, who are obsessed with the occult, are searching for his old mentor Abner Ravenwood. The Nazis know that Ravenwood is the leading expert on the ancient Egyptian city of Tanis, and that he possesses the headpiece of the Staff of Ra. Jones deduces that the Nazis are searching for the location of the Ark of the Covenant; the Nazis believe that if they acquire the Ark their armies will become invincible. The Staff of Ra is the key to finding the Well of Souls, a secret chamber in which the Ark is buried.\n", "The agents authorize Jones to recover the Ark to prevent the Nazis from obtaining it. He travels to Nepal and discovers that Abner has died, and the headpiece is in the possession of Ravenwood's daughter Marion. Jones visits Marion at her tavern, where she reveals her bitter feelings toward him from a previous romantic affair. She rebuffs his offer to buy the headpiece, and Jones leaves. Shortly after, a group of Nazi soldiers arrive with their commander, Arnold Toht. They threaten Marion to get the headpiece, and her bar is set on fire when Jones comes back to intervene. Toht severely burns his hand trying to pick up the hot headpiece and flees the tavern screaming. Jones and Marion escape with the headpiece, and Marion decides to accompany Jones in his search for the Ark so she can repay his debt.\n", "The pair travel to Cairo, where they meet up with Jones's friend Sallah, a skilled excavator. Sallah informs them that Belloq and the Nazis are digging for the Well of Souls with a replica of the headpiece, created from the scar on Toht's hand. They quickly realize the Nazi headpiece is incomplete and that the Nazis are digging in the wrong place. The Nazis kidnap Marion and it appears to Jones that she is killed in an explosion. After a confrontation with Belloq in a local bar, Jones and Sallah infiltrate the Nazi dig site and use their staff to correctly locate the Ark. Jones, Sallah, and a small group of diggers unearth the Well of Souls and Jones is forced to face his fear of snakes to acquire the Ark. Belloq and the Nazis arrive, seize the Ark from Jones, and throw Marion into the Well of Souls with him before sealing it back up. Jones and Marion escape to a local airstrip, where Jones has a brutal fistfight with a Nazi mechanic before blowing up a flying wing. The panicked Nazis remove the Ark in a truck and set off for Berlin, but Jones catches them and retakes it. He makes arrangements to take the Ark to London aboard a tramp steamer.\n", "The next day the Nazis arrive and intercept the boat. Belloq and the Nazis seize the Ark and Marion but cannot locate Jones, who stows away aboard the Nazi U-boat and travels with them to an island in the Aegean Sea. Once there, Belloq plans to test the power of the Ark before presenting it to Hitler. Jones reveals himself and threatens to destroy the Ark with a bazooka, but Belloq calls the bluff and Jones surrenders rather than destroy such an important historical artifact. The Nazis take Jones and Marion to an area where the Ark will be opened and tie them to a post to observe. Belloq performs a ceremonial opening of the Ark, which appears to contain nothing but sand. Suddenly, angelic, ghost-like beings emerge from the Ark and float around the assembly. Jones cautions Marion to keep her eyes tightly closed and not to observe what happens next. Belloq and the others look on in astonishment as the apparitions are suddenly revealed to be angels of death. A vortex of flame forms above the opened Ark and energy surges out into the gathered Nazi soldiers, killing them all. As Belloq, Toht and Dietrich all scream in terror, the Ark turns its fury on them: Dietrich's head shrivels up, Toht's face is melted off his skull and Belloq's head explodes. Flames then engulf the remains of the doomed assembly, save for Jones and Marion. The Ark's lid is blasted high into the air before dropping back down onto the Ark and sealing it. Jones and Marion find their ropes burned off and embrace.\n", "In Washington, D.C., the Army Intelligence agents inform Jones and Brody that the Ark is someplace safe and will be studied by \"top men\". The Ark is shown being permanently stored in a giant government warehouse among countless similar crates.\n", "Producer Frank Marshall played a pilot in the airplane fight sequence. The stunt team was ill, so he took the role instead. The result was three days in a hot cockpit, which he joked was over \"140 degrees\".[2] Pat Roach plays the Nazi mechanic with whom Jones brawls in this sequence, as well as a massive sherpa who battles Jones in Marion's bar. He had the rare opportunity to be killed twice in one film.[10] Special-effects supervisor Dennis Muren made a cameo as a Nazi spy on the seaplane Jones takes from San Francisco to Manila.[11]\n", "In 1973, George Lucas wrote The Adventures of Indiana Smith.[12] Like Star Wars, which he also wrote, it was an opportunity to create a modern version of the film serials of the 1930s and 1940s.[2] Lucas discussed the concept with Philip Kaufman, who worked with him for several weeks and came up with the Ark of the Covenant as the plot device.[13] Kaufman was told about the Ark by his dentist when he was a child.[14] The project stalled when Clint Eastwood hired Kaufman to direct The Outlaw Josey Wales.[13] Lucas shelved the idea, deciding to concentrate on his outer space adventure that would become Star Wars. In late May 1977, Lucas was in Hawaii, trying to escape the enormous success of Star Wars. Friend and colleague Steven Spielberg was also there, on vacation from work on Close Encounters of the Third Kind. While building a sand castle at the Mauna Kea Beach Hotel,[15] Spielberg expressed an interest in directing a James Bond film. Lucas convinced his friend Spielberg that he had conceived a character \"better than James Bond\" and explained the concept of Raiders of the Lost Ark. Spielberg loved it, calling it \"a James Bond film without the hardware,\"[16] although Spielberg told Lucas that the surname Smith was not right for the character, Lucas replied, \"OK. What about Jones?\" Indiana was the name of Lucas' Alaskan Malamute, whose habit of riding in the passenger seat as Lucas drove was also the inspiration for Star Wars' Chewbacca.[2]\n", "The following year, Lucas focused on developing Raiders and the Star Wars sequel The Empire Strikes Back, during which Lawrence Kasdan and Frank Marshall joined the project as screenwriter and producer respectively. Between January 23\u2013January 27, 1978, for nine hours a day, Lucas, Kasdan, and Spielberg discussed the story and visual ideas. Spielberg came up with Jones being chased by a boulder,[2] which was inspired by Carl Barks' Uncle Scrooge comic \"The Seven Cities of Cibola\". Lucas later acknowledged that the idea for the idol mechanism in the opening scene and deadly traps later in the film were inspired by several Uncle Scrooge comics.[17] Lucas came up with a submarine, a monkey giving the Hitler salute, and Marion punching Jones in Nepal.[16] Kasdan used a 100-page transcript of their conversations for his first script draft,[18] which he worked on for six months.[2] Ultimately, some of their ideas were too grand and had to be cut: a mine chase,[19] an escape in Shanghai using a rolling gong as a shield,[20] and a jump from an airplane in a raft, all of which made it into the prequel, Indiana Jones and the Temple of Doom.[2]\n", "Spielberg and Lucas disagreed on the character: although Lucas saw him as a Bondian playboy, Spielberg and Kasdan felt the character's academic and adventurer elements made him complex enough. Spielberg had a darker vision of Jones, interpreting him as an alcoholic similar to Humphrey Bogart's character Fred C. Dobbs in The Treasure of the Sierra Madre. This characterization fell away during the later drafts, though elements survive in Jones's reaction when he believes Marion to be dead.[16] Spielberg also conceived of Toht as having a robotic arm, which Lucas rejected as falling into science-fiction. Comic book artist Jim Steranko was also commissioned to produce original illustrations for pre-production, which heavily influenced Spielberg's decisions in both the film's look and the character of Indiana Jones himself.[21]\n", "Initially, the film was rejected by every major studio in Hollywood, as most executives thought that the story was too over the top and would be exceedingly expensive to produce. Eventually Paramount Studios agreed to finance the film, with Lucas negotiating a five-picture deal. By April 1980, Kasdan's fifth draft was produced, and production was getting ready to shoot at Elstree Studios, with Lucas trying to keep costs down.[4] With four illustrators, Raiders of the Lost Ark was Spielberg's most storyboarded film of his career to date, further helping the film economically. He and Lucas agreed on a tight schedule to keep costs down and to follow the \"quick and dirty\" feel of the old Saturday matin\u00e9e serials. Special effects were done using puppets, miniature models, animation, and camera trickery.[2] \"We didn't do 30 or 40 takes; usually only four. It was like silent film--shoot only what you need, no waste,\" Spielberg said. \"Had I had more time and money, it would have turned out a pretentious movie.\" Lucas also directed some of the second unit.[22]\n", "Filming began on June 23, 1980, at La Rochelle, France, with scenes involving the Nazi submarine,[4] which had been rented from the production of Das Boot. The U-boat pen was a real one from World War II.[2] The crew moved to Elstree Studios[4] for the Well of Souls scenes, the opening sequence temple interiors and Marion Ravenwood's bar.[23] The Well of Souls scene required 7,000 snakes. The only venomous snakes were the cobras, but one crew member was bitten on set by a python.[2] In the finished film, during the scene in which Indiana comes face-to-face with the cobra, a reflection in glass screen that protected Ford from the snake was seen,[2] an issue that was corrected in the 2003 digitally-enhanced re-release. Unlike Indiana, both Ford and Spielberg do not have a fear of snakes, but Spielberg said that seeing all the snakes on the set writhing around made him \"want to puke\".[2] The opening sequence featured live tarantulas on Alfred Molina, but they did not move until a female tarantula was introduced. A fiberglass boulder 22\u00a0feet (7\u00a0m) in diameter was made for the scene where Indiana escapes from the temple; Spielberg was so impressed by production designer Norman Reynolds' realization of his idea that he gave the boulder a more prominent role in the film and told Reynolds to let the boulder roll another 50 feet (15\u00a0m).[24]\n", "The scenes set in Egypt were filmed in Tunisia, and the canyon where Indiana threatens to blow up the Ark was shot in Sidi Bouhlel, just outside Tozeur.[25] The canyon location had been used for the Tatooine scenes from 1977's Star Wars (many of the location crew members were the same for both films[2]) where R2-D2 was attacked by Jawas.[2] The Tanis scenes were filmed in nearby Sedala, a harsh place due to heat and disease. Several cast and crew members fell ill and Rhys-Davies defecated in his costume during one shot.[2] Spielberg averted disease by eating only canned foods from England, but did not like the area and quickly condensed the scheduled six-week shoot to four-and-a-half weeks. Much was improvised: the scene where Marion puts on her dress and attempts to leave Belloq's tent was improvised as was the entire plane fight. During that scene's shooting, a wheel went over Ford's knee and tore his left leg's cruciate ligament, but he refused local medical help and simply put ice on it.[2]\n", "The fight scenes in the town were filmed in Kairouan, while Ford was suffering from dysentery. Stuntman Terry Richards had practiced for weeks with his sword to create the scripted fight scene, choreographing a fight between the swordsman and Jones's whip.[26] However, after filming the initial shots of the scene, after lunch due to Ford's dysentery, Ford and Spielberg agreed to cut the scene down to a gunshot, with Ford saying to Spielberg \"Let's just shoot the sucker\".[27] It was later voted in a No.5 on Playboy magazine's list of best all time scenes.[26][28] The truck chase was shot entirely by the second-unit following Spielberg's storyboards but with the addition of Indiana being dragged by the truck, in tribute to a famous Yakima Canutt stunt. Spielberg shot all the close-ups with Ford afterwards.[2]\n", "The interior staircase set in Washington, D.C. was filmed in San Francisco's City Hall. The University of the Pacific's campus in Stockton, California, stood in for the exterior of the college where Jones works, while his classroom and the hall where he meets the American intelligence agents was filmed at the Royal Masonic School for Girls in Rickmansworth, Hertfordshire, England, which was again used in The Last Crusade. His home exteriors were filmed in San Rafael, California.[23] Opening sequence exteriors were filmed in Kauai, Hawaii, with Spielberg wrapping in September in 73\u00a0days, finishing under schedule in contrast to his previous film, 1941.[4][16] The Washington, D.C. coda, although it appeared in the script's early drafts, was not included in early edits but was added later when it was realized that there was no resolution to Jones's relationship with Marion.[29] Shots of the Douglas DC-3 Jones flies on to Nepal were taken from Lost Horizon, and a street scene was from a shot in The Hindenburg.[22] Filming of Jones boarding a Boeing Clipper flying-boat was complicated by the lack of a surviving aircraft. Eventually, a post-war British Short Solent flying-boat formerly owned by Howard Hughes was located in California and substituted.[30]\n", "The special visual effects for Raiders were provided by Industrial Light & Magic and include: a matte shot to establish the Pan Am flying boat in the water[31] and miniature work to show the plane taking off and flying, superimposed over a map; animation effects for the beam in the Tanis map room; and a miniature car and passengers[32] superimposed over a matte painting for a shot of a Nazi car being forced off a cliff. The bulk of effects shots were featured in the climactic sequence wherein the Ark of the Covenant (which was designed by Brian Muir and Keith Short) is opened and God's wrath is unleashed. This sequence featured animation, a woman to portray a beautiful spirit's face, rod puppet spirits moved through water to convey a sense of floating,[33] a matte painting of the island, and cloud tank effects to portray clouds. The melting of Toht's head was done by exposing a gelatine and plaster model of Ronald Lacey's head to a heat lamp with an under cranked camera, while Dietrich's crushed head was a hollow model from which air was withdrawn. When the film was originally submitted to the Motion Picture Association of America, it received an R rating because of the scene in which Belloq's head explodes. The filmmakers were able to receive a PG rating when they added a veil of fire over the exploding head scene. (The PG-13 rating was not created until 1984.[11]) The firestorm that cleanses the canyon at the finish was a miniature canyon filmed upside down.[33]\n", "Ben Burtt, the sound effects supervisor, made extensive use of traditional foley work in yet another of the production's throwbacks to days of the Republic serials. He selected a .30-30 Winchester rifle for the sound of Jones' pistol. Sound effects artists struck leather jackets and baseball gloves with a baseball bat to create a variety of punching noises and body blows. For the snakes in the Well of Souls sequence, fingers running through cheese casserole and sponges sliding over cement were used for the slithering noises. The sliding lid on a toilet cistern provided the sound for the opening of the Ark, and the sound of the boulder in the opening is a car rolling down a gravel driveway in neutral. Burtt also used, as he did in many of his films, the ubiquitous Wilhelm scream when a Nazi falls from a truck. In addition to his use of such time-honored foley work, Burtt also demonstrated the modern expertise honed during his award-winning work on Star Wars. He employed a synthesizer for the sounds of the Ark, and mixed dolphins' and sea lions' screams for those of the spirits within.[34]\n", "John Williams composed the score for Raiders of the Lost Ark, which was the only score in the series performed by the London Symphony Orchestra, the same orchestra that performed the scores for the Star Wars saga. The score most notably features the well-known \"Raiders March.\" This piece came to symbolize Indiana Jones and was later used in the scores for the other three films. Williams originally wrote two different candidates for Jones's theme, but Spielberg enjoyed them so much that he insisted that both be used together in what became the \"Raiders March\".[35] The alternately eerie and apocalyptic theme for the Ark of the Covenant is also heard frequently in the score, with a more romantic melody representing Marion and, more broadly, her relationship with Jones. The score as a whole received an Oscar nomination for Best Original Score, but lost to the score to Chariots of Fire composed by Vangelis.\n", "The film, made on a $18\u00a0million budget, grossed $384\u00a0million worldwide throughout its theatrical releases. In North America it was by some distance the highest-grossing film of 1981,[36] and remains one of the top twenty highest-grossing films ever made when adjusted for inflation.[37] The film was subsequently nominated for nine Academy Awards, including Best Picture, in 1982 and won four (Best Sound, Best Film Editing, Best Visual Effects, and Best Art Direction-Set Decoration (Norman Reynolds, Leslie Dilley, and Michael D. Ford). It also received a Special Achievement Award for Sound Effects Editing. It won numerous other awards, including a Grammy Award and Best Picture at the People's Choice Awards. Spielberg was also nominated for a Golden Globe Award.[38]\n", "The film received universal acclaim from critics and audiences alike. In his review for The New York Times, Vincent Canby praised the film, calling it, \"one of the most deliriously funny, ingenious and stylish American adventure movies ever made.\"[39] Roger Ebert in his review for the Chicago Sun-Times wrote, \"Two things, however, make Raiders of the Lost Ark more than just a technological triumph: its sense of humor and the droll style of its characters [...] We find ourselves laughing in surprise, in relief, in incredulity at the movie's ability to pile one incident upon another in an inexhaustible series of inventions.\"[40] He later added it to his list of \"Great Movies\".[41] Rolling Stone said the film was \"the ultimate Saturday action matinee\u2013a film so funny and exciting it can be enjoyed any day of the week.\"[42] Bruce Williamson of Playboy claimed: \"There's more excitement in the first ten minutes of Raiders than any movie I have seen all year. By the time the explosive misadventures end, any movie-goer worth his salt ought to be exhausted.\"[43] Stephen Klain of Variety also praised the film. Yet, making an observation that would revisit the franchise with its next film, he felt that the film was surprisingly violent and bloody for a PG-rated film.[44]\n", "There were some dissenting voices; Sight & Sound described it as an \"...expensively gift-wrapped Saturday afternoon pot-boiler,\"[45] and New Hollywood champion Pauline Kael, who once contended that she only got \"really rough\" on large films that were destined to be hits but were nonetheless \"atrocious,\"[46] found the film to be a \"machine-tooled adventure\" from a pair of creators who \"think just like the marketing division.\"[47] (Lucas later named a villain, played by Raiders Nazi strongman Pat Roach, in his 1988 fantasy film Willow after Kael.)[46] The film is considered to be a classic of the action and adventure genres by many contemporary critics, and carries a 95% \"Certified Fresh\" rating on Rotten Tomatoes,[48] as well as a 90% rating on Metacritic, indicating \"Universal acclaim\".[49]\n", "Following the success of Raiders, a prequel, The Temple of Doom, and two sequels, The Last Crusade and Kingdom of the Crystal Skull, were produced. A television series, entitled The Young Indiana Jones Chronicles, was also spun off from this film, and details the character's early years. Numerous other books, comics, and video games have also been produced.\n", "In 1998, the American Film Institute placed the film at number 60 on its top 100 films of the first century of cinema. In 2007, AFI updated the list and placed it at number 66. They also named it as the 10th most thrilling film, and named Indiana Jones as the second greatest hero. In 1999, the film was deemed \"culturally, historically, or aesthetically significant\" by the U.S. Library of Congress and selected for preservation in the National Film Registry. Indiana Jones has become an icon, being listed as Entertainment Weekly\u200a'\u200bs third favorite action hero, while noting \"some of the greatest action scenes ever filmed are strung together like pearls\" in this film.[50]\n", "An amateur, near shot-for-shot remake was made by Chris Strompolos, Eric Zala, and Jayson Lamb, then children in Ocean Springs, Mississippi. It took the boys seven years to finish, from 1982 to 1989. After production of the film, called Raiders of the Lost Ark: The Adaptation, it was shelved and forgotten until 2003, where it was discovered by Eli Roth[51][52] and acclaimed by Spielberg himself, who congratulated the boys on their hard work and said he looked forward to seeing their names on the big screen.[53] Scott Rudin and Paramount Pictures purchased the trio's life rights with the goal of producing a film based on their adventures making their remake.[54][55]\n", "In 2014, film director Steven Soderbergh published an experimental black-and-white version of the film, with the original soundtrack and dialogue replaced by an electronic soundtrack. Soderbergh said his intention was to encourage viewers to focus on Spielberg's extraordinary staging and editing: \"This filmmaker forgot more about staging by the time he made his first feature than I know to this day.\"[56]\n", "Assessing the film's legacy in 1997, Bernard Weinraub, film critic for The New York Times, which had initially reviewed the film as \"deliriously funny, ingenious, and stylish\",[46] maintained that \"the decline in the traditional family G-rated film, for 'general' audiences, probably began\" with the appearance of Raiders of the Lost Ark. \"Whether by accident or design,\" found Weinraub, \"the filmmakers made a comic nonstop action film intended mostly for adults but also for children.\"[46] Eight years later, in 2005, viewers of Channel 4 in the U.K. rated the film as the 20th-best family film of all time, with Spielberg taking best over-all director honors.[57]\n", "On Empire magazine's list of the 500 Greatest Movies of All Time, Raiders ranked second, beaten only by The Godfather.[58]\n", "The only video game based exclusively on the film is Raiders of the Lost Ark, released in 1982 by Atari for their Atari 2600 console.[59] The first third of the video game Indiana Jones' Greatest Adventures, released in 1994 by JVC for Nintendo's Super Nintendo Entertainment System, is based entirely on the film. Several of the film's sequences are reproduced (the boulder run and the showdown with the Cairo Swordsman among them); however, several inconsistencies with the film are present in the game, such as Nazi soldiers and bats being present in the Well of Souls sequence, for example.[60] The game was developed by LucasArts and Factor 5. In the 1999 game Indiana Jones and the Infernal Machine, a bonus level brings Jones back to the Peruvian temple of the film's opening scene.[61] In 2008, to coincide with the release of Kingdom of the Crystal Skull, Lego released the Lego Indiana Jones line\u2014which included building sets based on Raiders of the Lost Ark[62]\u2014and LucasArts published a video game based on the toyline, Lego Indiana Jones: The Original Adventures, which was developed by Traveller's Tales.[63]\n", "Marvel Comics published a comic book adaptation of the film by writer Walt Simonson and artists John Buscema and Klaus Janson. It was published as Marvel Super Special #18[64] and as a three-issue limited series.[65]\n", "In 1981, Kenner released a 12-inch (30\u00a0cm) doll of Indiana Jones, and the following year they released nine action figures of the film's characters, three playsets, as well as toys of the Nazi truck and Jones' horse. They also released a board game. In 1984, miniature metal versions of the characters were released for a role playing game, The Adventures of Indiana Jones, and in 1995 Micro Machines released die-cast toys of the film's vehicles.[66] Hasbro released action figures based on the film, ranging from 3 to 12 inches (7.6 to 30.5\u00a0cm), to coincide with Kingdom of the Crystal Skull on May 1, 2008.[67] Later in 2008, and in 2011, two high-end sixth scale (1:6) collectible action figures were released by Sideshow Collectibles, and Hot Toys, Ltd. respectively. A novelization by Ryder Windham was released in April 2008 by Scholastic to tie in with the release of Kingdom of the Crystal Skull. A previous novelization by Scottish author Campbell Armstrong (under the pseudonym Campbell Black) was concurrently released with the film in 1981. A book about the making of the film was also released, written by Derek Taylor.\n", "In conjunction with the Blu-ray release, a limited one-week release in IMAX theaters was announced for September 7, 2012. Steven Spielberg and sound designer Ben Burtt supervised the format conversion. No special effects or other visual elements were altered, but the audio was enhanced for surround sound.[68]\n", "The film opened at #14 and grossed $1,673,731 from 267 theaters ($6,269 theater average) during its opening weekend. In total, the IMAX release grossed $3,125,613 domestically.[69]\n", "The film was released on VHS, Betamax and VideoDisc in pan and scan only, and on laserdisc in both pan and scan and widescreen. For its 1999 VHS re-issue, the film was remastered in THX and made available in widescreen. The outer package was retitled Indiana Jones and the Raiders of the Lost Ark for consistency with the film's prequel and sequel. The subsequent DVD release in 2003 features this title as well. The title in the film itself remains unchanged, even in the restored DVD print. In the DVD, two subtle digital revisions were added. First, a connecting rod from the giant boulder to an offscreen guidance track in the opening scene was removed from behind the running Harrison Ford; second, a reflection in the glass partition separating Ford from the cobra in the Well of Souls was removed.[70] The film (along with The Temple of Doom and The Last Crusade) was re-released on DVD with additional extra features not included on the previous set on May 13, 2008. The film was released on Blu-ray Disc in September 2012.[71] Previously, only Kingdom of the Crystal Skull had been available on Blu-ray.\n", "In December 2012, the University of Chicago's admissions department received a package in the mail addressed to Henry Walton Jones, Jr., Indiana Jones' full name. The address on the stamped package was listed for a hall that was the former home of the university's geology and geography department. Inside the manila envelope was a detailed replica journal similar to the one Jones used in the movie, as well as postcards and pictures of Marion Ravenwood. The admissions department posted pictures of the contents on its Internet blog, looking for any information about the package. It was discovered that the package was part of a set to be shipped from Guam to Italy that had been sold on eBay. The package with the journal had fallen out in transit and a postal worker had sent it to the university, as it had a complete address and postage, which turned out to be fake. All contents were from a Guam \"prop replicator\" who sells them all over the world. The university will display its replica in the main lobby of the Oriental Institute.[75]\n", "http://en.wikipedia.org/wiki/Rocky\n", "Rocky is a 1976 American sports drama film directed by John G. Avildsen and both written by and starring Sylvester Stallone. It tells the rags to riches American Dream story of Rocky Balboa, an uneducated but kind-hearted debt collector for a loan shark in the city of Philadelphia. Rocky starts out as a club fighter who later gets a shot at the world heavyweight championship. It also stars Talia Shire as Adrian, Burt Young as Adrian's brother Paulie, Burgess Meredith as Rocky's trainer Mickey Goldmill, and Carl Weathers as the champion, Apollo Creed." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film, made on a budget of just over $1 million and shot in 28 days, was a sleeper hit; it earned $225 million in global box office receipts becoming the highest grossing film of 1976 and went on to win three Oscars, including Best Picture. The film received many positive reviews and turned Stallone into a major star.[1] It spawned five sequels: Rocky II, III, IV, V and Rocky Balboa, all written by and starring Stallone, who also directed all sequels except for Rocky V (which was directed again by Avildsen).\n", "\n", "\n", "On November 25, 1975, Rocky Balboa (Sylvester Stallone) is introduced as a small-time boxer and collector for a loan shark named Anthony Gazzo (Joe Spinell) and is living in the Kensington neighborhood of Philadelphia. The World Heavyweight Championship bout, with undefeated heavyweight champion Apollo Creed (Carl Weathers) defending against Mac Lee Green, is scheduled to take place at the Philadelphia Spectrum on New Year's Day 1976, the year of the United States Bicentennial. When Green drops out because of an injured hand, Creed and his entourage are stymied on what to do. Other contenders say there is not enough time to get into shape.\n", "Creed comes up with the idea of giving a local underdog a shot at the title and, because he likes Rocky's nickname \"The Italian Stallion,\" he selects the relatively unknown fighter. He puts it in lights by proclaiming \"Apollo Creed Meets The Italian Stallion.\" The fight promoter George Jergens (Thayer David) says the decision is \"very American\"; but Creed says, rather, that it is \"very smart.\"\n", "To prepare for the fight Rocky trains with a 1920s-era ex-bantamweight fighter and gym owner, Mickey Goldmill (Burgess Meredith). Mickey always considered Rocky's potential to be better than his effort\u2014telling him he had heart but also calling him a \"tomato\" and \"leg breaker for some cheap second-rate loan shark\" among other endearments, and putting Rocky out of his gym locker preceding the \"freak luck\" opportunity that comes Rocky's way, and Rocky is initially skeptical of Mickey's motives and timing for wanting to train Rocky for the big fight. Rocky's good friend Paulie (Burt Young), a meat-packing-plant worker, lets him practice his punches on the carcasses hanging in the freezers.\n", "Rocky courts and eventually dates Paulie's shy, quiet sister, Adrian (Talia Shire), who works as a clerk in a local pet store. He draws Adrian out of her shell and, as Rocky's girlfriend, she begins to gain in confidence. Paulie, however, is jealous of the relationship. The night before the fight, Rocky privately tours the Spectrum and notices the photograph of him wearing the wrong colored shorts. Mr. Jergens tells Rocky the incorrect photograph doesn't really matter. Dejected, Rocky confides to Adrian that he does not expect to beat Creed and that all he wants is to go the distance because no one had ever gone the distance with Creed.\n", "On New Year's Day, the climactic boxing match begins. Apollo Creed has never taken the fight seriously, and Rocky unexpectedly knocks him down in the first round (the first time Creed has been knocked down in his professional career), embarrassing Creed, and the match turns intense. Creed's prediction that he would knockout Rocky in three rounds is quickly erased as the two fighters engage in a brutal match. Creed realizes that he has underestimated his opponent and desperately defends his title. The fight indeed lasts 15 rounds, with both fighters sustaining many injuries; Rocky suffers his first broken nose and debilitating trauma around the eye, and Creed sustains brutal blows to his ribs with substantial internal bleeding. As the match progresses, Creed's superior skill is countered by Rocky's apparently unlimited ability to absorb punishment, and his dogged refusal to be knocked out. As the final round bell sounds, with both fighters locked in each other's arms, an exhausted Creed vows \"Ain't gonna be no re-match,\" to which an equally spent Rocky replies, \"Don't want one.\"\n", "After the fight, multiple layers of drama are played out: sportscasters and audience are going wild; the promoter/ring announcer George Jergens announces over the loudspeaker that the match was \"the greatest exhibition of guts and stamina in the history of the ring\"; Rocky calls out repeatedly for Adrian, who runs down and comes into the ring as Paulie distracts the security personnel. As Jergens declares Apollo Creed the winner by virtue of a split decision (8:7, 7:8, 9:6), Adrian and Rocky embrace while they profess their love to one another, not caring about the result of the fight.\n", "Boxer Joe Frazier has a cameo appearance in the film. The character of Apollo Creed was influenced by outspoken boxer Muhammad Ali who fought Frazier three times. During the Academy Awards ceremony, Ali and Stallone staged a brief comic confrontation to show Ali was not offended by the film. Some of the plot's most memorable moments\u2014Rocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as part of his training regime\u2014are taken from the real-life exploits of Joe Frazier, for which he received no credit.[3]\n", "Due to the film's comparatively low budget, members of Stallone's family played minor roles. His father rings the bell to signal the start and end of a round, his brother Frank plays a street corner singer, and his first wife, Sasha, was stills photographer.[4] Other cameos include former Philadelphia and then-current Los Angeles television sportscaster Stu Nahan playing himself, alongside radio and TV broadcaster Bill Baldwin; and Lloyd Kaufman, founder of the independent film company Troma, appearing as a drunk. Diana Lewis, then a news anchor in Los Angeles and later in Detroit, has a small scene as a TV news reporter. Tony Burton appeared as Apollo Creed's trainer, Tony \"Duke\" Evers, a role he would reprise in the entire Rocky series, though he is not given an official name until Rocky II. Though uncredited, Michael Dorn who would later gain fame as the Klingon Worf in Star Trek: The Next Generation and Star Trek: Deep Space Nine, made his acting debut as Creed's bodyguard.[5]\n", "United Artists liked Stallone's script, and viewed it as a possible vehicle for a well-established star such as Robert Redford, Ryan O'Neal, Burt Reynolds, or James Caan. Stallone appealed to the producers to be given a chance to star in the film. He later said that he would never have forgiven himself if the film became a success with someone else in the lead. He also knew that producers Irwin Winkler's and Robert Chartoff's contract with the studio enabled them to \"greenlight\" a project if the budget was kept low enough. The producers also collateralized any possible losses with their big-budget entry, New York, New York (whose eventual losses were ironically covered by Rocky's success).[6][7]\n", "Certain elements of the story were altered during filming. The original script had a darker tone: Mickey was portrayed as racist and the script ended with Rocky throwing the fight after realizing he did not want to be part of the professional boxing world after all.[6]\n", "Although Chartoff and Winkler were enthusiastic about the script and the idea of Stallone playing the lead character, they were hesitant about having an unknown headline the film. The producers also had trouble casting other major characters in the story, with Adrian and Apollo Creed cast unusually late by production standards (both were ultimately cast on the same day). Real-life boxer Ken Norton was initially sought for the role of Apollo Creed, but he pulled out and the role was ultimately given to Carl Weathers. Norton had had three fights with Muhammad Ali, upon whom Creed was loosely based. According to The Rocky Scrapbook, Carrie Snodgress was originally chosen to play Adrian, but a money dispute forced the producers to look elsewhere. Susan Sarandon auditioned for the role but was deemed too pretty for the character. After Talia Shire's ensuing audition, Chartoff and Winkler, along with Avildsen, insisted that she play the part.[citation needed]\n", "Inventor/operator Garrett Brown's new Steadicam was used to accomplish smooth photography while running alongside Rocky during the film's Philadelphia street jogging/training sequences and the run up the Art Museum's flight of stairs.[8] It was also used for some of the shots in the fight scenes and can be openly seen at the ringside during some wide shots of the final fight. (Rocky is often erroneously cited as the first film to use the Steadicam, although it was actually the third, after Bound for Glory and Marathon Man.[9])\n", "While filming Rocky, both Stallone and Weathers suffered injuries during the shooting of the final fight; Stallone suffered bruised ribs and Weathers suffered a damaged nose, the opposite injuries of what their characters had.[citation needed]\n", "The poster seen above the ring before Rocky fights Apollo Creed shows Rocky wearing red shorts with a white stripe when he actually wears white shorts with a red stripe. When Rocky points this out he is told that \"it doesn't really matter does it?\". According to director Avildsen's DVD commentary, this was an actual mistake made by the props department that they could not afford to rectify, so Stallone wrote the brief scene to ensure the audience didn't see it as a goof (Carl Weathers would, ironically, wear white-striped red shorts for the Creed-Balboa rematch in Rocky II). Avildsen said that the same situation arose with Rocky's robe. When it came back from the costume department, it was far too baggy for Stallone. And because the robe arrived on the day of filming the scene and there was no chance of replacing or altering it, instead of ignoring this and risk the audience laughing at it, Stallone wrote the dialogue where Rocky himself points out the robe is too big.\n", "The first date between Rocky and Adrian, in which Rocky bribes a janitor to allow them to skate after closing hours in a deserted ice skating rink, was shot that way only because of budgetary pressures. This scene was originally scheduled to be shot in a skating rink during regular business hours. However, the producers ultimately decided that they couldn't afford to hire the hundreds of extras that would have been necessary for that scene.\n", "The production budget for Rocky was $1,075,000, with a further $100,000 spent on producer's fees and $4.2 million of advertising costs.[10] It eventually earned worldwide box-office receipts exceeding $225 million with $117 million coming from North America.[11]\n", "The film draws inspiration from the careers of at least three boxers.\n", "The character's name and ethnicity harken to Rocky Marciano.\n", "The main plot of the film may have been based on the match between Muhammad Ali and Chuck Wepner at Richfield Coliseum in Richfield, Ohio on March 24, 1975. Wepner was TKO'd in the 15th round by Ali, but nobody ever expected him to last as long as he did. Stallone watched the Wepner-Ali fight and shortly afterwards wrote the script for Rocky, but Stallone subsequently denied that Wepner provided any inspiration for the script.[12][13] ) Other possible inspirations for the film may have included Rocky Graziano's autobiography Somebody Up There Likes Me, and the movie of the same name. Wepner filed a lawsuit which was eventually settled with Stallone for an undisclosed amount.[13]\n", "The Philadelphia setting and details of training (including using sides of beef) come from the life of Joe Frazier.\n", "The famous scene of Rocky running up the steps of the Philadelphia Museum of Art has become a cultural icon. In 1982, a statue of Rocky, commissioned by Stallone for Rocky III, was placed at the top of the Rocky Steps. City Commerce Director Dick Doran claimed that Stallone and Rocky had done more for the city's image than \"anyone since Ben Franklin.\"[14]\n", "Differing opinions of the statue and its placement led to a relocation to the sidewalk outside the Spectrum Arena, although the statue was temporarily returned to the top of the steps in 1990 for Rocky V, and again in 2006 for the 30th anniversary of the original Rocky (although this time it was placed at the bottom of the steps). Later that year, it was permanently moved to a spot next to the steps.[14]\n", "The scene is frequently parodied in the media. In You Don't Mess with the Zohan, Zohan's nemesis, Phantom, goes through a parodied training sequence finishing with him running up a desert dune and raising his hands in victory. In the fourth season's finale of The Fresh Prince of Bel-Air, as the credits roll at the end of the episode, Will is seen running up the same steps of the Philadelphia Museum of Art; however, as he celebrates after finishing his climb, he passes out in exhaustion, and while he lies unconscious on the ground, a pickpocket steals his wallet and his wool hat. Also in The Nutty Professor, there is a scene where Eddie Murphy is running up the stairs and throwing punches at the top.\n", "In 2006, E! named the \"Rocky Steps\" scene #13 in its 101 Most Awesome Moments in Entertainment.[15]\n", "During the 1996 Summer Olympics torch relay, Philadelphia native Dawn Staley was chosen to run up the museum steps. In 2004, Presidential candidate John Kerry ended his pre-convention campaign at the foot of the steps before going to Boston to accept his party's nomination for President.[16]\n", "Rocky received mixed to positive reviews at the time of its release. Roger Ebert of the Chicago Sun-Times gave it 4 out of 4 stars and said that Stallone reminded him of \"the young Marlon Brando.[17] \" Box Office Magazine claimed that audiences would be \"touting Sylvester 'Sly' Stallone as a new star\".[18][19] The film, however, did not escape criticism. Vincent Canby, of The New York Times, called it \"pure '30s make believe\" and dismissed both Stallone's acting and Avildsen's directing, calling the latter \"none too decisive\".[20] Frank Rich liked the film, calling it \"almost 100 per cent schmaltz,\" but favoring it over the cynicism that was prevalent in movies at that time, although he referred to the plot as \"gimmicky\" and the script \"heavy-handed\". He attributed all of the film's weaknesses to Avildsen, describing him as responsible for some of the \"most tawdry movies of recent years\", and who \"has an instinct for making serious emotions look tawdry\" and said of Rocky, \"He'll go for a cheap touch whenever he can\" and \"tries to falsify material that was suspect from the beginning. ... Even by the standards of fairy tales, it strains logic.\" Rich also criticised the film's \"stupid song with couplets like 'feeling strong now/won't be long now.'\"[21]\n", "Several reviews, including Richard Eder's (as well as Canby's negative review), compared the work to that of Frank Capra. Andrew Sarris found the Capra comparisons disingenuous: \"Capra's movies projected more despair deep down than a movie like Rocky could envisage, and most previous ring movies have been much more cynical about the fight scene,\" and, commenting on Rocky's work as a loan shark, says that the film \"teeters on the edge of sentimentalizing gangsters.\" Sarris also found Meredith \"oddly cast in the kind of part the late James Gleason used to pick his teeth.\" Sarris also took issue with Avildsen's direction, which he described as having been done with \"an insidious smirk\" with \"condescension toward everything and everybody,\" specifically finding fault, for example, with Avildsen's multiple shots of a chintzy lamp in Rocky's apartment. Sarris also found Stallone's acting style \"a bit mystifying\" and his character \"all rough\" as opposed to \"a diamond in the rough\" like Terry Malloy.[22]\n", "More than 30 years later, the film enjoys a reputation as a classic and still receives positive reviews; Rocky holds a 92% rating on Rotten Tomatoes, with the consensus stating: \"This story of a down-on-his-luck boxer is thoroughly predictable, but Sylvester Stallone's script and stunning performance in the title role brush aside complaints.\"[23] Another positive online review came from the BBC Films website, with both reviewer Almar Haflidason and BBC online users giving it 5/5 stars.[24] In Steven J. Schneider's 1001 Movies You Must See Before You Die, Schneider says the film is \"often overlooked as schmaltz.\"[25]\n", "In 2006, Rocky was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".[26][27]\n", "In June 2008, AFI revealed its \"Ten top Ten\"\u2014the best ten films in ten \"classic\" American film genres\u2014after polling over 1,500 people from the creative community. Rocky was acknowledged as the second-best film in the sports genre, after Raging Bull.[28][29]\n", "In 2008, Rocky was chosen by British film magazine Empire as one of The 500 Greatest Movies of All Time.[30] In contrast, in a 2005 poll by Empire, Rocky was No. 9 on their list of \"The Top 10 Worst Pictures to Win Best Picture Oscar\".[31]\n", "Rocky received ten Academy Awards nominations in nine categories, winning three:[32]\n", "Rocky has also appeared on several of the American Film Institute's 100 Years lists.\n", "The Directors Guild of America awarded Rocky its annual award for best film of the year in 1976, and in 2006, Sylvester Stallone's original screenplay for Rocky was selected for the Writers Guild of America Award as the 78th best screenplay of all time.[37]\n", "All music by Bill Conti.\n", "Rocky\u200a'\u200bs soundtrack was composed by Bill Conti. The main theme song, \"Gonna Fly Now\", made it to number one on the Billboard magazine's Hot 100 list for one week (from July 2 to July 8, 1977) and the American Film Institute placed it 58th on its AFI's 100 Years...100 Songs.[39][40] The complete soundtrack was re-released in 1988 by EMI on CD and cassette.[41] Conti was also the composer for Rockys: II, III, V, and Rocky Balboa.[42]\n", "The version of \"Gonna Fly Now\" used in the film is different from the versions released on later CDs and records. The vocals and guitars are much more emphasized than the versions released. The \"movie version\" has yet to be released.[citation needed]\n", "Although the Conti version of \"Gonna Fly Now\" is the most recognizable arrangement, a cover of the song performed by legendary trumpeter Maynard Ferguson on his Conquistador album prior to the release of the motion picture soundtrack actually outsold the soundtrack itself.[43]\n", "A paperback novelization of the screenplay was written by Rosalyn Drexler and published by Ballantine Books in 1976.[45]\n", "Several video games have been made based on the film. The first Rocky video game was released by Coleco for ColecoVision in August 1983 titled Rocky Super Action Boxing; the principal designer was Coleco staffer B. Dennis Sustare. Another was released in 1987 for the Sega Master System. More recently, a Rocky video game was released in 2002 for the Nintendo GameCube, Game Boy Advance, PlayStation 2, and Xbox, and a sequel, Rocky Legends, was released in 2004 for the PlayStation 2 and Xbox. In 2007, a video game called Rocky Balboa was released for PSP. In 1985, Dinamic Software released a boxing game for the Sinclair ZX Spectrum (also advertised for and/or published on the Sega Master System, Amstrad CPC and MSX) called Rocky. Due to copyright reasons it was quickly renamed \"Rocco\".[46]\n", "A musical has been written by Stephen Flaherty and Lynn Ahrens (lyrics and music) with the book by Thomas Meehan based on the film. The musical premiered in Hamburg, Germany in October 2012 and began performances at the Winter Garden Theater on Broadway on February 11, 2014 and officially opened on March 13, 2014.[47][48][49]\n", "http://en.wikipedia.org/wiki/A_Streetcar_Named_Desire\n", "A Streetcar Named Desire may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/The_Philadelphia_Story\n", "The Philadelphia Story could refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/To_Kill_a_Mockingbird\n", "To Kill a Mockingbird is a novel by Harper Lee published in 1960. It was immediately successful, winning the Pulitzer Prize, and has become a classic of modern American literature. The plot and characters are loosely based on the author's observations of her family and neighbors, as well as on an event that occurred near her hometown in 1936, when she was 10\u00a0years old." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The novel is renowned for its warmth and humor, despite dealing with the serious issues of rape and racial inequality. The narrator's father, Atticus Finch, has served as a moral hero for many readers and as a model of integrity for lawyers. One critic explains the novel's impact by writing, \"In the twentieth century, To Kill a Mockingbird is probably the most widely read book dealing with race in America, and its protagonist, Atticus Finch, the most enduring fictional image of racial heroism.\"[1]\n", "As a Southern Gothic novel and a Bildungsroman, the primary themes of To Kill a Mockingbird involve racial injustice and the destruction of innocence. Scholars have noted that Lee also addresses issues of class, courage, compassion, and gender roles in the American Deep South. The book is widely taught in schools in the United States with lessons that emphasize tolerance and decry prejudice. Despite its themes, To Kill a Mockingbird has been subject to campaigns for removal from public classrooms, often challenged for its use of racial epithets.\n", "Reaction to the novel varied widely upon publication. Literary analysis of it is sparse, considering the number of copies sold and its widespread use in education. Author Mary McDonough Murphy, who collected individual impressions of the book by several authors and public figures, calls To Kill a Mockingbird \"an astonishing phenomenon\".[2] In 2006, British librarians ranked the book ahead of the Bible as one \"every adult should read before they die\".[3] It was adapted into an Oscar-winning film in 1962 by director Robert Mulligan, with a screenplay by Horton Foote. Since 1990, a play based on the novel has been performed annually in Harper Lee's hometown of Monroeville, Alabama. To date, it is Lee's only published novel, and although she continues to respond to the book's impact, she has refused any personal publicity for herself or the novel since 1964.\n", "\n", "\n", "Born in 1926, Harper Lee grew up in the Southern town of Monroeville, Alabama, where she became close friends with soon-to-be famous writer Truman Capote. She attended Huntingdon College in Montgomery (1944\u201345), and then studied law at the University of Alabama (1945\u201349). While attending college, she wrote for campus literary magazines: Huntress at Huntingdon and the humor magazine Rammer Jammer at the University of Alabama. At both colleges, she wrote short stories and other works about racial injustice, a rarely mentioned topic on such campuses at the time.[4] In 1950, Lee moved to New York City, where she worked as a reservation clerk for British Overseas Airways Corporation; there, she began writing a collection of essays and short stories about people in Monroeville. Hoping to be published, Lee presented her writing in 1957 to a literary agent recommended by Capote. An editor at J. B. Lippincott advised her to quit the airline and concentrate on writing. Donations from friends allowed her to write uninterrupted for a year.[5]\n", "Ultimately, Lee spent two and a half years writing To Kill a Mockingbird. A description of the book's creation by the National Endowment for the Arts relates an episode when Lee became so frustrated that she tossed the manuscript out the window into the snow. Her agent made her retrieve it.[6] The book was published on July 11, 1960. It was initially titled Atticus, but Lee renamed it to reflect a story that went beyond a character portrait.[7] The editorial team at Lippincott warned Lee that she would probably sell only several thousand copies.[8] In 1964, Lee recalled her hopes for the book when she said, \"I never expected any sort of success with 'Mockingbird.'\u00a0...\u00a0I was hoping for a quick and merciful death at the hands of the reviewers but, at the same time, I sort of hoped someone would like it enough to give me encouragement. Public encouragement. I hoped for a little, as I said, but I got rather a whole lot, and in some ways this was just about as frightening as the quick, merciful death I'd expected.\"[9] Instead of a \"quick and merciful death\", Reader's Digest Condensed Books chose the book for reprinting in part, which gave it a wide readership immediately.[10] Since the original publication, the book has never been out of print.\n", "The story takes place during three years (1933\u201335) of the Great Depression in the fictional \"tired old town\" of Maycomb, Alabama, the seat of Maycomb County. It focuses on six-year-old Scout Finch, who lives with her older brother, Jem, and their widowed father, Atticus, a middle-aged lawyer. Jem and Scout befriend a boy named Dill, who visits Maycomb to stay with his aunt each summer. The three children are terrified of, and fascinated by, their neighbor, the reclusive \"Boo\" Radley. The adults of Maycomb are hesitant to talk about Boo, and, for many years few have seen him. The children feed one another's imagination with rumors about his appearance and reasons for remaining hidden, and they fantasize about how to get him out of his house. After two summers of friendship with Dill, Scout and Jem find that someone leaves them small gifts in a tree outside the Radley place. Several times the mysterious Boo makes gestures of affection to the children, but, to their disappointment, he never appears in person.\n", "Judge Taylor appoints Atticus to defend Tom Robinson, a black man who has been accused of raping a young white woman, Mayella Ewell. Although many of Maycomb's citizens disapprove, Atticus agrees to defend Tom to the best of his ability. Other children taunt Jem and Scout for Atticus's actions, calling him a \"nigger-lover\". Scout is tempted to stand up for her father's honor by fighting, even though he has told her not to. Atticus faces a group of men intent on lynching Tom. This danger is averted when Scout, Jem, and Dill shame the mob into dispersing by forcing them to view the situation from Atticus' and Tom's points of view.\n", "Atticus does not want Jem and Scout to be present at Tom Robinson's trial. No seat is available on the main floor, so by invitation of Rev. Sykes, Jem, Scout, and Dill watch from the colored balcony. Atticus establishes that the accusers\u2014Mayella and her father, Bob Ewell, the town drunk\u2014are lying. It also becomes clear that the friendless Mayella made sexual advances toward Tom, and that her father caught her and beat her. Despite significant evidence of Tom's innocence, the jury convicts him. Jem's faith in justice becomes badly shaken, as is Atticus', when the hapless Tom is shot and killed while trying to escape from prison.\n", "Despite Tom's conviction, Bob Ewell is humiliated by the events of the trial, and vows revenge. He spits in Atticus' face, tries to break into the judge's house, and menaces Tom Robinson's widow. Finally, he attacks the defenseless Jem and Scout while they walk home on a dark night after the school Halloween pageant. One of Jem's arms is broken in the struggle, but amid the confusion someone comes to the children's rescue. The mysterious man carries Jem home, where Scout realizes that he is Boo Radley.\n", "Sheriff Tate arrives and discovers that Bob Ewell has died during the fight. The sheriff argues with Atticus about the prudence and ethics of charging Jem (whom Atticus believes to be responsible) or Boo (whom Tate believes to be responsible). Atticus eventually accepts the sheriff's story that Ewell simply fell on his own knife. Boo asks Scout to walk him home, and after she says goodbye to him at his front door he disappears again. While standing on the Radley porch, Scout imagines life from Boo's perspective, and regrets that they had never repaid him for the gifts he had given them.\n", "Lee has said that To Kill a Mockingbird is not an autobiography, but rather an example of how an author \"should write about what he knows and write truthfully\".[11] Nevertheless, several people and events from Lee's childhood parallel those of the fictional Scout. Lee's father, Amasa Coleman Lee, was an attorney, similar to Atticus Finch, and in 1919, he defended two black men accused of murder. After they were convicted, hanged and mutilated,[12] he never tried another criminal case. Lee's father was also the editor and publisher of the Monroeville newspaper. Although more of a proponent of racial segregation than Atticus, he gradually became more liberal in his later years.[13] Though Scout's mother died when she was a baby, Lee was 25 when her mother, Frances Cunningham Finch, died. Lee's mother was prone to a nervous condition that rendered her mentally and emotionally absent.[14] Lee had a brother named Edwin, who\u2014like the fictional Jem\u2014was four years older than his sister. As in the novel, a black housekeeper came daily to care for the Lee house and family.\n", "Lee modeled the character of Dill on her childhood friend, Truman Capote, known then as Truman Persons.[15][16] Just as Dill lived next door to Scout during the summer, Capote lived next door to Lee with his aunts while his mother visited New York City.[17] Like Dill, Capote had an impressive imagination and a gift for fascinating stories. Both Lee and Capote were atypical children: both loved to read. Lee was a scrappy tomboy who was quick to fight, but Capote was ridiculed for his advanced vocabulary and lisp. She and Capote made up and acted out stories they wrote on an old Underwood typewriter Lee's father gave them. They became good friends when both felt alienated from their peers; Capote called the two of them \"apart people\".[18] In 1960, Capote and Lee traveled to Kansas together to investigate the multiple murders that were the basis for Capote's nonfiction novel In Cold Blood.\n", "Down the street from the Lees lived a family whose house was always boarded up; they served as the models for the fictional Radleys. The son of the family got into some legal trouble and the father kept him at home for 24\u00a0years out of shame. He was hidden until virtually forgotten; he died in 1952.[19]\n", "The origin of Tom Robinson is less clear, although many have speculated that his character was inspired by several models. When Lee was 10\u00a0years old, a white woman near Monroeville accused a black man named Walter Lett of raping her. The story and the trial were covered by her father's newspaper which reported that Lett was convicted and sentenced to death. After a series of letters appeared claiming Lett had been falsely accused, his sentence was commuted to life in prison. He died there of tuberculosis in 1937.[20] Scholars believe that Robinson's difficulties reflect the notorious case of the Scottsboro Boys,[21][22] in which nine black men were convicted of raping two white women on negligible evidence. However, in 2005, Lee stated that she had in mind something less sensational, although the Scottsboro case served \"the same purpose\" to display Southern prejudices.[23] Emmett Till, a black teenager who was murdered for flirting with a white woman in Mississippi in 1955, and whose death is credited as a catalyst for the Civil Rights Movement, is also considered a model for Tom Robinson.[24]\n", "The narrative is very tough, because [Lee] has to both be a kid on the street and aware of the mad dogs and the spooky houses, and have this beautiful vision of how justice works and all the creaking mechanisms of the courthouse. Part of the beauty is that she... trusts the visual to lead her, and the sensory.\n", "The strongest element of style noted by critics and reviewers is Lee's talent for narration, which in an early review in Time was called \"tactile brilliance\".[26] Writing a decade later, another scholar noted, \"Harper Lee has a remarkable gift of story-telling. Her art is visual, and with cinematographic fluidity and subtlety we see a scene melting into another scene without jolts of transition.\"[27] Lee combines the narrator's voice of a child observing her surroundings with a grown woman's reflecting on her childhood, using the ambiguity of this voice combined with the narrative technique of flashback to play intricately with perspectives.[28] This narrative method allows Lee to tell a \"delightfully deceptive\" story that mixes the simplicity of childhood observation with adult situations complicated by hidden motivations and unquestioned tradition.[29] However, at times the blending causes reviewers to question Scout's preternatural vocabulary and depth of understanding.[30] Both Harding LeMay and the novelist and literary critic Granville Hicks expressed doubt that children as sheltered as Scout and Jem could understand the complexities and horrors involved in the trial for Tom Robinson's life.[31][32]\n", "Writing about Lee's style and use of humor in a tragic story, scholar Jacqueline Tavernier-Courbin states: \"Laughter\u00a0... [exposes] the gangrene under the beautiful surface but also by demeaning it; one can hardly\u00a0... be controlled by what one is able to laugh at.\"[33] Scout's precocious observations about her neighbors and behavior inspire National Endowment of the Arts director David Kipen to call her \"hysterically funny\".[34] To address complex issues, however, Tavernier-Courbin notes that Lee uses parody, satire, and irony effectively by using a child's perspective. After Dill promises to marry her, then spends too much time with Jem, Scout reasons the best way to get him to pay attention to her is to beat him up, which she does several times.[35] Scout's first day in school is a satirical treatment of education; her teacher says she must undo the damage Atticus has wrought in teaching her to read and write, and forbids Atticus from teaching her further.[36] Lee treats the most unfunny situations with irony, however, as Jem and Scout try to understand how Maycomb embraces racism and still tries sincerely to remain a decent society. Satire and irony are used to such an extent that Tavernier-Courbin suggests one interpretation for the book's title: Lee is doing the mocking\u2014of education, the justice system, and her own society by using them as subjects of her humorous disapproval.[33]\n", "Critics also note the entertaining methods used to drive the plot.[37] When Atticus is out of town, Jem locks a Sunday school classmate in the church basement with the furnace during a game of Shadrach. This prompts their black housekeeper Calpurnia to escort Scout and Jem to her church, which allows the children a glimpse into her personal life, as well as Tom Robinson's.[38] Scout falls asleep during the Halloween pageant and makes a tardy entrance onstage, causing the audience to laugh uproariously. She is so distracted and embarrassed that she prefers to go home in her ham costume, which saves her life.[39]\n", "Scholars have characterized To Kill a Mockingbird as both a Southern Gothic and coming-of-age or Bildungsroman novel. The grotesque and near-supernatural qualities of Boo Radley and his house, and the element of racial injustice involving Tom Robinson contribute to the aura of the Gothic in the novel.[40][41] Lee used the term \"Gothic\" to describe the architecture of Maycomb's courthouse and in regard to Dill's exaggeratedly morbid performances as Boo Radley.[42] Outsiders are also an important element of Southern Gothic texts and Scout and Jem's questions about the hierarchy in the town cause scholars to compare the novel to Catcher in the Rye and Adventures of Huckleberry Finn.[43] Despite challenging the town's systems, Scout reveres Atticus as an authority above all others, because he believes that following one's conscience is the highest priority, even when the result is social ostracism.[44] However, scholars debate about the Southern Gothic classification, noting that Boo Radley is in fact human, protective, and benevolent. Furthermore, in addressing themes such as alcoholism, incest, rape, and racial violence, Lee wrote about her small town realistically rather than melodramatically. She portrays the problems of individual characters as universal underlying issues in every society.[41]\n", "As children coming of age, Scout and Jem face hard realities and learn from them. Lee seems to examine Jem's sense of loss about how his neighbors have disappointed him more than Scout's. Jem says to their neighbor Miss Maudie the day after the trial, \"It's like bein' a caterpillar wrapped in a cocoon\u00a0... I always thought Maycomb folks were the best folks in the world, least that's what they seemed like\".[45] This leads him to struggle with understanding the separations of race and class. Just as the novel is an illustration of the changes Jem faces, it is also an exploration of the realities Scout must face as an atypical girl on the verge of womanhood. As one scholar writes, \"To Kill a Mockingbird can be read as a feminist Bildungsroman, for Scout emerges from her childhood experiences with a clear sense of her place in her community and an awareness of her potential power as the woman she will one day be.\"[46]\n", "In the 33 years since its publication, [To Kill a Mockingbird] has never been the focus of a dissertation, and it has been the subject of only six literary studies, several of them no more than a couple of pages long.\n", "Despite the novel's immense popularity upon publication, it has not received the close critical attention paid to other modern American classics. Don Noble, editor of a book of essays about the novel, estimates that the ratio of sales to analytical essays may be a million to one. Christopher Metress writes that the book is \"an icon whose emotive sway remains strangely powerful because it also remains unexamined\".[48] Noble suggests it does not receive academic attention because of its consistent status as a best-seller (\"If that many people like it, it can't be any good.\") and that general readers seem to feel they do not require analytical interpretation.[49]\n", "Harper Lee has remained famously detached from interpreting the novel since the mid-1960s. However, she gave some insight into her themes when, in a rare letter to the editor, she wrote in response to the passionate reaction her book caused: \"Surely it is plain to the simplest intelligence that To Kill a Mockingbird spells out in words of seldom more than two syllables a code of honor and conduct, Christian in its ethic, that is the heritage of all Southerners.\"[50]\n", "When the book was released, reviewers noted that it was divided into two parts, and opinion was mixed about Lee's ability to connect them.[51] The first part of the novel concerns the children's fascination with Boo Radley and their feelings of safety and comfort in the neighborhood. Reviewers were generally charmed by Scout and Jem's observations of their quirky neighbors. One writer was so impressed by Lee's detailed explanations of the people of Maycomb that he categorized the book as Southern romantic regionalism.[52] This sentimentalism can be seen in Lee's representation of the Southern caste system to explain almost every character's behavior in the novel. Scout's Aunt Alexandra attributes Maycomb's inhabitants' faults and advantages to genealogy (families that have gambling streaks and drinking streaks),[53] and the narrator sets the action and characters amid a finely detailed background of the Finch family history and the history of Maycomb. This regionalist theme is further reflected in Mayella Ewell's apparent powerlessness to admit her advances toward Tom Robinson, and Scout's definition of \"fine folks\" being people with good sense who do the best they can with what they have. The South itself, with its traditions and taboos, seems to drive the plot more than the characters.[52]\n", "The second part of the novel deals with what book reviewer Harding LeMay termed \"the spirit-corroding shame of the civilized white Southerner in the treatment of the Negro\".[31] In the years following its release, many reviewers considered To Kill a Mockingbird a novel primarily concerned with race relations.[54] Claudia Durst Johnson considers it \"reasonable to believe\" that the novel was shaped by two events involving racial issues in Alabama: Rosa Parks' refusal to yield her seat on a city bus to a white person, which sparked the 1955 Montgomery Bus Boycott, and the 1956 riots at the University of Alabama after Autherine Lucy and Polly Myers were admitted (Myers eventually withdrew her application and Lucy was expelled, but reinstated in 1980).[55] In writing about the historical context of the novel's construction, two other literary scholars remark: \"To Kill a Mockingbird was written and published amidst the most significant and conflict-ridden social change in the South since the Civil War and Reconstruction. Inevitably, despite its mid-1930s setting, the story told from the perspective of the 1950s voices the conflicts, tensions, and fears induced by this transition.\"[56]\n", "Scholar Patrick Chura, who suggests Emmett Till was a model for Tom Robinson, enumerates the injustices endured by the fictional Tom that Till also faced. Chura notes the icon of the black rapist causing harm to the representation of the \"mythologized vulnerable and sacred Southern womanhood\".[24] Any transgressions by black males that merely hinted at sexual contact with white females during the time the novel was set often resulted in a punishment of death for the accused. Tom Robinson's trial was juried by poor white farmers who convicted him despite overwhelming evidence of his innocence, as more educated and moderate white townspeople supported the jury's decision. Furthermore, the victim of racial injustice in To Kill a Mockingbird was physically impaired, which made him unable to commit the act he was accused of, but also crippled him in other ways.[24] Roslyn Siegel includes Tom Robinson as an example of the recurring motif among white Southern writers of the black man as \"stupid, pathetic, defenseless, and dependent upon the fair dealing of the whites, rather than his own intelligence to save him\".[57] Although Tom is spared from being lynched, he is killed with excessive violence during an attempted escape from prison, shot seventeen times.\n", "The theme of racial injustice appears symbolically in the novel as well. For example, Atticus must shoot a rabid dog, even though it is not his job to do so.[58] Carolyn Jones argues that the dog represents prejudice within the town of Maycomb, and Atticus, who waits on a deserted street to shoot the dog,[59] must fight against the town's racism without help from other white citizens. He is also alone when he faces a group intending to lynch Tom Robinson and once more in the courthouse during Tom's trial. Lee even uses dreamlike imagery from the mad dog incident to describe some of the courtroom scenes. Jones writes, \"[t]he real mad dog in Maycomb is the racism that denies the humanity of Tom Robinson\u00a0.... When Atticus makes his summation to the jury, he literally bares himself to the jury's and the town's anger.\"[59]\n", "One of the amazing things about the writing in To Kill a Mockingbird is the economy with which Harper Lee delineates not only race\u2014white and black within a small community\u2014but class. I mean different kinds of black people and white people both, from poor white trash to the upper crust\u2014the whole social fabric.\n", "In a 1964 interview, Lee remarked that her aspiration was \"to be\u00a0... the Jane Austen of South Alabama.\"[41] Both Austen and Lee challenged the social status quo and valued individual worth over social standing. When Scout embarrasses her poorer classmate, Walter Cunningham, at the Finch home one day, Calpurnia, their black cook, chastises and punishes her for doing so.[61] Atticus respects Calpurnia's judgment, and later in the book even stands up to his sister, the formidable Aunt Alexandra, when she strongly suggests they fire Calpurnia.[62] One writer notes that Scout, \"in Austenian fashion\", satirizes women with whom she does not wish to identify.[63] Literary critic Jean Blackall lists the priorities shared by the two authors: \"affirmation of order in society, obedience, courtesy, and respect for the individual without regard for status\".[41]\n", "Scholars argue that Lee's approach to class and race was more complex \"than ascribing racial prejudice primarily to 'poor white trash'\u00a0... Lee demonstrates how issues of gender and class intensify prejudice, silence the voices that might challenge the existing order, and greatly complicate many Americans' conception of the causes of racism and segregation.\"[56] Lee's use of the middle-class narrative voice is a literary device that allows an intimacy with the reader, regardless of class or cultural background, and fosters a sense of nostalgia. Sharing Scout and Jem's perspective, the reader is allowed to engage in relationships with the conservative antebellum Mrs. Dubose; the lower-class Ewells, and the Cunninghams who are equally poor but behave in vastly different ways; the wealthy but ostracized Mr. Dolphus Raymond; and Calpurnia and other members of the black community. The children internalize Atticus' admonition not to judge someone until they have walked around in that person's skin, gaining a greater understanding of people's motives and behavior.[56]\n", "The novel has been noted for its poignant exploration of different forms of courage.[64][65] Scout's impulsive inclination to fight students who insult Atticus reflects her attempt to stand up for him and defend him. Atticus is the moral center of the novel, however, and he teaches Jem one of the most significant lessons of courage.[66] In a statement that foreshadows Atticus' motivation for defending Tom Robinson and describes Mrs. Dubose, who is determined to break herself of a morphine addiction, Atticus tells Jem that courage is \"when you're licked before you begin but you begin anyway and you see it through no matter what\".[67]\n", "Charles Shields, who has written the only book-length biography of Harper Lee to date, offers the reason for the novel's enduring popularity and impact is that \"its lessons of human dignity and respect for others remain fundamental and universal\".[68] Atticus' lesson to Scout that \"you never really understand a person until you consider things from his point of view\u2014until you climb around in his skin and walk around in it\" exemplifies his compassion.[65][69] She ponders the comment when listening to Mayella Ewell's testimony. When Mayella reacts with confusion to Atticus' question if she has any friends, Scout offers that she must be lonelier than Boo Radley. Having walked Boo home after he saves their lives, Scout stands on the Radley porch and considers the events of the previous three years from Boo's perspective. One writer remarks, \"...\u00a0[w]hile the novel concerns tragedy and injustice, heartache and loss, it also carries with it a strong sense [of] courage, compassion, and an awareness of history to be better human beings.\"[65]\n", "Just as Lee explores Jem's development in coming to grips with a racist and unjust society, Scout realizes what being female means, and several female characters influence her development. Scout's primary identification with her father and older brother allows her to describe the variety and depth of female characters in the novel both as one of them and as an outsider.[46] Scout's primary female models are Calpurnia and her neighbor Miss Maudie, both of whom are strong willed, independent, and protective. Mayella Ewell also has an influence; Scout watches her destroy an innocent man in order to hide her desire for him. The female characters who comment the most on Scout's lack of willingness to adhere to a more feminine role are also those who promote the most racist and classist points of view.[63] For example, Mrs. Dubose chastises Scout for not wearing a dress and camisole, and indicates she is ruining the family name by not doing so, in addition to insulting Atticus' intentions to defend Tom Robinson. By balancing the masculine influences of Atticus and Jem with the feminine influences of Calpurnia and Miss Maudie, one scholar writes, \"Lee gradually demonstrates that Scout is becoming a feminist in the South, for with the use of first-person narration, she indicates that Scout/ Jean Louise still maintains the ambivalence about being a Southern lady she possessed as a child.\"[63]\n", "Absent mothers and abusive fathers are another theme in the novel. Scout and Jem's mother died before Scout could remember her, Mayella's mother is dead, and Mrs. Radley is silent about Boo's confinement to the house. Apart from Atticus, the fathers described are abusers.[70] Bob Ewell, it is hinted, molested his daughter,[71] and Mr. Radley imprisons his son in his house until Boo is remembered only as a phantom. Bob Ewell and Mr. Radley represent a form of masculinity that Atticus does not, and the novel suggests that such men as well as the traditionally feminine hypocrites at the Missionary Society can lead society astray. Atticus stands apart as a unique model of masculinity; as one scholar explains: \"It is the job of real men who embody the traditional masculine qualities of heroic individualism, bravery, and an unshrinking knowledge of and dedication to social justice and morality, to set the society straight.\"[70]\n", "Allusions to legal issues in To Kill a Mockingbird, particularly in scenes outside of the courtroom, has drawn the attention from legal scholars. Claudia Durst Johnson writes that \"a greater volume of critical readings has been amassed by two legal scholars in law journals than by all the literary scholars in literary journals\".[72] The opening quote by the 19th-century essayist Charles Lamb reads: \"Lawyers, I suppose, were children once.\" Johnson notes that even in Scout and Jem's childhood world, compromises and treaties are struck with each other by spitting on one's palm and laws are discussed by Atticus and his children: is it right that Bob Ewell hunts and traps out of season? Many social codes are broken by people in symbolic courtrooms: Mr. Dolphus Raymond has been exiled by society for taking a black woman as his common-law wife and having interracial children; Mayella Ewell is beaten by her father in punishment for kissing Tom Robinson; by being turned into a non-person, Boo Radley receives a punishment far greater than any court could have given him.[55] Scout repeatedly breaks codes and laws and reacts to her punishment for them. For example, she refuses to wear frilly clothes, saying that Aunt Alexandra's \"fanatical\" attempts to place her in them made her feel \"a pink cotton penitentiary closing in on [her]\".[73] Johnson states, \"[t]he novel is a study of how Jem and Scout begin to perceive the complexity of social codes and how the configuration of relationships dictated by or set off by those codes fails or nurtures the inhabitants of (their) small worlds.\"[55]\n", "Songbirds and their associated symbolism appear throughout the novel. The family's last name of Finch also shares Lee's mother's maiden name. The titular mockingbird is a key motif of this theme, which first appears when Atticus, having given his children air-rifles for Christmas, allows their Uncle Jack to teach them to shoot. Atticus warns them that, although they can \"shoot all the bluejays they want\", they must remember that \"it's a sin to kill a mockingbird\".[74] Confused, Scout approaches her neighbor Miss Maudie, who explains that mockingbirds never harm other living creatures. She points out that mockingbirds simply provide pleasure with their songs, saying, \"They don't do one thing but sing their hearts out for us.\"[74] Writer Edwin Bruell summarized the symbolism when he wrote in 1964, \"'To kill a mockingbird' is to kill that which is innocent and harmless\u2014like Tom Robinson.\"[53] Scholars have noted that Lee often returns to the mockingbird theme when trying to make a moral point.[27][75][76]\n", "Tom Robinson is the chief example among several innocents destroyed carelessly or deliberately throughout the novel. However, scholar Christopher Metress connects the mockingbird to Boo Radley: \"Instead of wanting to exploit Boo for her own fun (as she does in the beginning of the novel by putting on gothic plays about his history), Scout comes to see him as a 'mockingbird'\u2014that is, as someone with an inner goodness that must be cherished.\"[77] The last pages of the book illustrate this as Scout relates the moral of a story Atticus has been reading to her, and in allusions to both Boo Radley and Tom Robinson[24] states about a character who was misunderstood, \"when they finally saw him, why he hadn't done any of those things\u00a0... Atticus, he was real nice,\" to which he responds, \"Most people are, Scout, when you finally see them.\"[78]\n", "The novel exposes the loss of innocence so frequently that reviewer R. A. Dave claims that because every character has to face, or even suffer defeat, the book takes on elements of a classical tragedy.[27] In exploring how each character deals with his or her own personal defeat, Lee builds a framework to judge whether the characters are heroes or fools. She guides the reader in such judgments, alternating between unabashed adoration and biting irony. Scout's experience with the Missionary Society is an ironic juxtaposition of women who mock her, gossip, and \"reflect a smug, colonialist attitude toward other races\" while giving the \"appearance of gentility, piety, and morality\".[63] Conversely, when Atticus loses Tom's case, he is last to leave the courtroom, except for his children and the black spectators in the colored balcony, who rise silently as he walks underneath them, to honor his efforts.[79]\n", "Despite her editors' warnings that the book might not sell well, it quickly became a sensation, bringing acclaim to Lee in literary circles, in her hometown of Monroeville, and throughout Alabama.[80] The book went through numerous subsequent printings and became widely available through its inclusion in the Book of the Month Club and editions released by Reader's Digest Condensed Books.[81]\n", "Initial reactions to the novel were varied. The New Yorker declared it \"skilled, unpretentious, and totally ingenious\",[82] and The Atlantic Monthly's reviewer rated it as \"pleasant, undemanding reading\", but found the narrative voice\u2014\"a six-year-old girl with the prose style of a well-educated adult\"\u2014to be implausible.[30] Time magazine's 1960 review of the book states that it \"teaches the reader an astonishing number of useful truths about little girls and about Southern life\" and calls Scout Finch \"the most appealing child since Carson McCullers' Frankie got left behind at the wedding\".[26] The Chicago Sunday Tribune noted the even-handed approach to the narration of the novel's events, writing: \"This is in no way a sociological novel. It underlines no cause\u00a0... To Kill a Mockingbird is a novel of strong contemporary national significance.\"[83]\n", "Not all reviewers were enthusiastic. Some lamented the use of poor white Southerners, and one-dimensional black victims,[84] and Granville Hicks labeled the book \"melodramatic and contrived\".[32] When the book was first released, Southern writer Flannery O'Connor commented, \"I think for a child's book it does all right. It's interesting that all the folks that are buying it don't know they're reading a child's book. Somebody ought to say what it is.\"[48] Carson McCullers apparently agreed with the Time magazine review, writing to a cousin: \"Well, honey, one thing we know is that she's been poaching on my literary preserves.\"[85]\n", "One year after its publication To Kill a Mockingbird had been translated into ten languages. In the years since, it has sold more than 30\u00a0million copies and been translated into more than 40 languages.[86] The novel has never been out of print in hardcover or paperback, and has become part of the standard literature curriculum. A 2008 survey of secondary books read by students between grades 9\u201312 in the U.S. indicates the novel is the most widely read book in these grades.[87] A 1991 survey by the Book of the Month Club and the Library of Congress Center for the Book found that To Kill a Mockingbird was rated behind only the Bible in books that are \"most often cited as making a difference\".[88][note 1]\n", "The 50th anniversary of the novel's release was met with celebrations and reflections on its impact.[89] Eric Zorn of the Chicago Tribune praises Lee's \"rich use of language\" but writes that the central lesson is that \"courage isn't always flashy, isn't always enough, but is always in style\".[90] Jane Sullivan in the Sydney Morning Herald agrees, stating that the book \"still rouses fresh and horrified indignation\" as it examines morality, a topic that has recently become unfashionable.[91] Chimamanda Ngozi Adichie writing in The Guardian states that Lee, rare among American novelists, writes with \"a fiercely progressive ink, in which there is nothing inevitable about racism and its very foundation is open to question\", comparing her to William Faulkner, who wrote about racism as an inevitability.[92] Literary critic Rosemary Goring in Scotland's The Herald notes the connections between Lee and Jane Austen, stating the book's central theme, that \"one\u2019s moral convictions are worth fighting for, even at the risk of being reviled\" is eloquently discussed.[93]\n", "Native Alabamian Allen Barra sharply criticized Lee and the novel in The Wall Street Journal calling Atticus a \"repository of cracker-barrel epigrams\" and the novel represents a \"sugar-coated myth\" of Alabama history. Barra writes, \"It's time to stop pretending that To Kill a Mockingbird is some kind of timeless classic that ranks with the great works of American literature. Its bloodless liberal humanism is sadly dated\".[94] Thomas Mallon in The New Yorker criticizes Atticus' stiff and self-righteous demeanor, and calls Scout \"a kind of highly constructed doll\" whose speech and actions are improbable. Although acknowledging that the novel works, Mallon blasts Lee's \"wildly unstable\" narrative voice for developing a story about a content neighborhood until it begins to impart morals in the courtroom drama, following with his observation that \"the book has begun to cherish its own goodness\" by the time the case is over.[95][note 2] Defending the book, Akin Ajayi writes that justice \"is often complicated, but must always be founded upon the notion of equality and fairness for all.\" Ajayi states that the book forces readers to question issues about race, class, and society, but that it was not written to resolve them.[96]\n", "Many writers compare their perceptions of To Kill a Mockingbird as adults with when they first read it as children. Mary McDonagh Murphy interviewed celebrities including Oprah Winfrey, Rosanne Cash, Tom Brokaw, and Harper's sister Alice Lee, who read the novel and compiled their impressions of it as children and adults into a book titled Scout, Atticus, and Boo.[97]\n", "I promised myself that when I grew up and I was a man, I would try to do things just as good and noble as what Atticus had done for Tom Robinson.\n", "One of the most significant impacts To Kill a Mockingbird has had is Atticus Finch's model of integrity for the legal profession. As scholar Alice Petry explains, \"Atticus has become something of a folk hero in legal circles and is treated almost as if he were an actual person.\"[99] Morris Dees of the Southern Poverty Law Center cites Atticus Finch as the reason he became a lawyer, and Richard Matsch, the federal judge who presided over the Timothy McVeigh trial, counts Atticus as a major judicial influence.[100] One law professor at the University of Notre Dame stated that the most influential textbook he taught from was To Kill a Mockingbird, and an article in the Michigan Law Review claims, \"No real-life lawyer has done more for the self-image or public perception of the legal profession,\" before questioning whether, \"Atticus Finch is a paragon of honor or an especially slick hired gun\".[101]\n", "In 1992, an Alabama editorial called for the death of Atticus, saying that as liberal as Atticus was, he still worked within a system of institutionalized racism and sexism and should not be revered. The editorial sparked a flurry of responses from attorneys who entered the profession because of him and esteemed him as a hero.[102] Critics of Atticus maintain he is morally ambiguous and does not use his legal skills to challenge the racist status quo in Maycomb.[48] However, in 1997, the Alabama State Bar erected a monument to Atticus in Monroeville, marking his existence as the \"first commemorative milestone in the state's judicial history\".[103] In 2008, Lee herself received an honorary special membership to the Alabama State Bar for creating Atticus who \"has become the personification of the exemplary lawyer in serving the legal needs of the poor\".[104]\n", "To Kill a Mockingbird has been a source of significant controversy since its being the subject of classroom study as early as 1963. The book's racial slurs, profanity, and frank discussion of rape have led people to challenge its appropriateness in libraries and classrooms across the United States. The American Library Association reported that To Kill a Mockingbird was number 21 of the 100 most frequently challenged books of 2000\u20132009.[105]\n", "One of the first incidents of the book being challenged was in Hanover, Virginia, in 1966: a parent protested that the use of rape as a plot device was immoral. Johnson cites examples of letters to local newspapers, which ranged from amusement to fury; those letters expressing the most outrage, however, complained about Mayella Ewell's attraction to Tom Robinson over the depictions of rape.[106] Upon learning the school administrators were holding hearings to decide the book's appropriateness for the classroom, Harper Lee sent $10 to The Richmond News Leader suggesting it to be used toward the enrollment of \"the Hanover County School Board in any first grade of its choice\".[50] The National Education Association in 1968 placed the novel second on a list of books receiving the most complaints from private organizations\u2014after Little Black Sambo.[107]\n", "With a shift of attitudes about race in the 1970s, To Kill a Mockingbird faced challenges of a different sort: the treatment of racism in Maycomb was not condemned harshly enough. This has led to disparate perceptions that the novel has a generally positive impact on race relations for white readers, but a more ambiguous reception by black readers. In one high-profile case outside the U.S., school districts in the Canadian provinces of New Brunswick and Nova Scotia attempted to have the book removed from standard teaching curricula in the 1990s,[note 3] stating:\n", "The terminology in this novel subjects students to humiliating experiences that rob them of their self-respect and the respect of their peers. The word 'Nigger' is used 48 times [in] the novel\u00a0... We believe that the English Language Arts curriculum in Nova Scotia must enable all students to feel comfortable with ideas, feelings and experiences presented without fear of humiliation\u00a0... To Kill a Mockingbird is clearly a book that no longer meets these goals and therefore must no longer be used for classroom instruction.[108]\n", "Furthermore, despite the novel's thematic focus on racial injustice, its black characters are not fully examined.[71] In its use of racial epithets, stereotyped depictions of superstitious blacks, and Calpurnia, who to some critics is an updated version of the \"contented slave\" motif and to others simply unexplored, the book is viewed as marginalizing black characters.[109][110] One writer asserts that the use of Scout's narration serves as a convenient mechanism for readers to be innocent and detached from the racial conflict. Scout's voice \"functions as the not-me which allows the rest of us\u2014black and white, male and female\u2014to find our relative position in society\".[71] A teaching guide for the novel published by The English Journal cautions, \"what seems wonderful or powerful to one group of students may seem degrading to another\".[111] A Canadian language arts consultant found that the novel resonated well with white students, but that black students found it \"demoralizing\".[112]\n", "The novel is cited as a major reason for the success of civil rights in the 1960s however, in that it \"arrived at the right moment to help the South and the nation grapple with the racial tensions (of) the accelerating civil rights movement\".[113] Its publication is so closely associated with the Civil Rights Movement that many studies of the book and biographies of Harper Lee include descriptions of important moments in the movement, despite the fact that she had no direct involvement in any of them.[114][115][116] Civil Rights leader Andrew Young comments that part of the book's effectiveness is that it \"inspires hope in the midst of chaos and confusion\" and by using racial epithets portrays the reality of the times in which it was set. Young views the novel as \"an act of humanity\" in showing the possibility of people rising above their prejudices.[117] Alabama author Mark Childress compares it to the impact of Uncle Tom's Cabin, a book that is popularly implicated in starting the U.S. Civil War. Childress states the novel \"gives white Southerners a way to understand the racism that they've been brought up with and to find another way. And most white people in the South were good people. Most white people in the South were not throwing bombs and causing havoc\u00a0... I think the book really helped them come to understand what was wrong with the system in the way that any number of treatises could never do, because it was popular art, because it was told from a child's point of view.\" [118]\n", "Diane McWhorter, Pulitzer Prize-winning historian of the Birmingham civil rights campaign, asserts that To Kill a Mockingbird condemns racism instead of racists, and states that every child in the South has moments of racial cognitive dissonance when they are faced with the harsh reality of inequality. This feeling causes them to question the beliefs with which they have been raised, which for many children is what the novel does. McWhorter writes of Lee, \"for a white person from the South to write a book like this in the late 1950s is really unusual\u2014by its very existence an act of protest.\"[119][note 4] Author James McBride calls Lee brilliant but stops short of calling her brave: \"I think by calling Harper Lee brave you kind of absolve yourself of your own racism\u00a0... She certainly set the standards in terms of how these issues need to be discussed, but in many ways I feel\u00a0... the moral bar's been lowered. And that's really distressing. We need a thousand Atticus Finches.\" McBride, however, defends the book's sentimentality, and the way Lee approaches the story with \"honesty and integrity\".[120]\n", "Lee's childhood friend, author Truman Capote, wrote on the dust jacket of the first edition, \"Someone rare has written this very fine first novel: a writer with the liveliest sense of life, and the warmest, most authentic sense of humor. A touching book; and so funny, so likeable.\"[121] This comment has been construed to suggest that Capote wrote the book or edited it heavily.[6] In 2003, a Tuscaloosa newspaper quoted Capote's biological father, Archulus Persons, as claiming that Capote had written \"almost all\" of the book.[122] In 2006, a Capote letter was donated to Monroeville's literary heritage museum; in a letter to a neighbor in Monroeville in 1959, Capote mentioned that Lee was writing a book that was to be published soon. Extensive notes between Lee and her editor at Lippincott also refute the rumor of Capote's authorship.[123] Lee's older sister, Alice, has responded to the rumor, saying: \"That's the biggest lie ever told.\"[20]\n", "During the years immediately following the novel's publication, Harper Lee enjoyed the attention its popularity garnered her, granting interviews, visiting schools, and attending events honoring the book. In 1961, when To Kill a Mockingbird was in its 41st week on the bestseller list, it was awarded the Pulitzer Prize, stunning Lee.[124] It also won the Brotherhood Award of the National Conference of Christians and Jews in the same year, and the Paperback of the Year award from Bestsellers magazine in 1962.[81][125] Starting in 1964, Lee began to turn down interviews, complaining that the questions were monotonous, and grew concerned that attention she received bordered on the kind of publicity celebrities sought.[126] She has declined ever since to talk with reporters about the book. She has also steadfastly refused to provide an introduction, writing in 1995: \"Introductions inhibit pleasure, they kill the joy of anticipation, they frustrate curiosity. The only good thing about Introductions is that in some cases they delay the dose to come. Mockingbird still says what it has to say; it has managed to survive the years without preamble.\"[127]\n", "In 2001, Lee was inducted into the Alabama Academy of Honor.[128] In the same year, Chicago mayor Richard M. Daley initiated a reading program throughout the city's libraries, and chose his favorite book, To Kill a Mockingbird, as the first title of the One City, One Book program. Lee declared that \"there is no greater honor the novel could receive\".[129] By 2004, the novel had been chosen by 25\u00a0communities for variations of the citywide reading program, more than any other novel.[130] David Kipen of the National Endowment of the Arts, who supervised The Big Read, states \"people just seem to connect with it. It dredges up things in their own lives, their interactions across racial lines, legal encounters, and childhood. It's just this skeleton key to so many different parts of people's lives, and they cherish it.\"[131]\n", "In 2006, Lee was awarded an honorary doctorate from the University of Notre Dame. During the ceremony, the students and audience gave Lee a standing ovation, and the entire graduating class held up copies of To Kill a Mockingbird to honor her.[132][note 5] Lee was awarded the Presidential Medal of Freedom on November 5, 2007 by President George W. Bush. In his remarks, Bush stated, \"One reason To Kill a Mockingbird succeeded is the wise and kind heart of the author, which comes through on every page\u00a0... To Kill a Mockingbird has influenced the character of our country for the better. It's been a gift to the entire world. As a model of good writing and humane sensibility, this book will be read and studied forever.\"[133]\n", "The book was made into the well-received 1962 film with the same title, starring Gregory Peck as Atticus Finch. The film's producer, Alan J. Pakula, remembered Universal Pictures executives questioning him about a potential script: \"They said, 'What story do you plan to tell for the film?' I said, 'Have you read the book?' They said, 'Yes.' I said, 'That's the story.'\"[134] The movie was a hit at the box office, quickly grossing more than $20 million from a $2-million budget. It won three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Writing, Screenplay Based on Material from Another Medium for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout.[135]\n", "Harper Lee was pleased with the movie, saying: \"In that film the man and the part met... I've had many, many offers to turn it into musicals, into TV or stage plays, but I've always refused. That film was a work of art.\"[136] Peck met Lee's father, the model for Atticus, before the filming. Lee's father died before the film's release, and Lee was so impressed with Peck's performance that she gave him her father's pocketwatch, which he had with him the evening he was awarded the Oscar for best actor.[137] Years later, he was reluctant to tell Lee that the watch was stolen out of his luggage in London Heathrow Airport. When Peck eventually did tell Lee, he said she responded, \"'Well, it's only a watch.' Harper\u2014she feels deeply, but she's not a sentimental person about things.\"[138] Lee and Peck shared a friendship long after the movie was made. Peck's grandson was named \"Harper\" in her honor.[139]\n", "In May 2005, Lee made an uncharacteristic appearance at the Los Angeles Public Library at the request of Peck's widow Veronique, who said of Lee: \"She's like a national treasure. She's someone who has made a difference...with this book. The book is still as strong as it ever was, and so is the film. All the kids in the United States read this book and see the film in the seventh and eighth grades and write papers and essays. My husband used to get thousands and thousands of letters from teachers who would send them to him.\"[9]\n", "The book has also been adapted as a play by Christopher Sergel. It debuted in 1990 in Monroeville, a town that labels itself \"The Literary Capital of Alabama\". The play runs every May on the county courthouse grounds and townspeople make up the cast. White male audience members are chosen at the intermission to make up the jury. During the courtroom scene the production moves into the Monroe County Courthouse and the audience is racially segregated.[140] Author Albert Murray said of the relationship of the town to the novel (and the annual performance): \"It becomes part of the town ritual, like the religious underpinning of Mardi Gras. With the whole town crowded around the actual courthouse, it's part of a central, civic education\u2014what Monroeville aspires to be.\"[141]\n", "Sergel's play toured in the UK starting at West Yorkshire Playhouse in Leeds in 2006,[142] and again in 2011 starting at the York Theatre Royal,[143] both productions featuring Duncan Preston as Atticus Finch. The play also opened the 2013 season at Regent's Park Open Air Theatre in London where it played to full houses and starred Robert Sean Leonard as Atticus Finch, his first London appearance in 22 years. The production is returning to the venue to close the 2014 season, prior to a UK Tour.\n", "According to a National Geographic article, the novel is so revered in Monroeville that people quote lines from it like Scripture; yet Harper Lee herself has refused to attend any performances, because \"she abhors anything that trades on the book's fame\".[144] To underscore this sentiment, Lee demanded that a book of recipes named Calpurnia's Cookbook not be published and sold out of the Monroe County Heritage Museum.[145] David Lister in The Independent states that Lee's refusal to speak to reporters makes them desire to interview her all the more, and her silence \"makes Bob Dylan look like a media tart\".[146] Despite her discouragement, a rising number of tourists have come to Monroeville, hoping to see Lee's inspiration for the book, or Lee herself. Local residents call them \"Mockingbird groupies\", and although Lee is not reclusive, she refuses publicity and interviews with an emphatic \"Hell, no!\"[147]\n", "\n", "http://en.wikipedia.org/wiki/An_American_in_Paris\n", "An American in Paris is a jazz-influenced symphonic poem by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s and is one of his best-known compositions." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Gershwin composed An American in Paris on commission from the conductor Walter Damrosch. He scored the piece for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. He brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December\u00a013, 1928 in Carnegie Hall, with Damrosch conducting the New York Philharmonic.[1] Gershwin completed the orchestration on November 18, less than four weeks before the work's premiere.[2]\n", "Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: \"My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.\" When the tone poem moves into the blues, \"our American friend ... has succumbed to a spasm of homesickness.\" But, \"nostalgia is not a fatal disease.\" The American visitor \"once again is an alert spectator of Parisian life\" and \"the street noises and French atmosphere are triumphant.\"\n", "\n", "\n", "Maurice Ravel met Gershwin in New York during Ravel's tour of the United States. In that meeting, Gershwin asked Ravel to be his teacher, to which Ravel responded that it was better to be a first-rate Gershwin than a second-rate Ravel. Instead, Ravel recommended that Gershwin see Nadia Boulanger in Paris. Ravel's high praise of Gershwin in an introductory letter to Boulanger caused Gershwin to seriously consider taking time to study abroad in Paris.\n", "Gershwin arrived in Paris in March 1928. Paris at this time hosted many expatriate writers: among them Ezra Pound, W. B. Yeats, Ernest Hemingway; and artist Pablo Picasso. Gershwin met with Boulanger and at her request he played ten minutes of his music. Boulanger replied that she had nothing to teach him. This did not set Gershwin back, as his real intent abroad was to complete a new work based on Paris and perhaps a second rhapsody for piano and orchestra to follow his Rhapsody in Blue.\n", "Gershwin based An American in Paris on a melodic fragment called \"Very Parisienne\", written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. He described the piece as a \"rhapsodic ballet\" because it was written freely and is more modern than his previous works. Gershwin explained in Musical America, \"My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.\"\n", "The piece is structured into five sections, which culminate in a loose ABA format. Gershwin's first A episode introduces the two main \"walking\" themes in the \"Allegretto grazioso\" and develops a third theme in the \"Subito con brio\". The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. The B section's \"Andante ma con ritmo deciso\" introduces the American Blues and spasms of homesickness. The \"Allegro\" that follows continues to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. \"Moderato con grazia\" is the last A section that returns to the themes set in A. After recapitulating the \"walking\" themes, Gershwin overlays the slow blues theme from section B in the final \u201cGrandioso.\u201d\n", "An American in Paris is scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B flat, bass clarinet in B flat, 2 bassoons, 4 horns in F, 3 trumpets in B flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C and D, alto saxophone/soprano saxophone, tenor saxophone/soprano saxophone/alto saxophone, baritone saxophone/soprano saxophone/alto saxophone, and strings.\n", "The revised edition by F. Campbell-Watson calls for three saxophones, alto, tenor and baritone. In this arrangement the soprano and alto doublings have been rewritten to avoid changing instruments.\n", "William Daly arranged the score for piano solo which was published by New World Music in 1929.\n", "Gershwin did not particularly like Walter Damrosch's interpretation at the world premiere of An American in Paris. He stated that Damrosch's sluggish, dragging tempo caused him to walk out of the hall during a matinee performance of this work. The audience, according to Edward Cushing, responded with \"a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses.\" Critics believed that An American in Paris was better crafted than his lukewarm Concerto in F. Some did not think it belonged in a program with classical composers C\u00e9sar Franck, Richard Wagner, or Guillaume Lekeu on its premiere. Gershwin responded to the critics, \"It's not a Beethoven Symphony, you know... It's a humorous piece, nothing solemn about it. It's not intended to draw tears. If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds.\"\n", "On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score will be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, are working to make scores available to the public that represent Gershwin's true intent. It is unknown if the critical score will include the material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score will document changes in the orchestration during Gershwin's composition process. [3]\n", "The score to An American in Paris is currently scheduled to be issued first in a series of scores to be released. The project may take 30 to 40 years to complete. The first edition will probably be published by 2023. [4] [5]\n", "An American in Paris has been frequently recorded. The first recording was made for RCA Victor in 1929 with Nathaniel Shilkret conducting the Victor Symphony Orchestra, drawn from members of the Philadelphia Orchestra. Gershwin was on hand to \"supervise\" the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio. Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated in the actual recording. The radio broadcast of the September\u00a08, 1937 Hollywood Bowl George Gershwin Memorial Concert, in which An American in Paris, also conducted by Shilkret, was second on the program, was recorded and was released in 1998 in a two-CD set. Arthur Fiedler and the Boston Pops Orchestra recorded the work for RCA Victor, including one of the first stereo recordings of the music. In 1945, Arturo Toscanini and the NBC Symphony Orchestra recorded the music in Carnegie Hall, one of the few commercial recordings Toscanini made of music by an American composer. The Seattle Symphony also recorded a version in the 1980s of Gershwin's original score, before he made numerous edits resulting in the score as we hear it today.\n", "In 1951, MGM released the musical An American in Paris, featuring Gene Kelly and Leslie Caron. Winning the 1951 Best Picture Oscar and numerous other awards, the film was directed by Vincente Minnelli, featured many tunes of Gershwin, and concluded with an extensive, elaborate dance sequence built around the An American in Paris symphonic poem (arranged for the film by Johnny Green), costing $500,000.\n", "A part of the symphonic composition is also featured in As Good as It Gets, released in 1997.\n", "http://en.wikipedia.org/wiki/The_Best_Years_of_Our_Lives\n", "For other uses see The Best Years of Our Lives (disambiguation)" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The Best Years of Our Lives is a 1946 American drama film directed by William Wyler and starring Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, Virginia Mayo, and Harold Russell. The film is about three United States servicemen readjusting to civilian life after coming home from World War II. Samuel Goldwyn was inspired to produce a film about veterans after reading an August 7, 1944 article in Time about the difficulties experienced by men returning to civilian life. Goldwyn hired former war correspondent MacKinlay Kantor to write a screenplay. His work was first published as a novella, Glory for Me, which Kantor wrote in blank verse.[3][4] Robert Sherwood then adapted the novella as a screenplay.[4]\n", "The Best Years of Our Lives won seven Academy Awards in 1946, including Best Picture, Best Director (William Wyler), Best Actor (Fredric March), Best Supporting Actor (Harold Russell), Best Film Editing (Daniel Mandell), Best Adapted Screenplay (Robert Sherwood), and Best Original Score (Hugo Friedhofer).[5] In addition to its critical success, the film quickly became a great commercial success upon release. It became the highest-grossing film and most attended film in both the United States and UK since the release of Gone with the Wind, selling approximately 55 million tickets in the United States [6] which equaled a gross of $23,650,000.[7] It remains the sixth most-attended film of all time in the UK, with over 20 million tickets sold.[8] The film had one of the highest viewing figures of all time, with ticket sales exceeding $20.4 million.[9]\n", "After World War II, Fred Derry (Dana Andrews), Homer Parrish (Harold Russell), and Al Stephenson (Fredric March) meet while flying home to Boone City (a fictional city patterned after Cincinnati, Ohio[3]). Fred was a decorated Army Air Forces captain and bombardier in Europe. Homer lost both hands from burns suffered when his aircraft carrier was sunk, and now uses mechanical hook prostheses. Al served as an infantry platoon sergeant in the Pacific. All three have trouble adjusting to civilian life.\n", "Al has a comfortable home and a loving family: wife Milly (Myrna Loy), adult daughter Peggy (Teresa Wright, who was only thirteen years Loy's junior), and college freshman son Rob (Michael Hall, who is absent after the first one-third of the film). He returns to his old job as a bank loan officer. The bank president views his military experience as valuable in dealing with other returning servicemen. When Al approves a loan (without collateral) to a young Navy veteran, however, the president advises him against making a habit of it. Later, at a banquet held in his honor, a slightly inebriated Al expounds his belief that the bank (and America) must stand with the vets who risked everything to defend the country and give them every chance to rebuild their lives.\n", "Before the war, Fred had been an unskilled drugstore soda jerk. He wants something better, but the tight postwar job market forces him to return to his old job. Fred had met Marie (Virginia Mayo) while in flight training and married her shortly afterward, before shipping out less than a month later. She became a nightclub waitress while Fred was overseas. Marie makes it clear she does not enjoy being married to a lowly soda jerk.\n", "Homer was a football quarterback and became engaged to Wilma (Cathy O'Donnell) before joining the Navy. Both Homer and his parents now have trouble dealing with his disability. He does not want to burden Wilma with his handicap and so pushes her away, although she still wants to marry him.\n", "Peggy meets Fred while bringing her father home from a bar where the three men meet once again. They are attracted to each other. Peggy dislikes Marie, and informs her parents she intends to end Fred and Marie's marriage, but they tell her that their own marriage overcame similar problems. Concerned, Al demands that Fred stop seeing his daughter. Fred agrees, but the friendship between the two men is strained.\n", "At the drugstore, an obnoxious customer, who claims that the war was fought against the wrong enemies, gets into a fight with Homer. Fred intervenes and knocks the man into a glass counter, costing him his job. Later, Fred encourages Homer to put his misgivings behind him and marry Wilma, offering to be his best man.\n", "One evening, Wilma visits Homer and tells him that her parents want her to leave Boone City for an extended period to try to forget him. Homer bluntly demonstrates to her how hard life with him would be. When Wilma is undaunted, Homer reconsiders.\n", "On arriving home, Fred discovers his wife with another veteran (Steve Cochran). After complaining to Fred that she has \"given up the best years of my life,\" Marie tells him that she is getting a divorce. Fred decides to leave town, and gives his father his medals and citations. His father is unable to persuade Fred to stay. After Fred leaves, his father reads the citation for his Distinguished Flying Cross as composed by General Doolittle. At the airport, Fred books space on the first outbound aircraft, without regard for the destination. While waiting, he wanders into a vast aircraft boneyard. Inside the nose of a B-17, he relives the intense memories of combat. The boss of a work crew rouses him from his flashback. When the man says the aluminum from the aircraft is being salvaged to build housing, Fred persuades the boss to hire him.\n", "Homer and Wilma's wedding takes place in the Parrish home, with the now-divorced Fred as Homer's best man. Fred and Peggy watch each other from across the room. After the ceremony, he approaches and holds her, telling her that it will be a struggle before they become comfortable. She smiles, and they kiss and embrace.\n", "Casting brought together established stars as well as character actors and relative unknowns. Famed drummer Gene Krupa was seen in archival footage, while Tennessee Ernie Ford, later a famous television star, appeared as an uncredited \"hillbilly singer\" (in the first of his only three film appearances). At the time the film was shot, Ford was unknown as a singer. He worked in San Bernardino as a radio announcer-disc jockey. Blake Edwards, later notable as a film producer and director, appeared fleetingly as an uncredited \"Corporal\". Actress Judy Wyler was cast in her first role in her father's production.\n", "Director William Wyler had flown combat missions over Europe in filming Memphis Belle (1944) and worked hard to get accurate depictions of the combat veterans he had encountered. Wyler changed the original casting that had featured a veteran suffering from posttraumatic stress disorder and sought out Harold Russell, a non-actor to take on the exacting role of Homer Parrish.[10]\n", "For The Best Years of Our Lives, he asked the principal actors to purchase their own clothes, in order to connect with daily life and produce an authentic feeling. Other Wyler touches included constructing life-size sets, which went against the standard larger sets that were more suited to camera positions. The impact for the audience was immediate, as each scene played out in a realistic, natural way.[10]\n", "The movie began filming on April 15, 1946 at a variety of locations, including the Los Angeles County Arboretum and Botanic Garden, Ontario International Airport, Ontario, California, Raleigh Studios, Hollywood, and the Samuel Goldwyn/Warner Hollywood Studios.[10] Many scenes were also filmed in Phoenixville, PA, most notably the banking scenes using the Farmers and Mechanics Bank located on Main Street and various other scenes showing Bridge Street and Main Street in Phoenixville, PA. The Best Years of Our Lives is notable for cinematographer Gregg Toland's use of deep focus photography, in which objects both close to and distant from the camera are in sharp focus.[11] For the passage of Fred Derry's reliving a combat mission while sitting in the remains of a former bomber, Wyler used \"zoom\" effects to simulate Derry's subjective state.[12]\n", "The \"Jackson High\" football stadium seen early in the movie in aerial footage is Corcoran Stadium located at Xavier University in Cincinnati. A few seconds later Walnut Hills High School with its distinctive dome and football field can be seen along with the downtown Cincinnati skyline (Carew Tower and PNC Tower) in the background.\n", "After the war, the combat aircraft featured in the film were being destroyed and disassembled for reuse as scrap material. The scene of Derry's walking among aircraft ruins was filmed at the Ontario Army Air Field in Ontario, California. The former training facility had been converted into a scrap yard, housing nearly 2,000 former combat aircraft in various states of disassembly and reclamation.[10]\n", "Upon its release, The Best Years of Our Lives received extremely positive reviews from critics. Shortly after its premiere at the Astor Theater, New York, Bosley Crowther, film critic for The New York Times, hailed the film as a masterpiece. He wrote,\n", "It is seldom that there comes a motion picture which can be wholly and enthusiastically endorsed not only as superlative entertainment but as food for quiet and humanizing thought... In working out their solutions Mr. Sherwood and Mr. Wyler have achieved some of the most beautiful and inspiring demonstrations of human fortitude that we have had in films.\" He also said the ensemble casting gave the \"'best' performance in this best film this year from Hollywood.\"[13]\n", "David Thomson offers tempered praise: \"I would concede that Best Years is decent and humane... acutely observed, despite being so meticulous a package. It would have taken uncommon genius and daring at that time to sneak a view of an untidy or unresolved America past Goldwyn or the public.\"[14]\n", "The film has a 97% \"Fresh\" rating at Rotten Tomatoes, based on 37 reviews.[15] Chicago Sun Times film critic Roger Ebert put the film on his \"Great Movies\" list in 2007, calling it \"...modern, lean, and honest.\"[16]\n", "The Best Years of Our Lives was a massive popular success, earning an estimated $11.5 million at the North American box office during its initial theatrical run.[17] When box office prices are adjusted for inflation, it remains one of the top 100 grossing films in U.S. history. Among films released before 1950, only Gone With the Wind, The Bells of St. Mary's, and four Disney titles have done more total business, in part due to later re-releases. (Reliable box office figures for certain early films such as Birth of a Nation and Charlie Chaplin's comedies are unavailable.)[18]\n", "1947 Academy Awards\n", "The Best Years of Our Lives received nine Academy Awards. Fredric March won his second Best Actor award (also having won in 1932 for Dr. Jekyll and Mr. Hyde).\n", "Despite his Oscar-nominated performance, Harold Russell was not a professional actor. As the Academy Board of Governors considered him a long shot to win, they gave him an honorary award \"for bringing hope and courage to his fellow veterans through his appearance.\" When Russell won Best Supporting Actor, there was an enthusiastic response. He is the only actor to have received two Academy Awards for the same performance. He later sold his Best Supporting Actor award at auction for $60,500, to pay his wife's medical bills.[19]\n", "Some posters say the film won nine Academy Awards due to the honorary award won by Harold Russell, and the Irving G. Thalberg Memorial Award won by Samuel Goldwyn, in addition to its seven awards for Best Picture, Best Director, Best Actor, Best Screenplay, Best Supporting Actor, Best Editing, and Best Music Score.\n", "1947 Golden Globe Awards\n", "1947 Brussels World Film Festival\n", "1948 BAFTA Awards\n", "Other wins\n", "In 1989, the National Film Registry selected it for preservation in the United States Library of Congress as \"culturally, historically, or aesthetically significant.\"\n", "American Film Institute recognition\n", "http://en.wikipedia.org/wiki/My_Fair_Lady\n", "My Fair Lady is a musical based upon George Bernard Shaw's Pygmalion, with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The story concerns Eliza Doolittle, a Cockney flower girl who takes speech lessons from professor Henry Higgins, a phoneticist, so that she may pass as a lady." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The musical's 1956 Broadway production was a momentous hit, setting what was then the record for the longest run of any major musical theatre production in history. It was followed by a hit London production, a popular film version, and numerous revivals. It has been called \"the perfect musical\".[1]\n", "\n", "\n", "On a rainy night in Edwardian London, the opera patrons are waiting under the arches of Covent Garden for cabs. Eliza Doolittle, a Cockney flower girl, runs into a young man called Freddy. She admonishes him for spilling her bunches of violets in the mud, but cheers up after selling one to an older gentleman. She then flies into an angry outburst when a man copying down her speech is pointed out to her. The man explains that he studies phonetics and can identify anyone's origin by their accent. He laments Eliza's dreadful accent, asking why so many English people don't speak properly and explaining his theory that this is what truly separates social classes, rather than looks or money (\"Why Can't the English?\"). He declares that in six months he could turn Eliza into a lady by teaching her to speak properly. The older gentleman introduces himself as Colonel Pickering, a linguist who has studied Indian dialects. The phoneticist introduces himself as Henry Higgins, and, as they both have always wanted to meet each other, Higgins invites Pickering to stay at his home in London. He distractedly throws his change in Eliza's basket, and she and her friends wonder what it would be like to live a comfortable, proper life (\"Wouldn't It Be Loverly?\").\n", "Eliza's father, Alfred P. Doolittle, and his drinking companions, Harry and Jamie, all dustmen, stop by the next morning. He is searching for money for a drink, and Eliza shares her profits with him (\"With a Little Bit of Luck\"). Pickering and Higgins are discussing vowels at Higgins's home when Mrs. Pearce, the housekeeper, informs Higgins that a young woman with a ghastly accent has come to see him. It is Eliza, who has come to take speech lessons so she can get a job as an assistant in a florist's shop. Pickering wagers that Higgins cannot make good on his claim and volunteers to pay for Eliza's lessons. An intensive makeover of Eliza's speech, manners and dress begins in preparation for her appearance at the Embassy Ball. Higgins sees himself as a kindhearted, patient man who cannot get along with women (\"I'm an Ordinary Man\"). To others he appears self-absorbed and misogynistic.\n", "Alfred Doolittle is informed that his daughter has been taken in by Professor Higgins, and considers that he might be able to make a little money from the situation (\"With a Little Bit of Luck\" [Reprise]).\n", "Doolittle arrives at Higgins's house the next morning, claiming that Higgins is compromising Eliza's virtue. Higgins is impressed by the man's natural gift for language and brazen lack of moral values. He and Doolittle agree that Eliza can continue to take lessons and live at Higgins's house if Higgins gives Doolittle five pounds for a spree. Higgins flippantly recommends Doolittle to an American millionaire who has written to Higgins seeking a lecturer on moral values. Meanwhile, Eliza endures speech tutoring, endlessly repeating phrases like \"In Hertford, Hereford and Hampshire, hurricanes hardly ever happen\u201d (initially, the only \"h\" she aspirates is in \"hever\") and \"The rain in Spain stays mainly in the plain\" (to practice the \"long a\" phoneme). Frustrated, she dreams of different ways to kill Higgins, from sickness to drowning to a firing squad (\"Just You Wait\"). The servants lament the hard \"work\" Higgins does (\"The Servants' Chorus\"). Just as they give up, Eliza suddenly recites \"The rain in Spain stays mainly in the plain\" in perfect upper-class style. Higgins, Eliza, and Pickering happily dance around Higgins's study (\"The Rain In Spain\"). Thereafter she speaks with impeccable received pronunciation. Mrs. Pearce, the housekeeper, insists that Eliza go to bed; she declares she is too excited to sleep (\"I Could Have Danced All Night\").\n", "For her first public tryout, Higgins takes Eliza to his mother's box at Ascot Racecourse (\"Ascot Gavotte\"). Henry's mother reluctantly agrees to help Eliza make conversation, following Henry's advice that Eliza should stick to two subjects: the weather and everybody's health. Eliza makes a good impression at first with her polite manners but later shocks everyone with her vulgar Cockney attitudes and slang. She does, however, capture the heart of Freddy Eynsford-Hill, the young man she ran into in the opening scene. Freddy calls on Eliza that evening, but she refuses to see him. He declares that he will wait for her as long as necessary in the street outside Higgins's house (\"On the Street Where You Live\").\n", "Eliza's final test requires her to pass as a lady at the Embassy Ball, and after weeks of preparation, she is ready. All the ladies and gentlemen at the ball admire her, and the Queen of Transylvania invites her to dance with her son, the prince (\"Embassy Waltz\"). Eliza then dances with Higgins. A rival and former student of Higgins, a Hungarian phonetician named Zoltan Karpathy, is employed by the hostess to discover Eliza's origins through her speech. Though Pickering and his mother caution him not to, Higgins allows Karpathy to dance with Eliza.\n", "The event is revealed to have been a success, with Zoltan Karpathy having concluded that Eliza is \"not only Hungarian, but of royal blood. She is a princess!\" After the ball, Pickering flatters Higgins on his triumph, and Higgins expresses his pleasure that the experiment is now over (\"You Did It\"). The episode leaves Eliza feeling used and abandoned. Higgins completely ignores Eliza until he mislays his slippers. He asks her where they are, and she lashes out at him, leaving the clueless professor mystified by her ingratitude. When Eliza decides to leave Higgins, he insults her in frustration and storms off. Eliza cries as she prepares to leave (\"Just You Wait\" [Reprise]). She finds Freddy still waiting outside (\"On the Street Where You Live\" [Reprise]). He begins to tell her how much he loves her, but she cuts him off, telling him that she has heard enough words; if he really loves her, he should show it (\"Show Me\"). She and Freddy return to Covent Garden, where her friends do not recognize her with her newly refined bearing (\"The Flower Market/Wouldn't It Be Loverly?\" [Reprise]). By chance, her father is there as well, dressed in a fine suit. He explains that he received a surprise bequest of four thousand pounds a year from the American millionaire, which has raised him to middle-class respectability, and now must marry Eliza's \"stepmother\", the woman he has been living with for many years. Eliza sees that she no longer belongs in Covent Garden, and she and Freddy depart. Doolittle and his friends have one last spree before the wedding (\"Get Me to the Church on Time\").\n", "Higgins awakens the next morning to find that, without Eliza, he has tea instead of coffee, and cannot find his own files. He wonders why she left after the triumph at the ball and concludes that men (especially himself) are far superior to women (\"A Hymn to Him\"). Pickering, becoming annoyed with Higgins, leaves to stay with his friend at the Home Office. Higgins seeks his mother's advice and finds Eliza having tea with her. Higgins's mother leaves Higgins and Eliza together. Eliza explains that Higgins has always treated her as a flower girl, but she learned to be a lady because Pickering treated her as one. Higgins claims he treated her the same way that Pickering did because both Higgins and Pickering treat all women alike. Eliza accuses him of wanting her only to fetch and carry for him, saying that she will marry Freddy because he loves her. She declares she no longer needs Higgins, saying she was foolish to think she did (\"Without You\"). Higgins is struck by Eliza's spirit and independence and wants her to stay with him, but she tells him that he will not see her again.\n", "As Higgins walks home, he realizes he's grown attached to Eliza (\"I've Grown Accustomed to Her Face\"). He cannot bring himself to confess that he loves her, and insists to himself that if she marries Freddy and then comes back to him, he will not accept her. But he finds it difficult to imagine being alone again. He reviews the recording he made of the morning Eliza first came to him for lessons. He hears his own harsh words: \"She's so deliciously low! So horribly dirty!\" Then the phonograph turns off, and a real voice speaks in a Cockney accent: \"I washed me face an' 'ands before I come, I did\". It is Eliza, standing in the doorway, tentatively returning to him. The musical ends on an ambiguous moment of possible reconciliation between teacher and pupil, as Higgins slouches and asks, \"Eliza, where the devil are my slippers?\"\n", "Source: GuideToMusicalTheatre[2]\n", "Source: GuideToMusicalTheatre[2]\n", "In the mid-1930s, film producer Gabriel Pascal acquired the rights to produce film versions of several of George Bernard Shaw's plays, Pygmalion among them. However, Shaw, having had a bad experience with The Chocolate Soldier, a Viennese operetta based on his play Arms and the Man, refused permission for Pygmalion to be adapted into a musical. After Shaw died in 1950, Pascal asked lyricist Alan Jay Lerner to write the musical adaptation. Lerner agreed, and he and his partner Frederick Loewe began work. They quickly realized, however, that the play violated several key rules for constructing a musical: the main story was not a love story, there was no subplot or secondary love story, and there was no place for an ensemble.[3] Many people, including Oscar Hammerstein II, who, with Richard Rodgers, had also tried his hand at adapting Pygmalion into a musical and had given up, told Lerner that converting the play to a musical was impossible, so he and Loewe abandoned the project for two years.[4]\n", "During this time, the collaborators separated, and Gabriel Pascal died. Lerner had been trying to musicalize Li'l Abner when he read Pascal's obituary and found himself thinking about Pygmalion again.[5] When he and Loewe reunited, everything fell into place. All the insurmountable obstacles that stood in their way two years earlier disappeared when the team realized that the play needed few changes apart from (according to Lerner) \"adding the action that took place between the acts of the play\".[6] They then excitedly began writing the show. However, Chase Manhattan Bank was in charge of Pascal's estate, and the musical rights to Pygmalion were sought both by Lerner and Loewe and by MGM, whose executives called Lerner to discourage him from challenging the studio. Loewe said, \"We will write the show without the rights, and when the time comes for them to decide who is to get them, we will be so far ahead of everyone else that they will be forced to give them to us\".[7] For five months Lerner and Loewe wrote, hired technical designers, and made casting decisions. The bank, in the end, granted them the musical rights.\n", "When Lerner settled on the title My Fair Lady, he recalled that the Gershwins' 1925 musical Tell Me More was titled My Fair Lady in its out-of-town tryout, and also had a musical number under that title as well. Lerner made a courtesy call to Ira Gershwin, alerting him to the use of the title for the Lerner and Loewe musical.\n", "No\u00ebl Coward was the first to be offered the role of Henry Higgins but turned it down, suggesting the producers cast Rex Harrison instead.[8] After much deliberation, Harrison agreed to accept the part. Mary Martin was an early choice for the role of Eliza Doolittle, but declined the role.[9] Young actress Julie Andrews was \"discovered\" and cast as Eliza Doolittle after the show's creative team went to see her Broadway debut in The Boy Friend. Moss Hart agreed to direct after hearing only two songs. The experienced orchestrators Robert Russell Bennett and Philip J. Lang were entrusted with the arrangements and the show quickly went into rehearsal.\n", "The musical's script used several scenes that Shaw had written especially for the 1938 film version of Pygmalion, including the Embassy Ball sequence and the final scene of the 1938 film rather than the ending for Shaw's original play. The montage showing Eliza's lessons was also expanded, combining both Lerner and Shaw's dialogue. The show's title relates to one of Shaw's provisional titles for Pygmalion, Fair Eliza, and to the final line of every verse of the nursery rhyme \"London Bridge Is Falling Down\". The artwork on the original Playbill (and sleeve of the cast recording) is by Al Hirschfeld, who drew the playwright Shaw as a heavenly puppetmaster pulling the strings on the Henry Higgins character, while Higgins in turn attempts to control Eliza Doolittle.\n", "The musical had its pre-Broadway tryout at New Haven's Shubert Theatre. On opening night Rex Harrison, who was unaccustomed to singing in front of a live orchestra, \"announced that under no circumstances would he go on that night...with those thirty-two interlopers in the pit\".[10] He locked himself in his dressing room and came out little more than an hour before curtain time. The whole company had been dismissed but were recalled, and opening night was a success.[11] The musical then played for four weeks at the Erlanger Theatre in Philadelphia, beginning on February 15, 1956.\n", "The musical premiered on Broadway March 15, 1956, at the Mark Hellinger Theatre in New York City. It transferred to the Broadhurst Theatre and then The Broadway Theatre, where it closed on September 29, 1962 after 2,717 performances, a record at the time. Moss Hart directed and Hanya Holm was choreographer. In addition to stars Rex Harrison, Julie Andrews and Stanley Holloway, the original cast included Robert Coote, Cathleen Nesbitt, John Michael King, and Reid Shelton.[12] Edward Mulhare and Sally Ann Howes replaced Harrison and Andrews later in the run.[13][14] The Original Cast Recording went on to become the best-selling album in the country in 1956.[15] The original costumes were designed by Cecil Beaton and are on display at the Costume World Broadway Collection in Pompano Beach, Florida, along with many of the original patterns.\n", "The West End production, in which Harrison, Andrews, Coote, and Holloway reprised their roles, opened April 30, 1958, at the Theatre Royal, Drury Lane, where it ran for five and a half years[16] (2,281 performances). Stage star Zena Dare made her last appearance in the musical as Mrs. Higgins.[17]\n", "The first revival opened at the St. James Theatre on Broadway on March 25, 1976 and ran there until December 5, 1976; it then transferred to the Lunt-Fontanne Theatre, running from December 9, 1976 until it closed on February 20, 1977, after a total of 377 performances and 7 previews. The director was Jerry Adler, with choreography by Crandall Diehl, based on the original choreography by Hanya Holm. Ian Richardson starred as Higgins, with Christine Andreas as Eliza, George Rose as Alfred P. Doolittle and Robert Coote recreating his role as Pickering.[12] Both Richardson and Rose were nominated for the Tony Award for Best Actor in a Musical, with the award going to Rose.\n", "A London revival opened at the Adelphi Theatre in October 1979, with Tony Britton as Higgins, Liz Robertson as Eliza, Dame Anna Neagle as Higgins' mother, Peter Bayliss, Richard Caldicot and Peter Land. Cameron Mackintosh produced with Robin Midgley directing the national tour, while Alan Jay Lerner directed into the West End.[18][19][20] Gillian Lynne choreographed.[21] Britton and Robertson were both nominated for Olivier Awards.[22]\n", "A revival opened at the Uris Theatre on August 18, 1981 and closed on November 29, 1981 after 120 performances and 4 previews. Rex Harrison recreated his role as Higgins, with Jack Gwillim and Milo O'Shea co-starring and Nancy Ringham as Eliza. The director was Patrick Garland, with choreography by Crandall Diehl.[12][23]\n", "Another revival opened at the Virginia Theatre on December 9, 1993 and closed on May 1, 1994 after 165 performances and 16 previews. Directed by Howard Davies, with choreography by Donald Saddler, the cast starred Richard Chamberlain, Melissa Errico and Paxton Whitehead. Julian Holloway, son of Stanley Holloway, recreated his father's role of Alfred P. Doolittle.[12][24]\n", "Mackintosh produced a new production on March 15, 2001 at the Royal National Theatre, which transferred to the Theatre Royal, Drury Lane on July 21. Directed by Trevor Nunn, with choreography by Matthew Bourne, the musical starred Martine McCutcheon as Eliza and Jonathan Pryce as Higgins, with Dennis Waterman as Alfred P. Doolittle. This revival won three Olivier Awards: Outstanding Musical Production, Best Actress in a Musical (Martine McCutcheon) and Best Theatre Choreographer (Matthew Bourne), with Anthony Ward receiving a nomination for Set Design.[25] In December 2001 Joanna Riding took over the role of Eliza and in May 2002 Alex Jennings took over as Higgins, both winning Olivier Awards for Best Actor and Best Actress in a Musical respectively in 2003.[26] In March 2003, Anthony Andrews and Laura Michelle Kelly took over the roles until the show closed on August 30, 2003.[27]\n", "A UK tour of this production began September 28, 2005. The production starred Amy Nuttall and Lisa O'Hare as Eliza, Christopher Cazenove as Henry Higgins, Russ Abbot and Gareth Hale as Alfred Doolittle, and Honor Blackman[28] and Hannah Gordon as Mrs. Higgins. The tour ended August 12, 2006.[29]\n", "In 2003 a production of the musical at the Hollywood Bowl starred John Lithgow as Henry Higgins, Melissa Errico as Eliza Doolittle, Roger Daltrey as Alfred P. Doolittle and Paxton Whitehead as Colonel Pickering.[30]\n", "In 2007 the New York Philharmonic held a full-costume concert presentation of the musical. The concert had a four-day engagement lasting from March 7\u201310 at Lincoln Center's Avery Fisher Hall. It starred Kelsey Grammer as Higgins, Kelli O'Hara as Eliza, Charles Kimbrough as Pickering, and Brian Dennehy as Alfred Doolittle. Marni Nixon played Mrs. Higgins; Nixon had provided the singing voice of Audrey Hepburn in the film version.[31]\n", "A U.S. tour of Mackintosh's 2001 West End production ran from September 12, 2007 to June 22, 2008.[32] The production starred Christopher Cazenove as Higgins Lisa O'Hare as Eliza, Walter Charles as Pickering, Tim Jerome as Alfred Doolittle[33] and Nixon as Mrs. Higgins, replacing Sally Ann Howes.[34]\n", "An Australian tour produced by Opera Australia commenced in May 2008. The production starred Reg Livermore as Higgins, Taryn Fiebig as Eliza, Robert Grubb as Alfred Doolittle and Judi Connelli as Mrs Pearce. John Wood took the role of Alfred Doolittle in Queensland, and Richard E. Grant played the role of Henry Higgins at the Theatre Royal, Sydney.[citation needed]\n", "A new production was staged by Robert Carsen at the Th\u00e9\u00e2tre du Ch\u00e2telet in Paris opening on 9 December 2010 and closing on 2 January 2011 (limited season of 27 performances). It was presented in English to the French audience. The costumes were designed by Anthony Powell and the choreography was created by Lynne Page. The cast was as follows: Sarah Gabriel / Christine Arand (Eliza Doolittle), Alex Jennings (Henry Higgins), Margaret Tyzack (Mrs. Higgins), Nicholas Le Prevost (Colonel Pickering), Donald Maxwell (Alfred Doolittle), and Jenny Galloway (Mrs. Pearce).[35]\n", "A new production of My Fair Lady opened at Sheffield Crucible on 13 December 2012. Dominic West played Henry Higgins, and Carly Bawden played Eliza Doolittle. Sheffield Theatres' Artistic Director Daniel Evans was the director. The production is due to run until 26 January 2013.[36]\n", "A revival of My Fair Lady is being planned for 2013 or 2014.The production will probably be a transfer from the Sheffield Crucible production. Dominic West and Carly Bawden have been asked to reprise their parts of Henry Higgins and Eliza Doolittle.\n", "According to Geoffrey Block, \"Opening night critics immediately recognized that 'My Fair Lady' fully measured up to the Rodgers and Hammerstein model of an integrated musical...Robert Coleman...wrote 'The Lerner-Loewe songs are not only delightful, they advance the action as well. They are ever so much more than interpolations, or interruptions.'\"[37] The musical opened to \"unanimously glowing reviews, one of which said 'Don't bother reading this review now. You'd better sit right down and send for those tickets...' Critics praised the thoughtful use of Shaw's original play, the brilliance of the lyrics, and Loewe's well-integrated score.\"[38]\n", "A sampling of praise from critics, excerpted from a book form of the musical, published in 1956.[39]\n", "The reception from Shavians was more mixed, however. Eric Bentley, for instance, called it \"a terrible treatment of Mr. Shaw's play, [undermining] the basic idea [of the play]\", even though he acknowledged it as \"a delightful show\".[40]\n", "Sources: BroadwayWorld[41] TheatreWorldAwards[42]\n", "Sources: BroadwayWorld[43] Drama Desk[44]\n", "Source: Olivier Awards[45]\n", "Source: BroadwayWorld[46]\n", "Source: Drama Desk[47]\n", "Source: Olivier Awards[48]\n", "An Oscar-winning film version was made in 1964, directed by George Cukor and with Harrison again in the part of Higgins. The casting of Audrey Hepburn instead of Julie Andrews as Eliza was controversial, partly because theatregoers regarded Andrews as perfect for the part and partly because Hepburn's singing voice had to be dubbed (by Marni Nixon). Jack Warner, the head of Warner Brothers, which produced the film, wanted \"a star with a great deal of name recognition\", but since Julie Andrews did not have any film experience, he thought a movie with her would not be as successful.[49] (Andrews went on to star in Mary Poppins that same year and won the Golden Globe for Best Actress over Audrey Hepburn, and the Academy Award for Best Actress; Mary Poppins became Disney's most successful live-action film, until Pirates of the Caribbean: The Curse of the Black Pearl was released in 2003.) Lerner in particular disliked the film version of the musical, thinking it did not live up to the standards of Moss Hart's original direction. He was also unhappy with Hepburn's replacement of Andrews in role of Eliza Doolittle and that the film was shot in its entirety on the Warner Brothers backlot rather than, as he would have preferred, in London.[50] My Fair Lady eventually won eight Academy Awards, including Best Picture of the Year, Best Actor for Rex Harrison, and Best Director for George Cukor\u2014 the lone Oscar win in his fifty-year film career.\n", "A new film adaptation was announced by Columbia Pictures in 2008,[51] but as of May 5, 2014, the project has been shelved.[52] The intention was to shoot on location in Covent Garden, Drury Lane, Tottenham Court Road, Wimpole Street and the Ascot Racecourse.[53] In December 2009, it was announced that John Madden had been signed to direct it and in 2011 it was reported that Colin Firth and Carey Mulligan were possible choices for the leading roles. Before the decision to shelve it, Emma Thompson worked on adapting the screenplay.[54]\n", "http://en.wikipedia.org/wiki/Ben-Hur\n", "Ben-Hur or Ben Hur may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Doctor_Zhivago\n", "Doctor Zhivago refers to the Russian novel by Boris Pasternak (see Doctor Zhivago (novel)) and various adaptations of the novel. The novel was first published in 1957 in Italy (in Russian) thanks to the publisher Giangiacomo Feltrinelli, who had smuggled the manuscript out of the USSR.[1] The story, in all of its forms, describes the life of the fictional Russian physician Yuri Zhivago and deals with love and loss during the turmoil of revolution and war. Media using the name Doctor Zhivago includes the following:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Patton\n", "Mexican Revolution" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "World War I\n", "World War II\n", "George Smith Patton, Jr. (November 11, 1885 \u2013 December 21, 1945) was a United States Army general, best known for his flamboyant character and his command of the Seventh United States Army, and later the Third United States Army, in the European Theater of World War II.\n", "Born in 1885 to a privileged family with an extensive military background, Patton attended the Virginia Military Institute, and later the U.S. Military Academy at West Point. He participated in the 1912 Olympic Modern Pentathlon, and was instrumental in designing the M1913 \"Patton Saber\". Patton first saw combat during the Pancho Villa Expedition in 1916, taking part in America's first military action using motor vehicles. He later joined the newly formed United States Tank Corps of the American Expeditionary Forces and saw action in World War I, first commanding the U.S. tank school in France before being wounded near the end of the war. In the interwar period, Patton remained a central figure in the development of armored warfare doctrine in the U.S. Army, serving in numerous staff positions throughout the country. Rising through the ranks, he commanded the U.S. 2nd Armored Division at the time of the U.S. entry into World War II.\n", "Patton led U.S. troops into the Mediterranean theater with an invasion of Casablanca during Operation Torch in 1942, where he later established himself as an effective commander through his rapid rehabilitation of the demoralized U.S. II Corps. He commanded the Seventh Army during the Invasion of Sicily, where he was the first allied commander to reach Messina. There he was embroiled in controversy after he slapped two shell-shocked soldiers under his command, and was temporarily removed from battlefield command for other duties such as participating in Operation Fortitude's disinformation campaign for Operation Overlord. Patton returned to command the Third Army following the invasion of Normandy in 1944, where he led a highly successful, rapid armored drive across France. He led the relief of beleaguered U.S. troops at Bastogne during the Battle of the Bulge, and advanced his army into Nazi Germany by the end of the war.\n", "After the war, Patton became the military governor of Bavaria, but he was relieved of this post because of his statements on denazification. He commanded the Fifteenth United States Army for slightly more than two months. Patton died following an automobile accident in Europe on December 21, 1945.\n", "Patton's colorful image, hard-driving personality and success as a commander were at times overshadowed by his controversial public statements regarding the Soviet Union, which were out of accord with American foreign policy. But his philosophy of leading from the front and his ability to inspire his troops with vulgarity-ridden speeches, such as a famous address to the Third Army, attracted favorable attention. His strong emphasis on rapid and aggressive offensive action proved effective. While Allied leaders held sharply differing opinions on Patton, he was regarded highly by his opponents in the German High Command. A popular, award-winning biographical film released in 1970 helped transform Patton into an American folk hero.\n", "\n", "\n", "George Smith Patton Jr. was born on November 11, 1885[1][2] in San Gabriel, California, to George Smith Patton Sr. and his wife Ruth Wilson. Patton had a younger sister, Anne. The family was of Irish, Scotch-Irish, and English ancestry[3] and had an extensive military background. His paternal grandfather was George Smith Patton who commanded the 22nd Virginia Infantry in the Civil War and was killed in the Third Battle of Winchester, while his great uncle Waller T. Patton was killed in Pickett's Charge during the Battle of Gettysburg. Patton also descended from Hugh Mercer, who had been killed in the Battle of Princeton during the American Revolution. Patton's father graduated from the Virginia Military Institute (VMI), but did not pursue a military career, instead becoming a lawyer and later the district attorney of Los Angeles County. Patton's maternal grandfather was Benjamin Davis Wilson, who had been Mayor of Los Angeles and a successful merchant. He was popular among the Spanish-speaking founders of modern Los Angeles, who affectionately called him \"Benito\", the Spanish for \"Benjamin\". Mount Wilson in the San Gabriel Mountains above San Marino, is named after him. [4] The family was prosperous, and George Patton lived a privileged childhood on the family's 2,000-acre (810\u00a0ha) estate.[5]\n", "As a child, Patton had difficulty learning to read and write, but eventually overcame this and was known in his adult life to be an avid reader.[Note 1] He was tutored from home until the age of eleven, when he was enrolled in Stephen Clark's School for Boys, a private school in Pasadena, for six years. Patton was described as an intelligent boy and was widely read on classical military history, particularly the exploits of Julius Caesar, Joan of Arc, Napoleon Bonaparte, and Scipio Africanus as well as family friend John Singleton Mosby.[6] He was also a devoted horseback rider.[3] During a family summer trip to Catalina Island in 1902, Patton met Beatrice Banning Ayer, the daughter of Boston industrialist Frederick Ayer.[7] The two wed on May 26, 1910 in Beverly Farms, Massachusetts. They had three children, Beatrice Smith (born March 1911),[8] Ruth Ellen (born February 1915),[9] and George Patton IV (born December 1923).[10][Note 2]\n", "Patton never seriously considered a career other than the military,[3] so in 1902, he wrote a letter to Senator Thomas R. Bard seeking an appointment to the United States Military Academy. Bard required Patton to complete an entrance exam. Fearing that he would perform poorly in this exam, Patton and his father applied to several universities with Reserve Officer's Training Corps programs. Patton was accepted to Princeton University but eventually decided on the Virginia Military Institute.[7] He attended VMI from 1903 to 1904 and struggled with reading and writing but performed exceptionally in uniform and appearance inspection as well as military drill, earning the admiration of fellow cadets and the respect of upperclassmen. While at VMI, Patton became a member of the Kappa Alpha Order fraternity. On March 3, 1904, after Patton continued letter-writing and good performance in the entrance exam, Bard recommended him for West Point.[11]\n", "In his plebe year at West Point, Patton adjusted easily to the routine.[12] Still, his academic performance was so poor that he was forced to repeat his first year after failing mathematics.[13] Studying throughout his summer break, Patton returned and showed substantial academic improvement. For the remainder of his career at the academy, Patton excelled at military drills though his academic performance remained average. He was cadet sergeant major his junior year, and cadet adjutant his senior year. He also joined the football team but injured his arm and ceased playing on several occasions, instead trying out for the Sword Team and track and field,[14] quickly becoming one of the best swordsmen at the academy.[15] Patton graduated from the academy ranked 46 out of 103.[16] He was commissioned as a second lieutenant in the cavalry on June 11, 1909.[17]\n", "Patton's first posting was with the 15th Cavalry at Fort Sheridan, Illinois,[18] where he established himself as a hard-driving leader who impressed superiors with his dedication.[19] In late 1911, Patton and his family transferred to Fort Myer, Virginia, where many of the Army's senior leaders were stationed. Befriending Secretary of War Henry L. Stimson, Patton served as his aide at social functions on top of his regular duties as quartermaster for his troop.[8]\n", "For his skill with running and fencing, Patton was selected as the Army's entry for the first-ever modern pentathlon for the 1912 Olympic Games in Stockholm, Sweden.[20] Of 42 competitors, Patton placed twenty-first on the pistol range, seventh in swimming, fourth in fencing, sixth in the equestrian competition, and third in the footrace, for an overall finish of fifth place, being the top non-Swedish finisher.[21] There was some controversy concerning Patton's performance in the pistol shooting competition. He used a .38 caliber pistol, while most of the other competitors chose .22 caliber firearms. He claimed that the holes in the paper from his early shots were so large that some of his later bullets passed through them, but the judges decided he missed the target completely once. Modern competitions on this level frequently now employ a moving background to specifically track multiple shots through the same hole.[22][23] If his assertion was correct, Patton would likely have won an Olympic medal in the event.[24] The judges' ruling was upheld. Patton's only comment on the matter was:\n", "The high spirit of sportsmanship and generosity manifested throughout speaks volumes for the character of the officers of the present day. There was not a single incident of a protest or any unsportsmanlike quibbling or fighting for points which I may say, marred some of the other civilian competitions at the Olympic Games. Each man did his best and took what fortune sent them like a true soldier, and at the end we all felt more like good friends and comrades than rivals in a severe competition, yet this spirit of friendship in no manner detracted from the zeal with which all strove for success.[22]\n", "Following the 1912 Olympics, Patton traveled to Saumur, France, where he learned fencing techniques from Adjutant Charles Cl\u00e9ry, a French \"master of arms\" and instructor of fencing at the cavalry school there.[25] Bringing these lessons back to Fort Meyer with him, Patton redesigned saber combat doctrine for the U.S. cavalry, favoring thrusting attacks with the sword over the standard slashing maneuver and designing a new sword for such attacks. Patton was temporarily assigned to the Office of the Army Chief of Staff, and in 1913, the first 20,000 of the Model 1913 Cavalry Saber\u2014popularly known as the \"Patton sword\"\u2014were ordered. Patton then returned to Saumur to learn advanced techniques before bringing his skills to the Mounted Service School at Fort Riley, Kansas, where he would be both a student and a fencing instructor. He was the first Army officer to be designated \"Master of the Sword,\"[26][27] a title denoting the school's top instructor in swordsmanship.[28] Arriving in September 1913, he taught fencing to other cavalry officers, many of whom were senior to him in rank.[29] Patton graduated from this school in June 1915. He was originally intended to return to the 15th Cavalry,[30] which was bound for the Philippines. Fearing this assignment would dead-end his career, Patton traveled to Washington, D.C. during 11 days of leave and convinced influential friends to arrange a reassignment for him to the 8th Cavalry at Fort Bliss, Texas, anticipating that instability in Mexico might boil over into a full-scale civil war.[9] In the meantime, Patton was selected to participate in the 1916 Summer Olympics, but those Games were cancelled due to World War I.[31]\n", "In 1915 Patton was assigned to border patrol duty with A Company of the 8th Cavalry, based in Sierra Blanca.[33][34] During his time in this rough border town, Patton took to wearing his M1911 Colt .45 in his belt rather than a holster, emulating a cowboy image. This firearm discharged one night in a saloon, so he swapped it for an ivory-handled Colt Single Action Army revolver, a weapon that would later become an icon of Patton's image. He transferred to Fort Leonard Wood, Missouri, for a brief time later in 1915.[35]\n", "In March 1916 Mexican forces loyal to Pancho Villa crossed into New Mexico and raided the border town of Columbus. The violence in Columbus killed several Americans. In response, the U.S. launched a punitive expedition into Mexico against Villa. Chagrined to discover that his unit would not participate, Patton appealed to expedition commander John J. Pershing, and was named as personal aide to Pershing for the expedition. This meant Patton would have some role in organizing the effort, and his eagerness and dedication to the task impressed Pershing.[36][37] Patton modeled much of his leadership style after Pershing, who favored strong, decisive leadership and commanding from the front.[38][39] As an aide, Patton oversaw the logistics of Pershing's transportation and acted as his personal courier.[40]\n", "In mid-April, Patton asked Pershing for the opportunity to command troops, and was attached to Troop C of the 13th Cavalry to assist in the manhunt for Villa and his subordinates.[41] Patton's first experience with combat came on May 14, 1916 in what would become the first motorized attack in the history of U.S. warfare. Patton, leading a force of ten soldiers and two civilian guides with the 6th Infantry in three Dodge touring cars, surprised three of Villa's men during a foraging expedition, killing Julio C\u00e1rdenas and two of his guards.[37][42] It was not clear if Patton personally killed any of the three men, but he was known to have wounded all three.[43] The incident garnered Patton both Pershing's good favor and widespread media attention as a \"bandit killer.\"[37][44] Shortly after, he was promoted to first lieutenant while a part of the 10th Cavalry on May 23, 1916.[33] Patton remained in Mexico until the end of the year. President Woodrow Wilson forbade the expedition from conducting aggressive patrols deeper into Mexico, so they remained encamped for much of that time. In October Patton briefly returned to California after being burned by an exploding gas lamp.[45] He returned from the expedition permanently in February 1917.[46]\n", "Following the expedition, Patton was initially detailed to Front Royal, Virginia, to oversee horse procurement for the Army, but Pershing intervened on his behalf.[46] After the U.S. entered World War I, and Pershing was named commander of the American Expeditionary Forces (AEF), Patton requested to join his staff.[37] Patton was promoted to captain on May 15, 1917 and left for Europe, among the 180 men of Pershing's advance party which departed May 28 and arrived in Liverpool on 8 June.[47] Taken as Pershing's personal aide, Patton oversaw the training of American troops in Paris until September, then moved to Chaumont and assigned as a post adjutant, commanding the headquarters company overseeing the base. Patton was dissatisfied with the post and began to take an interest in tanks, as Pershing sought to give him command of an infantry battalion.[48] While in a hospital for jaundice, Patton met Colonel Fox Conner, who encouraged him to work with tanks over infantry.[49]\n", "On November 10, 1917 Patton was assigned to establish the AEF Light Tank School.[37] He left Paris and reported to the French Army's tank training school at Champlieu near Orrouy, where he drove a Renault FT light tank. He also visited a Renault factory to observe the tanks being manufactured. On November 20, the British launched an offensive towards the important rail center of Cambrai, using an unprecedented number of tanks.[50] At the conclusion of his tour on December 1, Patton went to Albert, 30 miles (48\u00a0km) from Cambrai, to be briefed on the results of this attack by the chief of staff of the British Tank Corps, Colonel J. F. C. Fuller.[51] Patton was promoted to major on January 26, 1918.[49] He received the first ten tanks on March 23, 1918 at the Tank School at Langres, Haute-Marne d\u00e9partement. The only soldier with tank-driving experience, Patton personally backed seven of the tanks off the train.[52] In the post, Patton trained tank crews to operate in support of infantry, and promoted its acceptance among reticent infantry officers.[53] He was promoted to lieutenant colonel on April 3, 1918, and attended the Army General Staff College in Langres.[54]\n", "In August 1918, he was placed in charge of the U.S. 1st Provisional Tank Brigade (re-designated the 304th Tank Brigade on November 6, 1918). Patton's Light Tank Brigade was part of Colonel Samuel Rockenbach's Tank Corps, part of the First United States Army.[55] Personally overseeing the logistics of the tanks in their first combat use by U.S. forces, and reconnoitering the target area for their first attack himself, Patton ordered that no U.S. tank be surrendered.[54][56] Patton commanded American-crewed Renault FT tanks at the Battle of Saint-Mihiel,[57] leading the tanks from the front for much of their attack, which began on September 12. He walked in front of the tanks into the German-held village of Essey, and rode on top of a tank during the attack into Pannes, seeking to inspire his men.[58]\n", "Patton's brigade was then moved to support U.S. I Corps in the Meuse-Argonne Offensive on September 26.[57] He personally led a troop of tanks through thick fog as they advanced 5 miles (8\u00a0km) into German lines. Around 09:00, Patton was wounded in the left thigh while leading six men and a tank in an attack on German machine guns near the town of Cheppy.[59][60] His orderly, Private First Class Joe Angelo, saved Patton for which he was later awarded the Distinguished Service Cross.[61] Patton commanded the battle from a shell hole for another hour before being evacuated. He stopped at a rear command post to submit his report before heading to a hospital. Sereno E. Brett, commander of the U.S. 326th Tank Battalion, took command of the brigade in Patton's absence. While recuperating from his wound, Patton was promoted to colonel in the Tank Corps of the U.S. National Army on October 17. He returned to duty on October 28 but saw no further action before hostilities ended with the armistice of November 11, 1918.[62] For his actions in Cheppy, Patton received the Distinguished Service Cross. For his leadership of the brigade and tank school, he was awarded the Distinguished Service Medal. He was also awarded the Purple Heart for his combat wounds after the decoration was created in 1932.[63]\n", "Patton left France for New York City on March 2, 1919. After the war he was assigned to Camp Meade, Maryland, and reverted to his permanent rank of captain on June 30, 1920, though he was promoted to major again the next day. Patton was given temporary duty in Washington D.C. that year to serve on a committee writing a manual on tank operations. In this time he developed a belief that tanks should not be used as infantry support, but rather as an independent fighting force. Patton supported the M1919 tank design created by J. Walter Christie, a project which was shelved due to financial considerations.[64] While on duty in Washington, D.C., in 1919, Patton met Dwight D. Eisenhower,[65] who would play an enormous role in Patton's future career. During and following Patton's assignment in Hawaii, he and Eisenhower corresponded frequently. Patton sent Eisenhower notes and assistance to help him graduate from the General Staff College.[10] With Christie, Eisenhower, and a handful of other officers, Patton pushed for more development of armored warfare in the interwar era. These thoughts resonated with Secretary of War Dwight Davis, but the limited military budget and prevalence of already-established Infantry and Cavalry branches meant the U.S. would not develop its armored corps much until 1940.[66]\n", "On September 30, 1920 he relinquished command of the 304th Tank Brigade and was reassigned to Fort Myer as commander of 3rd Squadron, 3rd Cavalry.[10] Patton, loathing duty as a peacetime staff officer, spent much time writing technical papers and giving speeches on his combat experiences at the General Staff College.[64] From 1922 to mid-1923 he attended the Field Officer's Course at the Cavalry School at Fort Riley, then he attended the Command and General Staff College from mid-1923 to mid-1924,[10] graduating 25th out of 248.[67] In August 1923, Patton saved several children from drowning when they fell off a yacht during a boating trip off Salem, Massachusetts. He was awarded the Silver Lifesaving Medal for this action.[68] He was temporarily appointed to the General Staff Corps in Boston, Massachusetts, before being reassigned as G-1 and G-2 of the Hawaiian Division at Schofield Barracks in Honolulu in March 1925.[10] During his time in Hawaii, Patton was part of the military units responsible for the defense of the islands, and wrote a plan called \"Surprise,\" which anticipated an air raid against Pearl Harbor, fourteen years before the attack by the Imperial Japanese Navy on December 7, 1941.[69]\n", "Patton was made G-3 of the Hawaiian Division for several months, before being transferred in May 1927 to the Office of the Chief of Cavalry in Washington, D.C., where he began to develop the concepts of mechanized warfare. A short-lived experiment to merge infantry, cavalry and artillery into a combined arms force was cancelled after U.S. Congress removed funding. Patton left this office in 1931, returned to Massachusetts and attended the Army War College, becoming a \"Distinguished Graduate\" in June 1932.[70]\n", "In July 1932, Patton was executive officer of the 3rd Cavalry, which was ordered to Washington by Army Chief of Staff General Douglas MacArthur. Patton took command of the 600 troops of the 3rd Cavalry, and on July 28, MacArthur ordered Patton's troops to advance on protesting veterans known as the \"Bonus Army\" with tear gas and bayonets. Patton was dissatisfied with MacArthur's conduct as he recognized the legitimacy of the veterans' complaints and had himself earlier refused to issue the order to employ armed force to disperse the veterans. Patton later stated that, though he found the duty \"most distasteful,\" he also felt that putting the marchers down prevented an insurrection and saved lives and property. He personally led the 3rd Cavalry down Pennsylvania Avenue dispersing the protesters.[71][72] Patton also encountered his former orderly as one of the marchers, and forcibly ordered him away, fearing such a meeting might make the headlines.[73]\n", "Patton was promoted to lieutenant colonel in the regular Army on March 1, 1934, and was transferred to the Hawaiian Division in early 1935 to serve as G-2. Depressed at the lack of prospects for new conflict, Patton took to drinking heavily and began several extra-marital affairs, including one with his 21-year-old niece by marriage, Jean Gordon.[74]\n", "Patton continued playing polo and sailing in this time. After sailing back to Los Angeles for extended leave in 1937, he was kicked by a horse and fractured his leg. Patton developed phlebitis from the injury, which nearly killed him. The incident almost forced Patton out of active service, but a six-month administrative assignment in the Academic Department at the Cavalry School at Fort Riley helped him to recover.[74] Patton was promoted to colonel on July 24, 1938 and given command of the 5th Cavalry at Fort Clark, Texas, for six months, a post he relished, but he was reassigned to Fort Myer again in December as commander of the 3rd Cavalry. There, he met Army Chief of Staff George C. Marshall, who was so impressed with him that Marshall considered Patton a prime candidate for flag officer rank in the armed forces. Still, in peacetime, he would remain a colonel to stay eligible for command of a regiment.[75]\n", "Following the invasion of Poland and the outbreak of World War II in Europe in 1939, the U.S. military entered a period of mobilization, and Patton sought to build up the power of U.S. armored forces. During maneuvers the Third United States Army conducted in 1940, Patton served as an umpire, where he met Adna R. Chaffee, Jr. and the two formulated recommendations to develop an armored force. Chaffee was named commander of this force,[76] and created the U.S. 1st Armored Division and U.S. 2nd Armored Division as well as the first combined arms doctrine. He named Patton commander of the 2nd Armored Brigade, 2nd Armored Division. The division was one of few organized as a heavy formation with a large number of tanks, and Patton was in charge of its training.[77] Patton was promoted to brigadier general on October 2, made acting division commander in November, and on April 4, 1941 was promoted again to major general and made division commander of the 2nd Armored Division.[76] As Chaffee stepped down from command of the U.S. I Armored Corps, Patton became the most prominent figure in U.S. armor doctrine, staging a high-profile mass exercise driving 1,000 tanks and vehicles from Columbus, Georgia, to Panama City, Florida, and back in December 1940,[78] and again with his entire division of 1,300 vehicles the next month.[79] Patton earned a pilot's license and during these maneuvers he observed the movements of his vehicles from the air to find ways to deploy them effectively in combat.[78] His exploits earned him a spot on the cover of Life Magazine that year.[80]\n", "Patton led the division during the Tennessee Maneuvers in June 1941, and was lauded for his leadership, executing 48 hours' worth of planned objectives in only nine. During the September Louisiana Maneuvers, his division was part of the losing Red Army in Phase I, but in Phase II was assigned to the Blue Army. His division executed a 400-mile (640\u00a0km) end run around the Red Army and \"captured\" Shreveport, Louisiana. During the October\u2013November Carolina Maneuvers, Patton's division captured Hugh Drum, commander of the opposing army.[81] On January 15, 1942 he was given command of I Armored Corps, and the next month established the Desert Training Center[82] in the Imperial Valley to run training exercises. He commenced these exercises in late 1941 and continued them into the summer of 1942. Patton chose a 10,000-acre (40\u00a0km2) expanse of desert area about 50 miles (80\u00a0km) southeast of Palm Springs.[83] From his first days as a commander, Patton strongly emphasized the need for armored forces to stay in constant contact with opposing forces. His instinctive preference for offensive movement was typified by an answer Patton gave to war correspondents in a 1944 press conference. In response to a question on whether the Third Army's rapid offensive across France should be slowed to reduce the number of U.S. casualties, Patton replied, \"Whenever you slow anything down, you waste human lives.\"[84] During the war, Patton acquired the nickname \"Old Blood and Guts,\" because of his enthusiasm for battle;[85] soldiers under his command at times quipped, \"our blood, his guts\". Still, he was known to be admired widely by the men under his charge.[86] Patton was also known simply as \"The Old Man\" among his troops.[87]\n", "Under Eisenhower, Patton was assigned to help plan the invasion of French North Africa as part of Operation Torch in the summer of 1942.[88][89] Patton commanded the Western Task Force, consisting of 33,000 men in 100 ships, in landings centered around Casablanca, Morocco. The landings, which took place on November 8, 1942, were opposed by Vichy French forces, but Patton's men quickly gained a beachhead. and pushed through fierce resistance. Casablanca fell on November 11 and Patton negotiated an armistice with French General Charles Nogu\u00e8s.[90][91] The Sultan of Morocco was so impressed that he presented Patton with the Order of Ouissam Alaouite, with the citation \"Les Lions dans leurs tani\u00e8res tremblent en le voyant approcher\" (The lions in their dens tremble at his approach).[92] Patton oversaw the conversion of Casablanca into a military port and hosted the Casablanca Conference in January 1943.[93]\n", "On March 6, 1943, following the defeat of the U.S. II Corps by the German Afrika Korps at the Battle of the Kasserine Pass, Patton replaced Major General Lloyd Fredendall as commander of the II Corps and was promoted to lieutenant general. Soon thereafter, he had Omar Bradley reassigned to his corps as its deputy commander.[94] With orders to take the battered and demoralized formation into action in 10 days' time, Patton immediately introduced sweeping changes, ordering all soldiers to wear clean, pressed and complete uniforms, establishing rigorous schedules, and requiring strict adherence to military protocol. He continuously moved throughout the command talking with men, seeking to shape them into effective soldiers. He pushed them hard, and sought to reward them well for their accomplishments.[95] His uncompromising leadership style is evidenced by his orders for an attack on a hill position near Gafsa which are reported to have ended \"I expect to see such casualties among officers, particularly staff officers, as will convince me that a serious effort has been made to capture this objective\".[96]\n", "Patton's training was effective, and on March 17, the U.S. 1st Infantry Division took Gafsa, winning the Battle of El Guettar, and pushing a German and Italian armored force back twice. In the meantime, on April 5, he removed Major General Orlando Ward, the commander of the 1st Armored Division, after its lackluster performance at Maknassy against numerically inferior German forces. Advancing on Gab\u00e8s, Patton's corps pressured the Mareth Line.[95] During this time, he reported to British Army commander Harold Alexander, and came into conflict with Air Vice Marshal Arthur Coningham about the lack of close air support being provided for his troops. When Coningham dispatched three officers to Patton's headquarters to persuade him that the British were providing ample air support, they came under German air attack mid-meeting, and part of the ceiling of Patton's office collapsed around them. Speaking later of the German pilots who had struck, Patton remarked, \"if I could find the sons of bitches who flew those planes, I'd mail each of them a medal.\"[97] By the time his force reached Gab\u00e8s, the Germans had abandoned it. He then relinquished command of II Corps to Bradley, and returned to the I Armored Corps in Casablanca to help plan Operation Husky. Fearing U.S. troops would be sidelined, he convinced British commanders to allow them to continue fighting through to the end of the Tunisia Campaign before leaving on this new assignment.[97][98]\n", "For Operation Husky, the invasion of Sicily, Patton was to command the Seventh United States Army, dubbed the Western Task Force, in landings at Gela, Scoglitti and Licata to support landings by Bernard Montgomery's British Eighth Army. Patton's I Armored Corps was officially redesignated the Seventh Army just before his force of 90,000 landed before dawn on D-Day, July 10, 1943, on beaches near the town of Licata. The armada was hampered by wind and weather, but despite this the three U.S. infantry divisions involved, the 3rd, 1st, and 45th, secured their respective beaches. They then repulsed counterattacks at Gela,[99] where Patton personally led his troops against German reinforcements from the Hermann G\u00f6ring Division.[100]\n", "Initially ordered to protect the British forces' left flank, Patton was granted permission by Alexander to take Palermo after Montgomery's forces became bogged down on the road to Messina. As part of a provisional corps under Major General Geoffrey Keyes, the 3rd Infantry Division under Major General Lucian Truscott covered 100 miles (160\u00a0km) in 72 hours, arriving at Palermo on July 21. He then set his sights on Messina.[101] He sought an amphibious assault, but it was delayed by lack of landing craft, and his troops did not land at Santo Stefano until August 8, by which time the Germans and Italians had already evacuated the bulk of their troops to mainland Italy. He ordered more landings on August 10 by the 3rd Infantry Division, which took heavy casualties but pushed the German forces back, and hastened the advance on Messina.[102] A third landing was completed on August 16, and by 22:00 that day Messina fell to his forces. By the end of the battle, the 200,000-man Seventh Army had suffered 7,500 casualties, and killed or captured 113,000 Axis troops and destroyed 3,500 vehicles. Still, 40,000 German and 70,000 Italian troops escaped to Italy with 10,000 vehicles.[103][104]\n", "Patton's conduct in this campaign met with several controversies. When Alexander sent a transmission on July 19 limiting Patton's attack on Messina, his chief of staff, Brigadier General Hobart R. Gay, claimed the message was \"lost in transmission\" until Messina had fallen. On July 22 he shot and killed a pair of mules that had stopped while pulling a cart across a bridge. The cart was blocking the way of a U.S. armored column which was under attack from German aircraft. When their Sicilian owner protested, Patton attacked him with a walking stick and pushed the two mules off of the bridge.[101] When informed of the massacre of Italian prisoners at Biscari by troops under his command, Patton wrote in his diary, \"I told Bradley that it was probably an exaggeration, but in any case to tell the officer to certify that the dead men were snipers or had attempted to escape or something, as it would make a stink in the press and also would make the civilians mad. Anyhow, they are dead, so nothing can be done about it.\"[105] Patton also came into frequent disagreements with Terry de la Mesa Allen, Sr., and Theodore Roosevelt, Jr., and acquiesced to their relief by Bradley.[106]\n", "Two high-profile incidents of Patton striking subordinates during the Sicily campaign attracted national controversy following the end of the campaign. On August 3, 1943, Patton slapped and verbally abused Private Charles H. Kuhl at an evacuation hospital in Nicosia after he had been found to suffer from \"battle fatigue\".[107] On August 10, Patton slapped Private Paul G. Bennett under similar circumstances.[107] Ordering both soldiers back to the front lines,[108] Patton railed against cowardice and issued orders to his commanders to discipline any soldier making similar complaints.[109]\n", "Word of the incident reached Eisenhower, who privately reprimanded Patton and insisted he apologize.[110] Patton apologized to both soldiers individually, as well as to doctors who witnessed the incidents,[111] and later to all of the soldiers under his command in several speeches.[112] Eisenhower suppressed the incident in the media,[113] but in November journalist Drew Pearson revealed it on his radio program.[114] Criticism of Patton in the United States was harsh, and included members of Congress and former generals, Pershing among them.[115][116] The views of the general public remained mixed on the matter,[117] and eventually Secretary of War Henry L. Stimson stated that Patton must be retained as a commander because of the need for his \"aggressive, winning leadership in the bitter battles which are to come before final victory.\"[118]\n", "Patton did not command a force in combat for 11 months.[119] In September, Bradley, who was Patton's junior in both rank and experience, was selected to command the First United States Army forming in England to prepare for Operation Overlord.[120] This decision had been made before the slapping incidents were made public, but Patton blamed them for his being denied the command.[121] Eisenhower felt the invasion of Europe was too important to risk any uncertainty, and the slapping incidents had been an example of Patton's inability to exercise discipline and self-control. While Eisenhower and Marshall both felt Patton's skill as a combat commander was invaluable, they felt Bradley was less impulsive or prone to making mistakes.[122] On January 26, 1944 Patton was formally given command of the Third United States Army in England, a newly arrived unit, and assigned to prepare its inexperienced soldiers for combat in Europe.[123][124] This duty kept Patton busy in early 1944 preparing for the pending invasion.[125]\n", "The German High Command still had more respect for Patton than for any other Allied commander and considered him central to any plan to invade Europe from the United Kingdom.[126] Because of this, Patton was made a prominent figure in the deception operation, Fortitude, in early 1944.[127] The Allies fed German spies a steady stream of false intelligence that Patton had been named commander of the First United States Army Group (FUSAG) and was preparing this command for an invasion of Pas de Calais. The FUSAG command was in reality an intricately constructed \"phantom\" army of decoys, props, and fake signals traffic based around Dover to mislead German aircraft and to make Axis leaders believe a large force was massing there to mask the real location of the invasion in Normandy. Patton was ordered to keep a low profile to deceive the Germans into thinking he was in Dover throughout early 1944, when he was actually training the Third Army.[126] As a result of Operation Fortitude, the German 15th Army remained at Pas de Calais to defend against Patton's supposed attack.[128] This formation held its position even after the invasion of Normandy on June 6, 1944. Patton flew into France a month later and returned to combat duty.[129]\n", "Sailing to Normandy throughout July, Patton's Third Army formed on the extreme right (west) of the Allied land forces.[129][Note 3] Patton's Third Army became operational at noon on August 1, 1944, under Bradley's Twelfth United States Army Group. The Third Army simultaneously attacked west into Brittany, south, east toward the Seine, and north, assisting in trapping several hundred thousand German soldiers in the Falaise Pocket between Falaise and Argentan.[131][132]\n", "Patton's strategy with his army favored speed and aggressive offensive action, though his forces saw less opposition than did the other three Allied field armies in the initial weeks of its advance.[133] The Third Army typically employed forward scout units to determine enemy strength and positions. Self-propelled artillery moved with the spearhead units and was sited well forward, ready to engage protected German positions with indirect fire. Light aircraft such as the Piper L-4 Cub served as artillery spotters and provided airborne reconnaissance. Once located, the armored infantry would attack using tanks as infantry support. Other armored units would then break through enemy lines and exploit any subsequent breach, constantly pressuring withdrawing German forces to prevent them from regrouping and reforming a cohesive defensive line.[134] The U.S. armor advanced using reconnaissance by fire, and the .50 caliber M2 Browning heavy machine gun proved effective in this duty, often flushing out and killing German panzerfaust teams waiting in ambush as well as breaking up German infantry assaults against the armored infantry.[135]\n", "The speed of the advance forced Patton's units to rely heavily on air reconnaissance and tactical air support.[134] The Third Army had by far more military intelligence (G-2) officers at headquarters specifically designated to coordinate air strikes than any other army.[136] Its attached close air support group was XIX Tactical Air Command, commanded by Brigadier General Otto P. Weyland. Developed originally by General Elwood Quesada of IX Tactical Air Command for the First Army in Operation Cobra, the technique of \"armored column cover\", in which close air support was directed by an air traffic controller in one of the attacking tanks, was used extensively by the Third Army. Each column was protected by a standing patrol of three to four P-47 and P-51 fighter-bombers as a combat air patrol (CAP).[137]\n", "In its advance from Avranches to Argentan, the Third Army traversed 60 miles (97\u00a0km) in just two weeks. Patton's force was supplemented by Ultra intelligence for which he was briefed daily by his G-2, Colonel Oscar W. Koch, who apprised him of German counterattacks, and where to concentrate his forces.[138] Equally important to the advance of Third Army columns in northern France was the rapid advance of the supply echelons. Third Army logistics were overseen by Colonel Walter J. Muller, Patton's G-4, who emphasized flexibility, improvisation, and adaptation for Third Army supply echelons so forward units could rapidly exploit a breakthrough. Patton's rapid drive to Lorraine demonstrated his keen appreciation for the technological advantages of the U.S. Army. The major U.S. and Allied advantages were in mobility and air superiority. The U.S. Army had a greater number of trucks, more reliable tanks, and better radio communications, which all contributed to a superior ability to operate at a rapid offensive pace.[139]\n", "Patton's offensive came to a halt on August 31, 1944, as the Third Army ran out of fuel near the Moselle River, just outside of Metz. Patton expected that the theater commander would keep fuel and supplies flowing to support successful advances, but Eisenhower favored a \"broad front\" approach to the ground-war effort, believing that a single thrust would have to drop off flank protection, and would quickly lose its punch. Still within the constraints of a very large effort overall, Eisenhower gave Montgomery and his Twenty First Army Group a higher priority for supplies for Operation Market Garden.[140] Combined with other demands on the limited resource pool, this resulted in the Third Army exhausting its fuel supplies.[141] Patton believed his forces were close enough to the Siegfried Line that he remarked to Bradley that with 400,000 gallons of gasoline he could be in Germany within two days.[142] In late September, a large German Panzer counterattack sent expressly to stop the advance of Patton's Third Army was defeated by the U.S. 4th Armored Division at the Battle of Arracourt. Despite the victory, the Third Army stayed in place as a result of Eisenhower's order. The German commanders believed this was because their counterattack had been successful.[143]\n", "The halt of the Third Army during the month of September was enough to allow the Germans to strengthen the fortress of Metz. In October and November, the Third Army was mired in a near-stalemate with the Germans during the Battle of Metz, with heavy casualties on both sides. An attempt by Patton to seize Fort Driant just south of Metz was defeated. By mid-November, however, Metz had fallen to the Americans.[144] Patton's decisions in taking this city were criticized. German commanders interviewed after the war noted he could have bypassed the city and moved north to Luxembourg where he would have been able to cut off the German Seventh Army.[145] The German commander of Metz, General Hermann Balck, also noted that a more direct attack would have resulted in a more decisive Allied victory in the city. Historian Carlo D'Este later wrote that the Lorraine Campaign was one of Patton's least successful, faulting him for not deploying his divisions more aggressively and decisively.[146] With supplies low and priority given to Montgomery until the port of Antwerp could be opened, Patton remained frustrated at the lack of progress of his forces. From November 8 to December 15, his army advanced no more than 40 miles (64\u00a0km).[147]\n", "In December 1944, the German army, under the command of German Field Marshal Gerd von Rundstedt, launched a last-ditch offensive across Belgium, Luxembourg, and northeastern France. On December 16, 1944, it massed 29 divisions totaling 250,000 men at a weak point in the Allied lines, and during the early stages of the ensuing Battle of the Bulge, made significant headway towards the Meuse River during one of the worst winters Europe had seen in years. Eisenhower called a meeting of all senior Allied commanders on the Western Front to a headquarters near Verdun on the morning of December 19 to plan strategy and a response to the German assault.[148]\n", "At the time, Patton's Third Army was engaged in heavy fighting near Saarbr\u00fccken. Guessing the intent of the Allied command meeting, Patton ordered his staff to make three separate operational contingency orders to disengage elements of the Third Army from its present position and begin offensive operations toward several objectives in the area of the bulge occupied by German forces.[149] At the Supreme Command conference, Eisenhower led the meeting, which was attended by Patton, Bradley, General Jacob Devers, Major General Kenneth Strong, Deputy Supreme Commander Air Chief Marshal Arthur Tedder, and a large number of staff officers.[150] When Eisenhower asked Patton how long it would take him to disengage six divisions of his Third Army and commence a counterattack north to relieve the U.S. 101st Airborne Division which had been trapped at Bastogne, Patton replied, \"As soon as you're through with me.\"[151] Patton then clarified that he had already worked up an operational order for a counterattack by three full divisions on December 21, then only 48 hours away.[151] Eisenhower was incredulous: \"Don't be fatuous, George. If you try to go that early you won't have all three divisions ready and you'll go piecemeal.\" Patton replied that his staff already had a contingency operations order ready to go. Still unconvinced, Eisenhower ordered Patton to attack the morning of December 22, using at least three divisions.[152]\n", "Patton left the conference room, phoned his command, and uttered two words: \"Play ball.\" This code phrase initiated a prearranged operational order with Patton's staff, mobilizing three divisions\u00a0\u2013 the 4th Armored Division, the U.S. 80th Infantry Division, and the U.S. 26th Infantry Division\u00a0\u2013 from the Third Army and moving them north toward Bastogne.[149] In all, Patton would reposition six full divisions, U.S. III Corps and U.S. XII Corps, from their positions on the Saar River front along a line stretching from Bastogne to Diekirch and to Echternach.[153] Within a few days, more than 133,000 Third Army vehicles were re-routed into an offensive that covered an average distance of over 11 miles (18\u00a0km) per vehicle, followed by support echelons carrying 62,000 tonnes (61,000 long tons; 68,000 short tons) of supplies.[154]\n", "On December 21 Patton met with Bradley to review the impending advance, starting the meeting by remarking, \"Brad, this time the Kraut's stuck his head in the meat grinder, and I've got hold of the handle.\"[149] Patton then argued that his Third Army should attack toward Koblenz, cutting off the bulge at the base and trap the entirety of the German armies involved in the offensive. After briefly considering this, Bradley vetoed this proposal, as he was less concerned about killing large numbers of Germans than he was in arranging for the relief of Bastogne before it was overrun.[152] Desiring good weather for his advance, which would permit close ground support by U.S. Army Air Forces tactical aircraft, Patton ordered the Third Army chaplain, Colonel James Hugh O'Neill, to compose a suitable prayer: \"Almighty and most merciful Father, we humbly beseech Thee, of Thy great goodness, to restrain these immoderate rains with which we have had to contend. Grant us fair weather for Battle. Graciously hearken to us as soldiers who call upon Thee that, armed with Thy power, we may advance from victory to victory and crush the oppression and wickedness of our enemies, and establish Thy justice among men and nations. Amen.\" When the weather cleared soon after, Patton awarded O'Neill a Bronze Star Medal on the spot.[113]\n", "On December 26, 1944, the first spearhead units of the Third Army's 4th Armored Division reached Bastogne, opening a corridor for relief and resupply of the besieged forces. Patton's ability to disengage six divisions from front line combat during the middle of winter, then wheel north to relieve Bastogne was one of his most remarkable achievements during the war.[155] He later wrote that the relief of Bastogne was \"the most brilliant operation we have thus far performed, and it is in my opinion the outstanding achievement of the war. This is my biggest battle.\"[154]\n", "By February, the Germans were in full retreat. On February 23, 1945, the U.S. 94th Infantry Division crossed the Saar and established a vital bridgehead at Serrig through which Patton pushed units into the Saarland. Patton had insisted upon an immediate crossing of the Saar River against the advice of his officers. Historians such as Charles Whiting have criticized this strategy as unnecessarily aggressive.[156]\n", "Once again, however, Patton found other commands given priority on gasoline and supplies.[157] To obtain these, Third Army ordnance units passed themselves off as First Army personnel and in one incident they secured thousands of gallons of gasoline from a First Army dump.[158] Between January 29 and March 22, the Third Army took Trier, Coblenz, Bingen, Worms, Mainz, Kaiserslautern, and Ludwigshafen, killing or wounding 99,000 and capturing 140,112 German soldiers, which represented virtually all of the remnants of the German First and Seventh Armies. An example of Patton's sarcastic wit was broadcast when he received orders to by-pass Trier, as it had been decided that four divisions would be needed to capture it. When the message arrived, Trier had already fallen. Patton rather caustically replied: \"Have taken Trier with two divisions. Do you want me to give it back?\"[159]\n", "The Third Army began crossing the Rhine River after constructing a bridge on March 22, and he slipped a division across the river that evening.[160] Patton later boasted he had urinated into the river as he crossed.[161]\n", "On March 26, 1945, Patton sent Task Force Baum, consisting of 314 men, 16 tanks, and assorted other vehicles, 50 miles (80\u00a0km) behind German lines to liberate a prisoner of war camp, OFLAG XIII-B near Hammelburg. One of the inmates was Patton's son-in-law, Lieutenant Colonel John K. Waters, who had been captured in North Africa. The raid was a failure, and only 35 men made it back; the rest were either killed or captured, and all 57 vehicles were lost. Major General Gunther von Goeckel, the camp commandant, called for Waters to try to arrange a truce. He agreed to act as intermediary and along with several men, including one German officer, volunteered to exit the camp to meet with the Americans. Before the German officer could explain the situation to his countrymen, Waters was shot in the buttocks by an uninformed German soldier as he approached the American column. He was taken back and treated for his wounds by Serbian doctors interned in the camp. When Eisenhower learned of the secret mission, he was furious.[162] Patton later said he felt the correct decision would have been to send a Combat Command, a force about three times larger.[163]\n", "By April, resistance against the Third Army was tapering off, and the forces' main efforts turned to managing some 400,000 German prisoners of war.[162] On April 14, 1945 Patton was promoted to general, a promotion long advocated by Stimson in recognition of Patton's battle accomplishments during 1944.[164] Later that month, Patton, Bradley and Eisenhower toured the Merkers salt mine as well as the Ohrdruf concentration camp, and seeing the conditions of the camp firsthand caused Patton great disgust. Third Army was ordered toward Bavaria and Czechoslovakia, anticipating a last stand by Nazi German forces there. He was reportedly appalled to learn the Red Army would take Berlin, feeling the Soviet Union was a threat to the U.S. Patton's army advanced to Pilsen, but was stopped by Eisenhower from reaching Prague before V-E Day and the end of the war in Europe.[165]\n", "In its advance from the Rhine to the Elbe, Patton's Third Army, which numbered between 250,000 and 300,000 men at any given time, captured 32,763 square miles (84,860\u00a0km2) of German territory. Its losses were 2,102 killed, 7,954 wounded, and 1,591 missing. German losses in the fighting against the Third Army totaled 20,100 killed, 47,700 wounded, and 653,140 captured.[166]\n", "Between becoming operational in Normandy on August 1, 1944 and the end of hostilities on May 9, 1945, the Third Army was in continuous combat for 281 days. In that time, it crossed 24 major rivers and captured 81,500 square miles (211,000\u00a0km2) of territory, including more than 12,000 cities and towns. The Third Army claimed to have killed, wounded, or captured 1,811,388 German soldiers, six times its strength in personnel.[166] Fuller's review of Third Army records differs only in the number of enemy killed and wounded, stating that between August 1, 1944 and May 9, 1945, 47,500 of the enemy were killed, 115,700 wounded, and 1,280,688 captured, for a total of 1,443,888.[167]\n", "Patton asked for a command in the Pacific Theater of Operations, begging Marshall to bring him to that war in any way possible, and Marshall said he would be able to do so only if the Chinese secured a major port for his entry, an unlikely scenario.[165] In mid-May, Patton flew to Paris, then London for rest. On June 7, he arrived in Bedford, Massachusetts, for extended leave with his family, and was greeted by thousands of spectators. Patton then drove to Hatch Memorial Shell and spoke to some 20,000, including a crowd of 400 wounded Third Army veterans. In this speech he aroused some controversy among the Gold Star Mothers when he stated that a man who dies in battle is \"frequently a fool\",[168] adding that the wounded are heroes. Patton spent time in Boston before visiting and speaking in Denver and visiting Los Angeles, where he spoke to a crowd of 100,000 at the Memorial Coliseum. Patton made a final stop in Washington, D.C. before returning to Europe in July to serve in the occupation forces.[169]\n", "Patton was appointed military governor of Bavaria, where he led the Third Army in denazification efforts.[169] Patton was particularly upset when learning of the end of the war against Japan, writing in his diary, \"Yet another war has come to an end, and with it my usefulness to the world.\"[169] Unhappy with his position and depressed by his belief that he would never fight in another war, Patton's behavior and statements became increasingly erratic. Various explanations beyond his disappointments have been proposed for Patton's behavior at this point. Carlo D'Este wrote that \"it seems virtually inevitable\u00a0... that Patton experienced some type of brain damage from too many head injuries\" from a lifetime of numerous auto- and horse-related accidents, especially one suffered while playing polo in 1936.[113] Patton's niece Jean Gordon appeared again; they spent some time together in London in 1944, and again in Bavaria in 1945. Gordon actually loved a young married captain who left her despondent when he went home to his wife in September 1945.[170] Patton repeatedly boasted of his sexual success with this young woman but his biographers are skeptical. Hirshson says the relationship was casual.[171] Showalter believes that Patton, under severe physical and psychological stress, made up claims of sexual conquest to prove his virility.[172] D'Este agrees, saying, \"His behavior suggests that in both 1936 [in Hawaii] and 1944\u201345, the presence of the young and attractive Jean was a means of assuaging the anxieties of a middle-aged man troubled over his virility and a fear of aging.\"[173]\n", "Patton attracted controversy as military governor when it was noted that several former Nazi Party members continued to hold political posts in the region.[169] When responding to the press about the subject, Patton repeatedly compared Nazis to Democrats and Republicans in noting that most of the people with experience in infrastructure management had been compelled to join the party in the war, causing negative press stateside and angering Eisenhower.[174][175] On September 28, 1945, after a heated exchange with Eisenhower over his statements, Patton was relieved of his military governorship. He was relieved of command of the Third Army on 7 October, and in a somber change of command ceremony, Patton concluded his farewell remarks, \"All good things must come to an end. The best thing that has ever happened to me thus far is the honor and privilege of having commanded the Third Army.\"[174]\n", "Patton's final assignment was to command the Fifteenth United States Army based in Bad Nauheim. The Fifteenth Army at this point consisted only of a small headquarters staff tasked to compile a history of the war in Europe. Patton had accepted the post because of his love of history, but quickly lost interest in the duty. He began traveling, visiting Paris, Rennes, Chartres, Brussels, Metz, Reims, Luxembourg, and Verdun,[174] as well as Stockholm where he reunited with other athletes from the 1912 Olympics. Patton decided he would leave his post at the Fifteenth Army and not return to Europe once he left on December 10 for Christmas leave. He intended to discuss with his wife whether he would continue in a stateside post or retire.[176]\n", "On December 8, 1945, Patton's chief of staff, Major General Hobart Gay, invited him on a pheasant hunting trip near Speyer to lift his spirits. At 11:45 on December 9, Patton and Gay were riding in Patton's 1938 Cadillac Model 75 staff car driven by Private First Class Horace L. Woodring when they stopped at a railroad intersection in Mannheim-K\u00e4fertal to allow a train to pass. Patton, observing derelict cars along the side of the road, spoke as the car crossed the railroad track, \"How awful war is. Think of the waste.\" Woodring glanced away from the road when a 2\u00bd ton GMC truck driven by Technical Sergeant Robert L. Thompson, who was en route to a quartermaster depot, suddenly made a left turn in front of the car. Woodring slammed the brakes and turned sharply to the left, colliding with the truck at a low speed.[176]\n", "Woodring, Thompson, and Gay were only slightly injured in the crash, but Patton had not been able to brace in time and hit his head on the glass partition in the back seat of the car. He began bleeding from a gash to the head and complained to Gay and Woodring that he was paralyzed and was having trouble breathing. Taken to a hospital in Heidelberg, Patton was discovered to have a compression fracture and dislocation of the third and fourth vertebrae, resulting in a broken neck and cervical spinal cord injury which rendered him paralyzed from the neck down. He spent most of the next 12 days in spinal traction to decrease spinal pressure. Although in some pain from this procedure, he reportedly never complained about it. All non-medical visitors, except for Patton's wife, who had flown from the U.S., were forbidden. Patton, who had been told he had no chance to ever again ride a horse or resume normal life, at one point commented, \"This is a hell of a way to die.\" He died in his sleep of pulmonary edema and congestive heart failure at about 18:00 on December 21, 1945.[177] Patton was buried at the Luxembourg American Cemetery and Memorial in Hamm, Luxembourg, alongside other wartime casualties of the Third Army, per his request to \"be buried with my men.\"[178]\n", "Patton's colorful personality, hard-driving leadership style and success as a commander, combined with his frequent political missteps, produced a mixed and often contradictory image. Patton's great oratory skill is seen as integral to his ability to inspire troops under his command.[179] Historian Terry Brighton concluded that Patton was \"arrogant, publicity-seeking and personally flawed, but\u00a0... among the greatest generals of the war.\"[180] Still, Patton's impact on armored warfare and leadership were substantial, with the U.S. Army adopting many of Patton's aggressive strategies for its training programs following his death. Many military officers claim inspiration from his legacy. The first U.S. tank designed after the war became the M46 Patton.[181]\n", "Several actors have portrayed Patton on screen, the most famous being George C. Scott in the 1970 film Patton. He reprised the role in 1986 for the television miniseries The Last Days of Patton.[182] Scott's iconic depiction of Patton, particularly of his famous speech to the Third Army, earned him an Academy Award, and was instrumental in bringing Patton into popular culture as a folk hero.[183] Other actors who have portrayed Patton include Stephen McNally in the 1957 episode \"The Patton Prayer\" of the ABC religion anthology series, Crossroads, John Larch in the 1963 film Miracle of the White Stallions, Kirk Douglas in the 1966 film Is Paris Burning?, George Kennedy in the 1978 film Brass Target, Darren McGavin in the 1979 miniseries Ike, Robert Prentiss in the 1988 film Pancho Barnes, Mitchell Ryan in the 1989 film Double Exposure: The Story of Margaret Bourke-White, Lawrence Dobkin in a 1989 episode of the miniseries War and Remembrance, Edward Asner in the 1997 film The Long Way Home, Gerald McRaney in the 2004 miniseries Ike: Countdown to D-Day, Dan Higgins in a 2006 episode of the miniseries Man, Moment, Machine, and Kelsey Grammer in the 2008 film An American Carol.[182]\n", "Patton deliberately cultivated a flashy, distinctive image in the belief that this would inspire his troops. He carried an ivory-gripped, engraved, silver-plated Colt Single Action Army .45 revolver on his right hip, and frequently wore an ivory-gripped Smith & Wesson Model 27 .357 Magnum on his left hip.[35][85] He was usually seen wearing a highly polished helmet, riding pants, and high cavalry boots.[184] He was known to oversee training maneuvers from atop a tank painted red, white and blue. His jeep bore oversized rank placards on the front and back, as well as a klaxon horn which would loudly announce his approach from afar. He proposed a new uniform for the emerging Tank Corps, featuring polished buttons, a gold helmet, and thick, dark padded suits; the proposal was derided in the media as \"the Green Hornet,\" and was rejected by the Army.[78]\n", "Historian Alan Axelrod wrote that \"for Patton, leadership was never simply about making plans and giving orders, it was about transforming oneself into a symbol.\"[81] Patton intentionally expressed a conspicuous desire for glory, atypical of the officer corps of the day which emphasized blending in with troops on the battlefield. He was an admirer of Admiral Horatio Nelson for his actions in leading the Battle of Trafalgar in a full dress uniform.[81] Patton had a preoccupation with bravery,[7] wearing his rank insignia conspicuously in combat, and at one point during World War I rode atop a tank into a German-controlled village seeking to inspire courage in his men.[58]\n", "Patton was a staunch fatalist,[185] and believed in reincarnation. He believed that he may have been a military leader killed in action in Napoleon's army in a previous life, or a Roman legionary.[6][186]\n", "Patton developed an ability to deliver charismatic speeches, in part because he had trouble with reading.[70] He used profanity heavily in his speech, which generally was enjoyed by troops under his command but offended other generals, including Bradley.[187] The most famous of his speeches were a series he delivered to the Third Army prior to Operation Overlord.[188] When speaking, he was known for his bluntness and witticism; he once said, \"The two most dangerous weapons the Germans have are our own armored halftrack and jeep. The halftrack because the boys in it go all heroic, thinking they are in a tank. The jeep because we have so many God-awful drivers.\"[189] During the Battle of the Bulge, he famously remarked that the Allies should \"let the sons-of-bitches [Germans] go all the way to Paris, then we'll cut them off and round them up.\"[189] He also suggested facetiously that his Third Army could \"drive the British back into the sea for another Dunkirk.\"[189]\n", "As media scrutiny on Patton increased, his bluntness stirred a number of controversies, including when he was quoted in 1945 comparing Nazis to Democrats and Republicans,[174] and again later that year when he attempted to honor several wounded veterans in a speech by calling them \"the real heroes\" of the war, unintentionally offending the families of soldiers who had been killed in action.[169] His largest controversy came prior to Operation Overlord when he implied to reporters that the British and Americans, and not the Soviet Union, would dominate the post-war world, stirring tension among the already delicate alliance.[190] Eisenhower stated that his lack of tact was a flaw which limited his leadership potential, in spite of his many accomplishments.[191]\n", "As a leader, Patton was known to be highly critical, correcting subordinates mercilessly for the slightest infractions, but also being quick to praise their accomplishments.[78] While he garnered a reputation as a general who was both impatient and impulsive and had little tolerance for officers who had failed to succeed, he fired only one general during World War II, Orlando Ward, and only after two warnings, whereas Bradley sacked numerous generals during the war.[192] Patton reportedly had the utmost respect for the men serving in his command, particularly the wounded, although he tended to classify cases of psychological battlefield breakdown, today identified as post-traumatic stress disorder, as \"malingering.\"[193] Many of his directives showed special trouble to care for the enlisted men under his command, and he was well known for arranging extra supplies for battlefield soldiers, including blankets and extra socks, galoshes, and other items normally in short supply at the front.[194]\n", "Patton remained outspoken and unabashed in his feelings of racism throughout his life.[185] His attitudes were likely cultivated from his privileged upbringing and family roots in the southern United States.[195] Privately he wrote of African American soldiers: \"Individually they were good soldiers, but I expressed my belief at the time, and have never found the necessity of changing it, that a colored soldier cannot think fast enough to fight in armor.\"[196] However, he also stated that performance was more important than race or religious affiliation: \"I don't give a damn who the man is. He can be a nigger or a Jew, but if he has the stuff and does his duty, he can have anything I've got. By God! I love him.\"[197] In spite of these views, Patton called heavily on the African American troops under his command.[185]\n", "After reading the Koran and observing North Africans, he wrote to his wife, \"Just finished reading the Koran\u00a0\u2013 a good book and interesting.\" Patton had a keen eye for native customs and methods and wrote knowingly of local architecture; he once rated the progress of word-of-mouth rumor in Arab country at 40\u201360 miles (64\u201397\u00a0km) a day. In spite of his regard for the Koran, he concluded, \"To me it seems certain that the fatalistic teachings of Mohammad and the utter degradation of women is the outstanding cause for the arrested development of the Arab\u00a0... Here, I think, is a text for some eloquent sermon on the virtues of Christianity.\"[198] Patton was impressed with the Soviet Union but was disdainful of Russians as \"drunks\" with \"no regard for human life.\"[199] Later in life he also began to express growing feelings of antisemitism and anticommunism, as a result of his frequent controversies in the press.[174]\n", "On February 1, 1945, Eisenhower wrote a memo ranking the military capabilities of his subordinate American generals in Europe. Bradley and Army Air Force General Carl Spaatz shared the number one position, while Walter Bedell Smith was ranked number two, and Patton number three.[200] Eisenhower revealed his reasoning in a 1946 review of the book Patton and his Third Army: \"George Patton was the most brilliant commander of an army in the open field that our or any other service produced. But his army was part of a whole organization and his operations part of a great campaign.\"[201] Eisenhower believed that other generals such as Bradley should be given the credit for planning the successful Allied campaigns across Europe in which Patton was merely \"a brilliant executor\".[201]\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "Notwithstanding Eisenhower's estimation of Patton's abilities as a strategic planner, his overall view of Patton's military value in achieving Allied victory in Europe can best be seen in Eisenhower's refusal to even consider sending Patton home after the slapping incidents of 1943, after which he privately remarked, \"Patton is indispensable to the war effort\u00a0\u2013 one of the guarantors of our victory.\"[202] As Assistant Secretary of War John J. McCloy told Eisenhower: \"Lincoln's remark after they got after Grant comes to mind when I think of Patton\u00a0\u2013 'I can't spare this man, he fights'.\"[203] After Patton's death, Eisenhower would write his own tribute: \"He was one of those men born to be a soldier, an ideal combat leader\u00a0... It is no exaggeration to say that Patton's name struck terror at the hearts of the enemy.\"[201]\n", "Bradley's view of Patton was decidedly negative. Patton received scant praise in Bradley's memoirs, in which the latter made it clear that had he been Patton's superior in Sicily in 1943, he not only would have relieved Patton of command immediately but \"would have had nothing more to do with him\".[204] The two men were polar opposites in personality, and there is considerable evidence that Bradley disliked Patton both personally and professionally.[205][206] President Franklin D. Roosevelt appeared to greatly esteem Patton and his abilities, stating \"he is our greatest fighting general, and sheer joy.\"[207] On the other hand, Roosevelt's successor, Harry S. Truman, appears to have taken an instant dislike to Patton, at one point comparing both him and Douglas MacArthur to George Armstrong Custer.[207]\n", "For the most part, British commanders did not hold Patton in high regard. Field Marshal Alan Brooke noted in January 1943 that \"I had heard of him, but I must confess that his swashbuckling personality exceeded my expectation. I did not form any high opinion of him, nor had I any reason to alter this view at any later date. A dashing, courageous, wild and unbalanced leader, good for operations requiring thrust and push but at a loss in any operation requiring skill and judgment.\"[208] One possible exception was Montgomery. Although the latter's rivalry with Patton was well known, Montgomery appears to have admired Patton's ability to command troops in the field, if not his strategic judgment.[209] Other Allied commanders were more impressed, the Free French in particular. General Henri Giraud was incredulous when he heard of Patton's dismissal by Eisenhower in late 1945, and invited him to Paris to be decorated by President Charles de Gaulle at a state banquet. At the banquet, President de Gaulle gave a speech placing Patton's achievements alongside those of Napoleon.[210] Soviet leader Joseph Stalin was apparently an admirer, stating that the Red Army could neither have planned nor executed Patton's rapid armored advance across France.[211]\n", "While Allied leaders expressed mixed feelings on Patton's capabilities, the German High Command was noted to have more respect for him than for any other Allied commander after 1943.[126] Adolf Hitler reportedly called him \"that crazy cowboy general.\"[212] Many German field commanders were generous in their praise of Patton's leadership following the war,[Note 4] and many of its highest commanders also held his abilities in high regard.\n", "Erwin Rommel credited Patton with executing \"the most astonishing achievement in mobile warfare.\"[214] Generaloberst Alfred Jodl, chief of staff of the German Army, stated that Patton \"was the American Guderian. He was very bold and preferred large movements. He took big risks and won big successes.\"[212] Generalfeldmarschall Albert Kesselring noted that \"Patton had developed tank warfare into an art, and understood how to handle tanks brilliantly in the field. I feel compelled, therefore, to compare him with Generalfeldmarschall Rommel, who likewise had mastered the art of tank warfare. Both of them had a kind of second sight in regard to this type of warfare.\"[212] Referring to the escape of the Afrika Korps after the Battle of El Alamein, Fritz Bayerlein opined that \"I do not think that General Patton would let us get away so easily.\"[212] In an interview conducted for Stars and Stripes just after his capture, Field Marshal Gerd von Rundstedt stated simply of Patton, \"He is your best.\"[215]\n", "http://en.wikipedia.org/wiki/Jaws\n", "Jaws may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Braveheart\n", "Braveheart is a 1995 epic historical drama film directed by and starring Mel Gibson. Gibson portrays William Wallace, a 13th-century Scottish warrior who led the Scots in the First War of Scottish Independence against King Edward I of England. The story is based on Blind Harry's epic poem The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace and was adapted for the screen by Randall Wallace. It has been described as one of the most historically inaccurate modern films.[2]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film was nominated for ten Academy Awards at the 68th Academy Awards and won five: Best Picture, Best Makeup, Best Cinematography, Best Sound Editing, and Best Director.\n", "\n", "\n", "In 1280, King Edward \"Longshanks\" (Patrick Mcgoohan) invades and conquers Scotland following the death of Alexander III of Scotland who left no heir to the throne. Young William Wallace witnesses the treachery of Longshanks, survives the death of his father and brother, and is taken abroad to Rome by his Uncle Argyle (Brian Cox) where he is educated. Years later, Longshanks grants his noblemen land and privileges in Scotland, including \"Prima Nocte\", or the right of the lord to have sex with female subjects on their wedding nights. When he returns home, (his Uncle Argyle is presumably deceased by this point) Wallace (Mel Gibson) falls in love with his childhood friend, Murron MacClannough (Catherine McCormack), and they marry in secret so she does not have to spend a night in the bed with the English lord. Wallace rescues Murron from being raped by English soldiers; as a consequence, Murron is captured and publicly executed. In retribution, Wallace slaughters the English garrison and sends the occupying garrison at Lanark back to England.\n", "This enrages Longshanks, who orders his son, Prince Edward, to stop Wallace by any means necessary. Wallace rebels against the English, and as his legend spreads, hundreds of Scots from the surrounding clans join him. On September 11, 1297, Wallace leads his army to victory at Stirling and then sacked the city of York, killing Longshanks' nephew and sending his head back. Wallace seeks the assistance of Robert the Bruce (Angus Macfadyen), the son of nobleman Robert the Elder (Ian Bannen) and a contender for the Scottish crown. Robert is dominated by his father, who wishes to secure the throne for his son by submitting to the English. Worried by the threat of the rebellion, Longshanks sends his son's wife, Isabella of France (Sophie Marceau) to try to negotiate with Wallace, hoping that Wallace will kill her in order to draw the French king to declare war. Wallace refuses the bribe sent with Isabella by Longshanks, but after meeting him in person, Isabella becomes enamored with him. Meanwhile, Longshanks prepares an army to invade Scotland.\n", "Warned of the coming invasion by Isabella, Wallace implores the Scottish nobility that immediate action is needed to counter the threat and to take back the country. Leading the English army himself, Longshanks confronts the Scots at Falkirk on July 22, 1298 where noblemen Lochlan and Mornay betray Wallace. The Scots lose the battle, Morrison and Hamish's father die at the battle. As he charges toward the departing Longshanks on horseback, Wallace is intercepted by one of the king's lancers, who turns out to be Robert. Remorseful, he gets Wallace to safety before the English can capture him. Wallace kills Mornay and Lochlan for their betrayal, and wages a guerrilla war against the English for the next seven years, assisted by Isabella, with whom he eventually has an affair. Robert, intending to join Wallace and commit troops to the war, sets up a meeting with him in Edinburgh. However, Robert's father has conspired with other nobles to capture and hand over Wallace to the English. Learning of his treachery, Robert disowns his father. Isabella exacts revenge on the now terminally ill Longshanks by telling him she is pregnant with Wallace's child, intent on ending Longshanks' line and ruling in his son's place.\n", "In London, Wallace is brought before an English magistrate, tried for high treason, and condemned to public torture and beheading. Even whilst being hanged, drawn and quartered, Wallace refuses to beg for mercy and submit to the king. As cries for mercy come from the watching crowd deeply moved by the Scotsman's valor, the magistrate offers him one final chance, asking him only to utter the word \"Mercy\" and be granted a quick death. Wallace instead shouts the word \"Freedom!\" and the judge orders his death. Moments before being decapitated, Wallace sees a vision of Murron in the crowd, smiling at him.\n", "In 1314, Robert, now Scotland's king, leads a Scottish army before a ceremonial line of English troops on the fields of Bannockburn where he is to formally accept English rule. As he begins to ride toward the English, he stops and invokes Wallace's memory, imploring his men to fight with him as they did with Wallace. Robert then leads his army into battle against the stunned English, winning the Scots their freedom.\n", "Gibson's production company, Icon Productions had difficulty raising enough money even if he were to star in the film. Warner Bros. was willing to fund the project on the condition that Gibson sign for another Lethal Weapon sequel, which he refused. Paramount Pictures only agreed to American and Canadian distribution of Braveheart after 20th Century Fox partnered for international rights.[3] The production budget has been estimated by IMDb at US$ 72 million.\n", "While the crew spent six weeks shooting on location in Scotland, the major battle scenes were shot in Ireland using members of the Irish Army Reserve as extras. To lower costs, Gibson had the same extras portray both armies.[citation needed] The opposing armies are made up of reservists, up to 1,600 in some scenes, who had been given permission to grow beards and swapped their military uniforms for medieval garb.[4]\n", "According to Gibson, he was inspired by the big screen epics he had loved as a child, such as Stanley Kubrick's Spartacus and William Wyler's The Big Country.\n", "The film was shot in the anamorphic format with Panavision C- and E-Series lenses.[5]\n", "Gibson toned down the film's battle scenes to avoid an NC-17 rating from the MPAA, with the final version being rated R for \"brutal medieval warfare.\"[6]\n", "In addition to English being the film's primary language, French, Latin, and Scottish Gaelic are also spoken.\n", "The score was composed and conducted by James Horner and performed by the London Symphony Orchestra. It is Horner's second of three collaborations with Mel Gibson as director. The score has gone on to be one of the most commercially successful soundtracks of all time. It received considerable acclaim from film critics and audiences and was nominated for a number of awards, including the Academy Award, Saturn Award, BAFTA Award, and Golden Globe Award.\n", "On its opening weekend, Braveheart grossed $9,938,276 in the United States and $75.6 million in its box office run in the U.S. and Canada.[1] Worldwide, the film grossed $210,409,945 and was the thirteenth highest-grossing film of 1995.[1]\n", "Braveheart met with generally positive reviews. Review aggregator Rotten Tomatoes gave the film a score of 78% with an average score of 7.2/10. The film's depiction of the Battle of Stirling Bridge was listed by CNN as one of the best battles in cinema history.[7] In his review, Roger Ebert gave the film 3.5 stars out of four, writing: \"An action epic with the spirit of the Hollywood swordplay classics and the grungy ferocity of 'The Road Warrior'.\"\n", "In a 2005 poll by British film magazine Empire, Braveheart was No. 1 on their list of \"The Top 10 Worst Pictures to Win Best Picture Oscar\".[8] Scottish actor and comedian Billy Connolly claimed Braveheart was \"a great piece of work\".[9]\n", "In 1996, the year after the film was released, the annual three-day \"Braveheart Conference\" at Stirling Castle attracted fans of Braveheart, increasing the conference's attendance to 167,000 from 66,000 in the previous year.[10] In the following year, research on visitors to the Stirling area indicated that 55% of the visitors had seen Braveheart. Of visitors from outside Scotland, 15% of those who saw Braveheart said it influenced their decision to visit the country. Of all visitors who saw Braveheart, 39% said the film influenced in part their decision to visit Stirling, and 19% said the film was one of the main reasons for their visit.[11] In the same year, a tourism report said that the \"Braveheart effect\" earned Scotland \u20a47 million to \u20a415 million in tourist revenue, and the report led to various national organizations encouraging international film productions to take place in Scotland.[12]\n", "The film generated huge interest in Scotland and in Scottish history, not only around the world, but also in Scotland itself. Fans came from all over the world to see the places in Scotland where William Wallace fought, also to the places in Scotland and Ireland used as locations in the film. At a Braveheart Convention in 1997, held in Stirling the day after the Scottish Devolution vote and attended by 200 delegates from around the world, Braveheart author Randall Wallace, Seoras Wallace of the Wallace Clan, Scottish historian David Ross and Bl\u00e1ith\u00edn FitzGerald from Ireland gave lectures on various aspects of the film. Several of the actors also attended including James Robinson (Young William), Andrew Weir (Young Hamish), Julie Austin (the young bride) and Mhairi Calvey (Young Murron).\n", "Braveheart was nominated for many awards during the 1995 Oscar season, though it wasn't viewed by many as a major contender such as Apollo 13, Il Postino: The Postman, Leaving Las Vegas, Sense and Sensibility, and The Usual Suspects. It wasn't until after the film won the Golden Globe Award for Best Director at the 53rd Golden Globe Awards that it was viewed as a serious Oscar contender. When the nominations were announced for the 68th Academy Awards, Braveheart received ten Academy Award nominations, and a month later, won five.[13]\n", "Lin Anderson, author of Braveheart: From Hollywood To Holyrood, credits the film with playing a significant role in affecting the Scottish political landscape in the mid to late 1990s.[21]\n", "In 1997, a 12-ton sandstone statue depicting Mel Gibson as William Wallace in Braveheart was placed in the car park of the Wallace Monument near Stirling, Scotland. The statue, which was the work of Tom Church, a monumental mason from Brechin,[22] included the word \"Braveheart\" on Wallace's shield. The installation became the cause of much controversy; one local resident stated that it was wrong to \"desecrate the main memorial to Wallace with a lump of crap.\"[23] In 1998 the face on the statue was vandalised by someone wielding a hammer. After repairs were made, the statue was encased in a cage every night to prevent further vandalism. This only incited more calls for the statue to be removed as it then appeared that the Gibson/Wallace figure was imprisoned. The statue was described as \"among the most loathed pieces of public art in Scotland.\"[24] In 2008, the statue was returned to its sculptor to make room for a new visitor centre being built at the foot of the Wallace Monument.[25]\n", "Randall Wallace, the writer of the screenplay, has acknowledged Blind Harry's 15th century epic poem The Acts and Deeds of Sir William Wallace, Knight of Elderslie as a major inspiration for the film.[26] In defending his script, Randall Wallace has said, \"Is Blind Harry true? I don't know. I know that it spoke to my heart and that's what matters to me, that it spoke to my heart.\"[26] Blind Harry's poem is not now regarded as historically accurate, and although some incidents in the film which are not historically accurate are taken from Blind Harry (e.g. the hanging of Scots nobles at the start) there are large parts which are based neither on history nor Blind Harry (e.g. Wallace's affair with Princess Isabelle). In addition, the film portrays the battle of Bannockburn as an unplanned, spontaneous final stand when in fact it was a planned and organised battle which was won by Robert the Bruce.\n", "Elizabeth Ewan describes Braveheart as a film which \"almost totally sacrifices historical accuracy for epic adventure\".[27] The \"brave heart\" refers in Scottish history to that of Robert the Bruce, and an attribution by William Edmondstoune Aytoun, in his poem Heart of Bruce, to Sir James the Good Douglas: \"Pass thee first, thou dauntless heart, As thou wert wont of yore!\", prior to Douglas's demise at the Battle of Teba in Andalusia.[28]\n", "Sharon Krossa notes that the film contains numerous historical errors, beginning with the wearing of belted plaid by Wallace and his men. In that period \"no Scots ... wore belted plaids (let alone kilts of any kind).\"[29] Moreover, when Highlanders finally did begin wearing the belted plaid, it was not \"in the rather bizarre style depicted in the film.\"[29] She compares the inaccuracy to \"a film about Colonial America showing the colonial men wearing 20th century business suits, but with the jackets worn back-to-front instead of the right way around.\"[29] \"The events aren't accurate, the dates aren't accurate, the characters aren't accurate, the names aren't accurate, the clothes aren't accurate\u2014in short, just about nothing is accurate.\"[30] The belted plaid (feileadh m\u00f3r l\u00e9ine) was not introduced until the 16th century.[31] Peter Traquair has referred to Wallace's \"farcical representation as a wild and hairy highlander painted with woad (1,000 years too late) running amok in a tartan kilt (500 years too early).\" [32]\n", "In 2009, the film was second on a list of \"most historically inaccurate movies\" in The Times.[2] In the 2007 humorous non-fictional historiography An Utterly Impartial History of Britain, author John O'Farrell notes that Braveheart could not have been more historically inaccurate, even if a \"Plasticine dog\" had been inserted in the film and the title changed to William Wallace and Gromit.[33]\n", "Randall Wallace has defended his script from historians who have dismissed the film as a Hollywood perversion of actual events.[citation needed] In the DVD audio commentary of Braveheart, Mel Gibson acknowledges many of the historical inaccuracies[citation needed] but defends his choices as director, noting that the way events were portrayed in the film was much more \"cinematically compelling\" than the historical fact or conventional mythos.\n", "Edward Longshanks, King of England, is shown invoking the right of Ius Primae Noctis, allowing the Lord of a medieval estate to take the virginity of his serfs' maiden daughters on their wedding nights. Critical medieval scholarship regards this supposed right as a myth, \"the simple reason why we are dealing with a myth here rests in the surprising fact that practically all writers who make any such claims have never been able or willing to cite any trustworthy source, if they have any.\"[34][35]\n", "The film suggests Scotland had been under English occupation for some time, at least during Wallace\u2019s childhood, and in the run-up to the Battle of Falkirk Wallace says to the younger Bruce \u201cwe can have what we never had before; a country of our own\u201d. In fact Scotland had been invaded by England only the year before Wallace's rebellion; prior to the death of King Alexander III it had been a fully separate kingdom.[32]\n", "As John Shelton Lawrence and Robert Jewett write, \"Because [William] Wallace is one of Scotland's most important national heroes and because he lived in the very distant past, much that is believed about him is probably the stuff of legend. But there is a factual strand that historians agree to\", summarized from Scots scholar Matt Ewart:\n", "Wallace was born into the gentry of Scotland; his father lived until he was 18, his mother until his 24th year; he killed the sheriff of Lanark when he was 27, apparently after the murder of his wife; he led a group of commoners against the English in a very successful battle at Stirling in 1297, temporarily receiving appointment as guardian; Wallace's reputation as a military leader was ruined in the same year of 1297, leading to his resignation as guardian; he spent several years of exile in France before being captured by the English at Glasgow, this resulting in his trial for treason and his cruel execution.[36]\n", "A.E. Christa Canitz writes about the historical William Wallace further: \"[He] was a younger son of the Scottish gentry, usually accompanied by his own chaplain, well-educated, and eventually, having been appointed Guardian of the Kingdom of Scotland, engaged in diplomatic correspondence with the Hanseatic cities of L\u00fcbeck and Hamburg\". She finds that in Braveheart, \"any hint of his descent from the lowland gentry (i.e., the lesser nobility) is erased, and he is presented as an economically and politically marginalized Highlander and 'a farmer'\u2014as one with the common peasant, and with a strong spiritual connection to the land which he is destined to liberate.\"[37]\n", "Colin McArthur writes that Braveheart \"constructs Wallace as a kind of modern, nationalist guerrilla leader in a period half a millennium before the appearance of nationalism on the historical stage as a concept under which disparate classes and interests might be mobilised within a nation state.\" Writing about Braveheart\u200a'\u200bs \"omissions of verified historical facts\", McArthur notes that Wallace made \"overtures to Edward I seeking less severe treatment after his defeat at Falkirk\", as well as \"the well-documented fact of Wallace's having resorted to conscription and his willingness to hang those who refused to serve.\"[38] Canitz posits that depicting \"such lack of class solidarity\" as the conscriptions and related hangings \"would contaminate the movie's image of Wallace as the morally irreproachable primus inter pares among his peasant fighters.\"[37]\n", "Isabella of France is shown having an affair with Wallace prior to the Battle of Falkirk. She later tells Edward I that she is pregnant, implying that her son, Edward III, was a product of the affair. In reality, Isabella was three years old and living in France at the time of the Battle of Falkirk, was not married to Edward II until he was already king, and Edward III was born seven years after Wallace died.[39][40] (This aspect of the plot may however have been inspired by the play The Wallace: a triumph in five acts by Sydney Goodsir Smith, which unhistorically has Isabella present at the Battle of Falkirk longing for a \"real man\".)\n", "At that time it would also have been unusual to send a woman on a diplomatic mission into a war zone, and she would have been risking imprisonment or execution by admitting that she was carrying a child which was not her husband's. (See the Tour de Nesle Affair and the fate of two of Henry VIII's wives.)\n", "Robert the Bruce did change sides between the Scots loyalists and the English more than once in the earlier stages of the Wars of Scottish Independence, but he never betrayed Wallace directly, and he probably did not fight on the English side at the Battle of Falkirk (although this claim is made by one important mediaeval source, John of Fordun's chronicle). Later, the Battle of Bannockburn was not a spontaneous battle; he had already been fighting a guerrilla campaign against the English for eight years.[32] His title before becoming king was Earl of Carrick, not Earl of Bruce.\n", "The actual Edward I was ruthless and temperamental, but the film exaggerates his character for effect. Edward enjoyed poetry and harp music, was a devoted and loving husband to his wife Eleanor of Castile, and as a religious man he gave generously to charity. The film's scene where he scoffs cynically at Isabella for distributing gold to the poor after Wallace refuses it as a bribe would have been unlikely. Edward died on campaign and not in bed at his home.[32]\n", "The depiction of the future Edward II as an effeminate homosexual drew accusations of homophobia against Gibson.\n", "We cut a scene out, unfortunately. . . where you really got to know that character [Edward II] and to understand his plight and his pain. . . . But it just stopped the film in the first act so much that you thought, 'When's this story going to start?'[41][better\u00a0source\u00a0needed]\n", "The actual Edward II, who fathered five children by two different women, was rumoured to have had sexual affairs with men, including Piers Gaveston who lived on into the reign of Edward II. The Prince's male lover Phillip was loosely based on Piers Gaveston.\n", "Gibson defended his depiction of Prince Edward as weak and ineffectual, saying,\n", "I'm just trying to respond to history. You can cite other examples \u2013 Alexander the Great, for example, who conquered the entire world, was also a homosexual. But this story isn't about Alexander the Great. It's about Edward II.[42]\n", "In response to Longshank's defenestration of the Prince's male lover Phillip, Gibson replied that \"The fact that King Edward throws this character out a window has nothing to do with him being gay ... He's terrible to his son, to everybody.\"[43] Gibson asserted that the reason that Longshanks kills his son's lover is because the king is a \"psychopath\".[44] Gibson expressed bewilderment that some filmgoers would laugh at this murder.\n", "The reference to \"MacGregors from the next glen\" joining Wallace shortly after the action at Lanark is dubious, since it is questionable whether Clan Gregor existed at that stage, and when they did emerge their traditional home was Glen Orchy, some distance from Lanark.[45]\n", "Wallace did win an important victory at the Battle of Stirling Bridge, but the version in Braveheart is highly inaccurate, as it was filmed without a bridge (and without Andrew Moray, joint commander of the Scots army, who was fatally injured in the battle). Later, Wallace did carry out a large-scale raid into the north of England, but he did not get as far south as York, nor did he kill Longshanks' nephew.[32] (However this was not as wide off the mark as Blind Harry, who has Wallace making it to the outskirts of London, and only refraining from attacking the city after an appeal by the Mayor's wife.)\n", "The \"Irish conscripts\" at the Battle of Falkirk are also unhistorical, there were no Irish troops at Falkirk (although many of the English army were actually Welsh) and it is anachronistic to refer to conscripts in the Middle Ages (although there were feudal levies).[32]\n", "Sections of the English media accused the film of harbouring Anglophobia. The Economist called it \"xenophobic\"[46] and John Sutherland writing in The Guardian stated that: \"Braveheart gave full rein to a toxic Anglophobia\".[47][48][49] According to The Times, MacArthur said \"the political effects are truly pernicious. It\u2019s a xenophobic film.\"[48] The Independent has noted, \"The Braveheart phenomenon, a Hollywood-inspired rise in Scottish nationalism, has been linked to a rise in anti-English prejudice\".[50] Contemporary Scottish writer and commentator Douglas Murray has described the film as \"strangely racist and anti-English\".[51]\n", "http://en.wikipedia.org/wiki/The_Good,_the_Bad_and_the_Ugly\n", "The Good, the Bad and the Ugly (Italian title: Il buono, il brutto, il cattivo, lit. \"The Good, the Ugly, the Bad\") is a 1966 Italian epic Spaghetti Western film directed by Sergio Leone, starring Clint Eastwood, Lee Van Cleef, and Eli Wallach in the title roles respectively.[4] The screenplay was written by Age & Scarpelli, Luciano Vincenzoni and Leone (with additional screenplay material provided by an uncredited Sergio Donati),[1] based on a story by Vincenzoni and Leone. Director of photography Tonino Delli Colli was responsible for the film's sweeping widescreen cinematography and Ennio Morricone composed the film's score, including its main theme. It was a co-production between companies in Italy, Spain, West Germany and the United States." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film is known for Leone's use of long shots and close-up cinematography, as well as his distinctive utilization of violence, tension, and stylistic gunfights. The plot revolves around three gunslingers competing to find fortune in a buried cache of Confederate gold amidst the violent chaos of the American Civil War, while participating in many battles and duels along the way.[5] The film was the third collaboration between Leone and Clint Eastwood, and the second with Lee Van Cleef.\n", "The Good, the Bad and the Ugly was marketed as the third and final installment in the Dollars Trilogy, following A Fistful of Dollars and For a Few Dollars More. Upon release, the film became a financial success, grossing over $25 million at the box office. Due to general disapproval of the Spaghetti Western genre at the time, critical reception of the film following its release was mixed, but it gained critical acclaim in later years. The Good, the Bad and the Ugly is now seen as a highly influential example of the Western film genre.\n", "\n", "\n", "In a desolate Western ghost town during the American Civil War, Mexican bandit Tuco Ramirez (\"The Ugly\") narrowly escapes three bounty hunters, killing two and wounding a third, Elam.\n", "Miles away, Angel Eyes (\"The Bad\") interrogates former Confederate soldier Stevens about Jackson, a fugitive now calling himself \"Bill Carson\", who has information about a cache of Confederate gold. Stevens, realizing that Angel Eyes was sent to kill him by Baker, another Confederate soldier, offers Angel Eyes $1,000 to kill Baker. The interrogation concludes with Angel Eyes killing Stevens and his eldest son. He soon collects his fee from Baker, then sadistically kills him as well, thus earning the money Stevens gave him.\n", "Tuco is rescued from three more bounty hunters by \"Blondie\" (\"The Good\"). However, Blondie delivers him to the local sheriff for the $2,000 reward. As Tuco is about to be hanged, Blondie surprises the authorities and frees Tuco by shooting the rope by which he is hanging and holding everyone at bay while Tuco rides off. The two escape and split the reward money, beginning a partnership and lucrative money-making scheme. Eventually Blondie, weary of Tuco's complaints about how they split the reward money, abandons him penniless in the desert. Tuco survives and tracks Blondie to a hotel in a town being abandoned by Confederate troops. Tuco tries to force Blondie to hang himself, but when Union shells destroy the hotel, Blondie escapes.\n", "Eventually, Tuco captures Blondie and directs him on a sadistic forced march across the harsh, blistering desert. As Blondie collapses from dehydration, Tuco prepares to shoot him, only to be interrupted by the sight of a runaway carriage. Tuco halts the carriage and finds a wounded and delirious Bill Carson, who promises him $200,000 in stolen Confederate gold, buried in a grave in Sad Hill Cemetery, in exchange for water. When Tuco returns, he finds Carson dead and Blondie slumped next to him. Before passing out, Blondie reveals that he knows the name on the grave where the gold is buried.\n", "Aware that they each need the other to recover the loot, the men disguise themselves as Confederate soldiers and retire to an old Spanish frontier mission whose head priest is Tuco's estranged brother. After Blondie recovers from his ordeal, the two leave in their Confederate uniforms but are captured by a force of Union soldiers and remanded to the POW camp of Batterville. At roll call, Tuco answers for \"Bill Carson\", drawing the attention of Angel Eyes, who has disguised himself as a Union Sergeant at the camp. Angel Eyes has Tuco tortured by his henchman, Corporal Wallace, to reveal the location of the gold. Tuco reveals the name of the cemetery, but insists that only Blondie knows the name on the grave. Aware that Blondie will not yield as easily as Tuco, Angel Eyes offers him an equal share of the gold in exchange for his information. Blondie agrees and rides out with Angel Eyes and his gang. Tuco, now a prisoner aboard a Union train in Wallace's custody, manages to kill Wallace and escape.\n", "Blondie, Angel Eyes, and his henchmen arrive in an evacuated town. Tuco, having fled to the same town, takes a bath in a ramshackle hotel and is surprised by Elam. Tuco dispatches the bounty hunter easily but his shots attract Blondie's attention. After Blondie informs Tuco of Angel Eyes's plans, the two renew their old partnership. They kill Angel Eyes's men but discover that Angel Eyes has escaped.\n", "Tuco and Blondie make for the cemetery, which is held by Confederate troops on one side of a strategic bridge against the advancing Union troops. Blondie suggests destroying the bridge to disperse the two armies to allow them access to the cemetery. As they rig the bridge with explosives, Tuco suggests that they reveal to each other their half of the secret of where the gold is buried. Tuco reveals the name of the cemetery as Sad Hill, while Blondie reveals the name on the grave as \"Arch Stanton.\" After the explosion and resulting confusion, Tuco steals a horse and rides ahead to claim the gold for himself. After a long search in an enormous cemetery, he locates Arch Stanton's grave and begins digging. Blondie arrives and encourages him at gunpoint to continue. A moment later, Angel Eyes surprises them both, also at gunpoint. Blondie kicks open Stanton's grave, revealing just a skeleton. Declaring that only he knows the real name of the grave, Blondie pretends to write it on a rock that he places in the cemetery's circular centre, challenging his adversaries to a three-way duel.\n", "The trio stare each other down, calculating strategy and mentally preparing to draw. Angel Eyes draws first, but Blondie fires first, killing him. Tuco discovers that his own gun was unloaded by Blondie the night before. Blondie directs him to a grave beside Arch Stanton's marked \"Unknown.\" Tuco finds bags of gold inside and is at first overjoyed, but then looks up to find a hangman's noose prepared for him. Blondie forces Tuco atop an unsteady grave marker, tightens the noose around his neck, then carries off his half of the gold and rides away. As Tuco screams his name after him, Blondie's silhouette returns on the horizon, aiming a rifle. With a single gunshot, Blondie severs the rope, dropping Tuco face-first onto his share of the gold. Blondie smiles and rides off as Tuco curses him in rage.\n", "After the success of For a Few Dollars More, executives at United Artists approached the film's screenwriter, Luciano Vincenzoni, to sign a contract for the rights to the film and for the next one. He, producer Alberto Grimaldi and Sergio Leone had no plans, but with their blessing, Vincenzoni pitched an idea about \"a film about three rogues who are looking for some treasure at the time of the American Civil War.\"[8] The studio agreed but wanted to know the cost for this next film. At the same time, Grimaldi was trying to broker his own deal but Vincenzoni's idea was more lucrative. The two men struck an agreement with UA for a million dollar budget with the studio advancing $500,000 up front and 50% of the box office takings outside of Italy. The total budget would eventually be $1.2 million.[1]\n", "Leone built upon the screenwriter's original concept to \"show the absurdity of war...the Civil War which the characters encounter. In my frame of reference, it is useless, stupid: it does not involve a 'good cause.'\"[8] An avid history buff, Leone said, \"I had read somewhere that 120,000 people died in Southern camps such as Andersonville. I was not ignorant of the fact that there were camps in the North. You always get to hear about the shameful behavior of the losers, never the winners.\"[8] The Batterville Camp where Blondie and Tuco are imprisoned was based on steel engravings of Andersonville. Many shots in the film were influenced by archival photographs taken by Mathew Brady. As the film took place during the Civil War, it served as a prequel for the other two films in the trilogy, which took place after the war.[10]\n", "While Leone developed Vincenzoni's idea into a script, the screenwriter recommended the comedy-writing team of Agenore Incrucci and Furio Scarpelli to work on it with Leone and Sergio Donati. According to Leone, \"I couldn't use a single thing they'd written. It was the grossest deception of my life.\"[8] Donati agreed, saying, \"There was next to nothing of them in the final script. They only wrote the first part. Just one line.\"[8] Vincenzoni claims that he wrote the screenplay in 11 days, but he soon left the project after his relationship with Leone soured. The three main characters all contain autobiographical elements of Leone. In an interview he said, \"[Sentenza] has no spirit, he's a professional in the most banal sense of the term. Like a robot. This isn't the case with the other two. On the methodical and careful side of my character, I'd be nearer il Biondo (Blondie): but my most profound sympathy always goes towards the Tuco side...He can be touching with all that tenderness and all that wounded humanity.\"[8]\n", "Eastwood received a percentage-based salary, unlike the first two films where he received a straight fee salary. When Lee Van Cleef was again cast for another Dollars film, he joked \"the only reason they brought me back was because they forgot to kill me off in For A Few Dollars More.\"[10]\n", "The film's working title was I due magnifici straccioni (The Two Magnificent Tramps). It was changed just before shooting began when Vincenzoni thought up Il buono, il brutto, il cattivo (The Good, the Ugly, the Bad), which Leone loved. In the United States, United Artists considered using the original Italian translation, River of Dollars, or The Man With No Name, but decided on The Good, the Bad and the Ugly.[9]\n", "Filming began at the Cinecitt\u00e0 studio in Rome again in mid-May 1966, including the opening scene between Clint and Wallach when The Man With No Name captures Tuco for the first time and sends him to jail.[11] The production then moved on to Spain's plateau region near Burgos in the north, which doubled for the southwestern United States, and again shot the western scenes in Almer\u00eda in the south.[12] This time the production required more elaborate sets, including a town under cannon fire, an extensive prison camp and an American Civil War battlefield; and for the climax, several hundred Spanish soldiers were employed to build a cemetery with several thousand grave stones to resemble an ancient Roman circus.[12] For the scene where the bridge was blown up, it had to be filmed twice as in the first take all three cameras were destroyed by the explosion.[13] Eastwood remembers, \"They would care if you were doing a story about Spaniards and about Spain. Then they'd scrutinize you very tough, but the fact that you're doing a western that's supposed to be laid in southwest America or Mexico, they couldn't care less what your story or subject is.\"[8] Top Italian cinematographer Tonino Delli Colli was brought in to shoot the film and was prompted by Leone to pay more attention to light than in the previous two films; Ennio Morricone composed the score once again. Leone was instrumental in asking Morricone to compose a track for the final Mexican stand-off scene in the cemetery, asking him to compose what felt like \"the corpses were laughing from inside their tombs\", and asked Delli Colli to creating a hypnotic whirling effect interspersed with dramatic extreme close ups, to give the audience the impression of a visual ballet.[12] Filming concluded in July 1966.[6]\n", "Eastwood was not initially pleased with the script and was concerned he might be upstaged by Wallach, and said to Leone, \"In the first film I was alone. In the second, we were two. Here we are three. If it goes on this way, in the next one I will be starring with the American cavalry\".[14] As Eastwood played hard-to-get in accepting the role (inflating his earnings up to $250,000, another Ferrari[15] and 10% of the profits in the United States when eventually released there), Eastwood was again encountering publicist disputes between Ruth Marsh, who urged him to accept the third film of the trilogy, and the William Morris Agency and Irving Leonard, who were unhappy with Marsh's influence on the actor.[14] Eastwood banished Marsh from having any further influence in his career and he was forced to sack her as his business manager via a letter sent by Frank Wells.[14] For some time after, Eastwood's publicity was handled by Jerry Pam of Gutman and Pam.[11]\n", "Wallach and Eastwood flew to Madrid together and between shooting scenes, Eastwood would relax and practice his golf swing.[16] Wallach was almost poisoned during filming when he accidentally drank from a bottle of acid that a film technician had set next to his soda bottle. Wallach mentioned this in his autobiography[17] and complained that while Leone was a brilliant director, he was very lax about ensuring the safety of his actors during dangerous scenes.[8] For instance, in one scene, where he was to be hanged after a pistol was fired, the horse underneath him was supposed to bolt. While the rope around Wallach's neck was severed, the horse was frightened a little too well. It galloped for about a mile with Wallach still mounted and his hands bound behind his back.[8] The third time Wallach's life was threatened was during the scene where he and Mario Brega\u2014who are chained together\u2014jump out of a moving train. The jumping part went as planned, but Wallach's life was endangered when his character attempts to sever the chain binding him to the (now dead) henchman. Tuco places the body on the railroad tracks, waiting for the train to roll over the chain and sever it. Wallach, and presumably the entire film crew, were not aware of the heavy iron steps that jutted one foot out of every box car. If Wallach had stood up from his prone position at the wrong time, one of the jutting steps could have decapitated him.[8]\n", "The bridge in the film was reconstructed twice by sappers of the Spanish army after being rigged for on-camera explosive demolition. The first time, an Italian camera operator signaled that he was ready to shoot, which was misconstrued by an army captain as the similar sounding Spanish word meaning \"start\". Luckily, nobody was injured in the erroneous mistiming. The army rebuilt the bridge while other shots were filmed. As the bridge was not a prop but a rather heavy and sturdy structure, powerful explosives were required to destroy it.[8] Leone said that this scene was, in part, inspired by Buster Keaton's silent film, The General.[1]\n", "As an international cast was employed, actors performed in their native languages. Eastwood, Van Cleef and Wallach spoke English, and were dubbed into Italian for the debut release in Rome. For the American version, the lead acting voices were used, but supporting cast members were dubbed into English.[18] The result is noticeable in the bad synchronization of voices to lip movements on screen; none of the dialogue is completely in sync because Leone rarely shot his scenes with synchronized sound.[19] Various reasons have been cited for this: Leone often liked to play Morricone's music over a scene and possibly shout things at the actors to get them in the mood. Leone cared more for visuals than dialogue (his English was limited, at best). Given the technical limitations of the time, it would have been difficult to record the sound cleanly in most of the extremely wide shots Leone frequently used. Also, it was standard practice in Italian films at this time to shoot silently and post-dub. Whatever the actual reason, all dialogue in the film was recorded in post-production.[20] Leone was unable to find an actual cemetery for the Sad Hill shootout scene, so the Spanish pyrotechnics chief hired 250 Spanish soldiers to build one in Carazo near Salas de los Infantes, which they completed in two days (at 41\u00b059\u203225\u2033N 3\u00b024\u203229\u2033W\ufeff / \ufeff41.99028\u00b0N 3.40806\u00b0W\ufeff / 41.99028; -3.40806).[21]\n", "By the end of filming, Eastwood had finally had enough of Leone's perfectionist directorial traits. Leone, often forcefully, insisted on shooting scenes from many different angles, paying attention to the most minute of details, which would often exhaust the actors.[16] Leone, a glutton, was also a source of amusement for his excesses, and Eastwood found a way to deal with the stresses of being directed by him by making jokes about him and nicknamed him \"Yosemite Sam\" for his bad temperament.[16] Eastwood was never directed by Leone again, later turning down the role as Harmonica in Once Upon a Time in the West (1968), which Leone had personally flown to Los Angeles to give him the script for. The role eventually went to Charles Bronson.[22] Years later, Leone exacted his revenge upon Eastwood during the filming of Once Upon a Time in America (1984) when he described Eastwood's abilities as an actor as being like a block of marble or wax and inferior to the acting abilities of Robert De Niro, saying, \"Eastwood moves like a sleepwalker between explosions and hails of bullets, and he is always the same\u2014a block of marble. Bobby first of all is an actor, Clint first of all is a star. Bobby suffers, Clint yawns.\"[23] Eastwood later gave his friend the poncho he wore in the three films, where it was hung in a Mexican restaurant in Carmel, California.[24]\n", "Director Sergio Leone noted that the film's main theme is its emphasizing of violence and the deconstruction of Old West romanticism. Like many of his films, The Good, the Bad, and the Ugly was considered by Leone as a satire of the Western genre.[25] Critic Drew Marton described it as a \"baroque manipulation\" that criticizes the American ideology of the Western,[26] by replacing the heroic cowboy popularized by John Wayne with morally complex antiheroes. Negative themes such as capitalism and greed were also given focus, and were traits shared by the three leads in the story. Many critics have also noticed the film's anti-war theme.[27][28] Taking place in the American Civil War, the film takes the viewpoint of people such as civilians, bandits, and most notable the soldiers, and presented their daily hardships during the war. Although not fighting in the war, the three gunslingers gradually became entangled in the battles that ensued (similar to The Great War, a film that screenwriters Luciano Vincenzoni and Age & Scarpelli had contributed to).[1]\n", "In its depiction of violence, Leone used his signature long drawn and close-up style of filming, which he did by mixing extreme face shots and sweeping long shots. By doing so, Leone managed to stage epic sequences punctuated by extreme eyes and face shots, or hands slowly reaching on a holstered gun.[27] This builds up the tension and suspense by allowing the viewers to savor the performances and character reactions, create a feel of excitement, as well as giving Leone the freedom to film beautiful landscapes.[27] Leone also incorporated music to heighten up the tension and pressure before and during the film's many gunfights.[1]\n", "In filming the pivotal gunfights, Leone largely removes dialogue to focus more on the actions of the characters, which was important during the film's iconic Mexican standoff. This style can also be seen in one of the film's protagonist Blondie (aka The Man with No Name), which is described by critics as more defined by his actions than his words.[26] Aside from Blondie, the two other characters were largely anti-heroes killing for their personal gain. Leone also employed stylistic trick shooting, such as Blondie shooting the hat off a person's head and severing a hangman's noose with a well-placed shot, in many of its iconic shootouts.[29]\n", "The Good, the Bad and the Ugly opened in Italy on December 15, 1966, and grossed $6.3 million at that time.[30]\n", "In the United States, A Fistful of Dollars was released January 18, 1967 (28 months after its initial Italian release);[31] For a Few Dollars More was released May 10, 1967 (17 months);[32] and The Good, the Bad and the Ugly was released December 29, 1967 (12 months).[3] Thus, all three of Leone's Dollars Trilogy films were released in the United States during the same year. The original Italian domestic version was 177 minutes long;[33] but the international version was shown at various lengths. Most prints had a runtime of 161 minutes \u2014 16 minutes shorter than the Italian premiere version - but others ran as short as 148 minutes.[34]\n", "Upon release, The Good, the Bad and the Ugly received criticism for its depiction of violence.[35] Leone explains that \"the killings in my films are exaggerated because I wanted to make a tongue-in-cheek satire on run-of-the-mill westerns... The west was made by violent, uncomplicated men, and it is this strength and simplicity that I try to recapture in my pictures.\"[36] To this day, Leone's effort to reinvigorate the timeworn Western is widely acknowledged.[25]\n", "Critical opinion of the film on initial release was mixed as many reviewers at that time looked down on Spaghetti Westerns. In a negative review in The New York Times, critic Renata Adler said that the film \"must be the most expensive, pious and repellent movie in the history of its peculiar genre.\"[37] Charles Champlin of the Los Angeles Times wrote that the \"temptation is hereby proved irresistible to call The Good, The Bad and the Ugly, now playing citywide, The Bad, The Dull, and the Interminable, only because it is.\"[38] Roger Ebert, who later included the film in his list of Great Movies,[39] retrospectively noted that in his original review he had \"described a four-star movie but only gave it three stars, perhaps because it was a 'Spaghetti Western' and so could not be art\". Ebert also points out Leone's unique perspective that enables the audience to be closer to the character as we see what he sees.[40]\n", "Despite the initial negative reception by some critics, today, the film has since accumulated very positive feedback. WatchMojo.com ranked it #1 in its \"Top 10 Western Movies\",[41] beating other works of the genre such as John Ford's The Searchers, while also describing the film as \"possibly the coolest movie ever made\" and praising the influence of the iconic Mexican standoff in film history, calling it as \"the greatest showdown ever put to film.\" WatchMojo also listed the film as Clint Eastwood's greatest movie that made him a household name.[42]\n", "It is listed in Time's \"100 Greatest movies of the last century\" as selected by critics Richard Corliss and Richard Schickel.[25] Review aggregator Rotten Tomatoes reports that 97% percent of film critics gave the film positive reviews.[43][44][45] The Good, the Bad and the Ugly has been described as European cinema's best representation of the Western genre film,[46] and Quentin Tarantino has called it \"the best-directed film of all time\" and \"the greatest achievement in the history of cinema.\"[47] This was reflected in his votes for the 2002 and 2012 Sight & Sound magazine polls, in which he voted for The Good, the Bad and the Ugly as his choice for the best film ever made.[48]\n", "Empire magazine added The Good, the Bad and the Ugly to their Masterpiece collection in the September 2007 issue, and in their poll of \"The 500 Greatest Movies\", The Good, the Bad and the Ugly was voted in at number 25. In 2014, The Good the Bad and the Ugly was ranked the 47th greatest film ever made on Empire\u200a'\u200bs list of \"The 301 Greatest Movies Of All Time\" as voted by the magazine's readers.[49]\n", "The film was first released on DVD by MGM in 1998. The special features contain 14 minutes of scenes that were cut for the film's North American release, including a scene which explains how Angel Eyes came to be waiting for Blondie and Tuco at the Union prison camp.[34]\n", "In 2002, the film was restored with the 14 minutes of scenes cut for US release re-inserted into the film. Clint Eastwood and Eli Wallach were brought back in to dub their characters' lines more than 35 years after the film's original release. Voice actor Simon Prescott substituted for Lee Van Cleef who had died in 1989. Other voice actors filled in for actors who had since died. In 2004, MGM released this version in a two-disc special edition DVD.[50]\n", "Disc 1 contains an audio commentary with writer and critic Richard Schickel. Disc 2 contains two documentaries, \"Leone's West\" and \"The Man Who Lost The Civil War\", followed by the featurette, \"Restoring 'The Good, the Bad, and the Ugly'\"; an animated gallery of missing sequences entitled, \"The Socorro Sequence: A Reconstruction\"; an extended Tuco torture scene; a featurette called \"Il Maestro\"; an audio featurette named, \"Il Maestro, Part 2\"; a French trailer; and a poster gallery.[50]\n", "This DVD was generally well received, though some purists complained about the re-mixed stereo soundtrack with many completely new sound effects (notably, all the gunshots were replaced), with no option for the original soundtrack. At least one scene that was re-inserted had been cut by Leone prior to the film's release in Italy, but had been shown once at the Italian premiere. According to Richard Schickel,[50] Leone willingly cut the scene for pacing reasons; thus, restoring it was contrary to the director's wishes.[51] MGM re-released the 2004 DVD edition in their \"Sergio Leone Anthology\" box set in 2007. Also included were the two other \"Dollars\" films, and A Fistful of Dynamite. On May 12, 2009 the extended version of this movie was released on Blu-ray.[19] It contains the same special features as the 2004 special edition DVD, except that it includes an added commentary by film historian Sir Christopher Frayling.[1]\n", "The following scenes were originally deleted by distributors from the British and American theatrical versions of the film, but were restored after the release of the 2004 Special Edition DVD.[50]\n", "A scene deleted by Leone after the Rome premiere was also re-inserted:\n", "Additional footage of the sequence where Tuco is tortured by Angel Eyes's henchman was discovered. The original negative of this footage was deemed too badly damaged to be used in the theatrical cut, but the footage appears as an extra in the 2004 DVD supplementary features.[51]\n", "Lost footage of the missing Socorro Sequence where Tuco continues his search for Blondie in a Texican pueblo while Blondie is in a hotel room with a Mexican woman (Silvana Bacci) is reconstructed with photos and unfinished snippets from the French trailer. Also, in the documentary \"Reconstructing The Good, the Bad, and the Ugly\", what looks to be footage of Tuco lighting cannons before the Ecstasy of Gold sequence appears briefly. None of these scenes or sequences appear in the 2004 re-release, however, but are in the supplementary features.\n", "The score is composed by frequent Leone collaborator Ennio Morricone, whose distinctive original compositions, containing gunfire, whistling (by John O'Neill), and yodeling permeate the film. The main theme, resembling the howling of a coyote (which blends in with an actual coyote howl in the first shot after the opening credits), is a two-note melody that is a frequent motif, and is used for the three main characters. A different instrument was used for each: flute for Blondie, ocarina for Angel Eyes and human voices for Tuco.[53][54][55][56] The score complements the film's American Civil War setting, containing the mournful ballad, \"The Story of a Soldier\", which is sung by prisoners as Tuco is being tortured by Angel Eyes.[5] The film's climax, a three-way Mexican standoff, begins with the melody of \"The Ecstasy of Gold\" and is followed by \"The Trio.\" Today, the iconic theme is considered as one of the greatest instrumental film scores of all time.[57]\n", "The main theme also titled \"The Good, the Bad and the Ugly\" was a hit in 1968 with the soundtrack album on the charts for more than a year,[56] reaching No. 4 on the Billboard pop album chart and No. 10 on the black album chart.[58] The main theme was also a hit for Hugo Montenegro, whose rendition was a No. 2 Billboard pop single in 1968.[59] In popular culture, the American new wave group Wall of Voodoo performed a medley of Ennio Morricone's movie themes, including the theme for this movie. The only known recording of it is a live performance on The Index Masters. Punk rock band the Ramones played this song as the opening for their live album Loco Live as well as in concerts until their disbandment in 1996. The British heavy metal band Mot\u00f6rhead played the main theme as the overture music on the 1981 \"No sleep 'til Hammersmith\" tour. American heavy metal band Metallica has run \"The Ecstasy of Gold\" as prelude music at their concerts since 1985 (except 1996\u20131998), and recently recorded a version of the instrumental for a compilation tribute to Morricone.[60] XM Satellite Radio's The Opie & Anthony Show also open every show with \"The Ecstasy of Gold\". The American punk rock band The Vandals song \"Urban Struggle\" begins with the main theme. British electronica act Bomb the Bass used The Good, the Bad and the Ugly theme as one of a number of samples on their 1988 single Beat Dis along with sections of dialogue from Tuco's hanging on Throughout The Entire World the opening track from their 1991 album Unknown Territory. A song from the band Gorillaz is named \"Clint Eastwood\", and features references to the actor, with the iconic yell featured in The Good, the Bad and the Ugly's score heard at the beginning of the video.[61]\n", "The film's title has entered the English language as an idiomatic expression. Typically used when describing something thoroughly, the respective phrases refer to upsides, downsides and the parts that could, or should have been done better, but were not.[62]\n", "The film was novelized in 1967 by Joe Millard as part of the \"Dollars Western\" series based on the \"Man with No Name\". The South Korean western movie The Good, the Bad, the Weird (2008) is inspired by the film, with much of its plot and character elements borrowed from Leone's film.[63] In his introduction to the 2003 revised edition of his novel The Dark Tower: The Gunslinger, Stephen King revealed that the film was a primary influence for the Dark Tower series, and that Eastwood's character specifically inspired the creation of King's protagonist, Roland Deschain.[64]\n", "The Good, the Bad and the Ugly is the last film in the Dollars Trilogy, and thus does not have an official sequel. Following the film's release, Leone went on to direct two more Westerns (Once Upon a Time in the West and Duck, You Sucker!) and was involved in the production of other Spaghetti Westerns, but none of these bore relations with his previous films.\n", "However, screenwriter Luciano Vincenzoni stated on numerous occasions that he had written a treatment for a sequel, tentatively titled Il buono, il brutto, il cattivo n. 2 (The Good, the Bad and the Ugly 2). According to Vincenzoni and Eli Wallach, the film would have been set 20 years after the original, and would have followed Tuco pursuing Blondie's grandson for the gold. Clint Eastwood expressed interest in taking part in the film's production, including acting as narrator. Joe Dante and Leone were also approached to direct and produce the film respectively. Eventually, however, the project was vetoed by Leone, as he did not want the original film's title or characters to be reused, nor did he want to be involved in another Western film.[65]\n", "http://en.wikipedia.org/wiki/Butch_Cassidy_and_the_Sundance_Kid\n", "Butch Cassidy and the Sundance Kid is a 1969 American Western film directed by George Roy Hill and written by William Goldman (who won the Academy Award for Best Original Screenplay for the film). Based loosely on fact, the film tells the story of Wild West outlaws Robert LeRoy Parker, known to history as Butch Cassidy (Paul Newman) and his partner Harry Longabaugh, the \"Sundance Kid\" (Robert Redford) as they migrate to Bolivia while on the run from the law in search of a more successful criminal career. In 2003, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant.\"" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "In late 1890s Wyoming, Butch Cassidy (Paul Newman) is the affable, clever, talkative leader of the outlaw Hole in the Wall Gang. His closest companion is the laconic dead-shot \"Sundance Kid\" (Robert Redford). The two return to their hideout at Hole-in-the-Wall (Wyoming) to discover that the rest of the gang, irked at Butch's long absences, have selected Harvey Logan (Ted Cassidy) as their new leader. Harvey challenges Butch to a knife fight over the gang's leadership. Butch defeats him using trickery, but embraces Harvey's idea to rob the Union Pacific Overland Flyer train on both its eastward and westward runs, agreeing that the second robbery would be unexpected and likely reap even more money than the first.\n", "The first robbery goes well. To celebrate, Butch and Sundance visit a favorite brothel in a nearby town and watch, amused, as the town sheriff (Kenneth Mars) unsuccessfully attempts to organize a posse to track down the gang. They then visit Sundance's lover, schoolteacher Etta Place (Katharine Ross). On the second train robbery, Butch uses too much dynamite to blow open the safe, blowing up the baggage car. As the gang scrambles to gather up the money, a second train arrives carrying a six-man team of lawmen pursuing Butch and Sundance, who unsuccessfully try to hide out in the brothel and to seek amnesty from the friendly Sheriff Bledsoe (Jeff Corey). As the posse remains in pursuit despite all attempts to elude them, Butch and Sundance determine that the group includes renowned Indian tracker \"Lord Baltimore\" and relentless lawman Joe LeFors, recognizable by his white skimmer. Butch and Sundance finally elude their pursuers by jumping from a cliff into a river far below. They learn from Etta that the posse has been paid by Union Pacific head E. H. Harriman to remain on their trail until Butch and Sundance are both killed.\n", "Butch persuades Sundance and Etta that the three should escape to Bolivia, which Butch envisions as a robber's paradise. On their arrival there, Sundance is dismayed by the living conditions and regards the country with contempt, but Butch remains optimistic. They discover that they know too little Spanish to pull off a bank robbery, so Etta attempts to teach them the language. With her as an accomplice, they become successful bank robbers known as Los Bandidos Yanquis. However, their confidence drops when they see a man wearing a white hat and fear that Harriman's posse is still after them.\n", "Butch suggests \"going straight\", and he and Sundance land their first honest job as payroll guards for a mining company. However, they are ambushed by local bandits on their first run and their boss, Percy Garris (Strother Martin), is killed. Butch and Sundance ambush and kill the bandits, the first time Butch has ever shot someone. Concluding that the straight life isn't for them, they return to robbery, but Etta decides to return to the United States.\n", "Butch and Sundance steal a payroll and the mules carrying it, and arrive in a small town. A boy recognizes the mules' brand and alerts the local police, leading to a gunfight with the outlaws. They take cover in a building but are both seriously wounded, after Butch makes a futile attempt to run to the mules in order to bring more ammunition, while Sundance provides cover fire. As dozens of Bolivian soldiers surround the area, Butch suggests the duo's next destination should be Australia. The film ends with a freeze frame shot on the pair charging out of the building, guns blazing, as the Bolivian forces fire repeatedly on them.\n", "The world premiere of the movie was in September 1969, at the Roger Sherman Theater, in New Haven, Connecticut. The premiere was attended by Paul Newman, Joanne Woodward, Robert Redford, George Roy Hill, William Goldman, and John Forman, among others.[4]\n", "William Goldman first came across the story of Butch Cassidy in the late 1950s and researched it on and off for eight years before sitting down to write the screenplay.[5] Goldman later stated:\n", "The whole reason I wrote the... thing, there is that famous line that Scott Fitzgerald wrote, who was one of my heroes, 'There are no second acts in American lives.' When I read about Cassidy and Longbaugh and the superposse coming after them - that's phenomenal material. They ran to South America and lived there for eight years and that was what thrilled me: they had a second act. They were more legendary in South America than they had been in the old West... It's a great story. Those two guys and that pretty girl going down to South America and all that stuff. It just seems to me it's a wonderful piece of material.[6]\n", "Goldman says he wrote the story as an original screenplay because he did not want to do the research to make it authentic as a novel.[7]\n", "According to Goldman, when he first wrote the script and sent it out for consideration, only one studio wanted to buy it\u2014and that was with the proviso that the two lead characters did not flee to South America. When Goldman protested that that was what had happened, the studio head responded, \"I don't give a shit. All I know is John Wayne don't run away.\"[8]\n", "Goldman rewrote the script, \"didn't change it more than a few pages, and subsequently found that every studio wanted it.\"[9]\n", "According to the supplemental material on the Blu-ray disc release, Richard Zanuck at 20th Century Fox purchased the script, originally called The Sundance Kid and Butch Cassidy, for $400,000, double the price the studio's board of directors had authorized.[citation needed]\n", "The role of Sundance was offered to Jack Lemmon, whose production company, JML, had produced the film Cool Hand Luke (1967) starring Newman. Lemmon, however, turned down the role; he did not like riding horses, and he felt he had already played too many aspects of the Sundance Kid's character before.[10]\n", "The response of major American movie reviewers was widely favorable. Rotten Tomatoes, a film review aggregator counted 89% of critical reviews as favorable.[11] Newman's and Redford's chemistry was praised as was the film's charm and humor.\n", "Time magazine said the film's two male stars are \"afflicted with cinematic schizophrenia. One moment they are sinewy, battered remnants of a discarded tradition. The next they are low comedians whose chaffing relationship\u2014and dialogue\u2014could have been lifted from a Batman and Robin episode.\"[12] Time also criticized the film's score as absurd and anachronistic.\n", "Roger Ebert's review of the movie was a mixed 2.5 out of 4 stars. \"The movie starts promisingly... a scene where Butch puts down a rebellion in his gang [is] one of the best things in the movie... And then we meet Sundance's girlfriend, played by Katharine Ross, and the scenes with the three of them have you thinking you've wandered into a really first-rate film.\" But after Harriman hires his posse, Ebert thought the movie's quality declined: \"Hill apparently spent a lot of money to take his company on location for these scenes, and I guess when he got back to Hollywood he couldn't bear to edit them out of the final version. So the Super-posse chases our heroes unceasingly, until we've long since forgotten how well the movie started.\" The dialogue in the final scenes is \"so bad we can't believe a word anyone says. And then the violent, bloody ending is also a mistake; apparently it was a misguided attempt to copy \"Bonnie and Clyde....\" we don't believe it, and we walk out of the theater wondering what happened to that great movie we were seeing until an hour ago.\"[13]\n", "The Writers Guild of America ranked the screenplay #11 on its list of 101 Greatest Screenplays ever written.[14]\n", "The film earned $15 million in rentals in North America during its first year of release.[15]\n", "With US box office of over US$100 million,[16] it was the top grossing film of the year. Adjusted for inflation, Butch Cassidy and the Sundance Kid ranks among the 100 top-grossing movies of all time and the top 10 for its decade, due in part to subsequent re-releases.\n", "The film won four Academy Awards: Best Cinematography; Best Original Score for a Motion Picture (not a Musical); Best Music, Song (Burt Bacharach and Hal David for \"Raindrops Keep Fallin' on My Head\"); and Best Writing, Story and Screenplay Based on Material Not Previously Published or Produced. It was also nominated for Best Director, Best Picture, and Best Sound (William Edmondson and David Dockendorf).[17]\n", "Butch Cassidy and the Sundance Kid also won numerous British Academy Film Awards, including Best Film, Best Direction, Best Screenplay, Best Cinematography, Best Actor (won by Redford though Newman was also nominated), and Best Actress for Katharine Ross, among others.\n", "William Goldman won the Writers Guild of America Award for Best Original Screenplay.\n", "In 2003, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".\n", "Also in 1969, the Spaghetti Western titled Sundance Cassidy and Butch the Kid was released, starring Giuliano Gemma and Nino Benvenuti.\n", "The film inspired the television series Alias Smith and Jones, starring Pete Duel and Ben Murphy as outlaws trying to earn an amnesty.[18] It has also been spoofed in films such as Shanghai Noon.[19]\n", "In 1979, a prequel, Butch and Sundance: The Early Days was released by 20th Century Fox and was directed by Richard Lester. The film received mixed reviews and was a box office failure, but was nominated for an Academy Award for Best Costume Design.\n", "In the 2011 movie Blackthorn, Sam Shepard plays an elderly Butch Cassidy.[20]\n", "A parody titled \"Botch Casually and the Somedunce Kid\" was published in MAD. It was illustrated by Mort Drucker and written by Arnie Kogen in issue No. 136, July 1970.[21]\n", "http://en.wikipedia.org/wiki/The_Treasure_of_the_Sierra_Madre\n", "The Treasure of the Sierra Madre is a 1927 adventure novel by the mysterious German-English bilingual author B. Traven, in which two destitute Americans of the 1920s join with an old-timer, in Mexico, to prospect for gold. John Huston adapted the book as a 1948 film of the same name." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "By the 1920s the violence of the Mexican Revolution had largely subsided, although scattered gangs of bandits continued to terrorize the countryside. The newly established post-revolution government relied on the effective but ruthless Federal Police, commonly known as the Federales, to patrol remote areas and dispose of the bandits.\n", "Foreigners, like the three American prospectors who are the focus of the story, were at very real risk of being killed by the bandits. The bandits, after being captured by army units, were given little more than a \"last cigarette\" and had to dig their own graves first. This is the context of the story.\n", "Three down-and-out Americans meet by chance in the Mexican city of Tampico and discuss how to overcome their financial distress. They then set out to discover gold in the remote Sierra Madre mountains.\n", "Once in the desert, Howard, an experienced old-timer, quickly proves to be the toughest and most knowledgeable; he is the one who discovers the gold they are seeking. A mine is dug, and much gold is extracted, but one of the men (Dobbs) soon becomes greedy and begins to lose both his trust and his mind, lusting to possess the entire treasure. One day, another prospector named Lacaud follows one of the men (Curtin) from a nearby village back to the men's camp. Although the men do not initially trust Lacaud, they decide to allow him to stay and camp with them.\n", "The bandits then reappear, pretending, very crudely, to be Federales. After a gunfight, a troop of real Federales arrives and drives the bandits away. The prospectors soon decide to leave the mine and head to Durango to sell the gold that they have mined. Lacaud decides to stay behind, because he believes there is more gold in the mountain. On the way, Howard is called to assist some local villagers help a sick boy, and Dobbs and Curtin have a final confrontation. Dobbs shoots Curtin, leaving him lying shot and bleeding. Dobbs continues on alone but is soon confronted and killed by the leader of the bandits and two of his remaining henchmen who, apparently, had been wandering the desert without weapons or horses after having somehow escaping the Federales. The bandits, thinking the gold dust is just worthless sand used to make the bundles of skins they were hidden in seem heavier, scatter the paydirt; they are later captured and executed by the Federales. Curtin (who has survived Dobbs' attack) meets up with Howard. When they hear the story they can do nothing but laugh at their misfortunes.\n", "Dobbs is often used as a foil for Howard's philosophical comments on the value of gold and one's responsibilities to one's companions.[citation needed]\n", "The story inspired several films.\n", "\"Gold Hat\" (portrayed by Alfonso Bedoya)'s line to Fred C. Dobbs (Humphrey Bogart) - \"I don't have to show you any stinkin' badges!\" - is a well-known and widely quoted (and often misquoted) line from the book and 1948 film.[1] (See Stinking badges.)\n", "http://en.wikipedia.org/wiki/The_Apartment\n", "The Apartment is a 1960 American comedy-drama film produced and directed by Billy Wilder, which stars Jack Lemmon, Shirley MacLaine, and Fred MacMurray." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "It was Wilder's next movie after Some Like It Hot and, like its predecessor, a commercial and critical smash, grossing $25 million at the box office. The film was nominated for ten Academy Awards, and won five, including Best Picture. The film was the basis of the 1968 Broadway musical Promises, Promises, with book by Neil Simon, music by Burt Bacharach, and lyrics by Hal David.\n", "\n", "\n", "Calvin Clifford (C. C.) \"Bud\" Baxter (Jack Lemmon) is a lonely office drudge at a national insurance corporation in a high-rise building in New York City. In order to climb the corporate ladder, Bud allows four company managers, who reinforce their position over him by regularly calling him \"Buddy Boy\", to take turns borrowing his Upper West Side apartment for their various extramarital liaisons, which are so noisy that his neighbors assume that he is bringing home different women every night.\n", "The four managers (Ray Walston, David Lewis, Willard Waterman, and David White) write glowing reports about Bud, who hopes for a promotion from the personnel director, Jeff D. Sheldrake (Fred MacMurray). Sheldrake calls Bud to his office but says that he has found out why they were so enthusiastic. Then he goes on to promote him in return for exclusive privileges to borrow the apartment. He insists on using it that same night and, as compensation for such short notice, gives Baxter two company-sponsored tickets to the hit Broadway musical The Music Man.\n", "After work, Bud catches Fran Kubelik (Shirley MacLaine), an elevator operator on whom he has had his eye, and asks her to go to the musical with him. They agree to meet at the theater after she has a drink with a former fling. The man whom she meets, by coincidence, is Sheldrake, who convinces her that he is about to divorce his wife for her. They go to Bud's apartment as Bud waits forlornly outside the theater.\n", "Several weeks later, at the company's raucous Christmas party, Sheldrake's secretary Miss Olsen (Edie Adams), drunkenly reveals to Fran that Fran is just the latest in a string of female employees whom Sheldrake has seduced into affairs with the promise of divorcing his wife, with Miss Olsen herself being one of them. At Bud's apartment, Fran confronts Sheldrake, upset with herself for believing his lies. Sheldrake maintains that he genuinely loves her but then leaves to return to his suburban family as usual.\n", "Meanwhile, Bud accidentally finds out about Sheldrake and Fran. Disappointed, he picks up a woman (Hope Holiday) at a local bar. When they arrive at his apartment, he is shocked to find Fran in his bed, fully clothed and unconscious from an intentional overdose of his sleeping pills. He enlists the help of his neighbor, Dr. Dreyfuss (Jack Kruschen), to revive Fran without notifying the authorities and sends his confused bar pickup home. To protect his job, he lets Dreyfuss believe that he and Fran are lovers who had fought, which he took so lightly that he was meeting another woman while she was attempting suicide. Fran spends two days recuperating at his apartment, while Bud tries entertaining and distracting her from any further suicidal thoughts, talking her into playing numerous hands of gin rummy.\n", "Since she has been missing, Fran's brother-in-law Karl Matuschka (Johnny Seven) comes to the office looking for her. She has not been there and neither has Bud. The previous day, one of the executives had seen Fran in the bedroom when he came to the apartment hoping to borrow it and mentioned it to the other executives. Resenting Bud for denying them access to his apartment, the executives direct the man there. Bud again takes responsibility for Fran's actions, and Karl punches him twice in the face.\n", "Sheldrake rewards Bud with a further promotion and fires Miss Olsen for telling Fran his history of womanizing. However, Miss Olsen retaliates by telling his wife, who promptly throws him out. Sheldrake moves into a room at his athletic club but now figures that he can string Fran along while he enjoys his newfound bachelorhood. When Sheldrake asks Bud for access to the apartment on New Year's Eve, Bud refuses and quits the firm. Sheldrake tells Fran about Bud quitting at a New Years party they are attending. Fran finally realizes that Bud is the man who truly loves her. Fran then deserts Sheldrake at the party, and runs to Bud's apartment. Arriving at the door, she hears a loud noise like a gunshot. Afraid that Bud has shot himself, Fran pounds on the door. Bud, holding a bottle of overflowing champagne, finally opens the door, surprised and delighted that Fran is there. Bud has been packing for a move to another job and city. Fran insists on resuming their gin rummy game, telling Bud that she is now free as well. When he declares his love for her, her reply is the now-famous final line of the film: \"Shut up and deal\", delivered with a loving and radiant smile.\n", "Immediately following the success of Some Like It Hot, Billy Wilder and I.A.L. Diamond wished to make another film with Jack Lemmon. Wilder had originally planned to cast Paul Douglas as Jeff Sheldrake; however, after he died unexpectedly, Fred MacMurray was cast.\n", "The initial concept for the film came from Brief Encounter by No\u00ebl Coward, in which Celia Johnson has an affair with Trevor Howard in his friend's apartment. However, due to the Hays Production Code, Wilder was unable to make a film about adultery in the 1940s. Wilder and Diamond also based the film partially on a Hollywood scandal in which high-powered agent Jennings Lang was shot by producer Walter Wanger for having an affair with Wanger's wife, actress Joan Bennett. During the affair, Lang used a low-level employee's apartment.[2] Another element of the plot was based on the experience of one of Diamond's friends, who returned home after breaking up with his girlfriend to find that she had committed suicide in his bed.\n", "Although Wilder generally required his actors to adhere exactly to the script, he allowed Jack Lemmon to improvise in two scenes: in one scene he squirted a bottle of nose drops across the room, and in another he sang while making a meal of spaghetti (which he strains through the grid of a tennis racket). In another scene, where Lemmon was supposed to mime being punched, he failed to move correctly and was accidentally knocked down. Wilder chose to use the shot of the genuine punch in the film. Lemmon also caught a cold when one scene on a park bench was filmed in sub-zero weather.\n", "Art director Alexandre Trauner used forced perspective to create the set of a large insurance company office. The set appeared to be a very long room full of desks and workers; however, successively smaller people and desks were placed to the back of the room ending up with children. He designed the set of Baxter's apartment to appear smaller and shabbier than the spacious apartments that usually appeared in films of the day. He used items from thrift stores and even some of Wilder's own furniture for the set.[3]\n", "The film's title theme, written by Charles Williams and originally titled \"Jealous Lover\", was first heard in the 1949 film The Romantic Age.[4][5][6] A recording by Ferrante & Teicher, released as \"The Theme from The Apartment\", reached #10 on the Billboard Hot 100 chart later in 1960.\n", "At the time of release, the film was a critical and commercial success, making $25 million at the box office and receiving a range of positive reviews. The New York Times film critic Bosley Crowther enjoyed the film, calling it, \"A gleeful, tender, and even sentimental film.\" Chicago Sun-Times film critic Roger Ebert and ReelViews film critic James Berardinelli both praised the film, giving it four stars out of four, with Ebert adding it to his \"Great Movies\" list. The film has a 93% \"Certified Fresh\" rating on Rotten Tomatoes, based on 54 reviews; the site's consensus states that \"Director Billy Wilder's customary cynicism is leavened here by tender humor, romance, and genuine pathos.\"\n", "However, there was also a wave of criticism. Due to its themes of infidelity and adultery, the film was controversial for its time. It initially received negative reviews for its content. Film critic Hollis Alpert of the Saturday Review called it \"a dirty fairy tale\".[7] According to Fred MacMurray, after the film's release he was accosted by women in the street who berated him for making a \"dirty filthy movie\" and once one of them hit him with her purse.[3]\n", "The film earned a profit of over $1 million during its theatrical run.[8]\n", "The Apartment received 10 Academy Award nominations and won 5 Academy Awards.[9][10]\n", "Although Jack Lemmon did not win, Kevin Spacey dedicated his Oscar for American Beauty (1999) to Lemmon's performance. According to the behind-the-scenes feature on the American Beauty DVD, the film's director, Sam Mendes, had watched The Apartment (among other classic American films) as inspiration in preparation for shooting his film.\n", "Within a few years after The Apartment's release, the routine use of black-and-white film in Hollywood had ended. As of 2014, only two black-and-white movies have won the Academy Award for Best Picture after The Apartment did: Schindler's List (1993) and The Artist (2011).\n", "The Apartment also won the BAFTA Award for Best Film from any Source and Lemmon and MacLaine both won a BAFTA and a Golden Globe each for their performances. The film appears at #93 on the influential American Film Institute list of Top 100 Films, as well as at #20 on their list of 100 Laughs and at #62 on their 100 Passions list. In 2007, the film rose on the AFI's Top 100 list to #80. In 1994, The Apartment was deemed \"culturally, historically, or aesthetically significant\" by the United States Library of Congress and selected for preservation in the National Film Registry. In 2002, a poll of film directors conducted by Sight and Sound magazine listed the film as the 14th greatest film of all time (tied with La Dolce Vita).[11] In 2006, Premiere voted this film as one of \"The 50 Greatest Comedies Of All Time\".\n", "http://en.wikipedia.org/wiki/Platoon\n", "A platoon is a military unit typically composed of more than two squads/sections. Platoon organization varies depending on the country and the branch, but typically a platoon consists of around 15 to 30 soldiers." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "A platoon is often led by a lieutenant, and is the smallest military unit typically led by a commissioned officer.\n", "In some armies, platoon is used throughout the branches of the army. In others, such as the British Army, platoons are associated with the infantry. In a few armies, such as the French Army, a platoon is specifically a cavalry unit, and the infantry use \"section\" as the equivalent unit.\n", "A unit of several platoons is often called a company.\n", "\n", "\n", "According to Merriam-Webster, \"The term was first used in the 17th century to refer to a small body of musketeers who fired together in a volley alternately with another platoon.\"[1] The word came from the 17th-century French peloton, from pelote meaning a small ball. The suffix \"-on\" can be an augmentative suffix in French, but on the other hand is generally a diminutive suffix in relationship to animals, so the original intention in forming peleton from pelote is not clear. Nonetheless it is documented[2] that it took the meaning of a group of soldiers firing a volley together, while a different platoon reloaded. This implies an augmentative intention in the etymology. Since soldiers were often organised in two or three lines, which were supposed to fire volleys together, this would have normally meant platoons organised with the intention of a half or a third of the company firing at once.\n", "The modern French word peloton, when not meaning platoon, can refer to a troop of animals or the main body of riders in a bicycle race (as opposed to any riders ahead or behind the main body).\n", "Pelote itself originally comes from the low Latin \"pilotta\" from Latin \"pila\", meaning \"ball\", and the French suffix \"-on\" derives from the Latin suffix \"-onus\".\n", "The platoon was originally a firing unit rather than an organization. The system was said to have been invented by Gustavus Adolphus of Sweden in 1618.[3] In the French Army in the 1670s, a battalion was divided into 18 platoons who were grouped into three \"firings\"; each platoon in the firing either actually firing or reloading.[4] The system was used in the British, Austrian, Russian and Dutch[5] armies as well.\n", "On 1 October 1913 under a scheme by General Sir Ivor Maxse, the British Army was reorganised from the previous eight companies to a battalion structure to a four company structure with each company having four platoons as separate units each commanded by a lieutenant with a platoon sergeant as his deputy. Each platoon was divided into four sections each commanded by a corporal.[6] When there was a shortage of officers, a non commissioned officer rank of Platoon Sergeant Major was created in 1938 and ceased in 1940.\n", "In the Australian Army, a platoon has twenty-four soldiers organized into three eight-man sections plus a Lieutenant as platoon commander and a sergeant as platoon second in command, accompanied by a platoon radioman and medic (full strength of twenty-eight men).\n", "A Section comprises eight soldiers led by a Corporal with a Lance Corporal as second in command. Each section has two fireteams of four men, one led by the corporal and the other by the lance corporal. Each fireteam (also called a \"brick\" by Australian soldiers) has one soldier with a F89A1 light machine gun and the other three armed with F88 assault rifles. One rifle is equipped with an attached M203 grenade launcher for the grenadier's role while another has a C79 optical sight for the designated marksman role.\n", "The platoon may also have three MAG 58 general-purpose machine guns, one M2 Browning heavy machine gun or a Mk 19 grenade launcher at its disposal.\n", "In the British Army, a rifle platoon from an infantry company consists of three sections of eight men, plus a signaller (radio operator), a platoon sergeant (a Sergeant), the platoon commander (either a second lieutenant or lieutenant) and a mortar man operating a light mortar (full strength of 27 men and one officer). This may not be the case for all British Infantry units, since the 51mm mortars are not part of the TOE, post-Afghanistan.[7] Under Army 2020, a platoon in the Heavy Protected Mobility Regiments will consist of around 30 soldiers in 4 Mastiff/FRES UV vehicles.[8]\n", "Each section is commanded by a corporal, with a lance corporal as second-in-command and six Riflemen divided into two four-man fireteams. Support Weapons platoons (such as mortar or anti-tank platoons) are generally larger and are commanded by a captain with a Colour Sergeant or WO2 as 2ic. Some sections are seven man teams.[citation needed]\n", "An armoured \"platoon\" is known as a \"Troop\".\n", "In Bangladesh Army infantry regiments, platoons are commanded by a major or a captain, assisted by two to four lieutenants (or combination of lieutenants and Junior Commissioned Officers) and at least two sergeants..[citation needed] The platoon strength is typically thirty to fifty soldiers.\n", "These platoons are equipped with at least one heavy machine gun, rocket launcher or anti-tank gun, with the crews of these weapons commanded by a corporal. In addition, there are at least two light machine guns, each commanded by a lance corporal. Each soldier is armed with an automatic or semi-automatic rifle and all commissioned officers carry a side arm.\n", "In the Canadian Army, the infantry Platoon Commander is a Lieutenant or Second Lieutenant, assisted by a Platoon Warrant (who may hold the rank of Warrant Officer, but is often a Sergeant). It is usually divided into three eight man sections and a heavy weapons detachment which will deploy a GPMG, and a Carl Gustav, depending on mission requirements. Sections are commanded by a Sergeant or Master Corporal with a Master-Corporal or Corporal in the second in command, or 2IC, position; 6 of the eight soldiers in a section will carry C7 or C8 assault rifles fitted with either optics or a grenade launcher and two members will carry C9 LMG's. A section is broken into two assault groups of 4 with one LMG and three assault rifles, similar to British and Australian organization.\n", "Three to five infantry platoons will make up a typical infantry company, sometimes with a heavy weapons or support platoon in addition. Specialist platoons like reconnaissance, or \"recce\", platoons that may be attached to a battalion may be led by a Captain and assisted by a Warrant Officer. Some very large specialist platoons will actually have a Lieutenant as the second-in-command. In many corps, platoon-sized units are called troops instead.\n", "Prior to 1940, a platoon might be commanded by either a warrant officer WO III or a lieutenant. An officer was referred to as \"platoon commander\" while a WO III in the same position was called a \"Platoon Sergeant Major\" or PSM.[9]\n", "Within the Colombian Army a training platoon (in Spanish pelot\u00f3n) is often commanded by a higher-ranking soldier known as a dragoneante, who is selected for his excellence in discipline and soldiering skills. However, a dragoneante is still a soldier and can be removed from his position if his commander sees fit. For combatant platoons (platoons engaged in combat with guerrilla rebels), a corporal or sergeant would be the most likely commander.\n", "In the French military, a peloton is a unit of cavalry or armor corresponding to the platoon, equivalent in size to an infantry section, and commanded by a lieutenant or sergeant. It may also mean a body of officers in training to become noncommissioned officers, sous-officiers or officers (peloton de caporal, peloton des sous-officiers). Finally, \"peloton d'ex\u00e9cution\" is the French term for a firing squad.\n", "The Georgian Armed Forces equivalent of the platoon is the so-called Ozeuli. Translated it means \"Group of 20\" but has no more connection whatsoever with the number. It has been transferred into modern usage from medieval army reforms of the Georgian king David the Builder. Originally it was meant to be a small detachment of exactly 20 men to be led by a leader of corresponding rank. Almost all smaller formations are based on the designations of those reforms, which originally suggested tactical flexibility by keeping the size of small units in round numbers (10,20,100). Battalions and brigades were not affected by that system. It is unknown whether that usage was abandoned in 1820s or earlier, but in present days a Georgian platoon still called \"Ozeuili\" has a similar size to that of other armies. Normally for infantry it are 32 men, but can vary depending on type of unit.\n", "The German Army equivalent of the platoon is the Zug (same word as for a train), consisting of a Zugtrupp (\"platoon troop\" or platoon headquarters squad), of four to six men, and three squads (Gruppen) of eight to eleven men each. An Oberfeldwebel (\"Sergeant first class\") is in charge of the Zugtrupp. The Zugtrupp provides support for the platoon leader and acts as a reserve force (such as two additional snipers or an anti-tank weapon crew).\n", "Three Z\u00fcge make up a Kompanie (\"company\"), with the first platoon usually commanded by a Kompanieoffizier (\"company-grade officer\"), an Oberleutnant (\"first lieutenant\") or Leutnant (\"second lieutenant\"), who is also the Kompanie's second-in-command. The second and third Zug are led by experienced NCOs, usually a Hauptfeldwebel (\"master sergeant\"). In the first platoon, the platoon leader's assistant is a Hauptfeldwebel; in the second and third platoons, the assistant is an Oberfeldwebel. Each squad is led by an Oberfeldwebel, and its size corresponds to the typical passenger capacity of its squad vehicle (either wheeled or armoured). Another of these vehicles is used for the Zugtrupp. Sergeants of inferior rank act as assistant squad leaders in the other squads.\n", "A Fallschirmj\u00e4gerzug (\"airborne infantry platoon\") has special operations responsibilities, and has command positions one rank higher than corresponding positions in a standard infantry platoon. A captain (Hauptmann) is the platoon leader, assisted by a first lieutenant and each squad has a second lieutenant or a master sergeant in charge, often supported by a long-service sergeant or skilled senior corporal.\n", "In the New Zealand Army, an Infantry Platoon is commanded by a 2nd Lieutenant or a Lieutenant with a Platoon Sergeant, a Platoon Signaller and a medic (where relevant) comprising the Platoon Headquarters. The Platoon is sub-divided into three section of between 7-10 soldiers, each commanded by a Corporal with a Lance-Corporal as the Section 2iC. Each section can be sub-divided into two fire-teams, commanded by the Section Commander and 2iC respectively, as well as normal two man Scout, Rifle and Gun Teams.\n", "There are three Platoons in a Rifle Company, which is commanded by a Major, and Three Rifle Companies within an Infantry Battalion, which is commanded by a Lieutenant-Colonel. An Infantry Battalion will also contain an organic Support Company (Mortars, Machine-Guns etc.) and a Logistics Company (Transport and Stores).\n", "In the Singapore Army, a platoon is a Lieutenant billet. In practice, usually a Second Lieutenant is appointed the platoon commander, and will eventually be promoted to this rank. A typical infantry platoon consists of three seven-man sections of riflemen and a machine gun team, both commanded by Third Sergeants, a platoon sergeant and a platoon medic for a total of 27 soldiers.[citation needed] Beginning in 1992, the Singapore Armed Forces has allowed warrant officers to be appointed as platoon commanders.\n", "In the Royal Thai Army, a platoon is commanded by a Lieutenant or Second Lieutenant assisted by a Platoon Sergeant, usually of the rank of sergeant major. In infantry units, rifle platoons are generally made up of five squads (three rifle squads, one machine gun squad and command squad).\n", "In the United States Army,[10] Rifle Platoons are normally composed of 42 soldiers. They are led by a Platoon Leader (PL), usually a second lieutenant (2LT), and with a Platoon Sergeant (PSG), usually a Sergeant First Class (SFC, E-7). Rifle Platoons consist of three nine-man Rifle squads and one nine-man Weapons squad each led by a Staff Sergeant (E-6). The Platoon Headquarters includes the PL, PSG, along with the PL's Radio-Telephone Operator (RTO), Platoon Forward Observer (FO), the FO's RTO and the Platoon Medic.\n", "In the United States Marine Corps, rifle platoons are led by a platoon commander, usually a second lieutenant (O-1), assisted by a platoon sergeant, a staff sergeant (E-6). The platoon headquarters also includes a platoon guide, a sergeant (E-5), who serves as the assistant platoon sergeant and a messenger (Pvt or PFC). Rifle platoons consist of three rifle squads of 13 men each, led by a sergeant (E-5). A weapons platoon will usually have a first lieutenant (O-2) and a gunnery sergeant (E-7) because of the larger number of Marines and the more complex employment of the weapon systems included in these platoons. A weapons platoon has a 60mm mortar section of ten Marines and three M224 60mm mortars, an assault section of 13 Marines and six SMAWs and a medium machine gun section of 22 Marines and six M240Gs. Marine rifle or weapons platoons would also have one or more Navy hospital corpsmen assigned along with the Marines.\n", "The United States Air Force has a similarly sized and configured unit called a flight. A Flight usually ranges from a dozen people to over a hundred, or typically four aircraft. The typical flight commander is a Captain. The typical flight chief is a Master Sergeant. Letter designations can be used, such as Alpha Flight, Bravo Flight, etc.\n", "A motorised rifle platoon in the Soviet Armed Forces was mounted in either BTR armoured personnel carriers or BMP infantry fighting vehicles, with the former being more numerous into the late 1980s. Both were led by a platoon leader and assistant platoon leader and consisted of three 9-man rifle squads mounted in three vehicles. In both BMP and BTR squads the driver and vehicle gunner stayed with the vehicle when the rest of the squad dismounted, and one squad in the platoon would have one of their rifleman armed with an SVD sniper rifle. There was either one empty seat in each BTR or two empty seats in each BMP to accommodate the platoon leader and assistant platoon leader.[11]\n", "Tank platoons prior to the late 1980s consisted of a platoon headquarters squad and three tank squads, each consisting of one T-64, T-72 or T-80 tank for 12 personnel and 4 tanks total; platoons which used the older T-54, T-55 or T-62s added another crewmember for a total of 16. However tank units operating in Eastern Europe began to standardize their platoons to just two tank squads, for a total of 3 tanks and 9 personnel.[12][13]\n", "http://en.wikipedia.org/wiki/High_Noon\n", "High Noon is a 1952 American Western film directed by Fred Zinnemann and starring Gary Cooper and Grace Kelly. In nearly real time, the film tells the story of a town marshal forced to face a gang of killers by himself. The screenplay was written by Carl Foreman. The film won four Academy Awards (Actor, Editing, Music-Score, Music-Song)[2] and four Golden Globe Awards (Actor, Supporting Actress, Score, Cinematography-Black and White).[3] The award-winning score was written by Russian-born composer Dimitri Tiomkin." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "In 1989, High Noon was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\", entering the registry during the NFR's first year of existence.[4] The film is #27 on the American Film Institute's 2007 list of great films.[citation needed]\n", "Will Kane (Gary Cooper), the longtime marshal of Hadleyville, New Mexico Territory, has just married pacifist Quaker Amy Fowler (Grace Kelly) and turned in his badge. He intends to become a storekeeper elsewhere. Suddenly, the town learns that Frank Miller (Ian MacDonald), a criminal whom Kane brought to justice, is due to arrive on the noon train.\n", "Miller had been sentenced to hang, but was pardoned on an unspecified legal technicality. In court, he had vowed to get revenge on Will and anyone else who got in the way. The members of Miller's gang are his younger brother Ben (Sheb Wooley), Jack Colby (Lee Van Cleef), and Jim Pierce (Robert J. Wilke), and they wait for him at the station.\n", "Will and Amy leave town, but fearing that the gang will both hunt him down and also be a danger to the town and its people, Will turns back. He reclaims his badge and scours the town for help, even interrupting Sunday church services, with little success. His deputy, Harvey Pell (Lloyd Bridges), resigns because Will did not recommend him as the new marshal. Harvey agrees to stay if Will will support him, but Will refuses to buy his assistance. Will goes to warn Helen Ram\u00edrez (Katy Jurado), first Miller\u2019s lover, then Will's, and now Harvey's. Helen is already aware of what Miller will do to her if he finds her and has sold her business. She prepares to leave town to avoid Miller but also to avoid seeing Kane killed.\n", "Amy gives Will an ultimatum: she is leaving on the noon train, with or without him.\n", "The judge who sentenced Miller is leaving and encourages Will to do the same. The marshal who preceded Will supports him, but is too old to help and tells Will to get out of town. Will tries eliciting help from the locals at a bar and then tries the church. Nobody at either place responds, and few support him. Some even desire to see Kane's probable demise. Many of the townspeople encourage Will to leave, hoping that would defuse the situation. Even Will's good friends the Fullers are at odds about how to deal with the situation. Mildred Fuller (Eve McVeagh) wants her husband, Sam (Harry Morgan), to speak with Will when he comes to their home, but he makes her claim he is not home while he hides in another room.\n", "In the end, Will faces Miller and his gang alone. Kane guns down Ben Miller and Colby, but is wounded in the process. Helen and Amy both board the train, but Amy gets off when she hears the sound of gunfire. Amy chooses her new husband's life over her religious beliefs, shooting Pierce from behind. Miller then takes her hostage to force Will into the open. However, Amy suddenly attacks Miller, giving Will a clear shot, and Will shoots Miller dead. As the townspeople emerge, Will stares at the crowd, contemptuously throws his marshal's star in the dirt, and leaves town with Amy.\n", "The plot's sequence of events occurs in approximate real time.\n", "Rest of Cast Uncredited\n", "According to the 2002 documentary Darkness at High Noon: The Carl Foreman Documents, written, produced, and directed by Lionel Chetwynd, Foreman's role in the creation and production of High Noon has over the years been unfairly downplayed in favor of Foreman's former partner and producer, Stanley Kramer.[6] The documentary was prompted by and based in part on a single-spaced 11-page letter that Foreman wrote to film critic Bosley Crowther in April 1952.[6] In the letter, Foreman asserts that the film began as a four-page plot outline about \"aggression in a western background\" and \"telling a motion picture story in the exact time required for the events of the story itself\" (a device used in High Noon).[6] An associate of Foreman pointed out similarities between Foreman's outline and the short story \"The Tin Star\" by John W. Cunningham, which led Foreman to purchase the rights to Cunningham's story and proceed with the original outline.[6] By the time the documentary aired, most of those immediately involved were dead, including Kramer, Foreman, Fred Zinnemann, and Gary Cooper. Kramer's widow rebuts Foreman's contentions; Victor Navasky, author of Naming Names and familiar with some of the circumstances surrounding High Noon because of interviews with Kramer's widow, among others, said the documentary seemed \"one-sided, and the problem is it makes a villain out of Stanley Kramer, when it was more complicated than that\".[6]\n", "The film's production and release also intersected with the second Red Scare and the Korean War. Writer, producer, and partner Carl Foreman was called before the House Un-American Activities Committee (HUAC) while he was writing the film. Foreman had not been in the Communist Party for almost ten years, but he declined to name names and was considered an \"uncooperative witness\" by the HUAC.[7] When Stanley Kramer learned this, he forced Foreman to sell his part of their company, and tried to have the studio remove Foreman from the production. Fred Zinnemann, Gary Cooper, and Bruce Church intervened. There was also a problem with the Bank of America production loan because Foreman had not yet signed the papers. Thus, Foreman remained on the production but moved to Britain before it was released nationally, as he knew he would never be allowed to work in America.[7]\n", "Kramer claimed he had not stood up for Foreman partly because Foreman was threatening, dishonestly, to name Kramer as a Communist.[7] Foreman said that Kramer was afraid of what would happen to him and his career if Kramer did not cooperate with the Committee. Kramer wanted Foreman to name names and not exercise his Fifth Amendment rights.[7] Foreman was eventually blacklisted by the Hollywood studios. There had also been pressure against Foreman by, among others, Harry Cohn of Columbia Pictures (Kramer's brand new boss at the time), John Wayne of the MPA, and Hedda Hopper of the Los Angeles Times.[7] Cast and crew members were also affected. Howland Chamberlin was blacklisted while Floyd Crosby and Lloyd Bridges were \"graylisted\".[7]\n", "High Noon was filmed in the late summer/early fall of 1951 in several locations in California.[8] Opening scenes were shot at Iverson Movie Ranch. A rural road east of Oakdale, CA was the setting for the Hadleyville train depot. Columbia Ranch and Columbia State Historic Park were both used for the town of Hadleyville itself. St. Joseph's Church, in Tuolumne City, California, was used for exterior shots of the church where Kane solicits help from the townspeople. Sierra No. 3, the \"movie star locomotive\", brought villain Frank Miller into Hadleyville after his release from prison.\n", "The film earned an estimated $3.4 million at the North American box office in 1952.[9]\n", "Upon its release, the film was criticized by audiences, as it did not contain such expected Western archetypes as chases, violence, action, and picture-postcard scenery. Rather, it presented emotional and moralistic dialogue throughout most of the film. Only in the last few minutes are there action scenes.[10] Some critics scoffed at the conclusion of the film in which Cooper's character has to be saved by Kelly.[11][12] David Bishop argues that her pacifist character, killing a man who is about to shoot her husband was cold and abstract, saying that it \"pulls pacifism toward apollonian decadence.\"[12] Alfred Hitchcock described Kelly's performance as \"rather mousy\" and stated that it lacked animation, and said that it was only in the later films that she \"really blossomed\" and showed her true star quality.[13][14]\n", "In the Soviet Union the film was criticized as \"a glorification of the individual.\"[7] The American Left appreciated the film for what they believed was an allegory of people (Hollywood people, in particular) who were afraid to stand up to HUAC. However, the film eventually gained the respect of people with conservative/anti-communist views. Ronald Reagan, a conservative and fervent anti-Communist, said he appreciated the film because the main character had a strong dedication to duty, law, and the well-being of the town despite the refusal of the townspeople to help. Dwight Eisenhower loved the film and frequently screened it in the White House, as did many other American presidents.[7] Bill Clinton cited High Noon as his favorite film and screened it a record 17 times at the White House.[15]\n", "Actor John Wayne disliked the film because he felt it was an allegory for blacklisting, which he actively supported. In his Playboy interview from May 1971, Wayne stated he considered High Noon \"the most un-American thing I\u2019ve ever seen in my whole life\"[16] and went on to say he would never regret having helped blacklist liberal screenwriter Carl Foreman from Hollywood. Ironically, Gary Cooper himself had conservative political views and was a \"friendly witness\" before HUAC several years earlier, although he did not name names and later strongly opposed blacklisting.[17] Wayne accepted Cooper's Academy Award for the role as Cooper was unable to attend the presentation.\n", "In 1959, Wayne teamed up with director Howard Hawks to make Rio Bravo as a conservative response. Hawks explained: \"I made Rio Bravo because I didn't like High Noon. Neither did Duke. I didn't think a good town marshal was going to run around town like a chicken with his head cut off asking everyone to help. And who saves him? His Quaker wife. That isn't my idea of a good Western.\"[18]\n", "Irritated by Hawks's criticisms, director Fred Zinnemann responded: \"I admire Hawks very much. I only wish he'd leave my films alone!\"[19] Zinnemann later said in a 1973 interview: \"I'm told that Howard Hawks has said on various occasions that he made Rio Bravo as a kind of answer to High Noon, because he didn't believe that a good sheriff would go running around town asking for other people's help to do his job. I'm rather surprised at this kind of thinking. Sheriffs are people and no two people are alike. The story of High Noon takes place in the Old West but it is really a story about a man's conflict of conscience. In this sense it is a cousin to A Man for All Seasons. In any event, respect for the Western Hero has not been diminished by High Noon.\"[20]\n", "The movie won Academy Awards for:\n", "The film was nominated for Best Director, Best Picture, and Best Writing, Screenplay. Many movie historians believe that High Noon lost out for the 1952 Best Picture Award to The Greatest Show on Earth because the initial release of High Noon bared a panoramic view of modern downtown Los Angeles.[22]\n", "Entertainment Weekly ranked Will Kane on their list of The 20 All Time Coolest Heroes in Pop Culture.[23]\n", "Mexican actress Katy Jurado won the Golden Globe Award for Best Supporting Actress for her role of Helen Ram\u00edrez, becoming the first Mexican actress to receive the award.\n", "American Film Institute recognition\n", "In 1989, 22-year-old Polish graphic designer Tomasz Sarnecki transformed Marian Stachurski's 1959 Polish variant of the High Noon poster into a Solidarity election poster for the first partially free elections in communist Poland. The poster, which was displayed all over Poland, shows Cooper armed with a folded ballot saying \"Wybory\" (i.e. elections) in his right hand while the Solidarity logo is pinned to his vest above the sheriff's badge. The message at the bottom of the poster reads: \"W samo po\u0142udnie: 4 czerwca 1989,\" which translates to \"High Noon: 4 June 1989.\"\n", "In 2004 former Solidarity leader Lech Wa\u0142\u0119sa wrote:[24]\n", "Under the headline \"At High Noon\" runs the red Solidarity banner and the date\u2014June 4, 1989\u2014of the poll. It was a simple but effective gimmick that, at the time, was misunderstood by the Communists. They, in fact, tried to ridicule the freedom movement in Poland as an invention of the \"Wild\" West, especially the U.S. But the poster had the opposite impact: Cowboys in Western clothes had become a powerful symbol for Poles. Cowboys fight for justice, fight against evil, and fight for freedom, both physical and spiritual. Solidarity trounced the Communists in that election, paving the way for a democratic government in Poland. It is always so touching when people bring this poster up to me to autograph it. They have cherished it for so many years and it has become the emblem of the battle that we all fought together.\n", "According to an English professor at Yeshiva University,[16] High Noon is the film most requested for viewing by U.S. presidents. It has been cited as the favorite film of Presidents Dwight D. Eisenhower,[25] Ronald Reagan and Bill Clinton.[25][26]\n", "The conflict of the role of the Western hero is ironically portrayed in the film Die Hard. The German-born antagonist, Hans Gruber (Alan Rickman) confuses John Wayne as the hero walking off into the sunset with Grace Kelly, only to be corrected by the protagonist, John McClane (Bruce Willis).\n", "High Noon is the favourite film of DCI Gene Hunt of Life on Mars and Ashes to Ashes. Hunt makes periodic references to the film throughout the two series' five seasons.[citation needed]\n", "High Noon is referenced several times on the award-winning HBO drama series The Sopranos. The main character Tony Soprano believes that Gary Cooper's character is the best archetype for what a man should be, mentally tough and stoic. He frequently laments, \"Whatever happened to Gary Cooper?\" and refers to his character in the film as the \"strong, silent type\". The famous ending of the film is actually shown on a television during an extended dream sequence in the fifth season episode, \"The Test Dream\".[citation needed]\n", "High Noon inspired the 2008 hip-hop song of the same name by rap artist Kinetics. In the song, Kinetics mentions High Noon and several other classic Western films and draws comparisons between rap battles and Western-style street showdowns.[27]\n", "http://en.wikipedia.org/wiki/Dances_with_Wolves\n", "Dances with Wolves is a 1990 American epic western film directed, produced by, and starring Kevin Costner. It is a film adaptation of the 1988 book of the same name by Michael Blake and tells the story of a Union Army lieutenant who travels to the American frontier to find a military post, and his dealings with a group of Lakota Indians." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Costner developed the film over a period of 5 years, with an initial budget of $15 million. Dances with Wolves had high production values[1] and won seven Academy Awards including Best Picture and the Golden Globe Award for Best Motion Picture \u2013 Drama. Much of the dialogue is spoken in Lakota with English subtitles. It was shot in South Dakota and Wyoming, and translated by Albert White Hat, the chair of the Lakota Studies Department at Sinte Gleska University.\n", "The film is credited as a leading influence for the revitalization of the Western genre of filmmaking in Hollywood. In 2007, Dances with Wolves was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant.\"[2]\n", "\n", "\n", "In 1863, First Lieutenant John J. Dunbar is wounded in the American Civil War. Choosing suicide over having his leg amputated, he takes a horse and rides up to the Confederate front lines, distracting them in the process. The roused Union army then attacks and the battle ends in a Confederate rout. Dunbar survives, is allowed to recover properly, receives a citation for bravery, and is awarded Cisco, the horse who carried him, as well as his choice of posting. Dunbar requests a transfer to the western frontier so he can see its vast terrain before it disappears. Dunbar arrives at his new post, Fort Sedgwick, but finds it abandoned and in disrepair. Despite the threat of nearby Indian tribes, he elects to stay and man the post himself. He begins rebuilding and restocking the fort and prefers the solitude afforded him, recording many of his observations in his diary.\n", "Meanwhile, Timmons, the wagon driver who transported Dunbar to Fort Sedgwick, is killed and scalped by Pawnee Indians on his way back to Fort Hays. Timmons' death and the suicide of Major Fambrough, who had sent them there, prevents other soldiers from knowing of Dunbar's assignment to the post, effectively isolating him. Dunbar notes in his diary how strange it is that no other soldiers join him at the post.\n", "Dunbar initially encounters his Sioux neighbors when several attempts are made to steal his horse and intimidate him. In response, Dunbar decides to seek out the Sioux camp in an attempt to establish a dialogue. On his way he comes across Stands With A Fist, who is attempting suicide in mourning her deceased husband. She is the white, adopted daughter of the tribe's medicine man Kicking Bird, her original family having been killed by the aggressive Pawnee tribe when she was young. Dunbar returns her to the Sioux to be treated, which changes their attitude toward him. Eventually, Dunbar establishes a rapport with Kicking Bird and warrior Wind In His Hair who equally wish to communicate. Initially the language barrier frustrates them, so Stands With A Fist, though with difficulty remembering her English, acts as translator.\n", "Dunbar finds himself drawn to the lifestyle and customs of the tribe and begins spending most of his time with them. Learning their language, he is accepted as an honored guest by the Sioux after he locates a migrating herd of buffalo and participates in the hunt. When at Fort Sedgwick, Dunbar also befriends a wolf he dubs \"Two Socks\" for its white forepaws. When the Sioux observe Dunbar and Two Socks chasing each other, they give him the name \"Dances with Wolves\". During this time, Dunbar also forges a romantic relationship with Stands with a Fist and helps defend the village from an attack by the rival Pawnee tribe. Dunbar eventually wins Kicking Bird's approval to marry Stands with a Fist, and abandons Fort Sedgwick.\n", "Because of the growing Pawnee and white threat, Chief Ten Bears decides to move the tribe to its winter camp. Dunbar decides to accompany them but must first retrieve his diary from Fort Sedgwick as he realises that it would provide the army with the means of finding the tribe. However, when he arrives he finds the fort re-occupied by the U.S. Army. Because of his Sioux clothing, the soldiers open fire, killing Cisco and capturing Dunbar, arresting him as a traitor. Senior officers interrogate him, but Dunbar cannot prove his story, as a corporal has found and discarded his diary. Having refused to serve as an interpreter to the tribes, Dunbar is charged with desertion and transported back east as a prisoner. Soldiers of the escort shoot Two Socks when the wolf attempts to follow Dunbar, despite Dunbar's attempts to intervene.\n", "Eventually, the Sioux track the convoy, killing the soldiers and freeing Dunbar. At the winter camp, Dunbar decides to leave with Stands With A Fist, since his continuing presence will put the tribe in danger. As they leave, Wind In His Hair shouts to Dunbar, reminding him of their friendship. U.S. troops are seen searching the mountains but are unable to locate them, while a lone wolf howls in the distance. An epilogue[note 1] states that thirteen years later the last remnants of the free Sioux were subjugated to the American government, ending the conquest of the Western frontier states and the livelihoods of the tribes on the plains.\n", "Originally written as a spec script by Michael Blake, it went unsold in the mid-1980s. However, Kevin Costner had starred in Blake's only previous film, Stacy's Knights (1983), and encouraged Blake in early 1986 to turn the Western screenplay into a novel to improve its chances of being produced. The novel version of Dances with Wolves was rejected by numerous publishers but finally published in paperback in 1988. As a novel, the rights were purchased by Costner, with an eye on directing it. Actual production lasted for four months, from July 18 to November 23, 1989. Most of the movie was filmed on location in South Dakota, mainly on private ranches near Pierre and Rapid City, with a few scenes filmed in Wyoming. Specific locations included the Badlands National Park, the Black Hills, the Sage Creek Wilderness Area, and the Belle Fourche River area. The bison hunt scenes were filmed at the Triple U Buffalo Ranch outside Fort Pierre, South Dakota, as were the Fort Sedgwick scenes, the set being constructed on the property.[3]\n", "Production delays were numerous, because of South Dakota's unpredictable weather, the difficulty of \"directing\" barely trainable wolves, and the complexity of the Indian battle scenes. Particularly arduous was the film's centerpiece bison hunt sequence: this elaborate chase was filmed over three weeks using 100 Indian stunt riders and an actual stampeding herd of several thousand bison. During one shot, Costner (who did almost all of his own horseback riding) was \"T-boned\" by another rider and knocked off his horse, nearly breaking his back. The accident is captured in The Creation of an Epic, the behind-the-scenes documentary on the Dances with Wolves Special Edition DVD and Blu-ray.\n", "According to the documentary, none of the bison were computer animated (CGI was then in its infancy) and only a few were animatronic or otherwise fabricated. In fact, Costner and crew employed the largest domestically owned bison ranch, with two of the tame bison being borrowed from Neil Young; this was the herd used for the bison hunt sequence.\n", "Budget overruns were inevitable, owing to Costner's breaking several unspoken Hollywood \"rules\" for first-time directors: traditionally, they avoid both shooting outside and working with children and animals as much as possible. As a result, late in the production Costner was forced to add $3 million personally in out-of-pocket money to the film's original $15 million budget. Referring to the infamous fiasco of Michael Cimino's 1980 Heaven's Gate, considered the most mismanaged Western in film history, Costner's project was satirically dubbed \"Kevin's Gate\" by Hollywood critics and pundits skeptical of a three-hour, partially subtitled Western by a novice filmmaker.\n", "The film changed the novel's Comanche Indians to Sioux, because of the larger number of Sioux speakers.[citation needed] Lakota Sioux language instructor Doris Leader Charge (1931\u20132001) was the on-set Lakota dialogue coach and also portrayed Pretty Shield, wife of Chief Ten Bears.\n", "Despite portraying the adopted daughter of Graham Greene's character Kicking Bird, Mary McDonnell, then 37, was actually two months older than Greene, and less than two years younger than Tantoo Cardinal, the actress playing her adoptive mother. In addition, McDonnell was extremely nervous about shooting her sex scene with Kevin Costner, requesting it be toned down to a more modest version than what was scripted.\n", "Defying expectation, Dances with Wolves proved instantly popular, eventually earning great critical acclaim, and making $184 million in U.S. box office sales and $424 million in total sales worldwide.[4] As of 2014, the film holds a positive review score of 81% on Rotten Tomatoes.[5] Because of the film's popular and lasting impact on the image of Native Americans, the Sioux Nation adopted Costner as an honorary member.[6] At the 63rd Academy Awards ceremony in 1991, Dances with Wolves earned twelve Academy Award nominations and won seven, including Best Writing, Adapted Screenplay (Michael Blake), Best Director (Kevin Costner), and Best Picture of the Year. In 2007, the Library of Congress selected Dances with Wolves for preservation in the United States National Film Registry.[2]\n", "Native American activist and actor Russell Means was less kind about some aspects of the film's technical accuracy. In 2009, he said \"Remember Lawrence of Arabia? That was Lawrence of the Plains. The odd thing about making that movie is that they had a woman teaching the actors the Lakota language, but Lakota has a male-gendered language and a female-gendered language. Some of the Indians and Kevin Costner were speaking in the feminine way. When I went to see it with a bunch of Lakota guys, we were laughing.\"[7] Other Native Americans like Michael Smith (Sioux), Director of San Francisco's long-running annual American Indian Film Festival, said, \"There's a lot of good feeling about the film in the Indian community, especially among the tribes. I think it's going to be very hard to top this one.\"[8]\n", "According to other sources[which?] the gender-specific Lakota words were used correctly in the movie. Some of the criticism was inspired by the fact that the pronunciation is not authentic since only one of the movie's actors was a native speaker of the language. The movie's dialogues in the native language have been lauded as a remarkable achievement.[9] However, other writers have noted that earlier otherwise English-language films, such as Eskimo (1933), Wagon Master (1950) and The White Dawn (1974), had also incorporated Native dialogue.[10]\n", "David Sirota of Salon referred to Dances with Wolves as a \u201cwhite savior\u201d film, as Dunbar \u201cfully embeds himself in the Sioux tribe and quickly becomes its primary protector\u201d. He argued that its use of the \u201cnoble savage\u201d character type \u201cpreemptively blunts criticism of the underlying White Savior story. The idea is that a film like Dances With Wolves cannot be bigoted or overly white-centric if it at least shows [characters such as] Kicking Bird and Chief Ten Bears as special and exceptional. This, even though the whole story is about a white guy who saves the day.\u201d[11]\n", "Conservative writer Richard Grenier was strongly critical of the film. Grenier accused Costner of misrepresenting the Sioux as peaceful, claiming that the film's \"portrait of the Sioux, the most bloodthirsty of all Plains Indian tribes and neither pacifists nor environmentalists, is false in every respect\".[12]\n", "In addition to becoming the first Western film to win an Academy Award for Best Picture since 1931's Cimarron,[13] Dances with Wolves won the following additional awards, thereby being established as one of the most honored films of 1990:[14]\n", "American Film Institute recognition:\n", "Other accolades:\n", "The Holy Road, a well-received sequel novel by Michael Blake, the author of both the original Dances with Wolves novel and the movie screenplay, was published in 2001.[20] It picks up eleven years after Dances with Wolves. John Dunbar is still married to Stands with a Fist and they have three children. Stands with a Fist and one of the children are kidnapped by a party of white rangers and Dances with Wolves must mount a rescue mission. As of 2007, Blake was writing a film adaptation, although Kevin Costner was not yet attached to the project.[21] In the end, however, Costner stated he would not take part in this production. Viggo Mortensen has been rumored to be attached to the project, playing Dunbar.[22]\n", "Judith A. Boughter wrote: \"The problem with Costner's approach is that all of the Sioux are heroic, while the Pawnees are portrayed as stereotypical villains. Most accounts of Sioux-Pawnee relations see the Pawnees as victims of the more powerful Sioux.\"[23]\n", "St. David's Field, Tennessee does not exist, nor did it in 1863. As the opening battle is a minor portion of the film, it was considered undesirable to name an actual historical battle, which might result in knowledgeable viewers taking exception to fictional events.[citation needed]\n", "Fort Sedgwick,[note 2] Colorado was erected as Camp Rankin and renamed for General John Sedgwick (1813\u20131864). Sedgwick was killed May 9, 1864, at the Battle of Spotsylvania Court House, Virginia. Fort Sedgwick served as an army post from July 1864 to May 1871. John Sedgwick did erect a fort in Kansas in 1860.\n", "Fort Hays, Kansas was named for General Alexander Hays (1819\u20131864). Hays was killed May 5, 1864, in the Battle of the Wilderness, Virginia. Fort Hays served as an army post from October 11, 1865, to November 8, 1889.\n", "There was a real John Dunbar who worked as a missionary for the Pawnee in the 1830s\u201340s, and sided with the Indians in a dispute with government farmers and a local Indian agent.[24] It is unclear whether the name \"John Dunbar\" was chosen as a corollary to the real historical figure.[25]\n", "The fictional Lieutenant John Dunbar of 1863 is correctly shown in the film wearing a gold bar on his officer shoulder straps, indicating his rank as a First Lieutenant. From 1836 to 1872, the rank of First Lieutenant was indicated by a gold bar; after 1872, the rank was indicated by a silver bar. Similarly, Captain Cargill is correctly depicted wearing a pair of gold bars, indicating the rank of Captain at that time.[26]\n", "In an interview, author and screenwriter Michael Blake said that Stands With a Fist, the white captive woman who marries Dunbar, was actually based upon the story of Cynthia Ann Parker, the white girl captured by Comanches and mother of Quanah Parker.[27]\n", "Ten Bears's account of his grandfather's grandfathers driving out the Spanish conquistadors and later the war on Mexico and then Texas is more the history of the novel's southern Great Plains Comanche tribe (Comanche-Spanish wars, Comanche\u2013Mexico Wars, Texas\u2013Indian wars). In the northern Great Plains, the eastern Sioux had already lost the Dakota War of 1862 with the United States and were driven out of Minnesota to Nebraska and South Dakota. The Sioux were more successful during the Colorado War of 1863-1865.\n", "The epilogue[note 1] is correct; 13 years after the film is set, after the Great Sioux War of 1876, the last band of free Sioux surrendered at Fort Robinson, Nebraska, and the dominance and prevalence of the Plains Indians was over. The last conflict was the Ghost Dance War 1890-1891 which involved the Wounded Knee Massacre.\n", "The first Laserdisc release of Dances with Wolves was on November 15, 1991, by Orion Home Video in a two-disc extended play set.[citation needed]\n", "The first Dances with Wolves VHS version was released in 1991. It was subsequently issued in several further VHS versions. The limited collector's edition set comes with two VHS tapes, six high gloss 14-by-11-inch (36\u00a0cm \u00d7\u00a028\u00a0cm) lobby photos, Dances with Wolves: The Illustrated Story of the Epic Film book, and an organized collector's edition storage case.[citation needed]\n", "Dances with Wolves has been released to DVD on four occasions: the first on November 17, 1998, on a single disc; the second on February 16, 1999, as a two-disc set with a DTS soundtrack; the third was released on May 20, 2003, as a two-disc set featuring the Extended Edition; and the fourth was released on May 25, 2004, as a single disc in full frame.[citation needed]\n", "Dances with Wolves was released on Blu-ray in Germany on December 5, 2008, in France on 15 April 2009, in the United Kingdom on 26 October 2009, and in the United States on January 11, 2011. The German, French, and American releases feature the Extended Edition, while the British release features the theatrical cut.[citation needed]\n", "One year after the original theatrical release of Dances with Wolves, a 4-hour version of the film opened at select theaters in London. This longer cut was dubbed Dances with Wolves: The Special Edition, and it restored nearly an hour's worth of scenes that had been removed to keep the original film's running time under 3 hours.[28]\n", "In a letter to British film reviewers, director Kevin Costner and producer Jim Wilson addressed their reasons for presenting a longer version of the film:[29]\n", "The genesis of the 4-hour version of the film was further explained in an article for Entertainment Weekly that appeared only 10 months after the premiere of the original film:\n", "While the small screen has come to serve as a second chance for filmmakers who can't seem to let their babies go, Kevin Costner and his producing partner, Jim Wilson, hope that their newly completed version will hit theater screens first:[30]\n", "This Special Edition was eventually broadcast in 1993 for the American network television premiere at ABC. For the DVD release, the Special Edition was dubbed an Extended Cut. For Blu-ray, the same cut was renamed Director's Cut.\n", "Director Kevin Costner would later claim that he did not work on the creation of the 4-hour cut at all.[31]\n", "http://en.wikipedia.org/wiki/The_Pianist\n", "A pianist is one who plays the piano." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Pianist may also refer to:\n", "http://en.wikipedia.org/wiki/Goodfellas\n", "Goodfellas (styled as GoodFellas) is a 1990 American crime film directed by Martin Scorsese. It is a film adaptation of the 1986 non-fiction book Wiseguy by Nicholas Pileggi, who co-wrote the screenplay with Scorsese. The film follows the rise and fall of Lucchese crime family associate Henry Hill and his friends over a period from 1955 to 1980." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Scorsese initially named the film Wise Guy, but postponed it, and later he and Pileggi changed the name to Goodfellas. To prepare for their roles in the film, Robert De Niro, Joe Pesci, and Ray Liotta often spoke with Pileggi, who shared research material left over from writing the book. According to Pesci, improvisation and ad-libbing came out of rehearsals where Scorsese gave the actors freedom to do whatever they wanted. The director made transcripts of these sessions, took the lines he liked best, and put them into a revised script the cast worked from during principal photography.\n", "Goodfellas performed well at the box office, grossing $46.8 million domestically, well above its $25 million budget. It also received positive reviews from critics. The film was nominated for six Academy Awards, including Best Picture and Best Director, and won for Pesci in the Best Actor in a Supporting Role category. Scorsese's film won five awards from the British Academy of Film and Television Arts, including Best Film, and Best Director. The film was named Best Film of the year by various film critics groups. Goodfellas is often considered one of the greatest films of all time, both in the crime genre and in general, and was deemed \"culturally significant\" and selected for preservation in the National Film Registry by the United States Library of Congress. Scorsese followed this film up with two more films about organized crime: 1995's Casino and 2006's The Departed.\n", "\n", "\n", "Henry Hill (Liotta) admits, \"As far back as I can remember, I always wanted to be a gangster,\" referring to his idolizing the Lucchese crime family gangsters in his blue-collar, predominantly Italian-American neighborhood in East New York, Brooklyn as a young man. Wanting to be part of something significant, Henry quits school and goes to work for them. He is able to make a living for himself, and learns the two most important lessons in life: \"Never rat on your friends, and always keep your mouth shut,\" the advice given to him after being acquitted of criminal charges early in his career.\n", "Henry is taken under the wing of the local mob capo, Paul \"Paulie\" Cicero (Sorvino) and his associates: James \"Jimmy the Gent\" Conway (De Niro), who loves hijacking trucks; and Tommy DeVito (Pesci), an aggressive armed robber with a temper. In late 1967, they commit the Air France Robbery. Enjoying the perks of their criminal life, they spend most of their nights at the Copacabana carousing with women. Henry meets and later marries Karen (Bracco), a Jewish woman from the Five Towns. Karen is initially troubled by Henry's criminal activities but is soon seduced by his glamorous lifestyle.\n", "On June 11, 1970, Tommy (with Jimmy's help) brutally beats to death Billy Batts (Vincent), a mobster with the Gambino crime family, for insulting him about being a shoeshine boy in his younger days. Realizing that their murder of a made man would mean retribution from the Gambino family, Jimmy, Henry, and Tommy cover up the murder. They transport the body in the trunk of Henry's car and bury it upstate. Six months later, Jimmy learns that the burial site will be developed, forcing them to exhume the decomposing corpse and move it.\n", "Henry sets his mistress, Janice Rossi (Mastrogiacomo), up in an apartment. When Karen finds out about their relationship, she tries to confront Janice at the apartment building and then threatens Henry at gunpoint at home. Henry goes to live in the apartment with Janice, but Paulie soon directs him to return to Karen after completing a job for him; Henry and Jimmy are sent to collect from an indebted gambler in Florida, which they succeed at after beating him. However, they are arrested after being turned in by the gambler's sister, a typist for the FBI. Jimmy and Henry receive ten-year prison sentences.\n", "In prison, Henry sells drugs to support his family on the outside. After his early release in 1978, Henry further establishes himself in the drug trade, ignoring Paulie's warnings and convincing Tommy and Jimmy to join him. The crew commits the Lufthansa heist at John F. Kennedy International Airport, stealing $6 million. However, after many of the participants ignore Jimmy's command to not buy expensive luxuries with their share for fear of attracting police attention, he has them killed. Tommy is killed in retribution for Batts' murder, having been fooled into thinking that he would be made.\n", "By May 11, 1980, Henry is a nervous wreck from cocaine use and insomnia, as he tries to organize a drug deal with his associates in Pittsburgh. However, he is arrested by narcotics agents and jailed. On his release, Karen tells him that she flushed $60,000 worth of cocaine down the toilet to prevent FBI agents from finding it during their raid, leaving the family virtually penniless. Feeling betrayed by Henry's dealing drugs, Paulie gives him $3,200 and ends his association with him. Facing federal charges, Henry decides to enroll in the Witness Protection Program after realizing that Jimmy intends to have him killed. Forced out of his gangster life, he now has to face living in the real world: \"I'm an average nobody. I get to live the rest of my life like a schnook.\"\n", "Titles explain that Henry was subsequently arrested on drug charges in Seattle, Washington, but has been clean since 1987. He and Karen separated in 1989 after 25 years of marriage. Paul Cicero died in Fort Worth Federal Prison of respiratory illness in 1988 at 73. Jimmy, in 1990, was serving a 20-year-to-life sentence in a New York State prison.\n", "Goodfellas is based on New York crime reporter Nicholas Pileggi's book Wiseguy. Martin Scorsese never intended to make another mob film until he read a review of the book which inspired him to read it[2] while working on the set of Color of Money in 1986.[3] He had always been fascinated by the Mob lifestyle and was drawn to Pileggi's book because it was the most honest portrayal of gangsters he had ever read.[4] After he read Pileggi's book, the filmmaker knew what approach he wanted to take: \"To begin Goodfellas like a gunshot and have it get faster from there, almost like a two-and-a-half-hour trailer. I think it's the only way you can really sense the exhilaration of the lifestyle, and to get a sense of why a lot of people are attracted to it.\"[5] According to Pileggi, Scorsese cold-called the writer and told him, \"I've been waiting for this book my entire life.\" To which Pileggi replied \"I've been waiting for this phone call my entire life\".[6]\n", "Scorsese originally intended to direct the film before The Last Temptation of Christ, but when funds materialized to make Last Temptation, he decided to postpone Wise Guy. He was drawn to the documentary aspects of Pileggi's book. \"The book Wise Guys gives you a sense of the day-to-day life, the tedium - how they work, how they take over certain nightclubs, and for what reasons. It shows how it's done\".[6] He saw Goodfellas as the third film in an unplanned trilogy of films that examined the lives of Italian-Americans \"from slightly different angles\".[7] He has often described the film as \"a mob home movie\" that is about money because \"that's what they're really in business for\".[4]\n", "Scorsese and Pileggi collaborated on the screenplay and over the course of the 12 drafts it took to reach the ideal script, the reporter realized that \"the visual styling had to be completely redone... So we decided to share credit\".[6][8] They decided which sections of the book they liked and put them together like building blocks.[1] Scorsese persuaded Pileggi that they did not need to follow a traditional narrative structure. The director wanted to take the gangster film and deal with it episode by episode but start in the middle and move backwards and forwards. Scorsese would compact scenes and realized that if they were kept short, \"the impact after about an hour and a half would be terrific\".[1] He wanted to do the voiceover like the opening of Jules and Jim and use \"all the basic tricks of the New Wave from around 1961\".[1] The names of several real-life gangsters were altered for the film: Tommy \"Two Gunn\" DeSimone became the character Tommy DeVito; Paul Vario became Paulie Cicero and Jimmy \"The Gent\" Burke was portrayed as Jimmy Conway.[8] Pileggi and Scorsese decided to change the title of their film to Goodfellas because Wiseguys, the same name of Pileggi's book, had already been used for a 1986 comedy film by Brian De Palma and a TV series (1987-90).[1]\n", "Once Robert De Niro agreed to play Conway, Scorsese was able to secure the money needed to make the film.[3] The director cast Ray Liotta after De Niro saw him in Jonathan Demme's Something Wild and Scorsese was surprised by \"his explosive energy\" in that film.[7] The actor had read Pileggi's book when it came out and was fascinated by it. A couple of years afterwards, his agent told him that Scorsese was going to direct a film version. In 1988, Liotta met the director over a period of a couple of months and auditioned for the film.[4] The actor campaigned aggressively for a role in the film but the studio wanted a well-known actor. \"I think they would've rather had Eddie Murphy than me\", the actor remembers.[9]\n", "To prepare for the role, De Niro consulted with Pileggi who had research material that had been discarded while writing the book.[10] De Niro often called Hill several times a day to ask how Burke walked, held his cigarette, and so on.[11][12] Driving to and from the set, Liotta listened to FBI audio cassette tapes of Hill, so he could practice speaking like his real-life counterpart.[12] To research her role, Lorraine Bracco tried to get close to a mob wife but was unable to because they exist in a very tight-knit community. She decided not to meet the real Karen because she \"thought it would be better if the creation came from me. I used her life with her parents as an emotional guideline for the role\".[13] Paul Sorvino had no problem finding the voice and walk of his character but found it challenging finding \"that kernel of coldness and absolute hardness that is antithetical to my nature except when my family is threatened\".[14]\n", "Two weeks in advance of the filming, the real Henry Hill was paid $480,000.[8] The film was shot on location in Queens, New York, New Jersey, and parts of Long Island during the spring and summer of 1989, with a budget of $25 million.[8] Scorsese broke the film down into sequences and storyboarded everything because of the complicated style throughout. According to the filmmaker, he \"wanted lots of movement and I wanted it to be throughout the whole picture, and I wanted the style to kind of break down by the end, so that by [Henry's] last day as a wiseguy, it's as if the whole picture would be out of control, give the impression he's just going to spin off the edge and fly out.\"[2] He claims that the film's style comes from the first two or three minutes of Jules and Jim: extensive narration, quick edits, freeze frames, and multiple locale switches.[5] It was this reckless attitude towards convention that mirrored the attitude of many of the gangsters in the film. Scorsese remarked, \"So if you do the movie, you say, 'I don't care if there's too much narration. Too many quick cuts?\u2014That's too bad.' It's that kind of really punk attitude we're trying to show\".[5] He adopted a frenetic style to almost overwhelm the audience with images and information.[1] He also put plenty of detail in every frame because the gangster life is so rich. The use of freeze frames was done because Scorsese wanted images that would stop \"because a point was being reached\" in Henry's life.[1]\n", "Joe Pesci did not judge his character but found the scene where he kills Spider for talking back to his character hard to do because he had trouble justifying the action until he forced himself to feel the way Tommy did.[4] Lorraine Bracco found the shoot to be an emotionally difficult one because it was such a male-dominated cast and realized that if she did not make her \"work important, it would probably end up on the cutting room floor\".[4] When it came to the relationship between Henry and Karen, Bracco saw no difference between an abused wife and her character.[4]\n", "According to Pesci, improvisation and ad-libbing came out of rehearsals where Scorsese let the actors do whatever they wanted. He made transcripts of these sessions, took the lines that the actors came up with that he liked best, and put them into a revised script that the cast worked from during principal photography.[10] For example, the scene where Tommy tells a story and Henry is responding to him \u2014 the \"Funny how? Do I amuse you?\" scene \u2014 is based on an actual event that happened to Pesci. It was worked on in rehearsals where he and Liotta improvised and Scorsese recorded 4\u20135 takes, rewrote their dialogue and inserted it into the script.[15] The dinner scene with Tommy's mother was largely improvised. Her painting of the bearded man with the dogs was based on a photograph from National Geographic magazine.[16] The cast did not meet Henry Hill during the film's shoot until a few weeks before it premiered. Liotta met him in an undisclosed city. Hill had seen the film and told the actor that he loved it.[4]\n", "The long tracking shot through the Copacabana nightclub came about because of a practical problem: the filmmakers could not get permission to go in the short way and this forced them to go round the back.[1] Scorsese decided to film the sequence in one unbroken shot in order to symbolize that Henry's entire life was ahead of him, commenting, \"It's his seduction of her [Karen] and it's also the lifestyle seducing him.\"[1] This sequence was shot eight times.[15]\n", "Henry's last day as a wiseguy was the hardest part of the film for Scorsese to shoot because he wanted to properly show Henry's state of anxiety, paranoia and racing thoughts caused by cocaine and amphetamines intoxication, which is difficult for an actor (who had never been under their influence) to accurately portray.[1] Scorsese explains to movie critic Mark Cousins in an interview the reason for the Joe Pesci shooting at the screen shot at the end of the film, \"well that's a reference right to the end of The Great Train Robbery, that's the way that ends, that film, and basically the plot of this picture is very similar to The Great Train Robbery. It hasn't changed, 90 years later, it's the same story, the gun shots will always be there, he's always going to look behind his back, he's gotta have eyes behind his back, because they're gonna get him someday.\" The director ended the film with Henry regretting that he is no longer a wiseguy and Scorsese said, \"I think the audience should get angry at him and I would hope they do\u2014and maybe with the system which allows this.\"[1]\n", "Scorsese wanted to depict the film's violence realistically, \"cold, unfeeling and horrible. Almost incidental.\"[3] However, he had to remove ten frames of blood to ensure an R rating from the MPAA.[7] With a budget of $25 million, Goodfellas was Scorsese's most expensive film to date but still only a medium budget by Hollywood standards. It was also the first time he was obliged by Warner Bros. to preview the film. It was shown twice in California and a lot of audiences were \"agitated\" by Henry's last day as a wise guy sequence and Scorsese argued that that was the point of the scene.[1] Scorsese and the film's editor, Thelma Schoonmaker, made this sequence faster with more jump cuts to convey Henry's drug-addled point of view. In the first test screening there were 40 walkouts in the first ten minutes.[15] One of the favorite scenes for test audiences was the one where Tommy tells the story and Henry is responding to him\u2014the \"Do I amuse you?\" scene.[1]\n", "Scorsese chose the songs for the soundtrack using only those that commented on the scene or the characters \"in an oblique way\".[7] The only rule he adhered to with the soundtrack was to only use music that could have been heard at that time. For example, if a scene took place in 1973, he could use any song that was current or older. According to Scorsese, a lot of non-dialogue scenes were shot to playback. For example, he had \"Layla\" playing on the set while shooting the scene where the dead bodies are discovered in the car, dumpster, and the meat-truck. Sometimes, the lyrics of songs were put between lines of dialogue to comment on the action.[1] Some of the music Scorsese had written into the script while other songs he discovered during the editing phase.[15]\n", "Goodfellas premiered at the 47th Venice International Film Festival, where Scorsese received the Silver Lion award for best director.[17] It was given a wide release in North America on September 21, 1990 in 1,070 theaters with an opening weekend gross of US$6.3 million. It went on to make $46.8 million domestically, well above its $25 million budget.[18]\n", "Rotten Tomatoes, a review aggregator, reports that 96% of 69 surveyed critics gave it a positive review; the average rating was 8.9/10. The site's consensus is: \"Hard-hitting and stylish, GoodFellas is a gangster classic \u2013 and arguably the high point of Martin Scorsese's career.\"[19] Metacritic rated it 89/100 based on 18 reviews.[20] In his review for the Chicago Sun-Times, Roger Ebert wrote, \"No finer film has ever been made about organized crime \u2013 not even The Godfather.\"[21] In his review for the Chicago Tribune, Gene Siskel wrote, \"All of the performances are first-rate; Pesci stands out, though, with his seemingly unscripted manner. GoodFellas is easily one of the year's best films.\"[22] In his review for The New York Times, Vincent Canby wrote, \"More than any earlier Scorsese film, Goodfellas is memorable for the ensemble nature of the performances... The movie has been beautifully cast from the leading roles to the bits. There is flash also in some of Mr. Scorsese's directorial choices, including freeze frames, fast cutting and the occasional long tracking shot. None of it is superfluous\".[23] USA Today gave the film four out of four stars and called it, \"great cinema\u2014and also a whopping good time\".[5] David Ansen, in his review for Newsweek magazine, wrote \"Every crisp minute of this long, teeming movie vibrates with outlaw energy\".[24] Rex Reed said, \"Big, Rich, Powerful and Explosive. One of Scorsese's best films! Goodfellas is great entertainment.\"[this quote needs a citation] In his review for Time, Richard Corliss wrote, \"So it is Scorsese's triumph that GoodFellas offers the fastest, sharpest 2\u00bd-hr. ride in recent film history.\"[25]\n", "The film is ranked #1 of the best of 1990 by Roger Ebert,[26] Gene Siskel,[26] and Peter Travers.[27] It is 38th on James Berardinelli's Top 100 Films.[28]\n", "Goodfellas was released on DVD in March 1997, in a single-disc double-sided single-layer format that requires the disc to be flipped during viewing; in 2004, Warner Home Video released a two-disc, dual-layer version, with remastered picture and sound, and bonus materials such as commentary tracks.[32] In early 2007 the film became available on single Blu-ray with all the features from the 2004 release; an expanded Blu-ray version was released in February 2010, bundled with a disc with features that include the 2008 documentary Public Enemies: The Golden Age of the Gangster Film.[32]\n", "Goodfellas is #94 on the American Film Institute's \"100 Years, 100 Movies\" list and moved up to #92 on its AFI's 100 Years... 100 Movies (10th Anniversary Edition) from 2007. In June 2008, the AFI put Goodfellas at #2 on their AFI's 10 Top 10\u2014the best ten films in ten \"classic\" American film genres\u2014after polling over 1,500 people from the creative community. Goodfellas was acknowledged as the second best in the gangster film genre (after The Godfather).[33] In 2000, the United States Library of Congress deemed the film \"culturally significant\" and selected it for preservation in the National Film Registry.\n", "Roger Ebert named Goodfellas the \"best mob movie ever\" and placed it among the best films of the 1990s.[34] In December 2002, a UK film critics poll in Sight and Sound ranked the film #4 on their list of the 10 Best Films of the Last 25 Years.[35] Time included Goodfellas in their list of Time's All-TIME 100 Movies.[36] Channel 4 placed Goodfellas at #10 in their 2002 poll The 100 Greatest Films. Empire listed Goodfellas at #6 on their \"500 Greatest Movies Of All Time\".[37] Total Film voted Goodfellas #1 as the greatest film of all time.[38]\n", "Premiere listed Joe Pesci's Tommy DeVito as #96 on its list of \"The 100 Greatest Movie Characters of All Time,\" calling him \"perhaps the single most irredeemable character ever put on film.\"[39] Empire ranked Tommy DeVito #59 in their \"The 100 Greatest Movie Characters\" poll.[40]\n", "Goodfellas inspired director David Chase to make the HBO television series The Sopranos. Chase said \"Goodfellas is the Koran for me.\" He also told Peter Bogdanovich: \"Goodfellas is a very important movie to me and Goodfellas really plowed that ... I found that movie very funny and brutal and it felt very real. And yet that was the first mob movie that Scorsese ever dealt with a mob crew. ... as opposed to say The Godfather ... which there's something operatic about it, classical, even the clothing and the cars. You know I mean I always think about Goodfellas when they go to their mother's house that night when they're eating, you know when she brings out her painting, that stuff is great. I mean The Sopranos learned a lot from that.\"[41] Indeed, numerous actors from Goodfellas, such as Tony Sirico, Michael Imperioli, Frank Pellegrino, Tony Lip, Frank Vincent and Lorraine Bracco, would later be cast in major roles on The Sopranos.\n", "July 24, 2010 marked the twentieth anniversary of the film's release. This milestone was celebrated with Henry Hill's hosting a private screening for a select group of invitees at the Museum of the American Gangster, in New York City.[42]\n", "In January 2012, it was announced that the AMC Network has put in development a television series version of the movie. Pileggi is on board to co-write the adaptation with television writer-producer Jorge Zamacona. The two will executive produce with the film's producer Irwin Winkler and his son, David.[43]\n", "American Film Institute Lists\n", "\n", "http://en.wikipedia.org/wiki/The_Exorcist\n", "The Exorcist refers to a media franchise including various media originating with The Exorcist, a 1971 horror novel by William Peter Blatty and most prominently featured in a 1973 film adapted from the novel also titled The Exorcist, and numerous prequels and sequels. All of these installments focus on fictional accounts of persons possessed by Satan, and the efforts of religious authorities to counter this possession." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Media within this franchise includes:\n", "http://en.wikipedia.org/wiki/The_Deer_Hunter\n", "The Deer Hunter is a 1978 American war drama film co-written and directed by Michael Cimino about a trio of Russian American steelworkers and their service in the Vietnam War. The film stars Robert De Niro, Christopher Walken, John Savage, John Cazale, Meryl Streep, and George Dzundza. The story takes place in Clairton, a small working class town on the Monongahela River south of Pittsburgh and then in Vietnam, somewhere in the woodland and in Saigon, during the Vietnam War." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film was based in part on an unproduced screenplay called The Man Who Came to Play by Louis Garfinkle and Quinn K. Redeker about Las Vegas and Russian roulette. Producer Michael Deeley, who bought the script, hired writer/director Michael Cimino who, with Deric Washburn, rewrote the script, taking the Russian roulette element and placing it in the Vietnam War. The film went over-budget and over-schedule and ended up costing $15 million. The scenes of Russian roulette were highly controversial on release.\n", "The film won five Academy Awards, including Best Picture, Best Director, and Best Supporting Actor for Christopher Walken, and was named by the American Film Institute as the 53rd greatest American film of all time in the 10th Anniversary Edition of the AFI's 100 Years...100 Movies list.\n", "\n", "\n", "In Clairton, a small working-class town in western Pennsylvania, in late 1967, Russian American steel workers Michael \"Mike\" Vronsky, Steven Pushkov, and Nikonar \"Nick\" Chevotarevich, with the support of their friends and coworkers Stan and Peter \"Axel\" Axelrod and local bar owner and friend John Welsh, prepare for two rites of passage: marriage and military service.\n", "The opening scenes set the character traits of the three main characters. Mike is the no-nonsense, serious but unassuming leader, Steven the loving, near-groom, pecked at by his mother for not wearing a scarf with his tuxedo and Nick is the quiet, introspective man who loves hunting because, he likes \". . . the trees . . . the way the trees are . . .\" The recurring theme of \"one shot\", which is how Mike prefers to take down a deer, is introduced. Before the trio ships out, Steven and his girlfriend Angela, who is pregnant by another man but loved by Steven nonetheless, marry in an Orthodox wedding. In the meantime, Mike contains his feelings for Nick's girlfriend Linda. At the wedding reception held at the local VFW bar, the guys get drunk, dance, sing, and have a good time, but then notice a soldier in a U.S. Army Special Forces uniform. Mike buys him a drink and tries starting a conversation with him to find out what Vietnam is like, but is ignored. After Mike explains that he, Steven, and Nick are going to Vietnam, the Green Beret raises his glass and says \"fuck it\".\n", "The soldier again toasts them with \"fuck it\". After being restrained by the others from starting a fight, Mike goes back to the bar and in a mocking jest to the soldier, raises his glass and toasts him with \"fuck it\". The soldier then glances over at Mike and grins. Later, Steven and Angela drink from conjoined goblets, this being a traditional ceremony, and it is believed that if they drink without spilling any wine, they will have good luck for life. A drop of blood-red wine is unknowingly spilled on her wedding gown, foreshadowing the coming events.\n", "After Linda catches the bouquet of flowers thrown by Angela, Nick asks her to marry him, and she agrees. Later that night, a drunken Mike runs through the town, stripping himself naked along the way. After Nick chases him down he begs Mike not to leave him \"over there\" if anything happens. The next day, Mike, Nick, Stanley, John and Axel go deer hunting one last time, and Michael again kills a deer with \"one shot\".\n", "The film then jumps abruptly to a war-torn village, where U.S. helicopters attack a Communist-occupied Vietnamese village with napalm. A North Vietnamese soldier throws a stick grenade into a hiding place full of civilians. An unconscious Mike (now a staff sergeant in the U.S. Army Special Forces) wakes up to see the NVA soldier shoot a woman carrying a baby. In revenge, Mike kills him with a flame thrower. Meanwhile, a unit of UH-1 \"Huey\" helicopters drops off several U.S. infantrymen, Nick and Steven among them. Michael, Steven and Nick unexpectedly find each other just before they are captured and held together in a riverside prisoner of war camp with other U.S. Army and ARVN prisoners.\n", "For entertainment, the sadistic guards force their prisoners to play Russian roulette and gamble on the outcome. All three friends are forced to play. Steven plays against Mike, who offers moral support, but he breaks down and loses control of the gun, grazing himself with the bullet when it discharges. As punishment, the guards put Steven into an underwater cage, full of rats and the bodies of others who earlier faced the same fate. Mike and Nick end up playing against each other, and Michael convinces the guards to let them play with three bullets in the gun. After a tense match, they kill their captors and escape.\n", "Mike earlier argued with Nick about whether Steven could be saved, but after killing their captors, he rescues Steven. The three float downriver on a tree branch. An American helicopter accidentally finds them, but only Nick is able to climb aboard. The weakened Steven falls back into the water, and Mike plunges in the water to rescue him. Mike helps Steven to reach the river bank, but his legs are crippled, so Mike carries him through the jungle to friendly lines. Approaching a caravan of locals escaping the war zone, he stops a South Vietnamese military truck and places the wounded Steven on it, asking the soldiers to take care of him.\n", "Nick, who is psychologically damaged, recuperates in a military hospital in Saigon with no knowledge on the status of his friends. After being released, he aimlessly stumbles through the red-light district at night. At one point, he encounters Julien Grinda, a champagne-drinking friendly Frenchman outside a gambling den where men play Russian roulette for money. Grinda entices the reluctant Nick to participate, and leads him into the den. Mike is present in the den, watching the game, but the two friends do not notice each other at first. When Mike does see Nick, he is unable to get his attention. When Nick is introduced into the game, he grabs the gun, fires it at the current contestant, and then again at his own temple, causing the audience to riot in protest. Grinda hustles Nick outside to his car to escape the angry mob. Mike cannot catch up with Nick and Grinda as they speed away.\n", "Back in the U.S., Mike returns home but maintains a low profile. He tells the cab driver to drive past the house where all his friends are assembled, as he is embarrassed by the fuss made over him by Linda and the others. He visits Linda and grows close to her but only because of the friend they both think they have lost. Mike is eventually told about Angela, whom he goes to visit at the home of Steven's mother. Angela is apathetic and barely responsive. When asked by Mike about Steven's whereabouts, she writes a phone number on a scrap of paper, which leads Mike to the local veterans' hospital where Steven has been for several months.\n", "Mike goes hunting with Axel, John and Stan one more time, and after tracking a deer across the woods, takes his \"one shot\" but pulls the rifle up and fires into the air. He then sits on a rock escarpment and yells out, \"OK?\" which echoes back at him from the opposing rock faces leading down to the river, signifying his fight with his mental demons over losing Steven and Nick. He also berates Stan for carrying around a small revolver and waving it around, not realizing it is still loaded. Mike visits Steven, who has lost both of his legs and is partially paralyzed. Steven reveals that someone in Saigon has been mailing large amounts of money to him, and Mike is convinced that it is Nick. Mike brings Steven home to Angela and then travels to Saigon just before its fall in 1975.\n", "He tracks down Grinda, who has made a lot of money from the Russian roulette-playing Nick. He finds Nick in a crowded roulette club, but Nick appears to have no recollection of his friends or his home in Pennsylvania. Mike enters himself in a game of Russian roulette against Nick, hoping to jog Nick's memory and persuade him to come home, but Nick's mind is gone. Mike grabs Nick's arms to keep him from taking another turn, which are covered in scars (implied from using heroin). At the last moment, after Mike's attempts to remind him of their hunting trips together, he finally breaks through, and Nick recognizes Mike and smiles. Nick then tells Mike, \"one shot\", raises the gun to his temple, and pulls the trigger. The round is in the gun's top chamber, and Nick kills himself. Horrified, Mike tries reviving him, but to no avail.\n", "Back home in 1975, there is a funeral for Nick, whom Michael brings home, good to his promise. The film ends with everyone at John's bar, singing \"God Bless America\". Mike toasts in Nick's honour.\n", "While producer Deeley was pleased with the revised script, he was still concerned about being able to sell the film. \"We still had to get millions out of a major studio,\" wrote Deeley, \"as well as convince our markets around the world that they should buy it before it was finished. I needed someone with the calibre of Robert De Niro.\"[14] De Niro was one of the biggest stars at that time, coming off Mean Streets, The Godfather Part II, and Taxi Driver. In addition to attracting buyers, Deeley felt De Niro was \"the right age, apparently tough as hell, and immensely talented.\"[4]\n", "Hiring De Niro turned out to be a casting coup because he knew nearly every actor in New York. De Niro brought Meryl Streep to the attention of Cimino and Deeley. With Streep came John Cazale, Streep's romantic partner at the time, who was already very sick with cancer and would die shortly afterwards.[11] De Niro also accompanied Cimino to scout locations for the steel-mill sequence as well as rehearse with the actors to use the workshops as a bonding process.[15]\n", "Each of the six principal male characters carried a photo in their back pockets depicting them all together as children so as to enhance the sense of camaraderie amongst them. In addition to this, director Cimino instructed the props department to fashion complete Pennsylvania IDs for each of them, including driver's licenses, medical cards and various other pieces of paraphernalia, in order to enhance each actor's sense of his character.[16]\n", "There has been considerable debate, controversy, and conflicting stories about how The Deer Hunter was initially developed and written.[5] Director and co-writer Michael Cimino, writer Deric Washburn, producers Barry Spikings and Michael Deeley all have different versions of how the film came to be.\n", "In 1968, the record company EMI formed a new company called EMI Films, headed by producers Barry Spikings and Michael Deeley.[5] Deeley purchased the first draft of a spec script called \"The Man Who Came to Play\", written by Louis Garfinkle and Quinn K. Redeker, for $19,000.[17] The spec script was about people who go to Las Vegas to play Russian Roulette.[5] \"The screenplay had struck me as brilliant,\" wrote Deeley, \"but it wasn't complete. The trick would be to find a way to turn a very clever piece of writing into a practical, realizable film.\"[18] When the movie was being planned during the mid-1970s, Vietnam was still a taboo subject with all major Hollywood studios.[17] According to producer Michael Deeley, the standard response was \"no American would want to see a picture about Vietnam\".[17]\n", "After consulting various Hollywood agents, Deeley found writer-director Michael Cimino, represented by Stan Kamen at the William Morris Agency.[18] Deeley was impressed by Cimino's TV commercial work and Thunderbolt and Lightfoot.[18][19] Cimino himself was confident that he could further develop the principal characters of The Man Who Came to Play without losing the essence of the original. After Cimino was hired, he was called into a meeting with Garfinkle and Redeker at the EMI office. According to Deeley, Cimino questioned the need for the Russian roulette element of the script and Redeker made such a passionate case for it that he ended up literally on his knees. Over the course of further meetings, Cimino and Deeley discussed the work needed at the front of the script and Cimino believed he could develop the stories of the main characters in twenty minutes of film.[19]\n", "Cimino worked for six weeks with Deric Washburn on the script.[6] Cimino and Washburn previously collaborated with Stephen Bochco on the screenplay for Silent Running. According to producer Spikings, Cimino said he wanted to work again with Washburn.[5] According to producer Deeley, he only heard from office rumor that Washburn was contracted by Cimino to work on the script. \"Whether Cimino hired Washburn as his sub-contractor or as a co-writer was constantly being obfuscated,\" wrote Deeley, \"and there were some harsh words between them later on, or so I was told.\"[19]\n", "According to Cimino, he would call Washburn while on the road scouting for locations and feed him notes on dialogue and story. Upon reviewing Washburn's draft, Cimino said, \"I came back, and read it and I just could not believe what I read. It was like it was written by some body who was\u00a0... mentally deranged.\" Cimino confronted Washburn at the Sunset Marquis in LA about the draft and Washburn supposedly replied that he couldn't take the pressure and had to go home. Cimino then fired Washburn. Cimino would later claim to have written the entire screenplay himself.[6] Washburn's response to Cimino's comments were, \"It's all nonsense. It's lies. I didn't have a single drink the entire time I was working on the script.\"[5]\n", "According to Washburn, he and Cimino spent three days together in L.A. at the Sunset Marquis, hammering out the plot. The script eventually went through several drafts, evolving into a story with three distinct acts. Washburn did not interview any veterans to write The Deer Hunter nor do any research. \"I had a month, that was it,\" he explains. \"The clock was ticking. Write the fucking script! But all I had to do was watch TV. Those combat cameramen in Vietnam were out there in the field with the guys. I mean, they had stuff that you wouldn't dream of seeing about Iraq.\" When Washburn was finished, he says, Cimino and Joann Carelli, an associate producer on The Deer Hunter who would go on to produce two more of Cimino's films, took him to dinner at a cheap restaurant off the Sunset Strip. He recalls, \"We finished, and Joann looks at me across the table, and she says, 'Well, Deric, it's fuck-off time.' I was fired. It was a classic case: you get a dummy, get him to write the goddamn thing, tell him to go fuck himself, put your name on the thing, and he'll go away. I was so tired, I didn't care. I'd been working 20 hours a day for a month. I got on the plane the next day, and I went back to Manhattan and my carpenter job.\"[5]\n", "Deeley felt the revised script, now called The Deer Hunter, broke fresh ground for the project. The protagonist in the Redeker/Garfinkle script, Merle, was an individual who sustained a bad injury in active service and was damaged psychologically by his violent experiences, but was nevertheless a tough character with strong nerves and guts. Cimino and Washburn's revised script distilled the three aspects of Merle's personality and separated them out into three distinct characters. They became three old friends who grew up in the same small industrial town and worked in the same steel mill, and in due course would be drafted together to Vietnam.[20] In the original script, the roles of Merle (later renamed Mike) and Nick were reversed in the last half of the film. Nick returns home to Linda, while Mike remains in Vietnam, sends money home to help Steven, and meets his tragic fate at the Russian roulette table.[21]\n", "A Writers Guild arbitration process awarded Washburn sole \"Screenplay by\" credit.[5] Garfinkle and Redeker were given a shared \"Story by\" credit with Cimino and Washburn. Deeley felt the story credits for Garfinkle and Redeker \"did them less than justice.\"[19] Cimino contested the results of the arbitration. \"In their Nazi wisdom,\" added Cimino, \"[they] didn't give me the credit because I would be producer, director and writer.\"[22] All four writers\u2014Cimino, Washburn, Garfinkle and Redeker\u2014received an Oscar nomination for Best Original Screenplay for this film.[23]\n", "The Deer Hunter began principal photography on June 20, 1977.[5] This was the first feature film depicting the Vietnam War to be filmed on location in Thailand. All scenes were shot on location (no sound stages). \"There was discussion about shooting the film on a back lot, but the material demanded more realism,\" says Spikings.[5] The cast and crew viewed large amounts of news footage from the war to ensure authenticity. The film was shot over a period of six months. The Clairton scenes comprise footage shot in eight different towns in four states: West Virginia, Pennsylvania, Washington, and Ohio.[5] The initial budget of the film was $8.5 million.[15]\n", "Before the beginning of principal photography began, Deeley had a meeting with the film's appointed line producer Robert Relyea. Deeley hired Relyea after meeting him on the set of Bullitt and was impressed with his experience. However Relyea told Deeley that he would not be able to be the producer on Deer Hunter. Relyea refused to disclose the reasons why.[15] Deeley suspected that Relyea sensed in director Cimino something that would have made production difficult. As a result, Cimino was acting without day-to-day supervision of a producer.[24]\n", "Because Deeley was busy overseeing in the production of Sam Peckinpah's Convoy, he hired John Peverall to oversee Cimino's shoot. Peverall's expertise with budgeting and scheduling made him a natural successor to Relyea and knew enough about the picture to be elevated to producer status. \"John is a straightforward Cornishman who had worked his way up to become a production supervisor,\" wrote Deeley, \"and we employed him as EMI's watchman on certain pictures.\"[24]\n", "The wedding scenes were filmed at the historic St. Theodosius Russian Orthodox Cathedral in the Tremont neighborhood of Cleveland, Ohio.[5] The wedding took five days to film. An actual priest was cast as the priest at the wedding.[16] The reception scene was filmed at nearby Lemko Hall. The amateur extras lined up for the crowded wedding-dance sequences drank real liquor and beer.[25] The scenes were filmed in the summer, but were set in the fall.[16] To accomplish a look of fall, individual leaves were removed from deciduous trees.[26][27] Zsigmond also had to desaturate the colors of the exterior shots, partly in camera and in the laboratory processing.[27][28]\n", "The production manager asked each of the Russian immigrant extras to bring to the location a gift-wrapped box to double for wedding presents. The manager figured if the extras did this, not only would the production save time and money, but the gifts would also look more authentic. Once the unit wrapped and the extras disappeared, the crew discovered to their amusement that the boxes weren't empty but filled with real presents, from china to silverware. \"Who got to keep all these wonderful offerings,\" wrote Deeley \"is a mystery I never quite fathomed.\"[25]\n", "Cimino originally claimed that the wedding scene would take up 21 minutes of screentime. In the end, it took 51 minutes. Deeley believes that Cimino always planned to make this prologue last for an hour, and \"the plan was to be advanced by stealth rather than straight dealing.\"[29]\n", "At this point in the production, nearly halfway through principal photography, Cimino was already overbudget, and producer Spikings could tell from the script that shooting the extended scene could sink the project.[5]\n", "The bar was specially constructed in an empty storefront in Mingo Junction, Ohio for $25,000; it later became an actual saloon for local steel mill workers.[16] U.S. Steel allowed filming inside its Cleveland mill, including placing the actors around the furnace floor, only after securing a $5 million insurance policy.[13][16] Other filming took place in Pittsburgh. [1]\n", "The first deer to be shot was not actually harmed, despite the \"gruesome close-up\", but hit with a tranquilizer dart.[25][29] The stag which Michael allows to get away later was actually the same one used on TV commercials for the Connecticut Life Insurance Company.[25]\n", "The Viet Cong Russian roulette scenes were shot in real circumstances, with real rats and mosquitoes, as the three principals (De Niro, Walken, and Savage) were tied up in bamboo cages erected along the River Kwai. The woman tasked with casting the extras in Thailand had much difficulty finding a local to play the vicious individual who runs the Russian roulette game. The first actor hired turned out to be incapable of slapping De Niro in the face. The caster thankfully knew a local Thai man with a particular dislike of Americans and cast him accordingly. De Niro suggested that Walken be slapped for real by one of the guards without any warning. The reaction on Walken's face was genuine. Producer Deeley has said that Cimino shot the brutal Vietcong Russian roulette scenes brilliantly and more efficiently than any other part of the film.[25][30]\n", "De Niro and Savage performed their own stunts in the fall into the river, filming the 30\u00a0ft drop 15 times in two days. During the helicopter stunt, the runners caught on the ropes of the suspension bridge and as the helicopter rose, it threatened to seriously injure De Niro and Savage. The actors gestured and yelled furiously to the crew in the helicopter to warn them. Footage of this is included in the film.[31]\n", "According to Cimino, De Niro requested a live cartridge in the revolver for the scene in which he subjects John Cazale's character to an impromptu game of Russian roulette, to heighten the intensity of the situation. Cazale agreed without protest,[6] but obsessively rechecked the gun before each take to make sure that the live round wasn't next in the chamber.[16]\n", "While appearing later in the film, the first scenes shot upon arrival in Thailand are the hospital sequences between Walken and the military doctor. Deeley believes that this scene was \"the spur that would earn him an Academy Award.\"[32][a 1]\n", "In the final scene in the gambling den between Mike and Nick, Cimino had Walken and De Niro improvise in one take. His direction to his actors: \"You put the gun to your head, Chris, you shoot, you fall over and Bobby cradles your head.\"[27]\n", "By this point, The Deer Hunter had cost $13 million and the film still had to go through an arduous post-production.[28] Film editor Peter Zinner was given 600,000\u00a0feet of printed film to edit, a monumental task at the time.[40] Producers Spikings and Deeley were pleased with the first cut, which ran for three-and-a-half hours. \"We were thrilled by what we saw,\" wrote Deeley, \"and knew that within the three and a half hours we watched there was a riveting film.\"[41]\n", "Executives from Universal, including Lew Wasserman and Sid Sheinberg, were not very enthusiastic.[5][41] \"I think they were shocked,\" recalled Spikings. \"What really upset them was 'God Bless America'. Sheinberg thought it was anti-American. He was vehement. He said something like 'You're poking a stick in the eye of America.' They really didn't like the movie. And they certainly didn't like it at three hours and two minutes.\"[5] Deeley wasn't surprised by the Universal response: \"The Deer Hunter was a United Artists sort of picture, whereas Convoy was more in the style of Universal. I'd muddled and sold the wrong picture to each studio.\"[41] Deeley did agree with Universal that the film needed to be shorter, not just because of pacing but also to ensure commercial success.[42] \"A picture under two and a half hours can scrape three shows a day,\" wrote Deeley, \"but at three hours you've lost one third of your screenings and one third of your income for the cinemas, distributors, and profit participants.\"[42]\n", "Thom Mount, president of Universal at the time, said, \"This was just a fucking continuing nightmare from the day Michael finished the picture to the day we released it. That was simply because he was wedded to everything he shot. The movie was endless. It was The Deer Hunter and the Hunter and the Hunter. The wedding sequence was a cinematic event all unto its own.\"[5] Mount says he turned to Verna Fields, Universal's then-head of post-production. \"I sicked Verna on Cimino,\" Mount says. \"Verna was no slouch. She started to turn the heat up on Michael, and he started screeching and yelling.\"[5]\n", "Zinner eventually cut the film down to 18,000\u00a0feet.[40] Zinner was later fired by Cimino when he discovered that Zinner was editing down the wedding scenes.[26][43] Zinner eventually won Best Editing Oscar for The Deer Hunter. Regarding the clashes between him and Cimino, Zinner replied \"Michael Cimino and I had our differences at the end, but he kissed me when we both got Academy Awards.\"[40] Cimino would later comment in The New York Observer, \"[Zinner] was a moron\u00a0... I cut Deer Hunter myself.\"[22]\n", "The Deer Hunter was Cimino's first film to use Dolby noise-reduction system. \"What Dolby does,\" replied Cimino, \"is to give you the ability to create a density of detail of sound\u2014a richness so you can demolish the wall separating the viewer from the film. You can come close to demolishing the screen.\" The film took five months to mix the soundtrack. One short battle sequence\u2014200 feet of film in the final cut\u2014took five days to dub. Another sequence recreated the 1975 American evacuation of Saigon; Cimino brought the film's composer, Stanley Myers, out to the location to listen to the auto, tank, and jeep horns as the sequence was being photographed. The result, according to Cimino: Myers composed the music for that scene in the same key as the horn sounds, so the music and the sound effects would blend with the images to create one jarring, desolate experience.[44]\n", "Both the long and short versions were previewed to Midwestern audiences, although there are different accounts among Cimino, Deeley and Spikings as to how the previews panned out.[5] Director Cimino claims he bribed the projectionist to interrupt the shorter version, in order to obtain better reviews of the longer one.[6] According to producer Spikings, Wasserman let EMI's CEO Bernard Delfont decide between the two and chose Cimino's longer cut.[5] Deeley claims that the two-and-a-half hour version tested had a better response.[45]\n", "The soundtrack to The Deer Hunter was released on audio CD on October 25, 1990.[46]\n", "The Deer Hunter debuted at one theater each in New York and Los Angeles for a week on December 8, 1978.[5][49][50] The release strategy was to qualify the film for Oscar consideration and close after a week to build interest.[51] After the Oscar nominations, Universal widened the distribution to include major cities, building up to a full-scale release on February 23, 1979, just following the Oscars.[49][51] This film was important for helping massage release patterns for so-called prestige pictures that screen only at the end of the year to qualify for Academy Award recognition.[52] The film eventually grossed $48.9 million at the US box office.[3]\n", "CBS paid $3.5 million for three runs of the film. The network later cancelled the acquisition on the contractually permitted grounds of the film containing too much violence for US network transmission.[53]\n", "One of the most talked-about sequences in the film, the Vietcong's use of Russian roulette with POWs, was criticized as being contrived and unrealistic since there were no documented cases of Russian roulette in the Vietnam War.[5][54][55] Associated Press reporter Peter Arnett, who won a Pulitzer Prize for his coverage of the war, wrote in the Los Angeles Times, \"In its 20 years of war, there was not a single recorded case of Russian roulette\u00a0... The central metaphor of the movie is simply a bloody lie.\"[5] Director Cimino was also criticized for one-sidedly portraying all the North Vietnamese as despicable, sadistic racists and killers. Cimino countered that his film was not political, polemical, literally accurate, or posturing for any particular point of view.[54] He further defended his position by saying that he had news clippings from Singapore that confirm Russian roulette was used during the war (without specifying which article).[6]\n", "During the 29th Berlin International Film Festival in 1979, the Soviet delegation expressed its indignation with the film which, in their opinion, insulted the Vietnamese people in numerous scenes. Other socialist states also voiced their solidarity with the \"heroic people of Vietnam\". They protested against the screening of the film and insisted that it violated the statutes of the festival, since it in no way contributed to the \"improvement of mutual understanding between the peoples of the world\". The ensuing domino effect led to the walk-outs of the Cubans, East Germans, Bulgarians, Poles and Czechoslovakians, and two members of the jury resigned in sympathy.[56]\n", "In his review, Roger Ebert defended the artistic license of Russian roulette, arguing \"it is the organizing symbol of the film: Anything you can believe about the game, about its deliberately random violence, about how it touches the sanity of men forced to play it, will apply to the war as a whole. It is a brilliant symbol because, in the context of this story, it makes any ideological statement about the war superfluous.\"[57]\n", "Film critic and biographer David Thomson also agrees that the film works despite the controversy: \"There were complaints that the North Vietnamese had not employed Russian roulette. It was said that the scenes in Saigon were fanciful or imagined. It was also suggested that De Niro, Christopher Walken, and John Savage were too old to have enlisted for Vietnam (Savage, the youngest of the three, was 28). Three decades later, 'imagination' seems to have stilled those worries\u00a0... and The Deer Hunter is one of the great American films.\"[58]\n", "In her review, Pauline Kael wrote, \"The Vietcong are treated in the standard inscrutable-evil Oriental style of the Japanese in the Second World War movies\u00a0... The impression a viewer gets is that if we did some bad things there we did them ruthlessly but impersonally; the Vietcong were cruel and sadistic.\"[5]\n", "In his Vanity Fair article \"The Vietnam Oscars\", Peter Biskind wrote that the political agenda of The Deer Hunter was something of a mystery: \"It may have been more a by-product of Hollywood myopia, the demands of the war-film genre, garden-variety American parochialism, and simple ignorance than it was the pre-meditated right-wing road map it seemed to many.\"[5]\n", "According to Christopher Walken, the historical context wasn't paramount: \"In the making of it, I don't remember anyone ever mentioning Vietnam!\" De Niro added to this sentiment: \"Whether [the film's vision of the war] actually happened or not, it's something you could imagine very easily happening. Maybe it did. I don't know. All's fair in love and war.\" Producer Spikings, while proud of the film, regrets the way the Vietnamese were portrayed. \"I don't think any of us meant it to be exploitive,\" Spikings said. \"But I think we were\u00a0... ignorant. I can't think of a better word for it. I didn't realize how badly we'd behaved to the Vietnamese people\u00a0...\"[5]\n", "Producer Deeley, on the other hand, was quick to defend Cimino's comments on the nature and motives of the film: \"The Deer Hunter wasn't really 'about' Vietnam. It was something very different. It wasn't about drugs or the collapse of the morale of the soldiers. It was about how individuals respond to pressure: different men reacting quite differently. The film was about three steel workers in extraordinary circumstances. Apocalypse Now is surreal. The Deer Hunter is a parable\u00a0... Men who fight and lose an unworthy war face some obvious and unpalatable choices. They can blame their leaders.. or they can blame themselves. Self-blame has been a great burden for many war veterans. So how does a soldier come to terms with his defeat and yet still retain his self-respect? One way is to present the conquering enemy as so inhuman, and the battle between the good guys (us) and the bad guys (them) so uneven, as to render defeat irrelevant. Inhumanity was the theme of The Deer Hunter's portrayal of the North Vietnamese prison guards forcing American POWs to play Russian roulette. The audience's sympathy with prisoners who (quite understandably) cracked thus completes the chain. Accordingly, some veterans who suffered in that war found the Russian roulette a valid allegory.\"[59]\n", "Cimino frequently referred to The Deer Hunter as a \"personal\" and \"autobiographical\" film, although later investigation by journalists like Tom Buckley of Harper's revealed inaccuracies in Cimino's accounts and reported background.[60]\n", "The final scene in which all the main characters gather and sing \"God Bless America\" became a subject of heated debate among critics when the film was released. It raised the question of whether this conclusion was meant ironically or not \u2013 \"as a critique of patriotism or a paean to it\".[5]\n", "The film's initial reviews were largely enthusiastic. It was hailed by many critics as the best American epic since Francis Ford Coppola's The Godfather.[33][60][61] The film was praised for its depiction of working-class settings and environment; Cimino's direction of the performances by De Niro, Walken, Streep, Savage, Dzundza and Cazale; the symphonic shifts of tone and pacing in moving from America to Vietnam; the tension during the Russian roulette scenes; and the themes of American disillusionment.[62]\n", "Roger Ebert of the Chicago Sun-Times gave the film four stars and called it \"one of the most emotionally shattering films ever made.\"[57] Gene Siskel from the Chicago Tribune praised the film, saying, \"This is a big film, dealing with big issues, made on a grand scale. Much of it, including some casting decisions, suggest inspiration by The Godfather.\"[63] Leonard Maltin also gave the film four stars, calling it a \"sensitive, painful, evocative work\".[64] Vincent Canby of the New York Times called The Deer Hunter \"a big, awkward, crazily ambitious motion picture that comes as close to being a popular epic as any movie about this country since The Godfather. Its vision is that of an original, major new filmmaker.\"[61] David Denby of New York called it \"an epic\" with \"qualities that we almost never see any more\u00a0\u2014 range and power and breadth of experience.\"[65][66] Jack Kroll of Time asserted it put director Cimino \"right at the center of film culture.\"[66] Stephen Farber pronounced the film in New West magazine as \"the greatest anti-war movie since La Grande Illusion.\"[66]\n", "However, The Deer Hunter was not without critical backlash, especially in light of the film's controversial use of Russian roulette at its center. Pauline Kael of The New Yorker wrote a positive review with some reservations: \"[It is] a small minded film with greatness in it\u00a0... with an enraptured view of common life\u00a0... [but] enraging, because, despite its ambitiousness and scale, it has no more moral intelligence than the Eastwood action pictures.\"[66] Andrew Sarris wrote that the film was \"massively vague, tediously elliptical, and mysteriously hysterical\u00a0... It is perhaps significant that the actors remain more interesting than the characters they play.\"[5] John Simon of New York wrote: \"For all its pretensions to something newer and better, this film is only an extension of the old Hollywood war-movie lie. The enemy is still bestial and stupid, and no match for our purity and heroism; only we no longer wipe up the floor with him -- rather, we litter it with his guts.\"[67]\n", "The film holds a metascore of 73 on Metacritic, based on 7 reviews, and 92% fresh rating on Rotten Tomatoes, based on 48 reviews. The RT summary reads:\n", "Its greatness is blunted by its length and one-sided point of view, but the film's weaknesses are overpowered by Michael Cimino's sympathetic direction and a series of heartbreaking performances from Robert De Niro, Meryl Streep, and Christopher Walken.[68]\n", "Academy Award-winning film director Milo\u0161 Forman and Academy Award-nominated actor Mickey Rourke consider The Deer Hunter to be one of the greatest films of all time.[72][73]\n", "Cimino's next film, Heaven's Gate, debuted to lacerating reviews and took in only $3 million in ticket sales, effectively leaving United Artists bankrupt. The failure of Heaven's Gate led several critics to revise their positions on The Deer Hunter. Canby said in his famous review of Heaven's Gate, \"[The film] fails so completely that you might suspect Mr. Cimino sold his soul to the Devil to obtain the success of The Deer Hunter, and the Devil has just come around to collect.\"[74] Andrew Sarris wrote in his review of Heaven's Gate, \"I'm a little surprised that many of the same critics who lionized Cimino for The Deer Hunter have now thrown him to the wolves with equal enthusiasm.\"[75] Sarris added, \"I was never taken in\u00a0... Hence, the stupidity and incoherence in Heaven's Gate came as no surprise since very much the same stupidity and incoherence had been amply evident in The Deer Hunter.\"[75] In his book Final Cut: Dreams and Disaster in the Making of Heaven's Gate, Steven Bach wrote, \"critics seemed to feel obliged to go on the record about The Deer Hunter, to demonstrate that their critical credentials were un-besmirched by having been, as Sarris put it, 'taken in.'\"[75]\n", "More recently, BBC film critic Mark Kermode challenged the film's status among generally praised film classics: \"There is an unwritten rule in film criticism that certain films are beyond rebuke. Citizen Kane, Some Like It Hot, 2001, The Godfather Part II...\u00a0all these are considered to be classics of such universally accepted stature\u00a0... At the risk of being thrown out of the 'respectable film critics' circle, may I take this opportunity to declare officially that in my opinion The Deer Hunter is one of the worst films ever made, a rambling self indulgent, self aggrandizing barf-fest steeped in manipulatively racist emotion, and notable primarily for its farcically melodramatic tone which is pitched somewhere between shrieking hysteria and somnambulist sombreness.\"[76]\n", "However, many critics maintain that The Deer Hunter is still a great film whose power hasn't diminished, including David Thomson[62] and A. O. Scott.[77]\n", "Film producer and \"old-fashioned mogul\" Allan Carr used his networking abilities to promote The Deer Hunter. \"Exactly how Allan Carr came into The Deer Hunter's orbit I can no longer remember,\" recalled producer Deeley, \"but the picture became a crusade to him. He nagged, charmed, threw parties, he created word-of-mouth\u00a0\u2013 everything that could be done in Hollywood to promote a project. Because he had no apparent motive for this promotion, it had an added power and legitimacy and it finally did start to penetrate the minds of the Universal's sales people that they actually had in their hands something a bit more significant than the usual.\"[47] Deeley added that Carr's promotion of the film was influential in positioning The Deer Hunter for Oscar nominations.[51]\n", "On the Sneak Previews special \"Oscar Preview for 1978\", Roger Ebert correctly predicted that The Deer Hunter would win for Best Picture while Gene Siskel predicted that Coming Home would win. However, Ebert incorrectly guessed that Robert De Niro would win for Best Actor for Deer Hunter and Jill Clayburgh would win for Best Actress for An Unmarried Woman while Siskel called the wins for Jon Voight as Best Actor and Jane Fonda as Best Actress, both for Coming Home. Both Ebert and Siskel called the win for Christopher Walken receiving the Oscar for Best Supporting Actor.[33]\n", "According to producer Deeley, orchestrated lobbying against The Deer Hunter was led by Warren Beatty, whose own picture Heaven Can Wait had multiple nominations.[78] Beatty also used ex-girlfriends in his campaign: Julie Christie, serving on the jury at the Berlin Film Festival where Deer Hunter was screened, joined the walkout of the film by the Russian jury members. Jane Fonda also criticized The Deer Hunter in public. Deeley suggested that her criticisms partly stemmed from the competition between her film Coming Home vying with The Deer Hunter for Best Picture. According to Deeley, he planted a friend of his in the Oscar press area behind the stage to ask Fonda if she had seen The Deer Hunter.[43] Fonda replied she had not seen the film, and to this day she still has not.[5][43]\n", "As the Oscars drew near, the backlash against The Deer Hunter gathered strength. When the limos pulled up to the Dorothy Chandler Pavilion on April 9, 1979, they were met by demonstrators, mostly from the Los Angeles chapter of Vietnam Veterans Against the War. The demonstrators waved placards covered with slogans that read \"No Oscars for racism\" and \"The Deer Hunter a bloody lie\" and thrust pamphlets berating Deer Hunter into long lines of limousine windows.[5][43] Washburn, nominated for Best Original Screenplay, claims his limousine was pelted with stones. According to Variety, \"Police and The Deer Hunter protesters clashed in a brief but bloody battle that resulted in 13 arrests.\"[5]\n", "De Niro was so anxious that he did not attend the Oscars ceremony. He asked the Academy to sit out the show backstage, but when the Academy refused, De Niro stayed home in New York.[79] Producer Deeley made a deal with fellow producer David Puttnam, whose film Midnight Express was nominated, that each would take $500 to the ceremony so if one of them won, the winner would give the loser the $500 to \"drown his sorrows in style.\"[78]\n", "The Deer Hunter won five Oscars at the 51st Academy Awards in 1979:\n", "In addition, the film was nominated in four other categories:\n", "Cimino won the film's only Golden Globe Award for Best Director. Other nominations the film included Best Motion Picture \u2013 Drama, De Niro for Best Motion Picture Actor \u2013 Drama, Walken for Best Motion Picture Actor in a Supporting Role, Streep for Best Motion Picture Actress in a Supporting Role, and Washburn for Best Screenplay \u2013 Motion Picture.\n", "The Deer Hunter was one of the first, and most controversial, major theatrical films to be critical of the American involvement in Vietnam following 1975 when the war officially ended. While the film opened the same year as Hal Ashby's Coming Home, Sidney Furie's The Boys in Company C, and Ted Post's Go Tell the Spartans, it was the first film about Vietnam to reach a wide audience and critical acclaim, culminating in the winning of the Oscar for Best Picture. Other films released in the late 1970s and 1980s that illustrated the 'hellish', futile conditions of bloody Vietnam War combat included:[54]\n", "David Thomson wrote in an article titled \"The Deer Hunter: Story of a scene\" that the film changed the way war-time battles were portrayed on film: \"The terror and the blast of firepower changed the war film, even if it only used a revolver. More or less before the late 1970s, the movies had lived by a Second World War code in which battle scenes might be fierce but always rigorously controlled. The Deer Hunter unleashed a new, raw dynamic in combat and action, paving the way for Platoon, Saving Private Ryan and Clint Eastwood's Iwo Jima films.\"[81]\n", "In a 2011 interview with Rotten Tomatoes. Actor William Fichtner retrospectively stated that he and his partner were silenced after seeing the film, stating that \"the human experience was just so pointed; their journeys were so difficult, as life is sometimes. I remember after seeing it, walking down the street -- I actually went with a girl on a date and saw The Deer Hunter, and we left the theater and walked for like an hour and nobody said anything; we were just kind of stunned about that.\"[82]\n", "The deaths of approximately twenty-five people who died playing Russian roulette were reported as having been influenced by scenes in the movie.[83]\n", "In 1996, The Deer Hunter was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".[84]\n", "The film ranks 467th in the Empire magazine's 2008 list of the 500 greatest movies of all time,[85] noting:\n", "Cimino's bold, powerful 'Nam epic goes from blue-collar macho rituals to a fiery, South East Asian hell and back to a ragged singalong of America The Beautiful. De Niro holds it together, but Christopher Walken, Meryl Streep and John Savage are unforgettable.[85]\n", "Jan Scruggs, a Vietnam veteran who became a counselor with the U.S. Department of Labor, thought of the idea of building a National Memorial for Vietnam Veterans after seeing a screening of the film in March 1979, and he established and operated the memorial fund which paid for it.[86] Director Cimino was invited to the memorial's opening.[6]\n", "The Deer Hunter has twice been released on DVD in America. The first 1998 issue was by Universal, with no extra features and a non-anamorphic transfer, and has since been discontinued.[91] A second version, part of the \"Legacy Series\", was released as a two-disc set on September 6, 2005, with an anamorphic transfer of the film. The set features a cinematographer's commentary by Vilmos Zsigmond, deleted and extended scenes, and production notes.[92] The Region 2 version of The Deer Hunter, released in the UK and Japan, features a commentary track from director Michael Cimino.[93]\n", "The film was released on HD DVD on December 26, 2006.[94] StudioCanal released the film on the Blu-ray format in countries other than the United States on March 11, 2009.[95] It was released on Blu-ray in the U.S. on March 6, 2012.[96]\n", "http://en.wikipedia.org/wiki/All_Quiet_on_the_Western_Front\n", "All Quiet on the Western Front (German: Im Westen nichts Neues, lit. In the West Nothing New) is a novel by Erich Maria Remarque, a German veteran of World War I. The book describes the German soldiers' extreme physical and mental stress during the war, and the detachment from civilian life felt by many of these soldiers upon returning home from the front." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The novel was first published in November and December 1928 in the German newspaper Vossische Zeitung and in book form in late January 1929. The book and its sequel, The Road Back, were among the books banned and burned in Nazi Germany. It sold 2.5 million copies in 22 languages in its first eighteen months in print.[1]\n", "In 1930, the book was adapted as an Oscar-winning film of the same name, directed by Lewis Milestone.\n", "\n", "\n", "The 1929 English translation by Arthur Wesley Wheen gives the title as All Quiet on the Western Front. The literal translation of \"Im Westen nichts Neues\" is \"In the West Nothing New,\" with \"West\" being the Western Front; the phrase refers to the content of an official communiqu\u00e9 at the end of the novel.\n", "Brian Murdoch's 1993 translation would render the phrase as \"there was nothing new to report on the Western Front\" within the narrative. Explaining his retention of the original book-title, he says:\n", "Although it does not match the German exactly, Wheen's title has justly become part of the English language and is retained here with gratitude.\n", "The phrase \"all quiet on the Western Front\" has become a colloquial expression meaning stagnation, or lack of visible change, in any context.\n", "The book tells the story of Paul B\u00e4umer, a German soldier who\u2014urged on by his school teacher\u2014joins the German army shortly after the start of World War I. His class was \"scattered over the platoons amongst Frisian fishermen, peasants, and labourers.\" B\u00e4umer arrives at the Western Front with his friends and schoolmates (Tjaden, M\u00fcller, Kropp and a number of other characters). There they meet Stanislaus Katczinsky, an older soldier, nicknamed Kat, who becomes Paul's mentor. While fighting at the front, B\u00e4umer and his comrades have to engage in frequent battles and endure the dangerous and often dirty conditions of warfare.\n", "At the very beginning of the book Erich Maria Remarque says \"This book is to be neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped (its) shells, were destroyed by the war.\" The book does not focus on heroic stories of bravery, but rather gives a view of the conditions in which the soldiers find themselves. The monotony between battles, the constant threat of artillery fire and bombardments, the struggle to find food, the lack of training of young recruits (meaning lower chances of survival), and the overarching role of random chance in the lives and deaths of the soldiers are described in detail.\n", "The battles fought here have no names and seem to have little overall significance, except for the impending possibility of injury or death for B\u00e4umer and his comrades. Only pitifully small pieces of land are gained, about the size of a football field, which are often lost again later. Remarque often refers to the living soldiers as old and dead, emotionally drained and shaken. \"We are not youth any longer. We don't want to take the world by storm. We are fleeing from ourselves, from our life. We were eighteen and had begun to love life and the world; and we had to shoot it to pieces.\"\n", "Paul's visit on leave to his home highlights the cost of the war on his psyche. The town has not changed since he went off to war; however, he finds that he does \"not belong here anymore, it is a foreign world.\" He feels disconnected from most of the townspeople. His father asks him \"stupid and distressing\" questions about his war experiences, not understanding \"that a man cannot talk of such things.\" An old schoolmaster lectures him about strategy and advancing to Paris, while insisting that Paul and his friends know only their \"own little sector\" of the war but nothing of the big picture.\n", "Indeed, the only person he remains connected to is his dying mother, with whom he shares a tender, yet restrained relationship. The night before he is to return from leave, he stays up with her, exchanging small expressions of love and concern for each other. He thinks to himself, \"Ah! Mother, Mother! How can it be that I must part from you? Here I sit and there you are lying; we have so much to say, and we shall never say it.\" In the end, he concludes that he \"ought never to have come [home] on leave.\"\n", "Paul feels glad to be reunited with his comrades. Soon after, he volunteers to go on a patrol and kills a man for the first time in hand-to-hand combat. He watches the man die, in pain for hours. He feels remorse and asks forgiveness from the man's corpse. He is devastated and later confesses to Kat and Albert, who try to comfort him and reassure him that it is only part of the war. They are then sent on what Paul calls a \"good job.\" They must guard a village that is being shelled too heavily. The men enjoy themselves but while evacuating the villagers, Paul and Albert are wounded.\n", "They recuperate in a Catholic hospital and Paul returns to active duty.\n", "By now, the war is nearing its end and the German Army is retreating. In despair, Paul watches as his friends fall one by one. It is the death of Kat that eventually makes Paul careless about living. In the final chapter, he comments that peace is coming soon, but he does not see the future as bright and shining with hope. Paul feels that he has no aims left in life and that their generation will be different and misunderstood. When he dies at the end of the novel, the situation report from the frontline states, \"All is Quiet on the Western Front,\" symbolizing the insignificance of one individual's death during the war.\n", "One of the major themes of the novel is the difficulty of soldiers to revert to civilian life after having experienced extreme combat situations. Remarque comments in the preface that \"[All Quiet on the Western Front] will try simply to tell of a generation of men who, even though they may have escaped its shells, were destroyed by the war.\" This internal destruction can be found as early as the first chapter as Paul comments that, although all the boys are young, their youth has left them.\n", "When on leave from the front, Paul feels strongly isolated from his family and removed from daily life. Another topic concerns how soldiers' lives are put at risk by their commanding officers who seem unaware of the trauma of their charges.\n", "Paul B\u00e4umer is the main character and narrator. At 19 years of age, Paul enlists in the German Army and is deployed to the Western Front where he experiences the severe psychological and physical effects of the war. Before the war, Paul was a creative, sensitive and passionate person, writing poems and having a clear love for his family. But as the war changed his attitude and personality, poems and other aspects of his past life become something Paul could not remember having any link to, and he learns to disconnect himself from his feelings. He feels he can't tell anyone about his experiences, and feels like an outsider where his family is concerned.\n", "By the end of the book, Paul realises that he no longer knows what to do with himself and decides that he has nothing more to lose. The war appears to have snuffed out his hopes and dreams, which he feels he can never regain. After years of fighting, Paul is finally killed in October 1918, on an extraordinarily quiet, peaceful day. The army report that day contains only one phrase: \u201cAll quiet on the Western Front.\u201d As Paul dies, his face is calm, \u201cas though almost glad the end had come.\"\n", "Kropp was in Paul's class at school and is described as the clearest thinker of the group. Kropp is wounded towards the end of the novel and undergoes an amputation. Both he and B\u00e4umer end up spending time in a Roman Catholic hospital together, B\u00e4umer suffering from shrapnel wounds to the leg and arm. Though Kropp initially plans to commit suicide if he requires an amputation, the book suggests he postponed suicide because of the strength of military camaraderie. Kropp and B\u00e4umer part ways when B\u00e4umer is recalled to his regiment after recovering. Paul comments that saying farewell was \"very hard, but it is something a soldier learns to deal with.\"[2]\n", "Haie is described as being tall and strong, and a peat-digger by profession. Overall, his size and behavior make him seem older than Paul, yet he is the same age as Paul and his school-friends (roughly 19 at the start of the book). Haie in addition has a good sense of humor. During combat, he is injured in his back, fatally (Chapter 6) \u2014 the resulting wound is large enough for Paul to see Haie's breathing lung when Himmelsto\u00df carries him to safety.\n", "M\u00fcller is about 18 and a half years of age, one of B\u00e4umer's classmates, when he also joins the German army as a volunteer to go to the war. Carrying his old school books with him to the battlefield, he constantly reminds himself of the importance of learning and education. Even while under enemy fire, he \"mutters propositions in physics\". He became interested in Kemmerich's boots and inherits them when Kemmerich dies early in the novel. He is killed later in the book after being shot point-blank in the stomach with a flare gun. As he was dying \"quite conscious and in terrible pain\", he gave his boots which he inherited from Kemmerich to Paul.\n", "Kat has the most positive influence on Paul and his comrades on the battlefield. Katczinsky was a cobbler in civilian life; he is older than Paul B\u00e4umer and his comrades, about 40 years old, and serves as their leadership figure. He also represents a literary model highlighting the differences between the younger and older soldiers. While the older men have already had a life of professional and personal experience before the war, B\u00e4umer and the men of his age have had little life experience or time for personal growth.\n", "Kat is also well known for his ability to scavenge nearly any item needed, especially food. At one point he secures four boxes of lobster. B\u00e4umer describes Kat as possessing a sixth sense. One night, B\u00e4umer along with a group of other soldiers are holed up in a factory with neither rations nor comfortable bedding. Katczinsky leaves for a short while, returning with straw to put over the bare wires of the beds. Later, to feed the hungry men, Kat brings bread, a bag of horse flesh, a lump of fat, a pinch of salt and a pan in which to cook the food.\n", "Kat is hit by shrapnel at the end of the story, leaving him with a smashed shin. Paul carries him back to camp on his back, only to discover upon their arrival that a stray splinter had hit Kat in the back of the head and killed him on the way. He is thus the last of Paul's close friends to die in battle. It is Kat's death that eventually makes B\u00e4umer careless whether he survives the war or not, but that he can face the rest of his life without fear. \"Let the months and the years come, they can take nothing from me, they can take nothing more. I am so alone, and so without hope that I can confront them without fear.\"\n", "One of B\u00e4umer's non-schoolmate friends. Before the war Tjaden was a locksmith. A big eater with a grudge against the former postman-turned corporal Himmelsto\u00df (thanks to his strict 'disciplinary actions'), he manages to forgive Himmelsto\u00df later in the book. Throughout the book, Paul frequently remarks on how much of an eater he is, yet somehow manages to stay as \"thin as a rake.\" Tjaden appears in the sequel, The Road Back.\n", "Kantorek was the schoolmaster of Paul and his friends, including Kropp, Leer, M\u00fcller, and Behm. Behaving \"in a way that cost [him] nothing,\" Kantorek is a strong supporter of the war and encourages B\u00e4umer and other students in his class to join the war effort. Among twenty enlistees was Joseph Behm, the first of the class to die in battle. In an example of tragic irony, Behm was the only one who did not want to enter the war.\n", "Kantorek is a hypocrite, urging the young men he teaches to fight in the name of patriotism, while not voluntarily enlisting himself. In a twist of fate, Kantorek is later called up as a soldier as well. He very reluctantly joins the ranks of his former students, only to be drilled and taunted by Mittelst\u00e4dt, one of the students he had earlier persuaded to enlist.\n", "Leer is an intelligent soldier in B\u00e4umer's company, and one of his classmates. He is very popular with women; when he and his comrades meet three French women, he is the first to seduce one of them. B\u00e4umer describes Leer's ability to attract women by saying \"Leer is an old hand at the game\". In chapter 11, Leer is hit by a shell fragment, which also hits Bertinck. The shrapnel tears open Leer's hip, causing him to bleed to death quickly. His death causes Paul to ask himself, \"What use is it to him now that he was such a good mathematician in school?\"[3]\n", "Lieutenant Bertinck is the leader of B\u00e4umer's company. His men have a great respect for him, and Bertinck has great respect for his men. He permits them to eat the rations of the men that had been killed in action, standing up to the chef Ginger who would only allow them their allotted share. Bertinck is genuinely despondent when he learns that few of his men had survived an engagement.\n", "When he and the other characters are trapped in a trench under heavy attack, Bertinck, who has been injured in the firefight, spots a flamethrower team advancing on them. He gets out of cover and takes aim on the flamethrower but misses, and gets hit by enemy fire. With his next shot he kills the flamethrower, and immediately afterwards an enemy shell explodes on his position blowing off his chin. The same explosion also fatally wounds Leer.\n", "Corporal Himmelsto\u00df (spelled Himmelstoss in some editions) was a postman before enlisting in the war. He is a power-hungry corporal with special contempt for Paul and his friends, taking sadistic pleasure in punishing the minor infractions of his trainees during their basic training in preparation for their deployment. Paul later figures that the training taught by Himmelsto\u00df made them \"hard, suspicious, pitiless, and tough\" but most importantly it taught them comradeship. However, B\u00e4umer and his comrades have a chance to get back at Himmelsto\u00df because of his punishments, mercilessly whipping him on the night before they board trains to go to the front.\n", "Himmelsto\u00df later joins them at the front, revealing himself as a coward who shirks his duties for fear of getting hurt or killed, and pretends to be wounded because of a scratch on his face. Paul B\u00e4umer beats him because of it and when a lieutenant comes along looking for men for a trench charge, Himmelsto\u00df joins and leads the charge. He carries Haie Westhus's body to B\u00e4umer after he is fatally wounded. Matured and repentant through his experiences Himmelsto\u00df later asks for forgiveness from his previous charges. As he becomes the new staff cook, to prove his friendship he secures two pounds of sugar for B\u00e4umer and half a pound of butter for Tjaden.\n", "Detering is a farmer who constantly longs to return to his wife and farm. He is also fond of horses and is angered when he sees them used in combat. He says, \"It is of the vilest baseness to use horses in the war,\" when the group hears several wounded horses writhe and scream for a long time before dying during a bombardment. He tries to shoot them to put them out of misery, but is stopped by Kat to keep their current position hidden. He is driven to desert when he sees a cherry tree in blossom, which reminds him of home too much and inspires him to leave. He is found by military police and court-martialed, and is never heard from again.\n", "Hamacher is a patient at the Catholic hospital where Paul and Albert Kropp are temporarily stationed. He has an intimate knowledge of the workings of the hospital. He also has a \"shooting license,\" certifying him as sporadically not responsible for his actions due to a head wound, though he is clearly quite sane and exploiting his license so he can stay in the hospital and away from the war as long as possible.\n", "A young boy of only 19 years. Franz Kemmerich had enlisted in the army for World War I along with his best friend and classmate, B\u00e4umer. Kemmerich is shot in the leg early in the story; his injured leg has to be amputated, and he dies shortly after. In anticipation of Kemmerich's imminent death, M\u00fcller was eager to get his boots. While in the hospital, someone steals Kemmerich's watch from him, causing him great distress, prompting him to ask about his watch every time his friends came to visit him in the hospital.\n", "A student in Paul's class. Behm was the only student that was not quickly influenced by Kantorek's patriotism to join the war. Eventually, due to pressure from friends and Kantorek, he joins the war. He is the first of Paul's friends to die. He is blinded in no man's land and believed to be dead by his friends. The next day, when he is seen walking blindly around no-man's-land, it is discovered that he was only unconscious. However, he is killed before he can be rescued.\n", "From November 10 to December 9, 1928, All Quiet on the Western Front was published in serial form in Vossische Zeitung magazine. It was released in book form the following year to smashing success, selling one and a half million copies that same year. Although publishers had worried that interest in the Great War had waned more than 10 years after the armistice, Remarque's realistic depiction of trench warfare from the perspective of young soldiers struck a chord with the war's survivors\u2014soldiers and civilians alike\u2014and provoked strong reactions, both positive and negative, around the world.\n", "With All Quiet on the Western Front, Remarque emerged as an eloquent spokesperson for a generation that had been, in his own words, \"destroyed by war, even though it might have escaped its shells.\" Remarque's harshest critics, in turn, were his countrymen, many of whom felt the book denigrated the German war effort, and that Remarque had exaggerated the horrors of war to further his pacifist agenda. The strongest voices against Remarque came from the emerging National Socialist (Nazi) Party, an ultranationalist group in Germany led by the future F\u00fchrer, Adolf Hitler. In 1933, when the Nazis rose to power, All Quiet on the Western Front became one of the first \"degenerate\" books to be publicly burnt.[4]\n", "However, objections to Remarque\u2019s portrayal of the German army personnel during World War I were not limited to the Nazis. Dr. Karl Kroner (de) objected to Remarque\u2019s depiction of the medical personnel as being inattentive, uncaring, or absent from frontline action. Dr. Kroner was specifically worried that the book would perpetuate German stereotypes abroad that had subsided since the First World War. He offered the following clarification: \u201cPeople abroad will draw the following conclusions: if German doctors deal with their own fellow countrymen in this manner, what acts of inhumanity will they not perpetuate against helpless prisoners delivered up into their hands or against the populations of occupied territory?\u201d [5][6]\n", "A fellow patient of Remarque\u2019s in the military hospital in Duisburg objected to the negative depictions of the nuns and patients, and of the general portrayal of soldiers: \u201cThere were soldiers to whom the protection of homeland, protection of house and homestead, protection of family were the highest objective, and to whom this will to protect their homeland gave the strength to endure any extremities.\u201d[6]\n", "These criticisms suggest that perhaps experiences of the war and the personal reactions of individual soldiers to their experiences may be more diverse than Remarque portrays them; however, it is beyond question that Remarque gives voice to a side of the war and its experience that was overlooked or suppressed at the time. This perspective is crucial to understanding the true effects of World War I. The evidence can be seen in the lingering depression that Remarque and many of his friends and acquaintances were suffering a decade later.[5]\n", "In contrast, All Quiet on the Western Front was trumpeted by pacifists as an anti-war book.[6] Remarque makes a point in the opening statement that the novel does not advocate any political position, but is merely an attempt to describe the experiences of the soldier.[7]\n", "The main artistic criticism was that it was a mediocre attempt to cash in on public sentiment. The enormous popularity the work received was a point of contention for some literary critics, who scoffed at the fact that such a simple work could be so earth-shattering. Much of this literary criticism came from Salomo Friedlaender, who wrote a book Hat Erich Maria Remarque wirklich gelebt? \"Did Erich Maria Remarque ever live\". Another author, Max Joseph Wolff, wrote a parody titled Vor Troja nichts Neues \"Before Troja, nothing new\" under the pseudonym Emil Marius Requark.[8] Friedlaender\u2019s criticism's were mainly personal in nature\u2014he attacked Remarque as being ego-centric and greedy. Remarque publicly stated that he wrote All Quiet on the Western Front for personal reasons, not for profit, as Friedlaender had claimed.[5][6]\n", "In 1930, an American film of the novel was made, directed by Lewis Milestone. The screenplay was by Maxwell Anderson, George Abbott, Del Andrews, C. Gardner Sullivan, with uncredited work by Walter Anthony and Milestone. It stars Louis Wolheim, Lew Ayres, John Wray, Arnold Lucy and Ben Alexander.\n", "The film won the Academy Award for Best Picture in 1930 for its producer Carl Laemmle Jr., and an Academy Award for Directing for Lewis Milestone. It was the first all-talking non-musical film to win the Best Picture Oscar. It also received two further nominations: Best Cinematography, for Arthur Edeson, and Best Writing Achievement for Abbott, Anderson and Andrews.\n", "In June 2009, an announcement was made that All Quiet on the Western Front would be remade.[9] Director Mimi Leder was linked with the film in 2011,[10] but as of 2013, the film was still listed as being in pre-production.\n", "In 1979, the film was remade for CBS television by Delbert Mann, starring Richard Thomas of The Waltons as Paul B\u00e4umer and Ernest Borgnine as Kat. The movie was filmed in Czechoslovakia.\n", "On November 9, 2008, a radio adaptation of the novel was broadcast on BBC Radio 3, starring Robert Lonsdale as Paul B\u00e4umer and Shannon Graney as Katczinsky. Its screenplay was written by Dave Sheasby and the show was directed by David Hunter.[11]\n", "Elton John's 1982 album Jump Up! features the song, \"All Quiet on the Western Front\" (written by Elton and Bernie Taupin). The song is a sorrowful rendition of the novel's story (\"It's gone all quiet on the Western Front / Male Angels sigh / ghosts in a flooded trench / As Germany dies\").\n", "In 2009 prior to a UK Tour, Nottingham Playhouse commissioned a play of the book by Robin Kingsland.\n", "http://en.wikipedia.org/wiki/The_French_Connection\n", "The French Connection or French Connection may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/City_Lights\n", "Charlie Chaplin\n", "Flower Girl's theme by Jos\u00e9 Padilla (uncredited)[1]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "City Lights is a 1931 American romantic comedy film written by, directed by, and starring Charlie Chaplin. The story follows the misadventures of Chaplin's Tramp as he falls in love with a blind girl (Virginia Cherrill) and develops a turbulent friendship with an alcoholic millionaire (Harry Myers).\n", "Although sound films were on the rise when Chaplin started developing the script in 1928, he decided to continue working with silent productions. Filming started in December 1928, and ended in September 1930. City Lights marked the first time Chaplin composed the film score to one of his productions and it was written in six weeks with Arthur Johnston. The main theme used as a leitmotif for the blind flower girl is the song \"La Violetera\" (\"Who\u2019ll Buy my Violets\") from Spanish composer Jos\u00e9 Padilla. Chaplin lost a lawsuit to Padilla for not crediting him.\n", "City Lights was immediately successful upon release on January 30, 1931, with positive reviews and box office receipts of $5 million. Today, critics consider it not only one of the highest accomplishments of Chaplin's career, but one of the greatest films ever made. In 1992, the Library of Congress selected City Lights for preservation in the United States National Film Registry as being \"culturally, historically, or aesthetically significant\". In 2007, the American Film Institute's 100 Years... 100 Movies ranked City Lights as the 11th greatest American film of all time. In 1949, the critic James Agee referred to the final scene in the film as the \"greatest single piece of acting ever committed to celluloid\".[2]\n", "\n", "\n", "The officials of a city unveil a new statue, only to find The Tramp sleeping on it. They shoo him away and he wanders the streets, destitute and homeless, and is soon tormented by two newsboys. He happens upon a beautiful Flower Girl (Virginia Cherrill), not realizing at first that she is blind, and buys a flower. Just when she is about to give him his change, a man gets into a nearby luxury car and is driven away, making her think that the Tramp has departed. The Tramp tiptoes away.\n", "That evening, the Tramp runs into a drunken Millionaire (Harry Myers) who is attempting suicide on the waterfront. (It is later mentioned that his wife has sent for her bags.) The Tramp eventually convinces The Millionaire he should live. He takes the Tramp back to his mansion and gives him a change of clothes. They go out for a night on the town, where the Tramp inadvertently causes much havoc. Early the next morning, they return to the mansion and encounter the Flower Girl en route to her vending spot. The Tramp asks The Millionaire for some money, which he uses to buy all the girl's flowers and then drives her home in the Millionaire's Rolls-Royce.\n", "After he leaves, the Flower Girl tells her Grandmother (Florence Lee) about her wealthy acquaintance. When the Tramp returns to the mansion, the Millionaire has sobered and does not remember him, so has the butler order him out. Later that day, the Millionaire meets the Tramp again while intoxicated, and invites him home for a lavish party. The next morning, having sobered again and planning to leave for a cruise, the Millionaire again has the Tramp tossed out.\n", "Returning to the Flower Girl's apartment, the Tramp spies her being attended by a doctor. Deciding to take a job to earn money for her, he becomes a street sweeper. Meanwhile, the Grandmother receives a notice that she and the girl will be evicted if they cannot pay their back rent by the next day, but hides it. The Tramp visits the girl on his lunch break, and sees a newspaper story about a Viennese doctor who has devised an operation that cures blindness. He then finds the eviction notice and reads it aloud at the girl's request. He reassures her that he will pay the rent. But he returns to work late and is fired.\n", "As he is walking away, a boxer persuades him to stage a fake fight, promising to split the $50 prize money. Just before the bout, however, the man receives a telegram warning him that the police are after him. He flees, leaving the Tramp a no-nonsense replacement opponent. Despite a valiant effort, the Tramp is knocked out.\n", "Some time later, he meets the drunken Millionaire who has just returned from Europe. The Millionaire takes him to the mansion and after he hears the girl's plight, gives the Tramp $1,000. Unbeknownst to the Millionaire and the Tramp, two burglars were hiding in the house when they entered. Upon hearing about the cash, they knock out the millionaire and take the rest of his money. The Tramp telephones for the police, but the robbers flee before they arrive, and the butler assumes he stole the money. The Millionaire cannot remember the Tramp or giving him the $1,000. The Tramp narrowly escapes and gives the money to the girl saying he will be going away for a while. Later, he is arrested in front of the newsboys who taunted him earlier, and jailed.\n", "Months later, the Tramp is released. Searching for the girl, he returns to her customary street corner but does not find her. With her sight restored, the girl has opened up a flourishing flower shop with her Grandmother. When a rich customer comes into the shop, the girl briefly wonders if he is her mysterious benefactor. But when he leaves with no acknowledgement, she realizes again she is wrong. While retrieving a flower from the gutter outside the shop, the Tramp is again tormented by the two newsboys. As he turns to leave, he finds himself staring at the girl through the window. His despair turns to elation and he forgets about the flower. Seeing that he has crushed the flower he retrieved, the girl kindly offers him a fresh one and a coin. The Tramp begins to leave, then reaches for the flower. When the girl takes hold of his hand to place the coin in it, she recognizes the touch of his hand and realizes he is no stranger. \"You?\" she says, and he nods, asking, \"You can see now?\" She replies, sobbing, \"Yes, I can see now.\" The Tramp smiles shyly at the girl as the film ends.\n", "Chaplin's feature The Circus, released in 1928, was his last film before the motion picture industry embraced sound recording and brought the silent movie era to a close. As his own producer and distributor (part owner of United Artists), Chaplin could still conceive City Lights as a silent film. Technically the film was a crossover, as its soundtrack had synchronized music, sound effects, and some unintelligible sounds that copied speech pattern films. The dialogue was presented on intertitles.[3] Chaplin was first contacted by inventor Eugene Augustin Lauste in 1918 about making a sound film, but never ended up meeting with Lauste.[4] Chaplin was dismissive about \"talkies\" and told a reporter that he would \"give the talkies three years, that's all.\"[5] He was also concerned about how to adjust the Little Tramp to sound films.[5]\n", "In early 1928, Chaplin began writing the script with Harry Carr. The plot gradually grew from an initial concept Chaplin had considered after the success of The Circus, where a circus clown goes blind and has to conceal his handicap from his young daughter by pretending that his inability to see are pratfalls.[5] This inspired the Blind Girl. The first scenes Chaplin thought up were of the ending, where the newly cured blind girl sees the Little Tramp for the first time.[6] A highly detailed description of the scene was written, as Chaplin considered it to be the center of the entire film.[7]\n", "For a subplot, Chaplin first considered a character even lower on the social scale, a black newsboy. Eventually he opted for a drunken millionaire, a character previously used in the 1921 short The Idle Class.[8] The millionaire plot was based on an old idea Chaplin had for a short, where two millionaires pick up the Little Tramp from the city dump and show him a good time in expensive clubs, and then drop him back off at the dump, so when he woke up the Tramp would not know if it was real or a dream. This was rewritten into a millionaire who is a friend of the Tramp when drunk, but does not recognize him when sober.[9]\n", "Chaplin officially began pre-production of the film in May 1928 and hired Australian art director Henry Clive to design the sets that summer. Chaplin eventually cast Clive in the role of the millionaire. Although the film was originally set in Paris, the art direction is inspired by a mix of several cities. Robert Sherwood said that \"it is a weird city, with confusing resemblances to London, Los Angeles, Naples, Paris, Tangiers and Council Bluffs. It is no city on earth and it is all cities.\"[10]\n", "On August 28, 1928, Chaplin's mother Hannah Chaplin died at the age of 63. Chaplin was distraught for several weeks and pre-production did not resume until mid fall of 1928.[11] Psychologist Stephen Weissman has hypothesized that City Lights is highly autobiographical, with the blind girl representing Chaplin's mother, while the drunken millionaire represents Chaplin's father.[12] Weissman also compared many of the film's sets with locations from Chaplin's real childhood, such as the statue in the opening scene resembling St. Mark's Church on Kennington Park Road[13] and Chaplin referring to the waterfront set as the Thames Embankment.[14]\n", "Chaplin had interviewed several actresses to play the blind flower girl, but was unimpressed with them all. While seeing a film shoot with bathing women in a Santa Monica beach, he found a casual acquaintance, Virginia Cherrill. Cherrill waved and asked if she would ever get the chance to work with him. After a series of poor auditions from other actresses, Chaplin eventually invited her to do a screen test.[15] She was the first actress to subtly and convincingly act blind on camera due to her near-sightedness,[16] and Cherrill signed a contract on November 1, 1928.[17]\n", "Filming for City Lights officially began on December 27, 1928, after Chaplin and Carr had worked on the script for almost an entire year.[17] As a filmmaker, Chaplin was known for being a perfectionist; he was noted for doing many more \"takes\" than other directors at the time.[18] Production began with the first scene at the flower stand where the Little Tramp first meets the Blind Flower Girl. The scene took weeks to shoot, and Chaplin first began to have second thoughts about casting Cherrill. Years later, Cherrill said, \"I never liked Charlie and he never liked me.\"[19] In his autobiography, Chaplin took responsibility for his on-set tensions with Cherrill, blaming the stress of making the film for the conflict.[19] Filming the scene continued until February 1929 and again for ten days in early April before Chaplin put the scene aside to be filmed later.[20] He then shot the opening scene of the Little Tramp waking up in a newly unveiled public statue. This scene involved up to 380 extras and was especially stressful for Chaplin to shoot.[20] During this part of shooting, construction was being done at Chaplin Studios because the city of Los Angeles had decided to widen La Brea Avenue and Chaplin was forced to move several buildings away from the road.[21]\n", "Chaplin then shot the sequence where the Little Tramp first meets the millionaire and prevents him from committing suicide.[21] During filming, Henry Clive suddenly decided that he did not want to jump into the tank of cold water in the scene, causing Chaplin to storm off the set and fire Clive. He was quickly replaced by Harry Myers, who Chaplin had known while under contract at Keystone Studios. Chaplin finished shooting the sequence on July 29, 1929, with exteriors at Pasadena Bridge.[22] Chaplin then shot a sequence that was eventually cut from the film involving the Little Tramp attempting to retrieve a stick that was stuck in a wall. The scene included a young Charles Lederer; Chaplin later praised the scene, but insisted that it needed to be cut.[23] He then continued filming the scenes with the millionaire until September 29, 1929.[24]\n", "In November, Chaplin began working with Cherrill again in some of the Flower Girl's less dramatic scenes. While waiting for her scenes for several months, Cherrill had become bored and openly complained to Chaplin. During the filming of one scene, Cherrill asked Chaplin if she could leave early so that she could go to a hair appointment.[25] Chaplin fired Virginia Cherrill and replaced her with Georgia Hale, Chaplin's co-star in The Gold Rush.[18] However, Hale's screen tests proved that she was unsuitable for the role.[26] Chaplin also briefly considered sixteen-year-old actress Violet Krauth, but was talked out of this idea by his collaborators.[27] Chaplin finally re-hired Cherrill to finish City Lights.[26] She demanded and got a raise to $75 per week.[27] Approximately seven minutes of test footage of Hale survives and is included on the DVD release; excerpts were first seen in the documentary Unknown Chaplin along with an unused opening sequence.[18]\n", "Chaplin then cast Florence D. Lee as the Blind Girl's grandmother and shot scenes with Cherrill and Lee for five weeks.[27] In late 1929, Chaplin re-shot the first Flower Shop scene with Cherrill. This time, the scene was completed in six days and Chaplin was happy with Cherrill's performance. Chaplin had been shooting the film for a year and was only a little more than half way finished.[28] From March to April 1930, Chaplin shot the scenes inside of the millionaire's house at the Town House on Wilshire Boulevard. He hired Joe Van Meter and Albert Austin, whom he had known since his days working for Fred Karno, as the burglars.[29] In the late spring of 1930, Chaplin shot the last major comedy sequence: the boxing match.[29] Chaplin hired Keystone actor Hank Mann to play the Tramp's opponent. The scene required 100 extras and Chaplin took four days to rehearse and six to shoot the scene and was shot between June 23 and 30.[30] Chaplin was initially nervous over the attendance for this scene so he invited his friends to be extras. Over 100 extras were present. Chaplin\u2019s performance in the scene was so humorous that more people arrived daily to be an extra.[31]\n", "In July and August, Chaplin finished up six weeks of smaller scenes, including the two scenes of the Tramp being harassed by newsboys, one of whom was played by a young Robert Parrish.[30]\n", "In September 1930, Chaplin finished shooting with the final scene, which took six days.[30] Chaplin said that he was happy with Cherrill's performance in the scene and that she had eventually understood the role. When talking about his directing style on set, Chaplin stated that \"everything I do is a dance. I think in terms of dance. I think more so in City Lights.\"[21]\n", "From October to December 1930, Chaplin edited the film and created the title cards.[32] When he completed the film, silent films had become generally unpopular. But City Lights was one of the great financial and artistic successes of Chaplin's career, and it was his personal favorite of his films. Especially fond of the final scene, he said, \"[I]n City Lights just the last scene ... I\u2019m not acting .... Almost apologetic, standing outside myself and looking ... It\u2019s a beautiful scene, beautiful, and because it isn\u2019t over-acted.\"[18]\n", "The amount of film used for the picture was uncharacteristic for the time and was a sign of the long production process. Chaplin shot 314, 256 feet of film and the completed film ran 8,093 feet. This made a shooting ratio of over 38 feet of film for each foot of film that made it in the final version.[33]\n", "City Lights marked the first time Chaplin composed the film score to one of his productions.[34] While Chaplin preferred his films to have live sound by the 1930s most theaters had gotten rid of their orchestras. Many of his critics claimed he was doing for it to grab more credit. Chaplin, whose parents and many members of the Chaplin family were both musicians, was struggling with the professional musicians he hired and took it upon himself to compose the score himself. [35] It was written in six weeks with Arthur Johnston and included over one hundred musical cues.[36] Chaplin told a reporter that \"I really didn't write it down. I la-laed and Arthur Johnson wrote it down, and I wish you would give him credit because he did a very good job. It is all simple music, you know, in keeping with my character.\"[36] The intention was to have a score that would translate the characters' emotions through its melodies. [37] The score was recorded in five days with musical arranger Alfred Newman.[38]\n", "The main theme used as a leitmotif for the blind flower girl is the song \"La Violetera\" (\"Who\u2019ll Buy my Violets\") from Spanish composer Jos\u00e9 Padilla.[1] Chaplin was unable to secure the original song performer, Raquel Meller, in the lead role, but used her song anyway as a major theme.[39][40] Chaplin lost a lawsuit to Padilla (which took place in Paris, where Padilla lived) for not crediting him.[41][42] Some modern editions released for video include a new recording by Carl Davis.[43][not in citation given]\n", "Two weeks prior to the premiere, Chaplin decided to have an unpublicized preview at Los Angeles' Tower Theater. It went poorly, attracting a small and unenthusiastic crowd.[38] Better results were seen at the gala premiere on January 30, 1931, at the Los Angeles Theater. Albert Einstein and his wife were the guests of honor, and the film received a standing ovation.[44] It next premiered at the George M. Cohan Theater in New York,[45] where Chaplin closely supervised the release, spending the day doing interviews, and previously spending $60,000 on the advertising, as he was frustrated with what UA's publicists had come up with.[46] Chaplin demanded half of the total gross, and considering audiences would be more attracted by the film itself than its technology, he demanded higher ticket prices compared to talkies.[47]\n", "Chaplin was nervous about the film's reception because, by this time, silent films were becoming obsolete, and the preview had undermined his confidence. Nevertheless, City Lights became one of Chaplin's most financially successful and critically acclaimed works. Following the good reception by American audiences, with earnings of $2 million, a quarter of which came from its 12-week run at the Cohan,[47] Chaplin went on a sixteen-date world tour between February and March 1932, starting with a premiere at London's Dominion Theatre on February 27.[48] The film was enthusiastically received by Depression-era audiences, earning $5 million during its initial release.[49]\n", "Reviews were mostly positive. A film critic for the Los Angeles Examiner said that \"not since I reviewed the first Chaplin comedies way back in the two-reel days has Charlie given us such an orgy of laughs.\"[38] The New York Times reviewer Mordaunt Hall considered it \"a film worked out with admirable artistry\".[50] Variety declared it was \"not Chaplin's best picture\" but that certain sequences were \"hilarious.\"[51] The New Yorker wrote that it was \"on the order of his other [films], perhaps a little better than any of them\" and that it gave an impression \"not often - oh, very seldom - found in the movies; an indefinable impression perhaps best described as a quality of charm.\"[52] On the other hand, Alexander Bakshy of The Nation was highly critical of City Lights, objecting to the silent format and over-sentimentality and describing it as \"Chaplin's feeblest\".[47]\n", "The popularity of City Lights endured, with the film's re-release in 1950 again positively received by audiences and critics. In 1949, the critic James Agee wrote in Life magazine, that the final scene was the \"greatest single piece of acting ever committed to celluloid.\"[53] Richard Meryman called the final scene one of the greatest moments in film history.[32] Charles Silver, Curator of Film at the Museum of Modern Art, stated that the film is so highly regarded because it brought forth a new level of lyrical romanticism that had not appeared in Chaplin's earlier works. He adds that like all romanticism, it is based in the denial of the real world around it. When the film premiered, Chaplin was much older, he was in the midst of another round of legal battles with former spouse Lita Grey, and the economic and political climate of the world had changed. Chaplin uses the Girl's blindness to remind the Tramp of the precarious nature of romanticism in the real world as she unknowingly assaults him multiple times.[54] Film.com critic Eric D. Snider said that by 1931, most Hollywood filmmakers either embraced talking pictures, resigned themselves to their inevitability, or just gave up making movies, yet Chaplin held firm with his vision in this project. He also noted that few in Hollywood had the clout to make a silent film at that late date, let alone do it well. One reason was that Chaplin knew the Tramp could not be adapted to talking movies and still work.[53]\n", "Several well-known directors have praised City Lights. Orson Welles said it was his favorite film. In a 1963 interview in the American magazine Cinema, Stanley Kubrick rated City Lights as fifth among his top ten films.[55] In 1972, the renowned Russian director Andrei Tarkovsky placed City Lights as fifth among his top ten and said of Chaplin, \"He is the only person to have gone down into cinematic history without any shadow of a doubt. The films he left behind can never grow old.\"[56] George Bernard Shaw called Chaplin \"the only genius to come out of the movie industry\".[57] Celebrated Italian director Federico Fellini often praised this film, and his Nights of Cabiria refers to it. In the 2003 documentary Charlie: The Life and Art of Charles Chaplin, Woody Allen said it was Chaplin's best picture. Allen is said to have based the final scene of his 1979 film Manhattan on its final scene.[53]\n", "French experimental musician and film critic Michel Chion has written an analysis of City Lights, published as Les Lumi\u00e8res de la ville.[58] Slavoj \u017di\u017eek used the film as a primary example in his essay \"Why Does a Letter Always Arrive at Its Destination?\".[59] Chaplin's original \"Tramp\" suit from the film was donated by him to the Museum of Natural History of Los Angeles County.[60]\n", "In 1952, Sight and Sound magazine revealed the results of its first poll for \"The Best Films of All Time\"; City Lights was voted #2, after Vittorio DeSica's Bicycle Thieves.[61] In 2002, City Lights ranked 45th on the critics' list.[62] That same year, directors were polled separately and ranked the film as 19th overall.[63] In 1992, the Library of Congress selected City Lights for preservation in the United States National Film Registry as being \"culturally, historically, or aesthetically significant.\"[64] In 2007, the American Film Institute's tenth anniversary edition of 100 Years... 100 Movies ranked City Lights as the 11th greatest American film of all time, an improvement over the 76th position on the original list.[65] AFI also chose the film as the best romantic comedy of American cinema in 2008's \"10 Top 10\".[66] The Tramp was number 38 on AFI's list of the 50 Best Heroes,[67] and the film ranked at 38th among the funniest films,[68] 10th among the greatest love stories,[69] and 33rd on the most inspiring films.[70]\n", "http://en.wikipedia.org/wiki/The_King's_Speech\n", "The King's Speech is a 2010 British historical drama film directed by Tom Hooper and written by David Seidler. Colin Firth plays King George VI who, to cope with a stammer, sees Lionel Logue, an Australian speech and language therapist played by Geoffrey Rush. The men become friends as they work together, and after his brother abdicates the throne, the new King relies on Logue to help him make his first wartime radio broadcast on Britain's declaration of war on Germany in 1939." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Seidler read about George VI's life after overcoming a stuttering condition he endured during his youth. He started writing about the relationship between the monarch and his therapist as early as the 1980s, but at the request of the King's widow, Queen Elizabeth The Queen Mother, postponed work until her death in 2002. He later rewrote his screenplay for the stage to focus on the essential relationship between the two protagonists. Nine weeks before filming began, Logue's notebooks were discovered and quotations from them were incorporated into the script.\n", "Principal photography took place in London and around Britain from November 2009 to January 2010. The opening scenes were filmed at Elland Road, Leeds and Odsal Stadium, Bradford, both locations standing in for the old Wembley Stadium. For indoor scenes, Lancaster House substituted for Buckingham Palace, and Ely Cathedral stood in for Westminster Abbey, while the weaving mill scene was filmed at the Queen Street Mill in Burnley. The cinematography differs from that of other historical dramas: hard light was used to give the story a greater resonance and wider than normal lenses were employed to recreate the King's feelings of constriction. A third technique Hooper employed was the off-centre framing of characters: in his first consultation with Logue, George VI is captured hunched on the side of a couch at the edge of the frame.\n", "Released in the United Kingdom on 7 January 2011, The King's Speech was a major box office and critical success. Censors initially gave it adult ratings due to profanity, though these were later revised downwards after criticism by the makers and distributors in the UK and some instances of swearing were muted in the US. On a budget of \u00a38\u00a0million, it earned over $400\u00a0million internationally (\u00a3250 million).[5] It was widely praised by film critics for its visual style, art direction, and acting. Other commentators discussed the film's representation of historical detail, especially the reversal of Winston Churchill's opposition to abdication. The film received many awards and nominations, particularly for Colin Firth's performance; his Golden Globe Award for Best Actor was the sole win at that ceremony from seven nominations. The King's Speech won seven British Academy Film Awards, including Best Picture, and Best Actor (Firth), Best Supporting Actor (Rush), and Best Supporting Actress (Helena Bonham Carter). The film also won four Academy Awards: Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler).\n", "\n", "\n", "Prince Albert, Duke of York, the second son of King George\u00a0V, stammers through his speech closing the 1925 British Empire Exhibition at Wembley Stadium, while the resulting ordeal is being broadcast by radio worldwide. The Duke has given up hope of a cure, but his wife Elizabeth persuades him to see Lionel Logue, an Australian speech therapist in London. During their first session, Logue breaches royal etiquette by referring to the Prince as \"Bertie,\" a name used by his family. When the Duke decides Logue's methods and manner are unsuitable, Logue wagers a shilling that the Duke can recite Hamlet's \"To be, or not to be\" soliloquy without trouble while listening to \"The Marriage of Figaro\" on headphones. Logue records his performance on an acetate record. Convinced he has stammered throughout, Prince Albert leaves in anger, declaring his condition \"hopeless\" and dismissing Logue. Logue offers him the recording as a keepsake.\n", "After King George\u00a0V makes his 1934 Christmas radio address, he explains to his son the importance of broadcasting to a modern monarchy. He declares that \"David\" (Edward, Prince of Wales), Albert's older brother and the heir to the throne, will bring ruin to himself, the family, and the country when he accedes to the throne- leaving continental Europe to the mercy of Nazi Germany and Communist Russia. King George demands that Albert train himself, starting with a reading of his father's speech. He makes an agonising attempt to do so.\n", "Later, the Duke plays Logue's recording and hears himself unhesitatingly reciting Shakespeare. He decides to return to Logue, where he and his wife both insist that Logue focus only on physical exercises. Logue teaches his patient muscle relaxation and breath control techniques but continues to probe gently and persistently at the psychological roots of the stutter. The Duke eventually reveals some of the pressures of his childhood, and the two men start to become friends.\n", "In January 1936, George\u00a0V dies, and David ascends the throne as King Edward\u00a0VIII, but causes a constitutional crisis with his determination to marry Wallis Simpson, an American socialite divorc\u00e9e who is still legally married to her second husband. At a party in Balmoral Castle, Albert points out that Edward, as head of the Church of England, cannot marry Mrs. Simpson, even if she receives her second divorce; Edward accuses his brother of wanting to usurp his place.\n", "At his next session, Albert expresses his frustration that while his speech has improved when talking to most people, he still stammers when talking to his own brother, and reveals the extent of Edward VIII's folly with Mrs. Simpson. When Logue insists that Albert could be a good king instead of his brother, the latter labels such a suggestion as treason, and in his anger, mocks and dismisses Logue. When King Edward\u00a0VIII abdicates to marry Mrs. Simpson, Albert accedes as King George\u00a0VI. The new King and Queen visit Logue at his home to apologise, startling Mrs. Logue, who was unaware that the new king was her husband's patient.\n", "During preparations for his coronation in Westminster Abbey, George\u00a0VI learns that Logue has no formal qualifications, as initially assumed by him. When confronted, Logue explains how he was asked to help shell-shocked Australian soldiers returning from the First World War. When George VI remains unconvinced of his fitness for the throne, Logue sits in King Edward's Chair and dismisses the underlying Stone of Scone as a trifle. Goaded by Logue's seeming disrespect, the King surprises himself with his own sudden burst of outraged eloquence.\n", "Upon the declaration of war with Nazi Germany in September 1939, George\u00a0VI summons Logue to Buckingham Palace to prepare for his upcoming radio address to millions of listeners in Britain and the Empire. Knowing the challenge that lies before him, both Winston Churchill and Prime Minister Neville Chamberlain offer the King their support. The King and Logue are then left in the room. He delivers his speech somewhat competently, while Logue guides him. By the end of his speech, George VI is speaking freely with little to no guidance from Logue. Afterwards, the King and his family step onto the balcony of the palace, and are applauded by the thousands who have gathered.\n", "A title card explains that Logue was always present at King George\u00a0VI's speeches during the war, and that they remained friends for the rest of their lives.\n", "\n", "Not a great deal was written about His Majesty's speech therapist, Lionel Logue, certainly not in the official biographies. Nor was much published about the Royal stutter; it appeared to be a source of profound embarrassment.[7]\n", "As a child, David Seidler developed a stammer, which he believes was caused by the emotional trauma of World War II and the murder of his grandparents during the Holocaust. King George VI's success in overcoming his stammer inspired the young Seidler, \"Here was a stutterer who was a king and had to give radio speeches where everyone was listening to every syllable he uttered, and yet did so with passion and intensity.\" When Seidler became an adult, he resolved to write about King George VI. During the late 1970s and 1980s he voraciously researched the King, but found a dearth of information on Logue. Eventually Seidler contacted Dr. Valentine Logue, who agreed to discuss his father and make his notebooks available if the Queen Mother gave her permission. She asked him not to do so in her lifetime, and Seidler halted the project.[7]\n", "The Queen Mother died in 2002. Three years later, Seidler returned to the story during a bout of creative work inspired by a recovery from cancer. His research, including a chance encounter with an uncle whom Logue had treated, indicated he used mechanical breathing exercises combined with psychological counselling to probe the underlying causes of the condition. Thus prepared, Seidler imagined the sessions. He showed the finished screenplay to his wife, who liked it, but pronounced it too \"seduced by cinematic technique\". She suggested he rewrite it as a stage play to focus on the essential relationship between the King and Logue. After he had completed it, he sent it to a few friends who worked in theatre in London and New York for feedback.[7]\n", "In 2005, Joan Lane of Wilde Thyme, a production company in London, received the script. Lane started talking with Simon Egan and Gareth Unwin of Bedlam Productions, and they invited Seidler to London to rewrite the play again, this time for the screen. Together, Lane and Bedlam Productions organised a reading of the play in Pleasance Theatre, a small house in north London, to a group of Australian expatriates, among whom was Tom Hooper's mother. She called her son and said, \"I've found your next project\".[9][10]\n", "Instead of trying to contact his agent, Lane asked an Australian staff member to hand-deliver the script to Geoffrey Rush's house, not far away from hers in Melbourne. Unwin reports that he received a four-page e-mail from Rush's manager admonishing them for the breach of etiquette, but ending with an invitation to discuss the project further. Iain Canning from See-Saw Films became involved and, in Gareth Unwin's words: \"We worked with ex-chair of BAFTA Richard Price, and started turning this story about two grumpy men sitting in a room into something bigger.\"[10] Hooper liked the story, but thought that the original ending needed to be changed to reflect events more closely: \"Originally, it had a Hollywood ending\u00a0... If you hear the real speech, he's clearly coping with his stammer. But it's not a perfect performance. He's managing it.\"[9]\n", "The production team learned\u2014some nine weeks prior to the start of filming\u2014of a diary containing Logue's original notes on his treatment of the Duke.[11] They then went back and re-worked the script to reflect what was in the notes. Hooper said some of the film's most memorable lines, such as at the climax, when Logue smiles, \"You still stammered on the W\" to the King, who replies, \"I had to throw in a few so they would know it was me\" were direct quotations from Logue's notes.[12] Changes from the script to reflect the historical record included Michael Gambon improvising the ramblings of George V as he signed away authority, and the decision to dress the Duke in an overcoat rather than regal finery in the opening scene.[13]\n", "Seidler thought Paul Bettany would be a good choice to play King George\u00a0VI, Tom Hooper preferred Hugh Grant, though both actors refused the offer. Once they met with Firth and heard him read for the part, Seidler and Hooper were convinced of his suitability for the role.[6]\n", "The UK Film Council awarded the production \u00a31\u00a0million in June 2009.[14] Filming began in December 2009, and lasted 39 days. Most was shot in the three weeks before Christmas because Rush would be performing in a play in January. The schedule was further complicated by Bonham Carter's availability: she worked on Harry Potter during the week, so her scenes had to be filmed during the weekend.[10]\n", "The set design presented a challenge for the film-makers: period dramas rely to an extent on the quality of production, but their budget was a relatively limited \u00a38\u00a0million. The film had to be authentic\u2014combining regal opulence with scruffy, depression-era London.[15] On 25 November 2009, the crew took over the Pullens buildings in Southwark. The entire street was transformed into 1930s London. Large advertisements, for (among other things) Bovril and fascism were placed on the walls; streets were sprayed with grit and buildings with grime. A neighbour of Hooper's had told him the smog in London at the time was so thick that cars had to be guided by someone walking in front. To create this scene the crew pumped in so much artificial smoke that the fire alarms in a nearby boutique sounded. According to Hooper, the scene was a good opportunity to show Logue's socio-economic background.[13]\n", "On 26 November, a week's filming with Firth, Rush, and Jacobi began at Ely Cathedral, the location used for Westminster Abbey. The production had asked for permission to film in the Abbey but were denied due to the demands of tourism.[13] Though Lincoln Cathedral is architecturally a closer match to the Abbey, they preferred Ely, a favoured filming location. Its size allowed them to build sets showing not just the coronation, but the preparations before it.[16][17][18]\n", "Lancaster House, an opulent, government-owned period house in London, was used for the interiors of Buckingham Palace that the King walks through prior to making his speech and for the official photograph afterwards; it cost \u00a320,000 a day to rent.[15] The 1936 Accession Council at St. James's Palace, where George VI swore an oath, was filmed in February in the Livery Hall of Drapers' Hall, after principal photography had been completed. The room, ornate and vast, met the occasion: the daunting nature of the new King's responsibilities was shown by surrounding him with rich detail, flags and royal portraiture.[19][20][21]\n", "The crew investigated Logue's former consultation rooms, but they were too small to film in. Instead, they found a high, vaulted room not far away in 33 Portland Place. Eve Stewart, the production designer, liked the mottled, peeling wallpaper there so much that she recreated the effect throughout the entire room.[15] In his DVD commentary, Hooper said he liked Portland Place as a set because it felt \"lived-in\", unlike other period houses in London. The scenes of the Duke of York at home with his family were also filmed here; showing the Prince living in a townhouse \"subverted\" expectations of a royal drama.[13]\n", "The opening scene, set at the closing ceremony of the 1925 British Empire Exhibition at Wembley Stadium, was filmed on location at Elland Road, home of Leeds United, and Odsal Stadium, home of Bradford RLFC. Elland Road was used for the speech elements of the prince stammering his way through his first public address, and Odsal Stadium was selected because of the resemblance of its curved ends to Wembley Stadium in 1925.[22] The crew had access to the stadium only at 10\u00a0pm, after a football game. They filled the terraces with inflatable dummies and over 250 extras dressed in period costumes. Live actors were interspersed to give the impression of a crowd. Additional people, as well as more ranks of soldiers on the pitch, were added in post-production with visual effects.[15][23]\n", "Other locations include Cumberland Lodge, Harley Street, Knebworth, Hatfield House, the Old Royal Naval College in Greenwich, Queen Street Mill Textile Museum in Burnley, and Battersea Power Station, which doubled as a BBC wireless control room.[24] The final cut of the film was completed on 31 August 2010.[25]\n", "In developing his portrayal of George VI's stammer, Firth worked with Neil Swain, the voice coach for the film. His sister, Kate Firth, also a professional voice coach to actors, proposed exercises the King might have done with Logue, and made suggestions on how to imagine Logue's mix of physical and psychological coaching for the film.[26] In addition, Firth watched archive footage of the King speaking. In an interview with Allan Tyrer published by the British Stammering Association, Swain said: \"[It] was very interesting while we were working on the film just to think tonally how far we could go and should go with the strength of George's stammer. I think a less courageous director than Tom [Hooper] \u2013 and indeed a less courageous actor than Colin [Firth] \u2013 might have felt the need to slightly sanitise the degree and authenticity of that stammer, and I'm really really pleased that neither of them did.\"[27] In May 2011 Firth said he was finding traces of the stammer difficult to eliminate: \"You can probably hear even from this interview, there are moments when it\u2019s quite infectious,\" he said. \"You find yourself doing it and if I start thinking about it the worse it gets. If nothing else it\u2019s an insight into what it feels like.\"[28]\n", "The film's original score was composed by Alexandre Desplat. In a film about a man struggling to articulate himself, Desplat was wary of overshadowing the dramaturgy, \"This is a film about the sound of the voice. Music has to deal with that. Music has to deal with silence. Music has to deal with time.\"[29] The score is a sparse arrangement of strings and piano (with the addition of oboe and harp in one cut), intended to convey the sadness of the King's muteness, and then the growing warmth of friendship between him and Logue. The minimalist approach emphasises the protagonist's struggle for control.[30] Desplat used the repetition of a single note to represent the stickiness of the King's speech.[29] As the film progresses, growing banks of warm strings swaddle the deepening friendship between the two leads. The music rises to a climax in the coronation scene. Hooper originally wanted to film the scene without music, but Desplat argued that it was the real climax of the story\u2014the point when the friendship was ratified by their decision to trust each other. \"That is really rare\", said Desplat, \"mostly you have love stories\".[29] To create a dated sound, the score was recorded on old microphones extracted from the EMI archives which had been specially made for the royal family.[29] The music played during the broadcast of the 1939 radio speech at the climax of the film is from the 2nd movement (Allegretto) of Beethoven's 7th Symphony; it was added by Tariq Anwar, the editor. When Desplat later joined the team to write the music, he praised and defended Anwar's suggestion. Hooper further remarked that the stature of the piece helps elevate the status of the speech to a public event.[31] The score was nominated for several awards, including Best Original Score at the Oscars, Golden Globes, and BAFTAs, winning the latter award. The score also won a Grammy at the 54th Grammys.\n", "Hooper employed a number of cinematic techniques to evoke the King's feelings of constriction. He and cinematographer Danny Cohen used wider than normal lenses to photograph the film, typically 14mm, 18mm, 21mm, 25mm and 27mm, where the subtle distortion of the picture helps to convey the King's discomfort.[32][33] For instance, the subjective point of view shot during the Empire exhibition speech used a close up of the microphone with a wider lens, similar to the filming technique used for one of the Duke's early consultations with a physician.[13] In The New York Times, Manohla Dargis wrote that the feeling of entrapment inside the King's head was rendered overly literal with what she believed to be a fisheye lens, though in these scenes the wider lenses were used.[32][34] Hooper also discussed using the 18mm lens, one he likes \"because it puts human beings in their context\".[13]\n", "Roger Ebert noted that the majority of the film was shot indoors, where oblong sets, corridors, and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas.[35] Hooper used wide shots to capture the actors' body language, particularly Geoffrey Rush, who trained at L'\u00c9cole Internationale de Th\u00e9\u00e2tre Jacques Lecoq in Paris and \"is consequently brilliant in the way he carries his body\". Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes. The approach carried over to Firth as well. In the first consultation scene, the Duke is squeezed against the end of a long couch framed against a large wall, \"as if to use the arm of the sofa as a kind of friend, as a security blanket?\"[32] Martin Filler praised the \"low-wattage\" cinematography of Danny Cohen, as making everything look like it has been \"steeped in strong tea\".[36]\n", "At other times, the camera was positioned very close to the actors to catch the emotion in their faces: \"If you put a lens 6 inches from somebody's face, you get more emotion than if you're on a long lens 20 feet away,\" Cohen said in an interview.[33] Hooper sought a second subtlety while filming the first consultation room scene between the two men, having placed the camera 18\u00a0inches from Colin Firth's face: \"I wanted the nervousness of the first day to percolate into his performances.\"[32]\n", "Historical dramas traditionally tend to use \"soft light\", but Hooper wanted to use a harsher glare, which gives a more contemporary feel, and thus a greater emotional resonance. To achieve the effect, the lighting team erected huge blackout tents over the Georgian buildings, and used large lights filtered through Egyptian cotton.[33]\n", "The filmmakers not only tightened the chronology of the events to just a few years but even shifted the actual timeline of treatment: the Duke of York actually began work with Logue in October 1926, ten years before the abdication crisis, and the improvement in his speech was apparent in months rather than years, as is suggested by the film.[37] In a 1952 newspaper interview with John Gordon, Logue said that \"Resonantly and without stuttering, he opened the Australian Parliament in Canberra in 1927\"; this was just seven months after the Duke began to work with Logue.[38]\n", "Hugo Vickers, an adviser on the film, agreed that the alteration of historical details to preserve the essence of the dramatic story was sometimes necessary. The high-ranking officials, for instance, would not have been present when the King made his speech, nor would Churchill have been involved at any level, \"but the average viewer knows who Churchill is; he doesn't know who Lord Halifax and Lord Hoare are.\"[39]\n", "Robert Logue, a grandson of Lionel, doubted the film's depiction of the speech therapist, stating \"I don't think he ever swore in front of the King and he certainly never called him 'Bertie'\".[40] Andrew Roberts, an English historian, states that the severity of the King's stammer was exaggerated and the characters of Edward VIII, Wallis Simpson, and George V made more antagonistic than they really were, to increase the dramatic effect.[41]\n", "Christopher Hitchens and Isaac Chotiner challenged the film's portrayal of Winston Churchill's role in the abdication crisis.[42][43] It is well established that Churchill encouraged Edward VIII to resist pressure to abdicate, whereas he is portrayed in the film as strongly supportive of Prince Albert and not opposed to the abdication.[44] Hitchens attributes this treatment to the \"cult\" surrounding Churchill's legacy. In a smart, well-made film, \"would the true story not have been fractionally more interesting for the audience?\" he wondered.[45] They also criticised the film for failing to indict the appeasement of the era. While the film never directly mentions the issue, Hitchens and Chotiner argue that it implies that George VI was against appeasement, especially in the final scene portraying \"Churchill and the King at Buckingham Palace and a speech of unity and resistance being readied for delivery\".[45] Far from distancing himself from Chamberlain's appeasement policy, King George VI dispatched a car to meet Neville Chamberlain when he returned from signing the Munich Agreement with Hitler in September 1938. The King and Chamberlain then stood on the balcony of Buckingham Palace, acclaimed by cheering crowds. This led historian Steven Runciman to write that by acting as he did to endorse Chamberlain's foreign policy, King George VI perpetrated \"the biggest constitutional blunder that has been made by any sovereign this century.\"[36] The Guardian corrected the portrayal of Stanley Baldwin as having resigned due to his refusal to order Britain's re-armament, when he in fact stepped down as \"a national hero, exhausted by more than a decade at the top\".[46]\n", "Martin Filler acknowledged that the film legitimately used artistic licence to make valid dramatic points, such as in the probably imagined scene when George V lectures his son on the importance of broadcasting. Filler cautions that George VI would never have tolerated Logue addressing him casually, nor swearing, and the King almost certainly would have understood a newsreel of Hitler speaking in German. Filler makes the larger point that both the King and his wife were, in reality, lukewarm towards Churchill because of the latter's support for his brother during the abdication crisis. They only warmed to Churchill later in the war, because of his performance as a wartime leader.[36]\n", "Commenting on the film's final scene on the balcony of Buckingham Palace, Andrew Roberts has written, \"The scene is fairly absurd from a historical point of view \u2013 Neville Chamberlain and Winston Churchill were not present and there were no cheering crowds outside Buckingham Palace.\"[41] Overall, Roberts praises the film as a sympathetic portrayal of the King's \"quiet, unassuming heroism\", and he states: \"The portrayals by Firth and Bonham Carter are sympathetic and acute, and the movie\u2019s occasional factual b\u00eatises should not detract from that.\"[41]\n", "The film had its world premi\u00e8re on 6 September 2010 at the Telluride Film Festival in the United States.[25] It was screened at the 2010 Toronto International Film Festival, on Firth's 50th birthday, where it received a standing ovation and won the People's Choice Award.[47] The cinema release poster was re-designed to show an extreme close-up of Firth's jaw and a microphone after Hooper criticised the first design as a \"train smash\".[48] Tim Appelo called the original, air-brushed effort, which showed the three leads, \"shockingly awful\" though the new one \"really is worthwhile\".[49]\n", "The film was distributed by Transmission in Australia and by Momentum Pictures in the United Kingdom. The Weinstein Company distributed it in North America, Germany, Benelux, Scandinavia, China, Hong Kong, and Latin America.[50] The film was released in France on 2 February 2011, under the title Le discours d'un roi. It was distributed by Wild Bunch Distribution.[51]\n", "The film was initially given a 15 certificate by the British Board of Film Classification, due to scenes where Logue encourages the King to shout profanities to relieve stress. At the London Film Festival, Hooper criticised the decision, questioning how the board could certify the film \"15\" for bad language but allow films such as Salt (2010) and Casino Royale (2006) to have \"12A\" ratings, despite their graphic torture scenes. Following Hooper's criticism, the board lowered the rating to \"12A\", allowing children under 12 years of age to see the film if they are accompanied by an adult.[52][53] Hooper levelled the same criticism at the Motion Picture Association of America, which gave the film an \"R\" rating, preventing anyone under the age of 17 from seeing the film without an adult.[54] In his review, Roger Ebert criticised the \"R\" rating, calling it \"utterly inexplicable\", and wrote, \"This is an excellent film for teenagers.\"[35]\n", "In January 2011 Harvey Weinstein, the executive producer and distributor, said he was considering having the film re-edited to remove some profanity, so that it would receive a lower classification and reach a larger audience.[55] Hooper, however, refused to cut the film, though he considered covering the swear words with bleeps. Helena Bonham Carter also defended the film, saying, \"[The film] is not violent. It's full of humanity and wit. [It's] for people not with just a speech impediment, but who have got confidence [doubts].\"[56] After receiving his Academy Award, Colin Firth noted that he does not support re-editing the film; while he does not condone the use of profanity, he maintains that its use was not offensive in this context. \"The scene serves a purpose\", Firth states.[57] An alternate version, with some of the profanities muted out, was classified as \"PG-13\" in the United States; this version was released to cinemas on 1 April 2011, replacing the R-rated one.[58][59] The PG-13 version of this film is not available on DVD and Blu-ray.\n", "\n", "In the UK and Ireland, the film was the highest earning film on its opening weekend. It took in \u00a33,510,000 from 395 cinemas. The Guardian said that it was one of the biggest takes in recent memory, and compared it to Slumdog Millionaire (2008), which, two years earlier, earned \u00a31.5\u00a0million less.[60] The King's Speech continued a \"stunning three weeks\" atop the UK Box office, and earned over \u00a33\u00a0million for four consecutive weekends, the first film to do so since Toy Story 3 (2010).[61] After five weeks on UK release, it was hailed as the most successful independent British film ever.[3]\n", "In the United States The King's Speech opened with $355,450 (\u00a3220,000) in four cinemas. It holds the record for the highest per-cinema gross of 2010.[62] It was widened to 700 screens on Christmas Day and 1,543 screens on 14 January 2011. It eventually made $138\u00a0million in North America overall.[4]\n", "In Australia The King's Speech made more than A$6,281,686 (\u00a34\u00a0million) in the first two weeks, according to figures collected by the Motion Picture Distributors Association of Australia. The executive director of Palace Cinemas, Benjamin Zeccola, said customer feedback on the film was spectacular. \"It's our No.1 for all the period, all throughout the country.\u00a0... I think this is more successful than Slumdog Millionaire and a more uplifting film. It's a good example of a film that started out in the independent cinemas and then spread to the mainstream cinemas.\"[63]\n", "Of the film's net profit, estimated to amount to $30\u201340\u00a0million (\u00a320\u201325\u00a0million) from the cinema release alone, roughly 20% will be split between Geoffrey Rush (as executive producer), Tom Hooper and Colin Firth, who receive their bonuses before the other stakeholders. The remaining profit is to be split equally between the producers and the equity investors.[64] The UK Film Council invested \u00a31\u00a0million of public funds from the United Kingdom lottery into the film. In March 2011 Variety estimated that the return could be between fifteen and twenty times that. The Council's merger into the British Film Institute means that the profits are to be returned to that body.[65]\n", "\n", "As the actor of the year in the film of the year, I can't think of enough adjectives to praise Firth properly. The King's Speech has left me speechless.[66]\n", "The King's Speech has received widespread critical acclaim, with Firth's performance receiving strong acclaim.[67][68] Rotten Tomatoes gives the film a score of 94% based on reviews from 233 critics; their average rating was calculated as 8.6/10. It summarised the critical consensus as: \"Colin Firth gives a masterful performance in The King's Speech, a predictable but stylishly produced and rousing period drama.\"[69] Metacritic gave the film a weighted score of 88/100, based on 41 critiques, which it ranks as \"universal acclaim\".[70] Empire gave the film five stars out of five, commenting, \"You'll be lost for words.\"[71] Lisa Kennedy of the Denver Post gave the film full marks for its humane qualities and craftsmanship: \"It is an intelligent, winning drama fit for a king \u2013 and the rest of us\", she said.[72] Roger Ebert of the Chicago Sun-Times awarded the film a full four stars, commenting that \"what we have here is a superior historical drama and a powerful personal one.\"[35] Peter Bradshaw of The Guardian gave four stars out of five, stating, \"Tom Hooper's richly enjoyable and handsomely produced movie\u00a0... is a massively confident crowd-pleaser.\"[73]\n", "Manohla Dargis, whilst generally ambivalent towards the film, called the lead performances one of its principal attractions. \"With their volume turned up, the appealing, impeccably professional Mr. Firth and Mr. Rush rise to the acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title,\" she wrote.[34] The Daily Telegraph called Guy Pearce's performance as Edward VIII \"formidable ... with glamour, charisma and utter self-absorption\".[74] Empire said he played the role well as \"a flash harry flinty enough to shed a nation for a wife.\"[71] The New York Times thought he was able to create \"a thorny tangle of complications in only a few abbreviated scenes\".[34] Hooper praised the actor in the DVD commentary, saying he \"nailed\" the 1930s royal accent.[13] Richard Corliss of Time magazine named Colin Firth's performance one of the Top 10 Movie Performances of 2010.[75]\n", "The British Stammering Association welcomed the release of The King's Speech, congratulating the film makers on their \"realistic depiction of the frustration and the fear of speaking faced by people who stammer on a daily basis.\" It said that \"Colin Firth's portrayal of the King's stammer in particular strikes us as very authentic and accurate.\"[76] The Royal College of Speech and Language Therapists welcomed the film, and launched their \"Giving Voice\" campaign around the time of its commercial release.[77]\n", "Allocin\u00e9, a French cinema website, gave the film an average of four out of five stars, based on a survey of 21 reviews.[78] Le Monde, which characterised the film as the \"latest manifestation of British narcissism\" and summarised it as \"We are ugly and boring, but, By Jove!, we are right!\", nevertheless admired the performances of Firth, Rush, and Bonham Carter. It said that, though the film swept British appeasement under the carpet, it was still enjoyable.[79]\n", "Queen Elizabeth II, the daughter and successor of King George VI, was sent two copies of the film before Christmas 2010. The Sun newspaper reported she had watched the film in a private screening at Sandringham House. A palace source described her reaction as being \"touched by a moving portrayal of her father\".[80] Seidler called the reports \"the highest honour\" the film could receive.[81]\n", "\n", "At the 83rd Academy Awards, The King's Speech won the Academy Award for Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler). The film had received 12 Oscar nominations, more than any other film in that year. Besides the four categories it won, the film received nominations for Best Cinematography (Danny Cohen) and two for the supporting actors (Bonham Carter and Rush), as well as two for its mise-en-sc\u00e8ne: Art Direction and Costumes.[82]\n", "At the 64th British Academy Film Awards, it won seven awards, including Best Film, Outstanding British Film, Best Actor for Firth, Best Supporting Actor for Rush, Best Supporting Actress for Bonham Carter, Best Original Screenplay for Seidler, and Best Music for Alexandre Desplat. The film had been nominated for 14 BAFTAs, more than any other film.[83] At the 68th Golden Globe Awards, Firth won for Best Actor. The film won no other Golden Globes, despite earning seven nominations, more than any other film.[84]\n", "It is also the first Weinstein film to win the Oscar for best Picture.\n", "At the 17th Screen Actors Guild Awards, Firth won the Best Actor award and the entire cast won Best Ensemble, meaning Firth went home with two acting awards in one evening.[85] Hooper won the Directors Guild of America Awards 2010 for Best Director.[86] The film won the Darryl F. Zanuck Award for Best Theatrical Motion Picture at the Producers Guild of America Awards 2010.[87]\n", "The King's Speech won the People's Choice Award at the 2010 Toronto International Film Festival,[88] Best British Independent Film at the 2010 British Independent Film Awards,[89] and the 2011 Goya Award for Best European Film from the Academia de las Artes y las Ciencias Cinematogr\u00e1ficas de Espa\u00f1a (Spanish Academy of Cinematic Art and Science).[90]\n", "http://en.wikipedia.org/wiki/It_Happened_One_Night\n", "It Happened One Night is a 1934 American romantic comedy film with elements of screwball comedy directed by Frank Capra, in which a pampered socialite (Claudette Colbert) tries to get out from under her father's thumb, and falls in love with a roguish reporter (Clark Gable). The plot was based on the August 1933 short story \"Night Bus\" by Samuel Hopkins Adams, which provided the shooting title. One of the last romantic comedies created before the MPAA began enforcing the 1930 production code in 1934, the film was released on February 22, 1934.[4]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film was the first to win all five major Academy Awards (Best Picture, Director, Actor, Actress, and Screenplay), a feat that would not be matched until One Flew Over the Cuckoo's Nest (1975) and later by The Silence of the Lambs (1991). In 1993, It Happened One Night was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".[5] In 2013, the film underwent an extensive restoration.[6][7]\n", "\n", "\n", "Spoiled heiress Ellen \"Ellie\" Andrews has eloped with pilot and fortune-hunter \"King\" Westley against the wishes of her extremely wealthy father, Alexander, who wants to have the marriage annulled. Jumping ship in Florida, she runs away, boarding a bus to New York City, to reunite with her new spouse, when she meets fellow bus passenger Peter Warne, a freshly out-of-work newspaper reporter. Soon Warne recognizes her and gives her a choice: if she will give him an exclusive on her story, he will help her reunite with Westley. If not, he will tell her father where she is. Ellie agrees to the first choice.\n", "Soon penniless, Ellie has to rely completely on Peter. As they go through several adventures together, Ellie loses her initial disdain for him and begins to fall in love. When they have to hitchhike, Peter claims to be an expert on the subject. As car after car passes them by, he eventually ends up thumbing his nose at them. The sheltered Ellie then shows him how it is done. She stops the next car, driven by Danker, dead in its tracks by lifting up her skirt and showing off a shapely leg.\n", "When they stop for a break, Danker tries to drive off with their luggage. Peter chases him down and takes his car. One night, nearing the end of their journey together, Ellie confesses her love to Peter. Peter mulls over what she has said, decides he loves her too, and leaves to make arrangements after she has fallen asleep. When the owners of the motel in which they are staying notice that Peter's car is gone, they roust Ellie out of bed and kick her out.\n", "Believing Peter has deserted her, Ellie calls her father, who is so relieved to get her back that he agrees to let her marry Westley. Meanwhile, Peter has obtained money from his editor to marry Ellie, but as he drives back to tell her, they pass each other on the road. Although Ellie has no desire to be with Westley, she believes Peter has betrayed her for the reward money, so once home she agrees to have a second, formal wedding and commit to her life with Westley.\n", "Ellie tries to pretend that nothing has happened, but she is unable to fool her father. On her wedding day she finally reveals the whole story (as she sees it). When Peter comes to Ellie's home, Mr. Andrews offers him the reward money, but Peter insists on being paid only his expenses: a paltry $39.60. When Ellie's father presses him for an explanation of his odd behavior, Peter admits he loves Ellie (although he thinks he is out of his mind to do so), then storms out. King Westley arrives for his wedding via Kellett K-3 Autogiro NC12691.[8]\n", "At the wedding ceremony, as Mr. Andrews walks his daughter down the aisle, he reveals Peter's refusal of the reward money to Ellie and quietly encourages her to run off again, telling her that her car is out back for a quick get-away. At the point where she is to say \"I do\", she makes up her mind. She runs off to find Peter. Her pleased father pays Westley off, enabling Ellie to marry Peter.\n", "Neither Gable nor Colbert was the first choice to play the lead roles. Miriam Hopkins first rejected the part of Ellie. Robert Montgomery and Myrna Loy were then offered the roles, but each turned the script down, though Loy later noted that the final story as filmed bore little resemblance to the script that she and Montgomery had been offered for their perusal.[9] Margaret Sullavan also rejected the part.[10] Constance Bennett was willing to play the role if she could produce the film herself; however, Columbia Pictures would not allow this. Then Bette Davis wanted the role,[11] but was under contract with Warner Brothers and Jack Warner refused to lend her.[12] Carole Lombard was unable to accept, because the filming schedule conflicted with that of Bolero.[13] Loretta Young also turned it down.[14]\n", "Harry Cohn suggested Colbert, and she initially turned the role down.[15] Colbert's first film, For the Love of Mike (1927), had been directed by Capra, and it was such a disaster that she vowed to never make another with him. Later on, she agreed to appear in It Happened One Night only if her salary was doubled to $50,000, and also on the condition that the filming of her role be completed in four weeks so that she could take her well-planned vacation.[16]\n", "According to Hollywood legend, Gable was lent to Columbia Pictures, then considered a minor studio, as some kind of \"punishment\" for refusing a role at his own studio. This tale has been partially refuted by more recent biographies. Metro-Goldwyn-Mayer did not have a project ready for Gable, and the studio was paying him his contracted salary of $2,000 per week whether he worked or not. Louis B. Mayer lent him to Columbia for $2,500 per week, hence netting MGM $500 per week while he was gone.[17] Capra, however, insisted that Gable was a reluctant participant in the film.[18]\n", "Filming began in a tense atmosphere as Gable and Colbert were dissatisfied with the quality of the script. However, they established a friendly working relationship and found that the script was no worse than those of many of their earlier films. Capra understood their dissatisfaction and tried to lighten the mood by having Gable play practical jokes on Colbert, who responded with good humor.[17]\n", "Colbert, however, continued to show her displeasure on the set. She also initially balked at pulling up her skirt to entice a passing driver to provide a ride, complaining that it was unladylike. Upon seeing the chorus girl who was brought in as her body double, an outraged Colbert told the director, \"Get her out of here. I'll do it. That's not my leg!\"[19] Through the filming, Capra claimed, Colbert \"had many little tantrums, motivated by her antipathy toward me,\" however \"she was wonderful in the part.\"[19] After her acceptance speech at the Oscars ceremony, she went back on stage and thanked Capra for making the film.[20]\n", "After filming was completed, Colbert complained to her friend, \"I just finished the worst picture in the world.\"[19][21] Capra fretted that the film was released to indifferent reviews and initially only did so-so business. Then, after it was released to the secondary movie houses, word-of-mouth began to spread and ticket sales became brisk. It turned out to be a major hit, easily Columbia's biggest hit to date.[22]\n", "In 1935, after her Academy Award nomination, Colbert decided not to attend the presentation, feeling confident that she would not win the award, and instead, planned to take a cross-country railroad trip. After she was named the winner, studio chief Harry Cohn sent someone to \"drag her off\" the train, which had not yet left the station, and take her to the ceremony. Colbert arrived wearing a two-piece traveling suit which she had the Paramount Pictures costume designer, Travis Banton, make for her trip.[23]\n", "The film won all five of the Academy Awards for which it was nominated:\n", "At the 7th Academy Awards for 1934, It Happened One Night became the first film to win the \"Big Five\" Academy Awards (Best Picture, Best Director, Best Actor, Best Actress, and Best Writing). As of 2014, only two more films have achieved this feat: One Flew Over the Cuckoo's Nest in 1975 and The Silence of the Lambs in 1991.[24] Also, It Happened One Night was the last film to win both lead acting Academy Awards until One Flew Over the Cuckoo's Nest in 1975.\n", "On December 15, 1996, Gable's Oscar was auctioned off to Steven Spielberg for $607,500; Spielberg promptly donated the statuette to the Motion Picture Academy.[25] On June 9, the following year, Colbert's Oscar was offered for auction by Christie's. No bids were made for it.\n", "It Happened One Night was adapted as a radio play on the March 20, 1939 broadcast of Lux Radio Theater, with Colbert and Gable reprising their roles. The film was also adapted as a radio play for the January 28, 1940 broadcast of The Campbell Playhouse.\n", "In 2013 digital restoration of the film was done by Sony Colorworks, a new master film copy was made from the original negative and scanned at 4K. The digital pictures were frame by frame digitally restored at Prasad Corporation to remove dirt, tears, scratches and other artifacts. The film was restored to its original look.[26]\n", "It Happened One Night made an immediate impact on the public. In one scene, Gable undresses for bed, taking off his shirt to reveal that he is bare-chested. An urban legend claims that, as a result, sales of men's undershirts declined noticeably.[27] The movie also prominently features a Greyhound bus in the story, spurring interest in bus travel nationwide.[28]\n", "The unpublished memoirs of animator Friz Freleng mention that this was one of his favorite films. It Happened One Night has a few interesting parallels with the cartoon character Bugs Bunny, who made his first appearance six years later, and who Freleng helped develop. In the film, a minor character, Oscar Shapely, continually calls the Gable character \"Doc\", an imaginary character named \"Bugs Dooley\" is mentioned once in order to frighten Shapely, and there is also a scene in which Gable eats carrots while talking quickly with his mouth full, as Bugs does.[29]\n", "Joseph Stalin was a fan of the film,[30] as was Adolf Hitler.[31]\n", "Parodies of the film abound. The 1937 Laurel and Hardy comedy Way Out West parodied the famous hitchhiking scene, with Stan Laurel managing to stop a stage coach using the same technique.[32] Mel Brooks's film Spaceballs (1987) parodies the wedding scene. As she walks down the aisle to wed Prince Valium, Princess Vespa (Daphne Zuniga) is told by her father, King Roland, that Lone Starr forsook the reward for the princess's return and only asked to be reimbursed for the cost of the trip.[33]\n", "The film has also inspired a number of remakes, including the musicals Eve Knew Her Apples (1945) starring Ann Miller and You Can't Run Away from It starring June Allyson and Jack Lemmon, which was directed and produced by Dick Powell.[34]\n", "Recent films have also used familiar plot points from It Happened One Night. In Bandits, (2001), Joe Blake (Bruce Willis) erects a blanket partition between motel room beds out of respect for Kate Wheeler's (Cate Blanchett's) privacy. He remarks that he saw them do the same thing in an old movie.[35] In Sex and the City 2, Carrie and Mr. Big watch the film (specifically the hitchhiking scene) in a hotel later in the film Carrie uses the idea which she got from the film to get a taxi in the middle east. Also in an earlier episode of Sex and the City, Samantha mimics Claudette Colbert by showing some leg to stop a taxi.[36] The wedding scene at the end of Heartbreaker is a reprise of the wedding scene in It Happened One Night.[37]\n", "This film was also remade in Bollywood twice as Chori Chori starring Raj Kapoor and Nargis and Dil Hai Ke Manta Nahin starring Aamir Khan and Pooja Bhatt. The story was readapted to screen in the 2007 Kannada film Hudugaata starring Golden Star Ganesh and Rekha Vedavyas. All films became successful at the box office.[citation needed]\n", "Beginning in January 2014, the comic 9 Chickweed Lane tied a story arc to It Happened One Night when one of the characters, Lt. William O'Malley, is injured during World War II and believes himself to be Peter Warne. As he sneaks through German-occupied France, several plot points run parallel to that of It Happened One Night and he believes his French contact to be Ellen Andrews.[38]\n", "Bibliography\n", "Streaming audio\n", "http://en.wikipedia.org/wiki/A_Place_in_the_Sun\n", "A Place in the Sun may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Midnight_Cowboy\n", "Midnight Cowboy is a 1969 American drama film based on the 1965 novel of the same name by James Leo Herlihy." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The script was written by Waldo Salt, directed by John Schlesinger, and stars Jon Voight in the title role alongside Dustin Hoffman.\n", "Notable smaller roles are filled by Sylvia Miles, John McGiver, Brenda Vaccaro, Bob Balaban, Jennifer Salt and Barnard Hughes; M. Emmet Walsh appears in an uncredited cameo.\n", "The film won three Academy Awards: Best Picture, Best Director and Best Adapted Screenplay. To date, it is the only X-rated film ever to win Best Picture.[3] It has since been labeled as one of the greatest American movies of all time.\n", "\n", "\n", "Joe Buck (Jon Voight) is a young Texan, works as a dishwasher.\n", "As the film opens, Joe dresses in new cowboy clothing, packs a suitcase, and quits his job.\n", "He heads to New York City hoping to succeed as a male prostitute for women.\n", "Initially unsuccessful, he succeeds in bedding a well-to-do middle-aged New Yorker (Sylvia Miles), but Joe ends up giving her money, having failed to understand she was a call girl herself, and the one expecting to get paid.\n", "Joe then meets Enrico Salvatore \"Ratso\" Rizzo (Dustin Hoffman), a street con man with a limp who takes $20 from Joe by offering to introduce him to a known pimp, who turns out to be a Bible thumper (John McGiver). Joe flees the encounter in pursuit of Ratso.\n", "Joe spends his days wandering the city and sitting in his hotel room.\n", "Soon broke, he is locked out of his hotel room and most of his belongings are impounded.\n", "He tries to make money by agreeing to receive oral sex from a young man (Bob Balaban) in a movie theater.\n", "When Joe learns that he has no money, Joe threatens him and asks for his watch, but eventually lets him go.\n", "The following day, Joe spots Ratso and angrily shakes him down.\n", "Ratso offers to share his apartment in a condemned building. Joe accepts reluctantly, and they begin a \"business relationship\" as hustlers.\n", "As they develop a bond, Ratso's health, which has never been good, grows steadily worse.\n", "Joe's story is told through flashbacks.\n", "His grandmother raises him after his mother abandons him, though his grandmother frequently neglects him as well.\n", "Ratso's back story comes through stories he tells Joe.\n", "His father was an illiterate Italian immigrant shoe-shiner, who worked down in a subway station. He developed a bad back, and \"coughed his lungs out from breathin' in that wax all day\".\n", "Ratso learned shining from his father but won't stoop to it. He dreams of moving one day to Miami.\n", "An unusual couple approach Joe and Ratso in a diner and hand Joe a flyer, inviting him to a party. They enter a Warhol-esque party scene (with Warhol superstars in cameos). Joe smokes a joint, thinking it's a cigarette, and, after taking a pill someone offered, begins to hallucinate. He leaves the party with a socialite (Brenda Vaccaro), who agrees to pay $20 for spending the night with him, but Joe cannot perform.\n", "They play Scribbage together, and Joe shows his limited academic prowess. She teasingly suggests that Joe may be gay, and he is suddenly able to perform.\n", "In the morning, the socialite sets up her friend as Joe's next customer, and it appears that his career is on its way.\n", "When Joe returns home, Ratso is bedridden and feverish. Ratso refuses medical help and begs Joe to put him on a bus to Florida.\n", "Desperate, Joe picks up a man in a gay bar (Barnard Hughes), and when things go wrong, robs the man when he tries to pay with a religious medallion instead of cash.\n", "With the cash, Joe buys bus tickets. On the journey, Ratso's frail physical condition further deteriorates.\n", "At a rest stop, Joe buys new clothing for Ratso and himself, discarding his cowboy outfit. As they near Miami, Joe talks of getting a regular job, only to realize Ratso has died.\n", "The driver tells Joe there is nothing else to do, but continue on to Miami.\n", "The film closes with Joe seated with his arm around his dead friend.\n", "Midnight Cowboy was Adam Holender's first cinematography assignment; he was recommended to Schlesinger by Holender's childhood friend, filmmaker Roman Polanski.[4]\n", "The opening scenes were filmed in Big Spring, Texas. A roadside billboard stating \"IF YOU DON'T HAVE AN OIL WELL...GET ONE!\" was shown as the New York-bound bus carrying Joe Buck rolled through Texas.[5]\n", "Such advertisements, common in the Southwestern United States in the late-1960s and through the 1970s, promoted Eddie Chiles' Western Company of North America.[6]\n", "Joe first realises the bus is nearing New York when he hears a Ron Lundy broadcast on WABC while listening to his pocket radio.[7]\n", "At the time of filming in 1968, Lundy worked the midday shift (10 AM\u20131 PM) Monday through Saturday at the radio station.[8]\n", "Joe stayed at the Hotel Claridge, at the southeast corner of Broadway and West 44th Street in Midtown Manhattan.\n", "His room overlooked the northern half of Times Square.[9] The building, designed by D. H. Burnham & Company and opened in 1911, has since been demolished.[10]\n", "A motif featured three times throughout the New York scenes was the sign at the top of the facade of the Mutual of New York (MONY) Building at 1740 Broadway.[5]\n", "It was extended into the Scribbage scene with Shirley the socialite, when Joe's incorrect spelling of the word \"money\" matched that of the signage.[11]\n", "Despite his portrayal of Joe Buck, a character hopelessly out of his element in New York, Jon Voight is a native New Yorker, hailing from Yonkers.[12]\n", "Dustin Hoffman, who played a grizzled veteran of New York's streets, is from Los Angeles.[13][14]\n", "Voight was paid \"scale\", or the Screen Actors Guild minimum wage, for his portrayal of Joe Buck, a concession he willingly made to obtain the part.[15]\n", "The line \"I'm walkin' here!\", which reached #27 on AFI's 100 Years...100 Movie Quotes, is often said to have been improvised, but producer Jerome Hellman disputes this account on the 2-disc DVD set of Midnight Cowboy.\n", "However, Hoffman explained it differently on an installment of Bravo's Inside the Actors Studio.\n", "He stated that there were many takes to hit the traffic light just right, so, they didn't have to pause while walking.\n", "In that take, the timing was perfect, and a cab came out of nowhere and nearly hit them.\n", "Hoffman wanted to say, \"We're filming a movie here!\", but decided not to ruin the take.[16]\n", "Upon initial review by the Motion Picture Association of America, Midnight Cowboy received a \"Restricted\" (\"R\") rating.\n", "However, after consulting with a psychologist, executives at United Artists were told to accept an \"X\" rating, due to the \"homosexual frame of reference\" and its \"possible influence upon youngsters\".\n", "The film was released with an X.[17]\n", "The MPAA later broadened the requirements for the \"R\" rating to allow more content and raised the age restriction from sixteen to seventeen. The film was later rated \"R\" for a reissue in 1971 with no edits made. The film retains its R rating to this day.[17][18]\n", "The film earned $11 million in rentals at the North American box office.[19]\n", "The film won Academy Awards for Best Picture, Best Director, and Best Adapted Screenplay; it is the only X-rated film to win an Oscar in any category, and one of three X-rated films nominated for an Oscar (the others being Stanley Kubrick's 1971 film A Clockwork Orange and Bernardo Bertolucci's 1972 film Last Tango in Paris). Both Hoffman and Voight were nominated for Best Actor awards and Sylvia Miles was nominated for Best Supporting Actress, in what is one of the shortest performances nominated (clocking at about five minutes of screen time). In addition, the film won six BAFTA Awards. It was also entered into the 19th Berlin International Film Festival.[20][21]\n", "In 1994, this film was deemed \"culturally, historically or aesthetically significant\" by the Library of Congress and selected for preservation in the United States National Film Registry.\n", "John Barry, who supervised the music and composed the score, won a Grammy for Best Instrumental Theme, although he\u2014as well as a few other significant contributors\u2014did not receive an on-screen credit.[22] Fred Neil's song \"Everybody's Talkin'\" won a Grammy Award for Best Male Pop Vocal Performance, for Harry Nilsson.\n", "Schlesinger chose the song \"Everybody's Talkin'\" (written by Fred Neil and performed by Harry Nilsson) as its theme, and the song underscores the first act. Other songs considered for the theme included Nilsson's own \"I Guess the Lord Must Be in New York City\" and Randy Newman's \"Cowboy\". (Bob Dylan wrote \"Lay Lady Lay\" to serve as the theme song, but did not finish the song in time.)\n", "The song \"He Quit Me\" was on the soundtrack, performed by Lesley Miller; it was written by Warren Zevon, who included it (as \"She Quit Me\") on his debut album Wanted Dead or Alive. The soundtrack also features music from Elephant's Memory, Randy Newman and Harry Nilsson, and electronic music passages performed by Moog Synthesizer pioneer Walter Sear.\n", "The movie's main theme, \"Midnight Cowboy\", was covered by instrumental duo Ferrante & Teicher as a single, and reached #10 on the Billboard Hot 100 pop chart in January 1970.[23]\n", "http://en.wikipedia.org/wiki/Mr._Smith_Goes_to_Washington\n", "Mr. Smith Goes to Washington is a 1939 American political comedy-drama film, starring James Stewart and Jean Arthur, about one man's effect on American politics. It was directed by Frank Capra and written by Sidney Buchman, based on Lewis R. Foster's unpublished story.[3] Mr. Smith Goes to Washington was controversial when it was released, but also successful at the box office, and made Stewart a major movie star.[4] The film features a bevy of well-known supporting actors and actresses, among them Claude Rains, Edward Arnold, Guy Kibbee, Thomas Mitchell and Beulah Bondi." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Mr. Smith Goes to Washington was nominated for 11 Academy Awards, winning for Best Original Story.[5] In 1989, the Library of Congress added the movie to the United States National Film Registry, for being \"culturally, historically, or aesthetically significant\".\n", "The governor of an unnamed western state, Hubert \"Happy\" Hopper (Guy Kibbee), has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor (Edward Arnold), pressures Hopper to choose his handpicked stooge, while popular committees want a reformer, Henry Hill. The governor's children want him to select Jefferson Smith (James Stewart), the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge \u2013 and next to a newspaper story on one of Smith's accomplishments \u2013 he chooses Smith, calculating that his wholesome image will please the people while his na\u00efvet\u00e9 will make him easy to manipulate.\n", "Junior Senator Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine (Claude Rains), who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan (Astrid Allwyn). At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's na\u00efve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front page pictures and headlines branding him a bumpkin.\n", "To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders (Jean Arthur), who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in an appropriations bill framed by the Taylor \"political machine\" and supported by Senator Paine.\n", "Unwilling to crucify the worshipful Smith so that their graft plan will go through, Paine tells Taylor he wants out, but Taylor reminds him that Paine is in power primarily through Taylor's influence. Through Paine, the machine in his state accuses Smith of trying to profit from his bill by producing fraudulent evidence that Smith already owns the land in question. Smith is too shocked by Paine's betrayal to defend himself, and runs away.\n", "Saunders, who looked down on Smith at first, but has come to believe in him, talks him into launching a filibuster to postpone the appropriations bill and prove his innocence on the Senate floor just before the vote to expel him. In his last chance to prove his innocence, he talks non-stop for about 24 hours, reaffirming the American ideals of freedom and disclosing the true motives of the dam scheme. Yet none of the Senators are convinced.\n", "The constituents try to rally around him, but the entrenched opposition is too powerful, and all attempts are crushed. Owing to the influence of Taylor's machine, newspapers and radio stations in Smith's home state, on Taylor's orders, refuse to report what Smith has to say and even distort the facts against the senator. An effort by the Boy Rangers to spread the news in support of Smith results in vicious attacks on the children by Taylor's minions.\n", "Although all hope seems lost, the senators begin to pay attention as Smith approaches utter exhaustion. Paine has one last card up his sleeve: he brings in bins of letters and telegrams from Smith's home state, purportedly from average people demanding his expulsion. Nearly broken by the news, Smith finds a small ray of hope in a friendly smile from the President of the Senate (Harry Carey). Smith vows to press on until people believe him, but immediately collapses in a faint. Overcome with guilt, Paine leaves the Senate chamber and attempts to commit suicide, but is stopped by other senators. When he is stopped, he bursts back into the Senate chamber, loudly confessing to the whole scheme; that he should be expelled from Senate, and affirms Smith's innocence.\n", "Among unbilled veteran character actors seen in the film are Guy Kibbee's brother, Milton Kibbee, who has a bit as a reporter, Lafe McKee and Matt McHugh of the McHugh acting family. A number of the cast members and distinctive plot motifs would reappear in It's a Wonderful Life.\n", "Columbia Pictures originally purchased Lewis R. Foster's unpublished story, variously called The Gentleman from Montana and The Gentleman from Wyoming, as a vehicle for Ralph Bellamy, but once Frank Capra came on board as director\u00a0\u2013 after Rouben Mamoulian had expressed interest\u00a0\u2013 the film was to be a sequel to his Mr. Deeds Goes to Town, called Mr. Deeds Goes to Washington, with Gary Cooper reprising his role as Longfellow Deeds.[N 1] Because Cooper was unavailable, Capra then \"saw it immediately as a vehicle for Jimmy Stewart and Jean Arthur\",[6] and Stewart was borrowed from MGM.[3] Capra said of Stewart: \"I knew he would make a hell of a Mr. Smith... He looked like the country kid, the idealist. It was very close to him.\"[7]\n", "Although a youth group is featured in the story, the Boy Scouts of America refused to allow their name to be used in the film and instead the fanciful \"Boy Rangers\" was used.[3]\n", "In January 1938, both Paramount Pictures and MGM had submitted Foster's story to the censors at the Hays Office, probably indicating that both studios had interest in the project before Columbia purchased it. Joseph Breen, the head of that office, warned the studios: \"[W]e would urge most earnestly that you take serious counsel before embarking on the production of any motion picture based on this story. It looks to us like one that might well be loaded with dynamite, both for the motion picture industry, and for the country at large.\" Breen specifically objected to \"the generally unflattering portrayal of our system of Government, which might well lead to such a picture being considered, both here, and more particularly abroad, as a covert attack on the Democratic form of government\". and warned that the film should make clear that \"the Senate is made up of a group of fine, upstanding citizens, who labor long and tirelessly for the best interests of the nation...\"\n", "Later, after the screenplay had been written and submitted, Breen reversed course, saying of the film that \"It is a grand yarn that will do a great deal of good for all those who see it and, in my judgment, it is particularly fortunate that this kind of story is to be made at this time. Out of all Senator Jeff's difficulties there has been evolved the importance of a democracy and there is splendidly emphasized the rich and glorious heritage which is ours and which comes when you have a government 'of the people, by the people, and for the people'[3]\".\n", "The film was in production from April 3, 1939 to July 7 of that year.[8] Some location shooting took place in Washington, DC, at Union Station and at the United States Capitol, as well as other locations for background use.[9][10]\n", "In the studio, to ensure authenticity, an elaborate set was created, consisting of Senate committee rooms, cloak rooms, hotel suites as well as specific Washington, DC monuments, all based on a trip Capra and his crew made to the capital. Even the Press Club of Washington was reproduced in minute detail,[3][11] but the major effort went into a faithful reproduction of the Senate Chamber on the Columbia lot. James D. Preston, a former superintendent of the Senate gallery, acted as technical director for the Senate set, as well as advising on political protocol. The production also utilized the \"New York street set\" on the Warner Bros. lot, using 1,000 extras when that scene was shot.[3]\n", "The ending of the film was apparently changed at some point, as the original program describes Stewart and Arthur returning to Mr. Smith's hometown, where they are met by a big parade, with the implication that they are married and starting a family.[3] In addition, the Taylor political machine was shown being crushed, Smith, riding a motorcycle, visits Senator Paine and forgives him, and a visit to Smith's mother. Some of this footage can be seen in the film's trailer.[12]\n", "When it was first released, the film premiered in Constitution Hall in Washington, D.C., on October 17, 1939, sponsored by the National Press Club, an event to which 4,000 guests were invited, including 45 senators.[7] Mr. Smith Goes to Washington was attacked by the Washington press, and politicians in the U.S. Congress, as anti-American and pro-Communist for its portrayal of corruption in the American government.[13] While Capra claims in his autobiography that some senators walked out of the premiere, contemporary press accounts are unclear about whether this occurred or not, or whether senators yelled back at the screen during the film.[14]\n", "It is known that Alben W. Barkley, a Democrat and the Senate Majority Leader, called the film \u201csilly and stupid\u201d, and said it \u201cmakes the Senate look like a bunch of crooks\u201d.[15] He also remarked that the film was \u201ca grotesque distortion\u201d of the Senate, \u201cas grotesque as anything ever seen! Imagine the Vice President of the United States winking at a pretty girl in the gallery in order to encourage a filibuster!\u201d Barkley thought the film \u201c...showed the Senate as the biggest aggregation of nincompoops on record!\u201d[15]\n", "Pete Harrison, a respected journalist and publisher of the motion picture trade journal, Harrison's Reports, suggested that the Senate pass a bill allowing theater owners to refuse to show films that \u201cwere not in the best interest of our country\u201d. That did not happen, but one of the ways that some senators attempted to retaliate for the damage they felt the film had done to the reputation of their institution was by pushing the passage of the Neely Anti-Block Booking Bill, which eventually led to the breakup of the studio-owned theater chains in the late 1940s. Columbia responded by distributing a program which put forward the film\u2019s patriotism and support of democracy and publicized the film\u2019s many positive reviews.[16]\n", "Other objections were voiced as well. Joseph P. Kennedy, the American Ambassador to Great Britain, wrote to Capra and Columbia head Harry Cohn to say that he feared the film would damage \u201cAmerica\u2019s prestige in Europe\u201d, and because of this urged that it be withdrawn from European release. Capra and Cohn responded, citing the film\u2019s review, which mollified Kennedy to the extent that he never followed up, although he privately still had doubts about the film.[17]\n", "The film was banned in Hitler's Germany, Mussolini's Italy, Franco's Spain and Stalin's USSR.[18] According to Capra, the film was also dubbed in certain European countries to alter the message of the film so it conformed with official ideology.[18]\n", "When a ban on American films was imposed in German occupied France in 1942, some theaters chose to show Mr. Smith Goes to Washington as the last movie before the ban went into effect. One theater owner in Paris reportedly screened the film nonstop for 30 days after the ban was announced.[19]\n", "The critical response to the film was more measured than the reaction by politicians, domestic and foreign. The critic for the New York Times, for instance, Frank S. Nugent, wrote that \"[Capra] is operating, of course, under the protection of that unwritten clause in the Bill of Rights entitling every voting citizen to at least one free swing at the Senate. Mr. Capra\u2019s swing is from the floor and in the best of humor; if it fails to rock the august body to its heels\u00a0\u2014 from laughter as much as from injured dignity\u00a0\u2014 it won\u2019t be his fault but the Senate\u2019s, and we should really begin to worry about the upper house.\"[20]\n", "Mr. Smith Goes to Washington has been called one of the quintessential whistleblower films in American history. Dr. James Murtagh and Dr. Jeffrey Wigand cited this film as a seminal event in U.S. history at the first \u201cWhistleblower Week in Washington\u201d (May 13\u201319, 2007).[21][22]\n", "The film has often been listed as among Capra\u2019s best, but it has been noted that it \u201cmarked a turning point in Capra\u2019s vision of the world, from nervous optimism to a darker, more pessimistic tone. Beginning with American Madness (1932), such Capra films as Lady for a Day (1933), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), and You Can\u2019t Take It With You (1938) had trumpeted their belief in the decency of the common man. In Mr. Smith Goes to Washington, however, the decent common man is surrounded by a venal, petty and thuggish group of crooks. Everyone in the film \u2014 except for Jefferson Smith and his tiny cadre of believers \u2014 is either in the pay of the political machine run by Edward Arnold\u2019s James Taylor or complicit in Taylor\u2019s corruption through their silence, and they all sit by as innocent people, including children, are brutalized and intimidated, rights are violated, and the government is brought to a halt\u201d.[23]\n", "Nevertheless, Smith\u2019s filibuster and the tacit encouragement of the Senate President are both emblematic of the director's belief in the difference that one individual can make. This theme would be expanded further in Capra's It's a Wonderful Life (1946) and other films.\n", "Mr. Smith Goes to Washington was nominated for 11 Academy Awards but only won one.[24]\n", "In 1949, Columbia planned, but never actually produced, a sequel to Mr. Smith Goes to Washington, called Mr. Smith Starts a Riot. They also considered doing a gender-reversed remake in 1952, with Jane Wyman playing the lead role.[3]\n", "A television series of the same name, Mr. Smith Goes to Washington, ran on ABC during the 1962\u20131963 season, starring Fess Parker, Sandra Warner and Red Foley. Producer Frank Capra, Jr. remade the film as part of Tom Laughlin's Billy Jack series, Billy Jack Goes to Washington (1977), but it was not a success. The film was also loosely remade as The Distinguished Gentleman (1992), starring Eddie Murphy. The film's influence can be seen on many other films that deal with the United States Congress, including Legally Blonde 2: Red, White & Blonde and Evan Almighty. The short-lived NBC political drama Mister Sterling (2003) was described as \"a Mr. Smith Goes to Washington for the 21st century\", with the show centering on an idealistic young senator from California, coming to grips with Washington and appointed by a scheming, underhanded governor.[3]\n", "The VHS release of Ernest Rides Again featured the opening Saturday Night Live-based short \"Mr. Bill Goes to Washington\", a spoof of Mr. Smith Goes to Washington.\n", "The March 10, 1940 broadcast of Jack Benny's NBC radio show featured a parody entitled \"Mr. Benny Goes to Washington.\"[26]\n", "The Simpsons episode Beyond Blunderdome includes a parodistic, fake remake of Mr. Smith Goes to Washington, authored by a fictional Mel Gibson with Homer Simpson's help. The fictional remake follows the same plot of the original (save for being set in the 21st century) until the final iconic \"filibuster scene\", replaced with a stock action scene in which a nearly exhausted Mr. Smith suddenly stands up and viciously slaughters every single senator, impaling Senator Payne with an American flag, destroying the Senate and beheading the President of the United States, mockingly quoting Marilyn Monroe's Happy Birthday, Mr. President.\n", "The Simpsons episode Mr. Lisa goes to Washington is inspired by, and contains several references to Mr. Smith Goes to Washington. The episode deals with Lisa Simpson's disillusionment with Washington government, following her winning a trip to Washington as a prize in an essay contest.\n", "http://en.wikipedia.org/wiki/Rain_Man\n", "Rain Man is a 1988 American drama film directed by Barry Levinson and written by Barry Morrow and Ronald Bass. It tells the story of an abrasive and selfish yuppie, Charlie Babbitt (Tom Cruise), who discovers that his estranged father has died and bequeathed all of his multimillion-dollar estate to his other son, Raymond (Dustin Hoffman), an autistic savant, of whose existence Charlie was unaware." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "In addition to the two leads, Valeria Golino stars as Charlie's girlfriend, Susanna. Morrow created the character of Raymond after meeting Kim Peek, a real-life savant; his characterization was based on both Peek and Bill Sackter, a good friend of Morrow who was the subject of Bill, an earlier film that Morrow wrote.[2] Rain Man received overwhelmingly positive reviews at the time of its release, praising Hoffman's role and the wit and sophistication of the screenplay.\n", "The film won four Oscars at the 61st Academy Awards (March 1989), including Best Picture, Best Original Screenplay, Best Director, and Best Actor in a Leading Role for Hoffman. Its crew received an additional four nominations.[3] The film also won the Golden Bear at the 39th Berlin International Film Festival.[4]\n", "\n", "\n", "Charlie Babbitt is in the middle of importing four Lamborghinis to Los Angeles for resale. He needs to deliver the vehicles to impatient buyers who have already made down payments in order to repay the loan he took out to buy the cars, but the EPA is holding the cars at the port due to the cars failing emissions regulations. Charlie directs an employee to lie to the buyers while he stalls his creditor.\n", "When Charlie learns that his estranged father has died, he and his girlfriend Susanna travel to Cincinnati, Ohio in order to settle the estate. He learns he is receiving the classic 1949 Buick Roadmaster convertible, over which he and his father fought, and his father's rosebushes, but the bulk of the $3 million estate is going to an unnamed trustee. Through social engineering he learns the money is being directed to a mental institution where he meets his older brother, Raymond Babbitt, of whom he was previously unaware.\n", "Raymond has autism and adheres to strict routines such as always watching Jeopardy!. He has superb recall but he shows little emotional expression except when in distress. Charlie spirits Raymond out of the mental institution and into a hotel for the night. Susanna becomes upset with the way Charlie treats his brother and leaves. Charlie asks Raymond's doctor, Dr. Gerald R. Bruner for half the estate in exchange for Raymond's return, but he refuses. Charlie decides to attempt to gain custody of his brother in order to get control of the money.\n", "After Raymond refuses to fly back to Los Angeles because he remembers every airline crash and is worried about getting hurt they set out on a cross-country road trip together. During the course of the journey, Charlie learns more about Raymond, including that he is a mental calculator with the ability to instantly count hundreds of objects at once, far beyond the normal range of human subitizing abilities. He also learns that, like him, Raymond loves The Beatles. It is revealed that Raymond actually lived with the family when Charlie was young and he realizes that the comforting figure from his childhood, whom he falsely remembered as an imaginary friend named \"Rain Man\", was actually Raymond.\n", "They make slow progress on their cross country trip because Raymond insists on sticking to his routines, which include watching Judge Wapner on television every day and getting to bed by 11:00 PM. He also objects to traveling on the interstate after they pass a bad accident.\n", "After the Lamborghinis are seized by his creditor, Charlie finds himself $80,000 in debt and hatches a plan to return to Las Vegas, which they passed the night before, and win money at blackjack by counting cards. Though the casino bosses are skeptical that anyone can count cards with a six deck shoe, after reviewing security footage they ask Charlie and Raymond to leave. However, Charlie has made enough to cover his debts and has reconciled with Susanna who rejoined them in Las Vegas.\n", "Back in Los Angeles, Charlie meets with Dr. Bruner, who offers him $250,000 to walk away from Raymond. Charlie refuses and says that he is no longer upset about what his father left him, but he wants to have a relationship with his brother. At a meeting with a court-appointed psychiatrist (Levinson, in an uncredited cameo), Raymond is shown to be unable to decide for himself what he wants. Charlie stops the questioning and tells Raymond he is happy to have him as his brother.\n", "In the final scene, Charlie brings Raymond to the train station where he boards an Amtrak train with Dr. Bruner to return to the mental institution. Charlie promises Raymond that he will visit in two weeks.\n", "Roger Birnbaum was the first studio executive to give the film a green light; he did so immediately after Barry Morrow pitched the story. Birnbaum received \"special thanks\" in the film's credits.[3]\n", "Agents at CAA sent the script to Hoffman and Bill Murray, envisioning Murray in the title role and Hoffman in the role eventually portrayed by Cruise.[2] Martin Brest, Steven Spielberg, and Sydney Pollack were directors also involved in the film.[5]\n", "Principal photography included nine weeks of filming on location.[6] Other portions were shot in the desert near Palm Springs, California.[7]:168\u201371\n", "Almost all of the principal photography occurred during the 1988 Writers Guild of America strike; one key scene that was affected by the lack of writers was the film's final scene.[2] Bass delivered his last rough cut of the script only hours before the strike started and spent no time on the set.[5]\n", "Rain Man was overall positively received by critics, with Hoffman's performance being universally praised. It currently boasts a 90% approval rating on Rotten Tomatoes with an average score of 7.7. [8] Vincent Canby of The New York Times called Rain Man a \"becomingly modest, decently thought-out, sometimes funny film\"; Hoffman's performance was a \"display of sustained virtuosity . . . [which] makes no lasting connections with the emotions. Its end effect depends largely on one's susceptibility to the sight of an actor acting nonstop and extremely well, but to no particularly urgent dramatic purpose.\"[9] Canby considered the \"film's true central character\" to be \"the confused, economically and emotionally desperate Charlie, beautifully played by Mr. Cruise.\"[9]\n", "Amy Dawes of Variety wrote that \"one of the year's most intriguing film premises ... is given uneven, slightly off-target treatment\"; she calls the road scenes \"hastily, loosely written, with much extraneous screen time,\" but admired the last third of the film, calling it a depiction of \"two very isolated beings\" who \"discover a common history and deep attachment.\"[6]\n", "One of the film's harshest reviews came from New Yorker magazine critic Pauline Kael: \"Everything in this movie is fudged ever so humanistically, in a perfunctory, low-pressure way. And the picture has its effectiveness: people are crying at it. Of course they're crying at it \u2013 it's a piece of wet kitsch.\"[10]\n", "Roger Ebert gave the film three and one half stars out of four.[11]\n", "Rain Man debuted on December 16, 1988, and was the second on the weekend's box office receipts (behind Twins), with $7 million.[12] It reached the first spot on the December 30 \u2013 January 2 weekend, finishing 1988 with $42 million.[13] The film would end up as the highest-grossing film of 1988 with $172 million in the U.S alone. The film grossed 412 million dollars worldwide.[14]\n", "Rain Man won Academy Awards for Best Picture; Best Actor in a Leading Role (Dustin Hoffman); Best Director; and Best Writing, Original Screenplay. It was nominated for Best Art Direction-Set Decoration (Ida Random, Linda DeScenna); Best Cinematography (John Seale); Best Film Editing; and Best Music, Original Score.[15]\n", "The film was nominated for twenty-four other ceremonies, including the Golden Globes, in which it won Best Motion Picture in the drama genre and Best Actor (Dustin Hoffman), and was nominated for Best Director (Barry Levinson) and Best Screenplay (Ronald Bass and Barry Morrow).\n", "Rain Man\u200a'\u200bs portrayal of the main character's condition has been seen as inaugurating a common and incorrect media stereotype that people on the autism spectrum typically have savant skills, and references to Rain Man, in particular Dustin Hoffman's performance, have become a popular shorthand for autism and savantism. Conversely, Rain Man has also been seen as dispelling a number of other misconceptions about autism and improving public awareness of the failure of many agencies to accommodate autistic people and make use of the abilities they do have, regardless of whether they have savant skills.[16]\n", "The film is also known for popularizing the misconception that card counting is illegal in the United States.[17]\n", "A 2008 Bollywood film, Yuvvraaj, is loosely based on this movie.\n", "The character Alan (Zach Galifianakis) in the 2009 film The Hangover learns how to count cards from a book and mentions he's like Ray in this film. Later in the film, Alan and the character Phil (Bradley Cooper) play the blackjack tables in the casino at Caesar's Palace, the scene paying homage to this film, from the way the two stand on the escalator to the song \"Iko Iko\".\n", "http://en.wikipedia.org/wiki/Annie_Hall\n", "Annie Hall is a 1977 American romantic comedy directed by Woody Allen from a screenplay he co-wrote with Marshall Brickman. Produced by Allen's manager, Charles H. Joffe, the film co-stars the director as Alvy Singer, who tries to figure out the reasons for the failure of his relationship with the film's eponymous female lead, played by Diane Keaton in a role written specifically for her." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Principal photography for the film began on 19 May 1976 on the South Fork of Long Island, and filming continued periodically for the next ten months. Allen has described the result, which marked his first collaboration with cinematographer Gordon Willis, as \"a major turning point\",[2] in that unlike the farces and comedies that were his work to that point, it introduced a new level of seriousness. Academics have noted the contrast in the settings of New York City and Los Angeles, the stereotype of gender differences in sexuality, the presentation of Jewish identity, and the elements of psychoanalysis and modernism.\n", "Annie Hall was screened at the Los Angeles Film Festival in March 1977, before its official release on 20 April 1977. The film received widespread critical acclaim, and along with winning the Academy Award for Best Picture, it received Oscars in three other categories: two for Allen (Best Director and, with Brickman, Best Original Screenplay), and Keaton for Best Actress. The film additionally won four BAFTA awards and a Golden Globe, the latter being awarded to Keaton. Its North American box office receipts of $38,251,425 are fourth-best in the director's oeuvre when not adjusted for inflation. Often listed among the greatest film comedies, it ranks 31st on AFI's list of the top feature films in American cinema, fourth on their list of top comedy films and number 28 on Bravo's \"100 Funniest Movies.\" Film critic Roger Ebert called it \"just about everyone's favorite Woody Allen movie\".[3]\n", "\n", "\n", "The comedian Alvy Singer (Woody Allen) is trying to understand why his relationship with Annie Hall (Diane Keaton) ended a year ago. Growing up in New York, he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity.\n", "Annie and Alvy, in a line for The Sorrow and the Pity, overhear another man deriding the work of Federico Fellini and Marshall McLuhan; McLuhan himself steps in at Alvy's invitation to criticize the man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife (Carol Kane), whose ardor gave him no pleasure. His second marriage was to a New York writer who didn't like sports and was unable to reach orgasm.\n", "With Annie, it is different. The two of them have fun making a meal of boiled lobster together. He teases her about the unusual men in her past. He met her playing tennis doubles with friends. Following the game, awkward small talk led her to offer him first a ride up town and then a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in \"mental subtitles\" as an escalating flirtation. Their first date follows Annie's singing audition for a night club (\"It Had to be You\"). He suggests they kiss first, to get it out of the way. After their lovemaking that night, Alvy is \"a wreck\", while she relaxes with a joint.\n", "Soon Annie admits she loves him, while he buys her books on death and says that his feelings for her are more than just love. When she moves in with him, things become very tense. Eventually, he finds her arm in arm with one of her college professors and the two begin to argue whether this is the \"flexibility\" they had discussed. They eventually break up, and he searches for the truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, until he casts himself in Snow White opposite Annie's Evil Queen.\n", "Alvy returns to dating, but the effort is marred by neurosis, bad sex, and finally an interruption from Annie, who insists he come over immediately. It turns out she needs him to kill a spider. A reconciliation follows, coupled with a vow to stay together come what may. However, their separate discussions with their therapists make it evident there is an unspoken divide. When Alvy accepts an offer to present an award on television, they fly out to Los Angeles, with Alvy's friend, Rob (Tony Roberts). However, on the return trip, they agree that their relationship is not working. After losing her to her record producer, Tony Lacey (Paul Simon), he unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play of their relationship but changes the ending: now she accepts.\n", "The last meeting for them is a wistful coda on New York's Upper West Side, when they have both moved on to someone new. Alvy's voice returns with a summation: love is essential, especially if it is neurotic. Annie torches \"Seems Like Old Times\" and the credits roll.\n", "The idea for what would become Annie Hall was developed as Allen walked around New York City with co-writer Marshall Brickman. The pair discussed the project on alternate days, sometimes becoming frustrated and rejecting the idea. Allen wrote a first draft of a screenplay within a four-day period, sending it to Brickman to make alterations. According to Brickman, this draft centered on a man in his forties, someone whose life consisted \"of several strands. One was a relationship with a young woman, another was a concern about the banality of life we all live, and a third an obsession with proving himself and testing himself to find out what kind of character he had.\"[4] Allen himself turned forty in 1975, and Brickman suggests that \"advancing age\" and \"worries about his death\" had influenced Allen's philosophical, personal approach to complement his \"commercial side\".[4] Allen made the conscious decision to \"sacrifice some of the laughs for a story about human beings\".[5] He recognized that for the first time he had the courage to abandon the safety of complete broad comedy and had the will to produce a film of deeper meaning which would be a nourishing experience for the audience.[2] He was also influenced by Federico Fellini's 1963 comedy-drama 8\u00bd, created at a similar personal turning point, and similarly colored by each director's psychoanalysis.[6]\n", "Brickman and Allen sent the screenplay back and forth until they were ready to ask United Artists for $4 million.[6] Many elements from the early drafts did not survive. It was originally a drama centered on a murder mystery with a comic and romantic subplot.[7] According to Allen, the murder occurred after a scene that remains in the film, the sequence in which Annie and Alvy miss the Ingmar Bergman film Face to Face.[8] Although they decided to drop the murder plot, Allen and Brickman made a murder mystery many years later: 1993's Manhattan Murder Mystery, also starring Diane Keaton.[9] The draft that Allen presented to the film's editor, Ralph Rosenblum, concluded with the words, \"ending to be shot.\" It was \"like a first draft of a novel\u00a0... from which two or three films could possibly be assembled,\" Rosenblum says.[10] Allen's suggested Anhedonia, a term for the inability to experience pleasure, as a working title,[11][12] but United Artists considered this and Brickman's suggested alternatives: It Had to Be Jew, Rollercoaster Named Desire and Me and My Goy unmarketable.[13] An advertising agency, hired by UA, embraced Allen's choice of an obscure word by suggesting advertising in tabloid newspapers using vague slogans such as \"Anhedonia Strikes Cleveland\".[13] However, Allen experimented with several titles over five test screenings, including Anxiety and Alvy and Me, before settling on Annie Hall.[13]\n", "Several references in the film to Allen's own life have invited speculation that it is autobiographical. Both Alvy and Allen were comedians. His birthday appears on the blackboard in a school scene;[14] certain features of his childhood are found in Alvy Singer's;[15] Allen went to New York University and so did Alvy. Diane Keaton's real surname is \"Hall\" and \"Annie\" was her nickname, and she and Allen were once romantically involved.[16] However, Allen is quick to dispel these suggestions. \"The stuff that people insist is autobiographical is almost invariably not,\" Allen said. \"It's so exaggerated that it's virtually meaningless to the people upon whom these little nuances are based. People got it into their heads that Annie Hall was autobiographical, and I couldn't convince them it wasn't\".[17] Contrary to various interviewers and commentators, he says, Alvy is not the character that is closest to himself; he identified more with the mother (Eve, played by Geraldine Page) in his next film, Interiors.[18] Despite this, Keaton has stated that the relationship between Alvy and Annie was partly based on her relationship with the director.[19]\n", "The role of Annie Hall was written specifically for Keaton, who had worked with Allen on Play It Again, Sam (1972), Sleeper (1973) and Love and Death (1975).[19] She considered the character an \"affable version\" of herself\u2014both were \"semi-articulate, dreamed of being a singer and suffered from insecurity\"\u2014and was surprised to win an Oscar for her performance.[19] The film also marks the second film collaboration between Allen and Tony Roberts, their previous project being Play It Again, Sam.[5]\n", "Federico Fellini was Allen's first choice to appear in the cinema lobby scene because his films were under discussion,[8] but Allen chose cultural academic Marshall McLuhan after both Fellini and Luis Bu\u00f1uel declined the cameo.[20] Some cast members, Baxter claims, were aggrieved at Allen's treatment of them. The director \"acted coldly\" towards McLuhan, who had to return from Canada for reshooting, and Mordecai Lawner, who played Alvy's father, claimed that Allen never spoke to him.[20] However, during the production, Allen began a two-year relationship with Stacey Nelkin, who appears in a single scene.[20]\n", "Principal photography began on 19 May 1976 on the South Fork of Long Island with the scene in which Alvy and Annie boil live lobsters; filming continued periodically for the next ten months,[21] and deviated frequently from the screenplay. There was nothing written about Alvy's childhood home lying under a roller coaster, but when Allen was scouting locations in Brooklyn with Willis and art director Mel Bourne, he \"saw this roller-coaster, and\u00a0... saw the house under it. And I thought, we have to use this.\"[15] Similarly, there is the incident where Alvy scatters a trove of cocaine with an accidental sneeze: although not in the script, the joke emerged from a rehearsal happenstance and stayed in the movie. In audience testing, this laugh was so big that a re-edit had to add a hold so that the following dialogue was not lost.[22]\n", "Rosenblum's first assembly of the film in 1976 left Brickman disappointed. At two hours and twenty minutes, it dwelt \"on issues just touched in passing in the version we know\",[10] featuring the \"surrealistic and abstract adventures of a neurotic Jewish comedian who was reliving his highly flawed life and in the process satirizing much of our culture,\u00a0... a visual monologue, a more sophisticated and visual version of Take the Money and Run\".[23] Annie Hall herself didn't stand out, and Brickman found it \"nondramatic and ultimately uninteresting, a kind of cerebral exercise.\"[10] He suggested a more linear narrative.[24] Fortunately, the shooting schedule was budgeted for two weeks of post-production photography,[25] so even though the first cut had \"some of the free-est, funniest and most sophisticated material that Woody had ever created, and it hurt him to lose it\",[23] late 1976 saw three separate shoots for the final segment, two of which appear in some form. One featured Annie Hall taking her new boyfriend to The Sorrow and the Pity, which she had reluctantly seen with Alvy; the other, Alvy's monologue featuring the joke about 'we all need the eggs', was conceived during a cab journey to an early preview.[26]\n", "The credits call the film \"A Jack Rollins and Charles H. Joffe Production\"; the two men were Allen's managers and received this same credit on his films from 1969 to 1993. However, for this film Joffe took producer credit and therefore received the Academy Award for Best Picture. The title sequence features a black background with white text in the Windsor Light Condensed typeface, a design that Allen would use on his subsequent films. Stig Bj\u00f6rkman sees some similarity to Ingmar Bergman's simple and consistent title design, although Allen says that his own choice is a cost-saving device.[27]\n", "Very little background music is heard in the film, a departure for Allen influenced by Ingmar Bergman.[27] Diane Keaton performs twice in the jazz club: \"It Had to be You\" and \"Seems Like Old Times\" (the latter reprises in voiceover on the closing scene). The other exceptions include a boy's choir \"Christmas Medley\" played while the characters drive through Los Angeles, the Molto allegro from Mozart's Jupiter Symphony (heard as Annie and Alvy drive through the countryside), Tommy Dorsey's performance of \"Sleepy Lagoon\",[28] and the anodyne cover of the Savoy Brown song \"A Hard Way to Go\" playing at a party in the mansion of Paul Simon's character.\n", "Technically, the film marked an advance for the director. He selected Gordon Willis as his cinematographer\u2014for Allen \"a very important teacher\" and a \"technical wizard,\" saying, \"I really count Annie Hall as the first step toward maturity in some way in making films.\"[29] At the time, it was considered an \"odd pairing\" by many, Keaton among them. The director was known for his comedies and farces, while Willis was known as \"the prince of darkness\" for work on dramatic films like The Godfather.[5] Despite this, the two became friends during filming and continued the collaboration on several later films, including Zelig, which earned Willis his first Academy Award nomination for Best Cinematography.[5]\n", "Willis described the production for the film as \"relatively easy.\"[5] He shot in varying styles; \"hot golden light for California, grey overcast for Manhattan and a forties Hollywood glossy for\u00a0... dream sequences,\" most of which were cut.[30] It was his suggestion which led Allen to film the dual therapy scenes in one set divided by a wall instead of the usual split screen method.[5] He tried long takes, with some shots, unabridged, lasting an entire scene, which, for Ebert, add to the dramatic power of the film: \"Few viewers probably notice how much of Annie Hall consists of people talking, simply talking. They walk and talk, sit and talk, go to shrinks, go to lunch, make love and talk, talk to the camera, or launch into inspired monologues like Annie's free-association as she describes her family to Alvy. This speech by Diane Keaton is as close to perfect as such a speech can likely be\u00a0... all done in one take of brilliant brinksmanship.\" He cites a study that calculated the average shot length of Annie Hall to be 14.5 seconds, while other films made in 1977 had an average shot length of 4\u20137 seconds.[3] Peter Cowie suggests that \"Allen breaks up his extended shots with more orthodox cutting back and forth in conversation pieces, so that the forward momentum of the film is sustained.\"[31] Bernd Herzogenrath notes the innovation in the use of the split screen during the dinner scene to powerfully exaggerate the contrast between the Jew and the gentile family.[32]\n", "Although the film is not essentially experimental, at several points it undermines the narrative reality.[33] James Bernardoni notes Allen's way of opening the film by facing the camera, which immediately intrudes upon audience involvement in the film.[34] In one famous scene, Allen's character, in line to see a movie with Annie, listens to a man behind him deliver misinformed pontifications on the significance of Fellini and Marshall McLuhan's work. Allen pulls McLuhan himself from just off camera to personally correct the man's errors.[3] Later in the film, when we see Annie and Alvy in their first extended talk, \"mental subtitles\" convey to the audience the characters' nervous inner doubts.[3] An animated scene\u2014with artwork based on the comic strip Inside Woody Allen\u2014depicts Alvy and Annie in the guise of the Wicked Queen from Snow White.[3] Although Allen uses each of these techniques only once, the \"fourth wall\" is broken several other times when characters address the camera directly. In one, Alvy stops several passers-by to ask questions about love, and in another he shrugs off writing a happy ending to his relationship with Annie in his autobiographical first play as forgivable \"wish-fulfillment.\" Allen chose to have Alvy break the fourth wall, he explained, \"because I felt many of the people in the audience had the same feelings and the same problems. I wanted to talk to them directly and confront them.\"[29]\n", "Sociologists Virginia Rutter and Pepper Schwartz consider Alvy and Annie's relationship to be a stereotype of gender differences in sexuality.[35] The nature of love is a repeating subject for Allen and co-star Tony Roberts described this film as \"the story of everybody who falls in love, and then falls out of love and goes on.\"[5] Alvy searches for love's purpose through his effort to get over his depression about the demise of his relationship with Annie. Sometimes he sifts through his memories of the relationship, at another point he stops people on the sidewalk, with one woman saying that \"It's never something you do. That's how people are. Love fades,\" a suggestion that it was no one's fault, they just grew apart and the end was inevitable. By the end of the film, Alvy accepts this and decides that love is ultimately \"irrational and crazy and absurd\", but a necessity of life.[36] Christopher Knight points out that Annie Hall is framed through Alvy's experiences. \"Generally, what we know about Annie and about the relationship comes filtered through Alvy, an intrusive narrator capable of halting the narrative and stepping out from it in order to entreat the audience's interpretative favor.\"[37] He suggests that because Allen's films blur the protagonist with \"past and future protagonists as well as with the director himself\", it \"makes a difference as to whether we are most responsive to the director's or the character's framing of events\".[38] Knight believes Alvy's quest upon meeting Annie is carnal, whereas hers is on an emotional note.[39] Despite the narrative's framing, \"the joke is on Alvy.\"[40]\n", "Richard Brody of The New Yorker notes the film's \"Eurocentric art-house self-awareness\" and Alvy Singer's \"psychoanalytic obsession in baring his sexual desires and frustrations, romantic disasters, and neurotic inhibitions\".[41] Annie Hall is viewed as the definitive Woody Allen film in displaying neurotic humor.[42] Singer is identified with the stereotypical neurotic Jewish male, and the differences between Alvy and Annie are often related to the perceptions and realities of Jewish identity. Vincent Brook notes that \"Alvy dines with the WASP-y Hall family and imagines that they must see him as a Hasidic Jew, complete with payess (ear locks) and a large black hat.\"[43] Robert M. Seltzer and Norman J. Cohen highlight the scene in which Annie remarks that Annie's grandmother \"hates Jews. She thinks they just make money, but she\u2019s the one. Is she ever, I\u2019m telling you.\", revealing the hypocrisy in her grandmother's stereotypical American view of Jews by arguing that \"no stigma attaches to the love of money in America\".[44] Bernd Herzogenrath also considers Allen's joke, \"I would like to but we need the eggs\", to the doctor at the end when he suggests putting him in a mental institution, to be a paradox of not only the persona of the urban neurotic Jew but also of the film itself.[32]\n", "Emanuel Levy believes that Alvy Singer became synonymous with the public perception of Woody Allen in the United States.[45]\n", "Annie Hall \"is as much a love song to New York City as it is to the character,\"[46] reflecting Allen's adoration of the island of Manhattan. It was a relationship he explored repeatedly, particularly in films like Manhattan (1979) and Hannah and Her Sisters (1986).[5] Annie Hall's apartment, which still exists on East 70th Street between Lexington Avenue and Park Avenue is by Allen's own confession his favorite block in the city.[47] Peter Cowie argues that the film shows \"a romanticized view\" of the borough, with the camera \"linger[ing] on the Upper East Side [... and where] the fear of crime does not trouble its characters.\"[48] By contrast, California is presented less positively, and David Halle notes the obvious \"invidious intellectual comparison\" between New York City and Los Angeles.[49] While Manhattan's movie theaters show classic and foreign films, Los Angeles theaters run less-prestigious fare such as House of Exorcism and Messiah of Evil.[48] Rob's demonstration of adding canned laughter to television demonstrates the \"cynical artifice of the medium\".[48] New York serves as a symbol of Alvy's personality (\"gloomy, claustrophobic, and socially cold, but also an intellectual haven full of nervous energy\") while Los Angeles is a symbol of freedom for Annie.[46]\n", "Annie Hall has been cited as a film which uses both therapy and analysis for comic effect.[50] Sam B. Girgus considers Annie Hall to be a story about memory and retrospection, which \"dramatizes a return via narrative desire to the repressed and the unconscious in a manner similar to psychoanalysis\".[51] He argues that the film constitutes a self-conscious assertion of how narrative desire and humor interact in the film to reform ideas and perceptions and that Allen's deployment of Freudian concepts and humor forms a \"pattern of skepticism toward surface meaning that compels further interpretation\". Girgus believes that proof of the pervasiveness of Sigmund Freud in the film is demonstrated at the beginning through a reference to a joke in Jokes and Their Relation to the Unconscious, and makes another joke about a psychiatrist and patient, which Girgus argues is also symbolic of the dynamic between humor and the unconscious in the film.[51] Further Freudian concepts are later addressed in the film with Annie's recall of a dream to her psychoanalyst in which Frank Sinatra is smothering her with a pillow, which alludes to Freud's belief in dreams as \"visual representations of words or ideas\".[51]\n", "Peter Bailey in his book The Reluctant Film Art of Woody Allen, argues that Alvy displays a \"genial denigration of art\" which contains a \"significant equivocation\", in that in his self-deprecation he invites the audience to believe that he is leveling with them.[52] Bailey argues that Allen's devices in the film, including the subtitles which reveal Annie's and Alvy's thoughts \"extend and reinforce Annie Hall 's winsome ethos of plain-dealing and ingenuousness\".[52] He muses that the film is full of antimimetic emblems such as Mcluhan's magical appearance which provide quirky humor, and that the \"disparity between mental projections of reality and actuality\" drives the film. He considers self-reflective cinematic devices to intelligently dramatize the difference between surface and substance, with visual emblems \"incessantly distilling the distinction between the world mentally constructed and reality\".[52]\n", "In his discussion of the film's relation to modernism, Thomas Schatz finds the film an unresolved \"examination of the process of human interaction and interpersonal communication\"[53] and \"immediately establishes [a] self-referential stance\" that invites the spectator \"to read the narrative as something other than a sequential development toward some transcendent truth\".[54] For him, Alvy \"is the victim of a tendency toward overdetermination of meaning -- or in modernist terms 'the tyranny of the signified' -- and his involvement with Annie can be viewed as an attempt to establish a spontaneous, intellectually unencumbered relationship, an attempt which is doomed to failure.\"[53]\n", "Annie Hall was shown at the Los Angeles Film Festival in March 1977,[11] before its official release on 20 April 1977.[1] The film ultimately earned $38,251,425 ($143,228,400 in 2013 dollars) in the United States against a $4-million budget, making it the 11th highest-grossing picture of 1977.[1] On raw figures, it currently ranks as Allen's fourth-highest-grossing film, after Manhattan, Hannah and Her Sisters and Midnight in Paris; when adjusted for inflation, the gross figure makes it Allen's biggest box office hit.[55] It was first released on Blu-ray on 24 January 2012 alongside Allen's 1979 film Manhattan.[56] Both releases include the films' original theatrical trailer.[56]\n", "Annie Hall met with widespread critical acclaim upon its release. Tim Radford of The Guardian called the film \"Allen's most closely focused and daring film to date\".[57] The New York Times' Vincent Canby preferred Annie Hall to Allen's second directorial effort, Take the Money and Run, since the former is more \"humane\" while the latter is more a \"cartoon\".[58] Several critics have compared the film favorably to Bergman's Scenes from a Marriage (1973),[58][59][60] including Joseph McBride in Variety, who found it Allen's \"most three-dimensional film to date\" with an ambition equal to Bergman's best even as the co-stars become the \"contemporary equivalent of\u00a0... Tracy-Hepburn.\"[59] More critically, Peter Cowie commented that the film \"suffers from its profusion of cultural references and asides\".[61]\n", "After more than a quarter century, the film has continued to receive positive reviews. In his 2002 lookback, Roger Ebert noted with surprise that the film had \"an instant familiarity\" despite its age,[3] and Slant writer Jaime N. Christley found the one-liners \"still gut-busting after 35 years\".[60] A later Guardian critic, Peter Bradshaw, named it the best comedy film of all time, commenting that \"this wonderfully funny, unbearably sad film is a miracle of comic writing and inspired film-making\".[62] John Marriott of the Radio Times believed that Annie Hall was the film where Allen \"found his own singular voice, a voice that echoes across events with a mixture of exuberance and introspection\", referring to the \"comic delight\" derived from the \"spirited playing of Diane Keaton as the kooky innocent from the Midwest, and Woody himself as the fumbling New York neurotic\".[63] Empire magazine rated the movie five out of five stars, calling it a \"classic\".[64] To date, all of the 53 reviews tabulated at Rotten Tomatoes have approved of the film with only one exception (Hollywood Reporter Alan Roberts later stated it was the \"worst best picture Oscar winner ever\"), for a score of 98%. Its average rating is 8.8 on a scale of 10.[65]\n", "Annie Hall won four Oscars at the 50th Academy Awards on April 3, 1978, and was nominated for five in total. Producer Charles H. Joffe received the statue for Best Picture, Allen for Best Director and, with Brickman, for Best Original Screenplay, and Keaton for Best Actress. Allen was also nominated for Best Actor.[66] Many had expected Star Wars to win the major awards, including Brickman and Executive Producer Robert Greenhut.[5]\n", "The film was also honored four times at the BAFTA awards. Along with the top award for Best Film, Keaton won for Best Actress, Allen won for Best Direction and Best Original Screenplay alongside Brickman.[67] The film received only one Golden Globe Award, for Best Film Actress in a Musical or Comedy (Diane Keaton), despite nominations for three other awards: Best Motion Picture (Musical or Comedy), Best Director, and Best Film Actor in a Musical or Comedy (Woody Allen).\n", "In 1992, the United States' Library of Congress selected the film for preservation in its National Film Registry that includes \"culturally, historically, or aesthetically significant\" films.[68] It's often mentioned among the greatest comedies of all time. The American Film Institute lists it 31st in American cinema history.[69] In 2000, they named it second greatest romantic comedy in American cinema.[69] Keaton's performance of \"Seems Like Old Times\" was ranked 90th on their list of greatest songs included in a film, and her line \"La-dee-da, la-dee-da.\" was named the 55th greatest movie quote.[69] The screenplay was named the sixth greatest screenplay by the Writers Guild of America, West[70] while IGN named it the seventh greatest comedy film of all time.[71] In 2000, readers of Total Film magazine voted it the forty-second greatest comedy film of all time, and the seventh greatest romantic comedy film of all time.[72] Several lists ranking Allen's best films have put Annie Hall among his greatest work.[73][74][75]\n", "In June 2008, AFI revealed its 10 Top 10\u2014the best ten films in ten classic American film genres\u2014after polling over 1,500 people from the creative community and Annie Hall was placed second in the romantic comedy genre.[76] AFI also ranked Annie Hall on multiple other lists. In November 2008, Annie Hall was voted in at No. 68 on Empire magazine's list of The 500 Greatest Movies of All Time.[77] It is also ranked #2 on Rotten Tomatoes' 25 Best Romantic Comedies, second only to The Philadelphia Story.[78] In 2012, the film was listed as the 127th best film of all time by Sight & Sound critics' poll.[79] The film was also named the 132nd best film by the Sight & Sound directors' poll.[79] In October 2013, the film was voted by the Guardian readers as the second best film directed by Woody Allen.[80]\n", "Although the film received critical acclaim and several awards, Allen himself was disappointed with it, and said in an interview, \"When Annie Hall started out, that film was not supposed to be what I wound up with. The film was supposed to be what happens in a guy's mind\u00a0... Nobody understood anything that went on. The relationship between myself and Diane Keaton was all anyone cared about. That was not what I cared about\u00a0... In the end, I had to reduce the film to just me and Diane Keaton, and that relationship, so I was quite disappointed in that movie\".[81] Allen has repeatedly declined to make a sequel,[82] and in a 1992 interview stated that \"Sequelism has become an annoying thing. I don't think Francis Coppola should have done Godfather III because Godfather II was quite great. When they make a sequel, it's just a thirst for more money, so I don't like that idea so much\".[83]\n", "Diane Keaton has stated that Annie Hall was her favorite role and that the film meant everything to her.[84] When asked if being most associated with the role concerned her as an actress, she replied, \"I'm not haunted by Annie Hall. I'm happy to be Annie Hall. If somebody wants to see me that way, it's fine by me\". Costume designer Ruth Morley, working with Keaton, created a look which had an influence on the fashion world during the late-70s, with women adopting the style: layering oversized, mannish blazers over vests, billowy trousers or long skirts, a man's tie, and boots.[85] The look was often referred to as the \"Annie Hall look\".[86] Some sources suggest that Keaton herself was mainly responsible for the look, and Ralph Lauren has often claimed credit, but only one jacket and one tie were purchased from Ralph Lauren for use in the film.[87] Allen recalled that Lauren and Keaton's dress style almost did not end up in the film. \"She came in,\" he recalled in 1992, \"and the costume lady on Annie Hall said, 'Tell her not to wear that. She can't wear that. It's so crazy.' And I said, 'Leave her. She's a genius. Let's just leave her alone, let her wear what she wants.'\"[88]\n", "James Bernardoni states that the film is \"one of the very few romantic comedy-dramas of the New Hollywood era and one that has rightly taken its place among the classics of that reverted genre\", likening the seriocomic meditation on the couple relationship to George Cukor's Adam's Rib (1949), starring Katharine Hepburn and Spencer Tracy.[34] Since its release, other romantic comedies have inspired comparison. When Harry Met Sally... (1989), Chasing Amy (1997), 500 Days of Summer (2009) and Allen's 2003 film, Anything Else are among them,[79][89][90][91][92] while film director Rian Johnson said in an interview for the book, The Film That Changed My Life, that Annie Hall inspired him to become a film director.[93]\n", "http://en.wikipedia.org/wiki/Out_of_Africa\n", "Out of Africa is a memoir by Isak Dinesen, a pen name used by the Danish author Baroness Karen von Blixen-Finecke. The book, first published in 1937, recounts events of the seventeen years when Blixen made her home in Kenya, then called British East Africa. The book is a lyrical meditation on Blixen\u2019s life on her coffee plantation, as well as a tribute to some of the people who touched her life there. It is also a vivid snapshot of African colonial life in the last decades of the British Empire. Blixen wrote the book in English and then rewrote it in Danish." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "Karen Blixen moved to British East Africa in late 1913, at the age of 28, to marry her second cousin, the Swedish Baron Bror von Blixen-Finecke, and make a life in the British colony known today as Kenya. The young Baron and Baroness bought farmland in the Ngong Hills about ten miles (16\u00a0km) southwest of Nairobi, which at the time was still shaking off its rough origins as a supply depot on the Uganda Railway.\n", "The Blixens had planned to raise dairy cattle, but Bror developed their farm as a coffee plantation instead.[1] It was managed by Europeans, including, at the start, Karen\u2019s brother Thomas \u2013 but most of the labor was provided by \u201csquatters.\u201d This was the colonial term for local Kikuyu tribespeople who guaranteed the owners 180 days of labour in exchange for wages and the right to live and farm on the uncultivated lands[2] which, in many cases, had simply been theirs before the British arrived and claimed them.[3]\n", "When the First World War drove coffee prices up, the Blixen family invested in the business, and in 1917 Karen and Bror expanded their holdings to six thousand acres (24\u00a0km\u00b2). The new acquisitions included the site of the house which features so prominently in Out of Africa.[4]\n", "The Blixens\u2019 marriage started well \u2013 Karen and Bror went on hunting safaris which Karen later remembered as paradisiacal.[5] But it was not ultimately successful: Bror, a talented hunter and a well liked companion, was an unfaithful husband and a poor businessman.[6] In 1921 the couple separated, and in 1925 they were divorced; Karen took over the management of the farm on her own.\n", "She was well suited to the work \u2013 fiercely independent and capable, she loved the land and liked her native workers. But the climate and soil of her particular tract was not ideal for coffee-raising; the farm endured several unexpected dry years with low yields, and the falling market price of coffee was no help.[7] The farm sank further and further into debt until, in 1931, the family corporation forced her to sell it. The buyer, Remi Martin, who planned to carve it into residential plots, offered to allow Blixen to stay in the house. She declined, and returned to Denmark.[4]\n", "Blixen moved back to the family\u2019s estate of Rungstedlund and lived with her mother; there she took up again the writing career that she had begun, but abandoned, in her youth. In 1934 she published a fiction collection, Nine Tales, now known as Seven Gothic Tales, and in 1937 she published her Kenyan memoir, Out of Africa. The book\u2019s title was likely derived from the title of a poem, \"Ex Africa,\" she had written in 1915, while recuperating in a Danish hospital from her fight with syphilis. The poem\u2019s title is probably an abbreviation of the famous ancient Latin adage (credited to sages from Aristotle to Pliny to Erasmus) Ex Africa semper aliquid novi, which translates as \u201cOut of Africa, always something new.\u201d[8]\n", "Out of Africa is divided into five sections, most of which are non-linear and seem to reflect no particular chronology. The first two focus primarily on Africans who lived or had business on the farm, and include close observations of native ideas about justice and punishment in the wake of a gruesome accidental shooting. The third section, called \u201cVisitors to the Farm,\u201d describes some of the more colourful local characters who considered Blixen\u2019s farm to be a safe haven. The fourth, \u201cFrom an Immigrant\u2019s Notebook,\u201d is a collection of short sub-chapters in which Blixen reflects on the life of a white African colonist.\n", "In the fifth and final section, \u201cFarewell to the Farm,\u201d the book begins to take on a more linear shape, as Blixen details the farm\u2019s financial failure, and the untimely deaths of several of her closest friends in Kenya. The book ends with the farm sold, and with Blixen on the Uganda Railway, heading toward the steamer on the coast, looking back and watching her beloved Ngong Hills diminish behind her.\n", "Out of Africa has been noted for its melancholy and elegiac style \u2013 Blixen biographer Judith Thurman employs an African tribal phrase to describe it: \u201cclear darkness.\u201d[9] It is not an insignificant fact that Blixen\u2019s tales encompass the deaths of at least five of the important people in the book. As the chapters proceed, Blixen begins to meditate more plainly on her feelings of loss and nostalgia for her days in Africa. As she describes the economic realities of her failed business closing in on her, she comments wryly on her mixture of despair and denial, until the last days are upon her and she gives in to the inevitable.\n", "But Blixen\u2019s wistfulness is fueled and informed by a loss greater than her own farm: the loss of Kenya itself. In the first two decades of the 20th century, many of Kenya\u2019s European settlers saw their colonial home as a kind of timeless paradise. One frequent explorer referred to the atmosphere as a \u201ctropical, neo-lithic slumber.\u201d[10] President Theodore Roosevelt, who explored the region in 1909, compared it to \u201cthe late Pleistocene.\u201d[11]\n", "Settlement was sparse; life followed the slow, dreamy rhythms of annual dry and rainy seasons. A few thousand European colonists, many of them well-educated Britons from the landed gentry, held dominion over vast plantation estates covering tens of thousands of acres. Their farms were home to herds of elephants and zebra, and dozens of giraffes, lions, hippos, leopards \u2013 to a culture accustomed to the traditional pleasures of European aristocrats, Kenya was a hunter\u2019s dream. Although the colonists imposed British law and economic control upon this new domain, they saw themselves not as conquerors or oppressors, but as benign stewards of the land and its people. Blixen herself commented in 1960 that when she arrived in Kenya in 1914, \u201cthe highlands were in very truth the Happy Hunting Grounds\u2026 while the pioneers lived in guileless harmony with the children of the land.\u201d [12]\n", "This belief in Kenya as a pre-historic Utopia left its mark on its inhabitants (and remained an idealized world of the imagination even for generations that came after). But by the time that Blixen was finishing the manuscript for Out of Africa at the age of 51, the Kenya protectorate of her younger years was a thing of the past. Aggressive agricultural development had spread the colony\u2019s human footprint far out into the game country; many of the new farmers were middle-class retired Army officers recruited by a government settlement programme after World War I. The popularity of hunting safaris, especially after Roosevelt\u2019s world-famous journey in 1909, had depleted the big herds precipitously. And as the clouds of war threatened Europe once again, the colony became as famous (or infamous) for the misbehavior of the wife-swapping, hard-partying Happy Valley set as it was for being a dreamy horizon of Empire.\n", "In Baroness Blixen\u2019s descriptions of the Africa she knew, a note of mourning for this irretrievably lost world frequently colours her stories of magnificent isolation and the redemptive qualities of a life lived in partnership with nature.[13]\n", "At first glance much of the book, especially the section titled \u201cFrom an Immigrant\u2019s Notebook,\u201d seems to be a string of loosely related episodes organized from Blixen\u2019s memory, or perhaps from notes she made while in Africa (indeed, in one of the early chapters she describes discussing the beginning of her work on the book with her young cook Kamante).\n", "A closer look, however, yields a more formal approach.\n", "Blixen examines the details and ethical implications of two separate \u201ctrials.\u201d The first is African: a gathering of tribesmen on her farm to adjudicate the case of a Kikuyu child who accidentally killed one playmate and maimed another with a shotgun. This process seems largely devoid of Western-style moral or ethical considerations: most of the energy expended in deliberations is directed at determining the proper amount of reparation the perpetrator\u2019s father must pay, in livestock, to the families of the victims. Later, Blixen describes a British colonial criminal trial in Nairobi: the defendant is a European settler who is accused of causing, by intention or indifference, the death of a disobedient African servant named Kitosch. Blixen does not directly compare the two proceedings, but the contrasts are stark.\n", "These two trials, separated by most of the book, may also be part of a deeper exploration by Blixen into one of her pet notions: the \u201cUnity\u201d of contrasts. Perhaps her greatest elucidation of this idea comes in Shadows on the Grass, which she wrote thirty years after leaving Kenya:\n", "Her life in Africa offered her no shortage of such contrasting dualities: town and country, dry season and rainy season, Muslim and Christian. Her most constant theme is the contrast of African and European.\n", "Much of Blixen\u2019s energy in Out of Africa is spent trying to capture for the reader the character of the Africans who lived on or near her farm, and the efforts of European colonists (herself included) to co-exist with them.\n", "Although she was unavoidably in the position of landholder, and wielded great power over her tenants, Blixen was known in her day for her respectful and admiring relationships with Africans[15] \u2013 a connection that made her increasingly suspect among the other colonists as tensions grew between Europeans and Africans.[16] \u201cWe were good friends,\u201d she writes about her staff and workers. \u201cI reconciled myself to the fact that while I should never quite know or understand them, they knew me through and through.\u201d[17]\n", "But Blixen does understand \u2013 and thoughtfully delineates \u2013 the differences between the culture of the Kikuyu who work her farm and who raise and trade their own sheep and cattle, and that of the Maasai, a volatile warrior culture of nomadic cattle-drovers who live on a designated tribal reservation south of the farm\u2019s property. Blixen also describes in some detail the lives of the Somali Muslims who immigrated south from Somaliland to work in Kenya, and a few members of the substantial Indian merchant minority which played a large role in the colony\u2019s early development.\n", "Her descriptions of Africans and their behavior or customs sometimes employ some of the abrasive racial language of her time, but her portraits are unusually frank and accepting, and are generally free of the period\u2019s European preconceptions of Africans as savages or simpletons. She saw in the ancient tribal customs a logic and dignity which many of her fellow colonists did not. Some of those customs, such as the valuation of daughters based on the dowry they will bring at marriage, seem ugly to Western eyes; Blixen\u2019s voice in describing these traditions is largely free of judgment.\n", "She was admired in return by many of her African employees and acquaintances, who saw her as a thoughtful and wise figure, and turned to her for the resolution of many disputes and conflicts[citation needed].\n", "The other characters who populate Out of Africa are the Europeans \u2013 colonists as well as some of the wanderers who stopped in Kenya. Foremost among them is Denys Finch Hatton, who was for a time Blixen\u2019s lover after her separation and then her divorce from her husband. Finch Hatton, like Blixen herself, was known to feel close to his African acquaintances \u2013 as, indeed, do virtually all of the Europeans for whom Blixen expresses real regard in Out of Africa.\n", "Blixen limits most of her reflections to those Europeans who were her frequent or favorite guests, such as a man she identifies only as \u201cOld Knudsen,\u201d a down-and-out Danish fisherman who invites himself to take up residence on her farm, and then abruptly dies there.\n", "Edward, Prince of Wales, also makes an appearance; his 1928 visit to the colony was an event of the utmost importance in Kenya\u2019s aristocratic social circles (the Governor of the colony ordered the streets of Nairobi repaved for the occasion).[18]\n", "Conspicuously absent from the stories in Out of Africa is any explicit appearance by Blixen\u2019s husband, Bror von Blixen-Finecke. Blixen refers to her younger days on shooting safaris, safaris which she is known to have taken with Bror, but doesn\u2019t mention him in that context. There is a reference or two to \u201cmy husband,\u201d[32] but she never uses his first name. Although the Blixens remained friendly through their separation and divorce, Bror\u2019s associations with other women caused Karen embarrassment. Decorum drove her to withdraw from social events where Bror would be present with a mistress (one of whom became his next wife), and she was, privately, resentful of these social strictures.\n", "In 1961, at the age of 76, Blixen published Shadows on the Grass, a short compendium of further recollections about her days in Africa. Many of the people and the events from Out of Africa appear again on these pages. Due to its brevity and its closely related content, Shadows on the Grass has in recent years been published as a combined volume with Out of Africa.\n", "Sydney Pollack directed a film adaptation in 1985, starring Meryl Streep, Robert Redford and Klaus Maria Brandauer.\n", "The film is less a direct adaptation of the book than it is a love story. Written by Kurt Luedtke and drawing heavily on two biographies of Blixen, it is a compressed chronological recounting of Blixen\u2019s Kenyan years that focuses particularly on her troubled marriage and her affair with Finch Hatton. Some of Blixen\u2019s more poetic narration and a few episodes from the book do appear in the film, such as Blixen\u2019s work running supply wagons during the war, the farm\u2019s fire and its financial troubles, and her struggles to find a home for her Kikuyu squatters. Most of the main characters are identified by their real names, though substantial liberties are taken with some of the details.\n", "Out of Africa won seven Academy Awards, including Best Picture, Best Director and Best Screenplay Adaptation.\n", "http://en.wikipedia.org/wiki/Good_Will_Hunting\n", "Good Will Hunting is an 1997 American drama film directed by Gus Van Sant and starring Robin Williams, Matt Damon, Ben Affleck, Minnie Driver and Stellan Skarsg\u00e5rd. Written by Affleck and Damon, and with Damon in the title role, the film follows 20-year-old South Boston laborer Will Hunting, an unrecognized genius who, as part of a deferred prosecution agreement after assaulting a police officer, becomes a patient of a therapist (Williams) and studies advanced mathematics with a renowned professor (Skarsg\u00e5rd). Through his therapy sessions, Will re-evaluates his relationships with his best friend (Affleck), his girlfriend (Driver) and himself, facing the significant task of thinking about his future." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Good Will Hunting received universal critical acclaim and was a financial success. It grossed over US$225 million during its theatrical run with only a modest $10 million budget. It was nominated for nine Academy Awards, including the Academy Award for Best Picture, and won two: Best Supporting Actor for Williams and Best Original Screenplay for Affleck and Damon.\n", "In 2014 it was ranked at number 53 in The Hollywood Reporter's 100 Favorite Films list.[1]\n", "\n", "\n", "Twenty-year-old Will Hunting (Damon) of South Boston is a self-taught, genius-level intellect with an eidetic memory, though he works simply as a janitor at the Massachusetts Institute of Technology, and spends his free time drinking with his friends Chuckie (Affleck), Billy (Cole Hauser) and Morgan (Casey Affleck). When Professor Gerald Lambeau (Skarsg\u00e5rd) posts a difficult problem taken from algebraic graph theory as a challenge for his graduate students, Will solves the problem anonymously, stunning both the graduate students and Lambeau himself. As a challenge to the unknown genius, Lambeau posts an even more difficult problem and chances upon Will solving it. Fearing he will lose his sole means of (a meager) income, Will flees and skips going into work the next day. That night, Will meets Skylar (Driver), a British orphan about to graduate from Harvard, who plans on attending medical school at Stanford.\n", "Assaulting both a man who bullied him as a child and a police officer who attempts to break up the fight, Will faces incarceration, but Lambeau arranges for him to forgo jail time if he agrees to study mathematics under Lambeau's supervision while simultaneously seeking psychotherapy. Will tentatively agrees but treats his first few therapists with contempt; his refusal to open up is met with staunch defiance by the bourgeois mentality of the therapists, who each refuse to treat Will further. In desperation, Lambeau calls on Dr. Sean Maguire (Williams), his estranged\u2014and much more grounded\u2014college roommate, who now teaches psychology at Bunker Hill Community College. Unlike the other therapists, Sean actually challenges Will's weak defense mechanisms, and after a few unproductive sessions Will begins to open up.\n", "Will is particularly struck by Sean's story of how he met his wife by giving up his ticket to the historic sixth game of the 1975 World Series after falling in love at first sight. Sean neither regrets his decision, nor does he regret the final years of his marriage when his wife was dying of cancer. This encourages Will to build a relationship with Skylar, though he lies to her about his past and is reluctant to introduce her to his friends or show her his rundown neighborhood. Will also challenges Sean to take an objective look at his own life, since Sean has been unable to move on from his wife's death.\n", "Chafing under Lambeau's high expectations, Will makes a mockery of job interviews that Lambeau arranges for him. When Skylar asks Will to move to California with her, he panics and pushes her away, revealing that he is an orphan and that his foster father physically abused him. Skylar tells Will that she loves him, but he denies loving her and then leaves. He next storms out on Lambeau, dismissing the mathematical research he has been doing. Sean points out that Will is so adept at anticipating future failure in his interpersonal relationships that he deliberately sabotages them in order to avoid emotional pain. When Will refuses to give an honest reply about what he wants to do with his life, Sean shows him the door. Will tells Chuckie he wants to be a laborer for the rest of his life; Chuckie responds that it would be an insult to his friends for Will to waste his potential and that his fondest wish is that Will should leave to pursue something greater.\n", "Will walks in on a heated argument between Sean and Lambeau over his future. Sean and Will share that they were both victims of child abuse. Sean helps Will to see that he is a victim of his own inner demons and to accept that it is not his fault. Will decides to accept one of the job offers arranged by Lambeau. Having helped Will overcome his problems, Sean reconciles with Lambeau and decides to take a sabbatical to travel the world. When Will's friends present him with a rebuilt Chevrolet Nova for his twenty-first birthday, he decides to pass on his job offers and drive to California to reunite with Skylar. Sometime later, Chuckie goes to Will's house to pick him up, only to find that he is not there. Sean comes out of his house and finds a letter from Will in his mailbox, which tells him he is going to see Skylar, much to his pleasure. In the final scene, Will drives away into the sunset.\n", "Ben Affleck and Matt Damon originally wrote the screenplay as a thriller, about a young man in the rough-and-tumble streets of South Boston who possesses a superior intelligence and is targeted by the FBI to become a G-Man. Castle Rock Entertainment president Rob Reiner later urged them to drop the thriller aspect of the story and to focus on the relationship between Will Hunting (Damon) and his psychologist (Williams). At Reiner's request, screenwriter William Goldman read the script and further suggested that the film's climax ought to be Will's decision to follow his girlfriend Skylar to California. Goldman has consistently denied the persistent rumor that he wrote Good Will Hunting or acted as a script doctor.[2] In his book, Which Lie Did I Tell?, Goldman jokingly writes \"I did not just doctor it. I wrote the whole thing from scratch.\"[3] before dismissing the rumour as false.\n", "Castle Rock bought the script for $675,000 against $775,000, meaning that Affleck and Damon would stand to earn an additional $100,000 if the film was produced and they retained sole writing credit. However, studios balked at the idea of Affleck and Damon in the lead roles, with many studio executives stating that they wanted Brad Pitt and Leonardo DiCaprio. At the time Damon and Affleck were meeting at Castle Rock, director Kevin Smith was working with Affleck on Mallrats and with both Affleck and Damon on Chasing Amy.[4] Seeing that Affleck and Damon were having trouble with Castle Rock, Smith and his producer partner Scott Mosier brought the script to Miramax, which eventually resulted in the two receiving co-executive producer credits for Hunting. The script was put into turnaround and Miramax bought the rights from Castle Rock.\n", "After buying the rights from Castle Rock, Miramax gave the green light to put the film into production. Several well-known filmmakers were originally considered to direct, including Mel Gibson, Michael Mann and Steven Soderbergh. Originally, Affleck asked Kevin Smith if he was interested in directing. Smith declined, saying they needed a \"good director\" and that he only directs things he writes and is not much of a visual director. Affleck and Damon later chose Gus Van Sant for the job, whose work on previous films like Drugstore Cowboy (1989) had left a favorable impression on the fledgling screenwriters. Miramax was persuaded and hired Van Sant to direct the film.\n", "Good Will Hunting was filmed on location in the Greater Boston area and Toronto between April and June 1997. Although the story is set in Boston, much of the film was shot at locations in Canada, with the University of Toronto standing in for the interiors of MIT and Harvard University. The classroom scenes were filmed at McLennan Physical Laboratories (of the University of Toronto) and Central Technical School. Harvard normally disallows filming on its property, but permitted limited filming by the project after intervention by Harvard alumnus John Lithgow.[5][clarification needed] Likewise, only the exterior shots of Bunker Hill Community College were filmed in Boston; however, Sean's office was built in Toronto as an exact replica of one at the college.[6]\n", "The restaurant to which Lambeau took Sean was Locke-Ober, on Winter Place. It closed in 2012.[7]\n", "The interior bar scenes set in \"Southie\" were shot on location at Woody's L St. Tavern.[8] Meanwhile, the homes of Will (190 West 6th Street) and Sean (261 E Street), while some distance apart in the movie, actually back up to each other on Bowen Street, the narrow street Chuckie drives down on a couple of occasions to walk up to Will's back door.[9][10]\n", "The Bow and Arrow Pub, which was located at the corner of Bow Street and Massachusetts Avenue in Cambridge, doubled as the Harvard bar in which Will met Skylar for the first time. The Baskin-Robbins/Dunkin' Donuts featured in the \"How'd you like them apples?\" scene was next door to the pub (now Grafton Street) at the time of the film's release, but it later moved two doors down, after One Bow Street opened up between the two the following year.[10][11][12] The Dunkin Donuts has since moved once again a short distance east, to the corner of Massachusetts Ave and Ellery Street. However, there is no longer an affiliated Baskin Robins.\n", "The Tasty, which is the present-day Citizens Bank at the corner of JFK and Brattle Streets, was the scene of Will and Skylar's first kiss.[13] The Au Bon Pain, where Will and Skylar discuss the former's photographic memory, is at the corner of Dunster Street and Mass Ave.[14] Cups of Will's caffeine of choice, Peet's Coffee, are visible on several tables because the product was served at Au Bon Pain locations at the time.\n", "The Boston Public Garden bench on which Sean and Will sat for a scene in the movie became a temporary shrine upon the death of Robin Williams in August 2014.[15]\n", "The footage during the closing credits is along the Massachusetts Turnpike in Stockbridge, heading west toward the New York border.\n", "The cast engaged in considerable improvisation in rehearsals. Robin Williams, Ben Affleck and Minnie Driver each made significant contributions to their characters. Robin Williams' last line in the film, as well as the therapy scene in which he talks about his character's wife's little idiosyncrasies, were both ad-libbed and took everyone by surprise. According to Damon's commentary in the DVD version of the film, this caused the cameraman to laugh so hard that the camera can be seen moving up and down slightly.\n", "Director Gus Van Sant says in the DVD commentary that, had he known just how successful the film was going to be, he would have left at least a couple of edited scenes intact that were cut purely for considerations of length. One of these involves Skylar's visit to Chuckie in hopes of shedding light on some of Will's eccentricities that Will himself is unwilling to discuss.\n", "The film is dedicated to the memory of poet Allen Ginsberg and writer William S. Burroughs, both of whom died in 1997.\n", "In the film's opening weekend in limited release, it earned $272,912. In its January 1998 wide-release opening weekend, it earned $10,261,471. It went on to gross $138,433,435 in North America for a total worldwide gross of $225,900,000.\n", "Good Will Hunting received universal acclaim from critics. Review aggregation website Rotten Tomatoes gives the film a score of 97% based on review from 69 critics, with an average score of 8/10, making the film a \"Certified Fresh\" on the website's rating system.[16] At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the film received an average score of 70, based on 28 reviews, which indicates \"Generally favorable reviews\".[17]\n", "Roger Ebert gave the film three out of four stars, writing that while the story is \"predictable\", it is \"the individual moments, not the payoff, that make it so effective.\"[18]\n", "Several scholars have examined the film as a portrayal of residual Catholic\u2013Protestant tensions in Boston, as Irish Catholics from Southie are aligned against ostensibly Protestant characters who are affiliated with Harvard and MIT.[19][20]\n", "The musical score for Good Will Hunting was composed by Danny Elfman, who had previously collaborated with Gus Van Sant on To Die For and would go on to score many of the director's other films. The film also features many songs written and recorded by singer-songwriter Elliott Smith. His song \"Miss Misery\" was nominated for the Academy Award for Best Original Song, but lost to \"My Heart Will Go On\" from Titanic. Elfman's score was also nominated for an Oscar, but lost to Titanic as well. On September 11, 2006, NBC's The Today Show used Elfman's song \"Weepy Donuts\" while Matt Lauer spoke during the opening credits.\n", "A soundtrack album for the film was released by Capitol Records on November 18, 1997, though only two of Elfman's cues appear on the release.[23]\n", "\"Afternoon Delight\" by the Starland Vocal Band was featured in the film, but did not appear on the soundtrack album.\n", "A limited edition soundtrack album featuring Elfman's complete score from the film was released by Music Box Records on March 3, 2014. The soundtrack, issued in 1500 copies, includes all of Elfman's cues (including music not featured on the rare Miramax Academy promo) and also contains the songs by Elliott Smith. One of the tracks is Smith's songs with Elfman's arrangements added into the mix.[24]\n", "http://en.wikipedia.org/wiki/Terms_of_Endearment\n", "Terms of Endearment is a 1983 comedy-drama film adapted from the novel of the same name by Larry McMurtry, directed, written, and produced by James L. Brooks and starring Shirley MacLaine, Debra Winger, Jack Nicholson, Danny DeVito, Jeff Daniels, and John Lithgow. The film covers 30 years of the relationship between Aurora Greenway (MacLaine) and her daughter Emma (Winger)." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film received 11 Academy Award nominations and won five. Brooks won the Academy Awards for Best Picture, Best Director, and Best Writing (Adapted Screenplay) while MacLaine won the Academy Award for Best Actress and Nicholson won the Academy Award for Best Supporting Actor. In addition, it won four Golden Globes: Best Motion Picture \u2013 Drama, Best Actress in a Drama (MacLaine), Best Supporting Actor (Nicholson), and Best Screenplay (Brooks).\n", "\n", "\n", "Brooks wrote the supporting role of Garrett Breedlove for Burt Reynolds, who turned down the role because of a verbal commitment he'd made to appear in The Cannonball Run. \"There are no awards in Hollywood for being an idiot,\" Reynolds later said of the decision.[1]\n", "The exterior shots of Aurora's home were filmed at 3060 Locke Lane, Houston, Texas. Larry McMurtry, writer of the novel on which the screenplay was based, had received his M.A. at Rice University, a mere three miles from the home.\n", "Aurora Greenway (Shirley MacLaine) and her daughter Emma (Debra Winger) are both searching for deep romantic love. Beginning with Emma's early childhood, Aurora reveals how difficult and caring she can be by nearly climbing into Emma's crib in order to make sure her daughter is breathing\u2014only to be reassured when Emma starts crying (after being woken up). After the death of Aurora's husband and Emma's father Rudyard (A. Brooks), Aurora and Emma develop an extremely close love-hate mother/daughter relationship as Emma grows up.\n", "The story follows both women through several years as each seeks a way of finding joy. Emma gets married, immediately upon being graduated from high school in the Houston area, to Flap Horton (Jeff Daniels), of whom Aurora so disapproves that she refuses to attend the wedding. Emma's best friend Patsy Clark (Lisa Hart Caroll) continues on to college, eventually becoming successful and rich in New York City.\n", "Emma has two children with Flap, who becomes a college professor in Des Moines, Iowa, separating the family hundreds of miles from Emma's meddlesome mother. She later telephones to ask her mother for money when she is pregnant with her third child. Aurora, not knowing by the telephone call that Emma is already several months into her pregnancy, wants Emma to get an abortion. Emma's once-passionate marriage to Flap becomes strained, thanks mostly to his philandering. She eventually has a secret romantic affair with a married small-town older banker, Sam Burns (John Lithgow).\n", "At the same time, Aurora remains celibate but cultivates the attention of several gentlemen in the area, some rather bizarre. However, she is attracted to her next-door neighbor of 15 years, the womanizing, alcoholic retired astronaut Garrett Breedlove (Jack Nicholson). Aurora and Garrett eventually go on a lunch date, make love, and develop a tenuous relationship.\n", "Emma returns to her mother's home in Houston after discovering her husband is having an affair with a young grad student named Janice (Kate Charleson). Emma's appearance along with her three children makes Garrett uncomfortable, as he has been single for a long time. Flap telephones and she reluctantly returns home to Iowa, trying reconciliation with him. Unwilling to become a one-woman man, Garrett breaks up with Aurora, making her feel \"humiliated.\"\n", "Emma ends the relationship with Sam as soon as Flap accepts a new teaching position in Kearney, Nebraska. Although she does not want to, Emma agrees to relocate to further Flap's career. She soon discovers that Janice is attending the same college where Flap now works, realizing that Flap followed her to Nebraska. Emma angrily confronts Janice before taking daughter Melanie to the doctor's office so both can get flu shots. While administering the injection, Emma's doctor notices two large lumps under Emma's armpit. Although Emma is only in her 30s, the doctor orders a biopsy and discovers she has a malignancy.\n", "To cheer her up, Patsy invites Emma to New York City for her first vacation without her children. However, after arriving, Emma feels out-of-place amongst Patsy's friends and returns home early to begin treatment for her illness. Her doctor breaks the news that the drugs she was taking did not have the desired effect, and that Emma will not survive her illness. Flap and Aurora remain by her bedside in the hospital for weeks. Although devastated and exhausted, Aurora is still very supportive and loving towards Emma. Garrett flies to Lincoln, Nebraska, where he surprises Aurora, who confesses her love for him. He issues his stock reply: \"I love you, too, kid.\"\n", "In a discussion in the hospital cafeteria, Aurora tells Flap bluntly that he does not have the energy for a job, chasing women, and managing a family, advising him to let her raise his and Emma's children in Houston. Patsy, who has no children of her own, wants to adopt Melanie, but Flap and Emma do not want their kids to be separated. Emma also doesn't want Janice to raise her children, so Flap, feeling like a failure as both a father and a husband, agrees that having them live with Aurora is best.\n", "As Emma's time begins to run short, eldest son Tommy (Troy Bishop) shows open resentment toward his mother due to circumstances such as social class, fights between his parents, and Tommy's perception of feeling unloved. Emma reassures her two sons, and, after an altercation with Aurora (she slaps him in the hospital parking lot for criticizing his mother), Tommy weeps in his grandmother's arms. Emma dies later that night.\n", "Following the funeral, Emma's friends and family gather in Aurora's backyard for a memorial service. Garrett shows affection toward each of Emma's children and helps Tommy cope during the wake. The film closes on Aurora, sitting next to Melanie.\n", "The film was commercially successful. On its opening weekend, it grossed $3.4 million ranking number two until its second weekend when it grossed $3.1 million ranking #1 at the box office. Three weekends later, it arrived number one again with $9,000,000 having wide release. For four weekends, it remained number one at the box office until slipping to number two on its tenth weekend. On the film's 11th weekend, it arrived number one (for the sixth and final time) grossing $3,000,000. For the last weekends of the film, it later dwindled downward.[2] The film grossed $108,423,489 in the United States.[3]\n", "The film was generally well regarded by critics and maintains an 88% rating on Rotten Tomatoes with the consensus, \"A classic tearjerker, Terms of Endearment isn't shy about reaching for the heartstrings -- but is so well-acted and smartly scripted that it's almost impossible to resist.\"[4] Roger Ebert gave the film a four-out-of-four star rating, calling it \"a wonderful film\" and stating, \"There isn't a thing that I would change, and I was exhilarated by the freedom it gives itself to move from the high comedy of Nicholson's best moments to the acting of Debra Winger in the closing scenes.\"[5] Gene Siskel, who gave the film a highly enthusiastic review, correctly predicted upon its release that it would go on to win the Academy Award for Best Picture of 1983.\n", "In an interview with Barbara Walters, Bette Davis said \"At least Terms of Endearment was an authentic film about relationships, and I must say that Miss Shirley MacLaine gave an outstanding performance, but then she's always good.\"\n", "The film won five Academy Awards[6] and four Golden Globes:[7]\n", "A sequel, The Evening Star, in which Shirley MacLaine and Jack Nicholson reprised their roles, was released in 1996 to much less critical or commercial acclaim.\n", "http://en.wikipedia.org/wiki/Tootsie\n", "Tootsie is a 1982 American comedy-drama film that tells the story of a talented but volatile actor whose reputation for being difficult forces him to adopt a new identity as a woman to land a job. The movie stars Dustin Hoffman, with a supporting cast that includes Jessica Lange, Teri Garr, Dabney Coleman, Charles Durning, Geena Davis (in her acting debut), Bill Murray, Doris Belack and producer/director Sydney Pollack. Tootsie was adapted by Larry Gelbart, Barry Levinson (uncredited), Elaine May (uncredited) and Murray Schisgal from the story by Gelbart." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "In 1998, the United States Library of Congress deemed the film \"culturally significant\" and selected it for preservation in the National Film Registry. The theme song to the film, \"It Might Be You,\" which was sung by singer-songwriter Stephen Bishop, whose music was composed by Dave Grusin, and whose lyrics were written by Marilyn and Alan Bergman, was a Top 40 hit in the U.S., and also hit No. 1 on the U.S. adult contemporary chart.\n", "Jessica Lange won the Academy Award for Best Supporting Actress for her performance as Julie Nichols. The movie earned a total of ten Academy Awards nominations and in 2000 the American Film Institute ranked Tootsie as the second funniest film of all time.[2][3]\n", "\n", "\n", "Michael Dorsey (Dustin Hoffman) is a respected but perfectionist actor. Nobody in New York wants to hire him anymore because he is difficult to work with. According to his long-suffering agent George Fields (Sydney Pollack), Michael's attention to detail and difficult reputation led a commercial he worked on to run significantly over-schedule, because the idea of a tomato sitting down was \"illogical\" to him. After many months without a job, Michael hears of an opening on the soap opera Southwest General from his friend and acting student Sandy Lester (Teri Garr), who tries out for the role of a hospital administrator Emily Kimberly but does not get it. In desperation, and as a result of his agent telling him that \"no one will hire you\", he dresses as a woman, auditions as \"Dorothy Michaels\" and wins the part. Michael takes the job as a way to raise $8,000 to produce a play, written by his roommate Jeff Slater (Bill Murray), titled Return To Love Canal. Michael plays his character as a feisty, feminist administrator, which surprises the other actors and crew who expected Emily to be (as written) another swooning female in the plot. His character quickly becomes a television sensation.\n", "When Sandy catches Michael in her bedroom half undressed (he wanted to try on her clothes in order to get more ideas for Dorothy's outfits), he covers up by professing he wants to have sex with her. They have sex despite his better judgment about her self-esteem issues. Michael believes Sandy is too emotionally fragile to handle the truth about him winning the part, especially after noticing her strong resentment of Dorothy. Their relationship, combined with his deception, complicates his now-busy schedule. Exacerbating matters further, he is strongly attracted to one of his co-stars, lovely, soft-spoken Julie Nichols (Jessica Lange), a single mother in an unhealthy relationship with the show's amoral, sexist director, Ron Carlisle (Dabney Coleman). At a party, when Michael (as himself) approaches Julie with a pick-up line that she had previously told Dorothy she would be receptive towards, she throws a drink in his face. Later, as Dorothy, when he makes tentative advances, Julie\u2014having just ended her relationship with Ron per Dorothy's advice\u2014confesses that she has feelings about Dorothy which confuse her, but is not emotionally ready to be in a romantic relationship with a woman.\n", "Meanwhile, Dorothy has her own admirers to contend with: older cast member John Van Horn (George Gaynes) and Julie's widowed father Les (Charles Durning). Les proposes marriage, insisting Michael/Dorothy \"think about it\" before answering; he leaves immediately and returns home to find co-star John, who almost forces himself on Dorothy until Jeff walks in on them. John apologizes for intruding and leaves. The tipping point comes when, due to Dorothy's popularity, the show's producers want to extend her contract for another year. Michael finds a clever way to extricate himself. When the cast is forced to perform the show live, he improvises a grand speech on camera, pulls off his wig and reveals that he is actually the character's twin brother who took her place to avenge her. Sandy, Les, and Jeff, who are all watching at home, react with the same level of shock as the cast and crew of the show, the exception being Jeff, who simply remarks, \"That...is one nutty hospital.\" The revelation allows everybody a more-or-less graceful way out. Julie, however, is so outraged that she slugs him in the stomach off-camera. Some weeks later, Michael is moving forward with producing Jeff's play. He awkwardly makes peace with Les in a bar, and Les shows tentative support for Michael's attraction to Julie. Later, Michael waits for Julie outside the studio. Julie resists talking but finally admits she misses Dorothy. Michael confesses, \"I was a better man with you as a woman than I ever was with a woman as a man.\" At that, she forgives him and they walk off, Julie asking him to lend her a dress.\n", "In the 1970s, fashion company executive Charles Evans decided to get into movie-making. It was an industry which his brother, Robert Evans, was successful in as an actor, producer, and studio executive. Evans told the Los Angeles Times in 1995 that he got into producing \"because I enjoy movies very much. I have the time to do it. And I believe if done wisely, it can be a profitable business.\"[5] His first foray into film production was a massive success. Playwright Don McGuire had written a play in the early 1970s about an unemployed male actor who cross-dresses in order to get jobs. Titled Would I Lie to You?, the play was shopped around Hollywood for several years until it came to the attention of comedian and actor Buddy Hackett in 1978. Hackett, interested in playing the role of the talent agent, showed the script to Evans. Evans purchased an option on the play. (Delays in the film's production forced Evans to renew the option once or twice.)[6] During 1979, Evans co-wrote a screenplay based on the film with director Dick Richards and screenwriter Bob Kaufman.[7] A few months into the writing process, Richards showed it to actor Dustin Hoffman, his partner in a company which bought and developed properties for development into films, but Hoffman wanted complete creative control, and Evans agreed to remove himself from screenwriting tasks. Instead, Evans became a producer on the film, which was renamed[why?] Tootsie.[6]\n", "The film remained in development for an additional year as producers waited on a revised script.[8] As pre-production began, the film ran into additional delays when Richards left the role of director and assumed the role of producer due to \"creative differences.\"[9] Richards was then replaced as director by Hal Ashby, who was forced to leave the project by Columbia Pictures because of the threat of legal action if his post-production commitments on Lookin' to Get Out weren't fulfilled.[10] In November 1981, Sydney Pollack signed on to the film as both director and producer as per the suggestion of Columbia.[11]\n", "The idea of having director Sydney Pollack play Hoffman's agent, George Fields, was Hoffman's. Originally the role was written for, and to be played by, Dabney Coleman. Pollack initially resisted the idea, but Hoffman eventually convinced him to take the role; it was Pollack's first acting work in years.[12] Afterwards, Pollack still wanted to keep Coleman on board, and recast him, as the sexist, arrogant soap opera director Ron Carlisle.[13]\n", "To prepare for his role, Hoffman watched the film La Cage aux Folles several times.[14] He also visited the set of General Hospital for research, and conducted extensive make-up tests. In an interview for the American Film Institute, Hoffman said that he was shocked that although he could be made-up to appear as a credible woman, he would never be a beautiful one. He said that he had an epiphany when he realised that although he found this woman interesting, he would not have spoken to her at a party because she was not beautiful and that as a result he had missed out on many conversations with interesting women. He concluded that he had never regarded Tootsie as a comedy.[15]\n", "Scenes set in the New York City Russian Tea Room were filmed in the actual restaurant, with additional scenes shot at Central Park and in front of Bloomingdale's.[16]\n", "Its opening weekend gross in the United States was $5,540,470.[1] Its final gross in the United States was $177,200,000,[1] making it the second highest grossing movie of 1982 after E.T. the Extra-Terrestrial.\n", "Roger Ebert praised the film, giving it 4 out of 4 stars and observing:\n", "Tootsie is the kind of Movie with a capital M that they used to make in the 1940s, when they weren't afraid to mix up absurdity with seriousness, social comment with farce, and a little heartfelt tenderness right in there with the laughs. This movie gets you coming and going...The movie also manages to make some lighthearted but well-aimed observations about sexism. It also pokes satirical fun at soap operas, New York show business agents and the Manhattan social pecking order.[17]\n", "Years later, Rotten Tomatoes awarded the film an 88% \"Certified Fresh\" rating among all critics, and an ever-rare 100% rating amongst \"Top Critics\".[18]\n", "The film was nominated for ten Academy Awards; Lange was the only winner, for Best Actress in a Supporting Role.[19]\n", "The other nominations were:\n", "American Film Institute recognition\n", "In 2011, ABC aired a primetime special, Best in Film: The Greatest Movies of Our Time, that counted down the best movies chosen by fans based on results of a poll conducted by both ABC and People Weekly Magazine. Tootsie was selected as the No. 5 Best Comedy.[20]\n", "The film was first released on CED Videodisc in 1983, on VHS and Betamax videocassettes by RCA/Columbia Pictures Home Video in 1985 and on DVD in 2001. These releases were distributed by Columbia Tristar Home Video. A special 25th Anniversary edition DVD, released by Sony Pictures, arrived in 2008. In the high-definition era, the film was released on the visually superior Blu-ray format in 2013, albeit at this point in time it was only distributed in selected international territories such as Germany and Japan. The film will be released on Blu-ray as a part of the Criterion Collection on November 25, 2014.\n", "http://en.wikipedia.org/wiki/Fargo\n", "Fargo usually refers to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Fargo may also refer to:\n", "http://en.wikipedia.org/wiki/Giant\n", "Giant or Giants may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/The_Grapes_of_Wrath\n", "The Grapes of Wrath is an American realist novel written by John Steinbeck and published in 1939. The book won the National Book Award[2] and Pulitzer Prize[3] for fiction, and it was cited prominently when Steinbeck was awarded the Nobel Prize in 1962.[4]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Set during the Great Depression, the novel focuses on the Joads, a poor family of tenant farmers driven from their Oklahoma home by drought, economic hardship, agricultural industry changes and bank foreclosures forcing tenant farmers out of work. Due to their nearly hopeless situation, and in part because they were trapped in the Dust Bowl, the Joads set out for California. Along with thousands of other \"Okies\", they sought jobs, land, dignity, and a future.\n", "The Grapes of Wrath is frequently read in American high school and college literature classes due to its historical context and enduring legacy.[5][6][7] A celebrated Hollywood film version, starring Henry Fonda and directed by John Ford, was made in 1940.\n", "\n", "\n", "The narrative begins just after Tom Joad is paroled from McAlester prison for homicide. On his return to his home near Sallisaw, Oklahoma, Tom meets former preacher Jim Casy, whom he remembers from his childhood, and the two travel together. When they arrive at Tom's childhood farm home, they find it deserted. Disconcerted and confused, Tom and Casy meet their old neighbor, Muley Graves, who tells them the family has gone to stay at Uncle John Joad's home nearby. Graves tells them that the banks have evicted all the farmers off their land, but he refuses to leave the area.\n", "The next morning, Tom and Casy go to Uncle John's. Tom finds his family loading a converted Hudson truck with what remains of their possessions; with their crops destroyed by the Dust Bowl, the family had to default on their loans. With their farm repossessed, the Joads hope to go to work in California, described in handbills as fruitful and offering high pay. The Joads put everything they have into making the journey. Although leaving Oklahoma would be breaking parole, Tom decides it is worth the risk, and invites Casy to join him and his family.\n", "Traveling west on Route 66, the Joad family find the road crowded with other migrants. In makeshift camps, they hear many stories from others, some returning from California, and worry about lessening prospects. Along the road, Granpa dies and they bury him in a field; Granma dies close to the California state line; and both Noah (the eldest Joad son) and Connie Rivers (the husband of the pregnant Joad daughter, Rose of Sharon) split from the family. Led by Ma, the remaining members realize they can only continue, as nothing is left for them in Oklahoma.\n", "Reaching California, they find the state oversupplied with labor, so wages are low and workers are taken advantage of. The big corporate farmers are in collusion, and smaller farmers suffer from collapsing prices. A Weedpatch Camp, one of the clean, utility-supplied camps operated by the Resettlement Administration, a New Deal agency, offers better conditions, but does not have enough resources to care for all the needy families. As a Federal facility, the camp protects the migrants from harassment by California deputies.\n", "\u2014 Chapter 19\n", "In response to the exploitation, Casy becomes a labor organizer and tries to recruit for a labor union. The remaining Joads work as strikebreakers in a peach orchard where Casy is involved in a strike that eventually turns violent. when Tom Joad witnesses Casy's fatal beating, he kills the attacker and flees as a fugitive. The Joads later leave the orchard for a cotton farm, where Tom is at risk for the homicide.\n", "He bids farewell to his mother, promising to work for the oppressed. Rose of Sharon's baby is stillborn. Ma Joad remains steadfast and forces the family through the bereavement. With rain, the Joads' dwelling is flooded, and they move to higher ground. In the final chapter of the book, the family take shelter from the flood in an old barn. Inside they find a young boy and his father, who is dying of starvation. Rose of Sharon takes pity on the man and offers him her breast, so that he can be saved. Hers is the only action taken by a member of the Joad family that is not futile.\n", "The novel developed from The Harvest Gypsies, a series of seven articles that ran in the San Francisco News, from October 5 to 12, 1936. The newspaper commissioned that work on migrant workers from the Midwest in California's agriculture industry. (It was later compiled and published separately.[8])[9]\n", "While writing the novel at his home, 16250 Greenwood Lane, in what is now Monte Sereno, California, Steinbeck had unusual difficulty devising a title. The Grapes of Wrath, suggested by his wife Carol Steinbeck,[10] was deemed more suitable than anything by the author. The title is a reference to lyrics from \"The Battle Hymn of the Republic\", by Julia Ward Howe:\n", "Mine eyes have seen the glory of the coming of the Lord:\n", "He is trampling out the vintage where the grapes of wrath are stored;\n", "He hath loosed the fateful lightning of His terrible swift sword:\n", "His truth is marching on.\n", "These lyrics refer, in turn, to the biblical passage Revelation 14:19\u201320, an apocalyptic appeal to divine justice and deliverance from oppression in the final judgment.\n", "And the angel thrust in his sickle into the earth, and gathered the vine of the earth, and cast it into the great winepress of the wrath of God. And the winepress was trodden without the city, and blood came out of the winepress, even unto the horse bridles, by the space of a thousand and six hundred furlongs.\n", "The phrase also appears at the end of chapter 25 in The Grapes of Wrath which describes the purposeful destruction of food to keep the price high:\n", "and in the eyes of the hungry there is a growing wrath. In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage.\n", "The image invoked by the title serves as a crucial symbol in the development of both the plot and the novel's greater thematic concerns: from the terrible winepress of Dust Bowl oppression will come terrible wrath but also the deliverance of workers through their cooperation. This is suggested but not realized within the novel.\n", "When preparing to write the novel, Steinbeck wrote: \"I want to put a tag of shame on the greedy bastards who are responsible for this [the Great Depression and its effects].\" He famously said, \"I've done my damndest to rip a reader's nerves to rags.\" This work won a large following among the working class due to Steinbeck's sympathy to the migrants and workers' movement, and his accessible prose style.[11]\n", "Steinbeck scholar John Timmerman sums up the book's influence: \"The Grapes of Wrath may well be the most thoroughly discussed novel \u2013 in criticism, reviews, and college classrooms \u2013 of 20th century American literature.\"[9] The Grapes of Wrath is referred to as a Great American Novel.[12]\n", "At the time of publication, Steinbeck's novel \"was a phenomenon on the scale of a national event. It was publicly banned and burned by citizens, it was debated on national talk radio; but above all, it was read.\"[13] According to The New York Times, it was the best-selling book of 1939 and 430,000 copies had been printed by February 1940.[2] In that month it won the National Book Award, favorite fiction book of 1939, voted by members of the American Booksellers Association.[2] Soon it won the Pulitzer Prize for Fiction.[3]\n", "The book was noted for Steinbeck's passionate depiction of the plight of the poor, and many of his contemporaries attacked his social and political views. Bryan Cordyack writes, \"Steinbeck was attacked as a propagandist and a socialist from both the left and the right of the political spectrum. The most fervent of these attacks came from the Associated Farmers of California; they were displeased with the book's depiction of California farmers' attitudes and conduct toward the migrants. They denounced the book as a 'pack of lies' and labeled it 'communist propaganda'.[9] Some accused Steinbeck of exaggerating camp conditions to make a political point. Steinbeck had visited the camps well before publication of the novel[14] and argued their inhumane nature destroyed the settlers' spirit.\n", "In 1962, the Nobel Prize committee cited Grapes of Wrath as a \"great work\" and as one of the committee's main reasons for granting Steinbeck the Nobel Prize for Literature.[4]\n", "In 2005 Time magazine included the novel in its \"TIME 100 Best English-language Novels from 1923 to 2005\".[15] In 2009, The Daily Telegraph of the United Kingdom included the novel in its \"100 novels everyone should read\".[16] In 1998, the Modern Library ranked The Grapes of Wrath tenth on its list of the 100 best English-language novels of the 20th century. In 1999, French newspaper Le Monde of Paris ranked The Grapes of Wrath as seventh on its list of the 100 best books of the 20th century. In the UK, it was listed at number 29 of the \"nation's best loved novel\" on the BBC's 2003 survey The Big Read.[17]\n", "The book was quickly made into a famed, 1940 Hollywood movie of the same name directed by John Ford and starring Henry Fonda as Tom Joad. The first part of the film version follows the book fairly accurately. However, the second half and the ending in particular are significantly different from the book. John Springer, author of The Fondas (Citadel, 1973), said of Henry Fonda and his role in film version of The Grapes of Wrath: \"The Great American Novel made one of the few enduring Great American Motion Pictures.\"[18]\n", "The 2009 documentary American: The Bill Hicks Story revealed that The Grapes of Wrath was the favorite novel of the comedian Bill Hicks. He based his famous last words on Tom Joad's final speech: \"I left in love, in laughter, and in truth, and wherever truth, love and laughter abide, I am there in spirit.\"[citation needed]\n", "In July 2013 Steven Spielberg announced his plans to direct a remake of The Grapes of Wrath for DreamWorks.[19][20]\n", "Woody Guthrie's song, \"The Ballad of Tom Joad\" from the album Dust Bowl Ballads (1940), explores the protagonist's life after being paroled from prison.[citation needed]\n", "American rock singer-songwriter Bruce Springsteen named his eleventh studio album, The Ghost of Tom Joad (1995), after the character. The first track on the album is also called \"The Ghost of Tom Joad\". The song \u2013 and to a lesser extent, the other songs on the album \u2013 draws comparisons between the Dust Bowl and modern times.[21]\n", "The song \"Dust Bowl Dance\" by Mumford & Sons is based on the novel.\n", "Bad Religion have a song entitled \"Grains of Wraith\" on their 2007 album, New Maps of Hell. Bad Religion lead vocalist, Greg Graffin is a fan of Steinbeck's.[22][better\u00a0source\u00a0needed][not in citation given]\n", "The progressive rock band Camel released in 1991 an album titled Dust and Dreams inspired on the novel.\n", "An opera based on the novel was co-produced by the Minnesota Opera and Utah Symphony and Opera, with music by Ricky Ian Gordon and libretto by Michael Korie. The world premiere performance of the opera was given in February 2007, to favorable local reviews.[23]\n", "The Steppenwolf Theatre Company produced a stage version of the book, adapted by Frank Galati. Gary Sinise played Tom Joad for its entire run of 188 performances on Broadway in 1990. One of these performances was filmed and shown on PBS the following year.\n", "In 1990, the Illegitimate Players theater company in Chicago produced Of Grapes and Nuts, an original, satirical mash-up of The Grapes of Wrath and Steinbeck's acclaimed novella Of Mice and Men.[24]\n", "http://en.wikipedia.org/wiki/Shane\n", "Shane may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "http://en.wikipedia.org/wiki/The_Green_Mile\n", "The Green Mile may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Close_Encounters_of_the_Third_Kind\n", "Close Encounters of the Third Kind is a 1977 science fiction film, written and directed by Steven Spielberg and featuring Richard Dreyfuss, Fran\u00e7ois Truffaut, Melinda Dillon, Teri Garr, Bob Balaban, and Cary Guffey. It tells the story of Roy Neary, an everyday blue collar worker in Indiana, whose life changes after an encounter with an unidentified flying object (UFO)." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Close Encounters was a long-cherished project for Spielberg. In late 1973, he developed a deal with Columbia Pictures for a science fiction film. Though Spielberg received sole credit for the script, he was assisted by Paul Schrader, John Hill, David Giler, Hal Barwood, Matthew Robbins, and Jerry Belson, all of whom contributed to the screenplay in varying degrees. The title is derived from ufologist J. Allen Hynek's classification of close encounters with aliens, in which the third kind denotes human observations of actual aliens or \"animate beings.\" Douglas Trumbull served as the visual effects supervisor, while Carlo Rambaldi designed the aliens.\n", "Made on a production budget of $18 million, Close Encounters was released in November 1977 to critical and financial success, eventually grossing over $337,700,000 worldwide.\n", "A Special Edition of the film, featuring additional scenes, was issued in 1980. A third cut of the film was released to home video and laserdisc in 1998 (and later DVD and Blu-ray). The film received numerous awards and nominations at the 50th Academy Awards, 32nd British Academy Film Awards, the 35th Golden Globe Awards, the Saturn Awards and has been widely acclaimed by the American Film Institute. In December 2007, it was deemed \"culturally, historically, or aesthetically significant\" by the United States Library of Congress and selected for preservation in the National Film Registry.[2]\n", "\n", "\n", "In the Sonoran Desert, French scientist Claude Lacombe and his American interpreter, mapmaker David Laughlin, along with other government scientific researchers, discover Flight 19, a squadron of Grumman TBM Avengers that went missing more than 30 years earlier. The planes are intact and operational, but there is no sign of the pilots. An old man who witnessed the event claimed \"the sun came out at night, and sang to him.\" They also find a lost cargo ship in the Gobi Desert named SS Cotopaxi. At an air traffic control center in Indianapolis, a controller listens as two airline flights narrowly avoid a mid-air collision with an apparent unidentified flying object (UFO), which neither pilot chooses to report, even when invited to do so. In Muncie, Indiana, 3-year-old Barry Guiler is awakened in the night when his toys start operating on their own. Fascinated, he gets out of bed and discovers something or someone (off-screen) in the kitchen. He runs outside, forcing his mother, Jillian, to chase after him.\n", "Investigating one of a series of large-scale power outages, Indiana electrical lineman Roy Neary experiences a close encounter with a UFO, when it flies over his truck and lightly burns the side of his face with its bright lights. The UFO, along with three others, are pursued by Neary and three police cars, but the spacecraft fly off into the night sky. Roy becomes fascinated by UFOs, much to the dismay of his wife, Ronnie. He also becomes increasingly obsessed with subliminal, mental images of a mountain-like shape and begins to make models of it. Jillian also becomes obsessed with sketching a unique-looking mountain. Soon after, she is terrorized in her home by a UFO encounter in which Barry is abducted by unseen beings.\n", "Lacombe and Laughlin\u2014along with a group of United Nations experts\u2014continue to investigate increasing UFO activity and strange, related occurrences. Witnesses in Dharamsala, India report that the UFOs make distinctive sounds: a five-tone musical phrase in a major scale. Scientists broadcast the phrase to outer space, but are mystified by the response: a seemingly meaningless series of numbers repeated over and over until Laughlin, with his background in cartography, recognizes it as a set of geographical coordinates. The coordinates point to Devils Tower near Moorcroft, Wyoming. Lacombe and the U.S. military converge on Wyoming. The United States Army evacuates the area, planting false reports in the media that a train wreck has spilled a toxic nerve gas, all the while preparing a secret landing zone for the UFOs and their occupants.\n", "Meanwhile, Roy's increasingly erratic behavior causes Ronnie to leave him, taking their three children with her. When a despairing Roy inadvertently sees a television news program about the train wreck near Devils Tower, he realizes the mental image of a mountain plaguing him is real. Jillian sees the same broadcast, and she and Roy, as well as others with similar visions and experiences, travel to the site in spite of the false public warnings about nerve gas.\n", "While most of the civilians who are drawn to the site are apprehended by the Army, Roy and Jillian persist and make it to the site just as dozens of UFOs appear in the night sky. The government specialists at the site begin to communicate with the UFOs by use of light and sound on a large electrical billboard. Following this, an enormous mother ship lands at the site, returning people who had been abducted over the past decades, including Barry, and the missing pilots from Flight 19 and sailors from the Cotopaxi, who have not aged since their abductions. The government officials decide to include Roy in a group of people whom they have selected to be potential visitors to the mothership, and hastily prepare him. As the aliens finally emerge from the mothership, they select Roy to join them on their travels. As Roy enters the mothership, one of the aliens pauses for a few moments with the humans. Lacombe uses Curwen hand signs that correspond to the five note alien tonal phrase. The alien replies with the same gestures, smiles, and returns to its ship, which lifts off into the night sky.\n", "J. Allen Hynek and Stanton T. Friedman make cameo appearances at the closing scene. Spielberg's friends Hal Barwood and Matthew Robbins cameo as two World War II pilots returning from the mother ship. Real-life ARP technician Phil Dodds cameos as the operator of the ARP 2500 synthesizer communicating with the alien ship. Musician Jerry Garcia also makes an appearance in the crowd scene.\n", "The film's origins can be traced to director Steven Spielberg's youth, when he and his father saw a meteor shower in New Jersey.[3] As a teenager, Spielberg completed the full-length science fiction film Firelight. Many scenes from Firelight would be incorporated in Close Encounters on a shot-for-shot basis.[7] In 1970 he wrote a short story called Experiences about a lovers' lane in a Midwestern United States farming community and the \"light show\" a group of teenagers see in the night sky.[8] In late 1973, during post-production on The Sugarland Express, Spielberg developed a deal with Columbia Pictures for a science fiction film. 20th Century Fox previously turned down the offer.[8] Julia and Michael Phillips instantly signed on as producers.[9]\n", "He first considered doing a documentary or a low-budget feature film about people who believed in UFOs. Spielberg decided \"a film that depended on state of the art technology couldn't be made for $2.5\u00a0million.\"[8] Borrowing a phrase from the ending of The Thing from Another World, he retitled the film Watch the Skies, rewriting the premise concerning Project Blue Book and pitching the concept to Willard Huyck and Gloria Katz. Katz remembered \"It had flying saucers from outer space landing on Robertson Boulevard [in West Hollywood, California]. I go, 'Steve, that's the worst idea I ever heard.\"[8] Spielberg brought Paul Schrader to write the script in December 1973 with principal photography to begin in late-1974. However, Spielberg started work on Jaws in 1974, pushing Watch the Skies back.[8]\n", "With the financial and critical success of Jaws, Spielberg earned a vast amount of creative control from Columbia, including the right to make the film any way he wanted.[10] Schrader turned in his script, which Spielberg called, \"one of the most embarrassing screenplays ever professionally turned in to a major film studio or director. It was a terribly guilt-ridden story not about UFOs at all.\"[4] Titled Kingdom Come, the script's protagonist was a 45-year-old Air Force Officer named Paul Van Owen who worked with Project Blue Book. \"[His] job for the government is to ridicule and debunk flying saucers.\" Schrader continued. \"One day he has an encounter. He goes to the government, threatening to blow the lid off to the public. Instead, he and the government spend 15 years trying to make contact.\"[4] Spielberg and Schrader experienced creative differences, hiring John Hill to rewrite.[4] At one point the main character was a police officer.[3] Spielberg \"[found] it hard to identify with men in uniform. I wanted to have Mr. Everyday Regular Fella.\" Spielberg rejected the Schrader/Hill script during post-production on Jaws.[4] He reflected, \"they wanted to make it like a James Bond adventure.\"[11]\n", "David Giler performed a rewrite; Hal Barwood and Matthew Robbins,[3] friends of Spielberg, suggested the plot device of a kidnapped child. Spielberg then began to write the script. The song \"When You Wish upon a Star\" from Pinocchio influenced Spielberg's writing style. \"I hung my story on the mood the song created, the way it affected me personally.\"[4] Jerry Belson and Spielberg wrote the shooting script together. In the end, Spielberg was given solo writing credit.[4] During pre-production, the title was changed from Kingdom Come to Close Encounters of the Third Kind.[10] J. Allen Hynek, who worked with the United States Air Force on Project Blue Book, was hired as a scientific consultant. Hynek felt \"even though the film is fiction, it's based for the most part on the known facts of the UFO mystery, and it certainly catches the flavor of the phenomenon. Spielberg was under enormous pressure to make another blockbuster after Jaws, but he decided to make a UFO movie. He put his career on the line.\"[4] USAF and NASA declined to cooperate on the film.[10]\n", "Principal photography began on May 16, 1976, though an Associated Press report in August 1975 had suggested filming would start in late 1975.[12] Spielberg did not want to do any location shooting because of his negative experience on Jaws and wanted to shoot Close Encounters entirely on sound stages, but eventually dropped the idea.[13]\n", "Filming took place in Burbank, California; Devils Tower National Monument in Wyoming; two abandoned World War II airship hangars at the former Brookley Air Force Base in Mobile, Alabama; and the Louisville and Nashville Railroad depot in Bay Minette. The home where Barry was abducted is located outside the town of Fairhope, Alabama. Roy Neary's home is at Carlisle Drive East in Mobile. The UFOs fly through the toll booth at the Vincent Thomas Bridge, San Pedro, California. The Gobi Desert sequence was photographed at the Dumont Dunes, California, and the Dharmsala-India exteriors were actually filmed at the small village of Hal near Khalapur, 35 miles (56\u00a0km) outside Mumbai, India.[13] The hangars in Alabama were six times larger than the biggest sound stage in the world.[10][14] Various technical and budgetary problems occurred during filming. Spielberg called Close Encounters \"twice as bad and twice as expensive [as Jaws]\".[4]\n", "Matters worsened when Columbia Pictures experienced financial difficulties. Spielberg estimated the film would cost $2.7\u00a0million to make in his original 1973 pitch to Columbia, but the final budget came to $19.4\u00a0million.[10] Columbia studio executive John Veich remembered, \"If we knew it was going to cost that much, we wouldn't have greenlighted it because we didn't have the money.\"[10] Spielberg hired Joe Alves, his collaborator on Jaws, as production designer.[5] In addition the 1976 Atlantic hurricane season brought tropical storms to Alabama. A large portion of the sound stage in Alabama was damaged because of a lightning strike.[3] Columbia raised $7 million from three sources: Time Inc., EMI, and German tax shelters.[15]\n", "Cinematographer Vilmos Zsigmond said that, during the time of shooting for the film, Spielberg got more ideas by watching movies every night which in turn extended the production schedule because he was continually adding new scenes to be filmed.[4] Zsigmond previously turned down the chance to work on Jaws. In her 1991 book You'll Never Eat Lunch in This Town Again, producer Julia Phillips wrote highly profane remarks about Spielberg, Zsigmond, and Truffaut, because she was fired during post-production due to a cocaine addiction. Phillips blamed it on Spielberg being a perfectionist.[10]\n", "Douglas Trumbull was the visual effects supervisor, while Carlo Rambaldi designed the aliens. Trumbull joked that the visual effects budget, at $3.3\u00a0million, could have been used to produce another film [in addition to this one]. His work helped lead to advances in motion control photography. The mother ship was designed by Ralph McQuarrie and built by Greg Jein. The look of the ship was inspired by an oil refinery Spielberg saw at night in India.[4] Instead of the metallic hardware look used in Star Wars, the emphasis was on a more luminescent look for the UFOs. One of the UFO models was actually an oxygen mask with lights attached to it, used because of its irregular shape. As a subtle in-joke, Dennis Muren (who had just finished working on Star Wars) put a small R2-D2 model onto the underside of the mothership.[3] The model of the mothership is now on display in the Smithsonian Institution's Air and Space Museum Udvar-Hazy Annex at Washington Dulles Airport in Chantilly, Virginia.[3]\n", "Since Close Encounters was filmed anamorphically, the visual effects sequences were shot in 70 mm film to better conform with the 35 mm film used for the rest of the movie. A test reel using computer-generated imagery was used for the UFOs, but Spielberg found it would be too expensive and ineffective since CGI was in its infancy in the mid-1970s.[3]\n", "The small aliens in the final scenes were played by local girls in Mobile, Alabama. That decision was requested by Spielberg because he felt \"girls move more gracefully than boys.\"[3] Puppetry was attempted for the aliens, but the idea failed. However, Rambaldi successfully used puppetry to depict two of the aliens, the first being a marionette (for the tall alien that is the first to be seen emerging from the mothership) and an articulated puppet for the alien that communicates via hand signals with Lacombe near the end of the film.[3]\n", "Close Encounters is the first collaboration between film editor Michael Kahn and Spielberg. Their working relationship continued for the rest of Spielberg's films. Spielberg stated that no film he has ever made since has been as hard to edit as the last 25 minutes of Close Encounters and he and Kahn would go through thousands of feet of footage just to find the right shots for the end sequence. When Kahn and Spielberg completed the first cut of the film, Spielberg was dissatisfied, feeling \"there wasn't enough wow-ness\".[3]\n", "Pick-ups were commissioned but cinematographer Vilmos Zsigmond could not participate due to other commitments.[10] John A. Alonzo, L\u00e1szl\u00f3 Kov\u00e1cs, William A. Fraker and Douglas Slocombe worked on the pick-ups.[10]\n", "Lacombe was originally to find Flight 19 hidden in the Amazon Rainforest, but the idea was changed to the Sonoran Desert. Composer John Williams wrote over 300 examples of the iconic five-tone motif before Spielberg chose the one used in the film. Spielberg called Williams' work \"When You Wish upon a Star meets science fiction\".[3] Spielberg wanted to have \"When You Wish upon a Star\" in the closing credits, but was denied permission (though the song's signature melody can be heard briefly just before Roy Neary turns to board the mothership). He also took 7.5 minutes out from the preview.[5]\n", "Post-production was completed by June 1977,[citation needed] too late for the film to be released as a 'summer blockbuster' which might have been just as well, as Star Wars opened that summer.\n", "The score was composed, conducted and produced by John Williams, who had previously won an Academy Award for his work on Spielberg's Jaws. Much like his two-note Jaws theme, the \"five-tone\" motif for Close Encounters has since become ingrained in popular culture (the five tones are used by scientists to communicate with the visiting spaceship as a mathematical language as well as being incorporated into the film's signature theme). The score was recorded at Warner Bros. Scoring studios in Burbank, California.\n", "Williams was nominated for two Academy Awards in 1978, one for his score to Star Wars and one for his score to Close Encounters. He won for Star Wars, though he later won two Grammy Awards in 1979 for his Close Encounters score (one for Best Original Film Score and one for Best Instrumental Composition for \"Theme from Close Encounters\").[16]\n", "The soundtrack album was released on vinyl album (with a gatefold sleeve), 8-track tape and audio cassette by Arista Records in 1977, with a total running time of 41 minutes (it was later released on compact disc in 1990). The soundtrack album was a commercial success, peaking at #17 on the US Billboard album chart in February 1978 and was certified Gold by the RIAA for 500,000 copies shipped.[17] It also peaked at #40 in the UK album charts.[18]\n", "Although not included on the original soundtrack album, a 7\" single of a disco treatment of the five-note motif, titled, \"Theme from Close Encounters of the Third Kind\", was included with the album as a free bonus item. Despite being a giveaway, Billboard chart rules at that time allowed the single itself to chart, and it peaked at #13 on the US Billboard Hot 100 in March 1978. The single was later added as a bonus track to the cassette.\n", "Following the release of the \"Collector's Edition\" of the film in 1998, a new expanded soundtrack was released on compact disc by Arista. The \"Collectors Edition Soundtrack\" was made using 20-bit digital remastering from the original tapes, and contained 26 tracks totalling 77 minutes of music. The CD also came with extensive liner notes including an interview with Williams. Cues were given new titles, and it also contained previously unreleased material, as well as material that was recorded but never used in the film.\n", "\u2020 1978 reissue - bonus track (cassette), free bonus 7\" single (vinyl album).\n", "Film critic Charlene Engel observed Close Encounters \"suggests that humankind has reached the point where it is ready to enter the community of the cosmos. While it is a computer interface which makes the final musical conversation with the alien guests possible, the characteristics bringing Neary to make his way to Devils Tower have little to do with technical expertise or computer literacy. These are virtues taught in schools that will be evolved in the 21st century.\"[19] The film also evokes typical science fiction archetypes and motifs. The film portrays new technologies as a natural and expected outcome of human development and indication of health and growth.[19]\n", "Other critics found a variety of Judeo-Christian analogies. Devils Tower parallels Mount Sinai, the aliens as God and Roy Neary as Moses. Cecil B. DeMille's The Ten Commandments is seen on television at the Neary household. Some found close relations between Elijah and Roy; Elijah was taken into a \"chariot of fire\", akin to Roy going in the UFO. Climbing Devils Tower behind Jillian and faltering, Neary exhorts Jillian to keep moving and not to look back, similar to Lot's wife who looked back at Sodom and turned into a pillar of salt.[19] Spielberg explained, \"I wanted to make Close Encounters a very accessible story about the everyday individual who has a sighting that overturns his life, and throws it into complete upheaval as he starts to become more and more obsessed with this experience.\"[14]\n", "Roy's wife Ronnie attempts to hide the sunburn caused by Roy's exposure to the UFOs and wants him to forget his encounter with them. She is embarrassed and bewildered by what has happened to him and desperately wants her ordinary life back. The expression of his lost life is seen when he is sculpting a huge model of Devils Tower in his living room, with his family deserting him.[19] Roy's obsession with an idea implanted by an alien intelligence, his construction of the model, and his gradual loss of contact with his wife, mimic the events in the short story \"Dulcie and Decorum\" (1955) by Damon Knight.\n", "Close Encounters also studies the form of \"youth spiritual yearning\". Barry Guiler, the unfearing child who refers to the UFOs and their paraphernalia as \"toys\", serves as a motif for childlike innocence and openness in the face of the unknown.[19] Spielberg also compared the theme of communication as highlighting that of tolerance. \"If we can talk to aliens in Close Encounters of the Third Kind,\" he said, \"why not with the Reds in the Cold War?\"[20] Sleeping is the final obstacle to overcome in the ascent of Devils Tower. Roy, Jillian Guiler and a third invitee climb the mountain pursued by government helicopters spraying sleeping gas. The third person stops to rest, is gassed, and falls into a deep sleep.[19]\n", "In his interview with Spielberg on Inside the Actors Studio, James Lipton suggested Close Encounters had another, more personal theme for Spielberg: \"Your father was a computer engineer; your mother was a concert pianist, and when the spaceship lands, they make music together on the computer\", suggesting that Roy Neary's boarding the spaceship is Spielberg's wish to be reunited with his parents. In a 2005 interview, Spielberg stated that he made Close Encounters when he did not have children, and if he were making it today, he would never have had Neary leave his family and go on the mother ship.[21]\n", "The film was originally to be released in summer 1977, but was pushed back to November because of the various problems during production.[5] Upon its release, Close Encounters became a box office success, grossing $116.39\u00a0million in North America and $171.7\u00a0million in foreign countries, totaling $288\u00a0million.[22] It became Columbia Pictures' most successful film at that time.[14] Jonathan Rosenbaum refers to the film as \"the best expression of Spielberg's benign, dreamy-eyed vision.\"[23] A.D. Murphy of Variety gave a positive review but felt \"Close Encounters lacks the warmth and humanity of George Lucas's Star Wars\". Murphy found most of the film slow-paced, but praised the film's climax.[24] Pauline Kael called it \"a kid's film in the best sense.\"[7] Jean Renoir compared Spielberg's storytelling to Jules Verne and Georges M\u00e9li\u00e8s.[6] Ray Bradbury declared it the greatest science fiction film ever made.[25] Based on 46 reviews collected by Rotten Tomatoes, 96% (\"Certified Fresh\") of the reviewers have enjoyed the film and the site's consensus states \"Close Encounters' most iconic bits (the theme, the mashed-potato sculpture, etc.) have been so thoroughly absorbed into the culture that it's easy to forget that its treatment of aliens as peaceful beings rather than warmongering monsters was somewhat groundbreaking in 1977.\"[26]\n", "On the final cut privilege, Spielberg was dissatisfied with the film. Columbia Pictures was experiencing financial problems, and they were depending on this film to save their company. \"I wanted to have another six months to finish off this film, and release it in summer 1978. They told me they needed this film out immediately,\" Spielberg explained. \"Anyway, Close Encounters was a huge financial success and I told them I wanted to make my own director's cut. They agreed on the condition that I show the inside of the mother ship so they could have something to hang a [reissue marketing] campaign on. I never should have shown the inside of the mother ship.\"[3] In 1979, Columbia gave Spielberg $1.5\u00a0million to produce what became the \"Special Edition\" of the film. Spielberg added seven minutes of new footage, but also deleted or shortened various existing scenes by a total of ten minutes, so that the Special Edition was three minutes shorter than the original 1977 release.[6] The Special Edition featured several new character development scenes, the discovery of the SS Cotopaxi in the Gobi Desert, and a view of the inside of the mothership. Close Encounters of the Third Kind: The Special Edition was released in August 1980, making a further $15.7\u00a0million, accumulating a final $303.7\u00a0million box office gross.[6][22] Roger Ebert \"thought the original film was an astonishing achievement, capturing the feeling of awe and wonder we have when considering the likelihood of life beyond the Earth. ... This new version ... is, quite simply, a better film ... Why didn't Spielberg make it this good the first time?\"[27]\n", "The 1980 Special Edition was the version officially available on video for years, until The Criterion Collection offered both versions on LaserDisc in 1990.[28] This triple-disc LaserDisc set also included an interactive \"Making Close Encounters\" documentary featuring interviews with Spielberg and other cast and crew involved with the film, as well as stills and script excerpts.\n", "In 1998, Spielberg recut Close Encounters again for what would become the \"Collector's Edition,\" to be released on home video and laserdisc. This version of the film is a re-edit of the original 1977 release with some elements of the 1980 Special Edition, but omits the mothership interior scenes which Spielberg felt should have remained a mystery. The laserdisc edition also includes a new 101-minute documentary, The Making of Close Encounters, which was produced in 1997 and features interviews with Spielberg, the main cast and notable crew members. There have also been many other alternate versions of the film for network and syndicated television, as well as a previous LaserDisc version. Some of these even combined all released material from the 1977 and 1980 versions, but none of these versions were edited by Spielberg, who regards the \"Collector's Edition\" as his definitive version of Close Encounters. The Collector's Edition was given a limited release as part of a roadshow featuring select films to celebrate Columbia Pictures' 75th anniversary in 1999. It was the first and only time this version of the film has been shown theatrically.\n", "Close Encounters was released on DVD in June 2001 as a two-disc set that contained the \"Collector's Edition\".[29] The second disc contained a wealth of extra features including the 101-minute \"Making Of\" documentary from 1997, a featurette from 1977, trailers and deleted scenes that included, among other things, the mothership interiors from the 1980 Special Edition.\n", "Close Encounters was given a second DVD release and its first release on Blu-ray Disc in November 2007 for the film's 30th anniversary. These sets contain all three official versions of the film from 1977, 1980 and 1998, and a new 2007 interview with Spielberg, who talks about the film's impact 30 years after its release. The set also includes the 1977 featurette, various trailers and the 1997 \"Making Of\" documentary \u2013 though this is now split over three discs on the DVD version rather than as a single feature as with the 2001 DVD release (on the Blu-ray release, it remains all on one disc). In addition to these features, the 2-disc Blu-ray set also included storyboard-to-scene comparisons, an extensive photo gallery, and a \"View from Above: Editor's Fact Track\" highlighting the different scenes in each version of the movie.\n", "Shortly after the film's release in late 1977, Spielberg desired to do either a sequel or prequel, before deciding against it. He explained, \"The army's knowledge and ensuing cover-up is so subterranean that it would take a creative screen story, perhaps someone else making the picture and giving it the equal time it deserves.\"[11]\n", "The film was nominated for eight Oscars at the 50th Academy Awards, including Direction, Supporting Actress (Melinda Dillon), Visual Effects, Art Direction (Joe Alves, Daniel A. Lomino, Phil Abramson), Original Music Score, Film Editing, and Sound (Robert Knudson, Robert Glass, Don MacDougall and Gene Cantamessa).[30] The film's only win was for Vilmos Zsigmond's cinematography, although the Academy honored the film's sound effects editing with a Special Achievement Award (Frank Warner).[31] At the 32nd British Academy Film Awards, Close Encounters won Best Production Design, and was nominated for Best Film, Direction, Screenplay, Actor in a Supporting Role (Fran\u00e7ois Truffaut), Music, Cinematography, Editing, and Sound.[32]\n", "Close Encounters lost the Hugo Award for Best Dramatic Presentation to Star Wars,[33] but was successful at the Saturn Awards. There, the film tied with Star Wars for Direction and Music, but won Best Writing. Richard Dreyfuss, Melinda Dillon and the visual effects department received nominations. Close Encounters was nominated for Best Science Fiction Film.[34] The film received four more nominations at the 35th Golden Globe Awards.[35]\n", "When asked in 1990 to select a single \"master image\" that summed up his film career, Spielberg chose the shot of Barry opening his living room door to see the blazing orange light from the UFO. \"That was beautiful but awful light, just like fire coming through the doorway. [Barry's] very small, and it's a very large door, and there's a lot of promise or danger outside that door.\"[7] In 2007, Close Encounters was deemed \"culturally, historically, or aesthetically significant\" by the United States Library of Congress, and was added to the National Film Registry for preservation.[36] In American Film Institute polls, Close Encounters has been voted the 64th greatest film of all time,[37] 31st most heart-pounding,[38] and 58th most inspiring.[39] Additionally, the film was nominated for the top 10 science fiction films in AFI's 10 Top 10[40] and the tenth anniversary edition of the 100 Movies list.[41] The score by John Williams was nominated for AFI's 100 Years of Film Scores.[42]\n", "Alongside Star Wars and Superman, Close Encounters led to the reemergence of science fiction films.[43][44] In 1985 Spielberg donated $100,000 to the Planetary Society for Megachannel ExtraTerrestrial Assay.[4] In the 1979 James Bond film Moonraker the five-note sequence is heard when a scientist punches the combination into an electronic door lock. In the South Park episode \"Imaginationland\", a government scientist uses the five-note sequence to try to open a portal.[45] In \"Over Logging\", a government scientist uses the five-note sequence to try to get the central Internet router working.[46] The \"mashed potato\" sculpture was parodied in the film UHF,[47] the film Canadian Bacon, an episode of Spaced, an episode of The X-Files, an episode of That '70s Show, and an episode of The Simpsons.[48] It was satirized in the 200th issue of Mad Magazine, July 1978, by Stan Hart and Mort Drucker as Clod Encounters of the Absurd Kind.[49]\n", "The 1980 short Closet Cases of the Nerd Kind spoofs the entire film (in condensed form).\n", "In 2007, Muse have used one of the communications melodies to open their most popular live track, titled \"Knights Of Cydonia\"\n", "In 2011, ABC aired a primetime special, Best in Film: The Greatest Movies of Our Time that counted down the best movies chosen by fans based on results of a poll conducted by ABC and People. Close Encounters of the Third Kind was selected as the #5 Best Sci-Fi Film.[citation needed]\n", "In the 2012 Deadmau5 album Album Title Goes Here, track no. 9, titled \"Closer,\" features the five-note sequence as the basis for the song's opening and main melodic motif.[50]\n", "American Film Institute Lists\n", "http://en.wikipedia.org/wiki/Network\n", "Network and networking may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Nashville\n", "Nashville is the capital of the U.S. state of Tennessee and the county seat of Davidson County.[6] It is located on the Cumberland River in the north-central part of the state. The city is a center for the music, healthcare, publishing, banking and transportation industries, and is home to a large number of colleges and universities. Reflecting the city's position in state government, Nashville is home to the Tennessee Supreme Court's courthouse for Middle Tennessee. It is known as a center of the music industry, earning it the nickname \"Music City\"." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Nashville has a consolidated city\u2013county government which includes six smaller municipalities in a two-tier system. As of the 2010 census the population of Nashville, not including the semi-independent municipalities, stood at 601,222.[4] The population of Davidson County as a whole, including all municipalities, was 626,681.[2] Nashville is the second largest city in Tennessee, after Memphis, and the fifth largest city in the Southeastern United States. The 2010 population of the entire 13-county Nashville metropolitan area was 1,589,934,[7] making it the largest Metropolitan Statistical Area in the state. The 2010 population of the Nashville-Davidson\u2013Murfreesboro\u2013Columbia combined statistical area, a larger trade area, was 1,670,890.[8]\n", "\n", "\n", "The town of Nashville was founded by James Robertson, John Donelson, and a party of Overmountain Men in 1779, near the original Cumberland settlement of Fort Nashborough. It was named for Francis Nash, the American Revolutionary War hero. Nashville quickly grew because of its strategic location, accessibility as a river port, and its later status as a major railroad center. In 1806, Nashville was incorporated as a city and became the county seat of Davidson County, Tennessee. In 1843, the city was named the permanent capital of the state of Tennessee.\n", "By 1860, when the first rumblings of secession began to be heard across the South, antebellum Nashville was a very prosperous city. The city's significance as a shipping port made it a desirable prize as a means of controlling important river and railroad transportation routes. In February 1862, Nashville became the first state capital to fall to Union troops. The Battle of Nashville (December 15\u201316, 1864) was a significant Union victory and perhaps the most decisive tactical victory gained by either side in the war.\n", "Within a few years after the Civil War the city had reclaimed its important shipping and trading position and also developed a solid manufacturing base. The post\u2013Civil War years of the late 19th century brought a newfound prosperity to Nashville. These healthy economic times left the city with a legacy of grand classical-style buildings, which can still be seen around the downtown area.\n", "In 1963, Nashville consolidated its government with Davidson County, forming a metropolitan government. Since the 1970s, the city has experienced tremendous growth, particularly during the economic boom of the 1990s under the leadership of then-Mayor and later-Tennessee Governor, Phil Bredesen, who made urban renewal a priority, and fostered the construction or renovation of several city landmarks, including the Country Music Hall of Fame and Museum, the downtown Nashville Public Library, the Bridgestone Arena, and LP Field.\n", "LP Field (formerly Adelphia Coliseum) was built after the National Football League's (NFL) Houston Oilers agreed to move to the city in 1995. The NFL team debuted in Nashville in 1998 at Vanderbilt Stadium, and LP Field opened in the summer of 1999. The Oilers changed their name to the Tennessee Titans and saw a season culminate in the Music City Miracle and a close Super Bowl game that came down to the last play.\n", "In 1997 Nashville was awarded an NHL expansion team which was subsequently named the Nashville Predators. Since the 2003/04 season, the Nashville Predators have made the playoffs every season except for two.\n", "Today, the city along the Cumberland River is a crossroads of American culture, and one of the fastest-growing areas of the Upland South.\n", "Nashville lies on the Cumberland River in the northwestern portion of the Nashville Basin. Nashville's topography ranges from 385 feet (117\u00a0m) above sea level at the Cumberland River to 1,160 feet (350\u00a0m) above sea level at its highest point.[9]\n", "According to the United States Census Bureau, the city has a total area of 527.9 square miles (1,367\u00a0km2), of which 504.0 square miles (1,305\u00a0km2) of it is land and 23.9 square miles (62\u00a0km2) of it (4.53%) is water.\n", "Nashville has a humid subtropical climate (K\u00f6ppen Cfa),[10] with generally cool to moderately cold winters, and hot, humid summers. Monthly averages range from 37.7\u00a0\u00b0F (3.2\u00a0\u00b0C) in January to 79.4\u00a0\u00b0F (26.3\u00a0\u00b0C) in July, with a diurnal temperature variation of 18.2 to 23.0\u00a0\u00b0F (10.1 to 12.8\u00a0\u00b0C). In the winter months, snowfall does occur in Nashville, but is usually not heavy. Average annual snowfall is about 6.3 inches (16\u00a0cm), falling mostly in January and February and occasionally March and December.[11] The largest snow event since 2000 was on January 16, 2003, when Nashville received 7 inches (18\u00a0cm) of snow in a single storm; the largest on record was 17 inches (43\u00a0cm), received on March 17, 1892.[12] Rainfall is typically greater in November and December, and spring, while August to October are the driest months on average. Spring and fall are generally warm but prone to severe thunderstorms, which occasionally bring tornadoes\u2014with recent major events on April 16, 1998; April 7, 2006; February 5, 2008; April 10, 2009; and May 1\u20132, 2010. Relative humidity in Nashville averages 83% in the mornings and 60% in the afternoons,[13] which is considered moderate for the Southeastern United States.[14] In recent decades, due to urban development, Nashville has developed an urban heat island (UHI); especially on cool, clear nights, temperatures are up to 10\u00a0\u00b0F (5.6\u00a0\u00b0C) warmer in the heart of the city than in rural outlying areas. The entire Nashville region lies within USDA Plant Hardiness Zone 7a.[15]\n", "Nashville's long springs and autumns combined with a diverse array of trees and grasses can often make it uncomfortable for allergy sufferers.[16] In 2008, Nashville was ranked as the 18th-worst spring allergy city in the U.S. by the Asthma and Allergy Foundation of America.[17]\n", "The coldest temperature ever recorded in Nashville was \u221217\u00a0\u00b0F (\u221227\u00a0\u00b0C) on January 21, 1985, and the highest was 109\u00a0\u00b0F (43\u00a0\u00b0C) on June 29, 2012.[18]\n", "The downtown area of Nashville features a diverse assortment of entertainment, dining, cultural and architectural attractions. The Broadway and 2nd Avenue areas feature entertainment venues, night clubs and an assortment of restaurants. North of Broadway lie Nashville's central business district, Legislative Plaza, Capitol Hill and the Tennessee Bicentennial Mall. Cultural and architectural attractions can be found throughout the city.\n", "Three major interstate highways (I-40, I-65 and I-24) converge near the core area of downtown, and many regional cities are within a day's driving distance.\n", "Nashville's first skyscraper, the Life & Casualty Tower, was completed in 1957 and started the construction of high rises in downtown Nashville. After the construction of the AT&T Building (commonly known to locals as the \"Batman Building\") in 1994, the downtown area saw little construction until the mid-2000s. Many new residential developments have been constructed or are planned for various neighborhoods in the city. A new high rise office building, The Pinnacle, was recently opened in 2010.[22]\n", "Many civic and infrastructure projects are either being planned, in progress, or recently completed. A new MTA bus hub was recently completed in downtown Nashville, as was the Music City Star pilot project. Several public parks have been constructed, such as the Public Square. Riverfront Park is scheduled to be extensively updated. The Music City Center, a convention center project, is a 1,200,000 square foot (110,000 m2) convention center with 370,000 square feet (34,000 m2) of exhibit space. It opened in May 2013.\n", "The data below is for all of Metropolitan Nashville-Davidson County, including other incorporated cities within the consolidated city\u2013county (such as Belle Meade and Berry Hill). See Nashville-Davidson (balance) for demographic data on Nashville-Davidson County excluding separately incorporated cities.\n", "According to the 2009 American Community Survey, there were 628,434 people residing in the city. The population density was 1,204.2 inhabitants per square mile (464.9/km2). There were 282,452 housing units at an average density of 560.4 per square mile (216.4/km2).[31]\n", "At the 2010 census, the racial makeup of the city was 60.5% White (56.3% non-Hispanic white), 28.4% African American, 0.3% American Indian and Alaska Native, 3.1% Asian, 0.1% Native Hawaiian and Other Pacific Islander, 2.5% from two or more races. 10.0% of the total population was of Hispanic or Latino origin (they may be of any race).[32] The non-Hispanic White population was 79.5% in 1970.[29]\n", "There were 254,651 households and 141,469 families (55.6% of households). Of households with families, 37.2% had married couples living together, 14.1% had a female householder with no husband present, and 4.2% had a male householder with no wife present. 27.9% of all households had children under the age of 18, and 18.8% had at least one member 65 years of age or older. Of the 44.4% of households that are non-families, 36.2% were individuals and 8.2% had someone living alone who was 65 years of age or older. The average household size was 2.38 and the average family size was 3.16.[33]\n", "The age distribution was 22% under 18, 10% from 18 to 24, 33% from 25 to 44, 24% from 45 to 64, and 11% who were 65 or older. The median age was 34.2 years. For every 100 females there were 94.1 males. For every 100 females age 18 and over, there were 91.7 males.[34]\n", "The median income for a household in the city was $46,141, and the median income for a family was $56,377. Males with a year-round, full-time job had a median income of $41,017 versus $36,292 for females. The per capita income for the city was $27,372. About 13.9% of families and 18.2% of the population were below the poverty line, including 29.5% of those under age 18 and 9.9% of those age 65 or over.[35] Of residents 25 or older, 33.4% have a bachelor's degree or higher.[2]\n", "Because of its relatively low cost of living and large job market, Nashville has become a popular city for immigrants.[36] Nashville's foreign-born population more than tripled in size between 1990 and 2000, increasing from 12,662 to 39,596. The city's largest immigrant groups include Mexicans, Kurds,[37] Vietnamese, Laotians, Arabs, and Somalis call Nashville home, among other groups. There are also smaller communities of Pashtuns from Afghanistan and Pakistan concentrated primarily in Antioch.[38] Nashville has the largest Kurdish community in the United States, numbering approximately 11,000.[39] About 60,000 Bhutanese refugees are being admitted to the U.S. and some of them will resettle in Nashville.[40] During the Iraqi election of 2005, Nashville was one of the few international locations where Iraqi expatriates could vote.[41] The American Jewish community in Nashville dates back over 150 years, and numbered about 7,800 in 2002.[42]\n", "Nashville has the largest metropolitan area in the state of Tennessee, spanning 13 counties and, as of 2009[update], had a population of 1,582,264.[3] The Nashville Metropolitan Statistical Area encompasses the Middle Tennessee counties of Cannon, Cheatham, Davidson, Dickson, Hickman, Macon, Robertson, Rutherford, Smith, Sumner, Trousdale, Williamson, and Wilson.[43] The 2009 population of the Nashville-Davidson\u2014Murfreesboro\u2014Columbia combined statistical area was estimated at 1,666,210.[44]\n", "As the \"home of country music\", Nashville has become a major music recording and production center. All of the Big Four record labels, as well as numerous independent labels, have offices in Nashville, mostly in the Music Row area.[45] Nashville has been home to the headquarters of guitar company Gibson since 1984. Since the 1960s, Nashville has been the second-largest music production center (after New York) in the U.S.[46] As of 2006, Nashville's music industry is estimated to have a total economic impact of US$6.4 billion per year and to contribute 19,000 jobs to the Nashville area.[47]\n", "Although Nashville is renowned as a music recording center and tourist destination, its largest industry is actually health care. Nashville is home to more than 300 health care companies, including Hospital Corporation of America, the largest private operator of hospitals in the world.[48][49] As of 2012[update], it is estimated that the health care industry contributes US$30 billion per year and 200,000 jobs to the Nashville-area economy.[50] The automotive industry is also becoming increasingly important for the entire Middle Tennessee region. Nissan North America moved its corporate headquarters in 2006 from Gardena, California (Los Angeles County) to Franklin, southwest of Nashville. Nissan also has its largest North American manufacturing plant in Smyrna, Tennessee. Largely as a result of the increased development of Nissan and other Japanese economic interests in the region, Japan moved its New Orleans consulate-general to Nashville's Palmer Plaza.\n", "Other major industries in Nashville include insurance, finance, and publishing (especially religious publishing). The city hosts headquarters operations for several Protestant denominations, including the United Methodist Church, Southern Baptist Convention, National Baptist Convention USA, and the National Association of Free Will Baptists.\n", "Nashville is also known for some of their famously popular Southern confections, including MoonPies and Goo Goo Clusters (which have been made in Nashville since 1912).[51]\n", "Fortune 500 companies with offices within Nashville include Dell,[52] HCA and Dollar General.\n", "In 2013, the city ranked No. 5 on Forbes\u200a'\u200b list of the Best Places for Business and Careers.[53]\n", "According to the city's 2010 Comprehensive Annual Financial Report, the top employers in the city are:[54]\n", "Much of the city's cultural life has revolved around its large university community. Particularly significant in this respect were two groups of critics and writers who were associated with Vanderbilt University in the early twentieth century: the Fugitives and the Agrarians.\n", "Popular destinations include Fort Nashborough and Fort Negley, the former being a reconstruction of the original settlement, the latter being a semi-restored Civil War battle fort; the Tennessee State Museum; and The Parthenon, a full-scale replica of the original Parthenon in Athens. The Tennessee State Capitol is one of the oldest working state capitol buildings in the nation, while The Hermitage is one of the older presidential homes open to the public.\n", "Although best known for its music, Nashville is a city filled with many dining destinations. Some of the more popular types of local cuisine include hot chicken, hot fish, barbecue, and meat and three. Thanks, in part, to Nashville's foodie culture, the city was ranked as the 13th \"snobbiest\" city in America according to Travel + Leisure magazine.[55]\n", "Nashville has a vibrant music and entertainment scene spanning a variety of genres. The Tennessee Performing Arts Center is the major performing arts center of the city. It is the home of the Tennessee Repertory Theatre, the Nashville Opera, the Music City Drum and Bugle Corps, and the Nashville Ballet. In September 2006, the Schermerhorn Symphony Center opened as the home of the Nashville Symphony.\n", "As the city's name itself is a metonym for the country music industry, many popular tourist sites involve country music, including the Country Music Hall of Fame and Museum, Belcourt Theatre, and Ryman Auditorium. Ryman was home to the Grand Ole Opry until 1974 when the show moved to the Grand Ole Opry House, 9 miles (14\u00a0km) east of downtown. The Opry plays there several times a week, except for an annual winter run at the Ryman.\n", "Numerous music clubs and honky-tonk bars can be found in downtown Nashville, especially the area encompassing Lower Broadway, Second Avenue, and Printer's Alley, which is often referred to as \"the District\".[56][57]\n", "Each year, the CMA Music Festival (formerly known as Fan Fair) brings thousands of country fans to the city. The Tennessee State Fair is also held annually in September.\n", "Nashville was once home of television shows such as Hee Haw and Pop! Goes the Country, as well as The Nashville Network. Country Music Television, RFD TV, and Great American Country currently operate from Nashville. The city was also home to the Opryland USA theme park, which operated from 1972 to 1997 before being closed by its owners (Gaylord Entertainment Company) and soon after demolished to make room for the Opry Mills mega-shopping mall.\n", "The Christian pop and rock music industry is based along Nashville's Music Row, with a great influence in neighboring Williamson County. The Christian record companies include EMI Christian Music Group, Provident Label Group and Word Records.\n", "Music Row houses many gospel music, and Contemporary Christian music companies centered around 16th and 17th Avenues South.\n", "Although Nashville was never known as a jazz town, it did have many great jazz bands, including The Nashville Jazz Machine led by Dave Converse and its current version, the Nashville Jazz Orchestra, led by Jim Williamson, as well as The Establishment, led by Billy Adair. The Francis Craig Orchestra entertained Nashvillians from 1929 to 1945 from the Oak Bar and Grille Room in the Hermitage Hotel. Craig's orchestra was also the first to broadcast over local radio station WSM-AM and enjoyed phenomenal success with a 12-year show on the NBC Radio Network. In the late 1930s, he introduced a newcomer, Dinah Shore, a local graduate of Hume Fogg High School and Vanderbilt University.\n", "Radio station WMOT-FM in nearby Murfreesboro has aided significantly in the recent revival of the city's jazz scene, as has the non-profit Nashville Jazz Workshop, which holds concerts and classes in a renovated building in the north Nashville neighborhood of Germantown. Fisk University also maintains a jazz station.\n", "Nashville has an active theatre scene, and is home to several professional and community theatre companies. Nashville Children's Theatre, Tennessee Repertory Theatre, the Nashville Shakespeare Festival, the Dance Theatre of Tennessee and the Tennessee Women's Theater Project are among the most prominent professional companies. One community theatre, Circle Players, has been in operation for over 60 years.\n", "Perhaps the biggest factor in drawing visitors to Nashville is its association with country music. Many visitors to Nashville attend live performances of the Grand Ole Opry, the world's longest running live radio show. The Country Music Hall of Fame and Museum is another major attraction relating to the popularity of country music. The Gaylord Opryland Resort & Convention Center, the Opry Mills regional shopping mall and the General Jackson showboat, are all located in what is known as Music Valley.\n", "Civil War history is important to the city's tourism industry. Sites pertaining to the Battle of Nashville and the nearby Battle of Franklin and Battle of Stones River can be seen, along with several well-preserved antebellum plantation houses such as Belle Meade Plantation, Carnton plantation in Franklin, and Belmont Mansion.[58]\n", "Nashville has several arts centers and museums, including the Frist Center for the Visual Arts, Cheekwood Botanical Garden and Museum of Art, the Tennessee State Museum, the Johnny Cash Museum, Fisk University's Van Vechten and Aaron Douglas Galleries, Vanderbilt University's Fine Art Gallery and Sarratt Gallery, and the full-scale replica of the Parthenon.\n", "Nashville is a colorful, well-known city in several different arenas. As such, it has earned various sobriquets, including:\n", "Nashville has additionally earned the moniker \"The Hot Chicken Capital\",[70] becoming known for the local specialty cuisine hot chicken.[71][72] The Music City Hot Chicken Festival is hosted annually in Nashville and several restaurants make this spicy version of southern fried chicken.[73]\n", "Nashville hosted a team called the Nashville Rebels which participated in the 1938 American Football League, and two Arena Football League teams named the Nashville Kats: one that ran from 1997 to 2001 until they were sold to Atlanta and renamed as the Georgia Force; and another expansion franchise that competed from 2005 to 2007. Nashville also hosts the second longest continually operating race track in the United States, the Fairgrounds Speedway. Three Little League baseball teams from Nashville (one in 1970; one in 2013; and, one in 2014) have qualified for the Little League World Series. A team from neighboring Goodlettsville qualifed for the 2012 series, giving the metropolitan area teams in three consecutive years to so qualify.\n", "Nashville has several professional sports teams, of which two, the Nashville Predators of the NHL and the Tennessee Titans of the NFL, play at the highest professional level of their respective sports. Nashville is also home to the NCAA college football Music City Bowl and the Fairgrounds Speedway, a NASCAR Whelen All-American Series racetrack.\n", "Nashville is also home to four Division I athletic programs.\n", "Metro Board of Parks and Recreation owns and manages 10,200 acres (4,100\u00a0ha) of land and 99 parks and greenways (comprising more than 3% of the total area of the county).\n", "Warner Parks, situated on 2,684 acres (1,086\u00a0ha) of land, consists of a 5,000-square-foot (460\u00a0m2) learning center, 20 miles (32\u00a0km) of scenic roads, 12 miles (19\u00a0km) of hiking trails, and 10 miles (16\u00a0km) of horse trails. It is also the home of the annual Iroquois Steeplechase.\n", "The United States Army Corps of Engineers maintains parks on Old Hickory Lake and Percy Priest Lake. These parks are used for activities such as fishing, waterskiing, sailing and boating. The Harbor Island Yacht Club makes its headquarters on Old Hickory Lake, and Percy Priest Lake is home to the Vanderbilt Sailing Club.\n", "Other parks in Nashville include Centennial Park, Shelby Park, Cumberland Park, and Radnor Lake State Natural Area.\n", "On August 27, 2013, Nashville mayor Karl Dean revealed plans for two new riverfront parks on the east and west banks of the Cumberland River downtown. Construction on the east bank park will begin fall of 2013, and the projected completion date for the west bank park is 2015. Among many exciting benefits of this Cumberland River re-development project is the construction of a highly anticipated outdoor amphitheater. Located on the west bank, this music venue will be surrounded by a new 12-acre park and will replace the previous thermal plant site. It will include room for 6,500 spectators with 2,500 removable seats and additional seating on an overlooking grassy knoll. In addition, the 4.5 acre east bank park will include a river landing, providing people access to the river. In regard to the parks' benefits for Nashvillian civilians, Mayor Dean remarked that \"if done right, the thermal site can be an iconic park that generations of Nashvillians will be proud of and which they can enjoy\" (WKRN-TV Nashville).\n", "The city of Nashville and Davidson County merged in 1963 as a way for Nashville to combat the problems of urban sprawl. The combined entity is officially known as \"the Metropolitan Government of Nashville and Davidson County\", and is popularly known as \"Metro Nashville\" or simply \"Metro\". It offers services such as police, fire, electricity, water and sewage treatment. When the Metro government was formed in 1963, the government was split into two service districts\u2014the \"urban services district\" and the \"general services district.\" The urban services district encompasses the 1963 boundaries of the former City of Nashville, and the general services district includes the remainder of Davidson County. There are six smaller municipalities within the consolidated city-county: Belle Meade, Berry Hill, Forest Hills, Oak Hill, Goodlettsville (partially), and Ridgetop (partially). These municipalities use a two-tier system of government, with the smaller municipality typically providing police services and the Metro Nashville government providing most other services. Previously, the city of Lakewood also had a separate charter. However, Lakewood residents voted in 2010 and 2011 to dissolve its city charter and join the metropolitan government, with both votes passing.[74]\n", "Nashville is governed by a mayor, vice-mayor, and 40-member Metropolitan Council. It uses the strong-mayor form of the mayor\u2013council system.[75] The current mayor of Nashville is Karl Dean. The Metropolitan Council is the legislative body of government for Nashville and Davidson County. There are five council members who are elected at large and 35 council members that represent individual districts. The Metro Council has regular meetings that are presided over by the vice-mayor, who is currently Diane Neighbors. The Metro Council meets on the first and third Tuesday of each month at 6:00\u00a0pm, according to the Metropolitan Charter.\n", "Nashville is home to the Tennessee Supreme Court's courthouse for Middle Tennessee.\n", "Nashville has been a Democratic stronghold since at least the end of Reconstruction, and has remained staunchly Democratic even as the state as a whole has trended strongly Republican. While local elections are officially nonpartisan, nearly all of the city's elected officials are known to be Democrats. At the state level, Democrats hold all but two of the city's 10 state house districts and all but one of the city's four state senate districts. Pockets of Republican influence exist in the wealthier portions of the city, but they are usually no match for the overwhelming Democratic trend in the rest of the city.\n", "Democrats are no less dominant at the federal level. Democratic presidential candidates have only failed to carry Davidson County three times since the end of Reconstruction. In 1968, third-party candidate George C. Wallace carried Nashville with a plurality of 35.1 percent. In 1972, Richard Nixon became the first Republican to carry Nashville since Reconstruction, winning it with 61 percent of the vote as part of his 49-state landslide that year; as part of it, Nixon carried 90 of Tennessee's 95 counties. In 1988, George H. W. Bush narrowly won Nashville with 52 percent of the vote.\n", "In most years, Democrats have carried Nashville at the presidential level with relatively little difficulty, even in years when they lose Tennessee as a whole. This has been especially true in recent elections. In the 2000 presidential election, Al Gore carried Nashville with over 59% of the vote even as he narrowly lost his home state. In the 2004 election, John Kerry carried Nashville with 55% of the vote even as George W. Bush won the state by 14 points. In 2008, Barack Obama carried Nashville with 60% of the vote even as John McCain won Tennessee by 15 points.\n", "Despite its size, all of Nashville has been in a single congressional district for most of the time since Reconstruction; it is currently numbered as the 5th District, represented by Democrat Jim Cooper. A Republican has not represented a significant portion of Nashville since 1874. Republicans made a few spirited challenges in the mid-1960s and early 1970s. The Republicans almost won it in 1968; only a strong showing by a candidate from Wallace's American Independent Party kept the seat in Democratic hands. However, they have not made a serious bid for the district since 1972, when the Republican candidate gained only 38% of the vote even as Nixon carried the district in the presidential election by a large margin. The district's best-known congressman was probably Jo Byrns, who represented the district from 1909 to 1936 and was Speaker of the House for much of Franklin Roosevelt's first term as President. Another nationally prominent congressman from Nashville was Percy Priest, who represented the district from 1941 to 1956 and was House Majority Whip from 1949 to 1953. Former mayors Richard Fulton and Bill Boner also sat in the U.S. House before assuming the Metro mayoral office.\n", "From 2003 to 2013, a sliver of southwestern Nashville was located in the 7th District, represented by Republican Marsha Blackburn. This area was roughly coextensive with the portion of Nashville she'd represented in the state senate from 1998 to 2002. However, the 5th regained all of Nashville after the 2010 census.\n", "The city is served by Metropolitan Nashville Public Schools.\n", "Nashville is often labeled the \"Athens of the South\" due to the many colleges and universities in the city and the metropolitan area.[63] The colleges and universities in Nashville include:\n", "Within 30 miles (48\u00a0km) of Nashville in Murfreesboro is Middle Tennessee State University (MTSU), a full-sized public university with Tennessee's largest undergraduate population. Enrollment in post-secondary education in Nashville is around 43,000. Within the Nashville Metropolitan Statistical Area\u2014which includes MTSU, Cumberland University (Lebanon), Volunteer State Community College (Gallatin), Daymar Institute, and O'More College of Design (Franklin)\u2014total enrollment exceeds 74,000. Within a 40 miles (64\u00a0km) radius are Austin Peay State University (Clarksville) and Columbia State Community College (Columbia), enrolling an additional 13,600.\n", "Nashville is home to four historically black institutions of higher education: Fisk University, Tennessee State University, Meharry Medical College, and American Baptist College.[76]\n", "The daily newspaper in Nashville is The Tennessean, which until 1998 competed with the Nashville Banner, another daily paper that was housed in the same building under a joint-operating agreement. The Tennessean is the city's most widely circulated newspaper, while a smaller free daily called The City Paper shares the Nashville market. Online news service NashvillePost.com competes with the printed dailies to break local and state news. Several weekly papers are also published in Nashville, including The Nashville Pride, Nashville Business Journal, Nashville Scene and The Tennessee Tribune. Historically, The Tennessean was associated with a broadly liberal editorial policy, while The Banner carried staunchly conservative views in its editorial pages; The Banner\u200a'\u200bs heritage is carried on these days by The City Paper. The Nashville Scene is the area's alternative weekly broadsheet. The Nashville Pride is aimed towards community development and serves Nashville's entrepreneurial population.\n", "Nashville is home to eleven broadcast television stations, although most households are served by direct cable network connections. Comcast Cable has a monopoly on terrestrial cable service in Davidson County (but not throughout the entire media market). Nashville is ranked as the 29th largest television market in the United States.[77]\n", "Nashville is also home to cable networks Country Music Television (CMT), among others. CMT's master control facilities are located in New York City with the other Viacom properties. The Top 20 Countdown and CMT Insider are taped in their Nashville studios. Shop at Home Network was once based in Nashville, but the channel signed off in 2008.\n", "Several dozen FM and AM radio stations broadcast in the Nashville area, including five college stations and one LPFM community radio station. Nashville is ranked as the 44th largest radio market in the United States. WSM-FM is owned by Cumulus Media and is 95.5 FM. WSM-AM, owned by Gaylord Entertainment Company, can be heard nationally on 650 AM or online at WSM Online from its studios located inside the Gaylord Opryland Resort & Convention Center. WSM is famous for carrying live broadcasts of the Grand Ole Opry, through which it helped spread the popularity of country music in America, and continues to broadcast country music throughout its broadcast day. WLAC, whose over-the-air signal is heard at 1510 AM, is a Clear Channel-owned talk station which was originally sponsored by the Life and Casualty Insurance Company of Tennessee, and its competitor WWTN is owned by Cumulus.\n", "Several major motion pictures have been filmed in Nashville, including The Green Mile, The Last Castle, Gummo, The Thing Called Love, Two Weeks, Coal Miner's Daughter, Nashville,[78] and Country Strong.\n", "Nashville is centrally located at the crossroads of three Interstate Highways: I-40, I-24, and I-65. Interstate 440 is a bypass route connecting I-40, I-65, and I-24 south of downtown Nashville. Briley Parkway connects the north side of the city and its interstates. A number of arterial surface roads called \"pikes\" radiate from the city center; many carry the names of nearby towns to which they lead. Among these are Clarksville Pike, Gallatin Pike, Lebanon Pike, Murfreesboro Pike, Nolensville Pike, and Franklin Pike.\n", "The Metropolitan Transit Authority provides bus transit within the city, out of a newly built hub station downtown. Routes utilize a hub and spoke method. Expansion plans include use of Bus rapid transit for new routes, with the possibility for local rail service at some point in the future.\n", "Nashville is considered a gateway city for rail and air traffic for the Piedmont Atlantic Megaregion.[79]\n", "The city is served by Nashville International Airport (BNA), which was a hub for American Airlines between 1986 and 1995 and is now a focus city for Southwest Airlines. During 2011, Nashville International was the 34th busiest passenger airport in the U.S. with a total of 4,673,047 passenger boardings.[80] Major airlines serving Nashville include American Airlines, Delta Air Lines, Frontier Airlines, Southwest Airlines, United Airlines, US Airways, and AirCanada.[81] AirTran Airways offered limited routing to the airport until it was deemed unprofitable.[citation needed]\n", "Although a major freight hub for CSX Transportation, Nashville is not currently served by Amtrak, the second-largest metropolitan area in the U.S. to have this distinction.[82] Amtrak's Floridian (Chicago-Florida via Louisville and Nashville) served Nashville until its cancellation on October 9, 1979 due to poor track conditions resulting in late trains and low ridership.\n", "While there have been no proposals to restore Amtrak service to Nashville, there have been repeated calls from residents.[83] However, Tennessee state officials have advised it will not be happening anytime soon due to scarce federal funding. \"It would be wonderful to say I can be in Memphis and jump on a train to Nashville, but the volume of people who would do that isn't anywhere close to what the cost would be to provide the service,\" said Ed Cole, chief of environment and planning with the Tennessee Department of Transportation.[83] Ross Capon, executive director of the National Association of Railroad Passengers, said rail trips would catch on if routes were expanded, but conceded that it would be nearly impossible to resume Amtrak service to Nashville without a substantial investment from the state because federal money has dried up.[83]\n", "Nashville launched a passenger commuter rail system called the Music City Star on September 18, 2006. The only currently operational leg of the system connects the city of Lebanon to downtown Nashville at the Nashville Riverfront. Legs to Clarksville, Murfreesboro and Gallatin are currently in the feasibility study stage. The system plan includes seven legs connecting Nashville to surrounding suburbs.\n", "Bridges within the city include:\n", "Nashville is an active participant in the Sister Cities program and has relationships with the following towns:[84]\n", "Territories:\n", "http://en.wikipedia.org/wiki/The_Graduate\n", "The Graduate is a 1967 American comedy-drama film directed by Mike Nichols.[3] It is based on the 1963 novel The Graduate by Charles Webb, who wrote it shortly after graduating from Williams College. The screenplay is by Calder Willingham and Buck Henry, who appears in the film as a hotel clerk." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film tells the story of 20-year-old Benjamin Braddock (played by a 29-year-old Dustin Hoffman), a recent college graduate with no well-defined aim in life, who is seduced by an older woman, Mrs. Robinson (a 35-year-old Anne Bancroft), and then proceeds to fall in love with her daughter Elaine (Katharine Ross).\n", "In 1996, The Graduate was selected for preservation in the U.S. National Film Registry as being \"culturally, historically, or aesthetically significant\". Initially, the film was placed at number 7 on AFI's 100 Years... 100 Movies list in 1998. When AFI revised the list in 2007, the film was moved to number 17.\n", "Adjusted for inflation, the film is number 21 on the list of highest-grossing films in the United States and Canada.[4]\n", "\n", "\n", "Benjamin Braddock, going on from twenty to twenty-one years old, has earned his bachelor's degree from an unnamed college in the Northeast and has returned home to a party celebrating his graduation at his parents' house in Pasadena, California. Benjamin, visibly uncomfortable as his parents deliver accolades and neighborhood friends ask him about his future plans, evades those who try to congratulate him. He drives Mrs. Robinson, the neglected wife of his father's law partner, home. Once at the Robinson home, Benjamin is coerced inside and to have a drink as Mrs. Robinson attempts to seduce him. Her initial attempt at an affair rebuffed (even going so far as being naked in front of the young man), Benjamin leaves. However, after a few days, he clumsily organizes a tryst at a hotel, thus beginning their sexual relationship.\n", "Benjamin spends the remainder of the summer drifting around in the pool by day, purposefully neglecting to select a graduate school, and seeing Mrs. Robinson at the hotel by night. He discovers that he and Mrs. Robinson have nothing to talk about and that she only wants sex. However, after Benjamin pesters her one evening, Mrs. Robinson reveals that she is in a loveless marriage because she errantly became pregnant with her daughter, Elaine. Both Mr. Robinson, who is unaware of his wife's affair, and Benjamin\u2019s parents encourage him to call on Elaine. Benjamin is forced to date Elaine, but he consciously tries to sabotage his first date with her by ignoring her, driving recklessly, and taking her to a strip club. After Elaine runs out of the strip club in tears, Benjamin has a change of heart, realizes how rude he was to her, and discovers that Elaine is someone he is comfortable with. A relationship ensues.\n", "Trying to stave off a jealous Mrs. Robinson who threatened to reveal their affair to destroy any chance with Elaine, Benjamin rashly decides he has to tell Elaine everything. Upset over hearing about Benjamin's tryst with her mother, Elaine escapes to Berkeley and refuses to speak with him. He follows in pursuit and, after briefly stalking her, reveals his presence. Elaine accuses Benjamin of raping her mother while she was drunk, refusing to believe that it was in fact Mrs. Robinson that craftily seduced him and initiated the affair. After much discussion and over the next few days, Benjamin and Elaine grow closer, and he continually asks to marry her. Mr. Robinson arrives at Berkeley, with all the details of his wife\u2019s affair, where he meets Benjamin in his apartment. He did not know whether he could prosecute Benjamin but he thought he could and threatens to have him behind bars if he saw his daughter again. Mr. Robinson then forces Elaine to drop out of school and takes her away to marry Carl, a classmate with whom she had briefly been involved.\n", "Returning to Pasadena in search of Elaine and Mr. Robinson, Benjamin forces himself into the Robinson home but encounters Mrs. Robinson. She coldly tells him he won't be able stop the wedding and then calls the police, claiming that her house is being burgled. Benjamin returns to Berkeley. After learning from Carl\u2019s fraternity brothers that the wedding is in Santa Barbara, California that very morning, he rushes out to stop the wedding. Running out of gas a few blocks from the church, Benjamin must sprint the last few blocks. He arrives just as the bride and groom are about to kiss. Realizing the ceremony is concluding, he bangs on the glass at the back of the church and screams out \"Elaine!\" repeatedly. After a brief hesitation, Elaine screams out \"Ben!\" and starts running towards him. A brawl ensues as guests try to stop Elaine and Ben from leaving together. Elaine manages to break free from her mother, who claims \"It's too late!\" as Elaine has already said her marriage vows and kissed, to which Elaine replies, \"Not for me!\"; Mrs. Robinson then slaps Elaine. Benjamin holds guests at bay by swinging a cross ripped from the wall, then using it to jam the outside door while the pair escape. They board a bus and take the back seat, elated at their victory. However, in the final shot, Benjamin's smile gradually fades to an enigmatic, neutral expression as he gazes forward down the bus, not looking at Elaine. Elaine first looks lovingly across at Ben but notices his demeanor and turns away with a similar expression as the bus drives away, taking the two lovers towards a future of uncertainty.\n", "Uncredited:\n", "According to TCM host Robert Osborne, \"Mike Nichols wanted Doris Day for Mrs. Robinson, Robert Redford for Benjamin Braddock, and Gene Hackman for Mr. Robinson.\" But there were numerous actors considered or tested for, or who wanted, roles in the film.\n", "Day turned down the offer because the nudity required by the role offended her.[5] Nichols' actual first choice for Mrs. Robinson was French actor Jeanne Moreau. The idea behind this was that in the French culture, the \"older\" women tended to \"train\" the younger men in sexual matters. Joan Crawford inquired as to play the part, while Lauren Bacall and Audrey Hepburn both wanted the role. Patricia Neal turned down the film as she had recently recovered from a stroke and did not feel ready to accept such a major role. Geraldine Page also turned it down. Other actors considered for the part included Claire Bloom, Angie Dickinson, Sophia Loren, Judy Garland, Rita Hayworth, Susan Hayward, Anouk Aimee, Jennifer Jones, Deborah Kerr, Eva Marie Saint, Rosalind Russell, Simone Signoret, Jean Simmons, Lana Turner, Eleanor Parker, Anne Baxter and Shelley Winters. Angela Lansbury also asked about playing the part. Ava Gardner sought the role of Mrs. Robinson, and reportedly called Nichols saying,\"I want to see you! I want to talk about this Graduate thing!\". Nichols did not seriously consider her for the role (he wanted a younger woman as Bancroft was 36 and Gardner was 45), but did end up visiting her hotel. He later recounted that \"she sat at a little French desk with a telephone, she went through every movie star clich\u00e9. She said, 'All right, let's talk about your movie. First of all, I strip for nobody.'\" Meanwhile, Natalie Wood turned down not only the role of Mrs. Robinson, but also that of Elaine.\n", "For the character of Elaine, casting was also problematic. Patty Duke turned down the part as she did not want to work at the time. Faye Dunaway was also considered for Elaine, but had to turn it down, in favor of Bonnie and Clyde. Sally Field and Shirley MacLaine refused the role as well. Raquel Welch and Joan Collins both wanted the role, but did not succeed in getting it. Carroll Baker tested, but was said to have been too old to portray Anne Bancroft's daughter. Candice Bergen screen-tested as well, as did Goldie Hawn and Jane Fonda. On the other hand, Ann-Margret, Elizabeth Ashley, Carol Lynley, Sue Lyon, Yvette Mimieux, Suzanne Pleshette, Lee Remick, Pamela Tiffin, Julie Christie, and Tuesday Weld were all on the director's shortlist before Katharine Ross was cast.\n", "When Dustin Hoffman auditioned for the role of Benjamin, he was asked to perform a love scene with Ross. Hoffman had never done one during his acting classes and believed that, as he said later, \"a girl like [Ross] would never go for a guy like me in a million years\". Ross agreed, believing that Hoffman \"look[ed] about 3 feet tall ... so unkempt. This is going to be a disaster\". Producer Joseph E. Levine later admitted that he at first believed that Hoffman \"was one of the messenger boys\". Despite\u2014or perhaps because of\u2014 Hoffman's awkwardness, Nichols chose him for the film.[6] Before Hoffman was cast, Robert Redford and Warren Beatty were among the top choices. Beatty turned the film down as he was occupied with Bonnie and Clyde. Redford tested for the part of Benjamin (with Candice Bergen as Elaine), but Nichols thought that Redford did not possess the underdog quality that Benjamin needed. When Mike Nichols talked with Redford, Redford asked what he meant. \"Well, let's put it this way,\" said Nichols, \"Have you ever struck out with a girl?\" \"What do you mean?\" asked Redford. \"That's precisely my point,\" said Nichols. Charles Grodin turned down the part as the money was not right. Both Brandon deWilde and Michael Parks auditioned for the role. In addition, Keir Dullea, Robert Duvall, Harrison Ford, George Hamilton, Albert Finney, Gene Wilder, Steve McQueen, Jack Nance, Anthony Perkins, Robert Wagner, and Jack Nicholson were all considered for the part of Benjamin. Burt Ward, who starred as Robin on the Batman television series, had to pass on the role as he was committed to filming the show, and the studio would not lend him anyway.\n", "In the roles of Mr. Robinson, Gene Hackman was originally cast, but just before filming began, the director decided he was too young and decided to replace him. Marlon Brando, Howard Duff, Brian Keith, George Peppard, Jack Palance, Frank Sinatra, Walter Matthau and Gregory Peck were all other choices for the role that Murray Hamilton eventually played. Susan Hayward was the first choice for Benjamin's mother, Mrs. Braddock, but the role was given to Elizabeth Wilson. And to play Mr. Braddock, Yul Brynner, Kirk Douglas, Jack Lemmon, Robert Mitchum, Karl Malden, Christopher Plummer and Ronald Reagan all came close to getting the role that ended up going to William Daniels.[7]\n", "There are considerable age discrepancies between the lead roles and the actors who portrayed them. Benjamin Braddock says, \"I will be 21 next week \"; at the time of filming, Dustin Hoffman was 29. Mrs. Robinson states, \"Benjamin, I am twice your age.\" Anne Bancroft was 35, only six years older than Hoffman. Mrs. Robinson's daughter Elaine is 19 and was portrayed by Katharine Ross, who was 27 at the time. Elaine May, who portrayed Elaine's college roommate and delivered a note to Benjamin from Elaine, was 35 at the time and only seven months younger than Anne Bancroft.\n", "Many of the exterior university campus shots of Benjamin were actually filmed on the brick campus of USC in Los Angeles.[8] Other scenes were filmed on Durant Avenue and College Ave. Across from the Unit One Dorms[9] in the city of Berkeley, as well as on the Berkeley campus itself (shot remotely from Telegraph Avenue, as the university did not permit commercial filming at the time).\n", "The Taft Hotel scenes were filmed at the Ambassador Hotel.\n", "The church used for the wedding scene is actually the United Methodist Church in La Verne. In a commentary audio released with the 40th anniversary DVD, Hoffman revealed that he was uneasy about the scene in which he pounds on the church window, as the minister of the church had been watching the filming disapprovingly. The residences used for the Braddocks' house and the Robinsons' house were located on North Palm Drive in Beverly Hills. The scene with Benjamin and Elaine at night in his car at the drive-in restaurant was filmed in Westwood Village, Los Angeles.\n", "The scenes of Benjamin driving to Berkeley on the San Francisco \u2013 Oakland Bay Bridge were filmed on the top level of the bridge\u00a0\u2014 leading into San Francisco\u00a0\u2014 the opposite direction of Berkeley. In another scene as he drives south to Santa Barbara, his Alfa Romeo Spider is shown heading north through the Gaviota Tunnel, also the wrong direction.\n", "The film boosted the profile of folk-rock duo Simon & Garfunkel. Originally, Nichols and O'Steen used their existing songs like \"The Sound of Silence\" merely as a pacing device for the editing until Nichols decided that substituting original music would not be effective and decided to include them on the soundtrack, an unusual move at that time.[10]\n", "According to a Variety article by Peter Bart in the 15 May 2005 issue, Lawrence Turman, his producer, then made a deal for Simon to write three new songs for the movie. By the time they had nearly finished editing the film, Simon had only written one new song. Nichols begged him for more, but Simon, who was touring constantly, told him he did not have the time. He did play him a few notes of a new song he had been working on; \"It's not for the movie... it's a song about times past\u00a0\u2014 about Mrs. Roosevelt and Joe DiMaggio and stuff.\" Nichols advised Simon, \"It's now about Mrs. Robinson, not Mrs. Roosevelt.\"[11]\n", "On the strength of the hit single \"Mrs. Robinson\", the soundtrack album rose to the top of the charts in 1968 (knocking off The Beatles' White Album). However, the version that appears in the film is markedly different from the hit single version, which would not be issued until Simon and Garfunkel's next album, Bookends. The actual film version of \"Mrs. Robinson\" does appear on The Graduate soundtrack LP.\n", "The Graduate was met with positive reviews from critics upon its release. A.D. Murphy of Variety and Roger Ebert of the Chicago Sun-Times praised the film, with Murphy describing it as a \"delightful satirical comedy-drama\"[12] and Ebert claiming it was the \"funniest American comedy of the year\".[13]\n", "For the film's thirtieth anniversary reissue, Ebert retracted some of his previous praise for the film, noting that he now felt its time has passed and he now had more sympathy for Mrs. Robinson than Benjamin, whom he considered \"an insufferable creep.\"[14] He, along with Gene Siskel, gave the film a positive if unenthusiastic review on the television program Siskel & Ebert.[15]\n", "Modern critics continue to praise the film. The review aggregator Rotten Tomatoes, which collects and ranks reviews (mostly modern) gives the film an aggregated score of 87% based on 52 reviews with an average rating of 8.2/10. The site's consensus reads, \"The music, the performances, the precision in capturing the post-college malaise -- The Graduate's coming-of-age story is indeed one for the ages.\"[16] On the similar website Metacritic, the film has a score of 77 out of 100, based on 10 critics, indicating \"generally favorable reviews\".[17]\n", "In the 1999 romantic comedy \"The Other Sister\", protagonists consider \"The Graduate\" as their favorite film, repeatedly watch it and at key moments consciously seek to emulate its protagonists in the conduct of their own love affair.\n", "The film received Academy Award nominations for Best Picture (Lawrence Turman), Best Actor (Dustin Hoffman), Best Actress (Anne Bancroft), Best Supporting Actress (Katharine Ross), Best Adapted Screenplay (Buck Henry and Calder Willingham), and Best Cinematography (Robert L. Surtees). Mike Nichols won the Academy Award for Best Director.\n", "The film also received Golden Globe Award nominations for Best Actor \u2013 Motion Picture Musical or Comedy (Hoffman), and Best Screenplay (Henry and Willingham). Bancroft won the Golden Globe Award for Best Actress \u2013 Motion Picture Musical or Comedy, Nichols won the Golden Globe Award for Best Director, Turman and Joseph E. Levin won the Golden Globe Award for Best Motion Picture \u2013 Musical or Comedy, Hoffman won the Golden Globe Award for New Star of the Year \u2013 Actor, and Ross won the Golden Globe Award for New Star of the Year \u2013 Actress.\n", "In addition, the film won the BAFTA Award for Best Film, BAFTA Award for Best Direction (Nichols), the BAFTA Award for Best Editing (Sam O'Steen). Bancroft was nominated for the BAFTA Award for Best Actress in a Leading Role.\n", "In 1996, The Graduate was selected for preservation in the U.S. National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\", and placed #21 on the list of highest-grossing films in the United States and Canada, adjusted for inflation.[4]\n", "Years later in interviews, Bancroft conceded that, much to her surprise, Mrs. Robinson was the role with which she was most identified, and added \"Men still come up to me and tell me 'You were my first sexual fantasy.'\"\n", "American Film Institute recognition\n", "The film is listed in the 1001 Movies You Must See Before You Die book.[18]\n", "In 1985 Alfa Romeo introduced the Graduate, a version of the Alfa Romeo Spider which recalled the car used in the movie. This version of the car was produced until 1990.\n", "Terry Johnson's adaptation of the original novel and the film was a hit both in London's West End and on Broadway, and has toured the United States. There is a Brazilian version adapted by Miguel Falabella. Several actresses have starred as Mrs. Robinson, including Kathleen Turner, Lorraine Bracco, Jerry Hall, Amanda Donohoe, Morgan Fairchild, Anne Archer, Vera Fischer, Patricia Richardson and Linda Gray. The Broadway production in 2002 starred Kathleen Turner, Jason Biggs, and Alicia Silverstone.\n", "The stage production adds several scenes that are not in the novel or the film. It also uses songs by Simon & Garfunkel not used in the film, such as \"Baby Driver\" as well as music from other popular musicians from the era such as The Byrds and The Beach Boys.\n", "Charles Webb has written a sequel to his original novel titled Home School, but initially refused to publish it in its entirety because of a contract he signed in the 1960s. When he sold film rights to The Graduate, he surrendered the rights to any sequels. If he were to publish Home School, Canal+, the French media company that owns the rights to The Graduate, would be able to adapt it for the screen without his permission.[19] Extracts of Home School were printed in The Times on May 2, 2006.[20] Webb also told the newspaper that there was a possibility he would find a publisher for the full text, provided he could retrieve the film rights using French copyright law.[21] On May 30, 2006, The Times reported that Webb had signed a publishing deal for Home School with Random House which he hoped would enable him to instruct French lawyers to attempt to retrieve his rights. The novel was published in Britain in 2007,[22] but was poorly received.[23][24]\n", "http://en.wikipedia.org/wiki/American_Graffiti\n", "American Graffiti is a 1973 coming of age film directed and co-written by George Lucas starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips and Wolfman Jack; Suzanne Somers has a cameo as the blonde in the T-bird. Set in 1962 Modesto, California, the film is a study of the cruising and rock and roll cultures popular among the post\u2013World War II baby boom generation. The film is told in a series of vignettes, telling the story of a group of teenagers and their adventures in one night." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The genesis of American Graffiti was in Lucas' own teenage years in early 1960s Modesto. He was unsuccessful in pitching the concept to financiers and distributors but finally found favor at Universal Pictures after United Artists, 20th Century Fox, Columbia Pictures, Metro-Goldwyn-Mayer, Warner Bros., and Paramount Pictures turned him down. Filming was initially set to take place in San Rafael, California, but the production crew was denied permission to shoot beyond a second day. As a result, most filming was done in Petaluma.\n", "The film was released to critical acclaim and financial success, and was nominated for the Academy Award for Best Picture. Produced on a $777,000 budget,[1] it has become one of the most profitable films of all time. Since its initial release, American Graffiti has garnered an estimated return of well over $200 million in box office gross and home video sales, not including merchandising. In 1995, the United States Library of Congress deemed the film \"culturally, historically, or aesthetically significant\" and selected it for preservation in the National Film Registry.\n", "\n", "\n", "In late August 1962 recent high school graduates and longtime friends, Curt Henderson and Steve Bolander, meet John Milner and Terry \"The Toad\" Fields at the local Mel's Drive-In parking lot. Despite receiving a $2,000 scholarship from the local Moose lodge, Curt is undecided if he wants to leave the next morning with Steve to go to the northeastern United States to begin college. Steve lets Toad borrow his 1958 Chevy Impala for the evening, and while he will be away at college. Steve's girlfriend, Laurie, who also is Curt's younger sister, is unsure of Steve's leaving, to which he suggests they see other people while he is away to \"strengthen\" their relationship.\n", "Curt, Steve, and Laurie go to the local back to school sock hop, while Toad and John begin cruising. En route to the hop, Curt sees a beautiful blonde girl in a white 1956 Ford Thunderbird. She mouths \"I love you\" before disappearing down the street. After leaving the hop, Curt is desperate to find the mysterious blonde, but is coerced by a group of greasers (\"The Pharaohs\") through an initiation rite that involves hooking a chain to a police car and successfully ripping out its back axle. Curt is told rumors that \"The Blonde\" is either a trophy wife or prostitute, which he immediately refuses to accept.\n", "Steve and Laurie break up following a series of arguments, and John inadvertently picks up Carol, an annoying teenybopper who seems fond of him. Toad, who is normally socially inept with girls, meets a flirtatious, and somewhat rebellious, girl named Debbie. Meanwhile, Curt learns that DJ Wolfman Jack broadcasts from just outside of Modesto. Inside the dark, eerie radio station, Curt encounters a bearded man he assumes to be the manager. Curt hands the man a message for \"The Blonde\" to call or meet him. As he walks away, Curt hears the voice of The Wolfman, and, having just seen The Wolfman broadcasting, he realizes he had been speaking with The Wolfman.\n", "The other story lines intertwine until Toad and Steve end up on \"Paradise Road\" to watch John race against the handsome (but arrogant) Bob Falfa, with Laurie as Bob's passenger. Within seconds Bob loses control of his car after blowing a front tire, plunges into a ditch and rolls his car. Steve and John run to the wreck, and a dazed Bob and Laurie stagger out of the car before it explodes. Distraught, Laurie grips Steve tightly and tells him not to leave her. He assures her that he has decided not to leave Modesto after all. The next morning Curt is awakened by the sound of a phone ringing in a telephone booth, which turns out to be \"The Blonde\". She tells him she might see him cruising tonight, but Curt replies that is not possible, because he will be leaving. At the airfield he says goodbye to his parents, his sister, and friends. As the plane takes off, Curt, gazing out of the window, sees the white Ford Thunderbird belonging to the mysterious blonde.\n", "Prior to the end credits an on-screen epilogue reveals that John was killed by a drunk driver in December 1964, Toad was reported missing in action near An L\u1ed9c in December 1965, Steve is an insurance agent in Modesto, California, and Curt is a writer living in Canada (loosely implying that he may be there as a draft dodger).\n", "During the production of THX 1138 (1971), producer Francis Ford Coppola challenged co-writer/director George Lucas to write a script that would appeal to mainstream audiences.[2] Lucas embraced the idea, using his early 1960s teenage experiences cruising in Modesto, California. \"Cruising was gone, and I felt compelled to document the whole experience and what my generation used as a way of meeting girls,\" Lucas explained.[2] As he developed the story in his mind, Lucas included his fascination with Wolfman Jack. Lucas had considered doing a documentary about The Wolfman when he attended the USC School of Cinematic Arts, but dropped the idea.[3]\n", "Adding in semi-autobiographical connotations, Lucas set the story in 1962 Modesto.[2] The characters Curt Henderson, John Milner and Terry \"The Toad\" Fields also represent different stages from his younger life. Curt is modeled after Lucas's personality during USC, while Milner is based on Lucas's teenage street racing and junior college years, and hot rod enthusiasts he had known from the Kustom Kulture in Modesto. Toad represents Lucas's nerd years as a freshman in high school, specifically his \"bad luck\" with dating.[4] The filmmaker was also inspired by Federico Fellini's I Vitelloni (1953).[5]\n", "After the financial failure of THX 1138, Lucas wanted the film to act as a release for a world-weary audience:[6]\n", "[THX] was about real things that were going on and the problems we're faced with. I realized after making THX that those problems are so real that most of us have to face those things every day, so we're in a constant state of frustration. That just makes us more depressed than we were before. So I made a film where, essentially, we can get rid of some of those frustrations, the feeling that everything seems futile.[6]\n", "After Warner Bros. abandoned Lucas's early version of Apocalypse Now (1979) (during the post-production of THX 1138), the filmmaker decided to continue developing Another Quiet Night in Modesto, eventually changing its title to American Graffiti.[3] To co-write a fifteen-page film treatment, Lucas hired Willard Huyck and Gloria Katz, who also added semi-autobiographical material to the story.[7] Lucas and producer Gary Kurtz began pitching the American Graffiti treatment to various Hollywood studios and production companies in an attempt to secure the financing needed to expand it into a screenplay,[2] but they were unsuccessful. The potential financiers were concerned that music licensing costs would cause the film to go way over budget. Along with Easy Rider (1969), American Graffiti was one of the first films to eschew a traditional film score and successfully rely instead on synchronizing a series of popular hit songs with individual scenes.[8]\n", "THX 1138 was released in March 1971[2] and Lucas was offered opportunities to direct Lady Ice (1973), Tommy (1975) or Hair (1979). He turned down those offers, determined to pursue his own projects despite his urgent desire to find another film to direct.[9][10] During this time, Lucas conceived the idea for a space opera (as yet untitled) which later became the basis for his Star Wars franchise. At the May 1971 Cannes Film Festival, THX was chosen for the Directors' Fortnight competition. There, Lucas met David Picker, then president of United Artists, who was intrigued by American Graffiti and Lucas's space opera. Picker decided to give Lucas $10,000 to develop Graffiti as a screenplay.[9]\n", "Lucas planned to spend another five weeks in Europe, and hoped that Huyck and Katz would agree to finish the screenplay by the time he returned, but they were about to start on their own film, Messiah of Evil (1972),[7] so Lucas hired Richard Walter, a colleague from the USC School of Cinematic Arts for the job. Walter was flattered, but initially tried to sell Lucas on a different screenplay called Barry and the Persuasions, a story of East Coast teenagers in the late 1950s. Lucas held firm - his was a story about West Coast teenagers in the early 1960s. Walter was paid the $10,000, and he began to expand the Lucas/Huyck/Katz treatment into a screenplay.[9]\n", "Lucas was dismayed when he returned to America in June 1971 and read Walter's script, which was written in the style and tone of an exploitation film, similar to 1967's Hot Rods to Hell. \"It was overtly sexual and very fantasy-like, with playing chicken and things that kids didn't really do,\" Lucas explained. \"I wanted something that was more like the way I grew up.\"[11] Walter's script also had Steve and Laurie going to Nevada to get married without their parents' permission.[5] Walter rewrote the screenplay, but Lucas nevertheless fired him due to their creative differences.[9]\n", "After paying Walter, Lucas had exhausted his development fund from United Artists. He began writing a script, completing his first draft in just three weeks. Drawing upon his large collection of vintage records, Lucas wrote each scene with a particular song in mind as its musical backdrop.[9] The cost of licensing the 75 songs Lucas wanted was one factor in United Artists' ultimate decision to reject the script; the studio also felt it was too experimental\u2014\"a musical montage with no characters\". United Artists also passed on Star Wars, which Lucas shelved for the time being.[10]\n", "Lucas spent the rest of 1971 and early 1972 trying to raise financing for the American Graffiti script.[10] During this time, Metro-Goldwyn-Mayer, Paramount Pictures, 20th Century Fox and Columbia Pictures all turned down the opportunity to co-finance and distribute the film.[12] Lucas, Huyck and Katz rewrote the second draft together, which, in addition to Modesto, was also set in Mill Valley and Los Angeles. Lucas also intended to end American Graffiti showing a title card detailing the fate of the characters, including the death of Milner and the disappearance of Toad in Vietnam. Huyck and Katz found the ending depressing and were incredulous that Lucas planned to include only the male characters. Lucas argued that mentioning the girls meant adding another title card, which he felt would prolong the ending. Because of this, Pauline Kael later accused Lucas of chauvinism.[12]\n", "Lucas and producer Gary Kurtz took the script to American International Pictures, who expressed interest, but ultimately believed American Graffiti was not violent or sexual enough for the studio's standards.[13] Lucas and Kurtz eventually found favor at Universal Pictures, who allowed Lucas total artistic control and the right of final cut privilege on the condition that he make American Graffiti on a strict, low budget.[10] This forced Lucas to drop the opening scene, in which the Blonde Angel, Curt's image of the perfect woman, drives through an empty drive-in cinema in her Ford Thunderbird, her transparency revealing she does not exist.[14]\n", "Universal initially projected a $600,000 budget, but added an additional $175,000 once producer Francis Ford Coppola signed on. This would allow the studio to advertise American Graffiti as \"from the Man who Gave you The Godfather (1972)\". However, Lucas was forced to concede final cut privilege. The proposition also gave Universal first look deals on Lucas's next two planned projects, Star Wars (1977) and Radioland Murders (1994).[13] As he continued to work on the script, Lucas encountered difficulties on the Steve and Laurie storyline. Lucas, Katz and Huyck worked on the third draft together, specifically on the scenes featuring Steve and Laurie.[15]\n", "Production proceeded with virtually no input or interference from Universal. American Graffiti was a low-budget film, and executive Ned Tanen had only modest expectations of its commercial success. However, Universal did object to the film's title, not knowing what \"American Graffiti\" meant;[15] Lucas was dismayed when some executives assumed he was making an Italian movie about feet.[12] The studio therefore submitted a long list of over 60 alternative titles, with their favorite being Another Slow Night in Modesto[15] and Coppola's Rock Around the Block.[12] They pushed hard to get Lucas to adopt any of the titles, but he was displeased with all the alternatives and persuaded Tanen to keep American Graffiti.[15]\n", "The film's lengthy casting process was overseen by Fred Roos, who worked with producer Francis Ford Coppola on The Godfather.[7] Because American Graffiti's main cast was associated with younger actors, the casting call and notices went through numerous high school drama groups and community theaters in the San Francisco Bay Area.[4] Among the actors was Mark Hamill, the future Luke Skywalker in Lucas' Star Wars trilogy.[14]\n", "Over 100 unknown actors auditioned for Curt Henderson before Richard Dreyfuss was cast. George Lucas was impressed with Dreyfuss' thoughtful analysis of the role,[4] and, as a result, offered the actor his choice of Curt or Terry \"The Toad\" Fields.[14] Roos, a former casting director on The Andy Griffith Show, suggested Ron Howard for Steve Bolander. Howard accepted the role to break out of the mold of his career as a child actor.[4] Bob Balaban turned down The Toad out of fear of typecasting, a decision which he later regretted. Charles Martin Smith, who, in his first year as a professional actor, had already appeared in two feature films including 20th Century Fox's The Culpepper Cattle Co., and 4 TV episodes, was eventually cast in the role.[16]\n", "Although Cindy Williams was cast as Laurie Henderson, the actress hoped she would get the part of Debbie Dunham, which ended up going to Candy Clark.[7] Mackenzie Phillips, who portrays Carol, was only 12 years old, and under California law, producer Gary Kurtz had to become her legal guardian for the duration of filming.[14] As Bob Falfa, Roos cast Harrison Ford, who was then concentrating on a carpentry career. Ford agreed to take the role on the condition that he would not have to cut his hair. The character has a flattop haircut in the script, but a compromise was eventually reached whereby Ford wore a stetson to cover his hair. Producer Francis Ford Coppola encouraged Lucas to cast Wolfman Jack as himself in a cameo appearance. \"George Lucas and I went through thousands of Wolfman Jack phone calls that were taped with the public,\" Jack reflected. \"The telephone calls [heard on the broadcasts] in the motion picture and on the soundtrack were actual calls with real people.\"[15]\n", "Charles Martin Smith (18) and Ron Howard (18) were the only two real teenage principal actors of the film. Most of the remaining principal cast members were in their 20s with the exceptions of the 12-year-old Mackenzie Phillips, and Harrison Ford, who turned 30 during filming.\n", "Although American Graffiti is set in 1962 Modesto, California, Lucas believed the city had changed too much in 10 years and initially chose San Rafael as the primary shooting location.[14] Filming began on June 26, 1972. However, Lucas soon became frustrated at the time it was taking to fix camera mounts to the cars.[17] A key member of the production had also been arrested for growing marijuana,[12] and, in addition to already running behind the shooting schedule, the San Rafael City Council immediately became concerned about the disruption that filming caused for local businesses and therefore withdrew permission to shoot beyond a second day.[17]\n", "Petaluma, a similarly small town approximately 20 miles north of San Rafael, became more cooperative and American Graffiti moved there without the loss of a single day of shooting. Lucas convinced the San Rafael City Council to allow two further nights of filming for general cruising shots, which he used to evoke as much of the intended location as possible in the finished film. Shooting in Petaluma began on June 28 and proceeded at a quick pace.[17] Lucas mimicked the filmmaking style of B movie producer Sam Katzman in attempting to save money and authenticated low-budget filming methods.[14]\n", "In addition to Petaluma, other locations included Van Ness Avenue in San Francisco, Sonoma, Richmond, Novato, and the Buchanan Field Airport in Concord.[18] The freshman hop dance was filmed in the Gus Gymnasium, previously known as the Boys Gym, at Tamalpais High School in Mill Valley.[19]\n", "More problems ensued during filming: Paul Le Mat was sent to the hospital after an allergic reaction to walnuts. Le Mat, Harrison Ford, and Bo Hopkins were often drunk between takes, and had conducted climbing competitions to the top of the local Holiday Inn sign. One actor set fire to Lucas' motel room. Another night, Le Mat threw Richard Dreyfuss into a swimming pool, gashing Dreyfuss' forehead on the day before he was due to have his close-ups filmed. Dreyfuss also complained over the wardrobe that Lucas had chosen for the character. Ford was arrested one night while in a bar fight and kicked out of his motel room. In addition, two camera operators were nearly killed when filming the climactic race scene on Frates Road outside Petaluma.[20] Principal photography ended on August 4, 1972.[18]\n", "The final scenes in film, shot at Buchanan Field, feature a Douglas DC-7C airliner of Magic Carpet Airlines which had previously been leased from owner Club America Incorporated by the rock band Grand Funk Railroad from March 1971 to June 1971.[19][21][22]\n", "Lucas considered covering duties as the sole cinematographer, but dropped the idea.[14] Instead, he elected to shoot American Graffiti using two cinematographers (as he had done in THX 1138) and no formal director of photography. Two cameras were used simultaneously in scenes involving conversations between actors in different cars, which resulted in significant production time savings.[17] After CinemaScope proved to be too expensive,[14] Lucas decided that American Graffiti should have a documentary-like feel, and shot the film using Techniscope cameras. He believed that Techniscope, an inexpensive way of shooting in 35 mm film and utilizing only half of the film's frame, would give a perfect widescreen format resembling 16 mm. Adding to the documentary feel was Lucas's openness for the cast to improvise scenes. He also used goofs for the final cut, notably Charles Martin Smith's (Toad) arriving on his scooter to meet Steve outside Mel's Drive-In.[23] Jan D'Alquen and Ron Eveslage were hired as the cinematographers, but filming with Techniscope cameras brought lighting problems. As a result, Lucas commissioned help from friend Haskell Wexler, who was credited as the \"visual consultant\".[17]\n", "Lucas had wanted his wife, Marcia, to edit American Graffiti, but Universal executive Ned Tanen insisted on hiring Verna Fields, who had just finished editing Steven Spielberg's The Sugarland Express (1974).[20] Fields worked on the first rough cut of the film before she left to resume work on What's Up, Doc? (1972). After Fields's departure, Lucas struggled with editing the film's story structure. He had originally written the script so that the four (Curt, Steve, John and Toad) storylines were always presented in the same sequence (an \"ABCD\" plot structure). But the first cut of American Graffiti was three-and-a-half hours long, and in order to whittle the film down to a more manageable two hours, so many scenes had to be cut, shortened, or combined that the film's structure became increasingly loose, and no longer adhered to Lucas's original \"ABCD\" presentation.[23] Lucas completed his final cut of American Graffiti, which ran 112 minutes, in December 1972.[24] Walter Murch assisted Lucas in post-production for audio mixing and sound design purposes.[23] Murch suggested making Wolfman Jack's radio show the \"backbone\" of the film. \"The Wolfman was an ethereal presence in the lives of young people,\" said producer Gary Kurtz, \"and it was that quality we wanted and obtained in the picture.\"[20]\n", "Lucas's choice of background music was crucial to the mood of each scene, but he was realistic about the complexities of copyright clearances and suggested a number of alternative tracks. Universal wanted Lucas and producer Gary Kurtz to hire an orchestra for sound-alikes. The studio eventually proposed a flat deal that offered every music publisher the same amount of money. This was acceptable to most of the companies representing Lucas's first choices, but not to RCA - with the consequence that Elvis Presley is conspicuous by his absence from the soundtrack.[10] Clearing the music licensing rights had cost approximately $90,000,[20] and as a result there was no money left for a traditional film score. \"I used the absence of music, and sound effects, to create the drama,\" Lucas later explained.[24]\n", "A soundtrack album for the film, 41 Original Hits from the Soundtrack of American Graffiti, was issued by MCA Records. The album contains all the songs used in the film (with the exception of \"Gee\" by the Crows, which was subsequently included on a second soundtrack album), presented in the order in which they appeared in the film.\n", "Despite unanimous praise at a January 1973 test screening attended by Universal executive Ned Tanen, the studio told Lucas they wanted to re-edit his original cut of American Graffiti.[24] Producer Coppola sided with Lucas against Tanen and Universal, offering to \"buy the film\" from the studio and reimburse it for the $775,000 (equivalent to $4,369,471 as of 2014)[25] it had cost to make it.[18] 20th Century Fox and Paramount Pictures made similar offers to the studio.[3] Universal refused these offers and told Lucas they planned to have William Hornbeck re-edit the film.[26]\n", "When Coppola's The Godfather (1972) won the Academy Award for Best Picture in March 1973, Universal relented, and agreed to cut only three scenes (about four minutes) from Lucas's cut\u2014an encounter between Toad and a fast-talking car salesman, an argument between Steve and his former teacher Mr. Kroot at the sock hop, and an effort by Bob Falfa to serenade Laurie with \"Some Enchanted Evening\"\u2014but decided that the film was fit for release only as a television movie.[18]\n", "However, various studio employees who had seen the film began talking it up, and its reputation grew through word of mouth.[18] The studio dropped the TV movie idea and began arranging for a limited release in selected theaters in Los Angeles and New York.[8] Universal presidents Sidney Sheinberg and Lew Wasserman heard about the praise the film had been garnering in LA and New York, and the marketing department amped up their promotion strategy for it,[8] investing an additional $500,000 (equivalent to $2,656,297 as of 2014)[25] in marketing and promotion.[3] The film was released in the United States on August 11, 1973[1] to sleeper hit reception.[27] The film had cost only $1.27 million (equivalent to $7,160,294 as of 2014)[25] to produce and market, but yielded worldwide box office gross revenues of more than $55 million (equivalent to $292,192,654 as of 2014)[25].[28] It had only modest success outside the United States, but became a cult film in France.[26]\n", "Universal reissued Graffiti in 1978 and earned an additional $63 million (equivalent to $227,796,429 as of 2014)[25], which brought the total revenue for the two releases to $118 million (equivalent to $426,666,327 as of 2014)[25].[3] The reissue included stereophonic sound,[28] and the additional four minutes that the studio had removed from Lucas's original cut. All home video releases also included these scenes.[18] Also, the date of John Milner's death was changed from June 1964 to December 1964 to fit the narrative structure of the upcoming sequel More American Graffiti. At the end of its theatrical run, American Graffiti had one of the lowest cost-to-profit ratios of a motion picture ever.[3] Producer Francis Ford Coppola regretted having not financed the film himself. Lucas recalled, \"He would have made $30 million (equivalent to $159,377,811 as of 2014)[25] on the deal. He never got over it and he still kicks himself.\"[26] It was the thirteenth-highest grossing film of all time in 1977,[27] and, adjusted for inflation, is currently the forty-third highest.[29] By the 1990s, American Graffiti had earned more than $200 million (equivalent to $361,029,037 as of 2014)[25] in box office gross and home video sales.[3] In December 1997 Variety reported that the film had earned an additional $55.13 million in rental revenue (equivalent to $80,992,187 as of 2014)[25].[30]\n", "Universal Studios Home Entertainment first released the film on DVD in September 1998,[31] and once more as a double feature with More American Graffiti (1979) in January 2004.[32]\n", "Aside from the four minutes originally deleted from Lucas' original cut retained, the only major change in the DVD version is the main title sequence, particularly the sky background to Mel's Drive-In, which was redone by ILM.\n", "Universal released the film on Blu-ray on May 31, 2011.[33][34]\n", "American Graffiti went on to receive widespread critical acclaim. Based on 33 reviews collected by Rotten Tomatoes, 97% of the critics enjoyed the film with an average score of 8.3/10. The consensus reads: \"One of the most influential of all teen films, American Graffiti is a funny, nostalgic, and bittersweet look at a group of recent high school grads' last days of innocence.\"[35] Roger Ebert praised the film for being \"not only a great movie but a brilliant work of historical fiction; no sociological treatise could duplicate the movie's success in remembering exactly how it was to be alive at that cultural instant\".[36]\n", "Jay Cocks of Time magazine wrote that American Graffiti \"reveals a new and welcome depth of feeling. Few films have shown quite so well the eagerness, the sadness, the ambitions and small defeats of a generation of young Americans.\"[37] A.D. Murphy from Variety felt American Graffiti was a vivid \"recall of teenage attitudes and morals, told with outstanding empathy and compassion through an exceptionally talented cast of unknown actors\".[38] Dave Kehr, writing in the Chicago Reader, called the film a brilliant work of popular art that redefined nostalgia as a marketable commodity, while establishing a new narrative style.[39]\n", "American Graffiti depicts multiple characters going through a coming of age, such as the decisions to attend college or reside in a small town.[7] The 1962 setting represents nearing an end of an era in American society and pop culture. The musical backdrop also links between the early years of rock and roll in the mid-late 1950s (i.e. Bill Haley & His Comets, Elvis Presley and Buddy Holly) and the early 1960s British Invasion, which Don McLean's \"American Pie\" and the 1972 revival of 1950s acts and oldies paralleled during the conception and filming. The setting is also before the outbreaks of the Vietnam War and the John F. Kennedy assassination[7] and before the peak years of the counterculture movement. American Graffiti evokes mankind's relationship with machines, notably the elaborate number of hot rods - having been called a \"classic car flick\", representative of the motor car's importance to American culture at the time it was made.[40] Another theme is teenagers' obsession with radio, especially with the inclusion of Wolfman Jack and his mysterious and mythological faceless (to most) voice.\n", "American Graffiti was nominated for the Academy Award for Best Picture but lost to The Sting (1973). Further nominations at the 46th Academy Awards included Best Director (George Lucas), Best Original Screenplay (Lucas, Willard Huyck and Gloria Katz), Best Supporting Actress (Candy Clark) and Best Film Editing (Verna Fields and Marcia Lucas).[41] The film won Best Motion Picture (Musical or Comedy) at the 31st Golden Globe Awards, while Paul Le Mat won Most Promising Newcomer. Lucas was nominated for Best Director and Richard Dreyfuss was nominated for Best Actor in a Comedy or Musical.[42] More nominations included Cindy Williams by the British Academy of Film and Television Arts for Best Actress in a Supporting Role,[43] Lucas for the Directors Guild of America Award for Outstanding Directing,[44] and Lucas, Huyck and Katz by the Writers Guild of America for Best Original Comedy.[26]\n", "Internet reviewer MaryAnn Johanson acknowledged that American Graffiti rekindled public and entertainment interest in the 1950s and 1960s, and influenced other films such as The Lords of Flatbush (1974) and Cooley High (1975) and the TV series Happy Days.[45] Alongside other films from the New Hollywood era, American Graffiti is often cited for helping give birth to the summer blockbuster.[46] The film's box office success made George Lucas an instant millionaire. He gave an amount of the film's profits to Haskell Wexler for his visual consulting help during filming, and to Wolfman Jack for \"inspiration\". Lucas's net worth was now $4 million, and he set aside a $300,000 independent fund for his long cherished space opera project, which would eventually become the basis for Star Wars (1977).[18]\n", "The financial success of Graffiti also gave Lucas opportunities to establish more elaborate development for Lucasfilm, Skywalker Sound, and Industrial Light & Magic.[28] Based on the success of the 1977 reissue, Universal began production for the sequel More American Graffiti (1979).[3] Lucas and writers, Willard Huyck and Gloria Katz, later collaborated on Radioland Murders (1994), also released by Universal Pictures, for which Lucas acted as executive producer. The film features characters intended to be Curt and Laurie Henderson's parents, Roger and Penny Henderson.[28] In 1995 American Graffiti was deemed culturally, historically, or aesthetically significant by the United States Library of Congress and selected for preservation in the National Film Registry.[47] In 1997 the city of Modesto, California, honored Lucas with a statue dedication of American Graffiti at George Lucas Plaza.[2]\n", "In 1998 the American Film Institute (AFI) ranked it as the 77th greatest film ever in the 100 Years... 100 Movies list. When the 10th Anniversary Edition came in June 2007, AFI moved American Graffiti to the sixty-second greatest film.[48] The movie was also listed as the forty-third funniest.[49] The song \"Smoke Gets in Your Eyes\" was nominated for AFI's 100 Years...100 Songs.[50] Director David Fincher credited American Graffiti as a visual influence for Fight Club (1999).[51] Lucas's Star Wars Episode II: Attack of the Clones (2002) features references to the film. The yellow airspeeder that Anakin Skywalker and Obi-Wan Kenobi use to pursue the bounty hunter, Zam Wesell, is based on John Milner's yellow deuce coupe,[52] while Dex's Diner is reminiscent of Mel's Drive-In.[53] Adam Savage and Jamie Hyneman of MythBusters conducted the \"rear axle\" experiment on the January 11, 2004, episode.[54]\n", "Given the popularity of the film's cars with customizers and hot rodders in the years since its release, their fate immediately after the film is ironic. All were offered for sale in San Francisco newspaper ads; only the '58 Impala (driven by Ron Howard) attracted a buyer, selling for only a few hundred dollars. The yellow Deuce and the white T-bird went unsold, despite being priced as low as US$3,000.[55] The registration plate on Milner's yellow, deuce coupe is THX\u00a0138 on a yellow, California license plate, slightly altered, reflecting Lucas's earlier science fiction film.\n", "\n", "http://en.wikipedia.org/wiki/Pulp_Fiction\n", "Pulp Fiction is a 1994 American black comedy crime film written and directed by Quentin Tarantino, from a story by Tarantino and Roger Avary.[4] The film is known for its eclectic dialogue, ironic mix of humor and violence, nonlinear storyline, and a host of cinematic allusions and pop culture references. The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d'Or at the 1994 Cannes Film Festival. A major critical and commercial success, it revitalized the career of its leading man, John Travolta, who received an Academy Award nomination, as did costars Samuel L. Jackson and Uma Thurman." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Directed in a highly stylized manner, Pulp Fiction connects the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Considerable screen time is devoted to conversations and monologues that reveal the characters' senses of humor and perspectives on life. The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. Pulp Fiction is self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of \"pulp\". The plot, as in many of Tarantino's other works, is presented out of chronological sequence.\n", "The picture's self-reflexivity, unconventional structure, and extensive use of homage and pastiche have led critics to describe it as a prime example of postmodern film. Considered by some critics a black comedy,[4] the film is also frequently labeled a \"neo-noir\".[5] Critic Geoffrey O'Brien argues otherwise: \"The old-time noir passions, the brooding melancholy and operatic death scenes, would be altogether out of place in the crisp and brightly lit wonderland that Tarantino conjures up. [It is] neither neo-noir nor a parody of noir.\"[6] Similarly, Nicholas Christopher calls it \"more gangland camp than neo-noir,\"[7] and Foster Hirsch suggests that its \"trippy fantasy landscape\" characterizes it more definitively than any genre label.[8] Pulp Fiction is viewed as the inspiration for many later movies that adopted various elements of its style. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema. Considered a cultural watershed, Pulp Fiction's influence has been felt in several other media, and was judged the greatest film between 1983\u20132008 by Entertainment Weekly.[9] Pulp Fiction is generally considered by critics to be one of the greatest films of all time. In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".[10]\n", "\n", "\n", "The narrative is presented out of sequence, structured around three distinct but interrelated storylines: mob contract killer Vincent Vega is the lead of the first story, prizefighter Butch Coolidge is the lead of the second, and Vincent's fellow contract killer, Jules Winnfield, is the lead of the third.[11] Although each storyline focuses on a different series of incidents set in different periods of time, they connect and intersect in various ways. The film starts out with a diner hold-up staged by \"Pumpkin\" and \"Honey Bunny,\" then picks up the stories of Vincent, Jules, Butch, and several other important characters, including mob kingpin Marsellus Wallace, his wife, Mia, and underworld problem-solver Winston Wolfe. It finally returns to where it began, in the diner: Vincent and Jules, who have stopped in for a bite, find themselves embroiled in the hold-up. There are a total of seven narrative sequences\u2014the three primary storylines are preceded by identifying intertitles on a black screen:\n", "If the seven sequences were ordered chronologically, they would run: 4a, 2, 6, 1, 7, 3, 4b, 5. Sequences 1 and 7 partially overlap and are presented from different points of view; the same is true of sequences 2 and 6. In Philip Parker's description, the structural form is \"an episodic narrative with circular events adding a beginning and end and allowing references to elements of each separate episode to be made throughout the narrative.\"[12] Other analysts describe the structure simply as a \"circular narrative.\"[13]\n", "\"Pumpkin\" (Tim Roth) and \"Honey Bunny\" (Amanda Plummer) are having breakfast in a diner, and discussing their life as robbers. They decide to rob it after realizing they could make money off the customers as well as the business, as they did during their previous heist. Moments after they initiate the hold-up, the scene breaks off and the title credits roll.\n", "As Jules Winnfield (Samuel L. Jackson) drives, Vincent Vega (John Travolta) talks about his experiences in Europe, from where he has just returned: the hashish bars in Amsterdam, the French McDonald's and its \"Royale with Cheese.\" The pair\u2014both wearing dress suits\u2014are on their way to retrieve a briefcase from Brett (Frank Whaley), who has transgressed against their boss, gangster Marsellus Wallace (Ving Rhames). Jules tells Vincent that Marsellus had someone thrown off a fourth-floor balcony for giving his wife a foot massage. Vincent says Marsellus has asked him to escort his wife while Marsellus is out of town. They arrive at Brett's place, where they confront him and two of his goons over the briefcase. As Vincent finds the briefcase that Brett has stolen from Marsellus, Jules confronts him with a gun and asks him does Marsellus look like \"a bitch\", noting that nobody can \"fuck\" with him except his wife. He then delivers a passage from Bible before executing Brett with Vincent.\n", "In a virtually empty cocktail lounge, aging prizefighter Butch Coolidge (Bruce Willis) accepts a large sum of money from Marsellus after agreeing to take a dive in his upcoming match. Vincent and Jules\u2014now dressed in T-shirts and shorts\u2014arrive to deliver the briefcase, and Butch and Vincent briefly cross paths. The next day, Vincent drops by the house of Lance (Eric Stoltz) and his wife Jody (Rosanna Arquette) to purchase high-grade heroin. He shoots up before driving over to meet Mrs. Mia Wallace (Uma Thurman) and take her out. They head to Jack Rabbit Slim's, a 1950s-themed restaurant staffed by lookalikes of the decade's pop icons. Mia recounts her experience acting in a failed television pilot, Fox Force Five.\n", "After participating in a twist contest, they return to the Wallace house with the trophy. While Vincent is in the bathroom, Mia finds his stash of heroin in his coat pocket. Mistaking it for cocaine, she snorts it and overdoses. Vincent rushes her to Lance's house for help. Together, they administer an adrenaline shot to Mia's heart, reviving her. Before parting ways, Mia and Vincent agree not to tell Marsellus of the incident.\n", "Television time for young Butch (Chandler Lindauer) is interrupted by the arrival of Vietnam veteran Captain Koons (Christopher Walken). Koons explains that he has brought a gold watch, passed down through three generations of Coolidge men since World War I. Butch's father died of dysentery while in a POW camp, and at his dying request Koons hid the watch in his rectum for two years in order to deliver it to Butch. A bell rings, startling the adult Butch out of this reverie. He is in his boxing colors\u2014it is time for the fight he has been paid to throw.\n", "Butch flees the arena, having won the bout. Making his getaway by cab, he learns from the death-obsessed driver, Esmarelda Villa Lobos (Angela Jones), that he killed the opposing fighter. Butch had bet his payoff on himself at favorable odds in a double-cross of Marsellus. The next morning, at the motel where he and his girlfriend, Fabienne (Maria de Medeiros), are lying low, Butch discovers that she has forgotten to pack the irreplaceable watch. He returns to his apartment to retrieve it, although Marsellus' men are almost certainly looking for him. Butch finds the watch quickly, but thinking he is alone, pauses for a snack. Only then does he notice a machine pistol on the kitchen counter. Hearing the toilet flush, Butch readies the gun and confronts a startled Vincent Vega exiting the bathroom. As the pair face each other in an intense standoff\u2014during which time Butch is holding Vincent at bay with his own weapon\u2014the (forgotten) toaster ejects the bread, making a sudden noise which causes Butch to pull the trigger and hit Vincent with a burst of fire, killing him.\n", "Butch drives away, but as he waits at a traffic light, Marsellus walks by and recognizes him. Butch rams Marsellus with the car, then another automobile collides with his. After a foot chase the two men land in a pawnshop. The shopowner, Maynard (Duane Whitaker), captures them at gunpoint and ties them up in a half-basement area. Maynard is joined by Zed (Peter Greene) the pawnshop's security guard; they take Marsellus to another room to rape him, leaving a silent masked figure referred to as \"the gimp\" to watch a tied-up Butch. Butch breaks loose and knocks out the gimp. He is about to flee, when he decides to save Marsellus. As Zed is sodomizing Marsellus on a pommel horse, Butch kills Maynard with a katana. Marsellus retrieves Maynard's shotgun and shoots Zed in the groin. Marsellus informs Butch that they are even with respect to the botched fight fix, so long as he never tells anyone about the rape and departs Los Angeles, that night, forever. Butch agrees and returns to pick up Fabienne on Zed's chopper.\n", "The story returns to Vincent and Jules at Brett's. After they execute him, another man (Alexis Arquette) bursts out of the bathroom and shoots wildly at them, missing every time before an astonished Jules and Vincent return fire. Jules decides this is a miracle and a sign from God for him to retire as a hitman. They drive off with one of Brett's associates, Marvin (Phil LaMarr), their informant. Vincent asks Marvin for his opinion about the \"miracle\" and accidentally shoots him in the face.\n", "Forced to remove their bloodied car from the road, Jules calls his friend Jimmie (Quentin Tarantino). Jimmie's wife, Bonnie, is due back from work soon, and he is very anxious that she does not encounter the scene. At Jules' request, Marsellus arranges for the help of his cleaner, Winston Wolfe (Harvey Keitel). \"The Wolf\" takes charge of the situation, ordering Jules and Vincent to clean the car, hide the body in the trunk, dispose of their own bloody clothes, and change into T-shirts and shorts provided by Jimmie. They drive the car to a junkyard, from where Wolfe and the owner's daughter, Raquel (Julia Sweeney), head off to breakfast. Jules and Vincent decide to do the same.\n", "As Jules and Vincent eat breakfast in a diner, the discussion returns to Jules' decision to retire. In a brief cutaway, \"Pumpkin\" and \"Honey Bunny\" appear shortly before they initiate the hold-up from the first scene of the film. While Vincent is in the bathroom, the hold-up commences. \"Pumpkin\" demands all of the patrons' valuables, including Jules' mysterious case. Jules surprises \"Pumpkin\" (whom he calls \"Ringo\"), holding him at gunpoint. \"Honey Bunny\" (whose actual name is Yolanda) becomes hysterical and trains her gun on Jules. Vincent emerges from the restroom with his gun trained on her, creating a Mexican standoff. Jules reprises the biblical passage he'd recited at Brett's place (Ezekiel 25:17), this time with sincerity rather than for effect. Jules expresses his ambivalence about his life of crime. As his first act of redemption, he allows the two robbers to take the cash they have stolen and leave, but they leave the briefcase behind for Jules and Vincent to return to Marsellus. Thus, Jules finishes his final job for his boss.\n", "Roger Avary wrote the first element of what would become the Pulp Fiction screenplay in the fall of 1990:\n", "Tarantino and Avary decided to write a short, on the theory that it would be easier to get made than a feature. But they quickly realized that nobody produces shorts, so the film became a trilogy, with one section by Tarantino, one by Avary, and one by a third director who never materialized. Each eventually expanded his section into a feature-length script....[42]\n", "The initial inspiration was the three-part horror anthology film Black Sabbath (1963), by Italian filmmaker Mario Bava. The Tarantino\u2013Avary project was provisionally titled \"Black Mask\", after the seminal hardboiled crime fiction magazine.[33] Tarantino's script was produced as Reservoir Dogs, his directorial debut; Avary's, titled \"Pandemonium Reigns\", would form the basis for the \"Gold Watch\" storyline of Pulp Fiction.[43]\n", "With work on Reservoir Dogs completed, Tarantino returned to the notion of a trilogy film: \"I got the idea of doing something that novelists get a chance to do but filmmakers don't: telling three separate stories, having characters float in and out with different weights depending on the story.\"[44] Tarantino explains that the idea \"was basically to take like the oldest chestnuts that you've ever seen when it comes to crime stories\u2014the oldest stories in the book.... You know, 'Vincent Vega and Marsellus Wallace's Wife'\u2014the oldest story about...the guy's gotta go out with the big man's wife and don't touch her. You know, you've seen the story a zillion times.\"[11] \"I'm using old forms of storytelling and then purposely having them run awry\", he says. \"Part of the trick is to take these movie characters, these genre characters and these genre situations and actually apply them to some of real life's rules and see how they unravel.\"[45] In at least one case, boxer Butch Coolidge, Tarantino had in mind a specific character from a classic Hollywood crime story: \"I wanted him to be basically like Ralph Meeker as Mike Hammer in Aldrich's Kiss Me Deadly [1955]. I wanted him to be a bully and a jerk\".[28]\n", "Tarantino went to work on the script for Pulp Fiction in Amsterdam in March 1992.[46] He was joined there by Avary, who contributed \"Pandemonium Reigns\" to the project and participated in its rewriting as well as the development of the new storylines that would link up with it.[43] Two scenes originally written by Avary for the True Romance screenplay, exclusively credited to Tarantino, were incorporated into the opening of \"The Bonnie Situation\": the \"miraculous\" missed shots by the hidden gunman and the rear seat automobile killing.[47] The notion of the crimeworld \"cleaner\" that became the heart of the episode was inspired by a short, Curdled, that Tarantino saw at a film festival. He cast the lead actress, Angela Jones, in Pulp Fiction and later backed the filmmakers' production of a feature-length version of Curdled.[48] The script included a couple of made-up commercial brands that would feature often in later Tarantino films: Big Kahuna burgers (a Big Kahuna soda cup appears in Reservoir Dogs) and Red Apple cigarettes.[49] As he worked on the script, Tarantino also accompanied Reservoir Dogs around the European film festivals. Released in the U.S. in October 1992, the picture was a critical and commercial success. In January 1993, the Pulp Fiction script was complete.[50]\n", "Tarantino and his producer, Lawrence Bender, brought the script to Jersey Films, the production company run by Danny DeVito, Michael Shamberg, and Stacey Sher. Before even seeing Reservoir Dogs, Jersey had attempted to sign Tarantino for his next project.[51] Ultimately a development deal worth around $1 million had been struck\u2014the deal gave A Band Apart, Bender and Tarantino's newly formed production company, initial financing and office facilities; Jersey got a share of the project and the right to shop the script to a studio.[52] Jersey had a distribution and \"first look\" deal with Columbia TriStar, which paid Tarantino for the right to consider exercising its option.[53] In February, Pulp Fiction appeared on a Variety list of films in preproduction at TriStar.[54] In June, however, the studio put the script into turnaround.[53] According to a studio executive, TriStar chief Mike Medavoy found it \"too demented\".[55] There were suggestions that TriStar was resistant to backing a film featuring a heroin user; there were also indications that the studio simply saw the project as too low-budget for its desired star-driven image.[56] Avary\u2014who was about to start shooting his own directorial debut, Killing Zoe\u2014has said that TriStar's objections were comprehensive, encompassing the script's fundamental structure. He characterizes the studio's position: \"'This is the worst thing ever written. It makes no sense. Someone's dead and then they're alive. It's too long, violent, and unfilmable.'... So I thought, 'That's that!'\"[57]\n", "Bender brought the script to Miramax, the formerly independent studio that had recently been acquired by Disney. Harvey Weinstein\u2014co-chairman of Miramax, along with his brother, Bob\u2014was instantly enthralled by the script and the company picked it up.[58] Pulp Fiction, the first Miramax project to get a green light after the Disney acquisition, was budgeted at $8.5 million.[59] It became the first movie that Miramax completely financed.[60] Helping hold costs down was the plan Bender executed to pay all the main actors the same amount per week, regardless of their industry status.[61] The biggest star to sign on to the project was Bruce Willis. Though he had recently appeared in several big-budget flops, he was still a major overseas draw. On the strength of his name, Miramax garnered $11 million for the film's worldwide rights, virtually ensuring its profitability.[62]\n", "Principal photography commenced on September 20, 1993.[63] The lead offscreen talent had all worked with Tarantino on Reservoir Dogs\u2014cinematographer Andrzej Seku\u0142a, film editor Sally Menke, production designer David Wasco, and costume designer Betsy Heimann. According to Tarantino, \"[W]e had $8 million [sic]. I wanted it to look like a $20\u201325 million movie. I wanted it to look like an epic. It's an epic in everything\u2014in invention, in ambition, in length, in scope, in everything except the price tag.\"[64] The film, he says, was shot \"on 50 ASA film stock, which is the slowest stock they make. The reason we use it is that it creates an almost no-grain image, it's lustrous. It's the closest thing we have to 50s Technicolor.\"[65] The largest chunk of the budget\u2014$150,000\u2014went to creating the Jack Rabbit Slim's set.[66] It was built in a Culver City warehouse, where it was joined by several other sets as well as the film's production offices.[67] The diner sequence was shot on location in Hawthorne at the Hawthorne Grill, known for its Googie architecture.[68] For the costumes, Tarantino took his inspiration from French director Jean-Pierre Melville, who believed that the clothes his characters wore were their symbolic suits of armor.[26] Tarantino cast himself in a modest-sized role as he had in Reservoir Dogs. One of his pop totems, Fruit Brute, a long-discontinued General Mills cereal, also returned from the earlier film.[69] The shoot wrapped on November 30.[70] Before Pulp Fiction's premiere, Tarantino convinced Avary to forfeit his agreed-on cowriting credit and accept a \"story by\" credit, so the line \"Written and directed by Quentin Tarantino\" could be used in advertising and onscreen.[22]\n", "No film score was composed for Pulp Fiction; Quentin Tarantino instead used an eclectic assortment of surf music, rock and roll, soul, and pop songs. Dick Dale's rendition of \"Misirlou\" plays during the opening credits. Tarantino chose surf music as the basic musical style for the film, but not, he insists, because of its association with surfing culture: \"To me it just sounds like rock and roll, even Morricone music. It sounds like rock and roll spaghetti Western music.\"[71] Some of the songs were suggested to Tarantino by his friends Chuck Kelley and Laura Lovelace, who were credited as music consultants. Lovelace also appeared in the film as Laura, a waitress; she reprises the role in Jackie Brown.[72] The soundtrack album, Music from the Motion Picture Pulp Fiction, was released along with the film in 1994. The album peaked on the Billboard 200 chart at number 21.[73] The single, Urge Overkill's cover of the Neil Diamond song \"Girl, You'll Be a Woman Soon\", reached number 59.[74]\n", "Estella Tincknell describes how the particular combination of well-known and obscure recordings helps establish the film as a \"self-consciously 'cool' text. [The] use of the mono-tracked, beat-heavy style of early 1960s U.S. 'underground' pop mixed with 'classic' ballads such as Dusty Springfield's 'Son of a Preacher Man' is crucial to the film's postmodern knowingness.\" She contrasts the soundtrack with that of Forrest Gump, the highest-grossing film of 1994, which also relies on period pop recordings: \"[T]he version of 'the sixties' offered by Pulp Fiction...is certainly not that of the publicly recognized counter-culture featured in Forrest Gump, but is, rather, a more genuinely marginal form of sub-culture based around a lifestyle\u2014surfing, 'hanging'\u2014that is resolutely apolitical.\" The soundtrack is central, she says, to the film's engagement with the \"younger, cinematically knowledgeable spectator\" it solicits.[75]\n", "Pulp Fiction premiered in May 1994 at the Cannes Film Festival. The Weinsteins \"hit the beach like commandos\", bringing the picture's entire cast over.[76] The film was unveiled at a midnight hour screening and caused a sensation.[77][78] It won the Palme d'Or, the festival's top prize, generating a further wave of publicity.[79] The first U.S. review of the film was published on May 23 in industry trade magazine Variety. Todd McCarthy called Pulp Fiction a \"spectacularly entertaining piece of pop culture...a startling, massive success.\"[80] From Cannes forward, Tarantino was on the road continuously, promoting the film.[81] Over the next few months it played in smaller festivals around Europe, building buzz: Nottingham, Munich, Taormina, Locarno, Norway, and San Sebasti\u00e1n.[82] Tarantino later said, \"One thing that's cool is that by breaking up the linear structure, when I watch the film with an audience, it does break [the audience's] alpha state. It's like, all of a sudden, 'I gotta watch this...I gotta pay attention.' You can almost feel everybody moving in their seats. It's actually fun to watch an audience in some ways chase after a movie.\"[83] In late September, it opened the New York Film Festival. The New York Times published its review the day of the opening. Janet Maslin called the film a \"triumphant, cleverly disorienting journey through a demimonde that springs entirely from Mr. Tarantino's ripe imagination, a landscape of danger, shock, hilarity and vibrant local color.... [He] has come up with a work of such depth, wit and blazing originality that it places him in the front ranks of American film makers.\"[78]\n", "On October 14, 1994, Pulp Fiction went into general release in the United States. As Peter Biskind describes, \"It was not platformed, that is, it did not open in a handful of theaters and roll out slowly as word of mouth built, the traditional way of releasing an indie film; it went wide immediately, into 1,100 theaters.\"[1] In the eyes of some cultural critics, Reservoir Dogs had given Tarantino a reputation for glamorizing violence. Miramax played with the issue in its marketing campaign: \"You won't know the facts till you've seen the fiction\", went one slogan.[84] Pulp Fiction was the top-grossing film at the box office its first weekend, edging out a Sylvester Stallone vehicle, The Specialist, which was in its second week and playing at more than twice as many theaters. Against its budget of $8.5 million and about $10 million in marketing costs, Pulp Fiction wound up grossing $107.93 million at the U.S. box office, making it the first \"indie\" film to surpass $100 million. Worldwide, it took in nearly $213 million.[85] In terms of domestic grosses, it was the tenth biggest film of 1994, even though it played on substantially fewer screens than any other film in the top 20.[86] Popular engagement with the film, such as speculation about the contents of the precious briefcase, \"indicates the kind of cult status that Pulp Fiction achieved almost immediately.\"[87] As MovieMaker puts it, \"The movie was nothing less than a national cultural phenomenon.\"[88] Abroad, as well: In Britain, where it opened a week after its U.S. release, not only was the film a big hit, but in book form its screenplay became the most successful in UK publishing history, a top-ten bestseller.[89]\n", "The response of major American film reviewers was widely favorable. Roger Ebert of the Chicago Sun-Times described it as \"so well-written in a scruffy, fanzine way that you want to rub noses in it\u2014the noses of those zombie writers who take 'screenwriting' classes that teach them the formulas for 'hit films.'\"[90] Richard Corliss of TIME wrote, \"It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. It dares Hollywood films to be this smart about going this far. If good directors accept Tarantino's implicit challenge, the movie theater could again be a great place to live in.\"[91] In Newsweek, David Ansen wrote, \"The miracle of Quentin Tarantino's Pulp Fiction is how, being composed of secondhand, debased parts, it succeeds in gleaming like something new.\"[92] \"You get intoxicated by it,\" wrote Entertainment Weekly\u200a'\u200bs Owen Gleiberman, \"high on the rediscovery of how pleasurable a movie can be. I'm not sure I've ever encountered a filmmaker who combined discipline and control with sheer wild-ass joy the way that Tarantino does.\"[21] \"There's a special kick that comes from watching something this thrillingly alive\", wrote Peter Travers of Rolling Stone. \"Pulp Fiction is indisputably great.\"[93] Overall, the film attained exceptionally high ratings among U.S. reviewers: a 94% score based on 68 reviews at Rotten Tomatoes[94] and a Metascore of 94 based on 24 reviews on Metacritic.[95]\n", "The Los Angeles Times was one of the few major news outlets to publish a negative review on the film's opening weekend. Kenneth Turan wrote, \"The writer-director appears to be straining for his effects. Some sequences, especially one involving bondage harnesses and homosexual rape, have the uncomfortable feeling of creative desperation, of someone who's afraid of losing his reputation scrambling for any way to offend sensibilities.\"[96] Some who reviewed it in the following weeks took more exception to the predominant critical reaction than to Pulp Fiction itself. While not panning the film, Stanley Kauffman of The New Republic felt that \"the way that [it] has been so widely ravened up and drooled over verges on the disgusting. Pulp Fiction nourishes, abets, cultural slumming.\"[97] Responding to comparisons between Tarantino's film and the work of French New Wave director Jean-Luc Godard, especially his first, most famous feature, Jonathan Rosenbaum of the Chicago Reader wrote, \"The fact that Pulp Fiction is garnering more extravagant raves than Breathless ever did tells you plenty about which kind of cultural references are regarded as more fruitful\u2014namely, the ones we already have and don't wish to expand.\"[98] Observing in the National Review that \"[n]o film arrives with more advance hype\", John Simon was unswayed: \"titillation cures neither hollowness nor shallowness\".[99]\n", "Debate about the film spread beyond the review pages. Violence was often the theme. In the Washington Post, Donna Britt described how she was happy not to see Pulp Fiction on a recent weekend and thus avoid \"discussing the rousing scene in which a gunshot sprays somebody's brains around a car interior\".[100] Some commentators took exception to the film's frequent use of the word \"nigger\". In the Chicago Tribune, Todd Boyd argued that the word's recurrence \"has the ability to signify the ultimate level of hipness for white males who have historically used their perception of black masculinity as the embodiment of cool\".[101] In Britain, James Wood, writing in The Guardian, set the tone for much subsequent criticism: \"Tarantino represents the final triumph of postmodernism, which is to empty the artwork of all content, thus avoiding its capacity to do anything except helplessly represent our agonies.... Only in this age could a writer as talented as Tarantino produce artworks so vacuous, so entirely stripped of any politics, metaphysics, or moral interest.\"[102]\n", "Around the turn of the year, Pulp Fiction was named Best Picture by the National Society of Film Critics, National Board of Review, Los Angeles Film Critics Association, Boston Society of Film Critics, Society of Texas Film Critics, Southeastern Film Critics Association, and Kansas City Film Critics Circle.[103] Tarantino was named Best Director by all seven of those organizations as well as by the New York Film Critics Circle and Chicago Film Critics Association.[104] The screenplay won several prizes, with various awarding bodies ascribing credit differently. At the Golden Globe Awards, Tarantino, named as sole recipient of the Best Screenplay honor, failed to mention Avary in his acceptance speech.[105] In February 1995, the film received seven Oscar nominations\u2014Best Picture, Director, Actor (Travolta), Supporting Actor (Jackson), Supporting Actress (Thurman), Original Screenplay, and Film Editing. Travolta, Jackson, and Thurman were each nominated as well for the 1st Screen Actors Guild Awards, presented on February 25, but none took home the honor.[106] At the Academy Awards ceremony the following month, Tarantino and Avary were announced as joint winners of the Oscar for Best Original Screenplay.[107] The furor around the film was still going strong: much of the March issue of Artforum was devoted to its critical dissection.[108] Pulp Fiction garnered four honors at the Independent Spirit Awards, held at the end of the month: best feature, director, male lead (Jackson), and screenplay (Tarantino).[109] At the British Academy Film Awards, Tarantino and Avary shared the BAFTA Award for Best Original Screenplay, and Jackson won for Best Supporting Actor.[110] The film was nominated for the Grand Prix of the Belgian Film Critics Association.[111]\n", "Pulp Fiction quickly came to be regarded as one of the most significant films of its era. In 1995, in a special edition of Siskel & Ebert devoted to Tarantino, Gene Siskel argued that Pulp Fiction posed a major challenge to the \"ossification of American movies with their brutal formulas\". In Siskel's view,\n", "the violent intensity of Pulp Fiction calls to mind other violent watershed films that were considered classics in their time and still are. Hitchcock's Psycho [1960], Arthur Penn's Bonnie and Clyde [1967], and Stanley Kubrick's A Clockwork Orange [1971]. Each film shook up a tired, bloated movie industry and used a world of lively lowlifes to reflect how dull other movies had become. And that, I predict, will be the ultimate honor for Pulp Fiction. Like all great films, it criticizes other movies.[112]\n", "Ken Dancyger writes that its \"imitative and innovative style\"\u2014like that of its predecessor, Reservoir Dogs\u2014represents\n", "a new phenomenon, the movie whose style is created from the context of movie life rather than real life. The consequence is twofold\u2014the presumption of deep knowledge on the part of the audience of those forms such as the gangster films or Westerns, horror films or adventure films. And that the parody or alteration of that film creates a new form, a different experience for the audience.[113]\n", "In a widely covered speech on May 31, 1995, Republican presidential candidate Bob Dole attacked the American entertainment industry for peddling \"nightmares of depravity\". Pulp Fiction was soon associated with his charges concerning gratuitous violence. Dole had not, in fact, mentioned the film; he cited two less celebrated movies based on Tarantino screenplays, Natural Born Killers and True Romance.[114] In September 1996, Dole did accuse Pulp Fiction\u2014which he had not seen\u2014of promoting \"the romance of heroin\".[115]\n", "Paula Rabinowitz expresses the general film industry opinion that Pulp Fiction \"simultaneously resurrected John Travolta and film noir\".[116] In Peter Biskind's description, it created a \"guys-with-guns frenzy\".[117] The stylistic influence of Pulp Fiction soon became apparent. Less than a year after the picture's release, British critic Jon Ronson attended the National Film School's end-of-semester screenings and assessed the impact: \"Out of the five student movies I watched, four incorporated violent shoot-outs over a soundtrack of iconoclastic 70s pop hits, two climaxed with all the main characters shooting each other at once, and one had two hitmen discussing the idiosyncrasies of The Brady Bunch before offing their victim. Not since Citizen Kane has one man appeared from relative obscurity to redefine the art of moviemaking.\"[118] Among the first Hollywood films cited as its imitators were Destiny Turns on the Radio (1995), in which Tarantino acted,[112] Things to Do in Denver When You're Dead (1995),[119] and 2 Days in the Valley (1996).[120] It \"triggered a myriad of clones\", writes Fiona Villella.[121] Internationally, according to David Desser, it \"not only influenced a British brand of noir, but extended the noir vision virtually around the world.\"[122] Pulp Fiction's effect on film form was still reverberating in 2007, when David Denby of The New Yorker credited it with initiating the ongoing cycle of disordered cinematic narratives.[123]\n", "Its impact on Hollywood was deeper still. According to Variety, the trajectory of Pulp Fiction from Cannes launch to commercial smash \"forever altered the game\" of so-called independent cinema.[124] It \"cemented Miramax's place as the reigning indie superpower\",[1] writes Biskind. \"Pulp became the Star Wars of independents, exploding expectations for what an indie film could do at the box office.\"[125] The film's large financial return on its small budget\n", "transform[ed] the industry's attitude toward the lowly indies...spawning a flock of me-too classics divisions.... [S]mart studio executives suddenly woke up to the fact that grosses and market share, which got all the press, were not the same as profits.... Once the studios realized that they could exploit the economies of (small) scale, they more or less gave up buying or remaking the films themselves, and either bought the distributors, as Disney had Miramax, or started their own...copy[ing] Miramax's marketing and distribution strategies.[126]\n", "In 2001, Variety, noting the increasing number of actors switching back and forth between expensive studio films and low-budget independent or indie-style projects, suggested that the \"watershed moment for movie stars\" came with the decision by Willis\u2014one of Hollywood's highest-paid performers\u2014to appear in Pulp Fiction.[127]\n", "And its impact was even broader than that. It has been described as a \"major cultural event\", an \"international phenomenon\" that influenced television, music, literature, and advertising.[121][128] Not long after its release, it was identified as a significant focus of attention within the growing community of Internet users.[129] Adding Pulp Fiction to his roster of \"Great Movies\" in 2001, Roger Ebert called it \"the most influential film of the decade\".[130] Four years later, Time's Corliss wrote much the same: \"(unquestionably) the most influential American movie of the 90s\".[131]\n", "Several scenes and images from the film achieved iconic status; in 2008, Entertainment Weekly declared, \"You'd be hard-pressed, by now, to name a moment from Quentin Tarantino's film that isn't iconic.\"[132] Jules and Vincent's \"Royale with Cheese\" dialogue became famous.[133] It was referenced more than a decade and a half later in the Travolta vehicle From Paris with Love.[134] The adrenalin shot to Mia Wallace's heart is on Premiere\u200a'\u200bs list of \"100 Greatest Movie Moments\".[135] The scene of Travolta and Thurman's characters dancing has been frequently homaged, most unambiguously in the 2005 film Be Cool, starring the same two actors.[136] The image of Travolta and Jackson's characters standing side by side in suit and tie, pointing their guns, has also become widely familiar. In 2007, BBC News reported that \"London transport workers have painted over an iconic mural by 'guerrilla artist' Banksy.... The image depicted a scene from Quentin Tarantino's Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns.\"[137] Certain lines were adopted popularly as catchphrases, in particular Marsellus's threat, \"I'm 'a get medieval on your ass.\"[138] Jules's \"Ezekiel\" recitation was voted the fourth greatest movie speech of all time in a 2004 poll.[139]\n", "Pulp Fiction now appears in several critical assessments of all-time great films. In 2008, Entertainment Weekly named it the best film of the past quarter-century.[132] That same year, the American Film Institute's \"Ten Top Ten\" poll ranked it number 7 all-time in the gangster film genre.[141] In 2007, it was voted 94th overall on the AFI's 100 Years...100 Movies list.[142] In 2005, it was named one of Time's \"All-Time 100 Movies\".[131] As of January 2010, it is number 10 on Metacritic's list of all-time highest scores.[143] The film ranks very highly in popular surveys. A 2008 Empire poll combining the opinions of readers, movie industry professionals, and critics named Pulp Fiction the ninth-best film of all time.[144] In a 2006 readers' poll by the British magazine Total Film, it ranked as the number three film in history.[145] It was voted as the fourth-greatest film of all time in a nationwide poll for Britain's Channel 4 in 2001.[146]\n", "Tarantino has stated that he originally planned \"to do a Black Mask movie\", referring to the magazine largely responsible for popularizing hardboiled detective fiction. \"[I]t kind of went somewhere else\".[147] Geoffrey O'Brien sees the result as connected \"rather powerfully to a parallel pulp tradition: the tales of terror and the uncanny practiced by such writers as Cornell Woolrich [and] Fredric Brown.... Both dealt heavily in the realm of improbable coincidences and cruel cosmic jokes, a realm that Pulp Fiction makes its own.\"[148] In particular, O'Brien finds a strong affinity between the intricate plot mechanics and twists of Brown's novels and the recursive, interweaving structure of Pulp Fiction.[149] Philip French describes the film's narrative as a \"circular movement or M\u00f6bius strip of a kind Resnais and Robbe-Grillet would admire.\"[150] James Mottram regards crime novelist Elmore Leonard, whose influence Tarantino has acknowledged, as the film's primary literary antecedent. He suggests that Leonard's \"rich dialogue\" is reflected in Tarantino's \"popular-culture-strewn jive\"; he also points to the acute, extremely dark sense of humor Leonard applies to the realm of violence as a source of inspiration.[151]\n", "Robert Kolker sees the \"flourishes, the apparent witty banality of the dialogue, the goofy fracturing of temporality [as] a patina over a pastiche. The pastiche...is essentially of two films that Tarantino can't seem to get out of his mind: Mean Streets [1973; directed by Martin Scorsese, who loved Pulp Fiction and the way the film was told.[152] ] and The Killing [1956; directed by Stanley Kubrick].\"[153] He contrasts Pulp Fiction with postmodern Hollywood predecessors Hudson Hawk (1991; starring Willis) and Last Action Hero (1993; starring Arnold Schwarzenegger) that \"took the joke too far...simply mocked or suggested that they were smarter than the audience\" and flopped.[154] Todd McCarthy writes that the film's \"striking widescreen compositions often contain objects in extreme close-up as well as vivid contrasts, sometimes bringing to mind the visual strategies of Sergio Leone\", an acknowledged hero of Tarantino's.[80] To Martin Rubin, the \"expansive, brightly colored widescreen visuals\" evoke comedy directors such as Frank Tashlin and Blake Edwards.[155]\n", "The movie's host of pop culture allusions, ranging from the famous image of Marilyn Monroe's skirt flying up over a subway grating to Jules addressing a soon-to-be victim as \"Flock of Seagulls\" because of his haircut,[156] have led many critics to discuss it within the framework of postmodernism. Describing the film in 2005 as Tarantino's \"postmodern masterpiece...to date\", David Walker writes that it \"is marked by its playful reverence for the 1950s...and its constantly teasing and often deferential references to other films\". He characterizes its convoluted narrative technique as \"postmodern tricksiness\".[157] Calling the film a \"terminally hip postmodern collage\", Foster Hirsch finds Pulp Fiction far from a masterpiece: \"authoritative, influential, and meaningless\". Set \"in a world that could exist only in the movies\", it is \"a succulent guilty pleasure, beautifully made junk food for cin\u00e9astes\".[158] O'Brien, dismissing attempts to associate the movie with film noir, argues that \"Pulp Fiction is more a guided tour of an infernal theme park decorated with cultural detritus, Buddy Holly and Mamie Van Doren, fragments of blaxploitation and Roger Corman and Shogun Assassin, music out of a twenty-four-hour oldies station for which all the decades since the fifties exist simultaneously.\"[6] Catherine Constable takes the moment in which a needle filled with adrenaline is plunged into the comatose Mia's heart as exemplary. She proposes that it \"can be seen as effecting her resurrection from the dead, simultaneously recalling and undermining the Gothic convention of the vampire's stake. On this model, the referencing of previous aesthetic forms and styles moves beyond...empty pastiche, sustaining an 'inventive and affirmative' mode of postmodernism.\"[159]\n", "Mark T. Conard asks, \"[W]hat is the film about?\" and answers, \"American nihilism.\"[160] Hirsch suggests, \"If the film is actually about anything other than its own cleverness, it seems dedicated to the dubious thesis that hit men are part of the human family.\"[120] Richard Alleva argues that \"Pulp Fiction has about as much to do with actual criminality or violence as Cyrano de Bergerac with the realities of seventeenth-century France or The Prisoner of Zenda with Balkan politics.\" He reads the movie as a form of romance whose allure is centered in the characters' nonnaturalistic discourse, \"wise-guy literate, media-smart, obscenely epigrammatic\".[161] In Alan Stone's view, the \"absurd dialogue\", like that between Vincent and Jules in the scene where the former accidentally kills Marvin, \"unexpectedly transforms the meaning of the violence clich\u00e9.... Pulp Fiction unmasks the macho myth by making it laughable and deheroicizes the power trip glorified by standard Hollywood violence.\"[162] Stone reads the film as \"politically correct. There is no nudity and no violence directed against women.... [It] celebrates interracial friendship and cultural diversity; there are strong women and strong black men, and the director swims against the current of class stereotype.\"[162]\n", "Where Stone sees a celebration, Kolker finds a vacuum: \"The postmodern insouciance, violence, homophobia, and racism of Pulp Fiction were perfectly acceptable because the film didn't pretend seriousness and therefore didn't mock it.\"[154] Calling it the \"acme of postmodern nineties filmmaking\", he explains, \"the postmodern is about surfaces; it is flattened spatiality in which event and character are in a steady state of reminding us that they are pop-cultural figures.\"[163] According to Kolker:\n", "That's why Pulp Fiction was so popular. Not because all audiences got all or any of its references to Scorsese and Kubrick, but because the narrative and spatial structure of the film never threatened to go beyond themselves into signification. The film's cycle of racist and homophobic jokes might threaten to break out into a quite nasty view of the world, but this nastiness keeps being laughed off\u2014by the mock intensity of the action, the prowling, confronting, perverse, confined, and airless nastiness of the world Tarantino creates.[164]\n", "Henry A. Giroux argues that Tarantino \"empties violence of any critical social consequences, offering viewers only the immediacy of shock, humor, and irony-without-insight as elements of mediation. None of these elements gets beyond the seduction of voyeuristic gazing...[t]he facile consumption of shocking images and hallucinatory delight.\"[165]\n", "Regarding the violence and nihilism in the film, Pamela Demory has suggested that Pulp Fiction should be seen in light of the short stories of Flannery O'Connor,[166] which likewise feature \"religious elements, banality, and violence with grotesque humor\". Discussing \"the connection between violence and redemption\", Demory concludes that while O'Connor's purpose is to convince readers \"of the powerful force of evil in the world and of our need for grace,\" Tarantino \"seeks to demonstrate that in spite of everything we have seen in the film--all the violence, degradation, death, crime, amoral behavior--grace is still possible; there might be still be a God who doesn't judge us on merits.\"[167]\n", "Pulp Fiction is full of homages to other movies. \"Tarantino's characters\", writes Gary Groth, \"inhabit a world where the entire landscape is composed of Hollywood product. Tarantino is a cinematic kleptomaniac\u2014he literally can't help himself.\"[168] Two scenes in particular have prompted discussion of the film's highly intertextual style. Many have assumed that the dance sequence at Jack Rabbit Slim's was intended as a reference to Travolta's star-making performance as Tony Manero in the epochal Saturday Night Fever (1977); Tarantino, however, credits a scene in the Jean-Luc Godard film Bande \u00e0 part (1964) with the inspiration. According to the filmmaker,\n", "Everybody thinks that I wrote this scene just to have John Travolta dancing. But the scene existed before John Travolta was cast. But once he was cast, it was like, \"Great. We get to see John dance. All the better.\"...\u00a0My favorite musical sequences have always been in Godard, because they just come out of nowhere. It's so infectious, so friendly. And the fact that it's not a musical, but he's stopping the movie to have a musical sequence, makes it all the more sweet.[169]\n", "Jerome Charyn argues that, beyond \"all the better\", Travolta's presence is essential to the power of the scene, and of the film:\n", "Travolta's entire career becomes \"backstory\", the myth of a movie star who has fallen out of favor, but still resides in our memory as the king of disco. We keep waiting for him to shed his paunch, put on a white polyester suit, and enter the 2001 Odyssey club in Bay Ridge, Brooklyn, where he will dance for us and never, never stop. Daniel Day-Lewis couldn't have woken such a powerful longing in us. He isn't part of America's own mad cosmology.... Tony Manero [is] an angel sitting on Vince's shoulder.... [Vince and Mia's] actual dance may be closer to the choreography of Anna Karina's shuffle with her two bumbling gangster boyfriends in Bande \u00e0 part, but even that reference is lost to us, and we're with Tony again....[170]\n", "Estella Tincknell notes that while the \"diner setting seems to be a simulacrum of a 'fifties' restaurant...the twist contest is a musical sequence which evokes 'the sixties,' while Travolta's dance performance inevitably references 'the seventies' and his appearance in Saturday Night Fever.... The 'past' thus becomes a more general 'pastness' in which the stylistic signifiers of various decades are loaded in to a single moment.\"[171] She also argues that in this passage the film \"briefly shifts from its habitually ironic discourse to one that references the conventions of the classic film musical and in doing so makes it possible for the film to inhabit an affective space that goes beyond stylistic allusion.\"[171]\n", "The pivotal moment in which Marsellus crosses the street in front of Butch's car and notices him evokes the scene in which Marion Crane's boss sees her under similar circumstances in Psycho (1960).[172] Marsellus and Butch are soon held captive by Maynard and Zed, \"two sadistic honkies straight out of Deliverance\" (1972), directed by John Boorman.[162] Zed shares a name with Sean Connery's character in Boorman's follow-up, the science-fiction film Zardoz (1974). When Butch decides to rescue Marsellus, in Glyn White's words, \"he finds a trove of items with film-hero resonances\".[173] Critics have identified these weapons with a range of possible allusions:\n", "At the conclusion of the scene, a portentous line of Marsellus' echoes one from the crime drama Charley Varrick (1973), directed by another of Tarantino's heroes, Don Siegel; the name of the character who speaks it there is Maynard.[175]\n", "David Bell argues that far from going against the \"current of class stereotype\", this scene, like Deliverance, \"mobilize[s] a certain construction of poor white country folk\u2014and particularly their sexualization...'rustic sexual expression often takes the form of homosexual rape' in American movies.\"[176] Stephen Paul Miller believes the Pulp Fiction scene goes down much easier than the one it echoes: \"The buggery perpetrated is not at all as shocking as it was in Deliverance.... The nineties film reduces seventies competition, horror, and taboo into an entertainingly subtle adrenaline play\u2014a fiction, a pulp fiction.\"[177] Giroux reads the rape scene homage similarly: \"in the end Tarantino's use of parody is about repetition, transgression, and softening the face of violence by reducing it to the property of film history.\"[178] In Groth's view, the crucial difference is that \"in Deliverance the rape created the film's central moral dilemma whereas in Pulp Fiction it was merely 'the single weirdest day of [Butch's] life.'\"[179]\n", "Neil Fulwood focuses on Butch's weapon selection, writing, \"Here, Tarantino's love of movies is at its most open and nonjudgemental, tipping a nod to the noble and the notorious, as well as sending up his own reputation as an enfant terrible of movie violence. Moreover, the scene makes a sly comment about the readiness of cinema to seize upon whatever is to hand for its moments of mayhem and murder.\"[174] White asserts that \"the katana he finally, and significantly, selects identifies him with...honourable heroes.\"[173] Conard argues that the first three items symbolize a nihilism that Butch is rejecting. The traditional Japanese sword, in contrasts, represents a culture with a well-defined moral code and thus connects Butch with a more meaningful approach to life.[180]\n", "Robert Miklitsch argues that \"Tarantino's telephilia\" may be more central to the guiding sensibility of Pulp Fiction than the filmmaker's love for rock 'n' roll and even cinema:\n", "Talking about his generation, one that came of age in the '70s, Tarantino has commented that the \"number one thing we all shared wasn't music, that was a Sixties thing. Our culture was television.\" A random list of the TV programs referenced in Pulp Fiction confirms his observation: Speed Racer, Clutch Cargo, The Brady Bunch, The Partridge Family, The Avengers, The Three Stooges, The Flintstones, I Spy, Green Acres, Kung Fu, Happy Days, and last but not least, Mia's fictional pilot, Fox Force Five.[181]\n", "\"The above list, with the possible exception of The Avengers,\" writes Miklitsch, \"suggests that Pulp Fiction has less of an elective affinity with the cinematic avant-gardism of Godard than with mainstream network programming.\"[182] Jonathan Rosenbaum had brought TV into his analysis of the Tarantino/Godard comparison, acknowledging that the directors were similar in wanting to cram everything they like onscreen: \"But the differences between what Godard likes and what Tarantino likes and why are astronomical; it's like comparing a combined museum, library, film archive, record shop, and department store with a jukebox, a video-rental outlet, and an issue of TV Guide.\"[98]\n", "Sharon Willis focuses on the way a television show (Clutch Cargo) marks the beginning of, and plays on through, the scene between young Butch and his father's comrade-in-arms. The Vietnam War veteran is played by Christopher Walken, whose presence in the role evokes his performance as a traumatized G.I. in the Vietnam War movie The Deer Hunter (1978). Willis writes that \"when Captain Koons enters the living room, we see Walken in his function as an image retrieved from a repertoire of 1970s television and movie versions of ruined masculinity in search of rehabilitation.... [T]he gray light of the television presiding over the scene seems to inscribe the ghostly paternal gaze.\"[183] Miklitsch asserts that, for some critics, the film is a \"prime example of the pernicious ooze-like influence of mass culture exemplified by their b\u00eate noire: TV.\"[182] Kolker might not disagree, arguing that \"Pulp Fiction is a simulacrum of our daily exposure to television; its homophobes, thugs and perverts, sentimental boxers and pimp promoters move through a series of long-take tableaux: we watch, laugh, and remain with nothing to comprehend.\"[164]\n", "The combination of the mysterious suitcase lock is 666, the \"number of the beast\". Tarantino has said there is no explanation for its contents\u2014it is simply a MacGuffin, a pure plot device. Originally, the case was to contain diamonds, but this was seen as too mundane. For filming purposes, it contained a hidden orange light bulb that produced an otherworldly glow.[186] In a 2007 video interview with fellow director and friend Robert Rodriguez, Tarantino purportedly \"reveals\" the secret contents of the briefcase, but the film cuts out and skips the scene in the style employed in Tarantino and Rodriguez's Grindhouse (2007), with an intertitle that reads \"Missing Reel\". The interview resumes with Rodriguez discussing how radically the \"knowledge\" of the briefcase's contents alters one's understanding of the movie.[187]\n", "Despite Tarantino's statements, many solutions to what one scholar calls this \"unexplained postmodern puzzle\" have been proposed.[87] A strong similarity has often been observed with the 1955 film noir Kiss Me Deadly. That movie, whose protagonist Tarantino has cited as a source for Butch, features a glowing briefcase housing an atomic explosive.[188] In their review of Alex Cox's 1984 film Repo Man in the Daily Telegraph, Nick Cowen and Hari Patience suggest that Pulp Fiction may also owe \"a debt of inspiration\" to the glowing car trunk in that film.[189] In scholar Paul Gormley's view, this connection with Kiss Me Deadly, and a similar one with Raiders of the Lost Ark (1981), makes it possible to read the eerie glow as symbolic of violence itself.[190] The idea that the briefcase contains Marsellus' soul gained popular currency in the mid-1990s. Analyzing the notion, Roger Ebert dismissed it as \"nothing more than a widely distributed urban legend given false credibility by the mystique of the Net\".[191]\n", "Jules ritually recites what he describes as a biblical passage, Ezekiel 25:17, before he executes someone. The passage is heard three times\u2014in the introductory sequence in which Jules and Vincent reclaim Marsellus' briefcase from the doomed Brett; that same recitation a second time, at the beginning of \"The Bonnie Situation\", which overlaps the end of the earlier sequence; and in the epilogue at the diner. The first version of the passage is as follows:\n", "The second version, from the diner scene, is identical except for the final line: \"And you will know I am the Lord when I lay my vengeance upon you.\"\n", "While the final two sentences of Jules' speech are similar to the actual cited passage, the first two are fabricated from various biblical phrases.[192] The text of Ezekiel 25 preceding verse 17 indicates that God's wrath is retribution for the hostility of the Philistines. In the King James version from which Jules' speech is adapted, Ezekiel 25:17 reads in its entirety, \"And I will execute great vengeance upon them with furious rebukes; and they shall know that I am the LORD, when I shall lay my vengeance upon them.\"[193]\n", "Tarantino's primary inspiration for the speech was the work of Japanese martial arts star Sonny Chiba. Its text and its identification as Ezekiel 25:17 derive from an almost identical creed that appears at the beginning of the Chiba movie Karate Kiba (The Bodyguard; 1976), where it is both shown as a scrolling text and read by an offscreen narrator.[194]\n", "The version seen at the beginning of The Bodyguard (1976) is as follows:\n", "In the 1980s television series Kage no Gundan (Shadow Warriors), Chiba's character would lecture the villain-of-the-week about how the world must be rid of evil before killing him.[195] A killer delivers a similar biblical rant in Modesty Blaise, the hardback but pulp-style novel Vincent is shown with in two scenes.[196]\n", "Two critics who have analyzed the role of the speech find different ties between Jules' transformation and the issue of postmodernity. Gormley argues that unlike the film's other major characters\u2014Marsellus aside\u2014Jules is:\n", "linked to a \"thing\" beyond postmodern simulation.... [T]his is perhaps most marked when he moves on from being a simulation of a Baptist preacher, spouting Ezekiel because it was \"just a cool thing to say....\" In his conversion, Jules is shown to be cognizant of a place beyond this simulation, which, in this case, the film constructs as God.[197]\n", "Adele Reinhartz writes that the \"depth of Jules's transformation\" is indicated by the difference in his two deliveries of the passage: \"In the first, he is a majestic and awe-inspiring figure, proclaiming the prophecy with fury and self-righteousness.... In the second...he appears to be a different sort of man altogether.... [I]n true postmodern fashion, [he] reflects on the meaning of his speech and provides several different ways that it might pertain to his current situation.\"[198] Similar to Gormley, Conard argues that as Jules reflects on the passage, it dawns on him \"that it refers to an objective framework of value and meaning that is absent from his life\"; to Conard, this contrasts with the film's prevalent representation of a nihilistic culture.[199] Rosenbaum finds much less in Jules's revelation: \"[T]he spiritual awakening at the end of Pulp Fiction, which Jackson performs beautifully, is a piece of jive avowedly inspired by kung-fu movies. It may make you feel good, but it certainly doesn't leave you any wiser.\"[200]\n", "Much of Pulp Fiction's action revolves around characters who are either in the bathroom or their need to use the toilet. To a lesser extent, Tarantino's other films also feature this narrative element.[201] At Jack Rabbit Slim's, Mia goes to \"powder her nose\"\u2014literally; she snorts coke in the restroom, surrounded by a bevy of women vainly primping. Butch and Fabienne play an extended scene in their motel bathroom, he in the shower, she brushing her teeth; the next morning, but just a few seconds later in screen time, she is again brushing her teeth. As Jules and Vincent confront Brett and two of his pals, a fourth man is hiding in the bathroom\u2014his actions will lead to Jules' transformative \"moment of clarity\". After Marvin's absurd death, Vincent and Jules wash up in Jimmie's bathroom, where they get into a contretemps over a bloody hand towel.[123] When the diner hold-up turns into a Mexican standoff, \"Honey Bunny\" whines, \"I gotta go pee!\"[202]\n", "As described by Peter and Will Brooker, \"In three significant moments Vincent retires to the bathroom [and] returns to an utterly changed world where death is threatened.\"[203] The threat increases in magnitude as the narrative progresses chronologically, and is realized in the third instance:\n", "In the Brookers' analysis, \"Through Vince...we see the contemporary world as utterly contingent, transformed, disastrously, in the instant you are not looking.\"[203] Fraiman finds it particularly significant that Vincent is reading Modesty Blaise in two of these instances. She links this fact with the traditional derisive view of women as \"the archetypal consumers of pulp\":\n", "Locating popular fiction in the bathroom, Tarantino reinforces its association with shit, already suggested by the dictionary meanings of \"pulp\" that preface the movie: moist, shapeless matter; also, lurid stories on cheap paper. What we have then is a series of damaging associations\u2014pulp, women, shit\u2014that taint not only male producers of mass-market fiction but also male consumers. Perched on the toilet with his book, Vincent is feminized by sitting instead of standing as well as by his trashy tastes; preoccupied by the anal, he is implicitly infantilized and homosexualized; and the seemingly inevitable result is being pulverized by Butch with a Czech M61 submachine gun. That this fate has to do with Vincent's reading habits is strongly suggested by a slow tilt from the book on the floor directly up to the corpse spilled into the tub.[204]\n", "Willis reads Pulp Fiction in almost precisely the opposite direction, finding \"its overarching project as a drive to turn shit into gold. This is one way of describing the project of redeeming and recycling popular culture, especially the popular culture of one's childhood, as is Tarantino's wont as well as his stated aim.\"[183] Despite that, argues Fraiman, \"Pulp Fiction demonstrates...that even an open pulpophile like Tarantino may continue to feel anxious and emasculated by his preferences.\"[202]\n", "Pulp Fiction won eight awards from a total of twenty-six nominations.[79][107][110][205][206] Also, in the balloting by the National Society of Film Critics, Samuel L. Jackson was the runner-up in both the Best Actor and the Best Supporting Actor categories.[206]\n", " \n", "http://en.wikipedia.org/wiki/The_African_Queen\n", "The African Queen may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/Stagecoach\n", "A stagecoach is a type of covered wagon used to carry passengers and goods inside. It is strongly sprung and generally drawn by four horses, usually four-in-hand. Widely used before the introduction of railway transport, it made regular trips between stages or stations, which were places of rest provided for stagecoach travelers. The business of running stagecoaches or the act of journeying in them was known as staging.[1]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Originating in England, familiar images of the stagecoach are that of a Royal Mail coach passing through a turnpike gate, a Dickensian passenger coach covered in snow pulling up at a coaching inn, and a highwayman demanding a coach to \"stand and deliver\". The yard of ale drinking glass is associated by legend with stagecoach drivers, though was mainly used for drinking feats and special toasts.[2][3]\n", "\n", "\n", "The stagecoach was a four-wheeled vehicle pulled by horses or mules. The primary requirement was that it was used as a public conveyance, running on an established route and schedule. Vehicles that were used, included buckboards and dead axle wagons, surplus Army ambulances and celerity (or mud) coaches. Selection of the vehicle was made by the owner of the stage line, and he would choose the most efficient vehicle based upon the load to be carried, the road conditions, and the weather; and used a two, four or six-horse team based upon those factors and the type of car.\n", "The stagecoach was supported on the thoroughbraces, which were leather straps supporting the body of the carriage and serving as shock absorbing springs (the stagecoach itself was sometimes called a \"thoroughbrace\").[1] The front or after compartment of a Continental stagecoach was called a coup\u00e9 or coupe. An inside passenger or seat was an inside, while an outside passenger or seat was an outside. On the outside were two back seats facing one another, which the British called baskets. In addition to the stage driver who guided the vehicle, a shotgun messenger, armed with a coach gun, often rode as a guard.\n", "The stagecoach traveled at an average speed of about five miles per hour, with the total daily mileage covered being around 60 or 70 miles.[4]\n", "The term \"stage\" originally referred to the distance between stations on a route, the coach traveling the entire route in \"stages,\" but through metonymy it came to apply to the coach. A fresh set of horses would be staged at the next station, so the coach could continue after a quick stop to rehitch the new horse team. Under this staging system, the resting, watering and feeding of the spent horses would not delay the coach.\n", "The stagecoach was also called a stage or stage carriage. Sub-types included:\n", "The first crude depiction of a coach, not necessarily a stagecoach, was in an English manuscript from the 13th century.[5]\n", "Crude coaches were built from the 16th century. Without suspension, these coaches achieved very low speeds on the poor quality rutted roads of the time. By the mid 17th century, a basic stagecoach infrastructure had been put in place.[6] The first stagecoach route started in 1610 and ran from Edinburgh to Leith. This was followed by a steady proliferation of other routes around the country.[7] A string of coaching inns operated as stopping points for travellers on the route between London and Liverpool by the mid 17th century. The coach would depart every Monday and Thursday and took roughly ten days to make the journey during the summer months. They also became widely adopted for travel in and around London by mid-century and generally travelled at a few miles per hour. Shakespeare's first plays were performed at coaching inns such as The George Inn, Southwark.\n", "By the end of the 17th century, stage-coach routes ran up and down the three main roads in England.[8] The London-York route was advertised in 1698:\n", "The novelty of this method of transport excited much controversy at the time. One pamphleteer denounced the stagecoach as a \"great evil [...] mischievous to trade and destructive to the public health.\"[8] Another writer, however, argued that:\n", "The speed of travel remained constant until the mid-18th century. Reforms of the turnpike trusts new methods of road building and the improved construction of coaches led to a sustained rise in the comfort and speed of the average journey - from an average journey length of 2 days for the Cambridge-London route in 1750 to a length of under 7 hours in 1820. Robert Hooke helped in the construction of some of the first spring-suspended coaches in the 1660s and spoked wheels with iron rim brakes were introduced, improving the characteristics of the coach.[7]\n", "In 1754, a Manchester-based company began a new service called the \"Flying Coach\". It was advertised with the following announcement - \"However incredible it may appear, this coach will actually (barring accidents) arrive in London in four days and a half after leaving Manchester.\" A similar service was begun from Liverpool three years later, using coaches with steel spring suspension. This coach took an unprecedented three days to reach London with an average speed of eight miles per hour.[8]\n", "Even more dramatic improvements were made by John Palmer at the British Post Office. The postal delivery service in Britain had existed in the same form for about 150 years\u2014from its introduction in 1635, mounted carriers had ridden between \"posts\" where the postmaster would remove the letters for the local area before handing the remaining letters and any additions to the next rider. The riders were frequent targets for robbers, and the system was inefficient.[9]\n", "Palmer made much use of the \"flying\" stagecoach services between cities in the course of his business, and noted that it seemed far more efficient than the system of mail delivery then in operation. His travel from Bath to London took a single day to the mail's three days. It occurred to him that this coach service could be developed into a national mail delivery service, so in 1782 he suggested to the Post Office in London that they take up the idea. He met resistance from officials who believed that the existing system could not be improved, but eventually the Chancellor of the Exchequer, William Pitt, allowed him to carry out an experimental run between Bristol and London. Under the old system the journey had taken up to 38 hours. The coach, funded by Palmer, left Bristol at 4\u00a0pm on 2 August 1784 and arrived in London just 16 hours later.[10]\n", "Impressed by the trial run, Pitt authorised the creation of new routes. Within the month the service had been extended from London to Norwich, Nottingham, Liverpool and Manchester, and by the end of 1785 services to the following major towns and cities of England and Wales had also been linked: Leeds, Dover, Portsmouth, Poole, Exeter, Gloucester, Worcester, Holyhead and Carlisle. A service to Edinburgh was added the next year, and Palmer was rewarded by being made Surveyor and Comptroller General of the Post Office.[9] By 1797 there were forty-two routes.[11]\n", "The golden age of the stagecoach was during the Regency period, from 1800 to 1830. The era saw great improvements in the design of the coaches, notably by John Besant in 1792 and 1795. His coach had a greatly improved turning capacity and braking system, and a novel feature that prevented the wheels from falling off while the coach was in motion. Besant, with his partner John Vidler, enjoyed a monopoly on the supply of coaches, and a virtual monopoly on their upkeep and servicing for the following few decades.[9] Obadiah Elliott registered the first patent for a spring-suspension vehicle. Each wheel had two durable steel leaf springs on each side and the body of the carriage was fixed directly to the springs attached to the axles. Within a decade, most British horse carriages were equipped with springs; wooden springs in the case of light one-horse vehicles to avoid taxation, and steel springs in larger vehicles. These were often made of low-carbon steel and usually took the form of multiple layer leaf springs.[12]\n", "Steady improvements in road construction were also made at this time, most importantly the widespread implementation of Macadam roads up and down the country. The speed of coaches in this period rose from around 6 miles per hour (including stops for provisioning) to 8 miles per hour[13] and greatly increased the level of mobility in the country, both for people and for mail. Each route had an average of four coaches operating on it at one time - two for both directions and a further two spares in case of a breakdown en route. Joseph Ballard described the stagecoach industry in 1815:\n", "The development of railways in the 1830s spelt the end for the stagecoaches and mail coaches. The first rail delivery between Liverpool and Manchester took place on 11 November 1830. By the early 1840s most London-based coaches had been withdrawn from service.[9] Some vehicles, however, were bought up for private use, for either commercial or recreational purposes. The term Road Coach came to be used for these, and similar vehicles built in later years, several of which were used by their enterprising (or nostalgic) owners to provide scheduled passenger services, reminiscent of the old stagecoaches, on certain routes at certain times of the year.\n", "The 1860s saw the start of a coaching revival, spurred on by the popularity of Four-in-hand driving as a sporting pursuit (the Four-In-Hand Driving Club was founded in 1856 and the Coaching Club in 1871). Private coaches (often known as Park Drags) began to be built to order. These had first appeared in the Regency period, but they now became highly fashionable. Very similar in design to the old stagecoach, only lighter, sportier and owner-driven, they were used for a variety of recreational pursuits.\n", "The diligence, a solidly built coach with four or more horses, was the French analogue for public conveyance, especially in France, with minor varieties in Germany such as the Stellwagen and Eilwagen. The diligence from Le Havre to Paris was described by a fastidious English visitor of 1803 with a thoroughness that distinguished it from its English contemporary, the stage coach.\n", "A more uncouth clumsy machine can scarcely be imagined. In the front is a cabriolet fixed to the body of the coach, for the accommodation of three passengers, who are protected from the rain above, by the projecting roof of the coach, and in front by two heavy curtains of leather, well oiled, and smelling somewhat offensively, fastened to the roof. The inside, which is capacious, and lofty, and will hold six people in great comfort is lined with leather padded, and surrounded with little pockets, in which travellers deposit their bread, snuff, night caps, and pocket handkerchiefs, which generally enjoy each others company, in the same delicate depository. From the roof depends a large net work which is generally crouded with hats, swords, and band boxes, the whole is convenient, and when all parties are seated and arranged, the accommodations are by no means unpleasant.\n", " Upon the roof, on the outside, is the imperial, which is generally filled with six or seven persons more, and a heap of luggage, which latter also occupies the basket, and generally presents a pile, half as high again as the coach, which is secured by ropes and chains, tightened by a large iron windlass, which also constitutes another appendage of this moving mass. The body of the carriage rests upon large thongs of leather, fastened to heavy blocks of wood, instead of springs, and the whole is drawn by seven horses.[15]\n", "The English visitor noted the small, sturdy Norman horses \"running away with our cumbrous machine, at the rate of six or seven miles an hour.\" At this speed stagecoaches could compete with canal boats, but they were rendered obsolete in Europe wherever the rail network expanded in the 19th century. Where the rail network did not reach, the diligence was not fully superseded until the arrival of the autobus.\n", "Beginning in the 18th century crude wagons began to be used to carry passengers between cities and towns, first within New England in 1744, then between New York and Philadelphia in 1756. Travel time was reduced on this later run from three days to two in 1766 with an improved coach called the Flying Machine. The first mail coaches appeared in the later 18th century carrying passengers and the mails, replacing the earlier post riders on the main roads. Coachmen carried letters, packages and money, often transacting business or delivering messages for their customers. By 1829 Boston was the hub of 77 stagecoach lines; by 1832 there were 106.\n", "The first Concord stagecoach was built in 1827. Abbot Downing Company employed leather strap braces under their stagecoaches which gave a swinging motion instead of the jolting up and down of a spring suspension. The company manufactured over forty different types of carriages and wagons at the wagon factory in Concord, New Hampshire. Concord stagecoaches were built so solidly it became known they didn't break down but just wore out.\n", "The Concord stagecoach sold throughout South America, Australia, and Africa. Over 700 Concord stagecoaches were built by the original Abbot Downing Company before it disbanded in 1847.[citation needed] The company was still building coaches, wagons, and carriages according to their business card of 1898.[citation needed][16] In his 1861 book Roughing It, Mark Twain described the Concord stage's ride as like \"a cradle on wheels\".\n", "http://en.wikipedia.org/wiki/Mutiny_on_the_Bounty\n", "The Mutiny on the Bounty was a mutiny aboard the Royal Navy ship HMS Bounty on 28 April 1789. The mutiny was led by Fletcher Christian against their captain, Lieutenant William Bligh. According to accounts, the sailors were attracted to the \"idyllic\" life and sexual opportunities afforded on the Pacific island of Tahiti. It has also been argued that they were motivated by Bligh's allegedly harsh treatment of them." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Eighteen mutineers set Bligh afloat in a small boat with eighteen of the twenty-two crew loyal to him. To avoid detection and prevent desertion, the mutineers then variously settled on Pitcairn Island or on Tahiti and burned Bounty off Pitcairn.\n", "In an extraordinary feat of seamanship, Bligh navigated the 23-foot (7 m) open launch on a 47-day voyage to Timor in the Dutch East Indies, equipped with a quadrant and pocket watch and without charts or compass. He recorded the distance as 3,618 nautical miles (6,701\u00a0km; 4,164\u00a0mi). He then returned to Britain and reported the mutiny to the Admiralty on 15 March 1790, 2 years and 11 weeks after his original departure.\n", "The British government dispatched HMS Pandora to capture the mutineers, and Pandora reached Tahiti on 23 March 1791. Four of the men from Bounty came on board soon after her arrival, and ten more were arrested within a few weeks. These fourteen were imprisoned in a makeshift cell on Pandora's deck. Pandora ran aground on part of the Great Barrier Reef on 29 August 1791, with the loss of 31 of the crew and four of the prisoners. The surviving ten prisoners were eventually repatriated to England, tried in a naval court, with three hanged, four acquitted, and three pardoned.\n", "Descendants of some of the mutineers and Tahitians still live on Pitcairn. The mutiny has been commemorated in books, films, and songs.\n", "\n", "\n", "His Majesty's Ship (HMS) Bounty began her career as the collier Bethia, a small vessel built in 1784 at the Blaydes shipyard in Hull. On 26 May 1787 (JJ Colledge/D Lyon say 23 May), she was bought by the Royal Navy for \u00a32,600, refitted and renamed Bounty.[1] Bligh was appointed commanding lieutenant of Bounty on 16 August 1787, at the age of 32, after a career that included a tour as sailing master of James Cook's HMS Resolution during Cook's third and final voyage (1776\u201379).\n", "The Royal Navy bought the ship for a single mission in support of an experiment: she was to travel to Tahiti; pick up breadfruit plants; and transport them to the West Indies, in the hope that they would grow well there and become a cheap source of food for slaves. The experiment, promoted through a prize offered by the Royal Society, was proposed by Sir Joseph Banks, who recommended Bligh as commander, Banks at the time being the unofficial director of Kew Gardens.\n", "In June 1787, Bounty was refitted at Deptford. The captain's great cabin was converted to house the potted breadfruit plants, and glazed windows were fitted to the upper deck, while a lead lining was installed on the floor to catch and re-use run-off water used to feed the plants. Bligh was quartered in a small cramped cabin next to crew and officers.[2]\n", "On 23 December 1787, Bounty sailed from Spithead for Tahiti with a complement of 46 officers and men. For a full month, she attempted to round Cape Horn, but adverse weather blocked her. Bligh ordered her turned about, and proceeded east, rounding the Cape of Good Hope and crossing the width of the Indian Ocean. During the outward voyage, Bligh demoted the ship's sailing master, John Fryer, replacing him with Fletcher Christian. This act seriously damaged the relationship between Bligh and Fryer, and Fryer would later claim Bligh's act was entirely personal. Bounty reached Tahiti on 26 October 1788, after ten months at sea.\n", "Bligh and his crew spent five months in Tahiti, then known as \"Otaheite,\" collecting and preparing a total of 1,015 breadfruit plants; the five-month layover was unplanned, required to allow the plants to reach the point of development where they could be safely transported by ship. Bligh allowed the crew to live ashore and care for the potted breadfruit plants, and they became socialized to the customs and culture of the Tahitians. Many of the seamen and some of the \"young gentlemen\" had themselves tattooed in native fashion. Master's Mate and Acting Lieutenant Fletcher Christian married Maimiti, a Tahitian woman. Other warrant officers and seamen of the Bounty were also said to have formed \"connections\" with native women.\n", "Bligh was not surprised by his crew's reaction to the Tahitians. He recorded his analysis:\n", "The women are handsome ... and have sufficient delicacy to make them admired and beloved \u2013 The chiefs have taken such a liking to our people that they have rather encouraged their stay among them than otherwise, and even made promises of large possessions. Under these and many other attendant circumstances equally desirable it is therefore now not to be wondered at ... that a set of sailors led by officers and void of connections ... should be governed by such powerful inducement ... to fix themselves in the midst of plenty in the finest island in the world where they need not labour, and where the allurements of dissipation are more than equal to anything that can be conceived.\n", "Despite the relaxed atmosphere, relations between Bligh and his men, and particularly between Bligh and Christian, continued to deteriorate. Christian was routinely humiliated by the captain\u2014often in front of the crew and the native Tahitians\u2014for real or imagined slackness,[3] while severe punishments were handed out to men whose carelessness had led to the loss or theft of equipment.[4] Floggings, rarely administered during the outward voyage, now became a common occurrence; as a consequence, crewmen Millward, Muspratt, and Churchill deserted the ship. They were quickly recaptured, and a search of their belongings revealed a list of names which included those of Christian and Heywood. Bligh confronted the pair and accused them of complicity in the desertion plot, which they strenuously denied; without further corroboration, Bligh could not act against them.[3]\n", "As the date for departure grew closer, Bligh's outbursts against his officers became more frequent.[5] One witness reported: \"Whatever fault was found, Mr. Christian was sure to bear the brunt.\"[6] Tensions rose among the men, who faced the prospect of a long and dangerous voyage that would take them through the uncharted Endeavour Strait, followed by many months of hard sailing. Bligh was impatient to be away, but in Hough's words he \"failed to anticipate how his company would react to the severity and austerity of life at sea ... after five dissolute, hedonistic months at Tahiti\".[7] On 5 April, Bounty finally weighed anchor and made for the open sea with her breadfruit cargo.[5]\n", "The mutiny occurred on 28 April 1789, some 23 days out and 1,300 miles west of Tahiti. Fletcher Christian had that morning contemplated making a raft and deserting the ship by paddling around 30 nautical miles (56\u00a0km; 35\u00a0mi) to the nearby island of Tofua.[8] Instead he and several of his followers entered Bligh's cabin, which he always left unlocked. Bligh was awakened and, wearing only his nightshirt, pushed on deck where he was guarded by Christian holding a bayonet. When Bligh entreated Christian to be reasonable, Christian would only reply: \"I am in hell, I am in hell!\" Despite strong words and threats on both sides, the ship was taken bloodlessly and apparently without struggle by any of the loyalists except Bligh himself. Of the 42 men on board aside from Bligh and Christian, 18 joined the mutiny, two were passive, and 22 remained loyal to Bligh.\n", "The mutineers ordered Bligh, the ship's master, two midshipmen, the surgeon's mate (Ledward), and the ship's clerk into Bounty's launch. Several more men voluntarily joined Bligh rather than remaining aboard, as they knew that those who remained on board would be considered de jure mutineers under the Articles of War.\n", "In all, 18 of the loyal crew were in the launch with Bligh; 4 other loyalists were forced to stay with the 18 mutineers and 2 passive crew. Bligh and his crew headed for Tofua (in a bay that they subsequently called \"Murderers' Cove\") to augment their meager provisions.[9] The only casualty during this voyage was a crewman, John Norton, who was stoned to death by some natives of Tofua.\n", "Bligh then navigated the 23-foot (7 m) open launch on a 47-day voyage to Timor in the Dutch East Indies. Equipped with a quadrant and a pocket watch and with no charts or compass, he recorded the distance as 3,618 nautical miles (6,701\u00a0km; 4,164\u00a0mi). He was chased by cannibals in what is now known as Bligh Water, Fiji, and passed through the Torres Strait along the way, landing in Kupang, Timor, on 14 June.[10] Shortly after the launch reached Timor, the cook and botanist died. Three other crewmen died in the coming months.\n", "Lieutenant Bligh returned to Britain and reported the mutiny to the Admiralty on 15 March 1790, 2 years and 11 weeks after leaving England.\n", "Meanwhile, the mutineers sailed for the island of Tubuai, where they tried to settle. After three months of being attacked by the island's natives they returned to Tahiti. Twelve of the mutineers and the four loyalists who had been unable to accompany Bligh remained there, taking their chances that the Royal Navy would not find them and bring them to justice.\n", "Two of the mutineers died in Tahiti between 1789 and 1790. Matthew Thompson shot Charles Churchill and was subsequently stoned to death by Churchill's Tahitian family in an act of vendetta.\n", "HMS Pandora, under the command of Captain Edward Edwards, was dispatched on 7 November 1790 to search for Bounty and the mutineers. Pandora carried twice the normal complement of master's mates, petty officers, and midshipmen, as it was expected that the extras would man Bounty when she was recovered from the mutineers.\n", "Pandora reached Tahiti on 23 March 1791. Four of the men from Bounty came on board Pandora soon after her arrival, and ten more were arrested within a few weeks. These fourteen, mutineers and loyal crew alike, were imprisoned in a makeshift cell on Pandora's deck, which they derisively called \"Pandora's Box\".\n", "On 8 May 1791, Pandora left Tahiti, spending about three months visiting islands to the west of Tahiti in search of Bounty and the remaining mutineers, without finding anything except flotsam (including some spars and a yard on Palmerston Island). Heading west through the Torres Strait, Pandora ran aground on a reef (part of the Great Barrier Reef) on 29 August 1791. The ship sank the next morning, and 31 of the crew and four of the prisoners (Skinner, Sumner, Stewart, and Hillbrandt) were lost. The remaining 89 of the ship's company and ten prisoners (released from their cell at the last moment by William Moulter, a boatswain's mate on the Pandora[11]) assembled in four small launches, and sailed for Timor, in a voyage similar to that of Bligh. They arrived at Timor on 16 September 1791.\n", "After being repatriated to Britain, the ten surviving prisoners were tried by a naval court. During the trial, great importance was attached to which men had been seen to be holding weapons during the critical moments of the mutiny, as under the Articles of War, failure to act when able to prevent a mutiny was considered no different from being an active mutineer. In the judgement delivered on 18 September 1792, four men whom Bligh had designated as innocent were acquitted. Two were found guilty, but pardoned; one of these was Peter Heywood, who later rose to the rank of captain himself; the second was James Morrison, who also continued his naval career and died at sea. Another was reprieved due to a legal technicality and later also received a pardon. The other three men were convicted, and hanged aboard HMS Brunswick on 29 October 1792. In other trials, both Bligh and Edwards were court-martialled for the loss of their ships (an automatic proceeding under British naval law, and not indicative of any particular suspicion of guilt). Both were acquitted.\n", "Bligh resumed his naval career and went on to attain the rank of Vice Admiral. His career was marked by another insurrection. In 1808, while Bligh was Governor of New South Wales, troops of New South Wales arrested him in an incident known as the Rum Rebellion.\n", "Even before Edwards had returned from his search for Bounty, HMS\u00a0Providence and her tender Assistant began a second voyage to collect breadfruit trees on 3 August 1791. This mission was again championed by Joseph Banks and again commanded by Bligh, now promoted from Lieutenant to Captain. On this second voyage, they collected 2,126 breadfruit plants and hundreds of other botanical specimens. Departing Tahiti on 19 July 1792, Bligh once again successfully navigated the Torres Strait, and delivered the breadfruit to the West Indies. The slaves on Jamaica, however, refused to eat the breadfruit, so the main purpose of the expedition was initially a failure. However, breadfruit is today a staple in Jamaica.\n", "Immediately after setting sixteen men ashore in Tahiti in September 1789,[12] Fletcher Christian, eight other crewmen,[13] six Tahitian men, and 18 women, one with a baby,[14] set sail in the Bounty hoping to elude the Royal Navy. According to a journal kept by Edward Young, one of the mutineers, all but three of the Tahitian \"women brought to Pitcairn had been kidnapped\"[14] when Christian set sail without warning them, the purpose being to kidnap the women.\n", "The mutineers passed through the Fiji and Cook Islands, but feared that they would be found there. Continuing their quest for a safe haven, on 15 January 1790, they rediscovered Pitcairn Island, which had been misplaced on the Royal Navy's charts. After the decision was made to settle on Pitcairn, livestock and other provisions were removed from Bounty. To prevent the ship's detection, and anyone's possible escape, the ship was burned on 23 January 1790 in what is now called Bounty Bay. Some of her remains, such as her ballast stones, are still partially visible in its waters. Her rudder is displayed in the Fiji Museum in Suva. An anchor of Bounty was recovered by Luis Marden in Bounty Bay in 1957.\n", "The Pitcairn Island community began life with bright prospects. There was ample food, water, and land for everyone, and the climate was mild. Although many of the Polynesians were homesick, and the Britons knew they were marooned on Pitcairn forever, they settled into life on Pitcairn fairly quickly. A number of children were born.\n", "At the time the community on Pitcairn was first visited by outsiders, John Adams \"was the sole surviving mutineer\".[15] Little is agreed upon regarding Fletcher Christian's role once the mutineers were established on Pitcairn Island. Adams claimed \"Christian 'was always cheerful'\" but also claimed Christian would: \"retreat and brood [in a cave, and] had 'by many acts of cruelty and inhumanity, brought on himself the hatred and detestation of his companions.'\"[16] Adams variously claimed that Christian had been killed \"in a single massacre that occurred on the island about four years after arrival\" and that Christian had \"committed suicide\".[16] Adams at another point claimed the \"mutineers had divided into parties, 'seeking every opportunity on both sides to put each other to death.'\"[17] While the details were inconsistent, Adams usually agreed with the journal of Young: that Christian died as the result of a massacre: \"The massacre ... had taken place in several waves of violence, and principally arose from the fact that the Englishmen had come to regard their [Tahitian] friends as slaves.\"[18] The women, \"passed around from one 'husband' to the other, as men died and the balance of power shifted\", eventually \"rebelled\" as well.[19]\n", "In 1793, a conflict broke out on Pitcairn Island between the mutineers and the Tahitian men who sailed with them. Fletcher Christian and four of the mutineers (Jack Williams, Isaac Martin, John Mills, and William Brown) were killed by the Tahitians. All six of the Tahitian men were killed during the on-and-off fighting, some by the widows of the murdered mutineers and others by each other.\n", "Fletcher Christian was survived by Maimiti and their son Thursday October Christian (sometimes called \"Friday October Christian\"). Rumours persisted that Christian left the island and made it back to England. There are other reports that Christian actually committed suicide.\n", "Christian's death caused a leadership vacuum on the island. Two of the four surviving mutineers, Ned Young and John Adams (also known as Alexander Smith), assumed leadership, and some peace followed, until William McCoy created a still and began brewing an alcoholic beverage from a native plant. The mutineers began drinking excessively and making life miserable for the women.\n", "The women revolted a number of times\u2014with the men continually \"granting pardons\" (each time threatening to execute the leaders of the next revolt)\u2014and some of the women attempted to leave the island on a makeshift raft; it swamped in the \"bay\". Life in Pitcairn continued thus until the deaths of McCoy and Quintal, and the destruction of the still.\n", "William McCoy died after a drunken fall. Matthew Quintal was subsequently killed by John Adams and Ned Young after threatening to kill everyone. Eventually John Adams and Ned Young were reconciled with the women, and the community began to flourish.\n", "Ned Young succumbed in 1800 to asthma, the first man to die of natural causes. After Young's death in 1800, Adams became the leader of the community, and took responsibility for educating its members. Adams started holding regular Sunday services and teaching the Christian religion to the settlement. His gentleness and tolerance enabled the small community to thrive, and peace was restored to Pitcairn Island, with the population measuring one man, nine Tahitian women and dozens of children.\n", "The islanders reported that it was not until 27 December 1795 that the first ship after Bounty was seen from the island, but as she did not approach the land, they could not make out to what nation she belonged. A second appeared some time in 1801, but did not attempt to communicate with them. A third came sufficiently near to see their habitations, but did not venture to send a boat ashore.[20][21]\n", "The American trading ship Topaz, under the command of Mayhew Folger, was the first to visit the island and communicate with the inhabitants when the crew spent 10 hours at Pitcairn in February 1808. A report of Folger's find was forwarded to the Admiralty\u2014which mentioned the discovery and the position of the island at latitude 25\u00b0 2' south and longitude 130\u00b0 west;[22] however, this rediscovery was not known to Sir Thomas Staines, who commanded a Royal Navy flotilla of two ships (HMS Briton and HMS Tagus), which found the island at 25\u00b0 4' S. (by meridian observation) on 17 September 1814. Staines sent a party ashore and wrote a detailed report for the Admiralty.[20][21][23] In November 2009 a logbook kept by midshipman J.B. Hoodthorp of HMS Briton detailing the first contact with the mutineers was auctioned for over \u00a340,000 by Cheffin's Auction House in Cambridge.[24]\n", "In 1808, when Topaz reached Pitcairn Island, only John Adams, nine women, and some children still lived. In 1825, Adams was granted amnesty for his mutiny; Pitcairn's capital, Adamstown, is named for him. On 30 November 1838, the Pitcairn Islands (which include the uninhabited islands of Henderson, Ducie and Oeno) were incorporated into the British Empire. In 1856, the British government granted Norfolk Island to the Pitcairners for settlement since population growth was rendering their original refuge uninhabitable.\n", "The Pitcairn Islands are a British Overseas Territory with a population of about 48.[25] Bounty Day is celebrated on 23 January by Pitcairn Islanders in commemoration of the 1790 burning of the Bounty, and on 8 June as the national holiday on Norfolk Island to commemorate the 1856 arrival of settlers from Pitcairn Island.\n", "The details of the voyage of HMAV Bounty are very well documented, largely due to the effort of William Bligh to maintain an accurate log before, during, and after the actual mutiny. Bounty's crew list is also well chronicled, down to and including the names of every seaman on board, something which larger ships in the rating system only occasionally were capable of due to crews in the hundreds whereas the Bounty carried fewer than fifty personnel.\n", "In the 18th century Royal Navy, rank and position on board ship was defined by a mix of two hierarchies, an official hierarchy of ranks (commissioned officers, warrant officers, petty officers and seamen) and a conventionally recognized social divide between gentlemen and non-gentlemen. Royal Navy uniforms were often used to denote rank and position on board ships; however, due to the lengthy and isolated voyage of the Bounty, uniforms were not worn daily on board while the ship was underway.\n", "At the top of the official rank hierarchy were the commissioned officers \u2013 on a larger warship, the commissioned officers included the captain, several lieutenants to command watches, and the officers commanding the Royal Marines on board the ship. The Bounty, however, carried no marines, and no commissioned officers other than Lieutenant Bligh himself, who served as master and commander of the ship. As he was effectively the captain, he occupied a private cabin.\n", "Next below the commissioned officers came the warrant officers, such as the sailing master, surgeon, boatswain, purser and gunner, who were as likely to be considered skilled tradesmen as gentlemen. As the senior warrant officer, the sailing master and his mates were entitled to berth with the lieutenants in the wardroom (though in this case there were no lieutenants there); other warrant officers berthed in the gunroom. Like commissioned officers, warrant officers had the right of access to the quarterdeck and were immune from punishment by flogging. They held their warrants directly from the navy, and the captain could not alter their rank. Roman Catholics were allowed to serve as warrant officers, but not as commissioned officers.\n", "Below the warrant officers came the petty officers. The petty officers included two separate groups: young gentlemen training to be future commissioned officers, often serving as midshipmen or master's mates, and tradesmen working as skilled assistants to the warrant officers. Although the young gentlemen technically were ratings, holding a rank below warrant officers at the mercy of the captain, as aspiring future commissioned officers they were considered socially superior and were often given a watch (with authority over some warrant officers) or a minor command.\n", "Finally, at the bottom of the hierarchical tree, were the seamen, divided into able seamen and ordinary seamen. Aboard some vessels, an even lower grade existed called landsman, who were seamen-in-training with very little or no naval skill. On board the Bounty, due to the vessel's long and fairly important mission, the only seamen mustered into the crew were able seamen \u2013 the ship did not carry any ordinary seamen or landsmen.\n", "Note, however, that the young gentlemen might also be rated as seamen rather than midshipmen on the ship's books; though they were still considered the social superiors of the seamen, petty officers (excluding other young gentlemen) and most warrant officers and could be given authority over them.\n", "In the immediate wake of the mutiny, all but four of the loyal crew joined Captain Bligh in the long boat for the voyage to Timor, and eventually made it safely back to England unless otherwise noted in the table below. Four were detained against their will on Bounty for their needed skills and for lack of space on the long boat. The mutineers first returned to Tahiti, where most of the survivors were later captured by Pandora and taken to England for trial. Nine mutineers continued their flight from the law and eventually settled Pitcairn Island, where all but one died before their fate became known to the outside world.\n", "Crew members' biographical information may be found on the Bounty's Crew Encyclopedia page at the Pitcairn Islands Study Centre (PISC).\n", "Luis Marden discovered the remains of Bounty in January 1957. After spotting a rudder from the ship in a museum on Fiji, he persuaded his editors and writers to let him dive off Pitcairn Island, where the rudder had been found. Despite the warnings of one islander \u2013 \"Man, you gwen be dead as a hatchet!\"[27] \u2013 Marden dived for several days in the dangerous swells near the island, and found the remains of the fabled ship. He subsequently met with Marlon Brando to counsel him on his role as Fletcher Christian in the 1962 film Mutiny on the Bounty. Later in life, Marden wore cuff links made of nails from the Bounty.\n", "In April 2010, 221 years after the original voyage, a crew recreating Captain William Bligh's epic voyage after the mutiny on Bounty was set adrift in Tongan waters.[28] The expedition eschewed the use of modern technology including compasses and toilet paper, and only took the same provisions as were aboard the original ship. The expedition lasted 48 days \u2013 one day longer than the original voyage \u2013 and was led by Australian adventurer Don McIntyre on board the sailing ship the Talisker Bounty.[29][30]\n", "The story of the mutiny has been adapted numerous times to the page, the screen, and the stage.\n", "Although William Bligh has frequently been portrayed as a middle-aged man in stage and screen productions about the Bounty, he was thirty-four years old at the time of the mutiny, having been born in 1754.\n", "Notes\n", "Bibliography\n", "Replica vessels\n", "\n", "Coordinates: 25\u00b04\u20327.26\u2033S 130\u00b05\u203242.52\u2033W\ufeff / \ufeff25.0686833\u00b0S 130.0951444\u00b0W\ufeff / -25.0686833; -130.0951444\n", "http://en.wikipedia.org/wiki/The_Maltese_Falcon\n", "The Maltese Falcon may refer to:" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://en.wikipedia.org/wiki/A_Clockwork_Orange\n", "A Clockwork Orange is a dystopian novella by Anthony Burgess published in 1962. Set in a near future English society that has a subculture of extreme youth violence, the novella has a teenage protagonist, Alex, who narrates his violent exploits and his experiences with state authorities intent on reforming him.[1] When the state undertakes to reform Alex\u2014to \"redeem\" him\u2014the novella asks, \"At what cost?\". The book is partially written in a Russian-influenced argot called \"Nadsat\". According to Burgess it was a jeu d'esprit written in just three weeks.[2]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "In 2005, A Clockwork Orange was included on Time magazine's list of the 100 best English-language novels written since 1923,[3] and it was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century.[4] The original manuscript of the book has been located at McMaster University in Hamilton, Ontario, Canada since the institution purchased the documents in 1971.[5]\n", "\n", "\n", "Alex, a teenager living in near-future dystopian England, leads his gang on a night of opportunistic, random \"ultra-violence\". Alex's friends (\"droogs\" in the novel's Anglo-Russian slang, 'Nadsat') are: Dim, a slow-witted bruiser who is the gang's muscle; Georgie, an ambitious second-in-command; and Pete, who mostly plays along as the droogs indulge their taste for ultra-violence. Characterized as a sociopath and a hardened juvenile delinquent, Alex also displays intelligence, quick wit, and a predilection for classical music; he is particularly fond of Beethoven, referred to as \"Lovely Ludwig Van\".\n", "The novella begins with the droogs sitting in their favorite hangout (the Korova Milk Bar), drinking \"milk-plus\", a drink consisting of milk, prodded with the customer's choice of certain drugs, including \"vellocet\", \"synthemesc\", or \"drencrom\" (which is what Alex and his droogs were drinking, according to Alex's own first-person narration). This drug, referred to as \"knives\", would \"sharpen you up\", as it did for Alex, in preparation of the night's mayhem. They assault a scholar walking home from the public library, rob a store, leaving the owner and his wife bloodied and unconscious, stomp a panhandling derelict, then scuffle with a rival gang. Joyriding through the countryside in a stolen car, they break into an isolated cottage and maul the young couple living there, beating the husband and raping his wife. In a metafictional touch, the husband is a writer working on a manuscript called \"A Clockwork Orange,\" and Alex contemptuously reads out a paragraph that states the novel's main theme before shredding the manuscript. Back at the milk bar, Alex strikes Dim for his crude response to a woman's singing of an operatic passage, and strains within the gang become apparent. At home in his dreary flat, Alex plays classical music at top volume while fantasizing about more orgiastic violence.\n", "Alex skips school the next day. Following an unexpected visit from P. R. Deltoid, his \"post-corrective advisor,\" Alex meets a pair of ten-year-old girls and takes them back to his parents' flat, where he serves them scotch and soda, injects himself with hard drugs, and then rapes them. That evening, Alex finds his droogs in a mutinous mood. Georgie challenges Alex for leadership of the gang, demanding that they pull a \"man-sized\" job. Alex quells the rebellion by slashing Dim's hand and fighting with Georgie, then in a show of generosity takes them to a bar, where Alex insists on following through on Georgie's idea to burgle the home of a wealthy old woman. Alex breaks in and knocks the woman unconscious, but when he opens the door to let the others in, Dim strikes him in payback for the earlier fight. The gang abandons Alex on the front step to be arrested by the police; while in their custody, he learns that the woman has died from her injuries.\n", "Alex is convicted of murder and sentenced to 14 years in prison. Two years into his sentence, he has obtained a job in one of the prison chapels playing religious music on the stereo to accompany the Sunday religious services. The chaplain mistakes Alex's Bible studies for stirrings of faith (Alex is actually reading Scripture for the violent passages). After Alex's fellow cellmates blame him for beating a troublesome cellmate to death, he is chosen to undergo an experimental behaviour-modification treatment called the Ludovico Technique in exchange for having the remainder of his sentence commuted. The technique is a form of aversion therapy in which Alex receives an injection that makes him feel sick while watching graphically violent films, eventually conditioning him to suffer crippling bouts of nausea at the mere thought of violence. As an unintended consequence, the soundtrack to one of the films, the final movement of\u2014Beethoven's Ninth Symphony\u2014renders Alex unable to enjoy his beloved classical music as before.\n", "The effectiveness of the technique is demonstrated to a group of VIPs, who watch as Alex collapses before a walloping bully, and abases himself before a scantily-clad young woman whose presence has aroused his predatory sexual inclinations. Although the prison chaplain accuses the state of stripping Alex of free will, the government officials on the scene are pleased with the results and Alex is released from prison.\n", "Since his parents are now renting his room to a lodger, Alex wanders the streets homeless. He enters a public library where he hopes to learn a painless way to commit suicide. There, he accidentally encounters the old scholar he assaulted earlier in the book, who, keen on revenge, beats Alex with the help of his friends. The policemen who come to Alex's rescue turn out to be none other than Dim and former gang rival Billyboy. The two policemen take Alex outside of town and beat him up. Dazed and bloodied, Alex collapses at the door of an isolated cottage, realizing too late that it is the house he and his droogs invaded in the first part of the story. Because the gang wore masks during the assault, the writer does not recognize Alex. The writer, whose name is revealed as F. Alexander, shelters Alex and questions him about the conditioning. During this sequence, it is revealed that Mrs. Alexander died of injuries inflicted during the gang-rape, while her husband has decided to continue living \"where her fragrant memory persists\" despite the horrid memories. Alex reveals in his description that he has been conditioned to feel intolerable deathly nausea on hearing certain classical music. Alexander, a critic of the government, intends to use Alex's therapy as a symbol of state brutality and thereby prevent the incumbent government from being re-elected, but a careless Alex soon inadvertently reveals that he was the ringleader during the night two years ago. Frightened for his own safety, Alex blurts out a confession to the writer's radical associates after they remove him from F. Alexander's home. Instead of protecting him, however, they imprison Alex in a dreary flat not far from his parents' residence. They pretend to leave, and then while he is sleeping in a locked bedroom subject him to a relentless barrage of classical music, prompting him to attempt suicide by leaping from a high window.\n", "Alex wakes up in a hospital, where he is courted by government officials anxious to counter the bad publicity created by his suicide attempt. With Alexander placed in a mental institution, Alex is offered a well-paying job if he agrees to side with the government. As photographers snap pictures, Alex daydreams of orgiastic violence and reflects upon the news that his Ludovico conditioning has been reversed as part of his recovery: \"I was cured, all right\".\n", "In the final chapter, Alex finds himself half-heartedly preparing for yet another night of crime with a new trio of droogs. After a chance encounter with Pete, who has reformed and married, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own, while reflecting on the notion that his own children will be just as destructive\u2014if not more so\u2014than he himself.\n", "The book has three parts, each with seven chapters. Burgess has stated that the total of 21 chapters was an intentional nod to the age of 21 being recognised as a milestone in human maturation. The 21st chapter was omitted from the editions published in the United States prior to 1986.[6] In the introduction to the updated American text (these newer editions include the missing 21st chapter), Burgess explains that when he first brought the book to an American publisher, he was told that U.S. audiences would never go for the final chapter, in which Alex sees the error of his ways, decides he has lost all energy for and thrill from violence and resolves to turn his life around (a slow-ripening but classic moment of metanoia\u2014the moment at which one's protagonist realises that everything he thought he knew was wrong).\n", "At the American publisher's insistence, Burgess allowed their editors to cut the redeeming final chapter from the U.S. version, so that the tale would end on a darker note, with Alex succumbing to his violent, reckless nature\u2014an ending which the publisher insisted would be 'more realistic' and appealing to a U.S. audience. The film adaptation, directed by Stanley Kubrick, is based on the American edition of the book (which Burgess considered to be \"badly flawed\"). Kubrick called Chapter 21 \"an extra chapter\" and claimed[7] that he had not read the original version until he had virtually finished the screenplay, and that he had never given serious consideration to using it. In Kubrick's opinion, the final chapter was unconvincing and inconsistent with the book.\n", "A Clockwork Orange was written in Hove, then a senescent seaside town.[9] Burgess had arrived back in Britain after his stint abroad to see that much had changed. A youth culture had grown, including coffee bars, pop music and teenage gangs.[10] England was gripped by fears over juvenile delinquency.[9] Burgess claimed that the novel's inspiration was his first wife Lynne's beating by a gang of drunk American servicemen stationed in England during World War II. She subsequently miscarried.[9][11] In its investigation of free will, the book's target is ostensibly the concept of behaviourism, pioneered by such figures as B. F. Skinner.[12]\n", "Burgess later stated that he wrote the book in three weeks.[9]\n", "Burgess gave three possible origins for the title:\n", "In his essay, \"Clockwork Oranges,\"[citation needed] Burgess asserts that \"this title would be appropriate for a story about the application of Pavlovian or mechanical laws to an organism which, like a fruit, was capable of colour and sweetness.\" This title alludes to the protagonist's positively conditioned responses to feelings of evil which prevent the exercise of his free will. To induce this conditioning, the protagonist is subjected to a technique in which violent scenes displayed on screen, which he is forced to watch, are systematically paired with negative stimulation in the form of nausea and \"feelings of terror\" caused by an emetic medicine administered just before the presentation of the films.\n", "A Clockwork Orange is written using a narrative first-person singular perspective of a seemingly biased and unreliable narrator. The protagonist, Alex, never justifies his actions in the narration, giving a sense that he is somewhat sincere; a narrator who, as unlikeable as he may attempt to seem, evokes pity from the reader by telling of his unending suffering, and later through his realisation that the cycle will never end. Alex's perspective is effective in that the way that he describes events is easy to relate to, even if the situations themselves are not.\n", "The book, narrated by Alex, contains many words in a slang argot which Burgess invented for the book, called Nadsat. It is a mix of modified Slavic words, rhyming slang, derived Russian (like baboochka), and words invented by Burgess himself. For instance, these terms have the following meanings in Nadsat: droog = friend; korova = cow; gulliver ('golova') = head; malchick or malchickiwick = boy; soomka = sack or bag; Bog = God; khorosho ('horrosho') = good; prestoopnick = criminal; rooka ('rooker') = hand; cal = crap; veck ('chelloveck') = man or guy; litso = face; malenky = little; and so on. Compare Polari.\n", "One of Alex's doctors explains the language to a colleague as \"odd bits of old rhyming slang; a bit of gypsy talk, too. But most of the roots are Slav propaganda. Subliminal penetration.\" Some words are not derived from anything, but merely easy to guess, e.g. 'in-out, in-out' or 'the old in-out' means sexual intercourse. Cutter, however, means 'money,' because 'cutter' rhymes with 'bread-and-butter'; this is rhyming slang, which is intended to be impenetrable to outsiders (especially eavesdropping policemen). Additionally, slang like Appypolly loggy (Apology) seems to derive from school boy slang. This reflects Alex's age of 15.\n", "In the first edition of the book, no key was provided, and the reader was left to interpret the meaning from the context. In his appendix to the restored edition, Burgess explained that the slang would keep the book from seeming dated, and served to muffle \"the raw response of pornography\" from the acts of violence. Furthermore, in a work of literature where a form of brainwashing plays a role, the narrative itself brainwashes the reader into understanding Nadsat.[citation needed]\n", "The term \"ultraviolence,\" referring to excessive and/or unjustified violence, was coined by Burgess in the book, which includes the phrase \"do the ultra-violent.\" The term's association with aesthetic violence has led to its use in the media.[16][17][18][19]\n", "In 1976, A Clockwork Orange was removed from an Aurora, Colorado high school because of \"objectionable language\". A year later in 1977 it was removed from high school classrooms in Westport, Massachusetts over similar concerns with \"objectionable\" language. In 1982, it was removed from two Anniston, Alabama libraries, later to be reinstated on a restricted basis. Also, in 1973 a bookseller was arrested for selling the novel. Charges were later dropped.[20] However, each of these instances came after the release of Stanley Kubrick's popular 1971 film adaptation of A Clockwork Orange, itself the subject of much controversy.\n", "In 1985, Burgess published Flame into Being: The Life and Work of D. H. Lawrence, and while discussing Lady Chatterley's Lover in his biography, Burgess compared that novel's notoriety with A Clockwork Orange: \"We all suffer from the popular desire to make the known notorious. The book I am best known for, or only known for, is a novel I am prepared to repudiate: written a quarter of a century ago, a jeu d'esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence. The film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me until I die. I should not have written the book because of this danger of misinterpretation, and the same may be said of Lawrence and Lady Chatterley's Lover.\"[21] Burgess also dismissed A Clockwork Orange as \"too didactic to be artistic\".[22]\n", "A Clockwork Orange was chosen by Time magazine as one of the 100 best English-language books from 1923 to 2005.[24]\n", "The best known adaptation of the novella to other forms is the 1971 film A Clockwork Orange by Stanley Kubrick, starring Malcolm McDowell as Alex.[25]\n", "A 1965 film by Andy Warhol entitled Vinyl was an adaptation of Burgess' novel.[26]\n", "After Kubrick's film was released, Burgess wrote a stage play titled A Clockwork Orange. In it, Dr. Branom defects from the psychiatric clinic when he grasps that the aversion therapy has destroyed Alex's ability to enjoy music. The play restores the novel's original ending.[citation needed]\n", "In 1988, a German adaptation of A Clockwork Orange at the intimate theatre of Bad Godesberg featured a musical score by the German punk rock band Die Toten Hosen which, combined with orchestral clips of Beethoven's Ninth Symphony and \"other dirty melodies\" (so stated by the subtitle), was released on the album Ein kleines bisschen Horrorschau. The track Hier kommt Alex became one of the band's signature songs.\n", "In February 1990, another musical version was produced at the Barbican Theatre in London by the Royal Shakespeare Company. Titled A Clockwork Orange: 2004, it received mostly negative reviews, with John Peter of The Sunday Times of London calling it \"only an intellectual Rocky Horror Show,\" and John Gross of The Sunday Telegraph calling it \"a clockwork lemon.\" Even Burgess himself, who wrote the script based on his novel, was disappointed. According to The Evening Standard, he called the score, written by Bono and The Edge of the rock group U2, \"neo-wallpaper.\" Burgess had originally worked alongside the director of the production, Ron Daniels, and envisioned a musical score that was entirely classical. Unhappy with the decision to abandon that score, he heavily criticised the band's experimental mix of hip hop, liturgical and gothic music. Lise Hand of The Irish Independent reported The Edge as saying that Burgess' original conception was \"a score written by a novelist rather than a songwriter.\" Calling it \"meaningless glitz,\" Jane Edwardes of 20/20 Magazine said that watching this production was \"like being invited to an expensive French Restaurant - and being served with a Big Mac.\"\n", "In 1994, Chicago's Steppenwolf Theater put on a production of A Clockwork Orange directed by Terry Kinney. The American premiere of novelist Anthony Burgess' own adaptation of his A Clockwork Orange starred K. Todd Freeman as Alex. In 2001, UNI Theatre (Mississauga, Ontario) presented the Canadian premiere of the play under the direction of Terry Costa.[27]\n", "In 2002, Godlight Theatre Company presented the New York Premiere adaptation of A Clockwork Orange at Manhattan Theatre Source. The production went on to play at the SoHo Playhouse (2002), Ensemble Studio Theatre (2004), 59E59 Theaters (2005) and the Edinburgh Festival Fringe (2005). While at Edinburgh, the production received rave reviews from the press while playing to sold-out audiences. The production was directed by Godlight's Artistic Director, Joe Tantalo.\n", "In 2003, Los Angeles director Brad Mays[28] and the ARK Theatre Company[29] staged a multi-media adaptation of A Clockwork Orange,[30][31] which was named \"Pick Of The Week\" by the LA Weekly and nominated for three of the 2004 LA Weekly Theater Awards: Direction, Revival Production (of a 20th-century work), and Leading Female Performance.[32] Vanessa Claire Smith won Best Actress for her gender-bending portrayal of Alex, the music-loving teenage sociopath.[33] This production utilised three separate video streams outputted to seven onstage video monitors - six 19-inch and one 40-inch. In order to preserve the first-person narrative of the book, a pre-recorded video stream of Alex, \"your humble narrator,\" was projected onto the 40-inch monitor,[34] thereby freeing the onstage character during passages which would have been awkward or impossible to sustain in the breaking of the fourth wall.[35]\n", "http://en.wikipedia.org/wiki/Taxi_Driver\n", "Taxi Driver is a 1976 American crime/vigilante film directed by Martin Scorsese and written by Paul Schrader. Set in New York City soon after the end of the Vietnam War, the film stars Robert De Niro and features Jodie Foster, Harvey Keitel, Cybill Shepherd, Peter Boyle, and Albert Brooks." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film is regularly cited by critics, film directors, and audiences alike as one of the greatest films of all time. Nominated for four Academy Awards, including Best Picture, it won the Palme d'Or at the 1976 Cannes Film Festival. The American Film Institute ranked Taxi Driver as the 52nd-greatest American film on its AFI's 100 Years\u2026100 Movies (10th Anniversary Edition) list. In 2012, Sight & Sound named it the 31st-best film ever created on its decadal critics' poll, ranked with The Godfather Part II, and the 5th-greatest film ever on its directors' poll. The film was considered \"culturally, historically or aesthetically\" significant by the US Library of Congress and was selected for preservation in the National Film Registry in 1994.\n", "\n", "\n", "Travis Bickle, an honorably discharged U.S. Marine, is a lonely and depressed man in New York City. He becomes a taxi driver to cope with chronic insomnia, driving passengers every night around the boroughs of New York City. He also spends time in seedy porn theaters and keeps a diary. Travis becomes infatuated with Betsy, a campaign volunteer for Senator Charles Palantine, who is running for President. After watching her interact with fellow worker Tom through her window, Travis enters to volunteer as a pretext to talk to her, and takes her out for coffee. On a later date, he takes her to see a Swedish sex education film, which offends her, and she goes home alone. His attempts at reconciliation by sending flowers are rebuffed, so he berates her at the campaign office, before being kicked out by Tom.\n", "Travis confides in fellow taxi driver Wizard about his thoughts, which are beginning to turn violent, but Wizard assures him that he will be fine. Disgusted by the street crime and prostitution that he witnesses throughout the city, Travis finds an outlet for his frustration and begins a program of intense physical training. He buys guns from dealer Easy Andy and constructs a sleeve gun to attach on his arm, with which he practices drawing his weapons. One night, Travis enters a convenience store moments before a man attempts to rob it, and he shoots the robber. The shop owner takes responsibility and Travis leaves. On another night, teenage prostitute Iris[2] enters Travis's cab, attempting to escape her pimp Matthew \"Sport\" Higgins. Sport drags Iris from the cab and throws Travis a crumpled twenty-dollar bill, which continually reminds him of her. Some time later, Travis hires her (Iris), but instead of having sex with her, attempts to dissuade her from continuing in prostitution. He fails to completely turn her from her course, but she does agree to meet with him for breakfast the next day, and Travis becomes obsessed with helping her return to her parents' home, sending her money to do so and a letter in which he states he will soon be dead.\n", "After shaving his head into a mohawk, Travis attends a public rally, where he attempts to assassinate Senator Palantine, but Secret Service agents notice him and he flees without taking a shot. He returns to his apartment and then drives to the East Village, where he confronts Sport. Travis shoots Sport, then walks into Iris's brothel and shoots off the bouncer's fingers. After a wounded Sport shoots Travis, grazing his neck, Travis shoots and kills him. Iris's john, a mobster, appears and shoots Travis in the arm, but Travis reveals his sleeve gun and kills the gangster. The bouncer continues to harass Travis, causing Travis to shoot him in the head and kill him. As a horrified Iris cries, Travis attempts suicide but, out of ammunition, resigns himself to a sofa until police arrive. When they do, he places his index finger against his temple gesturing the act of shooting himself. While recuperating, Travis receives a letter from Iris's parents, who thank him for saving her, and the media hail him as a hero. Travis then returns to his job and encounters Betsy as a fare. She discusses his newfound fame, but he denies being a hero and drops her off free of charge. He glances at her in his rear view mirror as he drives away.\n", "According to Scorsese, it was Brian De Palma who introduced him to Schrader. In Scorsese on Scorsese, edited by David M. Thompson and Ian Christie, the director talks about how much of the film arose from his feeling that movies are like dreams or drug-induced reveries. He admits attempting to incubate within the viewer the feeling of being in a limbo state somewhere between sleeping and waking. He calls Travis an \"avenging angel\" floating through the streets of a New York City intended to represent all cities everywhere. Scorsese calls attention to improvisation in the film, such as in the scene between De Niro and Cybill Shepherd in the coffee shop. The director also cites Alfred Hitchcock's The Wrong Man and Jack Hazan's A Bigger Splash as inspirations for his camerawork in the movie.[3]\n", "In Scorsese on Scorsese, the director mentions the religious symbolism in the story, comparing Bickle to a saint who wants to cleanse or purge both his mind and his body of weakness. Bickle attempts to kill himself near the end of the movie as a tribute to the samurai\u2019s \"death with honour\" principle.[3]\n", "When Travis meets Betsy to join him for coffee and pie, he reminds her of a line in Kris Kristofferson's song \"The Pilgrim, Chapter 33\": \"He's a prophet and a pusher, partly truth, partly fiction\u2014a walking contradiction.\" On their date, Bickle takes her to see Language of Love, a Swedish sex education film.[4]\n", "Shot during a New York summer heat wave and garbage strike, Taxi Driver came into conflict with the MPAA for its violence (Scorsese de-saturated the color in the final shoot-out, and the film got an R rating). To achieve the atmospheric scenes in Bickle's cab, the sound men would get in the trunk and Scorsese and his cinematographer, Michael Chapman, would ensconce themselves on the back seat floor and use available light to shoot.\n", "In writing the script, Schrader was inspired by the diaries of Arthur Bremer (who shot presidential candidate George Wallace in 1972)[5] and Fyodor Dostoyevsky\u2019s Notes from Underground. The writer also used himself as inspiration; prior to writing the screenplay, Schrader was in a lonely and alienated position, much like Bickle is. Following a divorce and a breakup with a live-in girlfriend, he spent a few weeks living in his car. He wrote the script in under a month while staying in his former girlfriend's apartment while she was away.\n", "Schrader decided to make Bickle a Vietnam vet because the national trauma of the war seemed to blend perfectly with Bickle's paranoid psychosis, making his experiences after the war more intense and threatening. Thus, Bickle chooses to drive his taxi anywhere in the city as a way to feed his hate.[6]\n", "While preparing for his role as Bickle, De Niro was filming Bernardo Bertolucci's 1900 in Italy. According to Boyle, he would \"finish shooting on a Friday in Rome ... get on a plane ... [and] fly to New York.\" De Niro obtained a cab driver's license, and when on break would pick up a cab and drive around New York for a couple of weeks, before returning to Rome to resume filming 1900. De Niro apparently lost 35 pounds and listened repeatedly to a taped reading of the diaries of Arthur Bremer. When he had time off from shooting 1900, De Niro visited an army base in Northern Italy and tape-recorded soldiers from the Midwestern United States, whose accents he thought might be appropriate for Travis's character.\n", "When Bickle decides to assassinate Senator Palantine, he cuts his hair into a Mohawk. This detail was suggested by actor Victor Magnotta, a friend of Scorsese's who had a small role as a Secret Service agent and who had served in Vietnam. Scorsese later noted, \"Magnotta had talked about certain types of soldiers going into the jungle. They cut their hair in a certain way; looked like a Mohawk ... and you knew that was a special situation, a commando kind of situation, and people gave them wide berths ... we thought it was a good idea.\"\n", "Jodie Foster was not the first choice to play Iris. Scorsese considered Melanie Griffith, Linda Blair, Bo Derek, and Carrie Fisher for the role. A newcomer, Mariel Hemingway, auditioned for the role but turned it down due to pressure from her family. After the other actresses turned down the role as well, Foster, an experienced child actor, was chosen.\n", "In the original draft, Schrader had written the role of Sport as a black man. There were also additions of other negative black roles. Scorsese believed that this would give the film an overly racist subtext, so they were changed to white roles. Nevertheless, many people still assume that Travis himself is a racist; cab drivers in the film refer to Harlem as Mau Mau land, and Travis exchanges hostile eye contact with several black characters. Travis, though, dislikes all the \"filth and scum of the city\", with no prejudice to any race in particular. In fact, he even tries to ask out the black woman at the cash register of the \"Show & Tell\" at the start of the movie. One of the other cab drivers he hangs out with at the diner is also black.\n", "Schrader originally set the film in Los Angeles, but it was moved to New York City because taxicabs were much more prevalent there than in L.A.\n", "The music by Bernard Herrmann was his final score before his death on December 24, 1975, and the film is dedicated to his memory. Robert Barnett of MusicWeb International has said that it contrasts deep, sleazy noises, representing the \"scum\" that Travis sees all over the city, with the saxophone, a musical counterpart to Travis, creating a mellifluously disenchanted troubadour. Barnett also observes that the opposing noises in the soundtrack\u2014gritty little harp figures, hard as shards of steel, as well as a jazz drum kit placing the drama in the city\u2014are indicative of loneliness in the midst of mobs of people. Deep brass and woodwinds are also evident. Barnett heard in the drumbeat a wild-eyed martial air charting the pressure on Bickle, who is increasingly oppressed by the corruption around him, and that the harp, drum, and saxophone play significant roles in the music.[7]\n", "Also featured in the film is Jackson Browne's \"Late for the Sky\", appearing in a scene where couples are dancing on the program American Bandstand to the song as Travis watches on his small TV.\n", "The soundtrack for the film, re-released in 1998 on CD, includes an expanded version of the score as well as the tracks from the original 1976 LP. It also features album notes by director Martin Scorsese, as well as full documentation for the tracks, linking them in great detail to individual takes. Track 12, \"Diary of a Taxi Driver\", features Herrmann's music with De Niro's voice-over taken directly from the soundtrack.\n", "Some of the tracks feature relatively long titles, representative of the fact that similar reprises are heard in many scenes.\n", "The climactic shoot-out was considered intensely graphic at the time the film was initially released.[10] To attain an \"R\" rating, Scorsese had the colors de-saturated, making the brightly colored blood less prominent.[11] In later interviews, Scorsese commented that he was actually pleased by the color change and considered it an improvement over the originally filmed scene, which has been lost. In the special-edition DVD, Michael Chapman, the film's cinematographer, regrets the decision and the fact that no print with the unmuted colors exists anymore, as the originals had long since deteriorated.\n", "Some critics expressed concern over 13-year-old Foster's presence during the climactic shoot-out. Foster said that she was present during the setup and staging of the special effects used during the scene; the entire process was explained and demonstrated for her, step by step. Rather than being upset or traumatised, Foster said, she was fascinated and entertained by the behind-the-scenes preparation that went into the scene. In addition, before being given the part, Foster was subjected to psychological testing to ensure that she would not be emotionally scarred by her role, in accordance with California Labor Board requirements.[12]\n", "Copies of the movie distributed for TV broadcast had an unexplained disclaimer added during the closing credits:[13][14]\n", "To our Television Audience: In the aftermath of violence, the distinction between hero and villain is sometimes a matter of interpretation or misinterpretation of facts. \"Taxi Driver\" suggests that tragic errors can be made. The Filmmakers.\n", "Taxi Driver formed part of the delusional fantasy of John Hinckley, Jr.[15][16] that triggered his attempted assassination of President Ronald Reagan in 1981, an act for which he was found not guilty by reason of insanity.[17][18] Hinckley stated that his actions were an attempt to impress actress Jodie Foster, on whom Hinckley was fixated, by mimicking Travis's mohawked appearance at the Palantine rally. His attorney concluded his defense by playing the movie for the jury.\n", "Sabine Haenni, a professor at Cornell University, commented on the film in her article \"Geographies of Desire: Postsocial Urban Space and Historical Revision in the Films of Martin Scorsese\" pg. 67: \"While Taxi Driver chronicles Travis's excessive response to the perceived decline of the city, perhaps more fundamentally, the decline of the city seems to engender the decline of the male hero\u2014Travis's inability to function in individual, collective, and heteronormative terms.\"\n", "Roger Ebert has written of the film's ending:\n", "\"There has been much discussion about the ending, in which we see newspaper clippings about Travis's 'heroism' of saving Iris, and then Betsy gets into his cab and seems to give him admiration instead of her earlier disgust. Is this a fantasy scene? Did Travis survive the shoot-out? Are we experiencing his dying thoughts? Can the sequence be accepted as literally true? ... I am not sure there can be an answer to these questions. The end sequence plays like music, not drama: It completes the story on an emotional, not a literal, level. We end not on carnage but on redemption, which is the goal of so many of Scorsese's characters.\"[19]\n", "James Berardinelli, in his review of the film, argues against the dream or fantasy interpretation, stating:\n", "\"Scorsese and writer Paul Schrader append the perfect conclusion to Taxi Driver. Steeped in irony, the five-minute epilogue underscores the vagaries of fate. The media builds Bickle into a hero, when, had he been a little quicker drawing his gun against Senator Palantine, he would have been reviled as an assassin. As the film closes, the misanthrope has been embraced as the model citizen\u2014someone who takes on pimps, drug dealers, and mobsters to save one little girl.\"[20]\n", "On the Laserdisc audio commentary, Scorsese acknowledged several critics' interpretation of the film's ending as being Bickle's dying dream. He admits that the last scene of Bickle glancing at an unseen object implies that Bickle might fall into rage and recklessness in the future, and he is like \"a ticking time bomb.\"[21] Writer Paul Schrader confirms this in his commentary on the 30th-anniversary DVD, stating that Travis \"is not cured by the movie's end,\" and that \"he's not going to be a hero next time.\"[22] When asked on the website Reddit about the film's ending, Schrader said that it was not to be taken as a dream sequence, but that he envisioned it as returning to the beginning of the film\u2014as if the last frame \"could be spliced to the first frame, and the movie started all over again.\"[23]\n", " Filmed on a budget of $1.3 million, Taxi Driver was a financial success, grossing $28,262,574 in the United States,[24] making it the 17th-highest-grossing film of 1976.\n", "Roger Ebert instantly praised it as one of the greatest films he had ever seen, claiming:\n", "\"Taxi Driver\" is a hell, from the opening shot of a cab emerging from stygian clouds of steam to the climactic killing scene in which the camera finally looks straight down. Scorsese wanted to look away from Travis's rejection; we almost want to look away from his life. But he's there, all right, and he's suffering.[25]\n", "It was also nominated for four Academy Awards, including Best Picture and Best Actor (De Niro), and received the Palme d'Or at the 1976 Cannes Film Festival.[26] It has been selected for preservation in the United States National Film Registry.[27] The film was chosen by Time as one of the 100 best films of all time.[28]\n", "As of 2014, Rotten Tomatoes gives the film a score of 98% based on reviews from 63 critics; the site's consensus states: \"A must-see film for movie lovers, this Martin Scorsese masterpiece is as hard-hitting as it is compelling, with Robert De Niro at his best.\"[29]\n", "The July/August 2009 issue of Film Comment polled several critics on the best films to win the Palme d'Or at the Cannes Film Festival. Taxi Driver placed first, above films such as Il Gattopardo, Viridiana, Blowup, The Conversation, Apocalypse Now, La Dolce Vita, and Pulp Fiction.[30]\n", "In the American Film Institute's top 50 movie villains of all time, Bickle was named the 30th greatest film villain. Empire also ranked him 18th in its \"The 100 Greatest Movie Characters\" poll.[31]\n", "\n", "Taxi Driver, American Gigolo, Light Sleeper, and The Walker make up a series referred to variously as the \"Man in a Room\" or \"Night Worker\" films. Screenwriter Paul Schrader (who directed the latter three films) has said that he considers the central characters of the four films to be one character, who has changed as he has aged.[32][33] The film also influenced the Charles Winkler film You Talkin' to Me?[34]\n", "In the 2012 film Seven Psychopaths, psychotic Los Angeles actor Billy Bickle (Sam Rockwell) believes himself to be the illegitimate son of Travis Bickle.[35]\n", "Travis also appears as a minor supporting character in the 2012 graphic novel Before Watchmen: Rorshach.\n", "In the Canadian television series Trailer Park Boys, a man dressed as Travis makes an appearance in the episode \"Jim Lahey is a Drunk Bastard\", during the trailer park supervisor election.\n", "The catchphrase \"You talkin' to me?\" has become a pop culture mainstay. In 2005, it was ranked number 10 on the American Film Institute's AFI's 100 Years... 100 Movie Quotes.[36]\n", "In the corresponding scene, Bickle is looking into a mirror at himself, imagining a confrontation that would give him a chance to draw his gun. He says:\n", "Roger Ebert called it \"the truest line in the film.... Travis Bickle's desperate need to make some kind of contact somehow\u2014to share or mimic the effortless social interaction he sees all around him, but does not participate in.\"[37]\n", "Schrader does not take credit for the line, saying that his script only read, \"Travis speaks to himself in the mirror\", and that De Niro improvised the dialogue. However, Schrader went on to say that De Niro's performance was inspired by a routine by \"an underground New York comedian\" whom he had once seen, possibly including his signature line.[38]\n", "In his 2009 memoir, saxophonist Clarence Clemons said De Niro explained the line's origins when Clemons coached De Niro to play the saxophone for the 1977 film New York, New York.[39] Clemons said De Niro had seen Bruce Springsteen say the line onstage at a concert as fans were screaming his name, and decided to make the line his own.[40]\n", " The first collector's edition (DVD), released in 1999, was packaged as a single-disc edition release. It contained special features, such as behind-the-scenes and several trailers, including one for Taxi Driver.\n", "In 2006, a 30th-anniversary 2-disc collector's edition was released. The first disc contains the film itself, two audio commentaries (one by writer Schrader and the other by Professor Robert Kolker), and trailers. This edition also retains some of the special features from the earlier release on the second disc, as well as some newly produced documentary material.\n", "A Blu-ray was released on April 5, 2011 to commemorate the film's 35th anniversary. It includes the special features from the previous 2-disc collector's edition, plus an audio commentary by Scorsese released in 1991 for The Criterion Collection, previously released on Laserdisc.\n", "As part of the Blu-ray production, Sony gave the film a full 4K digital restoration, which included scanning and cleaning the original negative (removing emulsion dirt and scratches). Colors were matched to director-approved prints under guidance from Scorsese and director of photography Michael Chapman. An all-new lossless DTS-HD Master Audio 5.1 soundtrack was also made from the original stereo recordings by Scorsese's personal sound team.[41][42] The restored print premiered in February 2011 at the Berlin Film Festival, and to promote the Blu-ray, Sony also had the print screened at AMC Theatres across the United States on March 19 and 22.\n", "In late January 2005, a sequel was announced by De Niro and Scorsese.[43] At a 25th-anniversary screening of Raging Bull, De Niro talked about the story of an older Travis Bickle being in development. Also in 2000, De Niro mentioned interest in bringing back the character in conversation with Actors Studio host James Lipton.[44]\n", "At the Berlinale 2010, De Niro, Scorsese, and Lars von Trier announced plans to work on a remake of Taxi Driver. The film will be produced in a similar manner to von Trier's The Five Obstructions.[45]\n", "In December 2011, Scorsese was interviewed about combining his passion for 3D as a new medium with the legacy of older films, and said, \"If I could go back in time, I'd shoot Taxi Driver in 3D. Bob De Niro in the mirror as Travis Bickle. Imagine how intimidating. 'You talking to me? You talking to me?' Amazing possibilities.\"[46][47]\n", "http://en.wikipedia.org/wiki/Wuthering_Heights\n", "Wuthering Heights is Emily Bront\u00eb's first and only published novel, written between October 1845 and June 1846,[1] and published in 1847 under the pseudonym Ellis Bell; Bront\u00eb died the following year, aged 30. The decision to publish came after the success of her sister Charlotte's novel, Jane Eyre. After Emily's death, Charlotte edited the manuscript of Wuthering Heights, and arranged for the edited version to be published as a posthumous second edition in 1850.[2]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Wuthering Heights is the name of the farmhouse where the story unfolds. The book's core theme is the destructive effect of jealousy and vengefulness both on the jealous or vengeful individuals and on their communities.\n", "Although Wuthering Heights is now widely regarded as a classic of English literature, it received mixed reviews when first published, and was considered controversial because its depiction of mental and physical cruelty was unusually stark, and it challenged strict Victorian ideals of the day, including religious hypocrisy, morality, social classes and gender inequality.[3][4] The English poet and painter Dante Gabriel Rossetti referred to it as \"A fiend of a book \u2013 an incredible monster ... The action is laid in hell, \u2013 only it seems places and people have English names there.\"[5]\n", "In the second half of the 19th century, Charlotte Bront\u00eb's Jane Eyre was considered the best of the Bront\u00eb sisters' works, but following later re-evaluation, critics began to argue Wuthering Heights was superior.[6] The book has inspired adaptations, including film, radio and television dramatisations, a musical by Bernard J. Taylor, a ballet, operas (by Bernard Herrmann, Carlisle Floyd, and Fr\u00e9d\u00e9ric Chaslin), a role-playing game,[7] and a 1978 song by Kate Bush.\n", "\n", "\n", "In 1801, Mr Lockwood, a wealthy man from the south of England, rents Thrushcross Grange in the north for peace and recuperation. He visits his landlord, Mr Heathcliff, who lives in a remote moorland farmhouse, \"Wuthering Heights\", where he finds an odd assemblage: Heathcliff seems to be a gentleman, but his manners are uncouth; the reserved mistress of the house is in her mid-teens; and a young man seems to be a family member yet dresses and speaks like a servant.\n", "Snowed in, Lockwood is grudgingly allowed to stay and is shown to a bedchamber where he notices books and graffiti left by a former inhabitant named Catherine. He falls asleep and has a nightmare in which he sees the ghostly Catherine trying to enter through the window. He cries out in fear, rousing Heathcliff who rushes to the room. Lockwood is convinced that what he saw was real. Heathcliff, believing Lockwood to be right, examines the window and opens it hoping to allow Catherine's spirit to enter. When nothing happens, Heathcliff shows Lockwood to his own bedroom and returns to keep watch at the window.\n", "At sunrise, Heathcliff escorts Lockwood back to Thrushcross Grange. Lockwood asks the housekeeper, Nelly Dean, about the family at Wuthering Heights, and she tells him the tale.\n", "Thirty years earlier, Wuthering Heights is occupied by Mr Earnshaw, his teenage son Hindley and his daughter Catherine. On a trip to Liverpool, Earnshaw encounters a homeless boy described as \"dark-skinned gypsy in aspect\". He adopts the boy and names him Heathcliff. Hindley feels that Heathcliff has supplanted him in his father's affections and becomes bitterly jealous. Catherine and Heathcliff become friends and spend hours each day playing on the moors. They grow close.\n", "Hindley is sent to college. Three years later, Earnshaw dies and Hindley becomes the master of Wuthering Heights. He returns to live there with his new wife, Frances. He allows Heathcliff to stay but only as a servant.\n", "A few months after Hindley's return, Heathcliff and Catherine walk to Thrushcross Grange to spy on the Lintons who are living there. After being discovered, they try to run away but are caught. Catherine is injured by the Lintons' dog and taken into the house to recuperate while Heathcliff is sent home. Catherine stays with the Lintons and is influenced by their fine appearance and genteel manners. When she returns to Wuthering Heights, her appearance and manners are more ladylike and she laughs at Heathcliff's unkempt appearance. The next day, knowing that the Lintons would visit, Heathcliff tries to dress up in an effort to impress Catherine, but he and Edgar Linton get into an argument and Hindley humiliates Heathcliff by locking him in the attic. Catherine tries to comfort Heathcliff, but he vows revenge on Hindley.\n", "The following year, Frances Earnshaw gives birth to a son, named Hareton, but dies a few months later. Hindley descends into drunkenness. Two more years pass and Catherine and Edgar Linton eventually become friends while she becomes more distant from Heathcliff. While Hindley is away, Edgar visits Catherine, and they declare themselves lovers soon after.\n", "Catherine confesses to Nelly that Edgar has proposed and she has accepted, although her love for Edgar is not comparable to her love for Heathcliff, whom she cannot marry because of his low social status and lack of education. She hopes to use her position as Edgar's wife to raise Heathcliff's standing. Heathcliff overhears her say it would 'degrade' her to marry him (but not how much she loves him) and in despair runs away and disappears without a trace. Distraught by Heathcliff's departure, Catherine makes herself ill out of spite. Nelly and Edgar thus begin to pander to her every whim to prevent her from becoming ill again. Three years pass. Edgar and Catherine marry, and live together at Thrushcross Grange.\n", "Six months later, Heathcliff returns, now a wealthy gentleman. Catherine is delighted; Edgar is not. Edgar's sister, Isabella, soon falls in love with Heathcliff, who despises her but encourages the infatuation as a means of revenge. One day, he embraces Isabella, leading to an argument with Edgar. Upset, Catherine locks herself in her room, and begins to make herself ill again through spite and jealousy.\n", "Heathcliff takes up residence at Wuthering Heights, and spends his time gambling with Hindley and teaching Hareton bad habits. Hindley dissipates his wealth and mortgages the farmhouse to Heathcliff to pay his debts. Heathcliff elopes with Isabella Linton; two months later the couple returns to Wuthering Heights. Heathcliff hears that Catherine is ill and, with Nelly's help, visits her secretly. However, Catherine is pregnant, and the following day she gives birth to a daughter, Cathy, shortly before dying.\n", "After Catherine's funeral, Isabella leaves Heathcliff and takes refuge in the south of England. She too is pregnant, and gives birth to a son, Linton. Hindley dies six months after Catherine, and Heathcliff thus finds himself master of Wuthering Heights.\n", "After twelve years, Catherine's daughter Cathy grows into a beautiful, high-spirited girl. Edgar learns his sister Isabella is dying, and so he leaves to retrieve her son Linton in order to adopt and educate him. Although Cathy rarely leaves the borders of the Grange, she takes advantage of her father's absence to venture farther afield. She rides over the moors to Wuthering Heights and discovers she has not one, but two cousins: Hareton in addition to Linton. She also lets it be known that her father has gone south to fetch Linton. When Edgar returns with Linton, a weak and sickly boy, Heathcliff insists that he live at Wuthering Heights.\n", "Three years pass. Walking on the moors, Nelly and Cathy encounter Heathcliff, who takes them to Wuthering Heights to see Linton and Hareton. Heathcliff hopes Linton and Cathy will marry, so that Linton becomes the heir to Thrushcross Grange. Linton and Cathy begin a secret friendship, echoing the childhood friendship between their respective parents, Heathcliff and Catherine.\n", "The following year, Edgar becomes very ill, taking a turn for the worse while Nelly and Cathy are out on the moors, where Heathcliff and Linton trick them into entering Wuthering Heights. Heathcliff keeps them captive to enable the marriage of Cathy and Linton to take place. After five days Nelly is released and later, with Linton's help, Cathy escapes. She returns to the Grange to see her father shortly before he dies.\n", "Now master of Wuthering Heights and Thrushcross Grange, and Cathy's father-in-law, Heathcliff insists on her returning to live at Wuthering Heights and remaining there after Linton's death. Soon after she arrives, Linton dies. Hareton tries to be kind to Cathy, but she retreats and then withdraws from the world.\n", "At this point, Nelly's tale catches up to the present day. Time passes, and after being ill for a period Lockwood grows tired of the moors and informs Heathcliff that he will be leaving Wuthering Heights.\n", "Eight months later, Lockwood returns to the area by chance. Given that his tenancy at Thrushcross Grange is still valid, he decides to stay there again. He finds Nelly living at Wuthering Heights and enquires what has happened since he left.\n", "She explains that she moved to Wuthering Heights to replace the housekeeper, Zillah, who had left. Hareton had an accident and was confined to the farmhouse. During his convalescence, he and Cathy overcame their mutual antipathy and became close. While their friendship developed, Heathcliff began to act strangely and had visions of Catherine. He stopped eating and after four days was found dead in Catherine's old room. He was buried next to Catherine.\n", "Lockwood learns that Hareton and Cathy plan to marry on New Year's Day. As he readies to leave, he passes the graves of Catherine, Edgar, and Heathcliff, and pauses to contemplate the quiet of the moors.\n", "Key:\n", "Author Joyce Carol Oates sees the novel as \"an assured demonstration of the finite and tragically self-consuming nature of 'passion'.\"[11]\n", "Ellen Moers demonstrated a feminist theory that relates female writers including Emily Bront\u00eb and the Gothic in her Literary Women.[12] Catherine Earnshaw has been identified as a literary \"type\" of Gothic demon in that she \"shape-shifts\" in order to marry Edgar Linton, assuming a domesticity contrary to her nature.[13] Catherine\u2019s relationship with Heathcliff conforms to the \"dynamics of the Gothic romance, in that the woman falls prey to the more or less demonic instincts of her lover, suffers from the violence of his feelings and at the end is entangled by his thwarted passion.\"[14]\n", "The original 1847 text is available online in two parts, as published by Thomas Cautley Newby.[15][16]\n", "In 1850 a second edition of Wuthering Heights was due for republishing, Charlotte Bront\u00eb edited the original text published by Thomas Cautley Newby, including punctuation, spelling errors and Joseph's thick Yorkshire dialect. Writing to her publisher W.S. Williams, she mentions that \"It seems to me advisable to modify the orthography of the old servant Joseph\u2019s speeches; for though, as it stands, it exactly renders the Yorkshire dialect to a Yorkshire ear, yet I am sure Southerns must find it unintelligible; and thus one of the most graphic characters in the book is lost on them.\" An essay written by Irene Wiltshire on dialect and speech in the novel compares some of the edits Charlotte made to the original 1847 edition.[17]\n", "Several theories exist about which building was the inspiration for Wuthering Heights. One is Top Withens, a ruined farmhouse located in an isolated area near the Haworth Parsonage. Because its structure does not match that of the farmhouse described in the novel, it is considered less likely to be the model.[18] Top Withens was first suggested as the model for the fictitious farmhouse by Ellen Nussey, a friend of Charlotte Bront\u00eb, to Edward Morison Wimperis, a commissioned artist for the Bront\u00eb sisters' novels in 1872.[19]\n", "The second possibility is the now demolished High Sunderland Hall, near Halifax, West Yorkshire.[18] This Gothic edifice was located near Law Hill, where Emily worked briefly as a governess in 1838. While very grand for the farmhouse of Wuthering Heights, the hall had grotesque embellishments of griffins and misshapen nude men similar to those described by Lockwood in chapter one of the novel:\n", "The inspiration for Thrushcross Grange has been traditionally connected to Ponden Hall, near Haworth, which is very small. Shibden Hall, near Halifax, is a more likely possibility.[20][21] The Thrushcross Grange that Emily describes is rather unusual. It sits within an enormous park as does Shibden Hall. By comparison, the park at Chatsworth (the home of the Duke of Devonshire) is over two miles (3.2\u00a0km) long but, as the house sits near the middle, it is no more than a mile and a half (2.4\u00a0km) from the lodge to the house. Considering that Edgar Linton apparently did not even have a title, this seems rather unlikely. There is no building close to Haworth which has a park anywhere near this size but a few houses which might have inspired some elements. Shibden Hall has several features which match the descriptions in the novel.\n", "Early reviews of Wuthering Heights were mixed in their assessment. Whilst most critics at the time recognised the power and imagination of the novel, they were also baffled by the storyline and found the characters extremely forward and uninhibited for Victorian times.[note 1] Published in 1847, at a time when the background of the author was deemed to have an important impact on the story itself, many critics were also intrigued by the authorship of the novels.[note 2] Henry Chorley of the Athen\u00e6um said that it was a \"disagreeable story\" and that the \"Bells\" (Bront\u00ebs) \"seem to affect painful and exceptional subjects\".\n", "The Atlas review called it a \"strange, inartistic story,\" but commented that every chapter seems to contain a \"sort of rugged power.\" Atlas summarized the novel by writing: \"We know nothing in the whole range of our fictitious literature which presents such shocking pictures of the worst forms of humanity. There is not in the entire dramatis persona, a single character which is not utterly hateful or thoroughly contemptible ... Even the female characters excite something of loathing and much of contempt. Beautiful and loveable in their childhood, they all, to use a vulgar expression, \"turn out badly\".\"[22]\n", "Graham's Lady Magazine wrote \"How a human being could have attempted such a book as the present without committing suicide before he had finished a dozen chapters, is a mystery. It is a compound of vulgar depravity and unnatural horrors.\"[22]\n", "The American Whig Review wrote \"Respecting a book so original as this, and written with so much power of imagination, it is natural that there should be many opinions. Indeed, its power is so predominant that it is not easy after a hasty reading to analyze one's impressions so as to speak of its merits and demerits with confidence. We have been taken and carried through a new region, a melancholy waste, with here and there patches of beauty; have been brought in contact with fierce passions, with extremes of love and hate, and with sorrow that none but those who have suffered can understand. This has not been accomplished with ease, but with an ill-mannered contempt for the decencies of language, and in a style which might resemble that of a Yorkshire farmer who should have endeavored to eradicate his provincialism by taking lessons of a London footman. We have had many sad bruises and tumbles in our journey, yet it was interesting, and at length we are safely arrived at a happy conclusion.\"[23]\n", "Douglas Jerrold's Weekly Newspaper wrote \"Wuthering Heights is a strange sort of book,\u2014baffling all regular criticism; yet, it is impossible to begin and not finish it; and quite as impossible to lay it aside afterwards and say nothing about. In Wuthering Heights the reader is shocked, disgusted, almost sickened by details of cruelty, inhumanity, and the most diabolical hate and vengeance, and anon come passages of powerful testimony to the supreme power of love \u2013 even over demons in the human form. The women in the book are of a strange fiendish-angelic nature, tantalising, and terrible, and the men are indescribable out of the book itself. Yet, towards the close of the story occurs the following pretty, soft picture, which comes like the rainbow after a storm....We strongly recommend all our readers who love novelty to get this story, for we can promise them that they never have read anything like it before. It is very puzzling and very interesting, and if we had space we would willingly devote a little more time to the analysis of this remarkable story, but we must leave it to our readers to decide what sort of book it is.\"[24]\n", "New Monthly Magazine wrote \"Wuthering Heights, by Ellis Bell, is a terrific story, associated with an equally fearful and repulsive spot\u2026 Our novel reading experience does not enable us to refer to anything to be compared with the personages we are introduced to at this desolate spot \u2013 a perfect misanthropist's heaven.\"[25]\n", "Tait's Edinburgh Magazine wrote \"This novel contains undoubtedly powerful writing, and yet it seems to be thrown away. Mr. Ellis Bell, before constructing the novel, should have known that forced marriages, under threats and in confinement are illegal, and parties instrumental thereto can be punished. And second, that wills made by young ladies' minors are invalid. The volumes are powerfully written records of wickedness and they have a moral \u2013 they show what Satan could do with the law of Entail.\"[25]\n", "Examiner wrote \"This is a strange book. It is not without evidences of considerable power: but, as a whole, it is wild, confused, disjointed, and improbable; and the people who make up the drama, which is tragic enough in its consequences, are savages ruder than those who lived before the days of Homer.\"[24]\n", "Literary World wrote \"In the whole story not a single trait of character is elicited which can command our admiration, not one of the fine feelings of our nature seems to have formed a part in the composition of its principal actors. In spite of the disgusting coursness of much of the dialogue, and the improbabilities of much of the plot, we are spellbound.\"[26]\n", "Britannia called it a \"strangely original\" book that depicts \"humanity in this wild state.\" Although mostly hostile, it notes that the book is \"illuminated by some gleams of sunshine towards the end which serve to cast a grateful light on the dreary path we have traveled.\"[27]\n", "The earliest known film adaptation of Wuthering Heights was filmed in England and directed by A. V. Bramble. It is unknown if any prints still exist.[28] The most famous was 1939's Wuthering Heights, starring Laurence Olivier and Merle Oberon and directed by William Wyler. This adaptation, like many others, eliminated the second generation's story (young Cathy, Linton and Hareton). It won the 1939 New York Film Critics Circle Award for Best Film and was nominated for the 1939 Academy Award for Best Picture.\n", "The 1970 film with Timothy Dalton as Heathcliff is the first colour version of the novel, and gained acceptance over the years though it was initially poorly received. The character of Hindley is portrayed much more sympathetically, and his story-arc is altered. It also subtly suggests that Heathcliff may be Cathy's illegitimate half-brother.\n", "In 1978 the BBC produced a five part TV serialisation of the book starring Ken Hutchinson, Kay Adshead and John Duttine with music by Carl Davis; it is considered one of the most faithful adaptations of Emily Bront\u00eb's story.\n", "The 1992 film Emily Bront\u00eb's Wuthering Heights starring Ralph Fiennes and Juliette Binoche is notable for including the oft-omitted second generation story of the children of Cathy, Hindley and Heathcliff.\n", "Recent film or TV adaptations include ITV's 2009 two part drama series starring Tom Hardy, Charlotte Riley, Sarah Lancashire, and Andrew Lincoln.[29] and the 2011 film starring Kaya Scodelario and James Howson and directed by Andrea Arnold.\n", "Adaptations which reset the story in a new setting include the 1954 adaptation retitled Abismos de Pasion directed by Spanish filmmaker Luis Bu\u00f1uel set in Catholic Mexico, with Heathcliff and Cathy renamed Alejandro and Catalina. In Bu\u00f1uel's version Heathcliff/Alejandro claims to have become rich by making a deal with Satan. The New York Times reviewed a re-release of this film as \"an almost magical example of how an artist of genius can take someone else's classic work and shape it to fit his own temperament without really violating it,\" noting that the film was thoroughly Spanish and Catholic in its tone while still highly faithful to Bront\u00eb.[30] Yoshishige Yoshida's 1988 adaptation also has a transposed setting, this time in medieval Japan. In Yoshida's version, the Heathcliff character, Onimaru, is raised in a nearby community of priests who worship a local fire god. In 2003, MTV produced a poorly reviewed version set in a modern California high school.\n", "The novel has been popular in opera and theatre, including operas written by Bernard Herrmann, Carlisle Floyd, and Fr\u00e9d\u00e9ric Chaslin (most cover only the first half of the book) and a musical by Bernard J. Taylor.\n", "In 2011, a graphic novel version was published by Classical Comics,[31] and stays close to the original novel. It was adapted by Scottish writer Sean Michael Wilson and hand painted by comic book veteran artist John M Burns. This version received a nomination for the Stan Lee Excelsior Awards, voted by pupils from 170 schools in the United Kingdom.\n", "Kate Bush's song \"Wuthering Heights\" is most likely the best-known creative work inspired by Bront\u00eb's story that is not properly an \"adaptation.\" Bush wrote and released the song when she was eighteen and chose it as the lead single in her debut album (despite the record company preferring another track as the lead single). It was primarily inspired by the Olivier-Oberon film version which deeply affected Bush in her teenage years. The song is sung from Catherine's point of view as she pleads at Heathcliff's window to be admitted. It uses quotations from Catherine, both in the chorus (\"Let me in! I'm so cold!\") and the verses, with Catherine's admitting she had \"bad dreams in the night.\" Critic Sheila Whiteley wrote that the ethereal quality of the vocal resonates with Cathy's dementia, and that Bush's high register has both \"childlike qualities in its purity of tone\" and an \"underlying eroticism in its sinuous erotic contours.\"[32]\n", "The 1976 album Wind and Wuthering, by British progressive rock band Genesis, alludes to the Bront\u00eb novel not only in the album's title but also in the titles of tracks 7 (\"Unquiet Slumbers for the Sleepers...\") and 8 (\"...In That Quiet Earth\"), which are derived from the novel's closing sentence: \"I lingered round them, under that benign sky: watched the moths fluttering among the heath and harebells, listened to the soft wind breathing through the grass, and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth.\"\n", "Wuthering Heights has also inspired a role-playing game. The game is distributed free on the Internet by French author Philippe Tromeur.[33] The game is mentioned in the introduction for the 2007 Broadview Press edition of Wuthering Heights and in a footnote in the 2005 (Volume 33) issue of periodical Victorian literature and culture.[34]\n", "The Hindi movie Dil Diya Dard Liya, directed by Abdur Rashid Kardar and Dilip Kumar, is inspired by Wuthering Heights.\n", "http://en.wikipedia.org/wiki/Double_Indemnity\n", "Double indemnity is a clause or provision in a life insurance or accident policy." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Double indemnity may also refer to:\n", "http://en.wikipedia.org/wiki/Rebel_Without_a_Cause\n", "Rebel Without a Cause is a 1955 American drama film about emotionally confused suburban, middle-class teenagers. The film stars James Dean, Sal Mineo and Natalie Wood." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "Directed by Nicholas Ray, it offered both social commentary and an alternative to previous films depicting delinquents in urban slum environments.[2][3] Over the years, the film has achieved landmark status for the acting of cultural icon James Dean, fresh from his Academy Award nominated role in East of Eden and who died before the film's release, in his most celebrated role. This was the only film during Dean's lifetime in which he received top billing. In 1990, Rebel Without a Cause was added to the preserved films of the United States Library of Congress's National Film Registry as being deemed \"culturally, historically, and aesthetically significant\".\n", "The story of a rebellious teenager who arrives at a new high school, meets a girl, disobeys his parents, and defies the local school bullies was a groundbreaking attempt to portray the moral decay of American youth, critique parental style, and explore the differences and conflicts between generations. The title was adopted from psychiatrist Robert M. Lindner's 1944 book, Rebel Without a Cause: The Hypnoanalysis of a Criminal Psychopath. The film itself, however, does not reference Lindner's book in any way.\n", "Warner Bros. released the film on October 27, 1955, less than one month after Dean's fatal car crash. Mineo died in 1976 and Wood in 1981, both also at young ages.\n", "\n", "\n", "Shortly after moving to Los Angeles with his parents, seventeen-year-old Jim Stark (James Dean) enrolls at Dawson High School. He is brought into the police station for public drunkenness, and when his mother, father, and grandmother arrive at the police station to retrieve him, conflicts in Jim's family situation are introduced. His parents are often fighting; his father (Jim Backus) often tries to defend him, but Jim's mother always wins the arguments. Jim feels betrayed both by this fighting and his father's lack of moral strength, causing feelings of unrest and displacement. This shows up later in the film when he repeatedly asks his father, \"What do you do when you have to be a man?\"\n", "While trying to conform with fellow students at the school, he becomes involved in a dispute with a local bully named Buzz Gunderson (Corey Allen). While he tries to deal with Buzz, he becomes friends with a 15-year-old boy, John, nicknamed Plato (Sal Mineo), who was also at the police station the same night as Jim. Plato idolizes Jim, his real father having abandoned his family, and experiences many of the same problems as Jim, such as searching for meaning in life and dealing with parents who \"don't understand\". Jim meets Judy (Natalie Wood), whom he also recognizes from the police station, where she was brought in for being out alone after dark. She originally seems unimpressed by Jim, saying in a sarcastic tone, \"I bet you're a real yo-yo.\"\n", "Jim goes on a school field trip to the Griffith Observatory. There he sees a dramatic presentation of the violent death of the universe. After the show, he watches as the thugs slash a tire of his car; then Buzz challenges him to a knife fight, in which Jim is loathe to take part until the gang taunts him as a \"chicken\" (coward). He reluctantly takes part in the fight and wins, subduing Buzz by holding his switchblade up to his neck. Both Jim and Buzz receive slight injuries while fighting. The thugs challenge Jim to a \"Chickie Run\" with Buzz later that day, racing stolen cars towards an abyss. The first one who jumps out of the car loses and is deemed the \"chicken\". The \"game\" ends in tragedy for Buzz when a strap on the sleeve of his leather jacket gets stuck on the car's door handle, preventing him from jumping out before the car goes over the cliff.\n", "Jim tells his parents what happened, but becomes frustrated and storms out of the house when they oppose his plans to confess his involvement to the police. When Jim is seen trying to go to the police by some of Buzz's friends, they decide to hunt him down, and harass Plato and Jim's family to try to find him. Judy and Jim go to an abandoned mansion; Plato finds them there, as he was the one who originally told Jim about the house. There they act out a \"fantasy family\", with Jim as father, Judy as mother and Plato as child. The thugs soon discover them, and Plato brandishes his mother's gun, shooting one of the boys, and shooting at Jim and a police officer, in a clearly unstable state.\n", "Plato hides in the Observatory, which is soon besieged by the police. Jim and Judy follow him inside, and Jim convinces Plato to lend him the gun, from which he silently removes the ammunition magazine. When Plato steps out of the observatory, he becomes agitated again at the sight of the police and charges forward, brandishing his weapon. He is fatally shot by a police officer as Jim yells to the police, too late, that he has already removed the bullets. Plato is wearing Jim's jacket at the time, and as a result, Jim's parents (brought to the scene by police) think at first that Jim was shot. Mr. Stark then runs to comfort Jim, openly weeping for Plato's death, and promises to be a stronger father, one that his son can depend on. Thus reconciled, Jim introduces Judy to his parents.\n", "Warner Brothers had bought the rights to Linder's book, intending to use the title for a film. Attempts to create a film version in the late 1940s eventually ended without a film or even a full script being produced. When Marlon Brando did a five-minute screen test for the studio in 1947, he was given fragments of one of the 1940s partial scripts. However, Brando was not auditioning for Rebel Without a Cause and there was no offer of any part made by the studio. The film, as it later appeared, was the result of a totally new script written in the 1950s that had nothing to do with the Brando test. The screen test is included on a 2006 special edition DVD of the 1951 film A Streetcar Named Desire.\n", "According to a Natalie Wood biography, she almost did not get the role of Judy because Nicholas Ray thought that she did not seem fit for the role of the wild teen character. While on a night out with friends, she got into a car accident. Upon hearing this, Ray rushed to the hospital. While in delirium, Wood overheard the doctor murmuring and calling her a \"goddamn juvenile delinquent\"; she soon yelled to Ray, \"Did you hear what he called me, Nick?! He called me a goddamn juvenile delinquent! Now do I get the part?!\"[4][5]\n", "Dawson High School, the school in the film, was actually Santa Monica High School, located in Santa Monica, California.\n", "Irving Shulman, who adapted Nicholas Ray's initial film story into the screenplay, had considered changing the name of James Dean's character to Herman Deville, according to Jurgen Muller's \"Movies of the '50s\". He had also originally written a number of scenes that were shot and later cut from the final version of the film. According to an AFI interview with Stewart Stern, with whom Shulman worked on the screenplay, one of the scenes was thought to be too emotionally provocative to be included in the final print of the film. It portrayed the character of Jim Stark inebriated to the point of belligerence screaming at a car in the parking lot, \"It's a little jeep jeep! Little jeep, jeep!\" The scene was considered unproductive to the story's progression by head editor William H. Ziegler and ultimately ended up on the cutting room floor. In 2006, members of the Lincoln Film Society petitioned to have the scene printed and archived for historical preservation.\n", "The film was in production from March 28 to May 25, 1955. When production began, Warner Bros. considered it a B-movie project, and Ray used black and white film stock. When Jack Warner realized James Dean was a rising star and a hot property, filming was switched to color stock and many scenes had to be reshot in color.\n", "The 1949 Mercury Coupe James Dean drove in the movie is part of the permanent collection at the National Automobile Museum in Reno, Nevada.\n", "The film received accolades for its story and for the performance of James Dean and the young stars who appeared, among them teenagers Natalie Wood, Sal Mineo and Dennis Hopper, along with Nick Adams and Corey Allen.\n", "The film holds a 96% fresh rating on Rotten Tomatoes.[6]\n", "Wins\n", "Nominations\n", "American Film Institute recognition\n", "Empire magazine recognition\n", "http://en.wikipedia.org/wiki/Rear_Window\n", "Rear Window is a 1954 American suspense thriller film directed by Alfred Hitchcock, written by John Michael Hayes and based on Cornell Woolrich's 1942 short story \"It Had to Be Murder\". Originally released by Paramount Pictures, the film stars James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter and Raymond Burr. It was screened at the 1954 Venice Film Festival." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The film is considered by many filmgoers, critics and scholars to be one of Hitchcock's best.[3] The film received four Academy Award nominations and was ranked #42 on AFI's 100 Years...100 Movies list and #48 on the 10th-anniversary edition. In 1997, Rear Window was added to the United States National Film Registry.\n", "\n", "\n", "After breaking his leg photographing a racetrack accident, professional photographer L.B. \"Jeff\" Jefferies (James Stewart) is confined to his Greenwich Village apartment, using a wheelchair while he recuperates. His rear window looks out onto a small courtyard and several other apartments. During a summer heat wave, he passes the time by watching his neighbors, who keep their windows open to stay cool. The tenants he can see include a dancer he nicknames \"Miss Torso\", a lonely woman he nicknames \"Miss Lonelyheart\", a pianist, several married couples, a middle-aged sculptor, and Lars Thorwald (Raymond Burr), a traveling jewelry salesman with a bedridden wife.\n", "One evening Jeff hears a woman scream \"Don't!\" and a glass break. Later he is awakened by thunder and sees Thorwald leaving his apartment. Thorwald makes repeated late-night trips carrying his sample case. Jeff notices that Thorwald's wife is gone and sees Thorwald cleaning a large knife and handsaw. Later, Thorwald ties a large trunk with heavy rope and has moving men haul it away. Jeff discusses these observations with his much-younger socialite girlfriend Lisa Fremont (Grace Kelly) and his insurance company home-care nurse Stella (Thelma Ritter), and becomes obsessed with his theory that Thorwald murdered his wife. He explains his theory to his friend Tom Doyle (Wendell Corey), a New York City Police detective, and asks him to find out whether anyone actually picks up the packing crate. Doyle looks into the situation but finds nothing suspicious, and discovers that \"Mrs. Thorwald\" picked up the packing crate. After Doyle leaves, Jeff asks Lisa if she thinks it was ethical for him to spy on his neighbor with binoculars and a telephoto lens; Lisa replies that she does not know much about \"rear window ethics\" but comments on their morbid curiosity by asking, \"Whatever happened to that old saying, 'Love thy neighbor'?\"\n", "Soon after, a neighbor's dog is found dead, its neck broken. When the owner sees the lifeless body of her dog she screams to the courtyard: \"You don't know the meaning of the word 'neighbors'. Neighbors like each other, speak to each other, care if anybody lives or dies! But none of you do!\" and cries in grief. During the woman's hysterics, the neighbors all rush to their windows to see what has happened, except for Thorwald, whose cigar can be seen glowing as he sits in his dark apartment. Convinced that Thorwald is guilty after all, Jeff has Lisa slip an accusatory note under Thorwald's door so Jeff can watch his reaction when he reads it. Then, as a pretext to get Thorwald away from his apartment, Jeff telephones him and arranges a meeting at a bar. He thinks Thorwald may have buried something in the courtyard flower patch and then killed the dog to keep it from digging it up. When Thorwald leaves, Lisa and Stella dig up the flowers but find nothing.\n", "Lisa then climbs the fire escape to Thorwald's apartment and squeezes in through an open window. When Thorwald returns and grabs Lisa, Jeff calls the police, who arrive in time to save her. With the police present, Jeff sees Lisa with her hands behind her back, wiggling her finger with Mrs. Thorwald's wedding ring on it. Thorwald also sees this, realizes that she is signaling to someone, and notices Jeff across the courtyard.\n", "Jeff phones Doyle, now convinced that Thorwald is guilty of something, and Stella heads for the police station to post bail for Lisa, leaving Jeff alone. He soon realizes that Thorwald is coming to his apartment. When Thorwald enters the apartment and approaches him, Jeff repeatedly sets off his camera flashbulbs, temporarily blinding Thorwald. Thorwald grabs Jeff and pushes him toward the open window as Jeff yells for help. Jeff falls to the ground just as some police officers enter the apartment and others run to catch him.\n", "A few days later, the heat has lifted and Jeff rests peacefully in his wheelchair, now with casts on both legs. The lonely neighbor woman chats with the pianist in his apartment, the dancer's lover returns home from the army, the couple whose dog was killed have a new dog, and the newly married couple are bickering. Lisa reclines on the daybed in Jeff's apartment, appearing to read a book on foreign travel in order to please him. As soon as he is asleep, she puts the book down and happily opens a fashion magazine.\n", "Director Alfred Hitchcock makes his traditional cameo appearance in the songwriter's apartment, where he is seen winding a clock.\n", "The film was shot entirely at Paramount studios, including an enormous set on one of the soundstages. There was also careful use of sound, including natural sounds and music drifting across the apartment building courtyard to James Stewart's apartment. At one point, the voice of Bing Crosby can be heard singing \"To See You Is to Love You\", originally from the 1952 Paramount film Road to Bali. Also heard on the soundtrack are versions of songs popularized earlier in the decade by Nat King Cole (\"Mona Lisa\", 1950) and Dean Martin (\"That's Amore\", 1952), along with segments from Leonard Bernstein's score for Jerome Robbins's ballet Fancy Free (1944), Richard Rodgers's song \"Lover\" (1932), and \"M'appari tutt'amor\" from Friedrich von Flotow's opera Martha (1844), most borrowed from Paramount's music publisher, Famous Music.\n", "Hitchcock used costume designer Edith Head on all of his Paramount films.\n", "Although veteran Hollywood composer Franz Waxman is credited with the score for the film, his contributions were limited to the opening and closing titles and the piano tune (\"Lisa\") played by one of the neighbors, a composer (Ross Bagdasarian), during the film. This was Waxman's final score for Hitchcock. The director used primarily \"diegetic\" sounds\u00a0\u2014 sounds arising from the normal life of the characters\u00a0\u2014 throughout the film.[4]\n", "A \"benefit world premiere\" for the film, with United Nations officials and \"prominent members of the social and entertainment worlds\"[5] in attendance, was held on August 4, 1954 at the Rivoli Theatre in New York City, with proceeds going to the American-Korean Foundation (an aid organization founded soon after the end of the Korean War[6] and headed by President Eisenhower's brother).\n", "The movie was released wide on September 1, 1954.[citation needed]\n", "The movie went on to earn an estimated $5.3 million at the North American box office in 1954.[7]\n", "The film received overwhelmingly positive reviews from critics and is considered one of Hitchcock's finest films. On the website Rotten Tomatoes, the film has been universally praised, garnering a 100% certified fresh rating, based on 61 reviews, with the consensus stating that \"Hitchcock exerted full potential of suspense in this masterpiece.\"\n", "Critic Bosley Crowther of The New York Times attended the benefit premiere, and in his review called the film a \"tense and exciting exercise\"[5] and Hitchcock a director whose work has a \"maximum of build-up to the punch, a maximum of carefully tricked deception and incidents to divert and amuse.\" Crowther also notes: \"Mr. Hitchcock's film is not 'significant.' What it has to say about people and human nature is superficial and glib. But it does expose many facets of the loneliness of city life and it tacitly demonstrates the impulse of morbid curiosity. The purpose of it is sensation, and that it generally provides in the colorfulness of its detail and in the flood of menace toward the end.\"[5]\n", "Time called it \"just possibly the second most entertaining picture (after The 39 Steps) ever made by Alfred Hitchcock\" and a film in which there is \"never an instant\u00a0... when Director Hitchcock is not in minute and masterly control of his material.\"[8] The same review did note \"occasional studied lapses of taste and, more important, the eerie sense a Hitchcock audience has of reacting in a manner so carefully foreseen as to seem practically foreordained.\"[8] Variety called the film \"one of Alfred Hitchcock's better thrillers\" which \"combines technical and artistic skills in a manner that makes this an unusually good piece of murder mystery entertainment.\"[9]\n", "Nearly 30 years after the film's initial release, Roger Ebert reviewed the Universal re-release in October 1983, after Hitchcock's estate was settled. He said the film \"develops such a clean, uncluttered line from beginning to end that we're drawn through it (and into it) effortlessly. The experience is not so much like watching a movie, as like\u00a0... well, like spying on your neighbors. Hitchcock traps us right from the first\u00a0... And because Hitchcock makes us accomplices in Stewart's voyeurism, we're along for the ride. When an enraged man comes bursting through the door to kill Stewart, we can't detach ourselves, because we looked too, and so we share the guilt and in a way we deserve what's coming to him.\"[10]\n", "As of April 2014[update], Rear Window is the 31st highest-rated movie on Internet Movie Database, with an IMDb rating of 8.6/10; it is one place above Hitchcock's 1960 film Psycho, which is also rated 8.6/10.[11]\n", "In his book, Alfred Hitchcock's \"Rear Window\", John Belton addresses the underlying issues of voyeurism, patriarchy and feminism that are evident in the film. He quotes \"Rear Window's story is \"about\" spectacle; it explores the fascination with looking and the attraction of that which is being looked at.\"[12] Generally, Belton's book asserts that there is more to Hitchcock's thriller than initially meets the eye. These issues that society faces today are all more than just present in the film, they are emphasized and strengthened.\n", "The film received four Academy Award nominations: Best Director for Alfred Hitchcock, Best Screenplay for John Michael Hayes, Best Cinematography, Color for Robert Burks, Best Sound Recording for Loren L. Ryder, Paramount Pictures.[13] John Michael Hayes won a 1955 Edgar Award for Best Motion Picture.\n", "In 1997, Rear Window was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\". By this time, the film interested other directors with its theme of voyeurism, and other reworkings of the film soon followed, which included Brian DePalma's 1984 film Body Double and Phillip Noyce's 1993 film Sliver.\n", "Rear Window was restored by the team of Robert A. Harris and James C. Katz for its 1999 limited theatrical re-release (utilizing Technicolor dye-transfer prints for the first time in this title's history) and the Collector's Edition DVD release in 2000.\n", "American Film Institute recognition\n", "Ownership of the copyright in Woolrich's original story was eventually litigated before the United States Supreme Court in Stewart v. Abend, 495 U.S. 207 (1990). The film was copyrighted in 1954 by Patron Inc.\u00a0\u2014 a production company set up by Hitchcock and Stewart. As a result, Stewart and Hitchcock's estate became involved in the Supreme Court case, and Sheldon Abend became a producer of the 1998 remake of Rear Window.\n", "Rear Window is one of several of Hitchcock's films originally released by Paramount Pictures, for which Hitchcock retained the copyright, and which was later acquired by Universal Studios in 1983 from Hitchcock's estate.\n", "Rear Window has been repeatedly re-told, parodied, or referenced.\n", "http://en.wikipedia.org/wiki/The_Third_Man\n", "The Third Man is a 1949 British film noir, directed by Carol Reed and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. It is considered one of the greatest films of all time, celebrated for its atmospheric cinematography, performances, and musical score.[2] Novelist Graham Greene wrote the screenplay and subsequently published the novella of the same name (originally written as preparation for the screenplay). Anton Karas wrote and performed the score, which used only the zither; its title music \"The Third Man Theme\" topped the international music charts in 1950, bringing the then-unknown performer international fame." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "American pulp Western writer Holly Martins (Joseph Cotten) arrives in Allied-occupied Vienna seeking his childhood friend, Harry Lime (Orson Welles), who has offered him a job. Upon arrival he discovers that Lime was killed just days earlier by a speeding car while crossing the street. Martins attends Lime's funeral, where he meets two British Army Police: Sergeant Paine (Bernard Lee), a fan of Martins' pulp fiction, and his superior, Major Calloway (Trevor Howard), who says Lime was a criminal and suggests Martins leave town.\n", "A book club subsequently approaches Martins, requesting that he give a lecture to the club and offering to pay for his lodging. Viewing this as an opportunity to clear Lime's name, Martins decides to remain in Vienna. He encounters Lime's friend, \"Baron\" Kurtz (Ernst Deutsch), who tells Martins that he, along with another mutual friend, Popescu (Siegfried Breuer), carried Lime to the side of the street after the accident. Before dying, Lime asked Baron and Popescu to take care of Martins and Anna Schmidt (Alida Valli), Lime's actress girlfriend.\n", "Beginning to suspect that Lime's death was not an accident, Martins goes to see Anna. She accompanies Martins to question the porter at Lime's apartment building. The porter claims Lime was killed immediately and could not have given instructions before dying. He also states that a third man helped carry the body. Martins berates the porter for not being more forthcoming with the police with what he knows. The police, searching Anna's flat for evidence, find and confiscate her forged passport and detain her.\n", "Martins visits Lime's \"medical adviser\", Dr Winkel (Erich Ponto), who says that he arrived at the accident after Lime was dead, and only two men were present. Later, the porter secretly offers Martins more information but is murdered before their arranged meeting. When Martins arrives, unaware of the murder, a young boy recognises him as having argued with the porter earlier and points this out to the gathering bystanders, who become hostile, then mob-like. Escaping from them, Martins returns to the hotel, and a cab immediately takes him away. He fears the cab will take him to his death, but the cab takes Martins to the book club. From the audience, Popescu asks him about his next book, and Martins retorts that it will be called The Third Man, \"a murder story\" inspired by facts. Popescu tells Martins that he should stick to fiction. Martins sees two thugs approaching and flees.\n", "Calloway again advises Martins to leave Vienna, but Martins refuses and demands that Lime's death be investigated. Calloway reluctantly reveals that Lime was a black marketeer, who greatly diluted penicillin he stole from military hospitals and sold it on the black market, killing many. In postwar Vienna, antibiotics were new and scarce outside military hospitals and commanded a very high price. Calloway's evidence convinces Martins, who agrees to leave.\n", "Martins learns that Anna will be deported to the Soviet sector of Vienna. Upon leaving her apartment, he notices someone watching from a dark doorway; a neighbour's lit window briefly reveals the person to be Lime, who flees, ignoring Martins' calls. Martins summons Calloway, who deduces that Lime has escaped through the sewers. The British police exhume Lime's coffin and discover that the body is that of Joseph Harbin, an orderly who stole penicillin for Lime.\n", "The next day, Martins meets with Lime, and they ride Vienna's Ferris wheel, the Wiener Riesenrad. Lime obliquely threatens Martins, and in a monologue on the insignificance of his victims, reveals the full extent of his ruthlessness. He again offers a job to Martins and leaves. Calloway asks Martins to help lure Lime out to capture him, and Martins agrees, asking for Anna's safe conduct out of Vienna in exchange. However, Anna refuses to leave and remains loyal to Lime. Exasperated, Martins decides to leave but changes his mind after Calloway shows Martins the children who are victims of Lime's diluted penicillin, now dying of meningitis.\n", "Lime arrives at his rendezvous with Martins, but Anna warns Lime. He tries again to escape through the sewers, but the police are there in force. Lime shoots and kills Paine, but Calloway shoots and wounds Lime. Badly injured, Lime drags himself up a ladder to a street grating exit but cannot lift it. Martins picks up Paine's revolver, follows Lime, reaches him, but hesitates. Lime looks at him and nods. A shot is heard. Later, Martins attends Lime's second funeral. At the risk of missing his flight out of Vienna, Martins waits to speak to Anna. She approaches him from considerable distance, but she ignores him and walks past him.\n", "The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with harsh lighting and distorted \"Dutch angle\" camera angles, is a key feature of The Third Man. Combined with the unique theme music, seedy locations, and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical, post-war Vienna at the start of the Cold War. Some critics at the time criticised the film's unusual camera angles. C. A. Lejeune in The Observer described Reed's \"habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted\" as \"most distracting\". American director William Wyler, Reed's close friend, sent him a spirit level, with a note saying, \"Carol, next time you make a picture, just put it on top of the camera, will you?\"[3]\n", "Before writing the screenplay, Graham Greene worked out the atmosphere, characterisation, and mood of the story by writing a novella.[4] He wrote it as a source text for the screenplay and never intended it to be read by the general public, although it was later published with The Fallen Idol.\n", "The narrator in the novella is Major Calloway, which gives the book a slightly different emphasis from that of the screenplay. A small portion of his narration appears in a modified form at the film's beginning in Reed's voice-over: \"I never knew the old Vienna\". Other differences include both Martins' and Lime's nationalities; they are English in the book. Martins' first name is Rollo rather than Holly. Popescu's character is an American called Cooler. Crabbin was a single character in the novella. The screenplay's original draft replaced him with two characters, played by Basil Radford and Naunton Wayne, but ultimately in the film, as in the novella, Crabbin remains a single character.\n", "There is also a difference of ending. The novella's implies that Anna and Martins are about to begin a new life together, in stark contrast to the unmistakable snub by Anna that closes the film. Anna does walk away from Lime's grave in the book, but the text continues:\n", "I watched him striding off on his overgrown legs after the girl. He caught her up and they walked side by side. I don't think he said a word to her: it was like the end of a story except that before they turned out of my sight her hand was through his arm\u00a0\u2014 which is how a story usually begins. He was a very bad shot and a very bad judge of character, but he had a way with Westerns (a trick of tension) and with girls (I wouldn't know what).\n", "During the shooting of the film, the final scene was the subject of a dispute between Greene, who wanted the happy ending of the novella, and Reed and David O. Selznick, who stubbornly refused to end the film on what they felt was an artificially happy note. Greene later wrote: \"One of the very few major disputes between Carol Reed and myself concerned the ending, and he has been proved triumphantly right.\"[5]\n", "Through the years there was occasional speculation that Welles, rather than Reed, was the de facto director of The Third Man. In film scholar Jonathan Rosenbaum's 2007 book Discovering Orson Welles, Rosenbaum calls it a \"popular misconception\",[6] although Rosenbaum did note that the film \"began to echo the Wellesian theme of betrayed male friendship and certain related ideas from Citizen Kane.\"[7] In the final analysis, Rosenbaum writes, \"[Welles] didn't direct anything in the picture; the basics of his shooting and editing style, its music and meaning, are plainly absent. Yet old myths die hard, and some viewers persist in believing otherwise.\"[7] Welles himself fuelled this theory in a 1958 interview, in which he said that he had had an important role in making The Third Man, but that it was a \"delicate matter, because [he] wasn't the producer\".[8] However, in a 1967 interview with Peter Bogdanovich, Welles said that his involvement was minimal: \"It was Carol's picture\".[9] However, Welles did contribute some of the film's best-known dialogue. Bogdanovich also stated in the introduction to the DVD:\n", "However, I think it's important to note that the look of The Third Man\u2014 and, in fact, the whole film\u2014would be unthinkable without Citizen Kane, The Stranger, and The Lady from Shanghai, all of which Orson made in the '40s, and all of which preceded The Third Man. Carol Reed, I think, was definitely influenced by Orson Welles, the director, from the films he had made.[10]\n", "Six weeks of principal photography was shot on location in Vienna,[11] ending on 11 December 1948. Production then moved to the Worton Hall Studios in Isleworth[12] and Shepperton studios near London and was completed in March 1949.[13]\n", "The scenes of Harry Lime in the sewer were shot on location or on sets built at Shepperton; most of the location shots used doubles for Welles.[14] However, Reed claimed that, despite initial reluctance, Welles quickly became enthusiastic, and stayed in Vienna to finish the film.[15] The crew sprayed water on the cobbled streets to make them reflect light at night.[14]\n", "Reed had four different camera units shooting around Vienna for the duration of the production. He worked around the clock, using Benzedrine to stay awake.[16]\n", "In a famous scene, Lime meets with Martins on the Wiener Riesenrad, the large Ferris wheel in the Prater amusement park. Looking down on the people below from his vantage point, Lime compares them to dots, and says that it would be insignificant if one of them or a few of them \"stopped moving, forever\". Back on the ground, he notes:\n", "Welles added this remark \u2013 in the published script, it is in a footnote. Greene wrote in a letter[17] \"What happened was that during the shooting of The Third Man it was found necessary for the timing to insert another sentence.\" Welles apparently said the lines came from \"an old Hungarian play\"\u2014in any event the idea is not original to Welles, acknowledged by the phrase \"what the fellow said\".\n", "The likeliest source is the painter Whistler. In a lecture on art from 1885 (published in Mr Whistler's 'Ten O'Clock' [1888]), he said, \"The Swiss in their mountains\u00a0... What more worthy people!\u00a0... yet, the perverse and scornful [goddess, Art] will have none of it, and the sons of patriots are left with the clock that turns the mill, and the sudden cuckoo, with difficulty restrained in its box! For this was Tell a hero! For this did Gessler die!\" In a 1916 reminiscence,[18] American painter Theodore Wores said that he \"tried to get an acknowledgment from Whistler that San Francisco would some day become a great art center on account of our climatic, scenic and other advantages. 'But environment does not lead to a production of art,' Whistler retorted. 'Consider Switzerland. There the people have everything in the form of natural advantages - mountains, valleys and blue sky. And what have they produced? The cuckoo clock!\"\n", "This is Orson Welles (1993) quotes Welles: \"When the picture came out, the Swiss very nicely pointed out to me that they've never made any cuckoo clocks\",[19] as the clocks are native to the German Black Forest. Writer John McPhee pointed out that when the Borgia flourished in Italy, Switzerland was \"the most powerful and feared military force in Europe\", not the peacefully neutral country that it would later become.[20]\n", "What sort of music it is, whether jaunty or sad, fierce or provoking, it would be hard to reckon; but under its enthrallment, the camera comes into play\u00a0... The unseen zither-player\u00a0... is made to employ his instrument much as the Homeric bard did his lyre.\n", "Anton Karas composed the musical score and played it on the zither. Before the production came to Vienna, Karas was an unknown performer in local Heurigers. According to a November 1949 Time magazine article:[22]\n", "Reed brought Karas to London, where the musician worked with Reed on the score for six weeks.[22] Decades later, film critic Roger Ebert wrote, \"Has there ever been a film where the music more perfectly suited the action than in Carol Reed's The Third Man?\"[23]\n", "As the original British release begins, the voice of director Carol Reed (uncredited) describes post-war Vienna from a racketeer's point of view. The version shown in American cinemas cut eleven minutes of footage[24] and replaced Reed's voice-over with narration by Joseph Cotten as Holly Martins. David O. Selznick instituted the replacement because he did not think American audiences would relate to the seedy tone of the original.[25] Today, Reed's original version appears on American DVDs, in showings on Turner Classic Movies, and in US cinema releases, with the eleven minutes of footage restored. Both the Criterion Collection and Studio Canal DVD releases include a comparison of the two opening monologues.\n", "In the United Kingdom, The Third Man was the most popular movie at the British box office for 1949.[26] In Austria, \"local critics were underwhelmed\",[27] and the film ran for only a few weeks. Still, the Viennese Arbeiter-Zeitung, although critical of a \"not-too-logical plot\", praised the film's \"masterful\" depiction of a \"time out of joint\" and the city's atmosphere of \"insecurity, poverty and post-war immorality\".[28] William Cook, after his 2006 visit to an eight-room museum in Vienna dedicated to the film, wrote \"In Britain it's a thriller about friendship and betrayal. In Vienna it's a tragedy about Austria's troubled relationship with its past.\"[27]\n", "Upon its release in Britain and America, the film received overwhelmingly positive reviews.[29] Time magazine said that the film was \"crammed with cinematic plums that would do the early Hitchcock proud\u2014ingenious twists and turns of plot, subtle detail, full-bodied bit characters, atmospheric backgrounds that become an intrinsic part of the story, a deft commingling of the sinister with the ludicrous, the casual with the bizarre.\"[30] Bosley Crowther, after a prefatory qualification that the film was \"designed [only] to excite and entertain\", wrote that Reed \"brilliantly packaged the whole bag of his cinematic tricks, his whole range of inventive genius for making the camera expound. His eminent gifts for compressing a wealth of suggestion in single shots, for building up agonized tension and popping surprises are fully exercised. His devilishly mischievous humor also runs lightly through the film, touching the darker depressions with little glints of the gay or macabre.\"[31] One very rare exception was the British communist paper Daily Worker (later the Morning Star), which complained that \"no effort is spared to make the Soviet authorities as sinister and unsympathetic as possible.\"[32]\n", "Critics today have hailed the film as a masterpiece. Roger Ebert added the film to his \"Great Movies\" list and wrote, \"Of all the movies that I have seen, this one most completely embodies the romance of going to the movies.\"[33] In a special episode of Siskel & Ebert in 1994 discussing movie villains, Ebert named Lime as his favourite movie villain. Gene Siskel remarked that it was an \"exemplary piece of moviemaking, highlighting the ruins of WWII and juxtaposing it with the characters' own damaged histories\". James Berardinelli has also praised the film, calling the film a \"must-see\" for lovers of film noir.\n", "\"The Third Man Theme\" was released as a single in 1949/50 (Decca in the UK, London Records in the US). It became a best-seller; by November 1949, 300,000 records had been sold in Britain, with the teen-aged Princess Margaret a reported fan.[22] Following its release in the US in 1950 (see 1950 in music), \"The Third Man Theme\" spent eleven weeks at number one on Billboard\u200a'\u200bs US Best Sellers in Stores chart, from 29 April to 8 July.[34] The exposure made Anton Karas an international star,[35] and the trailer for the film stated that \"the famous musical score by Anton Karas\" would have the audience \"in a dither with his zither\".[36][37]\n", "The Third Man won the 1949 Grand Prix at the Cannes Film Festival,[38] the British Academy Award for Best Film, and an Academy Award for Best Black and White Cinematography in 1950.\n", "In 1999, the British Film Institute selected The Third Man as the best British film of the 20th century. Five years later, the magazine Total Film ranked it fourth. In 2005, viewers of BBC Television's Newsnight Review voted the film their fourth favourite of all time, the only film in the top five made before 1970.\n", "The film also placed 57th on the American Film Institute's list of top American films in 1998, though the film's only American connections were its executive co-producer David O. Selznick and its actors Orson Welles and Joseph Cotten. The other two executive co-producers, Sir Alexander Korda and Carol Reed, were Hungarian and British, respectively. In June 2008, the American Film Institute (AFI) revealed its 10 Top 10\u2014the best ten films in ten \"classic\" American film genres\u2014after polling over 1,500 people from the creative community. The Third Man was acknowledged as the fifth best film in the mystery genre.[39] The film also made the following AFI lists:\n", "In the United Kingdom, the films of this vintage are copyright protected as a dramatic works until seventy years after the end of the year in which that last \"principal author\" died. The principal authors are generally the writer/s, director/s, or composer/s of original work, and since in the case of The Third Man Green Greene died in 1991, the film is protected until the end of 2061.\n", "This film lapsed into public domain in the United States when the copyright was not renewed after David Selznick's death. In 1996, the Uruguay Round Agreements Act[40] restored the film's US copyright protection to StudioCanal Image UK Ltd. The Criterion Collection released a digitally restored DVD of the original British print of the film. In 2008, Criterion released a Blu-ray edition,[41] now out of print, and in September 2010, Lions Gate reissued the film on Blu-ray.[36]\n", "On 18 January 2012, the US Supreme Court ruled that the copyright clause of the American Constitution does not prevent the US from meeting its treaty obligations towards copyright \u00adprotection for foreign works. Following the ruling, notable films such as The Third Man and The 39 Steps were taken back out of the public domain and became fully protected under American copyright law.[42] Under current US copyright law, The Third Man remains under copyright until 1 January 2045.[40]\n", "Joseph Cotten reprised his role as Holly Martins in the one-hour Theater Guild on the Air radio adaptation of The Third Man on 7 January 1951. The Third Man was also adapted as a one-hour radio play on two broadcasts of Lux Radio Theater: on 9 April 1951 with Joseph Cotten reprising his role and on 8 February 1954 with Ray Milland as Martins.\n", "A British radio drama series, The Adventures of Harry Lime (broadcast in the US as The Lives of Harry Lime), created as a \"prequel\" to the film, centres on Lime's adventures prior to his \"death in Vienna\", and Welles reprises his role as Lime. Fifty-two episodes aired in 1951 and 1952, several of which Welles wrote, including \"Ticket to Tangiers\", which is included on the Criterion Collection and Studio Canal releases of The Third Man. Recordings of the 1952 episodes \"Man of Mystery\", \"Murder on the Riviera\", and \"Blackmail is a Nasty Word\" are also included on the Criterion Collection DVD The Complete Mr. Arkadin.\n", "A television spin-off starring Michael Rennie as Harry Lime ran for five seasons beginning in 1959. Seventy-seven episodes were filmed, and the directors included Paul Henreid (10 episodes) and Arthur Hiller (six episodes). Jonathan Harris played sidekick Bradford Webster for 72 episodes, and Roger Moore guest starred in the instalment \"The Angry Young Man\", which Hiller directed.\n", "http://en.wikipedia.org/wiki/North_by_Northwest\n", "North by Northwest is a 1959 American spy thriller film directed by Alfred Hitchcock and starring Cary Grant, Eva Marie Saint and James Mason. The screenplay was written by Ernest Lehman, who wanted to write \"the Hitchcock picture to end all Hitchcock pictures\".[2]" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "North by Northwest is a tale of mistaken identity, with an innocent man pursued across the United States by agents of a mysterious organization who want to stop his interference in their plans to smuggle out microfilm containing government secrets.\n", "This is one of several Hitchcock films with a music score by Bernard Herrmann and features a memorable opening title sequence by graphic designer Saul Bass. This film is generally cited as the first to feature extended use of kinetic typography in its opening credits.[3]\n", "\n", "\n", "Advertising executive Roger O. Thornhill (Cary Grant) is mistaken for \"George Kaplan\" and kidnapped by Valerian (Adam Williams) and Licht (Robert Ellenstein). The two take him to the Long Island estate of Lester Townsend. There he is interrogated by a man he assumes to be Townsend, but who is actually spy Phillip Vandamm (James Mason). He reads out Kaplan's planned hotel itinerary to Thornhill, hoping to lure him into admitting he is indeed Kaplan. When Thornhill insists on his identity, Vandamm's \"associate\" Leonard (Martin Landau) intends to get rid of him. Thornhill is forced to drink bourbon to stage a driving accident, but manages to escape. He is unable to get the authorities or even his mother (Jessie Royce Landis) to believe what happened, especially when \"Mrs. Townsend\" (at the end of the film revealed to have been impersonated by Vandamm's sister) is questioned at the Townsend residence, stating that Thornhill got drunk at her dinner party. She also remarks that Townsend is a United Nations diplomat.\n", "Thornhill and his mother go to Kaplan's hotel room. While there, Thornhill answers the phone; it is one of Vandamm's henchmen. Narrowly avoiding recapture, he goes to the U.N. General Assembly building to try to meet Townsend but finds that the diplomat is an innocent stranger, whose identity and house has been used by Vandamm. Valerian throws a knife into Townsend's back, and the diplomat falls dead into Thornhill's arms. Without thinking, Thornhill removes the knife, making it appear that he is the killer. He is forced to flee.\n", "Knowing that Kaplan has a reservation at a Chicago hotel the next day, Thornhill sneaks onto the 20th Century Limited. He meets Eve Kendall (Eva Marie Saint), who hides Thornhill from policemen searching the train. Unknown to Thornhill, Eve is working with Vandamm and Leonard, who are in another compartment with Valerian. In Chicago, Kendall proposes to Thornhill to contact Kaplan for setting up a meeting, to which he agrees. In reality she calls Leonard, who instructs Kendall to tell Thornhill he is to meet Kaplan at a remote countryside location.\n", "Thornhill travels by bus to an isolated crossroads with flat countryside all around. Another man (Malcolm Atterbury) is dropped off at the bus stop, but he eventually leaves on another bus. Then a crop duster goes into a dive toward Thornhill, narrowly missing him. He hides in a cornfield after the plane fires at him with an automatic weapon. The airplane dusts the field with pesticide, forcing him out. Desperate, he steps in front of a speeding tank truck, which stops barely in time. The airplane, having initiated another dive on Thornhill only to be blinded by its own pesticide cloud, crashes into the tanker.\n", "Learning that Kaplan had already checked out before Kendall claimed to have talked to him over the phone, Thornhill goes to Kendall's room. While he is cleaning up, she leaves. From the impression of a message written on a notepad, he learns her destination: an art auction. There, he finds Vandamm, Leonard, and Kendall. Vandamm purchases a Tarascan statue and departs. Thornhill tries to follow, only to find the exits covered by Valerian and Leonard. Trapped, he places nonsensical bids so that the police will be called to escort him away. Thornhill identifies himself as the fugitive wanted for Townsend's murder and demands to be jailed, but the arresting officers clandestinely take him to the Professor (Leo G. Carroll) instead. The Professor reveals that Kaplan does not exist. He was invented to distract Vandamm from the real government agent: Kendall. As he has inadvertently put Kendall's life in danger, Thornhill agrees to help maintain her cover.\n", "At the Mount Rushmore visitor center the following day, Thornhill poses as Kaplan to negotiate Vandamm's turn over of Kendall for her prosecution as a spy. The deal is derailed when \"Kaplan\" confronts Kendall; she fires a handgun (later revealed to have been loaded with blanks) at him and flees. Paramedics load Thornhill in an ambulance then secret him to a forest where he gets out of the ambulance uninjured. Thornhill and Kendall have a romantic goodbye in the forest, but Thornhill discovers she must not only return undercover, but go with Phillipp Vandamm and Leonard on a plane to rendezvous \"over there\". The Professor has his driver stop Thornhill from preventing Kendall from returning, but Thornhill evades the Professor's custody and is able to find Vandamm's lair to rescue Kendall.\n", "At Vandamm's house Thornhill overhears that the sculpture holds microfilm and that Leonard knew Kendall's gun was loaded with blanks, and reveals such to Vandamm. Thornhill is able to inform Kendall they plan to kill her, but is eventually held at gun point by the stooging maid. His subsequent escape from the house provides a distraction for Kendall at the airplane to take the sculpture and run to Thornhill. While being chased through the forest by Leonard and Valerian, Thornhill and Kendall realize they are on top of Mount Rushmore and climb down the mountain sculpture to escape. Thornhill fights Valerian, who drops from the cliff at the end of the fight, but Leonard pushes Kendall who is able to hold on while hanging over the side. While Thornhill reaches down, holds her to pull her up, and is holding on with the other hand to prevent from going over the cliff, Leonard stamps on Thornhill's hand to force both off the cliff. Leonard is killed by a gunshot at the summit from park ranger in a group including the Professor and the captured Vandamm. Later, Thornhill invites \"Mrs. Thornhill\" (Kendall) onto the top cabin bunk of a train that then enters a tunnel.\n", "Hitchcock's cameo appearances are a signature occurrence in most of his films. In North by Northwest, he is seen getting a bus door slammed in his face, literally just as his credit is appearing on the screen.[4] There has been some speculation as to whether he made one of his rare second appearances, this time at around the 44 minute mark in drag.[5]\n", "MGM wanted Cyd Charisse for the role played by Eva Marie Saint. Hitchcock stood by his choice.[6]\n", "John Russell Taylor's official biography of Hitchcock, Hitch: The Life and Times of Alfred Hitchcock (1978), suggests that the story originated after a spell of writer's block during the scripting of another film project:\n", "Alfred Hitchcock had agreed to do a film for MGM, and they had chosen an adaptation of the novel The Wreck of the Mary Deare by Hammond Innes. Composer Bernard Herrmann had recommended that Hitchcock work with his friend Ernest Lehman. After a couple of weeks, Lehman offered to quit saying he didn't know what to do with the story. Hitchcock told him they got along great together and they would just write something else. Lehman said that he wanted to make the ultimate Hitchcock film. Hitchcock thought for a moment then said he had always wanted to do a chase across Mount Rushmore.\n", "Lehman and Hitchcock spitballed more ideas: a murder at the United Nations Headquarters; a murder at a car plant in Detroit; a final showdown in Alaska. Eventually they settled on the U.N. murder for the opening and the chase across Mount Rushmore for the climax.\n", "For the central idea, Hitchcock remembered something an American journalist had told him about spies creating a fake agent as a decoy. Perhaps their hero could be mistaken for this fictitious agent and end up on the run. They bought the idea from the journalist for $10,000.\n", "Lehman would sometimes repeat this story himself, as in the documentary Destination Hitchcock that accompanied the 2001 DVD release of the film. In his 2000 book Which Lie Did I Tell?, screenwriter William Goldman, commenting on the film, insists that it was Lehman who created North by Northwest and that many of Hitchcock's ideas were not used. Hitchcock had the idea of the hero being stranded in the middle of nowhere, but suggested the villains try to kill him with a tornado.[7] Lehman responded, \"but they're trying to kill him. How are they going to work up a cyclone?\" Then, as he told an interviewer; \"I just can't tell you who said what to whom, but somewhere during that afternoon, the cyclone in the sky became the crop-duster plane.\"[7]\n", "In fact, Hitchcock had been working on the story for nearly nine years prior to meeting Lehman. The \"American journalist\" who had the idea that influenced the director was Otis C. Guernsey, a respected reporter who was inspired by a true story during World War II when a couple of British secretaries created a fictitious agent and watched as the Germans wasted time following him around. Guernsey turned his idea into a story about an American traveling salesman who travels to the Middle East and is mistaken for a fictitious agent, becoming \"saddled with a romantic and dangerous identity.\" Guernsey admitted that his treatment was full of \"corn\" and \"lacking logic.\" He urged Hitchcock to do what he liked with the story. Hitchcock bought the sixty pages for $10,000.\n", "Hitchcock often told journalists of an idea he had about Cary Grant hiding out from the villains inside Abraham Lincoln's nose and being given away when he sneezes. He speculated that the film could be called \"The Man in Lincoln's Nose\" (Lehman's version is that it was \"The Man on Lincoln's Nose\"[8]) or even \"The Man who Sneezed in Lincoln's Nose,\" though he probably felt the latter was insulting to his adopted America. Hitchcock sat on the idea, waiting for the right screenwriter to develop it. At one stage \"The Man in Lincoln's Nose\" was touted as a collaboration with John Michael Hayes. When Lehman came on board, the traveling salesman \u2013 which had previously been suited to James Stewart \u2013 was adapted to a Madison Avenue advertising executive, a position which Lehman had formerly held. In an interview in the book Screenwriters on Screenwriting (1995), Lehman stated that he had already written much of the screenplay before coming up with critical elements of the climax.[9]\n", "This was the only Hitchcock film released by MGM. It is owned by Turner Entertainment \u2013 since 1996 a division of Warner Bros. \u2013 which owns the pre-1986 MGM library.\n", "At Hitchcock's insistence, the film was made in Paramount's VistaVision widescreen process, making it one of only two VistaVision films made at MGM (the other was High Society.)[10]\n", "The car chase scene in which Thornhill is drunkenly careening along the edge of cliffs high above the ocean, supposedly on Long Island, was actually shot on the California coast, and in Griffith Park in Los Angeles, according to DVD audio commentary.\n", "The cropduster sequence, meant to take place in northern Indiana, was shot on location on Garces Highway (155) near the towns of Wasco and Delano, north of Bakersfield in Kern County, California (35\u00b045\u203239\u2033N 119\u00b033\u203241\u2033W\ufeff / \ufeff35.76083\u00b0N 119.56139\u00b0W\ufeff / 35.76083; -119.56139).[11] Years later, in a show at the Pompidou Center called \"Hitchcock and Art: Fatal Coincidences\", an aerial shot of Grant in the cornfield, with a \"road cutting straight through the cornrows to the edge of the screen\", was said to draw on L\u00e9on Spilliaert's \"Le Paquebot ou L'Estran\", which features \"alternating strips of sand and ocean blue bands stretch[ed] to the edge of the canvas.\"[12]\n", "The aircraft seen flying in the scene is a Naval Aircraft Factory N3N Canary, a World War II Navy pilot trainer sometimes converted for cropdusting.[13] The aircraft that hits the truck and explodes is a wartime Stearman (Boeing Model 75) trainer. Like its N3N lookalike, many were used for agricultural purposes through the 1970s. The plane was piloted by Bob Coe, a local cropduster from Wasco.[14] Hitchcock placed replicas of square Indiana highway signs in the scene. In an extensive list of \"1001 Greatest Movie Moments\" of all time, the British film magazine Empire in its August 2009 issue ranked the cropduster scene as the best.[15]\n", "The house at the end of the film was not real. Hitchcock asked the set designers to make the set resemble a house by Frank Lloyd Wright, the most popular architect in America at the time, using the materials, form and interiors associated with him.[16] The set was built in Culver City, where MGM's studios were located. House exteriors were matte paintings.[17]\n", "A panel of fashion experts convened by GQ in 2006 said the gray suit worn by Cary Grant throughout almost the entire film was the best suit in film history, and the most influential on men's style, stating that it has since been copied for Tom Cruise's character in Collateral and Ben Affleck's character in Paycheck.[18] This sentiment has been echoed by writer Todd McEwen, who called it \"gorgeous,\" and wrote a short story \"Cary Grant's Suit\" which recounts the film's plot from the viewpoint of the suit.[19] There is some disagreement as to who tailored the suit; according to Vanity Fair magazine, it was Norton & Sons of London,[20] although according to The Independent it was Quintino of Beverly Hills.[21]\n", "Eva Marie Saint's wardrobe for the film was originally entirely chosen by MGM. Hitchcock disliked MGM's selections and the actress and director went to Bergdorf Goodman in New York to select what she would wear.[22]\n", "In Fran\u00e7ois Truffaut's book-length interview, Hitchcock/Truffaut (1967), Hitchcock said that MGM wanted North by Northwest cut by 15 minutes so the film's length would run under two hours. Hitchcock had his agent check his contract, learned that he had absolute control over the final cut, and refused.[23]\n", "One of Eva Marie Saint's lines in the dining-car seduction scene was redubbed. She originally said \"I never make love on an empty stomach\", but it was changed in post-production to \"I never discuss love on an empty stomach\", as the censors considered the original version too risqu\u00e9.[24]\n", "The trailer for North by Northwest features Hitchcock presenting himself as the owner of Alfred Hitchcock Travel Agency and telling the viewer he has made a motion picture to advertise these wonderful vacation stops.[25]\n", "The world premiere took place at the San Sebasti\u00e1n Film Festival.[citation needed]\n", "Time magazine called the film \"smoothly troweled and thoroughly entertaining.\"[26] A. H. Weiler of The New York Times made it a \"Critic's Pick\" and said it was the \"year's most scenic, intriguing and merriest chase\"; Weiler complimented the two leads:\n", "Cary Grant, a veteran member of the Hitchcock acting varsity, was never more at home than in this role of the advertising-man-on-the-lam. He handles the grimaces, the surprised look, the quick smile, ... and all the derring-do with professional aplomb and grace, In casting Eva Marie Saint as his romantic vis-\u00e0-vis, Mr. Hitchcock has plumbed some talents not shown by the actress heretofore. Although she is seemingly a hard, designing type, she also emerges both the sweet heroine and a glamorous charmer.[27]\n", "During its two-week run at Radio City Music Hall, the film grossed $404,056, setting a record in that theater's non-holiday gross.[28]\n", "According to MGM records the film earned $5,740,000 in the US and Canada and $4.1 million elsewhere, resulting in a profit of $837,000.[1]\n", "The London edition of Time Out magazine, reviewing the film nearly a half-century after its initial release, commented:\n", "Fifty years on, you could say that Hitchcock's sleek, wry, paranoid thriller caught the zeitgeist perfectly: Cold War shadiness, secret agents of power, urbane modernism, the ant-like bustle of city life, and a hint of dread behind the sharp suits of affluence. Cary Grant's Roger Thornhill, the film's sharply dressed ad exec who is sucked into a vortex of mistaken identity, certainly wouldn't be out of place in Mad Men. But there's nothing dated about this perfect storm of talent, from Hitchcock and Grant to writer Ernest Lehman (Sweet Smell of Success), co-stars James Mason and Eva Marie Saint, composer Bernard Herrmann and even designer Saul Bass, whose opening-credits sequence still manages to send a shiver down the spine.[29]\n", "Author and journalist Nick Clooney praised Lehman's original story and sophisticated dialogue, calling the film \"certainly Alfred Hitchcock's most stylish thriller, if not his best\".[30]\n", "North by Northwest currently holds a 100% approval rating on the review aggregator Rotten Tomatoes, based on 61 reviews. The site's consensus calls the film \"Gripping, suspenseful and visually iconic\" and claims it \"laid the groundwork for countless action thrillers to follow\".[31]\n", "The film ranks at number 98 in Empire magazine's list of the 500 Greatest Films of All Time.[32] The Writers Guild of America ranked the screenplay #21 on its list of 101 Greatest Screenplays ever written.[33] It is ranked as the 40th \"greatest film\" of all time by the American Film Institute.[34]\n", "Hitchcock planned the film as a change of pace after his dark romantic thriller Vertigo a year earlier. In his book-length interview Hitchcock/Truffaut (1967) with Fran\u00e7ois Truffaut, Hitchcock said that he wanted to do \"something fun, light-hearted, and generally free of the symbolism permeating his other movies.\"[35] Writer Ernest Lehman has also mocked those who look for symbolism in the film.[36] Despite its popular appeal, the film is considered to be a masterpiece for its themes of deception, mistaken identity, and moral relativism in the Cold War era.\n", "The title North by Northwest is a subject of debate. Many have seen it[citation needed] as having been taken from a line (\"I am but mad north-north-west: when the wind is southerly I know a hawk from a handsaw.\") in Hamlet, a work also concerned with the shifty nature of reality.[37] Hitchcock noted, in an interview with Peter Bogdanovich in 1963, \"It's a fantasy. The whole film is epitomized in the title\u2014there is no such thing as north-by-northwest on the compass.\"[38] Lehman states that he used a working title for the film of \"In a Northwesterly Direction,\" because the film's action was to begin in New York and climax in Alaska.[8] Then the head of the story department at MGM suggested \"North by Northwest,\" but this was still to be a working title.[8] Other titles were considered, including \"The Man on Lincoln's Nose,\" but \"North by Northwest\" was kept because, according to Lehman, \"We never did find a [better] title.\"[8] The Northwest Airlines reference in the film plays on the title.\n", "The film's plot involves a \"MacGuffin\", a term popularized by Hitchcock: a physical object that everyone in the film is chasing but which has no deep relationship to the plot. Late in North by Northwest, it emerges that the spies are attempting to smuggle microfilm containing government secrets out of the country. They have been trying to kill Thornhill, whom they believe to be the agent on their trail, 'George Kaplan'.\n", "North by Northwest has been referred to as \"the first James Bond film\"[39] due to its similarities with splashily colorful settings, secret agents, and an elegant, daring, wisecracking leading man opposite a sinister yet strangely charming villain. The crop duster scene inspired the helicopter chase in From Russia with Love.[40]\n", "The film's final shot \u2013 that of the train speeding into a tunnel during a romantic embrace onboard \u2013 is a famous bit of self-conscious Freudian symbolism reflecting Hitchcock's mischievous sense of humor. In the book Hitchcock / Truffaut (p.\u00a0107-108), Hitchcock called it a \"phallic symbol... probably one of the most impudent shots I ever made.\"\n", "North by Northwest was released on the Blu-ray Disc format in the United States on November 3, 2009 by Warner Bros. with a 1080p VC-1 encoding.[41][42] This release is a special 50th anniversary edition. A 50th anniversary edition on DVD was also released by Warner Bros.[43]\n", "North by Northwest was nominated for three Academy Awards for Best Film Editing (George Tomasini), Best Production Design (William A. Horning, Robert F. Boyle, Merrill Pye, Henry Grace, Frank McKelvy), and Best Original Screenplay (Ernest Lehman) at the 32nd Academy Awards ceremony.[44] Two of the three awards went instead to Ben-Hur, and the other went to Pillow Talk. The film also won a 1960 Edgar Award for Best Motion Picture Screenplay, for Lehman.\n", "In 1995, North by Northwest was selected for preservation in the National Film Registry by the United States Library of Congress as being \"culturally, historically, or aesthetically significant.\"\n", "In June 2008, the AFI revealed its \"Ten top Ten\" \u2013 the best ten films in ten \"classic\" American film genres \u2013 after polling over 1,500 people from the creative community. North by Northwest was acknowledged as the seventh-best film in the mystery genre.[45]\n", "American Film Institute recognition[45]\n", "The film's title is reported to have been the influence for the name of the popular annual live music festival South by Southwest in Austin, Texas, started in 1987, with the name idea coming from Louis Black, editor and co-founder of the local alternative weekly The Austin Chronicle, as a play on the Hitchcock film title.[46]\n", "The third episode of the Doctor Who serial \"The Deadly Assassin\" includes an homage to North by Northwest, when the Doctor, who like Hitchcock's hero is falsely accused of a politically motivated murder, is attacked by gunfire from a biplane piloted by one of his enemy's henchmen.[47]\n", "http://en.wikipedia.org/wiki/Yankee_Doodle_Dandy\n", "Yankee Doodle Dandy is a 1942 American biographical musical film about George M. Cohan, known as \"The Man Who Owned Broadway\".[2] It stars James Cagney, Joan Leslie, Walter Huston, and Richard Whorf, and features Irene Manning, George Tobias, Rosemary DeCamp, Jeanne Cagney, and Vera Lewis. Joan Leslie's singing voice partially dubbed by Sally Sweetland." ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "The movie was written by Robert Buckner and Edmund Joseph, and directed by Michael Curtiz. According to the special edition DVD, significant and uncredited improvements were made to the script by the famous \"script doctors,\" twin brothers Julius J. Epstein and Philip G. Epstein.\n", "\n", "\n", "Cagney was a fitting choice for the role of Cohan since, like Cohan, he was an Irish-American who had been a song-and-dance man early in his career. His unique and seemingly odd presentation style, of half-singing and half-reciting the songs, reflected the style that Cohan himself used. His natural dance style and physique were also a good match for Cohan. Newspapers at the time reported that Cagney intended to consciously imitate Cohan's song-and-dance style, but to play the normal part of the acting in his own style. Although director Curtiz was famous for being a taskmaster, he also gave his actors some latitude, and Cagney and other players improvised a number of \"bits of business,\" as Cagney called them.\n", "Although a number of the biographical particulars of the movie are Hollywood-ized fiction (omitting the fact that Cohan divorced and remarried, for example, and taking some liberties with the chronology of Cohan's life and the order of his parents' deaths), care was taken to make the sets, costumes and dance steps match the original stage presentations. This effort was aided significantly by a former associate of Cohan's, Jack Boyle, who knew the original productions well. Boyle also appeared in the film in some of the dancing groups.\n", "Cohan is shown performing as a singing and dancing version of President Franklin D. Roosevelt. The reality of Roosevelt's confinement to a wheelchair due to polio was kept from the general public at the time. In the film, Roosevelt never leaves his chair when meeting Cohan.\n", "The movie poster for this film was the first ever produced by noted poster designer Bill Gold. This movie also has an inside joke about movies: when Cohan \"retires\" in the 1930s and several teenagers (who know nothing about his career) ask him if he had ever been in the movies, he remarks that he had been an actor in the \"legitimate theater.\"\n", "Cohan himself served as a consultant during the production of the film. Due to his failing health, his actual involvement in the film was rather limited. However, Cohan did see the film before he died (from cancer) and approved of Cagney's portrayal.[3]\n", "In the early days of World War II, Cohan comes out of retirement to star as President Roosevelt in the Rodgers and Hart musical I'd Rather Be Right. On the first night, he is summoned to meet the President at the White House, who presents him with a Congressional Gold Medal (in fact, this happened several years previously). Cohan is overcome and chats with Roosevelt, recalling his early days on the stage. The film flashes back to his supposed birth on July 4, whilst his father is performing on the vaudeville stage.\n", "Cohan and his sister join the family act as soon as they can learn to dance, and soon The Four Cohans are performing successfully. But George gets too cocky as he grows up and is blacklisted by theatrical producers for being troublesome. He leaves the act and hawks his songs unsuccessfully around producers. In partnership with another struggling writer, Sam Harris, he finally interests a producer and they are on the road to success. He also marries Mary, a young singer/dancer.\n", "As his star ascends, he persuades his now struggling parents to join his act, eventually vesting some of his valuable theatrical properties in their name.\n", "Cohan retires, but returns to the stage several times, culminating in the role of the U.S. President. As he leaves the White House, he performs a dance step down the stairs (which Cagney thought up before the scene was filmed and performed with no rehearsal). Outside, he joins a military parade, where the soldiers are singing \"Over There\". Not knowing that Cohan is the song's composer, they jokingly invite him to join in, which he does.\n", "Cast notes:\n", "1. \"Overture\" - Played by Orchestra behind titles.\n", "2. \"Keep Your Eyes Upon Me (The Dancing Master)\" - Sung and Danced by Walter Huston, then Sung and Danced by Henry Blair.\n", "3. \"While Strolling Through the Park One Day\" - Sung and Danced by Jo Ann Marlowe.\n", "4. \"At a Georgia Camp Meeting\" - Danced by James Cagney, Walter Huston, Rosemary DeCamp and Jeanne Cagney.\n", "5. \"I Was Born in Virginia\" - Sung and Danced by James Cagney, Jeanne Cagney, Walter Huston and Rosemary DeCamp.\n", "6. \"The Warmest Baby in the Bunch\" - Sung and Danced by Joan Leslie (dubbed by Sally Sweetland).\n", "7. \"Harrigan\" - Sung and Danced by James Cagney and Joan Leslie.\n", "8. \"The Yankee Doodle Boy\" - Sung and Danced by James Cagney, Joan Leslie (dubbed by Sally Sweetland) and Chorus.\n", "9. \"Oh You Wonderful Girl / Blue Skies, Gray Skies / The Belle of the Barbers' Ball\" - Sung by James Cagney, Jeanne Cagney, Walter Huston and Rosemary DeCamp.\n", "10. \"Mary's a Grand Old Name\" - Sung by Joan Leslie (dubbed by Sally Sweetland).\n", "11. \"Forty-Five Minutes from Broadway\" - Sung by James Cagney.\n", "12. \"Mary's a Grand Old Name\" (reprise 1) - Sung by Joan Leslie (dubbed by Sally Sweetland).\n", "13. \"Mary's a Grand Old Name\" (reprise 2) - Sung by Irene Manning.\n", "14. \"Forty-Five Minutes from Broadway / So Long, Mary\" - Sung by Irene Manning and Chorus.\n", "15. \"You're a Grand Old Flag\" - Performed by James Cagney and Chorus.\n", "16. \"Like the Wandering Minstrel\" - Sung by James Cagney and Chorus.\n", "17. \"Over There\" - Sung by Frances Langford, James Cagney and Chorus.\n", "18. \"A George M. Cohan Potpouri\" - Sung by Frances Langford.\n", "19. \"Off the Record\" - Performed by James Cagney.\n", "20. \"Over There\" - Sung by James Cagney and Chorus.\n", "21. \"The Yankee Doodle Boy\" - Played by Orchestra behind end credits.\n", "The film nearly doubled the earnings of Captains of the Clouds, Cagney's previous effort, bringing in more than $6 million in rentals to Warner Bros. This made it the biggest box office success in the company's history up to that time. The star earned his contractual $150,000 salary and nearly half a million dollars in profit sharing.[10] According to Variety magazine, the film earned $4.8 million in theatrical rentals through its North American release.[11]\n", "The film won Academy Awards for Best Actor in a Leading Role (James Cagney), Best Music, Scoring of a Musical Picture and Best Sound, Recording (Nathan Levinson). It was nominated for Best Actor in a Supporting Role (Walter Huston), Best Director, Best Film Editing for George Amy, Best Picture and Best Writing, Original Story.[12] In 1993, Yankee Doodle Dandy was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".\n", "American Film Institute recognition\n", "A popular myth about this movie, or at least a stretching of the truth, was that it was written in response to accusations that James Cagney was a Communist. Supposedly, Cagney learned that he was in danger of being blacklisted for having Communist sympathies, so he decided to make the most patriotic movie he possibly could and thus clear his name. This myth has its chronology a bit askew, as the McCarthy Era did not begin until the early 1950s. Also, the Second Red Scare did not begin until the late 1940s, well after the film was made. In other versions of this legend, either Robert Buckner or Edmund Joseph were the accused. Cagney was, however, accused of being a Communist in a California grand jury trial in 1940, and this may have had an influence on the story.[13]\n", "The DVD specials discuss this story in some detail. Congressman Martin Dies was investigating possible Communist influence in Hollywood in 1940; he in fact had a cordial meeting with Cagney. The actor reassured him that, although he was a liberal and supported Roosevelt's New Deal, he was also a patriot who had nothing to do with Communism. That was the end of it, except that Cagney's producer-brother William saw the Cohan story as a good opportunity to dispel any possible concerns about Cagney's loyalty. It was not written in response to the Dies investigation, as Cohan himself had been shopping his own story around for a while before Jack Warner bought the rights, and Cohan retained final approval on all aspects of the film.\n", "As the DVD also points out, production on the film was just a few days old when the Attack on Pearl Harbor occurred. The film's cast and crew resolved to make an uplifting, patriotic film. It was timed to open around Memorial Day in 1942, and was regarded as having achieved its goal in grand fashion.\n", "Yankee Doodle Dandy was adapted as a radio play on the October 19, 1942 broadcast of The Screen Guild Theater, starring James Cagney with Rita Hayworth and Betty Grable.\n", "In 1986, Yankee Doodle Dandy was the first computer-colorized film released by entrepreneur Ted Turner.\n" ] } ], "prompt_number": 43 }, { "cell_type": "code", "collapsed": false, "input": [ "len(synopses_wiki_plot)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 150, "text": [ "2" ] } ], "prompt_number": 150 }, { "cell_type": "code", "collapsed": false, "input": [ "# note that the last film, Yankee Doodle Dandee, has no synopsis. This is film 100.\n", "\n", "synopses_imdb = []\n", "\n", "for i in links:\n", " print \"http://www.imdb.com\" + str(i) + \"synopsis?ref_=tt_stry_pl\"\n", " request = urllib2.Request(\"http://www.imdb.com\" + str(i) + \"synopsis?ref_=tt_stry_pl\")\n", " response = urllib2.urlopen(request)\n", " soup = BeautifulSoup(response, \"html.parser\")\n", " \n", " for div in soup.findAll('div', {'id': 'swiki.2.1'}):\n", " print div.text\n", " synopses_imdb.append(div.text)" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "http://www.imdb.com/title/tt0068646/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In late summer 1945, guests are gathered for the wedding reception of Don Vito Corleone's daughter Connie (Talia Shire) and Carlo Rizzi (Gianni Russo). Vito (Marlon Brando), the head of the Corleone Mafia family, is known to friends and associates as \"Godfather.\" He and Tom Hagen (Robert Duvall), the Corleone family lawyer, are hearing requests for favors because, according to Italian tradition, \"no Sicilian can refuse a request on his daughter's wedding day.\" One of the men who asks the Don for a favor is Amerigo Bonasera, a successful mortician and acquaintance of the Don, whose daughter was brutally beaten by two young men because she refused their advances; the men received minimal punishment. The Don is disappointed in Bonasera, who'd avoided most contact with the Don due to Corleone's nefarious business dealings. The Don's wife is godmother to Bonasera's shamed daughter, a relationship the Don uses to extract new loyalty from the undertaker. The Don agrees to have his men punish the young men responsible.Meanwhile, the Don's youngest son Michael (Al Pacino), a decorated Marine hero returning from World War II service, arrives at the wedding and tells his girlfriend Kay Adams (Diane Keaton) anecdotes about his family, informing her about his father's criminal life; he reassures her that he is different from his family and doesn't plan to join them in their criminal dealings. The wedding scene serves as critical exposition for the remainder of the film, as Michael introduces the main characters to Kay. Fredo (John Cazale), Michael's next older brother, is a bit dim-witted and quite drunk by the time he finds Michael at the party. Sonny (James Caan), the Don's eldest child and next in line to become Don upon his father's retirement, is married but he is a hot-tempered philanderer who sneaks into a bedroom to have sex with one of Connie's bridesmaids, Lucy Mancini (Jeannie Linero). Tom Hagen is not related to the family by blood but is considered one of the Don's sons because he was homeless when he befriended Sonny in the Little Italy neighborhood of Manhattan and the Don took him in. Now a talented attorney, Tom is being groomed for the important position of consigliere (counselor) to the Don, despite his non-Sicilian heritage.Also among the guests at the celebration is the famous singer Johnny Fontane (Al Martino), Corleone's godson, who has come from Hollywood to petition Vito's help in landing a movie role that will revitalize his flagging career. Jack Woltz (John Marley), the head of the studio, denies Fontane the part (a character much like Johnny himself), which will make him an even bigger star, but Don Corleone explains to Johnny: \"I'm gonna make him an offer he can't refuse.\" The Don also receives congratulatory salutations from Luca Brasi, a terrifying enforcer in the criminal underworld, and fills a request from the baker who made Connie's wedding cake who wishes for his nephew Enzo to become an American citizen.After the wedding, Hagen is dispatched to Los Angeles to meet with Woltz, but Woltz angrily tells him that he will never cast Fontane in the role. Woltz holds a grudge because Fontane seduced and \"ruined\" a starlet who Woltz had been grooming for stardom and with whom he had a sexual relationship. Woltz is persuaded to give Johnny the role, however, when he wakes up early the next morning and feels something wet in his bed. He pulls back the sheets and finds himself in a pool of blood; he screams in horror when he discovers the severed head of his prized $600,000 stud horse, Khartoum, in the bed with him. (A deleted scene from the film implies that Luca Brasi (Lenny Montana), Vito's top \"button man\" or hitman, is responsible.)Upon Hagen's return, the family meets with Virgil \"The Turk\" Sollozzo (Al Lettieri), who is being backed by the rival Tattaglia family. He asks Don Corleone for financing as well as political and legal protection for importing and distributing heroin. Despite the huge profit to be made, Vito Corleone refuses, explaining that his political influence would be jeopardized by a move into the narcotics trade. The Don's eldest son, Sonny, who had earlier urged the family to enter the narcotics trade, breaks ranks during the meeting and questions Sollozzo's assurances as to the Corleone Family's investment being guaranteed by the Tattaglia Family. His father, angry at Sonny's dissension in a non-family member's presence, privately rebukes him later. Don Corleone then dispatches Luca Brasi to infiltrate Sollozzo's organization and report back with information. During the meeting, while Brasi is bent over to allow Bruno Tattaglia to light his cigarette, he is stabbed in the hand by Sollozzo, and is subsequently garroted by an assassin.Soon after his meeting with Sollozzo, Don Corleone is gunned down in an assassination attempt just outside his office, and it is not immediately known whether he has survived. Fredo Corleone had been assigned driving and protection duty for his father when Paulie Gatto, the Don's usual bodyguard, had called in sick. Fredo proves to be ineffectual, fumbling with his gun and unable to shoot back. When Sonny hears about the Don being shot and Paulie's absence, he orders Clemenza (Richard S. Castellano) to find Paulie and bring him to the Don's house.Sollozzo abducts Tom Hagen and persuades him to offer Sonny the deal previously offered to his father. Enraged, Sonny refuses to consider it and issues an ultimatum to the Tattaglias: turn over Sollozzo or face a lengthy, bloody and costly (for both sides) gang war. They refuse, and instead send Sonny \"a Sicilian message,\" in the form of two fresh fish wrapped in Luca Brasi's bullet-proof vest, to tell the Corleones that Luca Brasi \"sleeps with the fishes.\"Clemenza later takes Paulie and one of the family's hitmen, Rocco Lampone, for a drive into Manhattan. Sonny wants to \"go to the mattresses\" -- set up beds in apartments for Corleone button men to operate out of in the event that the crime war breaks out. On their way back from Manhattan, Clemenza has Paulie stop the car in a remote area so he can urinate. Rocco shoots Paulie dead; he and Clemenza leave Paulie and the car behind.Michael, whom the other Mafia families consider a \"civilian\" uninvolved in mob business, visits his father at a small private hospital. He is shocked to find that no one is guarding him. Realizing that his father is again being set up to be killed, he calls Sonny for help, moves his father to another room, and goes outside to watch the entrance. Michael enlists help from Enzo the baker (Gabriele Torrei), who has come to the hospital to pay his respects. Together, they bluff away Sollozzo's men as they drive by. Police cars soon appear bringing the corrupt Captain McCluskey (Sterling Hayden), who viciously punches Michael in the cheek and breaks his jaw when Michael insinuates that Sollozzo paid McCluskey to set up his father. Just then, Hagen arrives with \"private detectives\" licensed to carry guns to protect Don Corleone, and he takes the injured Michael home. Sonny responds by having Bruno Tattaglia (Tony Giorgio), the eldest son and underboss of Don Phillip Tattaglia (Victor Rendina), killed (off-camera).Following the attempt on the Don's life at the hospital, Sollozzo requests a meeting with the Corleones, which Captain McCluskey will attend as Sollozzo's bodyguard. When Michael volunteers to kill both men during the meeting, Sonny and the other senior Family members are amused; however, Michael convinces them that he is serious and that killing Sollozzo and McCluskey is in the family's interest: \"It's not personal. It's strictly business.\" Because Michael is considered a civilian, he won't be regarded as a suspicious ambassador for the Corleones. Although police officers are usually off limits for hits, Michael argues that since McCluskey is corrupt and has illegal dealings with Sollozzo, he is fair game. Michael also implies that newspaper reporters that the Corleones have on their payroll would delight in publishing stories about a corrupt police captain.Michael meets with Clemenza, one of his father's caporegimes (captains), who prepares a small pistol for him, covering the trigger and grip with tape to prevent any fingerprint evidence. He instructs Michael about the proper way to perform the assassination and tells him to leave the gun behind. He also tells Michael that the family were all very proud of Michael for becoming a war hero during his service in the Marines. Clemenza shows great confidence that Michael can perform the job and tells him it will all go smoothly. The plan is to have the Corleone's informers find out the location of the meeting and plant the revolver before Michael, Sollozzo and McCluskey arrive.Before the meeting in a small Italian restaurant, McCluskey frisks Michael for weapons and finds him clean. Michael excuses himself to go to the bathroom, where he retrieves the planted revolver. Returning to the table, he fatally shoots Sollozzo, then McCluskey. Michael is sent to hide in Sicily while the Corleone family prepares for all-out warfare with the Five Families (who are united against the Corleones) as well as a general clampdown on the mob by the police and government authorities. When the don returns home from the hospital, he is distraught to learn that it was Michael who killed Sollozzo and McCluskey.Meanwhile, Connie and Carlo's marriage is disintegrating. They argue publicly over Carlo's suspected infidelity and his possessive behavior toward Connie. By Italian tradition, nobody, not even a high-ranking Mafia don, can intervene in a married couple's personal disputes, even if they involve infidelity, money, or domestic abuse. One day, Sonny sees a bruise on Connie's face and she tells him that Carlo hit her after she asked him if he was having an affair. Sonny tracks down and severely beats up Carlo Rizzi in the middle of a crowded street for brutalizing the pregnant Connie, and threatens to kill Carlo if he ever abuses Connie again. An angry Carlo responds by plotting with Tattaglia and Don Emilio Barzini (Richard Conte), the Corleones' chief rivals, to have Sonny killed.Later, Carlo has one of his mistresses phone his house, knowing that Connie will answer. The woman asks Connie to tell Carlo not to meet her tonight. The very pregnant and distraught Connie assaults Carlo; he takes advantage of the altercation to beat Connie in order to lure Sonny out in the open and away from the Corleone compound. When Connie phones the compound to tell Sonny that Carlo has beaten her again, the furious Sonny drives off (alone and unescorted) to fulfill his threat against Carlo. On the way to Connie and Carlo's house, Sonny is ambushed at a toll booth on the Long Island Causeway and violently shot to death by several carloads of hitmen wielding Thompson sub-machine guns.Tom Hagen relays the news of Sonny's massacre to the Don, who calls in the favor from Bonasera to personally handle the embalming of Sonny's body. Rather than seek revenge for Sonny's killing, Don Corleone meets with the heads of the Five Families to negotiate a cease-fire. Not only is the conflict draining all their assets and threatening their survival, but ending it is the only way that Michael can return home safely. Reversing his previous decision, Vito agrees that the Corleone family will provide political protection for Tattaglia's traffic in heroin, as long as it is controlled and not sold to children. At the meeting, Don Corleone deduces that Don Barzini, not Tattaglia, was ultimately behind the start of the mob war and Sonny's death.In Sicily, Michael patiently waits out his exile, protected by Don Tommasino (Corrado Gaipa), an old family friend. Michael aimlessly wanders the countryside, accompanied by his ever-present bodyguards, Calo (Franco Citti) and Fabrizio (Angelo Infanti). In a small village, Michael meets and falls in love with Apollonia Vitelli (Simonetta Stefanelli), the beautiful young daughter of a bar owner. They court and marry in the traditional Sicilian fashion, but soon Michael's presence becomes known to Corleone enemies. As the couple is about to be moved to a safer location, Apollonia is killed as a result of a rigged car (originally intended for Michael), exploding on ignition; Michael, who watched the car blow up, spots Fabrizio hurriedly leaving the grounds seconds before the explosion, implicating him in the assassination plot. (In a deleted scene, Fabrizio is found years later and killed.)With his safety guaranteed, Michael returns home. More than a year later, in 1950, he reunites with his former girlfriend Kay after a total of four years of separation -- three in Italy and one in America. He tells her he wants them to be married. Although Kay is hurt that he waited so long to contact her, she accepts his proposal. With Don Vito semi-retired, Sonny dead, and middle brother Fredo considered incapable of running the family business, Michael is now in charge; he promises Kay he will make the family business completely legitimate within five years.Two years later, Clemenza and Salvatore Tessio (Abe Vigoda), complain that they are being pushed around by the Barzini Family and ask permission to strike back, but Michael denies the request. He plans to move the family operations to Nevada and after that, Clemenza and Tessio may break away to form their own families. Michael further promises Connie's husband, Carlo, that he will be his right hand man in Nevada (Carlo had grown up there), unaware of his part in Sonny's assassination. Tom Hagen has been removed as consigliere and is now merely the family's lawyer, with Vito serving as consigliere. Privately, Hagen inquires about his change in status, and also questions Michael about a new regime of \"soldiers\" secretly being built under Rocco Lampone (Tom Rosqui). Don Vito explains to Hagen that Michael is acting on his advice.Another year or so later, Michael travels to Las Vegas and meets with Moe Greene (Alex Rocco), a rich and shrewd casino boss looking to expand his business dealings. After the Don's attempted assassination, Fredo had been sent to Las Vegas to learn about the casino business from Greene. Michael arrogantly offers to buy out Greene but is rudely rebuffed. Greene believes the Corleones are weak and that he can secure a better deal from Barzini. As Moe and Michael heatedly negotiate, Fredo sides with Moe. Afterward, Michael warns Fredo to never again \"take sides with anyone against the family.\"Michael returns home. In a private moment, Vito explains his expectation that the Family's enemies will attempt to murder Michael by using a trusted associate to arrange a meeting as a pretext for assassination. Vito also reveals that he had never really intended a life of crime for Michael, hoping that his youngest son would hold legitimate power as a senator or governor. Some months later, Vito collapses and dies while playing with his young grandson Anthony (Anthony Gounaris) in his tomato garden. At the burial, Tessio conveys a proposal for a meeting with Barzini, which identifies Tessio as the traitor that Vito was expecting.Michael arranges for a series of murders to occur simultaneously while he is standing godfather to Connie's and Carlo's newborn son at the church:Don Stracci (Don Costello) is gunned down along with his bodyguard in a hotel elevator by a shotgun-wielding Clemenza.Moe Greene is killed while having a massage, shot through the eye by an unidentified assassin.Don Cuneo (Rudy Bond) is trapped in a revolving door at the St. Regis Hotel and shot dead by soldier Willi Cicci (Joe Spinell).Don Tattaglia is assassinated in his bed, along with a prostitute, by Rocco Lampone and an unknown associate.Don Barzini is killed on the steps of his office building along with his bodyguard and driver, shot by Al Neri (Richard Bright), disguised in his old police uniform.After the baptism, Tessio believes he and Hagen are on their way to the meeting between Michael and Barzini that he has arranged. Instead, he is surrounded by Willi Cicci and other button men as Hagen steps away. Realizing that Michael has uncovered his betrayal, Tessio tells Hagen that he always respected Michael, and that his disloyalty \"was only business.\" He asks if Tom can get him off for \"old times' sake,\" but Tom says he cannot. Tessio is driven away and never seen again (it is implied that Cicci shoots and kills Tessio with his own gun after he disarms him prior to entering the car).Meanwhile, Michael confronts Carlo about Sonny's murder and forces him to admit his role in setting up the ambush, having been approached by Barzini himself. (The hitmen who killed Sonny were the core members of Barzini's personal bodyguard.) Michael assures Carlo he will not be killed, but his punishment is exclusion from all family business. He hands Carlo a plane ticket to exile in Las Vegas. However, when Carlo gets into a car headed for the airport, he is immediately garroted to death by Clemenza, on Michael's orders.Later, a hysterical Connie confronts Michael at the Corleone compound as movers carry away the furniture in preparation for the family move to Nevada. She accuses him of murdering Carlo in retribution for Carlo's brutal treatment of her and for Carlo's suspected involvement in Sonny's murder. After Connie is removed from the house, Kay questions Michael about Connie's accusation, but he refuses to answer, reminding her to never ask him about his business or what he does for a living. She insists, and Michael outright lies, reassuring his wife that he played no role in Carlo's death. Kay believes him and is relieved. The film ends with Clemenza and new caporegimes Rocco Lampone and Al Neri arriving and paying their respects to Michael. Clemenza kisses Michael's hand and greets him as \"Don Corleone.\" As Kay watches, the office door is closed.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0111161/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In 1947, Andy Dufresne (Tim Robbins), a banker in Maine, is convicted of murdering his wife and her lover, a golf pro. He is given two life sentences and sent to the notoriously harsh Shawshank Prison. Andy always claims his innocence, but his cold and measured demeanor led many to doubt his word.During the first night, the chief guard, Byron Hadley (Clancy Brown), savagely beats a newly arrived inmate because of his crying and hysterics. The inmate later dies in the infirmary because the prison doctor had left for the night. Meanwhile Andy remained steadfast and composed. Ellis Boyd Redding (Morgan Freeman), also known as Red, bet against others that Andy would be the one to break down first and loses a considerable amount of cash.About a month later, Andy approaches Red, who runs contraband inside the walls of Shawshank. He asks if Red could find him a rock hammer, an instrument he claims is necessary for his hobby of rock collecting and sculpting. Though other prisoners consider Andy \"a really cold fish\", Red sees something in Andy, and likes him from the start. Red believes Andy intends to use the hammer to engineer his escape in the future but when the tool arrived and he saw how small it was, Red put aside the thought that Andy could ever use it to dig his way out of prison.Over the first two years of his incarceration, Andy works in the prison laundry. He attracts attention from \"the Sisters\", a group of prisoners who sexually assault other prisoners. Though he persistently resists and fights them, Andy is beaten and raped on a regular basis.Red pulls some strings, and gets Andy and a few of their mutual friends a break by getting them all on a work detail tarring the roof of one of the prison's buildings. During the job Andy overhears Hadley complaining about having to pay taxes for an upcoming inheritance. Using his expertise as a banker, Andy lets Hadley know how he could shelter his money from the IRS, turning it into a one-time gift for his wife. He said he'd assist in exchange for some cold beers for his fellow inmates while on the tarring job. Though he at first threatens to throw Andy off the roof, Hadley, the most brutal guard in the prison, agrees, providing the men with cold beer before the job is finished. Red remarks that Andy may have engineered the privilege to build favor with the prison guards as much as with his fellow inmates, but Red also thinks Andy did it simply to \"feel free.\"While watching a movie, Andy demands Red \"Rita Hayworth\". Soon, after asking Red for \"Rita Hayworth\", Andy once more encountered the Sisters and is brutally beaten, putting him in the infirmary for a month. Boggs (Mark Rolston), the leader of \"The Sisters\", spends a week in solitary. When he comes out, he finds Hadley and his men waiting in his cell. They beat him so badly he's left paralyzed, transferred to a prison hospital upstate, and the Sisters never bothered Andy again. When Andy got out of the infirmary, he finds a bunch of rocks and a poster of Rita Hayworth in his cell: presents from Red and his buddies.Warden Samuel Norton (Bob Gunton) hears about Andy helped Hadley and uses a surprise cell inspection to size Andy up. The warden meets with Andy and sends him to work with aging inmate Brooks Hatlen (James Whitmore) in the prison library, where he sets up a make-shift desk to provide services to other guards (and the warden himself) with income tax returns and other financial advice. There Andy sees an opportunity to expand the prison library, starting with asking the Maine state senate for funds. He starts writing letters and sending them every week. His financial support practice became so appreciated that even guards from other prisons, when they came for inter-prison baseball matches, sought Andy's financial advice. Andy even ends up doing Norton's taxes the next season.Not long afterward, Brooks, the old librarian, threatens to kill another prisoner, Heywood, in order to avoid being paroled. Andy is able to talk him down and Brooks is paroled. He goes to a halfway house but finds it impossible to adjust to life outside the prison. He eventually commits suicide. When his friends suggest that he was crazy for doing so, Red tells them that Brooks had obviously become \"institutionalized\", essentially conditioned to be a prisoner for the rest of his life and unable to adapt to the outside world. Red remarks: \"These walls are funny. First you hate 'em, then you get used to 'em. Enough time passes, you get so you depend on them.\"After six years of writing letters, Andy receives $200 from the state for the library, along with a collection of old books and records. Though the state Senate thinks this will be enough to get Andy to halt his letter-writing campaign, he is undaunted and doubles his efforts.When the donations of old books and records arrive at the warden's office, Andy finds a copy of Mozart's \"The Marriage of Figaro\" among the records. He locks the guard assigned to the warden's office in the bathroom and plays the record on a phonograph over the prison's PA system. The entire prison seems captivated by the music - Red remarks that the voices of the women in the intro made everyone feel free, if only for a brief time. Outside the office, Norton appears, furious at the act of defiance and orders Andy to turn off the record player. Andy reaches for the needle arm at first, then turns the volume on the phonograph up. The warden orders Hadley to break into the office and Andy is sent immediately to solitary confinement for two weeks. When he gets out, he tells his friends that it was the \"easiest time\" stretch ever did in the hole because he thought of Mozart's Figaro. When the other prisoners tell him how unlikely that could be, he tells them that hope can sustain them. Red is not convinced and leaves, bitter at the thought.With the enlarged library and more materials, Andy begins to teach those inmates who want to receive their high school diplomas. After Andy is able to secure a steady stream of funding from various sources, the library is further renovated and named for Brooks.Warden Norton profits on Andy's knowledge of bookkeeping and devises a scheme whereby he put prison inmates to work in public projects which he won by outbidding other contractors (cheap labor from the prisoners). Occasionally, he let others get some contracts if they bribe him. Andy launders money for the warden by setting up many accounts in different banks, along with several investments, using a fake identity: \"Randall Stephens\". He shared the details only with his friend, Red, noting that he had to \"go to prison to learn how to be a criminal.\"In 1965, a young prisoner named Tommy (Gil Bellows) comes to Shawshank. Andy suggests that Tommy take up another line of work besides theft. The suggestion really gets to Tommy and he works on achieving his high school equivalency diploma. Though Tommy is a good student, he is still frustrated when he takes the exam itself, crumpling it up and tossing it in the trash. Andy retrieves it and sends it in.One day Red tells Tommy about Andy's case. Tommy is visibly upset at hearing Andy's story and tells Andy and Red that he had a cellmate in another prison who boasted about killing a man who was a pro golfer at the country club he worked at, along with his lover. The woman's husband, a banker, had gone to prison for those murders. With this new information, Andy, full of hope, meets with the warden's, expecting he could help him get another trial with Tommy as a witness. The reaction from Norton is completely contrary to what Andy hoped for. Andy says emphatically that he would never reveal the money laundering schemes he had set up for Norton over the years - the warden becomes furious and orders him to solitary for a month. The warden later meets with Tommy alone and asks him if he'll testify on Andy's behalf. Tommy enthusiastically agrees and the warden has him shot dead by Hadley.When the warden visits Andy in solitary, he tells him that Tommy was killed while attempting escape. Andy tells Norton that the financial schemes will stop. The warden counters, saying the library will be destroyed and all it's materials burned. Andy will also lose his private cell and be sent to the block with the most hardened criminals. The warden gives Andy another month in solitary.Afterwards, Andy returns to the usual daily life at Shawshank, a seemingly broken man. One day he talks to Red, about how although he didn't kill his wife, his personality drove her away, which led to her infidelity and death. He says if he's ever freed or escapes, he'd like to go to Zihuatanejo, a beach town on the Pacific coast of Mexico. He also tells Red how he got engaged. He and his future wife went up to a farm in Buxton, Maine, to a large oak tree at the end of a stone wall. The two made love under the tree, after which he proposed to her. He tells Red that, if he should ever be paroled, he should look for that field, and that oak tree. There, under a large black volcanic rock that would look out of place, Andy has buried a box that he wants Red to have. Andy refuses to reveal what might be in that box.Later, Andy asks for a length of rope, leading Red and his buddies to suspect he will commit suicide. At the end of the day, Norton asks Andy to shine his shoes for him and put his suit in for dry-cleaning before retiring for the night.The following morning, Andy is not accounted for as usual from his cell. At the same time, Norton becomes alarmed when he finds Andy's shoes in his shoebox instead of his own. He rushes to Andy's cell and demands an explanation. Hadley brings in Red, but Red insists he knows nothing of Andy's plans. Becoming increasing hostile and paranoid, Norton starts throwing Andy's sculpted rocks around the cell. When he throws one at Andy's poster of Raquel Welch (where it used to hold Marilyn Monroe and Rita Hayworth before), the rock punches through and into the wall. Norton tears the poster away from the wall and finds a tunnel just wide enough for a man to crawl through.During the previous nights thunderstorm, Andy wore Norton's shoes to his cell, catching a lucky break when no one notices. He packs some papers and Norton's clothes into a plastic bag, tied it to himself with the rope he'd asked for, and escapes through his hole. The tunnel he'd excavated led him to a space between two walls of the prison where he found a sewer main line. Using a rock, he hits it in time with the lightning strikes and eventually burst it. Crawling through 500 yards in the pipe and through the raw sewage contained in it, Andy emerged in a brook outside the walls. A search team later found his uniform and his rock hammer which had been worn nearly to nothing.That morning, Andy walks into the Maine National Bank in Portland, where he had put Warden Norton's money. Using his assumed identity as Randall Stephens, and with all the necessary documentation, he walked out with a cashier's check. Before he leaves, he asks them to drop a package in the mail. He continues his visitations to nearly a dozen other local banks, ending up with some $370,000. The package contained Warden Norton's account books which were delivered straight to the Portland Daily Bugle newspaper.Not long after, the police storms Shawshank Prison. Hadley is arrested for murder; Red said he was taken away \"crying like a little girl\". Warden Norton finally opens the safe, which he hadn't touched since Andy escaped, and instead of his books, he finds the Bible he had given Andy. Norton opens it to the book of Exodus and finds that the pages have been cut out in the shape of Andy's rock hammer. Norton walks back to his desk as the police pound on his door, takes out a small revolver and shoots himself under the chin. Red remarks that he wondered if the warden thought, right before pulling the trigger, how \"Andy could ever have gotten the best of him.\"Shortly after, Red receives a postcard from Fort Hancock, Texas, with nothing written on it. Red takes it as a sign that Andy made it into Mexico to freedom. Red and his buddies would spend their time talking about Andy's exploits (with a lot of embellishments), but Red just missed his friend.At Red's next parole hearing in 1967, he talked to the parole board about how \"rehabilitated\" was a made-up word, and how he regretted his actions of the past. His parole is granted this time. He goes to work at a grocery store, and stays at the same halfway house room Brooks had stayed in. He frequently walks by a pawn shop, which had several guns and compasses in the window. At times he would contemplate trying to get back into prison, but he remembered the promise he had made to Andy.One day, with a compass he bought from the pawn shop, he followed Andy's instructions, hitchhiking to Buxton and arriving at the stone wall Andy described. Just like Andy said, there was a large black stone. Under it was a small box containing a large sum of cash and instructions to find him. He said he needed somebody \"who could get things\" for a \"project\" of his.Red violates parole and leaves the halfway house, unconcerned since no one would really do an extensive manhunt for \"an old crook like [him].\" He takes a bus to Fort Hancock, where he crosses into Mexico. The two friends are finally reunited on the beach of Zihuatanejo on the Pacific coast.\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0108052/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The relocation of Polish Jews from surrounding areas to Krakow begins in late 1939, shortly after the outbreak of World War II, when the German Army defeats the Polish Army in three weeks. Oskar Schindler (Liam Neeson), a successful businessman, arrives from Czechoslovakia in hopes of using the abundant cheap labour force of Jews to manufacture enamelware for the German military. Schindler, an opportunistic member of the Nazi party, lavishes bribes upon the army and SS officials in charge of procurement. Sponsored by the military, Schindler acquires a factory for the production of army mess kits and cooking paraphernalia. Not knowing much about how to properly run such an enterprise, he gains a contact in Itzhak Stern (Ben Kingsley), a functionary in the local Judenrat (Jewish Council) who has contacts with the now-underground Jewish business community in the ghetto. They loan him the money for the factory in return for a small share of products produced (for trade on the black market). Opening the factory, Schindler pleases the Nazis and enjoys his new-found wealth and status as \"Herr Direktor,\" while Stern handles all administration. Stern suggests Schindler hire Jews instead of Poles because they cost less (the Jews themselves get nothing; the wages are paid to the Reich). Workers in Schindler's factory are allowed outside the ghetto, and Stern falsifies documents to ensure that as many people as possible are deemed \"essential\" by the Nazi bureaucracy, which saves them from being transported to concentration camps, or even being killed.Amon G\u00f6th (Ralph Fiennes) arrives in Krakow to initiate construction of a labor camp nearby, Pasz\u00f3w. The SS soon liquidates the Krakow ghetto, sending in hundreds of troops to empty the cramped rooms and shoot anyone who protests, is uncooperative, elderly, or infirmed, or for no reason at all. Schindler watches the massacre from the hills overlooking the area, and is profoundly affected. He nevertheless is careful to befriend G\u00f6th and, through Stern's attention to bribery, he continues to enjoy the SS's support and protection. The camp is built outside the city at Pasz\u00f3w. During this time, Schindler bribes G\u00f6th into allowing him to build a sub-camp for his workers, with the motive of keeping them safe from the depredations of the guards. Eventually, an order arrives from Berlin commanding G\u00f6th to exhume and destroy all bodies of those killed in the Krakow ghetto, dismantle Pasz\u00f3w, and to ship the remaining Jews to Auschwitz. Schindler prevails upon G\u00f6th to let him keep \"his\" workers so that he can move them to a factory in his old home of Zwittau-Brinnlitz, in Moravia -- away from the \"final solution\" now fully under way in occupied Poland. G\u00f6th acquiesces, charging a certain amount for each worker. Schindler and Stern assemble a list of workers that should keep them off the trains to Auschwitz.\"Schindler's List\" comprises these \"skilled\" inmates, and for many of those in Pasz\u00f3w, being included means the difference between life and death. Almost all of the people on Schindler's list arrive safely at the new site, with the exception to the train carrying the women and the children, which is accidentally redirected to Auschwitz. There, the women are directed to what they believe is a gas chamber; after a harrowing experience where their hair is crudely cut off and they are forced to strip, they see only water falling from the showers. The day after, the women are shown waiting in line for work. In the meantime, Schindler had rushed immediately to Auschwitz to solve the problem and to get the women out of Auschwitz; to this end he bribes the camp commander, Rudolf H\u00f6ss (Hans-Michael Rehberg), with a cache of diamonds so that he is able to spare all the women and the children. However, a last problem arises just when all the women are boarding the train because several SS officers attempt to hold some children back and prevent them from leaving. Schindler, there to personally oversee the boarding, steps in and is successful in obtaining from the officers the release of the children. Once the Schindler women arrive in Zwittau-Brinnlitz, Schindler institutes firm controls on the Nazi guards assigned to the factory; summary executions are forbidden, abuse of the workers is as well and the Nazi guards are not allowed on the factory floor. Schindler also permits the Jews to observe the Sabbath, and spends much of his fortune acquired in Poland bribing Nazi officials. In his home town, he surprises his wife while she's in church during mass, and tells her that she is the only woman in his life (despite having been shown previously to be a womanizer). She goes with him to the factory to assist him. He runs out of money just as the German army surrenders, ending the war in Europe.As a German Nazi and self-described \"profiteer of slave labor,\" Schindler must flee the oncoming Soviet Red Army. After dismissing the Nazi guards to return to their families, he packs a car in the night, and bids farewell to his workers. They give him a letter explaining he is not a criminal to them, together with a ring engraved with the Talmudic quotation, \"He who saves the life of one man, saves the world entire.\" Schindler is touched but deeply distraught, feeling he could've done more to save many more lives. He leaves with his wife during the night, dressed in Polish prisoner clothes, posing as refugees. The Schindler Jews, having slept outside the factory gates through the night, are awakened by sunlight the next morning. A Soviet dragoon arrives and announces to the Jews that they have been liberated by the Red Army. The Jews walk to a nearby town in search of food. A title card informs us that Schindler was declared a \"righteous person\" by the Yad Vashem of Jerusalem, and himself planted a tree on the Avenue of the Righteous in Israel, which still grows to this day. The fate of G\u00f6th is also shown; he was captured near the German town of Bad Tolz and taken back to Pasz\u00f3w where, defiant to the end and announcing his allegiance to Hitler, is hanged for crimes against humanity.As the surviving Schindler Jews walk abreast, the frame changes to another of the Schindler Jews in the present day (in color) at the grave of Oskar Schindler in Israel. The film ends with a procession of now-aged Jews who worked in Schindler's factory, each of whom reverently sets a stone on his grave. The actors portraying the major characters walk hand-in-hand with the people they portrayed, also placing stones on Schindler's grave as they pass. Actor Ben Kingsley escorts Itzhak Stern's wife. The audience learns that the survivors and descendants of the approximately 1,100 Jews sheltered by Schindler now number over 6,000. The Jewish population of Poland, once numbering in the millions, was at the time of the film's release approximately 4,000. In the final scene, a man (Neeson himself, though his face is not visible) places a pair of roses on the grave, and stands contemplatively over it.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0081398/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The film opens in 1964, where an older and fatter Jake LaMotta (Robert De Niro) practices his stand-up comic routine before his debut at a comedy nightclub. A flashback shifts to his boxing career in 1941 against his opponent, Jimmy Reeves, in the infamous Cleveland bout. Losing the fight by a fixed result causes a fight to break out at the end of the match. Jake's brother Joey LaMotta (Joe Pesci) is not only a sparring partner to him but also responsible for organizing his fights.Joey discusses a potential shot for the title with one of his mob connections, Salvy Batts (Frank Vincent), on the way to his brother's house in their neighborhood in the Bronx. When they are finally settled in the house, Jake admits that he does not have much faith in his own abilities. Accompanied by his brother to the local open-air swimming pool, a restless Jake spots a 15-year-old girl named Vickie (Cathy Moriarty) at the edge of the pool. Although he has to be reminded by his brother he is already married, the opportunity to invite her out for the day very soon comes true when Joey gives in.Jake has two fights with Sugar Ray Robinson, set two years apart, and Jake loses the second when the judges rule in favor of Sugar Ray because he was leaving the sport temporarily for conscription in the United States Army. This does not deter Jake from winning six straight fights, but as his fears grow about his wife, Vickie, having feelings for other men, particularly Tony Janiro, the opponent for his forthcoming fight, he is keen enough to show off his sexual jealously when he beats him in front of the local Mob boss, Tommy Como (Nicholas Colosanto) and Vickie.The recent triumph over Janiro is touted as a major boost for the belt as Joey discusses this with journalists, though Joey is briefly distracted by seeing Vickie approach a table with Salvy and his crew. Joey has a word with Vickie, who says she is giving up on his brother. Blaming Salvy, Joey viciously attacks him in a fight that spills outside of the club. When Tommy Como hears that the two of them rose fists in a public place, he orders them to apologize and tells Joey that he means business.At the swimming pool, Joey tells Jake that if he really wants a shot, he will have to take a dive first. In the fight against Billy Fox, Jake does not even bother to put up a fight. Jake is suspended from the board on suspicion of throwing the fight, though he realizes the error of his judgment when it is too late. This does little to harm his career, when he finally wins the title against Marcel Cerdan at the open air Briggs Stadium.Three years pass and Jake asks his brother if he fought with Salvy at the Copca because of Vickie. Jake then asks if Joey had an affair with his wife. Joey refuses to answer and decides to leave. Jake decides to find the truth for himself, interrogating his wife about the affair when she sarcastically states that she had sex with the entire neighborhood (including his brother, Salvy, and Tommy Como) and \"sucked his brothers cock\" after he knocks down the bathroom door where his wife is briefly hiding from him.Running straight towards his brother's house, he starts a fight with Joey. Defending his championship belt against Laurent Dauthuille, he makes a call to his brother after the fight, but when Joey assumes Salvy is on the other end, Jake says nothing. This drags Jake down to when he eventually loses to Sugar Ray Robinson on their final (very violent) encounter, letting Sugar Ray land several hard blows on him as punishment for what he did.A couple of years later, in the middle of a photo shoot, Jake LaMotta surrounded by his wife and children, tells the journalists he is officially retired and that he has bought a new property. After staying all night at his new nightclub in Miami, Vickie tells him she wants a divorce (which she has been planning since his retirement). Arrested for introducing under-age girls (posing as 21-year-olds) to men, he serves a jail sentence after failing to raise the bribe money by taking the jewels out of his championship belt instead of selling the belt itself.In his jail cell, Jake brutally pounds the walls whilst sorrowfully questioning his misfortune, as he sits alone crying in despair. Returning to New York City after serving his sentence, he meets up with his estranged brother Joey in a garage parking lot where they share a nervous hug.Going back to the beginning sequence, Jake refers to the \"I coulda' have been a contender\" scene from On the Waterfront complaining that his brother should have been there for him but is also keen enough to give himself some slack. Darting across the room at the information of the crowded auditorium by the stage hand, the camera remains pivoted on the mirror as LaMotta chants \"I'm the boss\" whilst shadow boxing.The film ends on an ambiguous note with a Biblical quote: \"All I know is this: Once I was blind, and now I can see.\" -symbolizing that even men like LaMotta can be redeemed.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0034583/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In the early years of World War II, December 1941, the Moroccan coastal city of Casablanca attracts people from all over the world, particularly Nazi-occupied Europe. Many are transients trying to get out of Europe; a few are just trying to make a buck. Most of them -- gamblers and refugees, Nazis, resistance fighters, and plain old crooks -- find their way to Rick's Caf\u00e9 Am\u00e9ricain, a swank nightclub owned by American expatriate Rick Blaine (Humphrey Bogart). Though we learn later that Rick once harbored enough idealism to put himself at risk to fight fascism, he's now embittered and cynical, professing to be neutral and detached: \"I stick my neck out for nobody.\"Ugarte (Peter Lorre) comes to Rick's with letters of transit he obtained by killing two German couriers. The papers allow the bearer to travel freely around German-controlled Europe, including to neutral Lisbon, Portugal; from Lisbon, it's relatively easy to get to the United States. They are almost priceless to any of the refugees stranded in Casablanca. Ugarte plans to make his fortune by selling them to the highest bidder, who is due to arrive at the club later that night. However, before the exchange can take place, Ugarte is arrested by the police under the command of Captain Louis Renault (Claude Rains). A corrupt Vichy official, Renault accommodates the Nazis. Unknown to Renault and the Nazis, Ugarte had left the letters with Rick for safekeeping, because \"...somehow, just because you despise me, you're the only one I trust.\"Then the reason for Rick's bitterness re-enters his life. Ilsa Lund (Ingrid Bergman) arrives with her husband Victor Laszlo (Paul Henreid) to purchase the letters. Laszlo is a renowned Czech Resistance leader who has escaped from a Nazi concentration camp. They must have the letters to escape to America to continue his work. At the time Ilsa first met and fell in love with Rick in Paris, she believed her husband had been killed. When she discovered that he was still alive, she left Rick abruptly without explanation and returned to Laszlo, leaving Rick feeling betrayed. After the club closes, Ilsa returns to try to explain, but Rick is drunk and bitterly refuses to listen.At different times Rick and Ilsa torment themselves by asking the club's piano player, Sam (Arthur \"Dooley\" Wilson), to play As Time Goes By, a song they loved when they were together in Paris. The famous line \"Play it again, Sam,\" which refers to this song, doesn't actually appear in the movie -- Ilsa says \"Play it, Sam,\" and later, Rick orders \"Play it!\" While Sam plays the song, Rick reminisces about his affair with Ilsa in Paris. Though she seems happy to be with Rick, her mood near the end of their time together is cautious because she has learned her husband may not be dead. When the Nazis begin to close in on Paris, she receives word that Victor is indeed alive in another part of Europe. She and Rick had been planning to take a train to Southern France to escape the German Army's assault; however, on the platform Rick receives a handwritten letter from her. She writes that she can't explain why she's leaving him but she loves him. Rick and Sam leave without her.The next night, Laszlo, suspecting that Rick has the letters, speaks with him privately about obtaining them. They're interrupted when a group of Nazi officers, led by Major Strasser (Conrad Veidt), commandeer Sam's piano and begin to sing Die Wacht am Rhein (The Watch on the Rhine), a German patriotic song. Infuriated, Laszlo orders the house band to play La Marseillaise in honor of Occupied France. The band leader looks to Rick for guidance; he nods. Laszlo starts singing, alone at first, then long-suppressed patriotic fervor grips the crowd and everyone joins in, drowning out the Germans. In retaliation, Strasser orders Renault to close the club.Later that night, Ilsa confronts Rick in the deserted cafe. He refuses to give her the documents, even when threatened with a gun. She is unable to shoot, confessing that she still loves him. Rick decides to help Laszlo, leading her to believe that she will stay behind when Laszlo leaves.Laszlo is jailed on a minor charge. Rick convinces Renault to release Laszlo, promising to set him up for a much more serious crime: possession of the letters of transit. However, Rick double crosses Renault, forcing him at gunpoint to assist in the escape. At the last moment, Rick makes Ilsa get on the plane to Lisbon with her husband, telling her that she would regret it if she stayed: \"Maybe not today. Maybe not tomorrow, but soon and for the rest of your life.\"Major Strasser drives up, tipped off by Renault, but Rick shoots him when he tries to intervene. When his men arrive, Renault informs them that Strasser is dead and covers for Rick by sharply ordering them to \"round up the usual suspects.\" He then recommends that they both leave Casablanca. Renault, suggesting they join the Resistance, walks into the fog with Rick who says \"Louis, I think this is the beginning of a beautiful friendship.\"\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0073486/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In 1963 Oregon, Randle Patrick McMurphy (Nicholson), a criminal who has been sentenced to a fairly short prison term, decides to have himself declared insane so he'll be transferred to a mental institution, where he expects to serve the rest of his term free of prison labor and in (comparative) comfort and luxury.His ward in the mental institution is run by an unyielding tyrant, Nurse Ratched (Fletcher), who has cowed the patients (most of whom are \"voluntary\" or there by choice) into dejected institutionalized submission. McMurphy becomes ensnared in a number of power games with Nurse Ratched for the hearts and minds of the patients. All the time, however, the question is just how sane any of the players in the ward actually are.Throughout his stay at the hospital, McMurphy forms deep friendships with two of his fellow patients: Billy Bibbit (Dourif), a suicidal, stuttering manchild whom Ratched has humiliated and dominated into a quivering mess; and \"Chief\" Bromden (Sampson), a 6'5\" muscular Native American who has schizophrenia. Recognized by the patients in the ward as deaf, and unable to speak, they ignore him but also respect him for his enormous size. In the former, McMurphy sees a younger brother figure whom he wants to teach to have fun, while the latter is his only real confidant, as they both understand what it is like to be treated into submission.McMurphy initially insults Chief when he enters the ward, but attempts to use his size as an advantage (for example, in playing basketball, for which his height is favorable). When Mac sees how submissive the patients are under Ratched's tyrannical control, he resolves to antagonize her and undermine her authority as much as possible. At a counseling session, McMurphy proposes that the ward's work schedule be altered so that the patients can watch the World Series on television. When the 1st meeting comes to a halt under Ratched's authority, Mac takes wagers on whether he can lift the ward's marble water-treatment control panel and throw it through a window to escape and watch the Series at a bar. He naturally fails, but puts forth an extreme effort.The next discussion over changing the work detail quickly becomes a battle of wills when Ratched announces that a majority vote will be acceptable. However, Ratched, upon realizing that the vote may go McMurphy's way, alters the rules slightly, stating that votes must be taken from the Chronic and Vegetable patients . When the vote doesn't favor McMurphy, he begins to imagine the game is on TV and rallies most of the other patients behind him, causing a major ruckus.McMurphy leads the patients in a basketball game against the ward's orderlies. Chief Bromden proves to be an effective player, scoring several baskets. While the orderlies claim that the patients are cheating, McMurphy ignores their objections. While the patients later relax in the hospital pool, Mac finds out, from an orderly, that he won't be released at the end of his prison sentence, but will remain in the hospital for as long as the board and Ratched deem necessary.Another counseling session erupts in violence when the subject of Ratched's cigarette rationing is addressed by an upset patient named Charlie Cheswick. A fight breaks out with the orderlies and Mac, Bromden (who'd pulled Mac off one of the orderlies) and Cheswick are sent to a detention area where electro-convulsive therapy is conducted on disruptive patients. Cheswick is sent first to undergo ECT, while McMurphy and Chief wait on the bench. In the few moments they have alone, McMurphy offers Chief a piece of gum, and Chief verbally thanks him. A surprised McMurphy realizes that Chief can speak and has actually been faking his situation at the ward the whole time. McMurphy resolves to allow Chief in on his escape plan because of his hidden wisdom. Ending this scene, a more defiant McMurphy emerges from the detention area to an awaiting Nurse Ratched.Closer to Christmas McMurphy, fed up with Ratched's oppressive methods, sneaks into the nurse's station and calls his girlfriend, Candy, to bring booze and assist in his escape. She brings a girlfriend, and both enter the ward when McMurphy convinces the ward's night attendant, Mr. Turkle, to open one of the ward's secured windows. The patients drink, while Billy flirts with McMurphy's girlfriend.Later in the evening, when McMurphy and the Chief plan to finally leave, Billy, upset at Mac's departure, hints to Mac that he wants a date with Candy. Billy and Candy are given a private room and Mac boosts Billy's confidence & allows him to have sex with her. McMurphy, however, while waiting (believing the encounter will be quick), falls asleep with the rest of the patients.Nurse Ratched arrives in the morning to discover the patients asleep hung over. Though clearly upset and angry, she commands the orderlies to lock the open window and conduct a head count. When they discover that one patient, Billy, is missing, Ratched demands the others to reveal his whereabouts. Billy is discovered with Candy, who is immediately led out of the hospital.Ratched demands that Billy tell him who allowed him to have sex with Candy. Billy, his stutter noticeably gone, tells her that McMurphy did, and that the rest of the ward encouraged him. A passively angry Ratched then threatens to tell Billy's mother, citing her long-time friendship with her. Billy's stutter returns very quickly and, very upset, begs Ratched not to tell his mother. When she explains that he should have thought of the consequences, he breaks down into tears and is dragged away to Dr. Spivey's office, screaming. McMurphy, still in possession of Turkle's keys, unlocks one of the windows and is about to escape when one of the orderlies screams loudly.McMurphy and everyone else rush to the room where Billy had been led to. Having been left alone momentarily, he commits suicide, using a jagged piece of glass to slit his throat. After McMurphy sees what the ward has done to his friend, he explodes into a violent rage, strangling Nurse Ratched until she is near death. She survives, but McMurphy is knocked unconscious by one of the orderlies and taken off the ward.Rumors float around the ward of McMurphy's fate. Some believe he'd escaped, others seem to know he was lobotomized. Late one night, McMurphy is quietly returned to his bed by orderlies. The Chief sneaks over to Mac's bed and finds him unresponsive; he also sees two scars on Mac's forehead, indicating that he'd been lobotomized. Unwilling to leave McMurphy behind, the Chief suffocates his vegetable-like friend with a pillow. He lifts the heavy marble hydrotherapy fountain that Mac was unable to before and, hurling it through a barred window, escapes to Canada.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0031381/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The film opens in Tara, a cotton plantation owned by the proud Gerald O'Hara (Thomas Mitchell), a self-made man of Irish descent, in the Confederate State of Georgia near Atlanta. The date is April 1861. He and his wife, Ellen (Barbara O'Neil), have three beautiful daughters; Suellen (Evelyn Keyes), Carreen (Ann Rutherford), and the headstrong 16-year-old Scarlett (Vivien Leigh). Scarlett spends her days having fun, tormenting the household servants, and flirting, especially with twins Brent and Stuart Carleton (Fred Crane, George Reeves). The brothers anticipate the next ball and hope Scarlett will choose one of them to attend the ball. The Carletons speculate the impending war between the North and the South. Scarlett finds the latter topic boring and is certain that there will be no war. She runs off to meet her father who is riding home through the fields. He returns home with some news.Neighbor John Wilkes (Howard C. Hickman) hosts a barbecue party at his Twelve Oaks plantation. Scarlett pines for Wilkes' son, Ashley (Leslie Howard), a lanky, soft-spoken young man of refined bearing, though he doesn't reciprocate her feelings. Scarlett continues to flirt with other boys despite her willful obsession for Ashley. All the young women go inside for an afternoon nap while the men meet in the parlor for cigars and brandy. Most of them boast of how the South will surely win the war but one gentleman, Rhett Butler (Clark Gable), a visitor from Charleston, South Carolina, disagrees. He states that the South cannot win a protracted war purely through the exhibition of pride and notes how the North is better equipped and industrially superior, able to produce weapons of war quickly. Charles Hamilton (Rand Brooks) is offended by Rhett's opinion and openly tells him so, even going so far as to suggest a duel. Rhett, knowing full well that he's a much better shot than Charles and that this argument is not worth his life, leaves. Charles brands Rhett a coward but Ashley assures him that Rhett would have killed him in the duel.While the other girls are sleeping, Scarlett slips away from the nap room to speak to Ashley in the parlor. She declares her love for him but Ashley tells her that he intends to marry his cousin Melanie Hamilton (Olivia de Havilland), Charles' sister. Scarlett is infuriated and berates Ashley for making her think he was in love with her. She maintains that Melanie is too fair and can't compete with Scarlett's looks, despite the fact that Melanie is admired for her kindness and altruism. Ashley then walks out of the parlor. In her anger, Scarlett throws a vase at the wall, breaking it to pieces. Rhett Butler suddenly pops up from the couch where he'd been resting and jokingly asks whether the war has begun. Scarlett is outraged and defends Ashley when Rhett mocks him. When Scarlett leaves, Rhett laughs to himself: Scarlett has announced that she would hate Ashley forever, but she defended him five seconds afterwards!The start of the war is finally announced and all the young gentlemen rush to enlist. Charles Hamilton is betrothed to Ashley's sister, India (Alicia Rhett) but, when Scarlett flirts with him to get a rise out of Ashley, he proposes to her instead. Still angry at Ashley for rejecting her, Scarlett agrees. They quickly marry before Charles leaves for the front lines. Scarlett offers herself to Ashley but he denies her again, kissing her lightly on the cheek. Just a few months later, news comes of Charles' death from illness while stationed at the front.Wishing for her widowed daughter to cheer up (though Scarlett is sullen for the wrong reasons), Ellen suggests that she go to Atlanta to live with Melanie and her Aunt Pittypat (Laura Hope Crews). Scarlett agrees to go, but only because it will give her the chance to see Ashley again. Her nurse, Mammy (Hattie McDaniel), believes this decision is not in Scarlett's best interest and tells her so.In 1862, Scarlett attends a fundraising ball for the Confederate Army in Atlanta where she, as a recent widow, is not supposed to enjoy herself and must remain off to the side wearing a black gown. She dances surreptitiously behind the counter of her charity stall, receiving looks of disapproval as the people around her whisper rumors of her supposed mourning. Rhett Butler is also in attendance, now known as an arms smuggler to benefit the Southern cause despite his cynical attitude towards the war's aims. His motivation is simply to make a profit and his skills in smuggling allowed him to obtain the ball decorations and make it past Southern blockades. Melanie, by now having married Ashley, offers her wedding ring as a war contribution, a generous move that Scarlett feels obliged to follow. This incites Rhett to sarcastically praise her consideration. An auction is then held for the men to bid on a dance with a girl of their choosing. Rhett wins the auction and chooses Scarlett, causing consternation in the crowd because of Scarlett's position as a widow. However, she accepts Rhett's invitation to dance and, while they do, Rhett tells her that he someday wants to hear her say that she loves him. Scarlett confidently proclaims that will never happen as long as she lives.Another year later, Christmas of 1863 arrives and Ashley returns home from the war front on furlough. Still in love with him, Scarlett once again attempts to woo him but with no success. Just before Ashley's departure day, Scarlett manages to see him alone and gives him a present, tearfully confessing that she only married Charles to hurt him. Ashley makes Scarlett promise to take care of Melanie before they share one passionate kiss. Ashley leaves once more to rejoin the war effort.Eight months pass, during which the war drags on and the situation in the South worsens. Food becomes scarce and nearly every family has lost loved ones to battle. Scarlett and Melanie, now pregnant with Ashley's child, volunteer as nurses caring for wounded soldiers. Scarlett despises her new role, doubled upon her responsibilities as the sole person to manage Aunt Pittypat's home since Pittypat is incompetent and Melanie grows weaker due to her difficult pregnancy. Scarlett faces the harsh realities of war as she listens to a dying soldier (Cliff Edwards) reminisce about his brother Jeff and witnesses another (Eric Linden) suffer a leg amputation without anesthetic. The useless Aunt Pittypat leaves the city, finding the noise of artillery annoying, and renders Scarlett to care for the weakened Melanie with no one but the house servant, Prissy (Butterfly McQueen), to help.When Melanie goes into labor, Scarlett, intent on keeping her promise to Ashley, employs the help of Dr. Meade (Harry Davenport) who had previously been watching Melanie's progress. However, he is unable to leave the train station where he is tending to hundreds of wounded and dying Confederate soldiers. When Prissy, who had claimed to know all there is to childbirth, admits that she knows nothing, Scarlett takes control, fueled by her anger. Though Melanie's labor is long and complicated, she eventually gives birth to a son (Patrick Curtis) but is left severely weak.Scarlett sends Prissy to find the one man who can get them all safely out of Atlanta before the approaching Union troops take siege: Rhett Butler. Prissy finds him enjoying himself at a local brothel run by Belle Watling (Ona Munson). Though Rhett mocks Prissy, he agrees to assist Scarlett who insists on returning home to Tara. Rhett steals a horse and cart and fetches Scarlett, Melanie, her baby, and Prissy, taking them through Atlanta as the city burns in wake of the Union advance. Once safely outside the city, Rhett leaves them to continue to Tara alone, telling Scarlett that he is to enlist in the Confederate army because he believes only in lost causes 'when they are really lost'. Scarlett begs him not to go and he professes his love for her, claiming to have never loved anyone else so fiercely. Scarlett rebuffs his advances but he kisses her, paying for it with a slap across the face. Rhett mounts one of the horses from the cart and rides off laughing, leaving Scarlett in tears.The women continue on their journey to Tara alone, traveling mostly by night to avoid enemy Federal troops. When Melanie can no longer lactate for the baby, they resolve to milk a stray cow for sustenance. They pass the Wilkes' plantation which has befallen the same fate as many others, having burned to the ground. Melanie tries to stand but collapses upon seeing the scorched crosses marking the graves of her entire family. Under moonlight and just as their horse dies of exhaustion, they arrive at Tara to find it still standing but derelict, having been used as headquarters for Northern troops. The fields are untended and the grounds have been pillaged but Scarlett finds that her father, sisters, and two of their servants, Mammy and Pork (Oscar Polk), remain, the rest of the servants/slaves having either run away or forced into the Union army. Scarlett discovers that her mother recently passed away from typhoid fever, leaving her already disturbed father practically insane. With barely any food, no livestock to speak of, and no money, Scarlett wanders into the fields to clear her head. She pulls a fresh carrot out of the ground to bite into it, only to throw up immediately afterwards. Resolving not to give up, she stands defiantly, saying, \"As God is my witness, I'll never be hungry again!\"IntermissionMonths pass and the war enters its final stages. General Sherman marches his Northern armies through Georgia in his so-called 'March to the Sea', leaving destruction in his path. Scarlett and her sisters have been forced to make the best of things, performing manual labor themselves to keep Tara running and in repair. Melanie remains weakened from childbirth and is reduced to staying in bed for the most part. At the moment when Scarlett is scolding her for getting out of bed again, wishing to help, a renegade Union soldier (Paul Hurst) enters the home. He claims that he's simply looking for valuables to move on with but, when he threatens Scarlett, she takes a gun and shoots him in the face and he falls dead down the staircase. Melanie, having witnessed this, promises not to tell the others what happened while Scarlett searches the soldier, finding legitimate cash and other valuables. They dispose of the body and explain to Scarlett's father and sisters that her gun had accidentally discharged.Some months later, in spring of 1865, the war is finally over. Confederate soldiers amble back home in the wake of General Lee's surrender. One of them, Frank Kennedy (Carroll Nye), arrives at Tara and, having long been in love with Suellen, asks Scarlett's permission to marry her. Tara soon becomes a haven for passing soldiers who are given food and rest, mostly at the behest of Melanie. One soldier (Phillip Trent) gives Melanie the news that Ashley is still alive but is a prisoner at a Yankee camp. Soon enough, Ashley arrives at Tara and Melanie rushes to embrace him. Scarlett is urged to do the same but is held back by Mammy; she has no rights to him. To her torment, Ashley stays at Tara with Melanie and his son (Ricky Holt).During the first year-and-a-half of Reconstruction, high taxes are imposed on the Southern plantations by Northern carpetbaggers, much to Scarlett's dismay. Terrified that she will lose Tara, she seeks comfort from Ashley though Mammy doesn't believe a thing of good will come of it. Scarlett begs Ashley to come away with her to Mexico where they can start anew. He kisses her and admits that he loves her and admires her courage but simply can't leave Melanie and his son behind. Ashley reminds Scarlett that she still has Tara which she should love more than him and thrusts some of its red dirt into her hand. He tells her that the Southern civilization is and way of life with slavery is lost forever and that he intends to move to New York City with his family to work as a banker. Scarlett throws a tantrum at this and, when the commotion attracts Melanie's attention, she naively suggest that she and Ashley remain in Tara to help Scarlett. Dejected, Ashley gives in.Jonas Wilkerson (Victor Jory), former overseer of Tara, now prosperous due to collaboration with the carpetbaggers, offers to buy Tara from Scarlett. Though the tax has risen to nearly $300, Tara rejects the offer and humiliates Jonas by throwing a clump of dirt in his face. As he leaves, Scarlett's father, his mind all but completely lost, chases him down on his horse, attempting to upbraid him. However, the horse falls while attempting to jump over a fence and O'Hara is killed in the fall.After burying her father, Scarlett seeks the help of the only man she knows of, yet again. Rhett Butler, despite holding a Captain's rank, is being held in jail in Atlanta by Union forces who are threatening to hang him unless he hands over his Confederate gold. Conditions in the jail, however, are hardly bleak: Rhett gambles and drinks with Union soldiers and receives female visitations. Scarlett decides to dress up for the occasion and enlists Mammy to create a new dress for her out of the curtains hanging at Tara. Mammy accompanies Scarlett to Atlanta to keep her out of trouble. Scarlett is allowed visitation to Rhett at the city jail and attempts to present herself with an air of elegance. Rhett, however, sees through the deception when he notices her roughened hands from working the fields. Despite her anger, she continues to beg for money and even offers to be his mistress. Rhett dismisses her. On her way out, Scarlett passes Belle Watling waiting for a visit. Noticing how well-dressed she is, Scarlett figures that she knows how to get the money.While walking through town, Mammy and Scarlett come across Frank Kennedy, now a successful businessman selling hardware and wood for which the city is being rebuilt. Frank claims to be saving all his money to marry Suellen and bring her to the city. Sensing an opportunity, Scarlett tells Frank that Suellen has married another man and presents herself open to Frank, despite Mammy's disapproving looks. Arriving back at Tara, Suellen is heartbroken and sullen as a widow, having just learned that Scarlett hastily married Frank and that he has paid off Taras debts. She scolds Scarlett for having been married twice already and relents that she seems to be destined as a spinster.Throughout that year (1866), Frank's hardware and lumber store flourishes under Scarlett's management. She refuses credit to her poor neighbors and makes lucrative deals with Northern businessmen. They expand further, buying a sawmill, and Tara starts to regain part of its former splendor. Scarlett hires hungry convicts who are exploited by a cruel, former prison overseer (John Wray).One day, Scarlett comes across Rhett Butler, who is now free and very wealthy. He laughs, saying that she could have married him and become rich if she had waited. She brushes him off and leaves alone for the sawmill. Rhett points out that the shantytown on the way to the sawmill is full of dangerous criminals and deserters but Scarlett shows him that she carries a gun.On the way to the sawmill, two men attack Scarlett from behind and overpower her before she can use her gun. Panicked, Scarlett faints. The men appear to be on the verge of raping her when Big Sam (Everett Brown), a former slave at Tara, saves her by beating up the two men who flee. News of the event spreads quickly through the town. That evening, Frank drops Scarlett and Mammy off at the Wilkes' home while he and Ashley go out to a political meeting. The women sense that something is afoot and Melanie reads aloud from the book 'David Copperfield' in an attempt to relieve the tension. Rhett appears and tells the women that the men have formed a vigilante group to punish the attackers but that the Union army has been tipped off and those at the meeting are now in danger. Melanie tells Rhett where they are meeting, considering him trustworthy despite Scarlett's advice to the contrary. Rhett says he will do what he can.Several hours later, Rhett appears back at the home with Ashley and Dr. Meade, with a squad of Union soldiers right behind them. The three men seem to be completely drunk and Rhett tells the Yankee captain (Ward Bond) that they have just spent the evening at the bordello establishment of Belle Watling, who should confirm their story. The women are shocked and embarrassed, but the captain accepts the explanation and departs. Rhett drops the curtain and instantly sobers (having just pretended to be drunk), revealing there was a skirmish in the shantytown. Ashley is wounded, having been shot in the shoulder but the two men who attacked Scarlett are now dead, along with several others. More worried about Ashley, Scarlett neglects to inquire about her own husband, Frank. Rhett finally mentions that he was killed in the skirmish.Some days later, Melanie meets with Belle Watling and thanks her for helping their men stay out of trouble by backing up their false alibi. Belle says that she has a son studying up North and helped the men because of Melanie rather than Scarlett. Belle cautions Melanie about speaking to her in public from now on as it would damage Melanie's reputation but Melanie persists that she would be happy to speak to Belle anytime.A few days later Rhett visits Scarlett, again a widow. He realizes that she has been drinking heavily despite her attempts to cover up the smell with cologne. She tells Rhett that she will never love him because she's in love with another man, but she will marry him because of his money. Rhett says that they are two of a kind; partners in crime, and he marries her anyway. Rhett and Scarlett have a luxurious honeymoon in New Orleans and return to Tara so that Scarlett can use her new riches to restore its full glory. Rhett also buys a large mansion in Atlanta where they will live on a regular basis. In time they have a child whom Rhett confidently names Bonnie Blue Butler after Melanie remarks (newborn: Kelly Griffin, 2 year-old: Phyllis Douglas) on her brilliant blue eyes.After her daughter's birth, Scarlett becomes depressed over her waning youth and her unrequited love for Ashley. She informs Rhett that she wants no more children and will no longer sleep with him. Furious, Rhett storms out to find consolation at Belle Watling's. Although he has grounds for divorce, Rhett continues with the sham marriage in order to keep up social appearances for Bonnie's sake. Bonnie becomes a sort of substitute for Scarlett in Rhett's eyes. Over the next few years, Rhett dotes on the child, spoiling her and giving her the best of everything, including a pony and riding lessons.In 1871, India Wilkes and Mrs. Meade (Leona Roberts) discover Scarlett hugging Ashley at the hardware store. Although the hug was rather innocent, Scarlett knows that rumors will fly. That night is Ashley's birthday party and Rhett, who has heard the gossip, forces Scarlett to go in a daring red taffeta dress which would be considered very inappropriate for the occasion. Melanie is the only person who welcomes Scarlett. Back at the Atlanta mansion, Scarlett finds Rhett completely drunk. They have an angry confrontation and, this time, Rhett refuses to take no for an answer. He carries Scarlett off to the bedroom. The next morning, Scarlett seems deliriously happy. When Rhett arrives to apologize and propose a divorce, her good mood vanishes. Rhett promises to take care of Scarlett financially but insists on taking Bonnie away with him. Scarlett rejects his offer, as it would be a disgrace. Rhett then leaves on an extended trip to London, England and takes Bonnie with him.In London, Bonnie (Cammie King Conlon) has nightmares and can't sleep in the dark. Her stuffy English nurse (Lillian Kemble-Cooper) believes that the ordeal will build the child's character but Rhett dismisses her and lets Bonnie sleep with a candlelight on. The homesick Bonnie begs to return to her mother. When Rhett and Bonnie return to Atlanta, Scarlett tells him that she's pregnant again. Rhett reacts coldly and Scarlett ups the ante by saying she wishes the baby were not his, to which Rhett retorts, \"Maybe you'll have an accident.\" In the ensuing row at the top of the stairs, Scarlett takes a blind swing at Rhett who dodges it. The momentum causes Scarlett to fall down the stairs and loses her baby.Later, at the behest of Melanie who has become pregnant again, Rhett makes an effort to be kind to Scarlett. Sitting on the back terrace of their Atlanta mansion, Rhett and Scarlett discuss the possibility of Scarlett giving up the lumber business to devote herself to her husband and child. A reconciliation begins to seem possible when, at that moment, Bonnie insists stubbornly on jumping a fence with her pony. Scarlett remembers her father's death and has a premonition of disaster. Her worst fears come true as the pony refuses to jump and fatally throws Bonnie over the fence. Rhett is devastated by Bonnie's death and refuses to release the child's body for burial for several days despite Scarlett's wishes. Rhett locks himself in his room with the body after shooting the pony, refusing to allow anyone in, including Scarlett who can only bang on the door screaming at him.Melanie arrives at the mansion and is led upstairs by Mammy, who tearfully relays the past few days events. Melanie manages to allow Rhett to come out of the room and allow undertakers to take away Bonnie's dead body. But Melanie, overwrought with emotion, collapses and goes into labor. Upon a doctor's examination following the birth, he determines that Melanie is dying from internal bleeding. In a final meeting with Scarlett, Melanie asks her to look after Ashley. When Melanie dies, Ashley is left a broken man and he tells Scarlett that Melanie was always his true love, a devastating revelation to Scarlett, who then realizes that he never really loved Ashley and can only wish that he had been clearer about his own feelings for her.Scarlett returns to her Atlanta mansion to seek Rhett. Having seen Scarlett with Ashley at Melanie's house, Rhett tells her that she will never stop loving Ashley and so he is leaving her, for good, to start a new life back in his hometown of Charleston. As Rhett begins to pack his suitcase to leave, Scarlett insists that she now realizes that she loves Rhett and never truly loved Ashley but Rhett maintains that any chance of saving their marriage died with Bonnie, and on top of all that, he's tolerated Scarlett's drama long enough. As he prepares to walk out the door, Scarlett begs him one last time, asking what will happen to her if he leaves. Indifferent, Rhett replies, \"Frankly, my dear, I don't give a damn!\" and strides out of the house into the evening fog.Scarlett collapses on the stairs in anguish. She pulls back from despair only when she thinks of the other great love of her life, Tara, through a series of voice-over reminiscences. Scarlett is determined to return to Tara, make a new start, and try to somehow get Rhett back, saying to herself, \"After all, tomorrow is another day!\"In the final shot, we see Scarlett silhouetted against Tara as the sun sets over the hill, having arrived back at her childhood home and now facing an unknown, but new, future.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0033467/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "It's 1941, and newspaper tycoon Charles Foster Kane (Orson Welles, who also directed and co-wrote the script) is dead. The opening shots show Xanadu, Kane's vast, elaborate, and now unkempt estate in Florida. Interspersed with segments of his newsreel obituary are scenes from his life and death. Most puzzling are his last moments: clutching a snowglobe, he mutters the word \"rosebud.\" Kane, whose life was news and whose newspapers not only reported but formed public opinion, was central to his time, a larger-than-life figure. The newsreel editor feels that until they know who or what Rosebud is they won't have the whole story on Kane. He assigns a reporter called Thompson (William Alland) to investigate Rosebud.Thompson digs into Kane's life and hears a lot of stories, but none of them reveal the meaning of Rosebud. The reporter sees Susan Alexander Kane (Dorothy Comingore), the tycoon's ex-wife; she's drunk and won't speak to him. Then he reads the unpublished memoirs of Mr. Thatcher (George Coulouris), Kane's early financial adviser and childhood guardian, who later became a prime target of the Kane newspapers' trust-busting attacks. In one of many flashbacks, the Thatcher memoir shows Kane's mother signing guardianship of the boy and his fortune over to Thatcher, despite his father's objections. When Charles objected violently to being sent away with Thatcher, Kane Sr. remarked, \"what the kid needs is a good thrashing.\" Mrs. Kane responded, \"That's why he's going to be brought up where you can't get at him.\" (Some present-day fans of the film interpret this to mean that Mr. Kane was abusive. 1940s audiences were more likely to have believed that Mrs. Kane was over-protective and that if Charles had been allowed to grow up enjoying the love and discipline of his parents, his life would have turned out better.)Years later, as he was about to get control of his business affairs, Kane's interest in newspapers was piqued when he noticed that he owned the struggling New York Daily Inquirer. Don't sell it, he famously wrote to Thatcher: \"I think it would be fun to run a newspaper\" -- a statement that exasperates Thatcher greatly. A scene where Thatcher visited Kane at the Inquirer to talk him out of throwing so much money away on low-class journalism showed Kane using the paper to instigate the Spanish-American War. But in the same scene Kane earnestly told Thatcher that he wanted to use journalism to protect the interests of ordinary people.Next, Thompson interviews Bernstein (Everett Sloane), the general manager of Kane's newspaper empire. In further flashbacks, Bernstein recalls how he, Kane, and Kane's college friend Jedediah Leland (Joseph Cotten) took over the stuffy, unprofitable Inquirer and transformed it into a money-maker, eventually hiring the staff of the rival New York Chronicle.At Bernstein's urging, Thompson seeks out Leland, who recounts the story of Kane's first marriage (to Emily Norton, Ruth Warrick) and makes some negative comments about his one-time friend's character. (\"Charlie was never brutal, he just did brutal things.\" \"He married for love -- that's why he did everything. That's why he went into politics. It seems we weren't enough. He wanted all the voters to love him, too. All he really wanted out of life was love. That's Charlie's story -- it's the story of how he lost it. You see, he just didn't have any to give.\" \"He never believed in anything except Charlie Kane.\")Leland goes on to describe Kane's second marriage, to Susan Alexander. Kane started seeing her while he was still married to Emily, during his campaign for governor. He ran on an anti-corruption platform, promising to investigate and bring down his opponent, political boss Jim Gettys (Ray Collins). Gettys found out about Susan and threatened to tell the press unless Kane withdrew from the race. Kane refused, the story came out, and he lost the election along with his first marriage. He married Susan (who the non-Kane newspapers describe disparagingly as 'a \"singer\"') soon after his divorce from Emily was final. Around the same time he allowed a drunken Leland, who served as the New York paper's drama critic, to transfer to the same job at Kane's Chicago paper.Although her singing talent was modest, Kane was ambitious on his wife's behalf. He paid for voice lessons, built an opera house in Chicago (\"Cost: three million dollars!\" the obituary reel notes), and financed an elaborate production for her debut. (The work Susan stars in is identified as Salammbo in the newspaper coverage, but it's a fictionalized version -- the music was written specially for Citizen Kane.) After the opening night performance, Kane arrived at the offices of the Chicago Inquirer to find Leland drunk again and passed out over his typewriter, his cheek resting on his unfinished -- and very negative -- review of Susan's performance. Kane finished the review in the same negative vein and ran it in all his papers, but fired Leland. Susan wanted to quit, but Kane insisted she keep performing until a suicide attempt convinced him she needed to give up singing. (By this time Thompson is interviewing Susan herself.)The couple moved to Florida and Kane went to work on Xanadu (\"Cost: no man knows\"), where most of the remaining scenes are set. Kane's 49,000-acre \"private pleasure ground,\" ostensibly built for Susan, includes a man-made mountain, a golf course, vast gardens, a zoo, and, of course, a mansion. In a huge, echoing, and nearly empty stone hall, Susan did jigsaw puzzles and longed to be in New York. Kane declined to leave Xanadu, but did arrange an event he called a picnic, involving an overnight stay in the Everglades, a large animal spit-roasted over a fire, richly furnished tents, musicians, and many guests. In their tent, Susan accused him of trying to buy love, despite never loving anyone but himself, and of never giving her anything that mattered; he slapped her. Shortly thereafter she left him. She almost wavered in her resolve to go when he begged her not to, saying she'd have everything her own way. He lost her when he turned the emphasis back on himself, saying \"you can't do this to me!\" From the Kanes' butler Raymond (Paul Stewart), Thompson hears how Kane trashed Susan's room after she left but stopped when he came across the snowglobe (which we recognize from the deathbed scene). As Kane pocketed the snowglobe, Raymond heard him say \"rosebud.\" Raymond has no idea what it means. However, he tells Thompson that he was in the room to hear Kane say \"rosebud\" again just before he died.In Xanadu's big stone hall, the reporters are getting ready to leave. The place is jammed with packing crates full of art and household goods, some valuable, some not. (There's a shot of all the crates that's a clear ancestor of the warehouse shot at the end of Raiders of the Lost Ark.) Thompson explains to the other reporters that he never found the meaning of Rosebud, but that it doesn't matter. \"I don't think it explains anything. I don't think any word explains a man's life.\" The camera pans across the crates and finds the sled that Kane played with in the scene where his parents turned him over to Thatcher; the word Rosebud is stenciled on it. In the final scene, men are tossing trash into an incinerator. Raymond says, \"Throw that junk in, too,\" and in goes the sled Rosebud, probably the only thing that always stayed with Kane.\"He was a man who got everything and then again lost everything, Rosebud must've been something he lost or something he wanted but never got\". The flames consume it. In an exterior shot, the camera pulls back from the smoking chimney to the chain-link fence with the \"No trespassing\" sign with which the movie opened, and then to Xanadu's \"K\" gate.\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0032138/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Dorothy Gale (Judy Garland) is an orphaned teenager who lives with her Auntie Em (Clara Blandick) and Uncle Henry (Charley Grapewin) on a Kansas farm in the early 1900s. She daydreams about going \"over the rainbow\" after Miss Gulch (Margaret Hamilton), a nasty neighbor, hits Dorothy's dog Toto (Terry) on the back with a rake, causing Toto to bite her. Miss Gulch shows up with an order to take Toto to the sheriff to be euthanized, but Toto jumps out of the basket on the back of Miss Gulch's bicycle and runs back to Dorothy. Fearing that Miss Gulch, who does not know that Toto has escaped, will return, Dorothy takes the dog and runs away from home. She meets an itinerant phony fortune teller, Professor Marvel (Frank Morgan), who immediately guesses that Dorothy has run away. Pretending to tell her fortune and wishing to reunite Dorothy with her aunt, he tells her that Auntie Em has fallen ill from worry over her.Dorothy immediately returns home with Toto, only to find a tornado approaching. Unable to reach her family in their storm cellar, Dorothy enters the house, is knocked unconscious by a loose window, and apparently begins to dream. Along with her house and Toto, she's swept from her sepia-toned world to the magical, beautiful, dangerous and technicolor land of Oz. The tornado drops Dorothy's house on the Wicked Witch of the East, killing her. The witch ruled the Land of the Munchkins, little people who think at first that Dorothy herself must be a witch. The Wicked Witch of the West (Margaret Hamilton again), who is the sister of the dead witch, threatens Dorothy. But Glinda (Billie Burke), the Good Witch of the North, gives Dorothy the dead witch's enchanted Ruby Slippers, and the slippers protect her. Glinda advises that if Dorothy wants to go home to Kansas, she should seek the aid of the Wizard of Oz, who lives in the Emerald City. To get there, Dorothy sets off down the Yellow Brick Road.Before she's followed the road very far, Dorothy meets a talking scarecrow whose dearest wish is to have a brain. Hoping that the wizard can help him, the Scarecrow (Ray Bolger) joins Dorothy on her journey. They come upon the Tin Woodman (Jack Haley), who was caught in the rain and is so rusty he can't move. When they oil his joints so he can walk and talk again, he confesses that he longs for a heart; he too joins Dorothy. As they walk through a dense forest, they encounter the Cowardly Lion (Bert Lahr), who wishes for courage and joins the quest in the hope that the wizard will give him some. Dorothy's three friends resemble the three farmhands who work for Dorothy's aunt and uncle back in Kansas.On the way to the Emerald City, Dorothy and her friends are hindered and menaced by the Wicked Witch of the West. She incites trees to throw apples at them, then tries to set the scarecrow on fire. Within sight of the city, the witch conjures up a field of poppies that cause Dorothy, Toto, and the lion to fall asleep. Glinda saves them by making it snow, which counteracts the effects of the poppies.The four travelers marvel at the wonders they find in the Emerald City and take time to freshen up: Dorothy, Toto and the Lion have their hair done, the Tin Woodman gets polished, and the scarecrow receives an infusion of fresh straw stuffing. As they emerge looking clean and spiffy, the Wicked Witch appears on her broomstick and skywrites \"Surrender Dorothy\" above the city. The friends are frustrated at their reception by the \"great and powerful\" Wizard of Oz (Frank Morgan again) -- at first he won't receive them at all. When they finally see him (the doorkeeper lets them in because he had an Aunt Em himself), the Wizard declines to help them until they bring him the broomstick of the Wicked Witch of the West. Daunted but determined, they set off again.The witch sends winged monkeys to attack Dorothy's party before they reach her castle; the monkeys snatch Dorothy and Toto and scatter the others. When the witch finds that the Ruby Slippers can't be taken against Dorothy's will as long as the girl is alive, she turns her hourglass and threatens that Dorothy will die when it runs out. Meanwhile, Toto has escaped and run for help. Dressed as guardsmen, the Lion, the Tin Man, and the Scarecrow sneak into the castle and free Dorothy. They're discovered before they can escape, however, and the witch and her guards corner them and set the Scarecrow on fire. Dorothy douses him with a pail of water, splashing the witch by accident. The water causes the witch to disintegrate (\"I'm melting!\"). The guards are happy to let Dorothy have the witch's broomstick, and Dorothy and her friends return to the Emerald City.The wizard isn't pleased to see them again. He blusters until Toto pulls aside a curtain in the corner of the audience chamber to reveal an old man who resembles Professor Marvel pulling levers and speaking into a microphone -- the so-called wizard, as the Scarecrow says, is a humbug. He's abashed and apologetic, but quickly finds ways to help Dorothy's friends: a diploma for the Scarecrow, a medal of valor for the Lion, and a testimonial heart-shaped watch for the Tin Man. Then he reveals that he's from Kansas himself and came to Oz in a hot-air balloon, in which he proposes to take Dorothy home.The wizard appoints the Scarecrow, Tin Man, and Lion rulers of Oz in his absence. Just as the balloon is about to take off Toto runs after a cat and Dorothy follows him. Unable to stop, the wizard leaves without Dorothy. But Glinda appears and explains that Dorothy has always had the power to get home; Glinda didn't tell her before because Dorothy wouldn't have believed it. Bidding her friends a tearful good-bye, Dorothy taps her heels together three times, repeats \"There's no place like home,\" and the Ruby Slippers take her and Toto back to Kansas.Dorothy wakes up in her own bed with Auntie Em and Uncle Henry fussing over her. Professor Marvel and the farmhands Hunk (Ray Bolger again), Hickory (Jack Haley again), and Zeke (Bert Lahr again) stop by to see how she's doing. She raises indulgent laughter when she tells them about Oz, but she's so happy to be home she doesn't mind that they don't believe her. Miss Gulch is never mentioned again.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0120338/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In 1996, treasure hunter Brock Lovett and his team aboard the research vessel Keldysh search the wreck of RMS Titanic for a necklace with a rare diamond, the Heart of the Ocean. They recover a safe containing a drawing of a young woman wearing only the necklace. It is dated April 14, 1912, the day the ship struck the iceberg. Rose Dawson Calvert, claiming to be the person in the drawing, visits Lovett and tells of her experiences aboard the ship.\n", "In 1912 Southampton, 17-year-old first-class passenger Rose DeWitt Bukater, her fianc\u00e9 Cal Hockley, and her mother Ruth board the Titanic. Ruth emphasizes that Rose's marriage will resolve the DeWitt Bukaters' financial problems. Distraught over the engagement, Rose considers committing suicide by jumping from the stern; Jack Dawson, a penniless artist, convinces her not to. Discovered with Jack, Rose tells Cal that she was peering over the edge and Jack saved her from falling. Cal is indifferent, but when Rose indicates some recognition is due, he offers Jack a small amount of money. After Rose asks whether saving her life meant so little, he invites Jack to dine with them in first class the following night. Jack and Rose develop a tentative friendship, though Cal and Ruth are wary of him. Following dinner, Rose secretly joins Jack at a party in third class.\n", "Aware of Cal and Ruth's disapproval, Rose rebuffs Jack's advances, but later realizes that she prefers him over Cal. After rendezvousing on the bow at sunset, Rose takes Jack to her state room and displays Cal's engagement present: the Heart of the Ocean. At her request, Jack sketches Rose posing nude wearing it. They evade Cal's bodyguard and have sex in an automobile inside the cargo hold. They later visit the forward deck, witnessing a collision with an iceberg and overhearing the officers and designer discussing its seriousness.\n", "Cal discovers Jack's sketch of Rose and a mocking note from her in his safe along with the necklace. When Jack and Rose attempt to tell Cal of the collision, he has his butler slip the necklace into Jack's pocket and accuses him of theft. He is arrested, taken to the Master-at-arms' office, and handcuffed to a pipe. Cal puts the necklace in his own coat pocket.\n", "With the ship sinking, Rose is desperate to free Jack. She flees Cal and her mother, who has boarded a lifeboat, and rescues him. They return to the boat deck, where Cal and Jack encourage her to board a lifeboat; Cal claims he can get himself and Jack off safely. After Rose boards one, Cal tells Jack the arrangement is only for himself. As her boat lowers, Rose decides that she cannot leave Jack and jumps back on board. Cal takes his butler's pistol and chases Rose and Jack into the flooding first class dining saloon. After using up his ammunition, Cal realizes he gave his coat and consequently the necklace to Rose. He later boards a collapsible lifeboat by carrying a lost child.\n", "After braving several obstacles, Jack and Rose return to the boat deck. All the lifeboats have departed and passengers are falling to their deaths as the stern rises out of the water. The ship breaks in half, lifting the stern into the air. Jack and Rose ride it into the ocean and he helps her onto a wooden panel only buoyant enough for one person. Holding the edge, he assures her that she will die an old woman, warm in her bed. He dies of hypothermia but she is saved.\n", "With Rose hiding from Cal en route, the RMS Carpathia takes the survivors to New York. There she gives her name as Rose Dawson. She later learns that Cal committed suicide after losing everything in the 1929 Wall Street Crash.\n", "Lovett abandons his search after hearing Rose's story. Alone on the stern of the Keldysh, Rose takes out the Heart of the Oceanin her possession all alongand drops it into the sea over the wreck site. While she is seemingly asleep in her bed, photos on her dresser depict a life of freedom and adventure, partly inspired by Jack. A young Rose reunites with him at the ship's Grand Staircase, applauded by those who perished.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0056172/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In 1935, T. E. Lawrence (Peter O'Toole) is killed in a motorcycle accident. At his memorial service at St Paul's Cathedral, a reporter tries to gain insights into this remarkable, enigmatic man from those who knew him, with little success.During the First World War, Lawrence is a misfit British Army lieutenant stationed in Cairo, notable for his insolence and knowledge. Over the objections of General Murray (Donald Wolfit), he is sent by Mr. Dryden (Claude Rains) of the Arab Bureau to assess the prospects of Prince Faisal (Alec Guinness) in his revolt against the Turks.On the journey, his Bedouin guide is killed by Sherif Ali (Omar Sharif) for drinking from a well without permission. Lawrence later meets Colonel Brighton (Anthony Quayle), who orders him to keep quiet, make his assessment of Faisal's camp, and leave. Lawrence promptly ignores Brighton's commands when he meets Faisal. His knowledge and outspokenness pique the Prince's interest.Brighton advises Faisal to retreat to Yenbo after a major defeat, but Lawrence proposes a daring surprise attack on Aqaba which, if successful, would provide a port from which the British could offload much-needed supplies. While strongly fortified against a naval assault, the town is lightly defended on the landward side. He convinces Faisal to provide fifty men, led by a sceptical Sherif Ali. Two teenage orphans, Daud (John Dimech) and Farraj (Michel Ray), attach themselves to Lawrence as his servants.They cross the Nefud Desert, considered impassable even by the Bedouins, travelling day and night on the last stage to reach water. Gasim (I. S. Johar) succumbs to fatigue and falls off his camel unnoticed during the night. The rest make it to an oasis, but Lawrence turns back for the lost man. Sherif Ali, won over, burns Lawrence's British uniform and gives him Arab robes to wear.Lawrence persuades Auda abu Tayi (Anthony Quinn), the leader of the powerful local Howeitat tribe, to turn against the Turks. Lawrence's plan is almost derailed when one of Ali's men kills one of Auda's because of a blood feud. Since Howeitat retaliation would shatter the fragile alliance, Lawrence declares that he will execute the murderer himself. Stunned to discover that the culprit is Gasim, he shoots him anyway. The next morning, the intact alliance overruns the Turkish garrison.Lawrence heads to Cairo to inform Dryden and the new commander, General Allenby (Jack Hawkins), of his victory. During the crossing of the Sinai Desert, Daud dies when he stumbles into quicksand. Lawrence is promoted to major and given arms and money to support the Arabs. He is deeply disturbed, confessing that he enjoyed executing Gasim, but Allenby brushes aside his qualms. He asks Allenby whether there is any basis for the Arabs' suspicions that the British have designs on Arabia. Pressed, the general states they have no such designs.INTERMISSIONLawrence launches a guerrilla war, blowing up trains and harassing the Turks at every turn. American war correspondent Jackson Bentley (Arthur Kennedy) publicises his exploits, making him world famous. On one raid, Farraj is badly injured. Unwilling to leave him to be tortured, Lawrence is forced to shoot him before fleeing.When Lawrence scouts the enemy-held city of Daraa with Ali, he is taken, along with several Arab residents, to the Turkish Bey (Jos\u00e9 Ferrer). Lawrence is stripped, ogled and prodded. For striking out at the Bey, he is severely flogged, then thrown out into the street. Lawrence is so traumatised by the experience that he abandons all of his exploits, going from having proclaimed himself a god, to insisting he is merely a man. He attempts to return to the British forces and swear off the desert, but he never fits in there. In Jerusalem, Allenby urges him to support his \"big push\" on Damascus, but Lawrence is a changed, tormented man, unwilling to return. After Allenby insists that Lawrence has a destiny, he finally relents. Lawrence naively believes that the warriors will come for him rather than for money.He recruits an army, mainly killers, mercenaries, and cutthroats motivated by money, rather than the Arab cause. They sight a column of retreating Turkish soldiers who have just slaughtered the people of the village of Tafas. One of Lawrence's men from the village demands, \"No prisoners!\" When Lawrence hesitates, the man charges the Turks alone and is killed. Lawrence takes up the dead man's cry, resulting in a massacre in which Lawrence himself participates with relish. Afterward, he realises the horrible consequences of what he has done.His men then take Damascus ahead of Allenby's forces. The Arabs set up a council to administer the city, but they are desert tribesmen, ill-suited for such a task. The various tribes argue among themselves and in spite of Lawrence's insistence, cannot unite against the English, who in the end take the city back under their bureaucracy. Unable to maintain the utilities and bickering constantly with each other, they soon abandon most of the city to the British. Promoted to colonel and immediately ordered home, his usefulness at an end to both Faisal and the British diplomats, a dejected Lawrence is driven away in a staff car.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0071562/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The Godfather Part II presents two parallel storylines. One involves Mafia chief Michael Corleone in 1958/1959 after the events of the first movie; the other is a series of flashbacks following his father, Vito Corleone from 1917 to 1925, from his youth in Sicily (1901) to the founding of the Corleone family in New York.The film begins in 1901, in the town of Corleone, Sicily, at the funeral of young Vito's father, Antonio Andolini, who has been murdered for an insult to the local Mafia lord, Don Ciccio. During the procession, Vito's older brother is murdered because he swore revenge on the Don. Vito's mother goes to Ciccio to beg for mercy, but he refuses, knowing that nine-year-old Vito will seek revenge later in life. The mother takes Ciccio hostage at knifepoint, allowing her son to escape, and Ciccio's men kill her. They search the town for the boy, but he is aided in his escape by the townspeople. Vito finds his way by ship to New York, and at Ellis Island an immigration agent chooses Vito's hometown of Corleone as his surname, and he is registered as \"Vito Corleone\".In 1958 in a scene similar to the opening of the first film, Michael Corleone (Al Pacino), Godfather of the Corleone family, deals with various business and family problems during an elaborate party at his Lake Tahoe, Nevada compound to celebrate his son's First Communion. In his office, Michael meets with corrupt Nevada Senator Pat Geary (G. D. Spradlin), who despises the Corleones, to discuss the price of the gaming licenses for the hotel/casinos the Family is buying.Michael deals with his self-indulgent younger sister Connie (Talia Shire), who, although recently divorced from her second husband, is planning to marry a man named Merl Johnson (Troy Donahue) with no obvious means of support and of whom Michael disapproves. He also talks with Johnny Ola (Dominic Chianese), the right hand man of Jewish gangster Hyman Roth (Lee Strasberg), who is supporting Michael's move into the gambling industry. Belatedly, Michael deals with Frank \"Five Angels\" Pentangeli (Michael V. Gazzo), a business associate who took over Corleone caporegime Peter Clemenza's territory in New York City after his death, and now has problems with the Rosato Brothers, who are backed by Roth. Pentangeli leaves abruptly, after telling Michael \"your father did business with Hyman Roth, your father respected Hyman Roth, but your father never trusted Hyman Roth.\"Later that night, Michael barely escapes an assassination attempt when his wife Kay (Diane Keaton) notices the bedroom window drapes are inexplicably open, which allows two unseen hitmen to spray the bedroom with bullets. The two hitman are found dead having been killed by a \"mole\" within the compound. Afterwards, Michael tells his lawyer and associate Tom Hagen (Robert Duvall) that the hit was made with the help of someone close, and that he must leave, entrusting all his power to Hagen to protect his family.Flashback: In 1917 New York City, the adult Vito Corleone (Robert De Niro) works in a grocery store in the Lower East side with his friend Genco Abbandando. The neighborhood is controlled by a member of the \"The Black Hand,\" Don Fanucci (Gastone Moschin), who extorts protection payments from local businesses. One night, Vito's neighbor Clemenza (Bruno Kirby) asks him to hide a stash of guns for him, and later, to repay the favor, takes him to a fancy apartment where they commit their first felony together, stealing an elegant rug.The film flash-forwards to Michael's time. Michael meets with poushal Hyman Roth in Miami, Florida who tells Michael that he believes Frank Pentangeli was responsible for the assassination attempt, and that Pentangeli will pay for it. Traveling to Brooklyn, Michael lets Pentangeli know that Roth was actually behind it, and that Michael has a plan to deal with Roth, but he needs Frankie to cooperate with the Rosato Brothers in order to put Roth off guard. When Pentangeli goes to meet with the Rosatos at a local bar, he is told \"Michael Corleone says hello,\" as he is attacked from behind but the attempted murder is accidentally interrupted by a policeman. Pentangeli is left for dead, and his bodyguard, Willi Cicci (Joe Spinell), is struck by a car while shooting at the Rosatos as they drive away.Back in Nevada, Tom Hagen is called to a brothel in Carson City run by Michael's older brother Fredo (John Cazale), where Senator Geary is implicated in the death of a prostitute, and Tom offers to take care of the problem in return for \"friendship\" between the Senator and the Corleone family.Meanwhile, Michael meets Roth in Havana, Cuba, in late 1958, at the time when dictator Fulgencio Batista is soliciting American investment, and communist guerrillas are trying to bring down the government. At a birthday party for Roth, Michael mentions that there is a possibility that the rebels might win, making their business dealings in Cuba problematic. Earlier that day, Michael had witnessed a communist rebel kill a Havana policemen by detonating a grenade that also killed the rebel himself. The comment prompts Roth to remark, privately, that Michael has not delivered the two million dollars to firm their partnership.Fredo, carrying the promised money, arrives in Havana and meets Michael. Michael mentions Hyman Roth and Johnny Ola to him, but Fredo says he has never met them. Michael confides to his brother that it was Roth who tried to kill him, and that he plans to try again. Michael assures Fredo that he has already made his move, and that \"Hyman Roth will never see the New Year.\"Instead of turning over the money to Roth, Michael asks him who gave the order to have Frank Pentangeli killed. Roth avoids the question, instead speaking angrily of the murder of his old friend, Moe Greene, which Michael had orchestrated (as depicted at the end of the first film).Michael has asked Fredo, who knows Havana well, to show Senator Geary and other important officials and businessmen a good time, during which Fredo pretends to not recognize Johnny Ola. Soon after, at a sex show, Fredo comments loudly that Johnny Ola told him about the place, contradicting what he told Michael twice earlier, that he didn't know Roth or Ola. Michael now realizes that the traitor is his own brother, and dispatches his bodyguard to deal with Roth.Johnny Ola is strangled, but Roth, in a delicate state because of his heart condition, is taken to a hospital, where Michael's enforcer is shot trying to kill him. At Batista's New Year's Eve party, at the stroke of midnight, Michael grasps Fredo tightly by the head and kisses him: \"I know it was you Fredo; you broke my heart.\" When guerrillas attack, the guests flee, but Fredo refuses to go with Michael, despite Michael's pleas that Fredo is still his brother and that it's the only way out.Flashback (1917): Don Fanucci of the Black Hand is now aware of the partnership between Vito, Clemenza and Sal Tessio (John Aprea), and wants his share of their profits every week. Clemenza and Tessio agree to pay, but Vito is reluctant and asks his friends to leave everything in his hands so Fanucci will accept less and indeed, Vito manages to get Fanucci to take only one sixth of what he demanded ($100 out of $600). Immediately afterward, during the neighborhood festa, Vito murders Fanucci in the hallway outside his apartment and then rejoins his wife and four children on the stoops outside his apartment building where Vito tells the infant Michael that his father loves him very much.In January 1959, Nevada, Michael returns to his snow-covered Lake Tahoe compound after fleeing Cuba, where Tom Hagen tells him that Roth escaped from Cuba after suffering a stroke and is recovering in Miami, that Michael's bodyguard is dead, and that Fredo is probably hiding in New York. Hagen also informs Michael that Kay had a miscarriage while he was away. Michael is distraught at the news and furiously demands to know the sex of the child, but Tom is unable to tell him.Flashback (1920): with Fanucci dead and with no one else apparently to take over the Black Hand, Vito earns the respect of the neighborhood and begins to intercede in local disputes, operating out of the storefront of his Genco Pura Olive Oil Company (named after his friend Genco Abbandando) which he manages as well as give out \"favors\" to others in the community such as a local young woman threatened with eviction. Vito intimidates her landlord into letting her stay for a few extra weeks... rent free.In Washington, D.C. of 1959, a Senate committee, of which Senator Geary is a member, is conducting an investigation into the Corleone family. They question disaffected \"soldier\" Willi Cicci about his role as a button man in the Family, but he cannot implicate Michael, because he never received any direct orders from him. When Michael appears before the committee, Senator Geary makes a big show of supporting Italian-Americans and then excuses himself from the proceedings. During questioning, Michael denies all criminal allegations against him, from the murder of Sollozzo and Captain McCluskey back in 1946 (in the first Godfather movie), and to his business status of operating several gambling casinos in Nevada. Michael makes a statement challenging the committee to produce a witness to corroborate the charges against him. The hearing ends with the Chairman promising a witness who will do exactly that.Frank Pentangeli, who did not die in the attack by the Rosato Brothers, has made a deal with the FBI, and will testify against Michael. Tom Hagen and Michael discuss the problem, observing that Roth's strategy to destroy Michael is well planned. Michael's brother Fredo has been found and persuaded to return to Nevada, and in a private meeting he explains to Michael his betrayal: upset about being passed over to head the family in favor of Michael, he wants respect and his due. He helped Roth thinking there would be something in it for him, but he swears he didn't know they wanted to kill Michael. He also tells Michael that the Senate Committee's chief counsel is Roth's man. Michael then tells Fredo: \"You're nothing to me now. Not a brother, not a friend, nothing\", and privately instructs soldier and button man Al Neri (Richard Bright) that nothing is to happen to Fredo while their mother is still alive.At the hearing in which Frank Pentangeli is to testify, Michael arrives accompanied by Pentangeli's brother, brought from Sicily, and whose presence causes Frank to recant his previous statements about Michael. When Pentangeli is pressed, he claims that he just told the FBI what they wanted to hear. With no witness to testify against Michael, the committee adjourns, with Hagen, acting as Michael's lawyer, loudly demanding an apology.At a hotel room afterwards, Kay tries to leave Michael, taking their children with her. Michael at first tries to mollify her, but loses his temper and hits her violently when she reveals to him that her recent \"miscarriage\" was actually an abortion to avoid providing another child into Michael's criminal inheritance. She also tells him that the baby was a boy, further infuriating Michael.Flashback (1925): While visiting Sicily for a family vacation for the first time in 20 years, Vito Corleone is introduced to the elderly 90-year-old Don Ciccio as the man who imports their olive oil to America, and who wants his blessing. When Ciccio asks Vito who his father was, Vito says, \"My father's name is Antonio Andolini, and this is for you!\", cutting the old man's stomach open with a knife, avenging the death of his father, mother, and brother. As they make their escape from Ciccio's compound and his men, Don Tomasello is shot in the leg by one of Ciccio's bodyguards... the injury gives him a permanent limp.In April 1959, Carmella Corleone (Morgana King), Vito's widow and the mother of his children, dies, and the whole Corleone family is reunited for her funeral. Michael still shuns Fredo, who is miserable, but relents when Connie implores him to. Michael and Fredo embrace, but at the same time Michael signals to his capo that Fredo's protection from harm, in effect while their mother lived, has now run out.Michael, Tom Hagen, and Rocco Lampone discuss their final dealings with Hyman Roth, who has been unsuccessfully seeking asylum from various countries, and was even refused entry to Israel as a returned Jew. Michael rejects Hagen's advice that the Corleone family's position is secure, and killing Roth and the Rosato brothers for revenge is an unnecessary risk. Later, Hagen pays a visit to the imprisoned Frank Pentangeli on a military base and suggests that he take his own life, in the manner of unsuccessful ancient Roman conspirators who, in return, were promised that their families would be taken care of after their suicide.With the connivance of Connie, Kay visits her children, but cannot bear to leave them and stays too long. When Michael arrives, he coldly closes the door in her face.The movie reaches its climax in a montage of assassinations and death, reminiscent of the end of Part One:As he arrives at an airport to be taken into custody, Hyman Roth is killed by Rocco Lampone, disguised as a journalist, who himself is immediately shot dead by Roth's bodyguards.On the military base, Frank Pentangeli is found dead, having followed Hagen's instructions and committed suicide in his bathtub.Fredo is murdered by Al Neri while they are fishing on Lake Tahoe - while Fredo is saying a Hail Mary to help catch a fish.The penultimate scene takes place in 1941, and the Corleone family is preparing a surprise birthday party for their father Vito. Sonny (James Caan) introduces Carlo Rizzi (Gianni Russo), Connie's future husband and betrayer of Sonny, to his family. They all talk about the recent attack on Pearl Harbor by the Japanese, and Michael shocks everybody by announcing that he has just enlisted in the United States Marine Corps. Sonny ridicules Michael's choice, and Tom Hagen mentions how his father has great expectations for Michael. Fredo is the only one who supports his brother's decision. Sal Tessio comes in with the cake for the party, and when Vito arrives, all but Michael leave the room to greet him.The final scene in the film is Michael sitting by himself at Lake Tahoe, in silent contemplation.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0054215/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In a Phoenix hotel room on a Friday afternoon, Marion Crane (Janet Leigh) and her out-of-town lover Sam Loomis (John Gavin) end a stolen lunchtime interlude with yet another disagreement about their future. Marion wants to marry Sam, but debts inherited from his father and his own alimony payments do not leave him enough money to support her as he would like. As they have done so often before on Sam's business trips to Phoenix, they part leaving their future uncertain.Marion returns to the real estate office where she works as a secretary, arriving just ahead of her boss Mr. Lowery (Vaughn Taylor) and his client Cassidy (Frank Albertson) who buys a house from Lowery with $40,000 in cash. Lowery tells Marion to put the money in the safe deposit box at the bank until Monday. Pleading a headache, Marion asks to take the rest of the day off after her errand to the bank.But Marion doesn't go to the bank. On the spur of the moment, she decides to keep the money, packs a suitcase, and starts driving out of town, only to be spotted by her boss at an intersection where he gives her a suspicious look. Worried that she has been found out already, she still proceeds out of town on her way to Fairvale, California, where Sam lives. All the while she keeps looking behind her, fearful that she's being followed. She drives well into the night and parks alongside the road to sleep.In the morning, a highway patrolman (Mort Mills) stops to investigate her stopped car, and awakens her. Startled and nervous, she arouses the patrolman's suspicions. He looks at her license and registration, taking note of the plate number. He allows her to go on, but follows her for a while, which intensifies Marion's agitation.Realizing that her car can easily give her away, Marion decides to trade it in for a different car. She stops in at a used car lot, hurriedly pays the salesman (John Anderson) $700 cash for a likely substitute, and completes the deal as the same highway patrolman watches from across the street. Nervous, she drives away and continues toward Fairvale.As night falls on this second night, with her fears of pursuit crowding in around her, she drives into a rainstorm. Unable to see the road clearly, she spots the lighted sign of the Bates Motel, and decides to take a room for the night. As there are no other cars there, and no one in the motel office, she honks her horn upon seeing a light on in the house behind the motel, and a silhouette in the window; a young man soon comes down the path to greet her, and he introduces himself as Norman Bates (Anthony Perkins). He is a soft-spoken and shy young man who tells Marion that he lives in the large house with his mother. The motel seldom has guests anymore since the new interstate bypassed the local highway, and Marion realizes that she probably took a wrong turn in the storm. Still nervous about being tracked by the police, Marion registers under a false name, and Norman checks her into cabin 1 just next to the office. When she asks about food, Marion learns that Fairvale is only fifteen miles away.Norman offers to share his supper with her so she doesn't have to go out again in the rain, and he goes back to the house. She begins unpacking, taking time to repack the money inside a newspaper which she sets aside on the bed table. Then she overhears a shouted argument between Norman and his mother coming from the house. Mother Bates seems to have a low opinion of beautiful young women, and doesn't want Norman associating with them. He brings sandwiches and milk back to the office where Marion joins him in the parlor just behind the check-in desk.Marion is taken aback by Norman's stuffed birds that fill the parlor, a product of his taxidermy hobby. In their conversation over sandwiches, Norman talks about being trapped. Just as Marion presently feels trapped by her guilt, Norman is more permanently trapped in his co-existence with his mother and her madness. But as Norman observes, we all go a little mad sometimes. Taking Norman's situation as a cautionary tale, Marion decides to return to Phoenix to make amends, and try to pull herself out of the trap she's gotten herself into before it's too late.When Marion goes back to her room, Norman takes down a picture from the wall and looks through a peephole where he can watch Marion changing. With a new burst of intensity, Norman hurries up the hill and goes into the house.In her room, Marion sits in her robe and calculates some figures, working out how she can repay the $700 she has already spent. Then she tears up the paper containing the figures, and flushes the pieces down the toilet. With newfound peace of mind, she slips out of her robe and slippers, and steps into the tub to enjoy a cleansing shower.Unseen behind her, the bathroom door opens. A figure approaches and pulls back the shower curtain. It is the shadowy figure of an old woman wielding a large kitchen knife. Marion screams. The blade lifts high into the air, and then strikes, and strikes again, and again. Marion cannot escape the slicing blows of the knife. The savage attack continues, over and over again, and then her killer leaves, the job done. Marion sinks down, reaching for the shower curtain which rips down around her, and she falls over the edge of the tub. The shower continues to run over her, and her diluted lifeblood flows away down the tub drain, her lifeless eyes fixed in a final hopeless stare.From the house, Norman's voice yells out in shock, \"Mother! Oh, God! Mother! Blood! Blood!\" He comes running down the hill and into Marion's cabin to find the aftermath of Mother's knife attack. He quickly cleans up the murder scene. He wraps Marion's body in the shower curtain and places her in the trunk of her car, and gathers her belongings into the trunk as well. At the last moment he spots the newspaper on the bed table and tosses it into the trunk, not knowing that it contains the stolen money. He drives to a swamp near the motel, where he pushes the car in and watches it slowly disappear into the dark bog.One week later, Sam Loomis is sitting in the back office of his hardware store in Fairvale, writing a note to Marion. He has changed his mind, and if it's not too late he wants to marry her right away even if his finances are limited right now. Marion's sister, Lila Crane (Vera Miles), comes into the store and asks if Marion is there. Sam tells her she isn't. A private investigator named Arbogast (Martin Balsam) also enters the store and asks for Marion's whereabouts. His interest is in recovering the stolen $40,000, which Lila knew about, but Sam did not. Arbogast is convinced that Marion is somewhere in this town close to her boyfriend, so he sets out on a search of hotels and boarding houses around Fairvale to track her down.When Arbogast gets to the Bates Motel, Norman tells him he hasn't seen Marion, and that there haven't been any guests in weeks. But Arbogast manages to look at the register and sees the false signature in Marion's handwriting. Caught in his lie that here hadn't been any recent guests, Norman admits to remembering her now, and says she stayed that Saturday night and left early on Sunday morning. Arbogast spots Mother's silhouette sitting at the window of the house and asks to see her, but Norman refuses, saying that his mother is an invalid and shouldn't be disturbed. When Norman lets slip his Mother's impressions of Marion, Arbogast becomes determined to talk to her, but Norman insists that he leave.Arbogast phones Sam and Lila to tell them that Marion had registered the previous Saturday night at the Bates Motel in cabin 1, and that he means to sneak back and talk to Mrs. Bates regardless of Norman's objections. When he gets back to the motel, Arbogast looks into the office and the parlor briefly to see if Norman is there, and takes a quick look into the motel safe which is standing open. Then he heads up to the house and goes inside. Sensing that no one is downstairs, he starts up the stairs. As he nears the top of the stairs, Mother Bates emerges from the bedroom and stabs him. He stumbles backwards down the stairs and falls to the floor, where he is set upon and stabbed yet again.At the hardware store, Lila and Sam have been waiting for Arbogast, and they are now out of patience. They expected Arbogast to be back three hours ago, so they decide to look for him. Sam tells Lila to stay behind while he goes out to the motel. When he gets there, he calls out but no one answers. Norman, standing by the swamp, hears Sam call out for Arbogast.Sam returns to the store, having seen no one at the motel or the house. No Arbogast, no Bates, only a sick old lady unable or unwilling to answer the door. Sam suggests they go see Sheriff Chambers (John McIntire) to report the missing Arbogast. At the sheriff's house, Chambers and his wife (Lurene Tuttle) listen to Sam and Lila tell their story. At their urging, Chambers phones the motel and talks to Norman, who says that the detective had been there but had left. When Lila presses Chambers about the mother, Chambers tells them that Norman's mother has been dead and buried for the past ten years, having poisoned her lover and herself in the only murder-suicide in Fairvale's living memory. But Sam and Lila insist that there is an old woman out there, and that Arbogast had told them that Norman wouldn't let Arbogast see his mother because she was too ill. That makes the sheriff wonder, if Norman's mother is up there at the motel, then who is buried in that grave in Green Lawn Cemetery?Norman is worried about all the people who have been snooping around. His concerns lead to another unseen argument with Mother in which he tells her she should hide in the fruit cellar for a few days. She refuses. Norman says he will pick her up and carry her downstairs. She berates him, and insists she could walk if she wanted to, but she doesn't want to. In spite of Mother's protests, Norman carries his mother down the stairs.The next morning, Sunday morning, Lila and Sam meet Sheriff and Mrs. Chambers coming out of church. The sheriff has already been to the motel before church services. Norman is alone out there, he says. He saw the whole place. The detective has probably just moved on to pursue a lead without telling them. He suggests that Lila report a missing person and a theft, and let the law find her sister. And with that, the Chambers go their way. Unsatisfied, Lila and Sam decide to go out to the motel for themselves. Their plan is to register as husband and wife and check into a cabin. Then they will search every inch of the place, inside and out.Norman assigns them to cabin 10, and Sam insists on signing the register. As he pays and asks Norman for a receipt, Lila takes the key and goes ahead toward their cabin. On the way she checks that the door to cabin 1 is unlocked. After a brief stop in cabin 10 to talk matters over, and after they are sure Norman is not nearby, Sam and Lila enter cabin 1 to search for clues. The only thing they can find is a scrap of paper with something subtracted from 40,000, proving Marion had been there. But that was never in doubt. Lila wants to talk to the old woman, because she must have told Arbogast something. She wants Sam to distract Norman while she goes to the house. Sam tries to dissuade her, but she insists she can handle a sick old woman.Sam finds Norman in the office and starts talking with him, while Lila circles around behind the motel to the house. She goes in and looks through all the rooms upstairs. She goes into Mother's bedroom, a scene of old-fashioned lavishness gone to ruin. The outline of the woman's body is deeply impressed into the old mattress. She looks into Norman's bedroom, a little boy's room frozen in time.Meanwhile, Sam has been trying to get Norman to talk about money, looking for some indication that Norman has the stolen cash. Norman begins to grow agitated. When Sam suggests that Norman's mother might know something about the $40,000, Norman begins to realize that his other guest may be snooping around at the house. Sam tries to keep Norman from leaving, and they struggle. Norman knocks Sam over the head, and Sam falls dazed to the floor.Lila is just coming down the stairs when she sees Norman running toward the front door. She ducks around behind the stairs and partway down the cellar steps to avoid him. Norman heads upstairs. Lila starts to come back up, when she notices the cellar door at the bottom of the steps. This is a room she hasn't examined yet, and she risks the opportunity to look into it.Walking through a storage room and into the barren fruit cellar beyond it, she sees an old woman sitting in a chair facing the far wall. She whispers, \"Mrs. Bates.\" But the woman doesn't respond. She taps the woman on the shoulder. The chair swivels around to reveal the desiccated remains of an old woman's corpse, her face contorted into a near-skeletal grin and seemingly staring out of eyeless sockets.Lila screams and turns away, and her flinching reaction sets the bare hanging light bulb to swinging. At that moment, the living semblance of an old woman enters at the door wielding a large knife, blocking the only escape route from the cellar. In the next moment, Sam's timely arrival saves Lila, as he subdues the would-be assailant from behind. The \"woman's\" wig falls away to reveal Norman Bates dressed in the guise of his mother.Lila, Sam, and Sheriff Chambers are among a bewildered group of interested persons who sit in an office in the County Court House, waiting to hear from a psychiatrist who has been called in to examine Norman. The psychiatrist (Simon Oakland) enters to tell them he has gotten the whole story, but not from \"Norman.\" He got it from Norman's \"Mother.\" As a personality, \"Norman\" no longer exists. The other half, the \"Mother\" half of Norman's mind has taken over, probably for all time.Years ago, he tells them, after the disturbing death of Norman's father, Norman came to depend on the undivided attention of his mother. But when she took a lover, the already deranged Norman felt as if he had been replaced. His jealousy could not stand to share her. So he poisoned both his mother and her lover. Instead of letting her be buried, he stole the corpse and treated it to preserve it as best he could.His crime of matricide overwhelmed his already fragile mind, and he began to divide his mind with his mother, to give her back part of the life he had stolen from her. He went to great lengths to preserve the illusion that she was still alive so that he could deny to himself that he had killed her. He began to think and speak for her. He walked around wearing her clothes and a woman's wig to further enhance the illusion. At times he could be both personalities and carry on both sides of conversations. Other times, the \"Mother\" half, the dominant half, took over completely. He was never all \"Norman,\" but he was often only \"Mother.\"And because he was so pathologically jealous of her, he assumed she was just as jealous of him and would not let him be attracted to other women. When Norman met Marion, he felt a strong attraction to her. That attraction set off the jealous \"Mother,\" and it was \"Mother\" who killed Marion, the latest in a series of young women to meet a similar fate. Afterwards, \"Norman\" would return as if from a sleep and dutifully clean up after \"Mother's\" crimes, sinking all evidence into the swamp near the motel. But now it looks as if \"Mother\" has won the inevitable battle that always develops between multiple personalities, and has driven \"Norman\" out completely.In a locked and guarded room, the physical shell of Norman Bates sits unmoving as \"Mother's\" thoughts dominate the mind, free of \"Norman's\" mental presence. She regrets that she had to condemn her own son, but she couldn't let him say that she had killed those people. As if she could commit murder. As if she could do anything except just sit and stare. She knows they must be watching her. But she'll show them what kind of person she is. She won't move a muscle. She won't even swat that fly. Then they'll see. They'll say, \"Why she wouldn't even harm a fly!\" And with that, \"she\" stares ahead motionlessly as \"her\" face contorts into a near-skeletal grin.In a final image, a tow chain begins pulling Marion's car out of the bog.END OF FILM\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0043014/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The film opens with the camera tracking down Sunset Boulevard in Los Angeles, California as police cars begin racing down it. The lifeless body of a young man, Joe Gillis (Holden) floats in the swimming pool of a palatial mansion. As the police begin converging on the house Joe's voice narrates, in flashback style, the events leading up to his own murder.Six months earlier, Joe was down on his luck, unable to find work as a screenwriter, having only made a few undistinguished films in his short career. Broke and on the verge of having his car repossessed, with no other options except a low-paying newspaper job in Ohio, Joe tries to persuade Paramount Pictures producer Sheldrake (Clark) to buy his most recent script, but fails after script reader Betty Schaefer (Olson) gives Sheldrake a harsh critique of the script in her summation. Joe then tries unsuccessfully to borrow money from his friends. Fleeing from repossession men in his car, one of Joe's tires blows out in front of a large and seemingly deserted mansion on Sunset. Hiding the car in the garage, he sets out to explore the decaying house, when a woman inside calls to him. Mistaken for the undertaker to a recently deceased pet chimpanzee, he is ushered in by the mysterious butler, Max Von Mayerling (Von Stroheim). Meeting the woman who owns the house, he recognizes her as long-forgotten silent-film star Norma Desmond (Swanson). When she learns that he is a writer, she invites him in and asks for his opinion on an immense script she has written for a film about Salome that she hopes will revive her faded acting career. Although Joe finds the script awful, he flatters Norma into hiring him as an editor.Joe is put up in her guest room. The next morning he objects when he sees that Max has moved his belongings to the mansion on Norma's orders, and that she has paid his overdue rent. Though he hates being dependent on her, he accepts the situation and begins living at the mansion, first in a room over the garage, then in the mansion itself. As he works on Norma's script, he comes to see how unaware she is of how her fame has died. She refuses to hear any criticism of her work, and makes him watch her old films in the evenings. Although she still receives fan mail, Joe later learns that Max feeds into Norma's fantasy by sending the letters himself. He explains that Norma's state of mind is fragile, and she has attempted suicide in the past.Over the next few weeks, Norma lavishes attention on Joe and buys him expensive clothing, including a tuxedo for a private New Year's Eve party attended only by the two of them. Horrified to learn that she has fallen in love with him, he tries to let her down gently, but she slaps him and retreats to her room. Joe, thinking his time with her is over, escapes to a party at his friend, assistant director Artie Green's (Webb) house, where he meets Betty Schaefer again. While still unimpressed with most of his work, she believes a scene in one of his scripts has potential. Joe half-agrees to work on it with her, and calls the house on Sunset to tell Max he is leaving. However, when Max informs him that Norma has attempted suicide with Joe's razor blade, Joe leaves the party and returns to the mansion, where he apologizes to Norma and makes love to her.After a while, Norma considers her script complete, and sends it to Cecil B. DeMille at Paramount and waits for his answer. Not long afterwards, calls from Paramount asking for Norma begin to arrive. They come from an executive named Gordon Cole, and Norma petulantly refuses to speak to anyone other than DeMille himself. Eventually, she has Max drive her and Joe to the studio in her 1929 Isotta Fraschini Tipo 8A, a rare vintage luxury car. While DeMille entertains Norma, many of the older guards, technicians and extras on the set recognize her and welcome her back. Joe and Max, meanwhile, learn that Cole had called because the studio wants to rent her car and has no interest in her script (DeMille tells an assistant in private that the script is awful). Max insists that they hide these facts from her. He later confesses to Joe that he was once a respected film director who discovered Norma as a girl, and was also her first husband, and that he now remains as her servant because he cannot bear to leave her.While Norma undergoes a rigorous series of beauty treatments to prepare for her comeback, Joe has secretly begun to work with Betty on a screenplay. Though she is now engaged to Artie, she falls in love with him. Although he likes her, Joe is dismayed at the triangle in which he is now caught. When Norma discovers the script with Betty's name on it, she phones Betty and insinuates what sort of man Joe really is. Joe, hearing her, invites Betty to the mansion to see for herself. When she arrives, he coldly terminates their relationship by letting her believe that he is a gigolo and prefers to live off Norma. After Betty leaves the mansion in tears, Joe begins packing, having decided to return to Ohio. He bluntly informs Norma of the truththat there will be no comeback, her fan letters come from Max, and she is forgotten. He ignores Norma's threats to shoot herself, and in a fit of passion she shoots him as he leaves, leaving him dead in the pool.The scene returns to the opening. Still narrating, Joe expresses fear over how Norma will be unable to cope with the disgrace, and the discovery of how forgotten she truly is. By the time the police arrive, however, she has completely broken with reality and slipped into a delusional state of mind, thinking the news cameras are set up for a film shoot. To help the police coax her down the stairs, Max plays along with her hallucination that she is on the set of her new film. He verbally sets up the scene for her, and yells \"Action!\"; Norma dramatically descends her grand staircase. Joe, in voiceover, remarks that life has decided to spare her the pain of that discovery, and that \"The dream she had clung to so desperately had enfolded her.\" Norma makes a short speech at how happy she is to be back making a film, and delivers the film's most famous line: \"All right, Mr. DeMille, I'm ready for my close-up.\"\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0052357/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "A woman's face gives way to a kaleidoscope of credits, signalling the start of Alfred Hitchcock's Vertigo to Bernard Hermanns haunting score.A criminal climbs up the rungs of the ladder on a dark San Francisco night. John \"Scottie\" Ferguson (James Stewart), a detective, and a police officer are hot on his trail. They chase him across the top of buildings. The thief jumps between two buildings, making it across. The police officer follows, but Scottie can,t get his footing. He slips. Scottie hangs on to the gutter as his fear of heights kicks in. The police officer tries to grab his hand, but he falls to his death. Scottie witnesses this and clutches to the gutter.Months after the incident, Scottie reclines in the home of Marjorie Midge Wood (Barbara Bel Geddes), a painter and underwear designer. She is concerned about Scottie's plans now that he is back in shape. He has quit the police force due to his acrophobia, and does not want to be a desk jockey. Midge and Scottie used to be engaged back in college (Midge had called it off). She urges him to take a vacation. \"Don't be so motherly\", responds Scottie. They discuss an old college buddy, Gavin Elster (Tom Helmore), who wants to meet with Scottie. Before Scottie prepares to meet Elster, he explains his plan to get over his fear. He first stands on a step stool. Midge gives him a ladder chair, and Scottie is able to handle the first two steps, but when he reaches the top, he looks out the window and panics. He collapses in her arms.A familiar pedestrian crosses the street near the docks. Scottie meets Gavin who is in the shipping business. Gavin had married into the successful shipping business, and he wants Scottie to tail his wife. He does not suspect infidelity, but has suspicions that his wife has been possessed by something. Her words would fade, and she would become distant. She wanders, and even moves differently. Scottie initially thinks he is crazy, but is intrigued. Gavin tells him to meet them at Ernie's Restaurant the following night.Ernie's Restaurant is a lavish, upscale eatery, plush and scarlet. Scottie first spots Madeleine Elster (Kim Novak) who is stunning, with platinum blonde hair and a green shawl. He is mesmerized by her.The next morning, he stalks her outside of her house. She wears a simple gray suit with white gloves, as she gets into her green automobile. Scottie trails her through the streets of San Francisco, as she visits a flower shop and purchases a small bouquet. He then trails her to the Mission Dolores, where she goes through the chapel to the cemetery, where she stands at a grave. As she exits, Scottie notes the headstone, which reads \"Carlotta Valdes born: December 3 1831 died: March 5 1857\". He then follows her to the Palace of the Legions of Honour, an art museum. Madeleine sits, staring at the painting for hours. Scottie notices that the bouquet she had purchased is just like the one in the drawing. Also, her hair is done exactly like the woman in the painting. Scottie discovers from the curator, that the painting is titled \"A Portrait of Carlotta\". Finally, he follows her to the McKittrick Hotel, where Scottie observes Madeleine on the second story. Scottie enters the hotel, which has a very baroque look to it. Scottie asks the manager of the McKittrick Hotel (Ellen Corby), who is the occupant of the room. She hesitates to tell him, until Scottie reveals his badge. The manager then notes that she has not been in the room all day. Scottie finds this impossible, and goes up to her room. He looks down the street to discover that her car is gone.Scottie returns to Midge's home where she tells him of San Francisco historian Pop Liebel (Konstantin Shayne), who owns the Argosy Book Shop. Pop tells Scottie that a rich man built the house for Carlotta Valdes, and they had a child. However, the rich man threw Carlotta out, and took her child. Carlotta went from depressed to insane, and took her own life.On the drive home, Midge and Scottie talk about the portrait; he shows her the catalogue picture. The resemblance is uncanny. Another conversation with Gavin reveals that Madeleine had started to wear Carlotta's jewellery, particularly a ruby pendant shown in the painting. Madeleine's great-grandmother was Carlotta Valdes, a fact that Madeleine does not know. Gavin only knows this fact, because Madeleine's mother told him.Scottie follows Madeleine the next day to the Palace of the Legions, where she watches the portrait. Then he follows her to Fort Point near the Golden Gate Bridge. Madeleine strolls by the shore, throwing petals into the bay, until she jumps in. Scottie dives after her. He tries to revive her, but she is out cold, and he takes her back to his apartment.She wakes up naked in his bed, where she is handed a red bathrobe. He asks her if she remembers anything, and explains that he rescued her from drowning. Madeleine maintains that she fainted and fell. He questions her, \"Has this ever happened to you before?\" He gets a telephone call from Gavin, concerned about the whereabouts of his wife. Scottie reassures him that Madeleine is at his apartment. Gavin confides that Madeleine is twenty-six - the same age at which Carlotta Valdes committed suicide. Scottie hears the door close, and realises that Madeleine has left. As Madeleine drives away from Scottie's house, Midge arrives just in time to have a misunderstanding. She believes that Scottie and Madeleine are in a relationship.The next morning, Scottie trails Madeleine through the streets of San Francisco, only to find that Madeleine has been looking for Scottie's house. Scottie catches her leaving a thank you letter for saving her. She did not know the address, but followed the Coit Tower. Scottie insists that they wander together, because they are both alone.They arrive at Big Basin Redwoods State Park, where they admire the ancient redwoods. As they view a cross-section of a tree with the approximate dates of historical events. Madeleine goes into a trance, seemingly becoming Carlotta, recounting the dates of her birth and death. Madeleine wanders deeper into the woods, and Scottie follows her. He confronts her about the jump, and tries to bring Madeleine back. By the shore, Madeleine begins to reveal fragments of her vague memories: an empty grave with no name, waiting for her; an empty room in which she sits alone; and finally a tower, bell, and garden in Spain. Madeleine admits she is not crazy; she does not want to die. They kiss as the waves crash onto the rocks. Scottie promises he will never leave her.Midge had sent a note to Scottie, who arrives at her house. Midge had been painting a picture of herself as Carlotta Valdes. Scottie is not amused. Distressed, he leaves her home. Midge ruins the painting, upset that she admitted she had fallen for him again.Madeleine returns to Scottie's house, where she tells him of an awful dream, with a tower, a bell, and a village. As she describes the location in detail, Scottie finishes her descriptions. \"You've been there!\" he exclaims. Scottie is talking about the San Juan Bautista, a mission that has been converted into a museum. They drive to the mission.When they arrive at the mission, they enter the livery stable, where Scottie tries to dismiss the dreams logically. He points out certain objects that are real. They kiss. Madeleine explains she must do something. She asks him if he believes she loves him. He replies yes. \"And if you lose me, then you'll know I, I loved you. And I wanted to go on loving you'', she says. She starts to go to the church, when Scottie realizes she is going to the bell tower. Scottie chases her into the chapel, and sees her run up the stairs. He follows her, but as he looks down, his acrophobia sets in: he gets vertigo. He cannot follow her up to the top of the bell tower. He watches, helpless, in fear and horror as Madeleine's body plunges to the tiles below. Scottie staggers out of the mission, sun blinding his eyes, dumbfounded.At the a judicial hearing concerning Madeleine's death, the judge is particularly cruel to Scottie, as he insults him for letting his weakness get in the way of saving Madeleine. The court rules the incident a suicide. Gavin comforts Scottie, while telling him that, with the loss of his wife, he can no longer stay in San Francisco. Gavin sets off to Europe.Scottie has trouble sleeping. Blue and purple flashes signal his nightmare, as an animated bouquet unravels. He hallucinates of Carlotta Valdes at the hearing, with special emphasis on the ruby necklace. Scottie walks into the cemetery where there is an open grave. Scottie falls into a tunnel, then his body lands next to Madeleine's on the tiles of the mission. He wakes up in a cold sweat.Midge arrives to care for Scottie in a psychiatric ward. She tries to comfort him, \"mother's here\". Scottie will not speak, he is in a daze. The doctor believes that Scottie will be incapacitated for a year due to stress and anxiety from his depression and guilt.When Scottie gets out of the hospital, he visits the old Elster home, and spots the green car. In the distance, a woman in gray suit is getting in it. Unfortunately for him, it is not Madeleine; it is an old neighbour who bought the car from Gavin. At Ernie's he spots a woman in grey, but again, it is not Madeleine. He even sees Madeleine at the Palace of the Legions, but once again, it is not her. While looking at a bouquet at a flower shop, he sees a striking brunette in a green suit. Although she doesn't resemble Madeleine in dress, style, or movement, the face is a dead ringer. He follows her to the Hotel Empire, and sees her through the fifth floor window.When Scottie knocks on the door, the woman is concerned that he is a creep. He reassures her he just wants to talk. He spits questions at her, and she reveals that she is Judy Barton (Kim Novak again) from Salina, Kansas. Judy realises that Scottie's heart is broken for his former flame, and she takes pity on him. She agrees to go for dinner with him at Ernie's.Scottie leaves and Judy tells her story via flashback. She WAS Madeleine, running up the steps of the bell tower. At the top, Gavin Elster was there, holding the body of the REAL Madeleine Elster, dressed in exactly the same wardrobe as Judy. It was the real Madeleine's body that was thrown off the bell tower, with Judy letting out the scream. Judy reveals the gray suit that she wore as her disguise, hidden in the back of her closet. She begins to write a letter to Scottie, explaining that she was Gavin's accomplice in the murder of his wife. She had become her doppelg\u00e4nger to fool Scottie, and use him as a witness to explain that Madeleine was mentally unstable. Gavin had known about his vertigo, and knew that Scottie would never make it to the top of the bell tower. Judy reconsiders this letter, and tears it up.That night, Scottie suspects he sees Madeleine at Ernie's. He escorts Judy home that night, her apartment flooded with the green neon light of the Hotel Empire sign. Although he loves Madeleine, there is something about Judy that he can't shake. They agree to meet the next morning.They engage in a series of dates, with Scottie becoming happier with the relationship. However, he begins to buy her clothes, searching obsessively for the gray suit and white gloves that Madeleine used to wear. As Judy begins to break down, Scottie also realizes that she must dye her brown hair, platinum blonde. Although Judy begs him to love Judy Barton, she has fallen so in love with him that she will conform to his image.Her makeover complete, she returns to a waiting Scottie who has her pull her hair back for the final transformation. In a dreamlike state, with the green glow all around them, they embrace and kiss. The room turns into the livery stable from the Mission, Scottie's last kiss with Madeleine, and then back to the apartment.A couple of nights later, the two decide to go out to Ernie's. Judy dresses up, and wears the ruby pendant. Scottie realizes that something is amiss. He suddenly becomes distant. He passes Ernie's and continues driving past the Redwood trees. He tells her he has one final thing to do. They arrive at the mission, where Scottie forces Judy to re-enact Madeleine's death. He wants to use this as a second chance to save Madeleine and exorcise his demons forever.As he reaches the top of the bell tower, conquering his acrophobia, he puts the whole puzzle together. He realizes that Judy was the counterfeit all along. He never knew Madeleine. He was being set up as Gavin Elster's witness in the murder of Elster's wife. He pulls Judy to the top of the tower, where she protests. Judy pleads that she had fallen in love with Scottie. They kiss. The sudden appearance of a nun, however, shocks Judy, who plummets to her death off the ledge. A stunned Scottie is distraught, losing the same woman twice in the same fashion.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0047296/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Terry Malloy (Marlon Brando) once dreamt of being a great prize fighter, but now works at the docks of Johnny Friendly (Lee J. Cobb) , the corrupt boss of the dockers union. He witnesses a murder by a couple of Johnny's thugs, but won't betray Friendly, who is both his brother's (Rod Steiger) boss and a long-time friend of his family.What he sees at the docks repulses Terry. In an economically depressed environment in which many are out of work, more gather by the docks each morning hoping to secure work for that day than can be hired, placing Johnny Friendly and his forces in a position to exploit them. Those who complain of the working conditions or wages one day don't work the next day, or are placed in harm's way. Consequently, most tolerate being abused.After befriending both the sister (Eva Marie Saint) of the murdered man and the local priest (Karle Malden), Terry gradually becomes a man of deeper morality, and starts to speak of acts against Friendly, who will soon go on trial. Terry finds his breaking point when his brother is murdered by Friendly's thugs, and causes him to entertain thoughts of testifying against Friendly. Still, he struggles to find the courage to do so, until the priest persuades him to.Once he betrays Friendly, Terry is without the work that always came his way when he and his brother were trusted and valued associates. Still, he confronts Friendly by the docks and when all the dock workers are witness to the brutal beating of Terry by Friendly, they refuse to work unless Terry is also allowed to work. This is the catalyst for a new tone of understanding between the workers and the dock bosses.Terry had neither wanted nor intended to be a hero, but, as a man of principle, he had become not only a hero, but a symbol of the workers' intolerance of exploitation by the dock bosses.===================================Terry Malloy, a former boxer, works as a stevedore on the urban waterfront near New York City. When the story opens, he's leaving the office/shack of Johnny Friendly, the head of the local dockworker's union. Johnny tells Terry \"You take it from here, Slugger.\" Terry goes to the tenement of Joey Doyle, another dock worker and calls him out, saying that he recovered one of Joey's carrier pigeons. Joey cautiously accepts and tells Terry to meet him on the roof of the tenement. Terry looks up and sees two shady men waiting on the roof.Terry goes to Friendly's bar and stands outside with two of Friendly's enforcers, Truck and Tillio. Truck asks him if Doyle went to the roof and Terry tells him he did. A moment later, a scream is heard and Joey falls from the roof. Though everyone seems to accept that Joey simply slipped and fell, everyone also knows that he was murdered on orders from Friendly because Doyle had planned to testify to the Waterfront Crime Commission about unsafe and unfair working conditions in Friendly's local union. Terry himself seems upset that a nice kid like Joey, who was well-liked in the neighborhood, would be killed by Johnny's men when he believed they would simply intimidate him into forgetting about his testimony. Truck and Tillio laugh over Doyle's death, calling him a \"canary\" (slang for an informant who would betray the union.)In the bar, Terry is still upset. One of Friendly's cronies, Skins, drops by with money for Johnny from a payoff and, when the money is counted, he comes up short. Johnny viciously searches the man and comes up with the missing money and forcibly throws the man out. When he sees that Terry is upset, he begins to lecture him on how violence is necessary to enforce his rules and keep everyone in line. Johnny also admits to ordering Doyle's murder. For setting Doyle up, Johnny tells his foreman, Big Mac, to give Terry a cushy job during the next day's shift at his pier.Out in the alley where Joey was thrown off the roof his sister, Edie, and Father Barry, the local Catholic priest, look over the body of Joey. Edie angrily pleads with other people in the neighborhood about why Joey, well-liked by his friends and the local kids, would be murdered. Everyone knows, but none want to say anything. Edie also becomes angry with Father Barry, saying he doesn't know about the violence in the area because he's too busy with running his church to actually visit the waterfront.The next day, the dockworkers gather at Johnny Friendly's pier. Big Mac runs a shape-up system where tags are given to selected men to work the ship. Edie is there, with Father Barry, who tells her that she was right; he has come down to see just how bad the situation is. Edie's father, Pop Doyle, also shows up because he needs to earn money for his son's funeral. He also gives his dead son's coat to another worker, Kayo Dugan, who accepts it.While waiting for his name to be called, Terry is approached by two officials from the Waterfront Crime Commission. One of them recognizes Terry from his boxing days and asks him if he'll testify to the commission about Joey's murder. Terry flatly refuses. The other man tells Terry they'll supoena him if necessary.Mac calls out the names of men who get regular work, and Terry is among them. The remaining tags are passed out at Mac's discretion; when the men who aren't chosen become angry with him, Mac throws the tags behind them and a minor riot breaks out. Pop is pushed out of the crowd by the younger men. When Edie tries to grab a tag for her father, Terry grabs it first and won't give it to Edie. When one of the other men points out to Terry that she's Joey's sister, he gives her the tag. Edie gives it to her father; Pop admonishes Father Barry for letting Edie witness the riot. The other men are disheartened and Barry tells them that no union would ever let what just occurred happen. The men explain how a \"trigger local\" works: anyone who gets out of line is eliminated by Johnny and his goons. They also explain that meetings among union members are impossible since Johnny has spies working everywhere. Barry suggests they all meet in the basement of his church.In the ship's hold, Terry is loafing on a pile of sacks when his brother, Charley \"The Gent\", Johnny's right-hand man, finds him and gives him a small job to do. Johnny wants Terry to be a spy during the meeting Father Barry called that night at the church. Terry is reluctant but Charley reminds him that he and Johnny have done a lot of favors for Terry. Terry agrees to go.At the church that night, Barry calls the meeting to order, noting that attendance is very low. He explains to the men what they already know: working conditions are bad and their union is powerless as long as it's run by Friendly's gang. Barry also suggests that if they can talk openly about why Joey Doyle was murdered then they'll make progress. Edie asks Joey's best friend, Jimmy, to say something, but he turns her down. Barry tells them that they only way they'll be able to make better lives for themselves is to stand up to Johnny. One of the tougher men in the crowd, Kayo Dugan, tells Barry that the rule is everyone is \"deaf and dumb\" about Johnny. Dugan also notices that Terry is sitting in one of the back pews and recognizes him as a spy. Despite his attempts at coaching, Barry is unable to convince the men. As Barry's fellow priest calls the meeting to an end with a prayer, a window is suddenly smashed in and the rattling of pounding clubs is heard outside: Johnny's men have surrounded the church. Anyone who tries to escape is severely beaten. Terry takes Edie out of the church safely. Dugan, while trying to escape, is beaten bloody by Johnny's goons but is rescued by Father Barry. Barry angrily asks Dugan if he still wants to remain deaf and dumb and seems to get through to Dugan. Dugan promises to testify as long as he has Barry's support. Dugan also warns Barry that Johnny's goons won't hesitate to lean on a priest as well.In the park in front of the church, Terry sees that Edie gets out of the area safely. While they talk, a homeless man confronts them, asking for money. The man recognizes both Terry and Edie. When he begins to talk about Joey's death and how Terry set him up, Terry yells at him to leave. The man does.When she gets home, Edie finds her father packing her things. Edie, a student at an upstate Catholic college, had been visiting her family. Pop tells her that she should leave the neighborhood because of the violence she's seen so far. He also tells her he knows she was with Terry Malloy and how Terry is connected to Johnny Friendly. Edie refuses to leave, driven by her need to know why her brother was killed.On the roof of his building, Terry tends to his flock of carrier pigeons. Terry talks to a couple of kids from the neighborhood and sees Edie over at Joey's coop. Terry goes to her and they talk for a while, about how pigeons are victims of predatory birds in the city, mostly hawks. Terry offers to take Edie out for a drink at a local bar and she accepts. While they talk, she tells Terry of her interest in solving Joey's murder. Terry warns her not to snoop around too much because it could be dangerous. They dance for a while at a wedding being held in the bar when one of Johnny's men, Barney, tells him that Johnny wants to meet with him. Terry tells him he'll go when he's ready to. Terry also runs into of of the Crime Commission agents who hands him a supeona. Terry is still steadfast and tears up the papers, refusing to \"eat cheese\" (become an informer).Later, Terry walks home and is stopped by Johnny and Charlie. Johnny asks Terry about the church meeting and Terry tells him it was run by Father Barry and that very little was discussed that could threaten Johnny's position. Johnny counters, telling Terry that KO Dugan had gone to the crime commission and gave a sworn statement about the illicit operations and corruption of Johnny's union. Johnny suggests that they use their \"muscle\" to eliminate Dugan. Johnny also feels that Terry didn't do his job fully and tells him he won't have his cushy job in the yard anymore, that he's going back to work in the \"hole\". Charlie also admonishes Terry about his budding relationship with Eve Doyle, saying it's \"unhealthy\" for him to be dating the sister of the man they killed.The next day Terry is working alongside Dugan in the ship's hold, unloading crates of Irish whiskey. Terry feels the need to warn Kayo about Johnny's intentions but Kayo ignores him. As one of the pallets loaded with crates is hoisted out, the crane operator drops it on Kayo, killing him in what looks like an accident. Later, after Kayo's body has been uncovered, Father Barry gives a stirring speech to the entire workforce, telling them that Johnny and his men are using them for cheap labor and killing them when they choose to stand up for their rights. Johnny's men begin to throw rotten fruit and cans at Barry, who calmly continues to talk. One of the men, Tillio, is about to throw something when Terry stops him and punches him out. One of the men gives Joey's jacket back to Edie (she later gives it to Terry). Kayo's body is hoisted out of the hold, with Barry and Pop Doyle riding the pallet.Terry, whose conscience has been bothering him, meets with Father Barry. He tells Barry he may just testify to the Crime Commission but he doesn't want to implicate his brother or his friends. He also tells the priest that he set Joey Doyle up to be killed. Barry tells Terry that his loyalty to Charlie and Johnny is misplaced. He also tells Terry that a good step to take would be to tell Edie what he did. Edie had been coming to see Barry herself and Barry convinces Terry to tell her. Terry meets her and tells her, while a ship's whistle blows, making what he tells her inaudible. Edie is horrified and runs away.Terry later checks on his pigeons on his roof. He sees one of the men from the Crime Commission who approached him on the docks. Terry asks the advice of one of the boys who hangs out with him on the roof about testifying; the boy tells him it's not a good idea to get involved, especially since Terry founded the gang the kid is now a member of. The officer tries to talk to Terry and is mostly unsuccessful until he mentions the fight Terry had boxed in years before involving another man named Wilson. Terry is suddenly quite chatty with the man, hinting that he'd thrown the fight so that Charlie, Johnny and their friends could win a huge purse by betting on Wilson. Terry tells the officer straight out that he could have beaten Wilson easily and talks about his technique. Though we don't hear the rest of the conversation, it is strongly hinted that Terry may testify against Johnny.At Johnny's office, one of Johnny's spies reports that he'd seen Terry talking to the agent. Charlie tries to defend Terry, saying that Edie has Terry's emotional state mixed up. Johnny is unfazed however and orders Charlie to talk to his brother. If Terry won't \"dummy up\" then Charlie will take him to one of Johnny's hit men, Jerry G. Charlie is shocked ad tries to reason with Johnny, who refuses to listen. Charlie leaves Johnny's office to find Terry.Charlie picks up Terry in a taxicab and they two have a lengthy conversation where Charlie asks Terry about his supeona and if he plans to rat out Johnny in court.Terry still seems undecided and Charlie reminds him about all the favors he and Johnny have done for him over the years and even offers Terry a cushy job at another pier Johnny will be opening soon. When Terry seems more likely to testify, Charlie tells Terry to make up his mind before they arrive at Jerry G's place. Terry is stunned that his own brother would suggest that he'll be turned over to a hit man, Charlie pulls out a pistol and tells Terry to take the job he was offered. Charlie suddenly comes to his senses and breaks down. He recounts how Terry was once a potentially great athlete and says that Terry's manager was responsible for ruining whatever career he might have had as a boxer. Terry counters, saying that Charlie was responsible for his downfall, betting on Wilson all those years ago and destroying whatever shot Terry might have had at a prestigious boxing title. Charlie realizes how badly he's treated his brother over the years and gives Terry the gun, telling him \"you're gonna need it.\" He orders the driver to pull over and let Terry out. The driver, one of Johnny's spies, suddenly pulls into Jerry G's place nearby, where Johnny's waiting.Terry goes to Edie and Pop's apartment. Edie refuses to open the door for him and Terry breaks in, telling her she loves him. She tells him to leave and he grabs her and kisses her, Edie showing little resistance. A voice calls to Terry from the alley below, telling him his brother is there and wants to see him. Terry rushes down to the alley and begins to walk toward the voice. Edie follows, stopping momentarily to talk to one of her neighbors, who mentions that her own son was killed when he went looking for a man who was calling him into the alley. While Edie runs to Terry, a truck starts up and rushes toward them both; Terry breaks the window of a nearby door and they jump out of the way. Terry looks at the truck as it speeds off and sees his brother hanging by a longshoreman's hook piercing his coat. There are several bullet holes in his chest. Terry, his arm bleeding from the broken glass, hauls his brother down, and distraughtly tells Edie to get Father Barry and stay with Charlie until he arrives.Terry goes immediately to Friendly's bar and holds everyone hostage at gunpoint. Tillio shows up and Terry orders him to stay as well. Father Barry shows up; Terry remains defensive with the pistol while Barry tells him to give it up. Terry tells Barry to \"go to Hell\" and Barry hits him in the face and Terry's hostages escape. Terry begins shouting about how the situation isn't Barry's concern and Barry tells him that shooting Johnny would be useless since the law would favor Johnny. Barry tells Terry that the best thing he can do to avenge his brother's murder is to testify in court and strip Johnny of his power. He also tells Terry to get rid of the gun unless he's too cowardly. He gives Terry a beer; Terry takes a sip and throws the pistol at a picture of Johnny with an important-looking city official, shattering it.At the waterfront crime hearings, Terry testifies about Joey's murder. He's grilled at length about not only being the last person to see Joey alive but also about how Johnny Friendly had angrily said that it was necessary to have Joey killed to protect his interests in the union. In another office, a man watches the hearings on TV and hears Terry's testimony. He orders the TV shut off and tells his assistant that he won't accept any calls from Johnny Friendly. Terry finishes on the stand and, as he walks past Johnny, who's been called to the stand. Johnny mutters threats and becomes furious and attacks Terry, finally calming down.Terry goes home, followed by two cops. He tells them to stop following him and they scoff. He passes a friend on the stairs, who refuses to talk to him. In his apartment, Edie is waiting. Terry talks about losing many friends because he testified and Edie asks if they are \"real\" friends to him anyway. Terry goes up to the roof and finds that his young friend has killed all of his pigeons. Edie suggests that they leave the waterfront and go to a farm out west where they'll be left alone. Terry notices a ship coming in to Johnny's pier and, grabbing his hook and donning Joey's jacket, goes to the pier.At the pier, Terry recieves a cold welcome from his former friends. He stands there while Big Mac calls the workers in. Mac passes Terry over for a job and when Terry suggests they need more men, Mac hires the first homeless man standing in the area. Terry becomes enraged and marches down to the gangplank leading to John Friendly's office. He throws his hook at the door and Johnny emerges. Knowing that attacking Terry in public would get him into deeper trouble, he tells Terry to get lost. Terry begins to berate Johnny openly, telling him he's happy that he testified against Johnny, especially for killing anyone who crossed him. Johnny goads Terry into charging him and the two begin to fight. When it becomes obvious that Johnny will lose, he calls his goons in to help and they viciously beat Terry. Father Barry and Edie arrive on the scene just as Johnny orders his thugs to stop. The owner of the ship that arrived demands to know when the men will begin unloading the cargo and Johnny begins to muscle his way through the crowd, ordering the onlookers to begin working. When he reaches Pop Doyle, he grabs him. Pop pushes Johnny off the gangplank and into the water; the crowd cheers. A few of the men find Terry and see how badly he's been beaten. Barry encourages Terry to get up and walk to the pier to go to work (he tells Terry that Johnny is taking bets that he won't make it); if he does, the other men will follow him and oust Johnny as their leader. Terry walks up to the pier, stumbling and falling. He reaches the pier entrance and the ship's owner calls the rest of the men to work. They enter and the door rolls shut behind them.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0109830/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The film begins with a feather falling to the feet of Forrest Gump who is sitting at a bus stop in Savannah, Georgia. Forrest picks up the feather and puts it in the book Curious George, then tells the story of his life to a woman seated next to him. The listeners at the bus stop change regularly throughout his narration, each showing a different attitude ranging from disbelief and indifference to rapt veneration.On his first day of school, he meets a girl named Jenny, whose life is followed in parallel to Forrest's at times. Having discarded his leg braces, his ability to run at lightning speed gets him into college on a football scholarship. After his college graduation, he enlists in the army and is sent to Vietnam, where he makes fast friends with a black man named Bubba, who convinces Forrest to go into the shrimping business with him when the war is over. Later while on patrol, Forrest's platoon is attacked. Though Forrest rescues many of the men, Bubba is killed in action. Forrest is awarded the Congressional Medal of Honor for his heroism.While Forrest is in recovery for a bullet shot to his \"butt-tox\", he discovers his uncanny ability for ping-pong, eventually gaining popularity and rising to celebrity status, later playing ping-pong competitively against Chinese teams. At an anti-war rally in Washington, D.C. Forrest reunites with Jenny, who has been living a hippie counterculture lifestyle.Returning home, Forrest endorses a company that makes ping-pong paddles, earning himself $25,000, which he uses to buy a shrimping boat, fulfilling his promise to Bubba. His commanding officer from Vietnam, Lieutenant Dan, joins him. Though initially Forrest has little success, after finding his boat the only surviving boat in the area after Hurricane Carmen, he begins to pull in huge amounts of shrimp and uses it to buy an entire fleet of shrimp boats. Lt. Dan invests the money in Apple Computer and Forrest is financially secure for the rest of his life. He returns home to see his mother's last days.One day, Jenny returns to visit Forrest and he proposes marriage to her. She declines, though feels obliged to prove her love to him by sleeping with him. She leaves early the next morning. On a whim, Forrest elects to go for a run. Seemingly capriciously, he decides to keep running across the country several times, over some three and a half years, becoming famous.In present-day, Forrest reveals that he is waiting at the bus stop because he received a letter from Jenny who, having seen him run on television, asks him to visit her. Once he is reunited with Jenny, Forrest discovers she has a young son, of whom Forrest is the father. Jenny tells Forrest she is suffering from a virus (probably HIV, though this is never definitively stated). Together the three move back to Greenbow, Alabama. Jenny and Forrest finally marry. The wedding is attended by Lt. Dan, who now has prosthetic legs and a fiancee. Jenny dies soon afterward.The film ends with father and son waiting for the school bus on little Forrest's first day of school. Opening the book his son is taking to school, the white feather from the beginning of the movie is seen to fall from within the pages. As the bus pulls away, the white feather is caught on a breeze and drifts skyward.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0059742/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The widowed, retired Austrian naval officer, Captain Von Trapp (Christopher Plummer) has made his Austrian home one of overly restrictive and harshly enforced discipline, one that, most unintentionally, causes his seven children to be underfed when it comes to joy and love. Being a nun living in a convent is similarly restrictive and unfulfilling for Maria (Julie Andrews), who breaks rules to try to change it. The reverend mother (Peggy Wood) decides that Maria, who is not cutting it as a nun, should leave and take on a job as governess at the nearby Von Trapp household in Salzburg.Through music and various outings, Maria gives the children a taste of a more fulfilling, joyous, life than they have ever known, and they come to love her very dearly. The Captain grows closer to his children, too, coming to understand the value and beauty of the freedoms that Maria has given them. Ironically, the freedom of all Austrians to live their lives to the fullest is in danger, for it is 1938, and Germany is marching into Austria. The Captain is a patriot, passionate about the fulfilling life that Austria has always offered its citizens.In his personal life, the Captain is having a romance with a wealthy, cultivated, and lovely Baroness (Eleanor Parker), but he is becoming more and more captivated by Maria, and is falling in love with her, and she, too, feels growing affection for him. She is a nun, however, and unschooled in dealing with the situaiton. Frightened by the developments, Maria runs back to the convent, where the reverend mother convinces her that she must face, rather than run from, the situation, causing Maria to return to the Captain's home. It seems, though, that she is too late, learning that the Captain and the Baroness have become engaged.The Captain, who had surely concluded that he could never have Maria for a wife, confides to the Baroness that he loves Maria, but the Baroness admits she had sensed it long ago, and the engagement is called off. The Captain and Maria marry, but an ugly situation befronts them upon return from their honeymoon -- the Captain has been summoned, in a telegram, by the Third Reich to serve in its navy.Due to the Captain 's unwillingness to serve the Third Reich, the Captain and Maria resolve to leave Austria, and, after escaping the pursuit of some Nazi officers, they set out, with the children, for the mountains of Switzerland on foot.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0055614/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "A fight set to music between an American gang, the Jets, and a rival gang, the Sharks, who have moved into the Jets' territory from Puerto Rico. We are introduced to the leader of the Jets, Riff (Russ Tamblyn), and the leader of the Sharks, Bernardo (George Chakiris). The Sharks start the fight when they jump Baby John, one of the most developed characters.\n", "The police arrive, led by Lieutenant Schrank (Simon Oakland) and Officer Krumpke (William Bramley), and demands that the gang disperse.When they are alone, the Jets begin to discuss what they will do about the Sharks. Riff declares that they will end the conflict on their terms by challenging the Sharks to one last all out fight, or \"rumble\". they deliver the challenge to the Sharks at the dance being held that night at the local gym, which is considered neutral territory. Action (Tony Mordente) asks to be Riff's lieutenant for the challenge and council, but the Jets leader insists on using Tony (Richard Beymer), Riff's best friend, and co-founder of the Jets. Tony has since begun to drift away from the gang, and the Jets think he doesn't belong any more. Riff tells them firmly that once you're a Jet, you stay a Jet and reassures them of their invincibility before going off to find his friend (\"Jet Song\"). Riff meets Tony, who now has a job at a local store run by a man named Doc (Ned Glass), and tries to persuade him to come to the dance at the gym that night. Having no real interest in the Jets' conflict with the Sharks, Tony initially refuses and tries to explain to Riff that lately he expects something very important will be coming into his life, but later reconsiders out of loyalty, when he thinks about what might happen there (\"Something's Coming\").We are then introduced to Bernardo's sister, Maria (Natalie Wood). She is complaining to Bernardo's feisty ladyfriend, Anita (Rita Moreno), that she never gets to do anything exciting. Bernardo arrives and takes her to the dance, where she meets some friends, Rosalia and Consuelo. Bernardo meets up with his friends. The Jets meet, and a dance montage takes place (\"Dance At The Gym\"). Glad Hand (John Astin), the chaperon at the dance, tries to make the gangs mix with a get-together dance, but when he is not looking, the boys swap back to their original partners.In the midst of all the excitement, Tony and Maria see each other, and immediately fall in love. They begin to dance, but are interrupted by Bernardo, who angrily orders Maria home, and tells Tony to stay away from his sister. Tony leaves in a happy daze (\"Maria\") while Riff invites Bernardo to the \"war council\", for which they agree to meet at Doc's Candy Store.Back at the Sharks' tenement building, Anita defends Maria's right to dance with whom she pleases, as do the other girls, but Bernardo will not listen. A bitter argument ensues, in which it emerges that the girls love their life in America while the boys hate it (\"America\").Tony visits Maria at her tenement block, mirroring the balcony scene in Shakespeare's Romeo and Juliet, and they confirm their love (\"Tonight\"). They arrange to meet the next day at Madame Lucia's bridal shop, when Maria has finished her work. The same night, after the dance, the Jets and Sharks meet to decide where their planned rumble will take place. Before the Sharks arrive, the Jets, accompanied by Anybodys (Susan Oakes), a tomboy who desperately wants to be one of them, are visited by Officer Krupke, who warns them not to cause trouble on his beat. When he leaves, they lampoon him, along with judges, psychiatrists and social workers (\"Gee, Officer Krupke\"). Tony bursts in while the Jets and Sharks are in conference, and demands that they have a fair fist fight instead of a rumble. Riff agrees, and Bernardo reluctantly accepts.The next day, Maria and her friends are working at the bridal shop, and Maria is in an unusually happy mood. The other girls wonder what has come over her, and Maria explains (\"I Feel Pretty\"). Tony arrives. Everyone except Maria and Anita has left. Anita likes the couple, but is clearly afraid of what might happen if Bernardo knows they are seeing each other. She demands that Maria be home soon, then goes home to pretty herself up -- she and Bernardo have arranged to have a little quality time after the Rumble. Maria demands that Tony stop the fight altogether, but before Tony leaves, they pretend that the bridal clothes in the shop are for them, and imagine their engagement and wedding (\"One Hand, One Heart\").Next is a musical montage showing everyone's respective feelings. The Jets and Sharks are ready in case the fight becomes a rumble after all, Tony and Maria are looking forward to seeing each other that night, and Anita is getting ready for her date with Bernardo (\"Quintet\").The fight, which is between Bernardo and Ice (Tucker Smith), Riff's second in command, is about to begin when Tony appears. When Tony tries to stop the fight, Bernardo attacks him. When Tony does not retaliate, the Sharks mock him. Unable to stand by and watch while his best friend is mocked and humiliated, Riff punches Bernardo, trying to defend Tony, and the two gang leaders draw their switchblades (\"The Rumble\"). Tony tries to stop Riff, but Ice and Tiger hold him back. In the midst of the fight, Bernardo kills Riff. Before the stunned members of both gangs can react, Tony, enraged at the murder of his best friend, picks up Riff's blade and stabs Bernardo, killing him instantly. This sets off a free-for-all amidst the gang members. As police sirens start blaring in the distance, everybody takes off, leaving behind the bodies of Riff and Bernardo.Blissfully unaware of what has happened, Maria is waiting for Tony on the tenement roof. She is still in a gay mood, and dances around the roof, until another Shark, Chino (Jose De Vega), who loves her, appears, worn out from the fight. Without thinking, Maria demands to know what has happened to Tony, betraying her feelings. Angered, Chino tells Maria that Tony killed her brother, then leaves. Tony arrives as Maria prays that Bernardo is not dead; realizing that it's true, Maria lashes out at Tony, who can only tell her what happened, and asks her to forgive him before he goes to the police. Maria finds that in spite of everything, she still loves Tony and begs him to stay with her. They reaffirm their love (\"Somewhere\").Ice has taken over as leader of the Jets. He tells them they will have their revenge on the Sharks, but must do it carefully (\"Cool\"). Anybodys appears from infiltrating the Sharks' turf and warns the Jets that Chino is now after Tony with a gun. The Jets scatter out to find Tony, including Anybodys, whose deed officially makes her a Jet.Back at the flat, Tony and Maria are sleeping together. Anita arrives. Maria and Tony make whispered arrangements to meet at Doc's and run away together. Anita comes in, sees Tony running away (and being informed of Chino by Anybodys), and chides Maria for loving him (\"A Boy Like That\"). Maria will not listen, and Anita looks as though she has to restrain herself from hitting her. But Maria's heartfelt love (\"I Have A Love\") wins over Anita, for she remembers she felt the same way about Bernardo. Anita then tells Maria about Chino searching for Tony with a gun.Lieutenant Schrank arrives and questions Maria about the events leading up to the Rumble. He knows about the argument, and Maria lies that the boy she danced with was another Puerto Rican. She sends Anita to Doc's on the pretense that she is sending her to fetch a medicine for her headache -- she asks Anita to say she has been detained, explaining she would have gone herself otherwise. Anita's real purpose is to tell Tony (who has now taken refuge in the cellar of Doc's drugstore) that Maria is detained from meeting him.But when Anita enters Doc's, the Jets maul her, simulating a gang rape. In black anger, Anita delivers the wrong message -- she says Maria is dead, shot by Chino for loving Tony. When Doc breaks the news to Tony, he leaves the shop in despair. Tony then runs through the streets shouting for Chino and begging him to kill him too.Wandering onto the playground, he sees Maria, at first thinking that it is only in his mind, then realizing it really is her, but as they run towards each other, Chino appears out of nowhere and shoots Tony. As the Jets and Sharks appear, Maria and Tony reaffirm their love (\"Somewhere\"), but Tony dies in her arms. Maria takes the gun from Chino and accuses everybody in sight of the deaths of Tony, Bernardo, and Riff. The police and gang members arrive. When they see Tony dead, some of the Jets lift him, and the Sharks join them, while Chino is taken away by the police. As in Romeo and Juliet, tragedy has brought the feuding between the two gangs to an end.Romeo and Juliet equivalentsTony=Romeo, Maria=Juliet, Bernardo=Tybalt, Riff=Mercutio, Doc=Friar Lawrence, Chino=Paris, Anita=Nurse,\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0076759/synopsis?ref_=tt_stry_pl" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "\n", "\n", "Note: Italicized paragraphs denote scenes added for the film's 1997 special edition and updated for its DVD release.An opening title card reads:'A long time ago in a galaxy far, far away...'It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire's ultimate weapon, the DeathStar, an armored space station with enough power to destroy an entire planet. Pursued by the Empire's sinister agents, Princess Leia (Carrie Fisher) races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy.'The movie opens with a space battle between two starships in orbit around the desert planet of Tatooine. A small Rebel blockade runner, the Tantive IV, is being pursued by a mammoth Imperial star destroyer, the Devastator. Inside, protocol droid C-3PO (Anthony Daniels) and utility droid R2-D2 (Kenny Baker) are tossed about as their ship endures a barrage of laser bolts, and 3PO concludes that escaping capture will be impossible. The Rebel ship is so heavily damaged that its main power reactor must be shut down. It is caught in the Imperial destroyer's tractor beam, pulled into the hold of the larger ship, and boarded by stormtroopers from the Empire's 501st Legion.A huge firefight ensues in the corridors of the Rebel ship, with many Rebel soldiers being lost in the battle. When the smoke clears, Darth Vader (David Prowse; voice: James Earl Jones), a man dressed in a black cape, black armor, and a black helmet that obscures all his features, briefly surveys the damage before interrogating the ship's captain, who claims that the ship is on a diplomatic mission to the planet Alderaan. Vader perceives that he is lying, noting that a consular ship would have an ambassador on board, which they don't. (Actually they do -- Leia -- but she is hiding from Vader, the second-ranking man in the Empire, which tends to support Vader's thesis that somebody on this ship is up to something.) Upon learning that the plans were not downloaded into the ship's computer, Vader strangles the captain. He then tells the troops to search the entire ship and look for \"the plans\" and to bring all the passengers to him -- alive.C-3PO and R2-D2 manage to escape damage from the firefight. R2-D2 meets up with Princess Leia, who loads him with the stolen plans, and records a holographic message for the small droid to take to the planet's surface. R2-D2 and C-3PO get away from the ship aboard an escape pod to go to the planet below; Imperial troops choose not to destroy the pod, as their scans detect no living organism on board, and presume it ejected due to a malfunction. Moments later the princess is shot by a stun gun and taken to Vader. He tells her that the Rebels have stolen some secret Imperial plans and transmitted them to her ship, and that he wants them back. She feigns ignorance and protests to Vader that she is a member of the Imperial Senate on a diplomatic mission to the planet Alderaan, but Vader doesn't believe her. Vader's adjutant aide, Commander Jir (Al Lampert), insists that holding her captive is dangerous; news of her captivity would generate sympathy for the rebellion against the Empire. Vader instructs Jir to deceive the Senate and permanently erase any trace of Leia's whereabouts by faking her [accidental] death. Upon being notified by another officer that an empty escape pod was jettisoned during the firefight, he concludes that the princess hid the stolen plans in the pod.C-3PO and R2-D2 land on the desert planet; R2-D2 mentions a mission to deliver some plans, but C-3PO is more concerned with staying in one piece long enough to find civilization. The two split up, and both are eventually captured by a group of diminutive scavengers called Jawas. The Jawas are junk traders, and R2-D2 and C-3PO are their newest assets. Meanwhile, a unit of Imperial Sandtroopers find the crashed pod, and discover droid parts, and tracks leading away from the crash site.The Jawas travel to the Great Chott Salt Flat settlement to sell droids and equipment to local homesteaders, eventually arriving at the homestead of Owen Lars (Phil Brown), a moisture farmer. The farmer purchases C-3PO for his translation skills, as he is fluent in six million forms of communication, but initially decides to buy a cheaper utility droid, R5-D4, which breaks down almost immediately after purchase. Eager to deflect accusations of selling shoddy merchandise, the Jawas offer R2 as a consolation. Owen accepts and tells his nephew, Luke Skywalker (Mark Hamill), to clean them up and put them to work. Luke had plans to meet some friends in the nearby town of Anchorhead, but his plans are put aside for work. During the cleanup, Luke stumbles across a short clip of the message stored in R2 by Princess Leia. The message is for someone named 'Obi-Wan Kenobi', and is a desperate plea for help. R2 insists that the message is simply a malfunction (\"old data\"), but Luke insists on hearing the complete message. R2 then states that if Luke removes his restraining bolt, he might be able to play the rest of the message. Luke removes the bolt, but R2 doesn't play the message and claims not to know what Luke is talking about. Luke is called away for dinner (forgetting to replace the bolt) and asks C-3PO to finish cleaning R2.During dinner, Luke tells his aunt and uncle that the droids may belong to someone called Obi-Wan Kenobi. This news greatly disturbs Uncle Owen, but he won't say why. Luke asks if Obi-Wan is possibly related to a local hermit named Ben Kenobi who lives several miles away in the Dune Sea area, a vast terrain of sand and rocky canyons. Owen claims that Ben is \"just a crazy old man,\" and that Obi-Wan is dead; Owen makes a comment which seems to indicate that Obi-Wan Kenobi knew Luke's long-deceased father, Anakin, but when Luke presses Owen for details, his uncle quickly changes the subject and instructs Luke to erase the droids' memories the next morning. Luke -- who hopes to leave home for training at a nearby Imperial Military Academy to become a space pilot -- leaves the room angrily to return to cleaning the droids. Luke's Aunt Beru (Shelagh Fraser) tells Owen that Luke is too much like his father to remain, but Owen holds out hope that Luke's desire for adventure will subside -- and expresses a fear that Luke is too much like his father... suggesting that Owen may know something of the terrible thing that happened to Anakin.After dinner, Luke discovers that R2-D2 (now without his restraining bolt) has escaped to find Obi-Wan Kenobi. Luke tells 3PO that it's too late to look for R2 because of the dangerous Sand People (also called Tusken Raiders) in the area, and that they will set out first thing in the morning to go look for him (hopefully before Owen discovers that due to Luke's negligence, his newest investment has disappeared).The following morning, Luke and 3PO set out in Luke's landspeeder to find R2. They locate him on the scanner and catch up with him. As soon as they find him, R2 informs them that his own scanner is picking up several creatures closing in on them. Luke fears the Sand People have found them, and confirms it using a set of minoculars. One ambushes them, hitting Luke over the head and knocking him unconscious. C-3PO goes tumbling down the side of a sand dune. R2 runs and hides.After stealing some parts off of Luke's speeder, the Sand People are frightened away by the sound of a vicious beast. We see that the sound is coming from a mysterious hooded figure approaching. The figure checks on Luke and takes his hood off to reveal his features. He is an old, bearded man. Luke comes to and recognizes the man as Ben Kenobi (Alec Guinness). Luke tells the man that his droid claims to belong to an Obi-Wan Kenobi. This knowledge startles the old man, who reveals (with a look of ancient mystery on his face) that he is Obi-Wan Kenobi but that he hasn't gone by that name in many years. After rescuing C-3PO, they go to Obi-Wan's home to discuss the matter.At Obi-Wan's home, Luke learns that Obi-Wan knew Anakin and that they were both Jedi Knights of the Old Republic. Luke had been told by his uncle that his father was a navigator on a spice freighter; Owen had been trying to protect Luke from the truth about his father, or perhaps simply trying to keep him safe. (Note: it's not clear that Owen knows the truth about Luke's father, other than that he was killed in a dangerous line of duty). Obi-Wan then retrieves Anakin's lightsaber, an energy sword which was the chosen weapon of the Jedi Knights; he seems to have kept it safe for some time. He gives the weapon to Luke, saying that Anakin wanted him to have it when he was old enough, but Owen would have none of it. Obi-Wan explains that a Jedi receives his power from the Force, an energy field that is created by all living beings that \"surrounds us, penetrates us, and binds the galaxy together.\" But there is also a Dark Side to the Force, which draws power from negative emotions and baser impulses. A young Jedi named Darth Vader, who was once a pupil of Obi-Wan, was seduced by this Dark Side. Vader betrayed and murdered Anakin, then became the Dark Lord of the Sith, the most feared enforcer of the Emperor. In this capacity, he proceeded to hunt down his former comrades, and the Jedi Order is now all but extinct.At this point R2 decides to play his message for Obi-Wan. The princess reminds Obi-Wan of his past service to her father in the Clone Wars, and conveys his plea to assist in the Rebellion against the Empire. She senses that her mission to bring Obi-Wan to Alderaan has failed, and tells Obi-Wan that she has embedded information crucial to the rebellion in R2's memory banks. She asks Obi-Wan to deliver the droid to her father on Alderaan so that the information can be retrieved, and repeats her plea that he is now her only hope.Obi-Wan cannot hope to undertake such a mission alone due to his advanced age, so he tells Luke that he should learn the ways of the Force and accompany him to Alderaan. Luke is adamant that he can't go, and that he must stay on Tatooine and help his uncle. Obi-Wan counters that the Rebellion needs Luke's help, and that the young woman in the message needs Luke's help (though she has not mentioned any personal request for help). They decide to go to the city of Anchorhead so that Obi-Wan can book a transport.Meanwhile, the Devastator has docked at the Death Star, a gargantuan space station resembling a small moon. Vader rendezvous with Grand Moff Wilhuff Tarkin (Peter Cushing), commander of the station and governor of the Imperial Outland Regions, and they enter a conference room where they meet the station's Command Triumvirate: Admiral Conan Motti (Richard LeParmentier), High General Cassio Tagge (Don Henderson), and Chief Officer Mordramin Bast (Leslie Schofield). As the Triumvirs argue about the best way to exploit their newest \"technological terror\", Tarkin tells them that the Emperor has decided to dissolve the Imperial Senate and use the Death Star to intimidate all of the Empire's star systems into submission, suggesting that fear of force is preferable to its actual use. Motti is extremely confident in the new space station, calling it 'the ultimate power in the universe'. However, Tagge is adamant that the Death Star is not invincible, and that the Rebels will figure this out if they have a chance to read its schematics. Vader tells them that the ability to destroy a planet is insignificant next to the power of the Force. Motti callously mocks Vader's Jedi heritage, noting that the Force has not helped him recover the stolen schematics or pinpoint the Rebellion's headquarters. Angered, Vader uses the Force to strangle Motti, until Tarkin orders him to stand down. The commanders decide to focus on interrogating Leia until she gives up the location of the Rebel Headquarters. They will then use the Death Star to destroy it, killing two birds with one stone.As Luke and his companions travel to Anchorhead, they find the Jawa sandcrawler, completely destroyed with all the Jawas slaughtered; although they appear to be victims of the Sand People, Obi-Wan recognizes signs which indicate an attack by Imperial stormtroopers. Luke realizes that the only reason Imperial troops would kill Jawas is because they are looking for the droids which escaped the battle, and he races home, over Obi-Wan's objections that he is likely endangering his own life, hoping to warn Owen and Beru.He is too late. The Imperials have apparently come and gone, burned the homestead, and killed his aunt and uncle. Luke returns to Obi-Wan (who has used the opportunity afforded by Luke's trip to accord the massacred Jawas some measure of dignity), saying that with no reason to remain, he wants to go with him to Alderaan. More importantly, he declares his wish to learn the ways of the Force and become a Jedi.Luke and Obi-Wan travel to the Tatooine capital of Mos Eisley, a large spaceport (and hotbed to crime and near-lawlessness) with the two droids to find transport to Alderaan. Upon entering the spaceport they are approached by Imperial troops at a roadblock asking questions about the two droids they have with them. Obi-Wan appears to induce a trance-like state in the lead guard, persuading him that these are not the droids they are looking for. When Luke is puzzled by the ease of their passage, Obi-Wan explains that the Force can have a strong influence on the weak-minded.At the Mos Eisley Cantina, Luke gets into a scuffle with two criminals who try to kill him. When one of the creatures pulls a gun on Kenobi, the old Jedi Knight defends himself with his lightsaber - slashing off the creature's gun arm before it can shoot. Moments later they meet smuggler Han Solo (Harrison Ford), captain of the Millennium Falcon, and his first mate, Chewbacca (Peter Mayhew), a 7-foot-tall, 200-year-old Wookiee. Upon learning that Obi-Wan and Luke are trying to avoid Imperial capture, Captain Solo gives his price as 10,000 credits for the trip. Luke balks at that price, stating that they could almost buy their own ship for that, but Han is dubious that they could fly it themselves. Obi-Wan tells Solo that they will pay him 2,000 credits now and 15,000 more once they reach Alderaan. Han agrees.After Luke and Obi-Wan leave, Han tells Chewbacca that 17,000 credits could really save his neck. As Chewbacca leaves to make pre-flight preparations, Han hangs back to take care of their bar tab, and is stopped by Greedo (Maria De Aragon and Paul Blake), a bounty hunter working for feared crimelord Jabba Desilijic Tiure. Jabba had hired Han to transport a shipment of glitterstim spice (an illegal narcotic), but Han had to dump the shipment due to an unexpected Imperial boarding. As Greedo points a blaster pistol at Solo and forces him toward a secluded section of the bar, Han insists that he has the 8,000 credits he needs to cover the loss. Greedo suggests that Solo pay him instead of Jabba (as a bribe not to turn him over to Jabba), forcing Han to admit that he doesn't actually have the money yet. Realizing that Greedo will either turn him over to Jabba or kill him for the bounty that Jabba has placed on him, Solo quietly removes his heavy pistol under the table, and when Greedo admits that he would just as soon see him dead as alive, Solo pre-emptively fires in self-defense and kills him.At the docking bay, Han is confronted by Jabba the Hutt and several other associates. Jabba expresses frustration over Greedo's death, and reminds Han of the nature of their business; he cannot \"make any exceptions\" to those who fail or cross him, lest he appear weak. Han insists that he will soon have enough money to pay off his debt, with interest, he just needs more time. Jabba reluctantly agrees, but warns Han that this is his last chance.Luke sells his speeder to raise money for their initial payment to Captain Solo. They head to the docking bay where the Millenium Falcon is being prepared for flight. Luke is somewhat perturbed to discover that the Falcon is a 60-year-old YT-1300 freighter, but Han assures him that he has made extensive modifications to ensure that she can run rings around any modern capital ship. Meanwhile, Imperial troops believe they are hot on the trail of the two droids when a local informant tells them the whereabouts of the fugitives after recognizing Luke and Obi-Wan.No sooner do Luke, Obi-Wan and the droids board the Millennium Falcon than the Imperial troops come running into the docking bay, hoping to arrest Luke and Obi-Wan and capture the droids. The troops fire at Solo and the Falcon, but the ship manages to escape. Once they clear the planet, they are immediately pursued by two huge Imperial star destroyers. Solo remarks that his passengers must be of particular interest to the Empire. They jump to light speed, escaping the Imperial ships.Princess Leia has been tortured and undergone a mind probe in order for the Imperials to extract the location of the Rebels' home base. They have found nothing. Tarkin, Vader, and Motti threaten to destroy the Princess's home planet of Alderaan if she won't reveal the Rebels' location. She reluctantly tells them that the Rebel base is on the planet Dantooine. Tarkin then orders his officers to proceed with Alderaan's destruction (which they do), noting that Dantooine is too remote to make an effective demonstration of the Death Star's power. But when Imperial ships scout Dantooine, they find that while there once was indeed a Rebel base there, it has by now been abandoned for some time. Outraged at Leia's successful trickery, Tarkin orders her scheduled for execution.On board the Millennium Falcon, Obi-Wan is training Luke in the ways of the Force when he is greatly disturbed by a tremor in the Force. He feels that millions of people have died in an instant amidst great suffering, though he doesn't know how. He decides to meditate on this further as Luke continues an exercise in allowing the Force to guide his reflexes. Han is not impressed, and explains that he does not believe in the Force. Luke, however, manages to use his lightsaber to deflect four laser bolts in a row from a remote droid -- all while wearing a helmet which covers his eyes.Luke realizes that he is learning how to sense the Force. One of the Falcon's signals informs them that they are approaching Alderaan, but upon exiting light speed, they find the Millennium Falcon is in an asteroid field instead of Alderaan's orbit. Han confirms that they are in the right location but that the planet is missing; Obi-Wan quietly states that the planet has been destroyed by the Empire, but Solo laughingly insists that all the Empire's ships combined wouldn't have enough firepower to destroy a planet. Moments later they are overflown by an Imperial Twin Ion Engine (TIE) snubfighter. Obi-Wan concludes it is too small for long range flight, so there must be an Imperial base nearby. As they chase after the fighter to keep it from notifying the Empire of their location, they see the fighter heading toward a small moon -- which turns out to be the Death Star. They are caught in the Death Star's tractor beam and, helpless to resist, are pulled aboard the station into a docking bay. Obi-Wan tells them that neither fighting or surrender are viable choices, but a third option is available to them.Imperial troops board the Falcon, but its crew are hiding in smuggling compartments below the floor. Vader orders scanning equipment to be brought aboard to look for life signs. While standing near the Falcon, he senses a presence he has not felt for some time. Vader leaves the hangar, pursued by the frustrating sense he is overlooking something of great importance.When two stormtroopers go aboard the Falcon to set up their scanning equipment, Luke and Solo shoot them both and steal their armor uniforms. The helmets conceal their identity and allow them to infiltrate a troop command center outside the docking port. Inside the command center, R2 plugs into the station computer system and discovers the location of the tractor beam generator. Obi-Wan sets out to shut down the generator so that the ship can leave. Luke wants to accompany him, but Obi-Wan orders Luke to stay, noting that Luke's destiny now splits paths from his own. Perhaps sensing that this is the last time he will see Luke in this reality, he tells Luke, \"The Force will be with you... always.\"After Obi-Wan leaves, R2 discovers that the princess is being held prisoner on board the station. Luke suddenly takes the initiative, sparing no effort to convince Solo and Chewbacca to assist him in what is surely going to be a very risky rescue. Han, initially scared for his own neck, eventually agrees, but only after Luke suggests that a great monetary reward would surely follow her rescue. Luke and Han take Chewbacca \"captive\" and assume their trooper identities in order to infiltrate the prison block. In the prison block, the officer in command becomes suspcious of their arrival since he was not notified. As a result, Luke and Han's escorted \"prisoner\" escapes and a firefight erupts between the Imperials and Luke, Han, and Chewbacca. They manage to take out all the Imperials, but set off an alarm in the process. A squad of troops are sent to investigate. Han and Luke know they have only moments to find the princess's cell and escape.They find the princess, but the arriving troops cut off the only escape route. Leia shoots a hole in a garbage chute and tells everyone to dive in. They escape the Imperials, only to find themselves trapped in a large garbage compactor. To make matters worse, the compactor also houses a large, serpent-like creature -- the DiaNoga -- which manages to pull Luke under the murky, stagnant water in the compactor, almost drowning him. The creature inexplicably lets Luke go, but just as they catch their breath, the compactor activates, threatening to crush Han, Luke, Leia, and Chewbacca. Luke calls 3PO on the communicator and orders him to have R2 shut down all garbage compactors in the detention level. R2 complies just in time to save them.Meanwhile, Vader informs Tarkin that he senses through the Force that Kenobi is aboard the station. Tarkin is doubtful, but the discussion is soon interrupted by an emergency report -- Princess Leia has escaped! Vader tells a shocked and bewildered Tarkin the true explanation for Leia's impossible escape -- \"Obi-Wan is here. The Force is with him.\" Sensing that Obi-Wan wishes a final showdown, Vader sets off to find him. Unbeknownst to anyone, Kenobi has deactivated the tractor beam generator.After their escape from the compactor, Luke and Han dispose of their stormtrooper armor, but keep the troopers' utility belts and weapons. On their way back to the ship they're cut off by more troops. They are split up, with Han and Chewbacca fighting together and Luke and Leia running on their own.After being cornered between a great air shaft and a group of troopers, Luke shoots a blast door's controls with his blaster, locking the troops on the other side of the door. Unfortunately, the blast also destroys the controls that extend the bridge across the air shaft. After a gunfight with stormtroopers on the other side of the shaft, Luke uses a cable from his freshly confiscated Imperial utility belt to swing himself and Leia safely across the gorge.Obi-Wan, on his way back to the Falcon, encounters Vader. They exchange barbed comments, with Vader boasting to his former master that he is now so much more experienced and powerful than he was the last time they met, that the tables have now turned, with Vader the senior of the two, and Obi-Wan replying that Vader's turn to evil has made him oblivious to the Force's true power. A ferocious lightsaber duel ensues.Luke, Leia, Han and Chewbacca meet at the entrance to the docking bay. The lightsaber duel on the other side of the bay distracts the troops guarding the ship, allowing the four of them, along with R2 and 3PO, to sneak across to board the Falcon. As Kenobi and Vader continue dueling, Kenobi informs Vader that if Vader strikes him down, he shall become even more powerful, beyond what Vader could possibly imagine. Kenobi, seeing that the four heroes and two droids are safely boarding the Falcon, takes one last look from his comrade's son to the man who betrayed him, and smilingly withdraws his saber, allowing Vader to slice through him. His body instantly disappears. Vader is stunned and confused by this, as he determines that no one is in Kenobi's now-empty cloak on the floor. Luke, appalled by the sight of his mentor being struck down by Vader, lets out a shout of horror, alerting all of the troops to their presence. Another firefight immediately erupts, and they barely make it aboard the ship with their lives, but Luke stays behind, attempting to shoot every Imperial soldier in the hangar, despite his friends urging him to join them on the ship so they can escape. Finally, he relents, hearing Obi-Wan's voice telling him to run, as Vader catches a glimpse of him through a rapidly closing set of blast doors. When the Falcon flies out of the docking bay, the Imperials are unable to activate the tractor beam, thanks to Kenobi.Having blasted their way out of the station's defense range, they are confronted by four Imperial TIE fighters. Luke and Han man two large gun turrets on the top and bottom of the Falcon and manage to destroy all four ships. Han starts to boast to Leia about his amazing abilities during her rescue. She insists that the Empire let them escape in order to track them to the Rebel base. Han is doubtful of that as she explains to Han that R2 is carrying the technical readouts to the Death Star. She has high hopes that when the data is analyzed, a weakness can be found in the station.Back aboard the station, Leia's fears are confirmed as Vader and Tarkin discuss their plan to track the Falcon to the hidden Rebel base. The Falcon makes it to the base, located on the fourth moon of the gas giant Yavin Prime. After R2's data is analyzed, it is determined that the Death Star does indeed have a weakness that can be exploited; a small exhaust port not protected by a particle shield, through which a well-placed proton torpedo could reach the main reactor and destroy the station. The port is situated in a narrow trench protected by General ARea Defense Integration Anti-spacecraft Network (GARDIAN) turbo-lasers. The Rebel commander, General Dodonna (Alex McCrindle), theorizes that since the GARDIAN array is designed to repel large scale assaults from capital ships, it could easily be outmaneuvered by smaller and faster snubfighters. A plan is devised, where a squadron of Y-Wing assault bombers (Gold Squadron, led by Captain Jon \"Dutch\" Vander (Angus MacInnes)), will skim the trench. A second squadron (Red Squadron, commanded by Captain Garven Dreis (Drewe Henley)) comprised of the faster, more maneuverable X-Wing snubfighters, will attempt to draw enemy fire away from the bombers. Luke will be flying one of the X-Wings, under the callsign Red Five. Fellow pilot Wedge Antilles (Denis Lawson) is skeptical about succeeding, but Luke is confident that the task can be accomplished, noting that he used to shoot at animal targets on Tatooine which were not much bigger than two meters.The Rebels set out to attack the Death Star just as the station enters the Yavin system. The Death Star will have to orbit to Yavin's far side in order to have a shot at the moon on which the base is located. The approximately 30 Rebel fighters have less than 30 minutes to fly to the station and destroy it.As Luke heads to the hanger, he is reunited with Biggs Darklighter (Garrick Hagon), who used to fly with Luke on Tatooine. Biggs congratulates Luke for finally making it off Tatooine, and tells that the coming battle will be just like old times.Having apparently collected the balance of his 17,000 credits payment for delivering the plans to the Rebellion (plus some unspecified reward for helping Leia escape from the Death Star), Han refuses to join the fight, stating that his reward will be useless if he is killed, and that he would rather take his money and go pay off his debts. Luke is disappointed, but boards his fighter and takes off, right after R2 is loaded into the rear of the fighter for technical assistance. Upon departure, he hears what sounds like Obi-Wan's voice speaking to him, saying \"The Force will be with you.\" He quickly dismisses it.Both squadrons approach the Death Star briefly marveling at its size. Red Squadron initiates a strafing run on the station's surface to divert attention away from the bombers. Vader is informed that the GARDIAN turbo-lasers are having trouble targeting the small rebel ships, so he orders Black Squadron, an elite TIE fighter squadron, to engage the X-Wings individually. In short order, six TIE fighters join the battle, and Red Squadron scrambles to keep them away from the trenches. However, as Dutch and his wingmen commence their trench run, Vader takes notice, and recruits two Black Squadron pilots, Mauler and Backstabber, to escort him as he boards a TIE Advanced x1 fighter to engage the bombers. Vader easily outmaneuvers the Y-Wings, methodically dispatching them one by one. Dutch panics and aborts his run, before he himself is destroyed.With Gold Squadron effectively wiped out, Garven orders the surviving X-Wing pilots to start a second attack run down the trench. As they approach the exhaust port, Garven turns on his targeting computer as two other ships cover his tail from enemy fire. The escorting ships are destroyed, but they buy enough time for Garven to take a shot at the exhaust port. His shot misses. Moments later he loses an engine to Vader's gunnery and his fighter spirals into the surface of the station.Now nominally in charge of Red Squadron, Luke decides that it is now his responsibility to try to destroy the port. R2 is preoccupied trying to keep the ship running, despite all of the damage they are sustaining. With Biggs and Wedge flying his wing, they start down the trench. Moments later, they are pursued by Vader and his wingmen, who partially disable Wedge's ship. Luke tells Wedge to head home, seeing that he can't be of any help in a crippled ship. Vader allows Wedge to withdraw, ordering his men to continue to pursue the two ships in the trench. Vader fires again, hitting Biggs' ship and destroying it. Luke is grieved by the loss of his friend, but presses on.As Luke gets closer to his target, he hears the voice of Obi-Wan, repeatedly telling him to \"use the Force\" and rely on his instincts more than the technology in his ship. Luke switches off his targeting computer and continues flying down the trench. When asked by Mission Control why he switched off the computer, Luke responds that nothing is wrong.Meanwhile, the Death Star has completed its run around Yavin and is now cleared to fire on the Rebel moon. The countdown for the firing sequence begins. Bast tells Tarkin that he has analyzed the attack, and concludes there is a real threat to the station. Tarkin scoffs at evacuation and insists the Empire will prevail. He remains on the station while some of the Imperial officers and troops evacuate as a precaution.As Luke draws on the power of the Force to help him hit his target, Vader senses the strength of the Force in his prey. He takes a shot, which misses the ship but hits R2-D2. Just as he locks on to Luke's ship to finish him off, Backstabber's ship explodes unexpectedly. Out of nowhere appears the Millennium Falcon, which has just destroyed the Imperial fighter - diving vertically down towards Vader and the remaining wingman. This sudden turn of events distracts Mauler just long enough for him to lose control of his ship and crash into Vader's. This sends Mauler's ship ricochetting into the trench wall, destroying it, and sends Vader's ship spinning out of control, up and away from the Death Star.Han informs Luke that he is all clear to fire. Luke, having drawn upon the power of the Force, releases his proton torpedoes, which enter the exhaust port perfectly. Luke, the Falcon and a few other fighters race away from the Death Star, just as the Death Star prepares to fire on the moon. Only seconds before the station fires, it explodes into a huge fireball, sending millions of fragments into space. Tarkin, Motti, Tagge, and most of the senior Imperial staff are killed.Vader, having been thrown into space during his collision with the wingman, is now apparently the only one to have escaped the station's destruction. He eventually manages to regain control of his wildly gyrating fighter, and when he finally stabilizes, he flies off to meet the Imperial Fleet as the Rebels head home to their base. Upon reaching the base, Luke is thrilled to see that Han returned to help him out. Leia is thrilled to see both of her friends alive. And everyone is ecstatic that the Death Star has been destroyed. Their celebration is briefly interrupted as R2 is pulled from Luke's ship. He is heavily damaged from Vader's gunfire, and does not respond to C-3PO. The golden robot is terribly concerned, but Luke and two mechanics assure him that R2 is repairable and will be fine.Later, an awards ceremony is held in a huge hall. Hundreds of Rebel soldiers, officers, and pilots are present. A door at the rear of the hall opens to reveal Luke, Han, and Chewbacca. They walk down the aisle to where Leia awaits, along with several Rebel leaders and dignitaries.Also present are a freshly polished C-3PO and a freshly overhauled and looking better-than-new R2-D2. Upon reaching the front of the great hall, Luke and Han are awarded medals for bravery by a smiling Princess Leia. The hall erupts into thunderous applause.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0083866/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In a forested area overlooking a sprawling suburban neighborhood, an alien spacecraft has landed. The creatures aboard have come to observe and collect specimens. One of them wanders some distance away, when strange lights and sounds cause him to hide. The group of men are led by one who has a jingling set of keys attached to a belt loop. Scared, the creature takes of running, with the men in pursuit. The creature attempts to get back to his spaceship, but it leaves without him. Eventually, it makes its way down an embankment into the suburban housing development below.In one house, a young boy named Elliot is sent out to pick up a pizza being delivered for his brother Michael and his friends. Elliot is about to return inside when a strange noise in the backyard catches his ears. Elliot traces the noise to a gardening shed in the backyard. Elliot throws a baseball into the shed, and is scared when something in the shed throws it back out. Elliot rushes inside to tell everyone, and they all come out to investigate, but find nothing in the shed, except for some strange prints, which Michael assumes must belong to some type of coyote from the nearby woods.Later that evening, Elliot hears some noise outside in the backyard, and goes outside. He encounters a strange creature that scares the both of them. The creature quickly leaves the backyard and through a nearby gate that leads into the woods.The next day, Elliot goes out on his bike to the forest, taking a bag of Reese Pieces with him, hoping to find the creature he saw. He soon sees the man with the keys on his belt loop, and quickly leaves the forested area.That evening, Elliot gets into an argument with his family, when it seems that noone will believe him. Elliot claims that his Dad would believe him. As their Mother has just been through a messy divorce, this causes her feelings to be hurt, with Michael angrily chastising his brother for being cruel.Later that evening, Elliot stays outside, where this time, the creature comes right up to him, and returns some of the Reeses Pieces that were in the forest. Elliot then lures the creature into the house and up to his room. When he finally sees the creature in full, it is a strange brown-colored being that is like nothing he's ever seen before.Elliot fakes having a fever the next day to stay home from school. During the day, he acclimates himself to the creature, and tells him his name, as well as shows him different things around the house. Later that evening, Elliot shows the creature to Michael and their younger sister Gertie, who both promise not to tell anyone about him.They soon surmise that this thing must in some way be an alien, and get him to try and explain where he's from. Instead, the creature displays its powers, which cause several spheres to levitate and rotate like the planets in the solar system. Gertie also gives the alien a potted plant with dying flowers,which the alien revives.Elliot has the creature hide in his closet the next day, as everyone heads off to school. While everyone is away, the alien gets out and into the fridge, raiding the food and drinking several beers, before watching TV. Unknown to Elliot, the alien has formed a mental bond with him, and these feelings carry on over to his Science Class, where Elliot finds himself setting loose a number of frogs for a dissection project, as well as kissing a girl in class.After Elliot returns home that evening, he finds that Gertie has helped teach the alien to talk, and Elliot then decides to name the alien E.T. E.T. then attempts to explain that he intends to build a machine to communicate with his home planet, so they can come to get him.Later that evening, Elliot and Michael go through the garage looking for items to use. Michael notes that E.T. doesn't look so good, to which Elliot explains that \"they are fine.\" Unknown to the two of them, a van monitoring outside has picked up their conversation.On Halloween, Elliot and Michael dress E.T. up in a sheet, pretending to their Mother that it is Gertie dressed up as a ghost. Gertie has already left with Elliot's bicycle, and gone to a specific point above the suburban area. Once the three meet her there, Gertie trades places with E.T., as both Elliot and E.T. head off to assemble and use the communications machine he has assembled.Elliot wakes up the next day in the woods, with no sign of E.T. He returns home where his Mother has been afraid something had happened to him. Elliot pleads with Michael to find E.T. Michael first goes to the forest, but eventually finds E.T. barely breathing near a storm drain.Getting him home, Michael and the others show E.T. to their mother. E.T. has taken on a pasty look, and is shallowly breathing. Elliot explains that both he and E.T. are sick and perhaps dying. Their Mother demands they leave E.T. and get out of the house immediately, but they are soon set upon by persons in space suits, and then government men who quickly seal off the house and set up a medical unit to examine and help Elliot and E.T.It is here that the man with the keys on his belt loop (who we will call \"Keys\") returns to the picture. Keys explains to Elliot that they have found the machine in the forest, and wants to know how to save E.T.. Elliot explains that E.T. needs to go home, but as they talk, E.T. soon detaches himself from Elliot, and finally succumbs to the illness. Michael realizes this when the plants E.T. had revived begin to wilt and die.The medical team attempts to revive E.T., but he eventually dies. Before they take E.T. away, Keys allows Elliot some time alone with E.T.. Elliot then explains that E.T. must be dead, because he can't feel anything anymore. Elliot then tells E.T. that he loves him, and turns away. As he does so, he sees the flowers that were dying before are returning to life. Elliot goes back to the container where E.T. is, and finds him alive, and explains that his planet's people will be returning to get him. Elliot manages to hide the fact that E.T. is alive, and then hatches a plan with Michael to get him to the forest.Michael has his friends take Elliot's bike and theirs to a playground at the top of a nearby hill. Meanwhile, Michael and Elliot steal the van with E.T.'s container, and make their way to the playground. Meeting Michael's friends there, they then take E.T. and head for the forest. The government agents then give chase before E.T. causes the bicycles to fly, sending the boys to the forest.As they land, and night settles, E.T.'s ship lands. Elliot's mother and Gertie show up shortly afterward, and Gertie and Michael say their goodbyes, before it's Elliot's turn. E.T. asks Elliot to come with him, but Elliot says he has to stay. E.T. gives his new friend a hug, and then lights his finger and points it at Elliot's head, telling Elliot that he'll \"be right here.\"Gertie gives E.T. the plant she initially gave him, and he goes into the enormous ship, which soon lifts off leaving a rainbow behind, as everyone stares off into the sky.\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0062622/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "To Richard Strauss' tone poem \"Thus Spake Zarathustra,\" the title sequence shows the sun rising behind the Earth, which is behind the moon.Title: The Dawn of ManIn a sere African landscape, a group of ape-like hominids and some tapirs compete for the meagre green plants. A leopard attacks an ape. While one group of apes is drinking at a waterhole, another group approaches; the two groups scream at each other and one party is driven off. At night the apes huddle in fear among the rocks. In the morning a tall, thin, rectangular black monolith stands among the rocks. The apes are excited but touch the object and calm down. (Soundtrack: Gy\u00f6rgy Ligeti's \"Requiem.\")An ape (Daniel Richter) lifts a femur bone from a skeletal pile and realizes it makes a fine weapon. (Soundtrack: \"Thus Spake Zarathustra\" again.) The ape realizes that it can destroy other bones with the club. Three turning points in evolution happen simultaneously: proto-humans learn to kill with weapons, to hunt using weapons and eat meat, and to walk upright. Club-carrying apes approach the group that drove them away from their waterhole. The club-carriers bludgeon the other group's alpha male to death and chase off the rest. The victorious alpha male throws his club and it spins into the air.TMA-1, or the Monolith on the Moon (there's no title card introducing this section of the film)The spinning bone segues instantly to spaceships above Earth. A Pan-Am space shuttle approaches a large spinning space station, its revolutions mirroring those of the ape's spinning bone. As a single passenger dozes in his seat, a flight attendant with Velcro shoes recovers his floating pen. The shuttle pilots carefully match rotation and steer the shuttle into the station's central docking bay. (Soundtrack: Johann Strauss' Blue Danube waltz.)Dr. Heywood Floyd (William Sylvester) meets an old friend in the Arrivals lounge. They go through a voiceprint security check in which Floyd identifies his destination: the moon. The men chat; Dr. Floyd has a connecting flight in one hour. Floyd calls home from a video payphone booth and talks to his young daughter (Vivian Kubrick), whose birthday is the next day. He's sorry he'll miss her party but asks her what sort of present she wants; she asks for a bush-baby. The cost of the call is $1.70.In the Hilton lounge, Floyd stops to chat with some Russian scientists on their way back to Earth. When Floyd mentions he is going to Clavius, the Russians say no one has had contact with Clavius for 10 days and there are rumors of an epidemic. Floyd says he cannot discuss the matter and goes on his way.A smaller spaceship approaches the moon. A flight attendant serves food trays that consist of many compartments of liquid nourishment labeled with pictures -- carrots, peas, and so on. Floyd sips his meal, talks briefly with one of the flight officers, then contemplates the long list of instructions for the zero-G toilet. He watches the moon approach. The craft lands in a domed landing pad then descends underground to the main complex, once again to Johann Strauss' stately Viennese waltz.Floyd is introduced to a group of people in a conference room. He congratulates them on their discovery. He tries to explain the need for secrecy and the epidemic cover story. Floyd has come to get more facts and write a report for \"the Council.\"A shuttle skims over the lunar landscape. Inside, Floyd and two scientists enjoy sandwiches and review the findings. A magnetic object was found and excavated. They're not sure what it is, only that it was deliberately buried four million years ago.At the dig site, a tall, thin, black rectangular monolith -- identical to the one the apes encountered -- is examined by six people in spacesuits. (Soundtrack: Gy\u00f6rgy Ligeti's \"Requiem\" again.) As they pose for a photo the object emits a loud, high-pitched noise and the astronauts grab their heads in pain.Title: Jupiter Mission 18 Months LaterA long narrow spacecraft moves through space, its parabolic antennae pointing backwards. In the crew compartment, Dr. Frank Poole (Gary Lockwood) jogs around the artificial gravity wheel. Along the narrow corridor formed by the edge of the wheel, he runs past work stations, communications equipment, and five large, coffin-like life support chambers with glass covers. Two are unoccupied and three hold white, sarcophagus-shaped pods containing hibernating members of the crew.Frank is joined by Commander Dave Bowman (Keir Dullea). The two men have a meal and watch a BBC news video from earlier that day. The news report is about them and their ship, the Discovery, 80 million miles from Earth. The report mentions the three astronauts who are in hibernation to save air and food; they will be needed at the destination for a survey. The sixth member of the crew is the HAL9000 computer, which can talk and mimic the human brain. The newscaster interviews Dave and Frank together and then speaks to Hal (Douglas Rain), who states he is foolproof and incapable of error.Frank catches some UV rays on a tanning bed and watches a video birthday greeting from his parents. Hal also wishes Frank a happy birthday. Frank and Hal play chess -- Hal wins. Dave sketches and shows his artwork to Hal. The computer expresses some concern about the mission and secrecy. Hal then announces there is a problem with the AE-35 unit and it will fail with 100% certainty within 72 hours. Dave and Frank discuss the problem with Mission Control; they need to \"go EVA\" (outside the ship -- extra-vehicular activity) to replace the unit. Dave goes out in a spherical EVA pod to the parabolic dish antennae in the center of the long ship. He leaves the pod and swaps out the black box from a service panel.Later the two astronauts scan the removed AE-35 unit but can't find any defects. Hal suggests putting it back in service to let it fail. Mission Control believes Hal has made an error because their HAL9000 unit, a twin to the one aboard Discovery, finds no flaw in the AE-35. Hal says that similar problems in the past have always proved not to be his fault (\"It can only be attributable to human error\") and denies any chance of computer error. Dave and Frank go to a pod to have a private chat under the ruse of looking at a communications problem.Dave turns off all the pod's communications switches and the two men share their worries about Hal. If the AE-35 unit doesn't fail as predicted, the astronauts decide to disable Hal's higher functions without disturbing the automatic ship control functions, which Dave says will be tricky to do. Dave also wonders how Hal will react, because no 9000 unit has ever been disconnected before. Hal can see the men through the pod's window and reads their lips.This time Poole goes out in the EVA pod. As Frank approaches the dish assembly the pod sneaks up behind him. Suddenly Frank is spinning off into space fumbling for his air hose, which is disconnected, and the pod is drifting in the other direction. As Frank tumbles away, his voluntary movements slow and stop. Dave goes to the pod bay as Hal says he doesn't know what happened. Dave uses a pod to recover Frank's body. While he's away, a computer malfunction alert goes off and the life signs of the three hibernating astronauts flat-line. A display reads \"Life functions terminated.\" Hal refuses to open the pod bay doors for Dave, explaining that he knows Dave is planning to disconnect him because he was able to read Frank and Dave's lips when they discussed it. He says the mission is too important to allow humans to jeopardize it. Dave says he'll return to the ship through the airlock; Hal replies that Dave will find that difficult without his helmet -- which, indeed, Dave forgot in his hurry to go after Frank. Hal ends the conversation.Dave releases Frank's body and maneuvers the pod to the emergency airlock hatch. He uses the pod's arms to open the door, then lines up the pod's hatch with the opening. Dave holds his breath and jumps over to the ship, where he's tossed around by escaping air before he's able to close the hatch. Now in a helmet, Dave goes to the computer room and climbs into an access compartment. Hal pleads for himself as Dave pulls crystals from the memory center. Hal's voice gets lower and slower as he sings \"Daisy Bell\" (Daisy, Daisy, give me your answer do, I'm half crazy all for the love of you), and fades out as he is completely shut down. (Hal's performance is a nod to a speech synthesis project at Bell Laboratories in which an IBM 704 was programmed to sing the same song.) Suddenly a video screen comes on and plays a recording of Dr. Floyd explaining the secret purpose of the mission: \"This is a prerecorded briefing made prior to your departure and which for security reasons of the highest importance has been known on board during the mission only by your HAL9000 computer. Now that you are in Jupiter's space and the entire crew is revived it can be told to you. Eighteen months ago, the first evidence of intelligent life off the Earth was discovered. It was buried 40 feet below the lunar surface near the crater Tycho. Except for a single very powerful radio emission aimed at Jupiter, the four-million-year-old black monolith has remained completely inert. Its origin and purpose are still a total mystery.\"Title: Jupiter and Beyond the InfiniteClose to Jupiter, another black monolith floats among the many moons. We hear Gy\u00f6rgy Ligeti's \"Requiem\" once again. Bowman leaves the Discovery in another EVA pod. As the monolith and moons align, a psychedelic light show begins and the pod enters a wormhole to the music of Ligeti's \"Atmosph\u00e8res.\" Dave sees a series of oddly-colored landscapes as if he was flying over them. The pod ends up somewhere in time and space in a bedroom with a luminous white floor and furniture in the style of Louis XVI. Dave gets out, now a trembling grey-haired man. Next door in a similarly styled bathroom, Dave looks at himself in a mirror. Back in the bedroom someone is sitting at a table eating. It's Dave again, now much older and dressed in a dark velour robe. Old Dave has a drink of wine; the glass falls to the floor and breaks. Another man lies sleeping on the bed. It is a still older Dave, who stirs and raises an arm. The black monolith appears in the center of the room. Dave is transformed into a fetus in a sac. Floating in space, the large open-eyed fetus -- the Star Child -- gazes at the nearby Earth. Soundtrack: \"Thus Spake Zarathustra.\"\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0102926/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Promising FBI Academy student Clarice Starling is pulled from her training at the FBI Training Facility at Quantico, Virginia by Jack Crawford of the FBI's Behavioral Science Unit, who tasks her with presenting a VICAP questionnaire to the notorious Dr. Hannibal Lecter, a brilliant forensic psychiatrist and incarcerated cannibalistic serial murderer. After learning the assignment relates to the pursuit of vicious serial killer Buffalo Bill, Starling travels to the Baltimore State Hospital for the Criminally Insane and is led by Dr. Frederick Chilton to Hannibal Lecter, a sophisticated, cultured man restrained behind thick glass panels and windowless stone walls. Although initially pleasant and courteous, Lecter grows impatient with Starling's attempts at \"dissecting\" him and viciously rebuffs her. As Starling departs, another patient flings fresh semen onto her face, enraging Lecter who calls Starling back and offers a riddle containing information about a former patient. The solved riddle leads to a rent-a-storage lot where the severed head of Benjamin Raspail is found. Starling returns to Lecter, who links Raspail to Buffalo Bill and who offers to help profile Buffalo Bill if he is transferred to a facility far from the venomous, careerist Dr. Chilton.Hours and miles away, Buffalo Bill abducts Catherine Martin, the daughter of United States Senator Ruth Martin. Starling is pulled from Quantico and accompanies Crawford to West Virginia, where the body of Bill's recently-discovered victim resides, and where Starling helps perform the autopsy and extracts the chrysalis of a Death's-head Hawkmoth from the victim's throat. At Quantico, as news of Catherine Martin's abduction sweeps the country, Crawford authorizes Starling to offer Hannibal Lecter a fake deal promising a prison transfer if he provides information that helps profile Buffalo Bill and rescue Catherine Martin. Instead, Lecter begins a game of quid pro quo with Starling, offering comprehensive clues and insights about Buffalo Bill in exchange for events from Starling's traumatic childhood. Unaware to both Starling and Lecter, Dr. Frederick Chilton tapes the conversation and after revealing Starling's deal as a sham, offers to transfer Lecter in exchange for a deal of his own making. Lecter agrees and following a flight to Tennessee reveals Buffalo Bill's real name, physical description and past address to Senator Martin and her entourage of FBI agents and Justice Department officials.As the manhunt begins, Starling travels to Lecter's special cell in a local Tennessee courthouse, where she confronts him about the false information he gave the Senator. Lecter refuses Starling's pleas and demands she finish her story surrounding her worst childhood memory. After recounting her arrival at a relative's farm, the horror of discovering their lamb slaughterhouse and her fruitless attempts at rescuing the lambs, Lecter rebuffs her, leaving her with her case file before she is escorted out of the building by security guards. Later that evening, Lecter escapes from his cell. The local police storm the floor, discovering one guard barely alive and the other disemboweled and strung up on the walls. Paramedics transport the survivor to an ambulance and speed off while a SWAT team searches the building for Lecter. As the team discover a body in the elevator shaft, the survivor in the ambulance peels off his own face, revealing Lecter in disguise, who kills the paramedics and escapes to the airport.After notified of Lecter's escape, Starling pores over her case file, analyzing Lecter's annotations before realizing that the first victim, Frederica Bimmel, knew Bill in real life before he killed her. Starling travels to Bimmel's hometown and discovers that Bimmel was a tailor and has dresses with templates identical to the patches of skin removed from Buffalo Bill's victims. Realizing that Buffalo Bill is a tailor fashioning a \"woman suit\" of real skin, she telephones Crawford, who is already on the way to make an arrest, having cross-referenced Lecter's notes with Johns Hopkins Hospital and finding a man named Jame Gumb. Crawford instructs Starling to continue interviewing Bimmel's friends while he leads a SWAT team to Gumb's business address in Calumet City, Illinois. Starling's interviews lead to the house of \"Jack Gordon\", who Starling soon realizes is actually Gumb, and draws her weapon just as Gumb disappears into his basement. Starling pursues him, discovering a screaming Catherine Martin in the dry well just before the lights in the basement go out, leaving her in complete darkness. Gumb stalks Starling in the dark with night vision goggles and prepares to shoot her when Starling, hearing the machinations of his revolver, swivels around shoots Gumb dead.Days later at the FBI Academy graduation party, Starling receives a phone call from Hannibal Lecter, now in the Bahamas. As Lecter assures Starling he has no plans to pursue her, he excuses himself from the phone call, remarking that he's \"having an old friend for dinner\", before hanging up and following Chilton through the streets of the village.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0071315/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Set in 1937 Los Angeles, a private investigator named Jake \"J.J.\" Gittes (Nicholson) is hired to spy on Hollis Mulwray, the chief engineer for the city's water department. The woman hiring Gittes claims to be Evelyn Mulwray, Hollis' wife. Mr. Mulwray spends most of his time investigating dry riverbeds and water runoff outlets. Mr. Mulwray also has a heated argument with an elderly man on the street. Gittes finally catches Mulwray during an outing with a young blonde and photographs the pair, which becomes a scandal in the press. After the story is published, Gittes learns that the woman who hired him was not the real Evelyn Mulwray. Evelyn later visits Jake's office and threatens to sue him for defamation. (Her image of Gittes is not helped when he tells a dirty joke that she overhears.)Clues suggest a scandal in the city government: despite a serious drought and an expensive proposal to build a new dam, the Water and Power department is dumping fresh water into the ocean at night. The dam project is opposed by Mulwray himself, who cites a potential disaster because of weak geological formations in the rock where the dam is to be constructed -- Mulwray had previously supported the building of another dam that had failed due to similar geological conditions. While he addresses a public hearing on the project, that Gittes himself attends, he is ridiculed by several farmers in attendance, who need the reservoir and water the dam will create.Jake goes to Mulwray's mansion to speak to him but is only able to talk to Evelyn. While he waits for her, Mulwray's Japanese gardener works in one of the small decorative pools. He casually says \"bad for the glass\" in broken English, a comment that Jake dismisses. Jake notices a shiny object in the pool and tries to retrieve it, stopping when Evelyn appears. She tells him that Hollis usually takes afternoon walks at a reservoir and that she should look for him there.Gittes looks for Hollis at the reservoir but finds the police there instead, hauling his body out of the water & investigating Mulwray's death from drowning. The lead investigator is Lt. Lou Escobar, a man Jake worked with while he was a cop himself. When the police speak to Mrs. Mulwray about the death, they assume she hired Gittes, which Gittes corroborates. She thanks him and hires him to investigate what happened to her husband. Later, at the county coroner's department, Gittes talks to the coroner himself and finds out that Mulwray lungs were filled with salt water, despite his being found in a freshwater reservoir. Gittes is also told that a local drunk was found dead in a dry riverbed that Mulwray was inspecting, having also drowned.Later that night, while sneaking into the reservoir's secured area, Gittes is confronted by water department security; a large man named Claude Mulvihill and a short thug (a cameo by Polanski), who slashes Jake's nose for being a \"very nosy fella.\" Gittes, forced to wear a large & ridiculous bandage on his face, receives a call from Ida Sessions, the woman who impersonated Mrs. Mulwray, who admits she was hired to trick Gittes. She refuses to come to Gittes' office to speak about the incident but suggests that Gittes look at that day's obituary column. At the water department, Gittes notices photographs of the elderly man Mulwray quarreled with a few days before his death, identifying him as Noah Cross (Huston). Cross, who is Evelyn Mulwray's father, used to own the water department as Mulwray's business partner. Cross ended his association with the department when the partners sold it to the city, a long-standing desire of Hollis'.Cross invites Jake to lunch at his home and hires Jake to find the blond girl Hollis had been seeing, saying that she might know what happened to him. Gittes goes to the Hall of Records and looks in a large plat book, finding that new names of people who have purchased large tracts of land. When the attendant in the room refuses to let Jake borrow the book, Jake surreptitiously tears the column out of the book and pockets it. Acting on a further hint from Sessions, Gittes begins to unravel an intricate scandal involving LA's fresh water supply. Gittes first travels to an orange farm to talk with the owner about how his land is being irrigated. As he drives around he is shot at by the farmer and a few of his farmhands and crashes his car into a tree. Jake is dragged from his car, beaten and searched. The farmer explains that the Department of Water has been harassing him by sending agents to run him off his land and poison the water in his wells. While he tries to show the farmer documentation of his investigation, the farmhands claim that Mulwray is responsible for harassment of late and attack Jake. When Jake tries to fight back, he's knocked unconscious. He wakes up to find that the farmer and his wife have called Evelyn, who has come to the farm.While they drive back to LA, Jake explains the scandal to her: her father and his partners have been forcing farmers in the rural areas surrounding the city off of their land so they can buy it cheap, after which a newly-built (and controversial) dam and water system would start redirecting much of L.A.'s water supply to that land, dramatically increasing its real estate potential & value.Since Cross wants no record of such transactions, he has partnered with a retirement home community, using the identities of the eldest residents within (one of whom is mentioned in the obituary column): they would legally, but unknowingly, own the land. Jake, having matched one of the obituary names to one of the names in the list he stole from the plat book, has Evelyn drive him to the retirement home and pose as a married couple trying to find a place for Jake's father to live. The host tells them they can tour the facility. They come across an activities board with the names of the people from the plat book. Jake talks to a group of women working on a quilt. One of the pieces of fabric they've sewn into the quilt bears the emblem of the Albacore Club, the yacht club owned by Noah Cross. Jake is confronted by the host who has figured out Jake's ruse. The man takes him out to the lobby where Mulvihill is waiting. Jake tells Evelyn to bring the car around and then severely beats Mulvihill and barely escapes when the short thug who slashed his nose shows up.Back at Evelyn's house, Gittes and Evelyn share a romantic interlude. As they lie on the bed afterward, Evelyn asks Jake about his past as a cop. He tells her he worked in Chinatown and was responsible for a woman \"being hurt\", possibly killed because of his actions. The phone rings and Evelyn has a cryptic conversation with someone, then informs Jake that she has to leave for a little while. She gravely asks him to trust her.Gittes takes Hollis' car and follows Evelyn to a middle-class house and sees Mulwray's girlfriend crying. Evelyn claims the young woman is her sister, who was crying because she had just learned about Hollis' death in the newspaper. Later that night, Jake receives a call at home from a detective named Loach, Escobar's partner, telling him to meet him at a specific address. When he gets there he finds that Ida Sessions is murdered and Escobar and Loach are waiting for him. When Jake asks how they knew to call him Escobar shows Jake his phone number written near the phone. Escobar also points out that he knows the coroner's report proves that salt water was found in Mulwray's lungs even though the body was found in a freshwater reservoir, a fact that Jake had discovered earlier but withheld. He demands that Jake turn over any incriminating photos that may reveal Mulwray's murderer's identity. Escobar's chief suspect is Evelyn herself.Under pressure from Escobar threatening to revoke his PI's license, Jake returns to Evelyn's mansion looking for her. Evelyn's Japanese gardener is working in the backyard and drops a minor comment about \"salt water being bad for the grass\". Jake has the man fish out the shiny object he'd noticed in the pool before: it's a pair of eyeglasses.Gittes confronts Evelyn at the small house where she'd been keeping the young girl. Evelyn reveals that the blond girl, Katherine, is both her sister and her daughter, born from an incestuous relationship she had with her father years before. Gittes asks Evelyn if her father raped her and she shakes her head no. It remains unclear whether the act was consensual or not. It is apparent also that Evelyn resents her father for taking advantage of her in a relationship considered unnatural. Gittes then chooses to help Evelyn escape. Evelyn also states that the eyeglasses Jake found in her back yard pond could not have been her husband's because they are bifocals. Gittes arranges for the two women to flee to Mexico on a fishing boat owned by another of Jake's clients and instructs Evelyn to meet him at her butler's address in Chinatown. Evelyn leaves, and Cross arrives with Mulvihill under the pretext that Gittes has found the girl; however, Gittes confronts Cross with the accusation of murder and the glasses. Cross had Mulwray drowned in the saltwater pond at his own house and lost his own glasses in the pond during the act. Jake asks Cross about the water scandal; Cross tells him that he plans to create a community in the desert with an abundant fresh water supply. The real estate revenues from the sales of the land will generate many millions of dollars for him. Cross considers the plan a way of buying the future, essentially insuring that his family will reap the benefits from such a deal for many years. When Jake pointedly asks Cross about the relationship with his daughter, Cross confidently says \"Most people never have to face the fact that, at the right time and the right place, they're capable of anything\". Cross then orders Mulvihill to seize the glasses, the only physical evidence Jake has and forces Gittes to take him to the girl. When Gittes arrives at Evelyn's hiding place in Chinatown, the police are already there and arrest Gittes on conspiracy and withholding evidence. Jake vainly tries to explain Cross' plan to Escobar, who won't listen.Evelyn appears with her daughter, trying to drive away in her car. When Cross approaches Katherine, demanding custody of her, Evelyn pushes him back, shoots him in the arm with a small pistol and starts her car. As Evelyn is driving away, the police open fire and Evelyn is shot and killed. Cross clutches Katherine, taking her out of the car, as a devastated Gittes is comforted by his associates, who urge him to walk away: \"Forget it, Jake. It's Chinatown.\"The plot is based in part on real events that formed the California Water Wars, in which William Mulholland acted on behalf of Los Angeles interests to secure water rights in the Owens Valley.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0050212/synopsis?ref_=tt_stry_pl\n", "\n", "[this synopsis is primarily from the wikipedia article The_Bridge_on_the_River_Kwai]Two prisoners of war are burying a corpse in the graveyard of a Japanese World War II prison camp in southern Burma. One, American Navy Commander Shears (William Holden), routinely bribes guards to ensure he is put on the sick list, which allows him to avoid hard labour.A large contingent of British prisoners arrives, marching in defiantly whistling the Colonel Bogey March under the leadership of Colonel Nicholson (Alec Guinness). Because they were ordered by their superiors to surrender, Nicholson states that they should be obedient and cooperative prisoners. The Japanese camp commander, Colonel Saito (Sessue Hayakawa), addresses them, informing them of his rules. He insists that all prisoners, regardless of rank, will work on the construction of a bridge over the Kwai River as part of a railroad that will link all Burma.The next morning, when Saito orders everyone, including officers, to work, Nicholson commands his officers to stand fast. He points out that the Geneva Conventions state that captured officers are exempt from manual labour. Saito is infuriated and backhands Nicholson in the face, but the latter refuses to back down, even after Saito has a machine gun set up threatening to shoot all the officers. Saito is dissuaded from shooting by Major Clipton (James Donald), a British medical officer prisoner, citing an inquiry and scandal should Saito carry through with the murder of officers. Instead, the Japanese commander leaves Nicholson and his officers standing in the intense heat. As the day wears on, one of them collapses, but Nicholson and the rest are still standing defiantly at attention when the prisoners return from the day's work. After Colonel Nicholson is beaten in Saito's quarters, the British officers are sent into a punishment cage and Nicholson into his own box for solitary confinement.When Clipton requests to be allowed to check the officers, Saito agrees on the condition that Clipton persuade Nicholson to change his mind. Nicholson, however, refuses to budge, saying \"if we give in now there'll be no end to it.\" In the meantime, construction of the railroad bridge falls far behind schedule, due in part to many \"accidents\" purposely arranged by the British prisoners.Saito has a deadline; if he should fail to meet it, it would bring him great shame and oblige him to commit seppuku (ritual suicide). Saito reluctantly releases Nicholson, telling him that he has proclaimed an \"amnesty\" to commemorate the anniversary of Japan's great victory in the Russo-Japanese War, using it as an excuse to exempt the officers from work. Upon their release, Nicholson and his officers proudly walk through a jubilant reception. Saito for his part breaks down in tears in private.Having recovered from his ordeal physically, but not mentally broken, Nicholson sets off on an inspection of the bridge and is shocked to find disorganization, shirking and outright sabotage on the construction site. He decides to build a better bridge than the Japanese soldiers. He orders Captain Reeves (Peter Williams) and Major Hughes (John Boxer) to come up with designs for a proper bridge, despite its military value to the Japanese. He wants to demonstrate to his captors what he considers superior British ingenuity and to also keep his men busy, which he feels would be better for morale than sitting around doing nothing in prison.Meanwhile, three men, one of them the American Shears, attempt to escape. Two are killed; Shears is shot, falls into the river and is swept downstream. After many days in the jungle, he stumbles into a Siamese village, whose residents help him recover and get back to safety. He's given food, water and an outrigger boat to make his way down the river. Shears runs out of water during the trip and is forced to drink the water from the river, which makes him ill. However, he makes it to the mouth of the river and is picked up by British forces and shipped to a British hospital in Colombo, Sri Lanka (at the time, Ceylon). While recuperating, he dallies with a lovely nurse (Ann Sears).Major Warden (Jack Hawkins), a member of the British Special Forces, asks to speak with him. He informs Shears that he is leading a small group of commandos on a mission to destroy the Kwai bridge. He asks Shears to volunteer, since he knows the area. Shears refuses, finally admitting that he is not Commander Shears at all, but a Navy enlisted man. Shears recounts that he and a Navy Commander survived the sinking of their ship, but the Commander was subsequently killed by a Japanese patrol. \"Shears\" switched dog tags with the dead officer, hoping to get preferential treatment in captivity. It didn't work, but then he had no choice but to continue the impersonation. Warden tells him that the military already knew about it. To avoid bad publicity, the U.S. Navy loans him to the British. Warden offers him a deal: in exchange for his services, he will be given the \"simulated rank\" of major on the mission and avoid being charged with impersonating an officer, an offense punishable by death. Thus, Shears reluctantly \"volunteers\" with the understanding that should he survive, he'll get to keep his officer status. They are to be joined by Lieutenant Joyce (Geoffrey Horne), a young eager officer with no combat experience who insists that he won't fold under pressure should he have to kill someone on the mission, and a fourth officer.Back in the camp, Nicholson explains to the Japanese through engineering principles that they've selected a poor site for the bridge. Finally convinced, the original bridge is abandoned and construction of a whole new bridge is commenced 400 yards downriver. Clipton watches in bewilderment as Nicholson maniacally drives his men to complete the project by the deadline. Ironically, he even volunteers his junior officers to assist with the physical labor, something he had refused to consider earlier in the standoff with Saito - provided that the Japanese officers are willing to pitch in as well.Meanwhile, the commandos parachute in. The fourth officer dies due to a bad landing. The rest make their way to the river, assisted by native Burmese women porters and their village chief, Yai (M.R.B. Chakrabandhu). The commandos come upon a Japanese patrol whom they try to kill without firing shots, but Joyce freezes when confronted by one in the jungle. Warden jumps in front of him and kills the Japanese soldier, but gets shot in the foot as a consequence. This slows him down, but Shears refuses to leave him behind and the trio make their way to the bridge with the Burmese helpers.As the prison camp celebrates the completion of the bridge on time with a party for all, Shears and Joyce wire explosives to it under cover of darkness. The next day, a Japanese train full of soldiers and important officials is scheduled to be the first to use the bridge; Warden wants to blow it up just as the train passes over, accomplishing two missions at once.As dawn approaches, the trio notice with horror that the river has receded and the wires and explosives that were hidden the night before are now exposed. Nicholson proudly walks up and down his bridge making a final inspection, and notices the wires. The train can be heard approaching. Nicholson and Saito frantically hurry down to the riverbank, pulling up and following the wire towards Joyce who is waiting by the detonator. When they get too close, Joyce breaks cover and stabs Saito to death. Nicholson yells for help and then tries to stop Joyce (who cannot bring himself to kill Nicholson) from getting to the detonator. A firefight erupts as Warden fires upon the approaching Japanese soldiers; Yai is killed in the gunfight. When Joyce is hit, Shears swims across the river to finish the job, but he too is shot just before he reaches Nicholson.Recognizing Shears, Nicholson suddenly comes to his senses and exclaims, \"What have I done?\" Warden desperately turns the mortar fire in their direction, killing Shears in the blast and mortally wounding Nicholson. The colonel stumbles over to the detonator plunger and falls on it with his dying breath, just in time to blow up the bridge and send the train hurtling into the river.Warden, feeling guilty for killing Shears and Nicholson in the face of shocked stares from the Burmese women, pleads, \"I had to do it! They might have been taken alive! It was the only thing to do!\" Meanwhile, Major Clipton, the British medical officer who has witnessed all the carnage unfold from his vantage point on the hill, shakes his head incredulously, \"Madness! ... Madness!\".\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0045152/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Don Lockwood (Gene Kelly) is a popular silent film star with humble roots as a singer, dancer and stunt man. Don barely tolerates his vapid, shallow leading lady, Lina Lamont (Jean Hagen), who has convinced herself that the fake romance their studio concocted and publicized is real.One day, to escape from overenthusiastic fans, Don jumps into a passing car driven by Kathy Selden (Debbie Reynolds). She drops him off, but not before claiming to be a stage actress and sneering at his undignified accomplishments as a cinema actor. Later, at a party, the head of Don's studio, R.F. Simpson (Millard Mitchell), shows a short demonstration of a talking picture, but his guests are unimpressed. Don runs into Kathy again at the party. To his amusement and her embarrassment, he discovers that Kathy is only a chorus girl, part of the entertainment. Furious, she throws a pie at him, only to hit Lina right in the face. Later, Don makes up with Kathy and they begin falling in love.After the first talking picture, The Jazz Singer, proves to be a smash hit, R.F. decides he has no choice but to convert the new Lockwood and Lamont film, The Dueling Cavalier, into a talkie. The production is beset with difficulties (most, if not all, taken from real life), by far the worst being Lina's comically grating voice. A test screening is a disaster. In one scene, for instance, Don repeats \"I love you\" to Lina over and over, to the audience's derisive laughter (a reference to a scene by John Gilbert in his first talkie[2]).Don's best friend, Cosmo Brown (Donald O'Connor), comes up with the idea to overdub Lina's voice with Kathy's and they persuade R.F. to turn The Dueling Cavalier into a musical called The Dancing Cavalier. When Lina finds out that Kathy is dubbing her voice, she is furious and does everything possible to sabotage the romance between Don and Kathy. She is even more irate when she discovers that Kathy will receive screen credit and a big publicity campaign, so she blackmails R.F. into withholding credit, and, later, demands that Kathy (a contract player) continue to do so in the future.The premiere of The Dueling Cavalier is a tremendous success. When the audience clamors for Lina to sing live, Don, Cosmo and R.F. improvise and get Lina to lip-synch while Kathy sings into a second microphone while hidden behind the curtain. Unbeknownst to Lina, as she starts \"singing\", Don, Cosmo and R.F. gleefully open the curtain behind her, revealing the deception Lina flees in embarrassment. When Kathy tries to run away as well, Don has her stopped and introduces the audience to \"the real star of the film\".Dan and Kathy start singing a love song. Final cue of they both kissing in front of a huge billboard advertising the film \"Singin' in the Rain\" with Don Lockwood and Kathy Selden.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0038650/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "This movie is about a divine intervention by a guardian angel, to help a man in distress. It opens with a a fanciful depiction of angels in heaven discussing a problem that has come up. They are receiving prayers from mortals, like \"Please, God, something's the matter with Daddy\". George Bailey (James Stewart) is about to kill himself, and they need to send an angel down to Earth to stop him. They select Clarence (Henry Travers), a somewhat down-on-his-luck angel who hasn't earned his wings yet, but who they decide is right for the job. The senior angels promise that Clarence will get his wings if he succeeds. The bulk of the movie is a replaying, by the senior angels and for Clarence's benefit, of George's life, so that Clarence will understand George.George Bailey was a young man, living in a small town, but with big dreams. From an early age, he wanted to get away from Bedford Falls, travel the world, and accomplish big things--planning cities and building huge airfields, skyscrapers, and bridges. The first incident that Clarence sees is that, at age 12, George saved his younger brother Harry's (Todd Karns) life in an accident while playing on an ice-covered pond. George lost the hearing in his left ear due to being in the icy water. Shortly after that, while working part-time in Mr. Gower's (H.B. Warner) drug store, he prevents a mistake in a prescription from fatally poisoning someone. The two little girls in George's life at that point are Mary Hatch (Donna Reed) and Violet Bick (Gloria Grahame), who seem to be competing for his notice.George's father (Samuel S. Hinds), with a small staff including Uncle Billy (Thomas Mitchell), run a small Building and Loan company that finances mortgages for the people of Bedford Falls. They face a difficult battle with the evil, avaricious, and wealthy Henry Potter (Lionel Barrymore). Potter is on the board of directors of the Building and Loan, holds much of its assets, along with almost everything else in town, charges people exorbitant rent on his own apartments, and would like to put Bailey's company out of business.George wants to begin his adventures after going to college. While he has enormous respect for his father and what he is doing to help people, he definitely does not want to follow in his father's footsteps at the Building and Loan. But one thing after another thwarts his plans.George went to work at the Building and Loan for a few years after graduating from high school, with the expectation that Harry would take this over when he graduated, and George would go on a European tour and then go to college. But his father has a fatal stroke, and George has to take over the B&L; for a few months, giving up the European tour. Then Potter attempts to liquidate the B&L;, the only thing that can stop it is for George himself to take it over. So he gives up college, and gives his college money to Harry. The plan at that point was that, after Harry graduates, he will take over the B&L;, and George will go to college. But Harry returns from college having married Ruth Dakin, and Ruth's father has offered him a job in upstate New York. So George has no choice but to stay with the B&L.;George marries Mary Hatch after a difficult introduction--he mistakenly thinks Mary is in love with his lifelong rival Sam Wainwright (Frank Albertson). They are about to go on their honeymoon with $2000 they have saved up. But a banking crisis occurs. Potter has taken over the bank that guarantees the B&L;'s loans, and has called in the loans. The customers are in a panic and are tempted to go over to Potter's bank. The only way George can save the situation is to provide for the customers' needs out of his honeymoon money. Their friends Ernie (Frank Faylen) the cabbie and Bert (Ward Bond) the policeman arrange for them to have a cut-rate honeymoon at their house. They serenade the newlyweds from outside in the rain.The B&L; continues to provide affordable housing for the people of Bedford Falls, creating a whole subdivision \"Bailey Park\". This includes the home of Mr. Martini (William Edmunds), the local tavernkeeper, and his family. Sam Wainwright and his wife come by to offer that George and Mary take a vacation with them in Florida, but they can't get away even for that.Potter is disturbed that George's B&L; is taking customers away from his own apartment business, and attempts to bribe George into working for him instead, offering a huge salary and extensive travel. Tempting as that is, George is repelled by everything Potter stands for, and declines.So George stays with his wife and four children in Bedford Falls, never getting to leave. World War II comes and goes, and Harry serves (George is exempt because of his ear) and heroically saves an entire transport ship by shooting down two attacking airplanes. He is awarded the Congressional Medal of Honor at a ceremony in Washington.On the morning before Christmas, the day that Bedford Falls will have a huge celebration for Harry, a bank examiner arrives to conduct a routine audit. The same day, Uncle Billy goes to the bank for a routine deposit of $8,000 in cash. Potter happens by, and Billy proudly points out the newspaper with the news about Harry. He accidentally folds the newspaper with the cash envelope in it, and Potter takes it back. Billy then realizes that he has lost the money. Potter, now in another room, sees this, and leaves quietly.Billy arrives at the B&L;, where George, generous as always, is giving Violet some of his own money for her to travel to New York City and start a new life. When Billy tells George about the loss, there is an uproar. George and Billy search everywhere that the money could possibly have been left. George shouts at Billy that this means bankruptcy, scandal and prison, and that he, George, isn't the one who will go to prison.George goes home in an incredibly foul mood, where his family are preparing for a Christmas party that evening. George is extremely bitter and nasty, and verbally abuses everyone, saying at one point \"Why do we have to have all these kids?\" The whole family are alarmed at his behavior. He learns that their youngest daughter \"Zuzu\" (Karolyn Grimes) is in bed with a cold. She apparently caught it walking home from school, having not buttoned her coat because she didn't want to harm a rose that she had been given. George goes up to see her. While handling the rose, some petals fall off. George puts them in his watch pocket.Zuzu's teacher, Mrs. Welch, phones to ask about Zuzu. George gives her a brutal tongue-lashing over her carelessness. When Mr. Welch gets on the line, George abuses and threatens him. Then George starts kicking and throwing things. The children are in tears. George storms out of the house. Mary phones Uncle Billy to find out what's wrong. The children ask whether they should pray for their father, and Mary says yes.While word spreads of the calamity, George goes to see Mr. Potter to beg for a loan of 8000 dollars. Mr. Potter is completely unsympathetic and sarcastic. He suggests that George has been cooking the books, playing the market with company money, or perhaps paying off a woman, pointing out that he is known to have been giving money to Violet Bick. Potter asks about collateral. All George has is a fifteen thousand dollar life insurance policy, but with only five hundred dollars equity. Mr. Potter says \"You're worth more dead than alive.\"George goes to Mr. Martini's tavern and starts drinking, and then praying for divine guidance. His friends notice and try to help. Mr. Martini mentions his name out loud, and Mr. Welch, sitting nearby, hears it. He punches George, causing a bloody lip. George leaves, though his friends urge him to stay and rest. George drives his car toward a bridge. Because of the snowy weather, he accidentally drives it into a tree. The homeowner comes out and chews him out for harming the tree. George just keeps walking, out onto the bridge, to kill himself.Just as George is about to jump into the frigid river and drown, Clarence comes down to Earth; his moment has come. He knows George well enough to know that if he, Clarence, jumps into the river, George will rescue him. He does so, and George jumps in and rescues him as predicted. They go to the toll-taker's shack to dry their clothes. Clarence explains all--that he is an angel, \"Clarence Odbody, Angel second class\", sent to save George from committing suicide. To George's astonishment, Clarence knows the whole story of his life. George is disbelieving and cynical about the whole thing, mentioning that it is not surprising that he got only a second-class angel, one without wings. He resists Clarence's entreaties, believing that he must have consumed tainted liquor. He finally says \"I wish I'd never been born.\" Clarence formulates his plan, and, after a little prayerful communication with the senior angels, says \"You've got your wish. You've never been born.\"Things change immediately. In the alternate universe it isn't snowing. George notices that he can hear through his left ear, and his lip isn't bleeding. Clarence points out that many things will be different now.They walk back toward town, past the tree that George had hit with his car. The car is gone, and there is no gash in the tree. The homeowner stops by, and George asks about the car and the damage to the tree. The homeowner knows nothing about this. He says \"You had me worried. One of the oldest trees in Pottersville.\"They continue into town. Martini's tavern has become a sleazy dive, and Mr. Martini is nowhere to be found. It is now owned by Nick, who had worked there in real life. George and Clarence sit down at the bar. Clarence's speech and demeanor immediately displease Nick, who is an unpleasant fellow. George knows Nick, but Nick does not know George. When a cash register rings, Clarence points out that, whenever that happens, it means an angel has earned his wings. An elderly Mr. Gower comes in, and Nick tells him to leave. George speaks to Mr. Gower, but Mr. Gower doesn't recognize him. Nick says that Mr. Gower spent 20 years in prison for poisoning some child, and that if this stranger knows Mr. Gower, he must be a convict also. Nick has George and Clarence thrown out of the tavern, and then derisively makes the cash register ring, saying that he is giving out angel wings.In front of the tavern, George is seriously disturbed by what is going on. Clarence explains once again that George doesn't exist. George checks his pockets for his wallet, other identification, or his life insurance policy. Clarence points out that they do not exist. Finally, George checks his watch pocket. Clarence says \"They're not there either.\" \"What?\" \"Zuzu's petals. You've been given a great gift, George. The chance to see what the world would be like without you.\"Continuing to be in denial of what is going on, George continues to walk downtown without Clarence. Bedford Falls has become Pottersville, and it is a dreary, brutish, and perverse place, full of bars and sleazy nightclubs. The movie theater, and the B&L;, are long gone. Police are everywhere, dealing with disorders. George sees the police arrest Violet and take her away from a brothel. He hails Ernie's cab and asks to be taken home. Ernie has no idea who he is or where he lives. He gives Ernie the address, and Ernie tells him that that is an abandoned house, but he will take him there anyway. Ernie also tells George that his wife left him three years ago, and that he now lives alone in a place called Potter's Field. He visually signals for Bert the policeman to follow them. As George searches the house calling out for his family, Clarence appears. Bert attempts to arrest them, but Clarence vanishes, allowing George to escape.George then goes to his mother's house, but she does not recognize him. He mentions Uncle Billy, and she says that he has been in a mental hospital for many years since the B&L; went out of business.Still in denial of what is happening, George then goes with Clarence to Martini's house in Bailey Park. There is no such place--it is a wasteland with a cemetery. Clarence points out the grave of Harry Bailey. Clarence says \"Your brother Harry Bailey broke through the ice and was drowned at the age of nine.\"\"That's a lie! Harry Bailey went to war. He got the Congressional Medal of Honor. He saved the lives of every man on that transport.\" says George.\"Every man on that transport died. Harry wasn't there to save them, because you weren't there to save Harry. You see, George, you really had a wonderful life. Don't you see what a mistake it would be to throw it away?\"George then asks to see Mary. Clarence says that she never married, and works at the library. George goes there. She doesn't recognize him. He tries to embrace her; she screams and runs into a nightclub. He runs after her. The police intervene. George slugs Bert and runs away. Bert shoots at him but misses, then pursues in his car.Finally aware of what is happening, George runs to the bridge where he had been about to jump, and calls out \"Help me Clarence, please! Please! I want to live again!\"The alternate universe ends. It's snowing once again. Bert arrives in his police car, and calls out to George that he's been looking for him, since seeing his car plowed into the tree. He also points out that George's lip is bleeding. George is delighted to hear this, and to know that Bert knows him. He checks his watch pocket; the rose petals are there.George is ecstatic. He runs into town, which is once again Bedford Falls, and has all its familiar institutions. He goes home, knowing that he will likely be arrested for bank fraud. The officials are there, ready to arrest him. But his children are there also, and all have a joyful reunion. Mary comes home, along with many people led by Uncle Billy. When word got around that George was in financial trouble, the townspeople that he had been so generous to had contributed whatever they could provide. Dozens of people arrive, with a whole laundry basket full of money, jewelry, and other valuables. A telegram arrives from Sam Wainwright in Europe, saying that he had been contacted by Mr. Gower, and would advance up to $25,000 to cover the debt on the B&L.; Harry arrives from New York, and toasts \"To my big bother George, the richest man in town.\"In the last scene, a bell on the Christmas tree rings. Zuzu says \"Look, daddy. Teacher says, every time a bell rings, an angel gets his wings.\" George says \"That's right. That's right.\" And, glancing heavenward, \"Attaboy, Clarence.\"\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0053291/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Joe and Jerry, a saxophonist and bassist, respectively, are two working-class musicians, working in a Chicago speakeasy in February, 1929. Though they have steady work, they still owe money to many of their friends. However, Joe, the optimist, isn't worried since the gig they have seems to be stable. However, things change in a few minutes when a police officer, Mulligan, working on a hot tip from a mob informant, Toothpick Charlie, raids the place for illegal liquor sales. The speakeasy itself belongs to Chicago's most notorious mob boss, Spats Colombo. Joe and Jerry barely escape the raid. While they try to figure out a plan to earn money, Joe suggests they hock their overcoats and bet the money on a longshot at the horse racing track. Joe's plan fails miserably and the guys are more broke than ever during a cold Chicago winter.Joe and Jerry go to the offices of their talent agents, whom have no work for them. They go to the last one, Sig Poliakoff's, where Joe talks to the receptionist, Nellie, whom he has been dating. She tells him that Poliakoff has openings for a sax player and bass player in a band that will be traveling to Florida. In Sig's office, Sig is on the phone frantically trying to find replacement musicians for Sweet Sue, the band's leader, and her assistant, Beinstock. Sue's band is all-female and she has a strict \"NO MEN\" policy; one of her players got pregnant and the other ran off to get engaged. Jerry and Joe, not knowing Sue is looking for women, burst into Sig's office and ask for the gig. Poliakoff informs them that they're the wrong gender, but he does have a gig in Terra Haute, Indiana, for one night. Joe and Jerry accept and con Nellie into loaning them her car to drive to the gig.Joe and Jerry go to the garage where Nellie's car awaits. A group of shady looking men are playing cards in the corner, one of them is Toothpick Charlie. While the mechanic fills the car with gas, a large limo rolls into the garage and several gang members, armed with shotguns and Thompson machine guns get out. Joe and Jerry hide behind Nellie's car and everyone else is lined up against the wall. Spats Colombo steps from the limo. He has come to Charlie's garage seeking revenge for the speakeasy being busted. He gives the command and his men slaughter everyone against the wall (a reference to the infamous St. Valentine's Day Massacre perpetrated by Al Capone). The gas nozzle in Nellie's car suddenly pops out when the tank is full and clatters on the ground, drawing the attention of Spats' men, who see Joe and Jerry. Spats orders them to be killed too, while at the same time, Charlie, still alive, tries to reach a nearby phone. Spats grabs a Thompson and kills Charlie, temporarily forgetting Joe and Jerry, who escape. Spats shoots at them but only succeeds in hitting Jerry's bass. Joe and Jerry, now on the run, call Poliakoff's office, planning to fool their agent into thinking they're the women musicians needed for Sweet Sue's band.Joe and Jerry, dressed as women, arrive at the train station. They use false names; Joe becomes Josephine and Jerry becomes Daphne (he'd originally agreed to be Geraldine, but tells Joe he never liked the name). They meet Sue and Beinstock and fool them effectively enough to be hired. They also spot the band's singer and ukulele player, the attractive and blond Sugar Kowalczyk. Both men are instantly attracted to her, especially Joe.During a band practice on the train Sugar drops a flask of bourbon; alcohol is strictly forbidden by Sue. Beinstock reminds Sugar that he warned her not to hide liquor, however, Jerry tells them it's his flask and covers for Sugar. Later that night, Sugar sneaks into Jerry's berth to thank Daphne for covering for her. Jerry suggests that they both share a drink of whiskey, which Jerry steals from Joe's suitcase in the berth below his. The other women in the band quickly discover Jerry and Sugar and assume they're having a party. Joe and Sugar go to the ladies' room to prepare some ice and during their conversation, Sugar tells Joe that she's had bad luck with romance and men and that she has a soft-spot for saxophone players. Joe is floored but keeps his composure and they share a drink together. In his berth, Jerry finds that the other girls are becoming a bit too physical and, afraid they'll find out his true identity, pulls the emergency cord, stopping the train. All the girls spill out of his berth and the party grinds to halt, Sweet Sue flustered by the whole ordeal.The train arrives in Florida and the band is taken to their hotel. Joe leaves Jerry to carry all their luggage and as Jerry climbs the steps to the entrance, he loses a shoe. A rich man, Osgood Fielding III places it back on her feet and proceeds with improper advances toward Jerry's alter ego. Jerry fights the man off after he gropes him in the elevator. In their room, Jerry tells Joe they should leave the band and go further into hiding. Joe tells him they should stay in disguise since Colombo's gang would never look for them in an all-woman band. Joe is also attracted to Sugar, though he doesn't sight that as a reason for staying, and has his own plans to woo her. Sugar shows up and invites the two to the beach; Jerry joins her but Joe declines. After they leave, Joe takes out a suitcase he'd stolen from Beinstock (along with the man's glasses) and dresses up in a fashionable sailor's outfit. Joe goes down to the beach and sits in a chair, reading the Wall Street Journal. He attracts the attention of Sugar and presents himself as an air to the Shell Oil Corporation. Sugar begins to flirt with him, however, he remains aloof, telling her he's waiting for a signal from his yacht offshore. Jerry happens by and instantly recognizes Joe. He convinces Sugar to go back to his and Joe's hotel room to expose him as an impostor. Joe beats them back there and they find him in the tub, posing as Josephine. Sugar tells Josephine that she's probably met a millionaire and she leaves. When she does, Jerry launches into a tirade about faking an identity on the beach and that Joe is trying to take advantage of Sugar. Joe responds by rising out of the tub, still in his Shell Oil Jr. outfit, and plops his wet wig down on Jerry's head.That night, while Joe & Jerry play with the band at dinner, Jerry receives a giant bouquet of flowers from Osgood. In their room, following the performance, Jerry receives a call from Osgood, inviting Daphne to the millionaire's yacht for dinner. Joe takes charge of the invitation and tells Jerry to persuade Osgood to take him to a dinner and dancing club instead of the yacht. Joe will go to the yacht as Shell Oil Jr. with Sugar. When the gig ends, Joe rushes back to his room and assumes the disguise, while Jerry and Osgood go to the restaurant. Joe arrives at the dock just before Sugar and takes her to the yacht on Osgood's boat. While the two have drinks and eat, Joe again acts aloof towards Sugar, trying to persuade her to kiss him. At first he acts as though he has a psychological block that prevents him from enjoying their romantic evening, but Sugar eventually turns him on. On the shore, Osgood and Jerry dance the tango all night.Sugar and Joe return to the mainland, apparently in love. He bids farewell to Sugar and climbs up to his room where Jerry is lying on one of the beds. Jerry tells Joe he's engaged, when Joe asks \"who's the lucky girl?\" Jerry says he is himself because Osgood proposed to Daphne. The two have a brief debate where Jerry reveals his plan to marry Osgood and tell him the truth right after the ceremony. He plans to extort a large settlement out of Osgood and live on the alimony checks he believes he'll receive. Joe convinces Jerry that he's committing fraud and will be caught. Jerry shows Joe the pricey diamond bracelet Osgood gave to him as an engagement gift, saying he'll return it. Joe suggests they keep it, perhaps thinking they can hock it for cash.In the hotel lobby, Spats Colombo and his goons arrive for a convention of \"Lovers of Italian Opera\", which is actually a meeting of organized crime gangsters. The meeting is being led by Little Bonaparte, the most powerful gangster there. Bonaparte already has a rivalry with Spats, which has been exacerbated by Spats' murder of Toothpick Charlie, who was a good friend of Bonaparte. Jerry and Joe, in the lobby, spot Spats and his crew and immediately get into the elevator to return to their room. Just as the doors are about to close, Spats and his men enter the elevator; Jerry and Joe's disguises work on them and they make it to their room.They pack hurriedly and Joe wants to take care of one last detail: Sugar. He calls her an once again uses his Shell Oil Jr. voice, telling her that he has to leave suddenly. His parents have told him to marry a woman who is the daughter of another millionaire with a large empire. As a final gesture, Joe leaves a bouquet of flowers outside Sugar's room with Osgood's diamond bracelet (the gift to Jerry) hidden inside. Sugar is devastated but accepts the gift.Jerry and Joe climb out the window to avoid running into the gangsters again. However, their path takes them right past Spats' balcony and they're spotted. Spats grabs the bass Jerry left behind and sees the bullet holes he'd shot in it while the two escaped in Chicago. Spats and his men chase them through the hotel but lose them. At one point, Jerry and Joe disguise themselves as a bellhop and a man in a wheelchair and duck into a banquet room, the same room all the gangsters will be eating dinner in. While they hide under the huge table, a pair of shoes with spats on them slides under the table. The two sit still and wait.Little Bonaparte begins the meeting with a lengthy criticism of Spats himself, admonishing him for the : they will celebrate Spats' birthday. Spats points out that his birthday isn't for a few months but Bonaparte insists they still have a large cake for Spats. After the cake is brought in, the entire room sings to Spats and a gangster pops up out of the cake and shoots Spats and his crew with a Thompson. Jerry and Joe burst out from under the table and run out of the room. Just as Little Bonaparte orders his men to catch them, Chicago cop Mulligan walks in and demands to know what happened. Bonaparte avoids the question and Mulligan promises to start a federal investigation.Jerry and Joe retreat to their room, fixing their disguises once again. They overhear a gangster saying that they've got all the standard escape routes covered. Joe realizes that they can escape on Osgood's yacht and tells Jerry to call the millionaire and accept his marriage proposal. Before they leave, Joe wanders into the dining and dancing hall of the hotel and sees Sugar singing \"I'm Through With Love\", Moved, Joe approaches her and kisses her. Sugar realizes who Josephine really is and leaves the band, following Joe and Jerry to Osgood's speedboat. They all board it and head for the yacht. Joe tries to tells Sugar that he's a cad who took advantage of her and that he's a sax player who will only treat her badly. Sugar doesn't care and kisses him anyway. Jerry begins to tell Osgood that he's equally as treacherous, that he smokes and can't have children, however Osgood doesn't care. Jerry, frustrated, finally pulls off his wig and tells Osgood he's actually a man. Osgood replies, \"Well, nobody's perfect.\"\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0050083/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "A teenaged Hispanic boy has just been tried for the murder of his father, and the case is now in the hands of the jury. A guilty verdict will send the boy to the electric chair.The case looks, on the surface, cut and dried. But Juror number 8 (Henry Fonda), despite believing that the defendant is probably guilty, feels that the facts merit a cursory review before the jury hands in a guilty verdict. His insistence on a brief examination of the case seems to rub many on the jury the wrong way, as they continue to see the matter as open and shut.Fascinatingly, as they examine the testimony and facts of the case, the experiences, personalities, limitations, and biases of the jurors weave in and out of the deliberation process, at times to its benefit and at times to its detriment.To the benefit of the deliberation process, 1) the very elderly juror (Joseph Sweeney) is the only one who can see a possible motive explaining why an elderly witness may have misled the court in his testimony; 2) the one fellow (Jack Klugman) who grew up in a rough neighborhood, where he witnessed numerous knife fights, is the only one who sees a problem in assuming that the defendant made the stab wound found; and 3) the juror who had done contract work by the elevated subway (Edward Binns) was the only one in a position to question what one of the witnesses might or might not have heard.To the detriment of the deliberation process, 1) one juror (Ed Begley) is so consumed by his personal prejudices that he sees value in ridding the streets of the Hispanic defendant whether or not he is guilty, and 2) another, Juror number 3 (Lee J. Cobb), is impervious to reason because he has been physically harmed by his teenage son, and, consequently, views every teenage boy, including the defendant, as capable of patricide.The number of obstacles on the path to honest assessment of the facts is a constant threat to the deliberation process. If the jury fails to unanimously agree on a verdict of either \"guilty\" or \"not guilty,\" it will become a hung jury (a jury that cannot reach a decision, and must retire from the case without declaring a verdict). Watching how this matter is resolved is a riveting study in the nature, and ultimate beauty, of the trial by jury process.One by one the jurors change their minds and decide the boy is not guilty. Juror number 3, the man at odds with his teenaged son, is the last one to change his mind. The jurors, at last, are able to vote unanimously for acquittal. As the jurors leave the court building, Juror number 8 and Juror number 9, the elderly man, introduce themselves to each other as Davis and McArdle, respectively. McArdle says \"so long\" as he takes leave of Davis, knowing that they will never meet again, that their lives had crossed only for a single purpose.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0057012/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "At the Burpelson U.S. Air Force Base somewhere in the continental USA, the eccentric Brigadier General Jack D. Ripper (Sterling Hayden) orders the 34 nuclear-armed B-52's of the 843rd Bomb Wing past their failsafe points where they normally hold awaiting possible orders to proceed and into Soviet airspace. He also tells the personnel on the base that the US and the USSR have entered into a \"shooting war\".In the \"War Room\" at The Pentagon, Air Force General Buck Turgidson (George C. Scott) briefs President Merkin Muffley (Peter Sellers) about the attack that General Ripper ordered. Although a nuclear attack should require Presidential authority to be initiated, Ripper used \"Plan R\", an emergency war plan enabling a senior officer to launch a retaliation strike against the Soviets if everyone in the normal chain of command, including the President, has been killed during a sneak attack. Plan R was intended to discourage the Soviets from launching a decapitation strike against the President in Washington to disrupt U.S. command and control and stop an American nuclear counterattack. Turgidson tries to convince Muffley to take advantage of the situation to eliminate the Soviets as a threat by launching a full-scale attack. Turgidson believes that the United States is in a superior strategic position, and a first strike against the Soviet Union would destroy 90% of their missiles before they could retaliate, resulting in a victory for the U.S. with \"acceptable\" American casualties of \"no more than 10 to 20 million killed, tops... depending on the breaks\". He is rebuked when Muffley instead admits the Soviet Ambassador (Peter Bull) to the War Room, contacts Soviet Premier Dmitri Kissoff on the hotline, and insists on giving the Soviets all the information necessary to shoot down the American planes before they can carry out their strikes.Group Captain Lionel Mandrake (also played by Peter Sellers), an RAF exchange officer serving as General Ripper's executive officer, realizes that there has been no attack on the U.S. when he turns on a radio and hears pop music instead of Civil Defense alerts. When Mandrake reveals this to Ripper, and Ripper refuses to recall the wing, Mandrake announces that he will issue the recall on his own authority, but only Ripper knows the three-letter code necessary for recalling the bombers and locks the two of them in his office. Mandrake tries to convince Ripper to give up the three letter code. The psychotic Ripper refuses and rambles on that the Communists have a plan to \"sap and impurify\" the \"precious bodily fluids\" of the American people with fluoridated water, a theory that occurred to him during sexual intercourse, and which he believed to be the cause of his post-coital fatigue.Over the phone, an unseen and drunken Kissoff reveals to the Soviet Ambassador that their country has installed an active \"Doomsday Device\" which will automatically destroy all human and animal life on Earth if a nuclear attack were to hit the Soviet Union. The Doomsday Device is operated by a network of computers and has been conceived as the ultimate deterrent: as a safeguard, it cannot be deactivated, or it will set itself off, because its hardware and programs have been configured in such a way that an attempt at its deactivation would be recognized as sabotage. The doomsday weapon is described as based on \"cobalt-thorium-G\" [this was inspired by the real idea of a cobalt bomb, conceived by nuclear pioneer Leo Szilard, founder of Council for a Livable World]. According to the Soviet ambassador, life on Earth's surface will be extinct in ten months and was made as a low cost alternative to the bomb-race.The President now calls upon Dr. Strangelove (a.k.a. Merkw\u00fcrdigeliebe), a former Nazi and strategy expert (Sellers in his third role). The wheelchair-bound Strangelove is a type of \"mad scientist\", whose eccentricities include a severe case of alien hand syndrome, so that his right hand, clad in an ominous black leather glove, occasionally attempts to strangle Strangelove or make the Nazi salute (no one in the room acts if this is unsusual). Strangelove also slips in addressing the President, as either \"Mein President\" or even \"Mein F\u00fchrer\".Strangelove explains the principles behind the Doomsday Device, which he says is \"simple to understand... credible and convincing\". He also points out that a Doomsday Device kept secret has no value as a deterrent; the Soviet Ambassador admits that his government had installed it a few days before they were going to announce it publicly to the world, because Kissoff \"loves surprises\".U.S. Army paratroopers sent by the President arrive at Burpelson to arrest General Ripper. Because Ripper has warned his men that the enemy might attack disguised as American soldiers, the base's security forces, and Ripper himself with a .50 caliber M1919 Browning machine gun kept in his golf bag, open fire on them. After a fierce firefight the Army forces win the battle and gain access to the base, and Ripper, fearing torture to extract the recall code commits suicide. Colonel \"Bat\" Guano (Keenan Wynn) shoots his way into Ripper's office, but suspects that Mandrake, whose uniform he does not recognize, is leading a mutiny of \"deviated preverts\" and proceeds to arrest him. Mandrake convinces Guano that he has to call the President to tell him the recall code, which he has deduced from Ripper's desk blotter doodles to be based on the initials for the phrases peace on earth and purity of essence. Since office phone connections had been knocked out by the fighting at the base, Mandrake is forced to use a pay phone to try to contact the President. Not having the correct change to place a long-distance call to the Pentagon, Mandrake persuades Guano to shoot a Coca-Cola vending machine to get the change out of it, and eventually is able to forward the likely code combinations to Strategic Air Command.The correct recall code, \"OPE\", is issued to the planes, and those that have not been shot down return to base except for one. Its radio and fuel tanks were damaged by a Soviet anti-aircraft missile, with the result that the plane is neither able to receive the recall code nor to reach its primary or secondary target where, at the urging of the U.S. President, the Soviets have concentrated all available defenses. On the crew's own initiative, and losing fuel, the plane proceeds to fly at low level under radar to a closer target of opportunity.As they start their bomb run, the damaged B-52's bomb bay doors will not open, and aircraft commander Major T. J. \"King\" Kong (Slim Pickens) goes down to the bomb bay to open them himself. He succeeds just as the plane reaches its target, and one of the nuclear bombs falls, with Kong still sitting on it. He straddles the bomb and rides it to the ground like a rodeo cowboy, whooping and hollering and waving his cowboy hat. The bomb explodes, triggering the Doomsday Machine.Back in the War Room, Dr. Strangelove recommends to the President that a select group of about 200,000 or more people be relocated into a deep mine shaft, where the nuclear fallout cannot reach them, so that the U.S. can be repopulated afterwards. Because of space limitations, Strangelove suggests a gender ratio of \"ten females to each male\", with the women selected for their sexual characteristics, and the men selected on the basis of their physical strength, intellectual capabilities, and importance in business and government. General Turgidson rants that the Soviets will likely create an even better bunker than the U.S., and argues that America \"must not allow a mine shaft gap\". Meanwhile, the Soviet Ambassador retreats to a corner of the War Room and starts taking pictures with a spy camera disguised as a pocket watch.A visibly excited Dr. Strangelove bolts out of his wheelchair, shouting \"Mein F\u00fchrer, I can walk!\". Abruptly, the film ends with a barrage of nuclear explosions, accompanied by Vera Lynn's famous World War II song \"We'll Meet Again\".\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0086879/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The story begins in 1823 as the elderly Salieri attempts suicide by slitting his throat while loudly begging forgiveness for having killed Mozart in 1791. Placed in a lunatic asylum for the act, Salieri is visited by a young priest who seeks to take his confession. Salieri is sullen and uninterested but eventually warms to the priest and launches into a long \"confession\" about his relationship with Mozart.Salieri's tale goes on through the night and into the next day. He reminisces about his youth, particularly about his devotion to God and his love for music and how he pledges to God to remain celibate as a sacrifice if he can somehow devote his life to music. He describes how his father's plans for him were to go into commerce, but suggests that the sudden death of his father, who choked to death during a meal, was \"a miracle\" that allowed him to pursue a career in music. In his narrative, he is suddenly an adult joining the 18th century cultural elite in Vienna, the \"city of musicians.\" Salieri begins his career as a devout, God-fearing man who believes his success and talent as a composer are Gods rewards for his piety. He is content as the court composer for Holy Roman Emperor Joseph II.Mozart arrives in Vienna with his patron, Count Hieronymus von Colloredo, the Prince-Archbishop of Salzburg. Salieri secretly observes Mozart at the Archbishop's palace, but they are not properly introduced. Salieri sees that offstage, Mozart is irreverent and lewd. He also first recognizes the immense talent displayed in the adult works of Mozart. In 1781, when Mozart meets the Emperor, Salieri presents Mozart with a \"March of Welcome,\" which he toiled to create. After hearing the march only once, Mozart plays it from memory, critiques it, and effortlessly improvises a variation, transforming Salieri's \"trifle\" into the \"Non pi\u00f9 andrai\" march from his 1786 opera The Marriage of Figaro.Salieri reels at the notion of God speaking through the childish, petulant Mozart: nevertheless, he regards his music as miraculous. Gradually, Salieris faith is shaken. He believes that God, through Mozart's genius, is cruelly laughing at Salieri's own musical mediocrity. Salieri's struggles with God are intercut with scenes showing Mozart's own trials and tribulations with life in Vienna: pride at the initial reception of his music; anger and disbelief over his subsequent treatment by the Italians of the Emperor's court; happiness with his wife Constanze and his son Karl; and grief at the death of his father Leopold. Mozart becomes more desperate as the family's expenses increase and his commissions decrease. When Salieri learns of Mozart's financial straits, he sees his chance to avenge himself, using \"God's Beloved\" (the literal meaning of \"Amadeus\") as the instrument.Salieri hatches a complex plot to gain ultimate victory over Mozart and God. He disguises himself in a mask and costume similar to one he saw Leopold wear at a party, and commissions Mozart to write a requiem mass, giving him a down payment and the promise of an enormous sum upon completion. Mozart begins to write the piece, the Requiem Mass in D minor, unaware of the true identity of his mysterious patron and oblivious of his murderous intentions. Glossing over any details of how he might commit the murder, Salieri dwells on the anticipation of the admiration of his peers and the court, when they applaud the magnificent Requiem, and he claims to be the music's composer. Only Salieri and God would know the truththat Mozart wrote his own requiem mass, and that God could only watch while Salieri finally receives the fame and renown he deserves.Mozart's financial situation worsens and the composing demands of the Requiem and The Magic Flute drive him to the point of exhaustion as he alternates work between the two pieces. Constanze leaves him and takes their son with her. His health worsens and he collapses during the premiere performance of The Magic Flute. Salieri takes the stricken Mozart home and convinces him to work on the Requiem. Mozart dictates while Salieri transcribes throughout the night. When Constanze returns in the morning, she tells Salieri to leave. Constanze locks the manuscript away despite Salieri's objections, but as she goes to wake her husband, Mozart is dead. The Requiem is left unfinished, and Salieri is left powerless as Mozart's body is hauled out of Vienna for burial in a pauper's mass grave.The film ends as Salieri finishes recounting his story to the visibly shaken young priest. Salieri concludes that God killed Mozart rather than allow Salieri to share in even an ounce of his glory, and that he is consigned to be the \"patron saint of mediocrity.\" Salieri absolves the priest of his own mediocrity and blesses his fellow patients as he is taken away in his wheelchair. The last sound heard before the credits roll is Mozart's high-pitched laughter.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0078788/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "U.S. Army Captain and special operations veteran Benjamin L. Willard (Martin Sheen), returned to Saigon since his involvement in the Vietnam War, drinks heavily and hallucinates alone in his room. One day military intelligence officers Lt. General Corman (G. D. Spradlin) and Colonel Lucas (Harrison Ford) approach him with a top-secret assignment to follow the Nung River into the remote jungle, find rogue Special Forces Colonel Walter E. Kurtz (Marlon Brando) and kill him. Kurtz apparently went insane and now commands his own Montagnard troops inside neutral Cambodia.Willard joins a Navy PBR commanded by \"Chief\" (Albert Hall) and crewmen Lance (Sam Bottoms), \"Chef\" (Frederic Forrest) and \"Mr. Clean\" (Laurence Fishburne). They rendezvous with reckless Lieutenant Colonel Bill Kilgore (Robert Duvall), a commander of an attack helicopter squadron, who initially scoffs at them. Kilgore befriends Lance, both being keen surfers, and agrees to escort them through the Viet Cong-filled coastal mouth of the Nung River due to the surfing conditions there. Amid napalm air strikes on the locals and Ride of the Valkyries playing over the helicopter loudspeakers, the beach is taken and Kilgore orders others to surf it amid enemy fire. While Kilgore nostalgically regales about a previous strike, Willard gathers his men to the PBR, transported via helicopter, and begins the journey upriver.Willard sifts through files on Kurtz, learning that he was a model officer and possible future General. The crew later encounters a tiger and visit a supply depot USO show featuring Playboy Playmates which goes awry. Afterwards, the crew inspect a civilian sampan for weapons but Mr. Clean panics and machine-guns everyone on board. Willard coldly shoots dead the only woman alive to prevent any further delay of his mission. Tension arises between Chief and Willard as Willard believes himself to be in command of the PBR, while Chief prioritizes other objectives over Willard's secret mission. Reaching the chaos of a US outpost at a bridge under attack, Willard learns that the missing commanding officer, Captain Colby (Scott Glenn), was sent on an earlier mission to kill Kurtz.Meanwhile, Lance and Chef are continually under the influence of drugs. Lance in particular smears his face with camouflage paint and becomes withdrawn. The next day the boat is fired upon by an unseen enemy in the trees, killing Mr. Clean and making Chief even more hostile toward Willard. Ambushed again, by Montagnard warriors, they return fire despite Willard's objections. Chief is impaled with a spear and tries to pull Willard onto the spearhead before dying. Afterwards, Willard confides in the two surviving crew members about the mission and they reluctantly agree to continue upriver, where they find the banks littered with mutilated bodies. Arriving at Kurtz's outpost at last, Willard takes Lance with him to the village, leaving Chef behind with orders to call an airstrike on the village if they do not return.In the camp, the two soldiers are met by an American freelance photographer (Dennis Hopper), who manically praises Kurtz's genius. As they proceed, Willard and Lance see corpses and severed heads scattered about the temple that serves as Kurtz's living quarters and encounter Colby, who is nearly catatonic. Willard is bound and brought before Kurtz in the darkened temple, where Kurtz derides him as an errand boy. Meanwhile, Chef prepares to call in the airstrike but is kidnapped. Later imprisoned, Willard screams helplessly as Kurtz drops Chef's severed head into his lap. After some time, Willard is released and given the freedom of the compound. Kurtz lectures him on his theories of war, humanity and civilization while praising the ruthlessness and dedication of the Viet Cong. Kurtz discusses his son and asks that Willard tell his son everything about him in the event of his death.That night, as the villagers ceremonially slaughter a water buffalo, Willard enters Kurtz's chamber as Kurtz is making a tape recording, and attacks him with a machete. Lying mortally wounded on the ground, Kurtz whispers his final words \"The horror ... the horror ...\" before dying. Willard discovers substantial typed work of Kurtz's writings and takes it with him before exiting. Willard descends the stairs from Kurtz's chamber and drops his weapon. The villagers do likewise and allow Willard to take Lance by the hand and lead him to the boat. The two of them ride away as Kurtz's final words echo eerily.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0083987/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The story begins with the assassination of Mohandas K. \"Mahatma\" Gandhi in India in 1948. The following funeral procession is a long one and his body is conveyed on a jeep covered in flowers.The story flashes back to Gandhi's early days as an attorney in the late 1800s in South Africa. He is throw off a train for sitting in the first-class compartment despite possessing a ticket to be there. He later stages a non-violent protest in the center of town where, with several police officers and officials present, he burns work permits that all non-Afrikaners are required to carry and present to police when demanded. Gandhi's reasoning is that the permits are an unfair and oppressive symbol of Afrikaner rule over minorities. As he burns them, he his struck by a police officer on the hand. Though quite plainly in pain, Gandhi continues to burn the permits, his will overcoming the blows from the officer. He is finally knocked down, unable to continue his protest and is arrested.When he's freed from jail, he meets a young American reporter, Walker, with whom he converses about the oppression of the masses by a handful of bureaucrats. While they walk, Gandhi is confronted by an angry youth (Daniel Day-Lewis in a bit part) and his friends. They demand that he pay them to walk down their street. Gandhi refuses in the face of obvious bigotry. When the young man's mother calls him inside, Gandhi and Walker continue down the street.Gandhi travels to his home country of India. When he arrives there he is met by members of the press who know of his exploits in South Africa. They ask if he'll take up any political causes, especially those in opposition to the British rule of India. Gandhi politely rebuffs the requests, saying he's only going to his home city of Porbandar. His wife accompanies him. Gandhi's real plan is to organize non-violent protest against Britain, knowing that millions of Indians will follow him. Very soon Gandhi realizes that the British rule of India is harsh an oppressive, having grown more so since he left to pursue his law degree and is growing worse each day.One of Gandhi's first public protests is against the British textile industry. He urges his followers to weave their own cloth for clothing and other needs and burn the British cloth they've been forced to buy and wear for decades. However, many Indians, both Muslim and Hindu, stage more aggressive protests. The crowds become angry mobs when they are attacked by the police. Gandhi appears inwardly angry that his message has been misunderstood.In Amritsar, a city in Northern India, a group of Indian citizens gather in the Jallianwala Bagh garden to protest an unfair town curfew. Though the protest was peaceful, a British general, Reginald Dyer, orders his troops into the garden. They take up firing positions in the courtyard. When one of his lieutenants suggests that the protest is peaceful, Dyer says that the people have \"had their warning\" and commands his troops to open fire. Many are killed.An inquest is held by the Hunter Commission, comprised of British and Indian officials. Dyer himself testifies and is at first quite proud and defiant, claiming he wished to \"inflict a lesson that would be felt through all of India\". When asked if he'd ordered his troops to fire at the thickest part of the crowd, he says yes. He also states he would have used the machine gun on the tank that accompanied his troops (it was unable to fit through the narrow passage to the garden). When an Indian attorney asks Dyer if he attempted to help the wounded in any way, he becomes flustered and says he would have. A British official asks him how a wounded child that had been shot would be able to approach him for help. Dyer is silent.\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0167260/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In the opening scene, a flashback, two hobbits, Sm\u00e9agol (Andy Serkis) and his friend D\u00e9agol (Thomas Robins), are fishing near the Gladden Fields in the North of Middle Earth. D\u00e9agol is dragged into the river by a powerful catch and discovers the One Ring glinting in the river bed. He collects it and climbs out of the water. Sm\u00e9agol sees him fondling it and as they both succumb to the Ring's power they begin to quarrel. Sm\u00e9agol demands the Ring, saying that it's his birthday and it should be his present. The squabble turns into a fight; Sm\u00e9agol strangles his friend with his bare hands and pries the Ring from D\u00e9agol's clenched fist. As a result, Sm\u00e9agol is ostracized from his community and driven away. Suffering terribly from loneliness and shame, Sm\u00e9agol takes solace in his love for the Ring, which slowly tortures his mind. He takes solitary refuge in caves beneath the mountains, where under the influence of the Ring he lives to a very great age. But he dwindles into a hunched, furtive, slinking creature known by the unpleasant noise he makes in his throat -- Gollum.In the present, on the outskirts of Mordor, Frodo (Elijah Wood) and Sam (Sean Astin) are resting in an alcove. Sam awakes and sees that his master has not slept. The days are growing darker the closer they get to Minas Morgul and Mordor. Gollum arrives and urges them to move on.Away in the west, Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), Gimli (John Rhys-Davies), Gandalf (Ian McKellen), Th\u00e9oden (Bernard Hill), and \u00c9omer (Karl Urban) ride through the forest of Fangorn to Isengard, where they meet Merry (Dominic Monaghan) and Pippin (Billy Boyd) feasting among the wreckage. They go to see Treebeard at the tower of Orthanc in the center of Isengard, where Saruman (Christopher Lee) has been trapped. Gandalf opposes Gimli's call to kill Saruman, saying that the wizard has no power anymore and will pose no further threat. Saruman shows himself to them. Grima (Brad Dourif), who is still with him, stabs him with a knife. Legolas shoots Grima with an arrow, but Saruman falls down to his death. As they are talking, Pippin sees the palant\u00edr amongst the flotsam and is entranced by it, but Gandalf quickly asks it from him and hides in under his cloak.The group rides to Edoras, where King Th\u00e9oden has prepared a feast to 'hail the victorious dead' of the Battle of the Hornburg. There \u00c9owyn (Miranda Otto) shows affection for Aragorn which Th\u00e9oden notices; he tells her that he is happy for her, Aragorn being an honorable man and the architect of the victory at Helm's Deep. Gandalf expresses to Aragorn his concerns over the quest. Aragorn tells him to trust in what his heart tells him, that Frodo is still alive.Gollum awakes in the night as Frodo and Sam are sleeping and goes off to one side to murmur to himself. His evil half senses some doubt in Sm\u00e9agol and insists that if he can murder once (referring to D\u00e9agol) he can do it again. Gollum then begins leading Sm\u00e9agol through their plan, to deliver the hobbits into the clutches of Shelob in Cirith Ungol, after which the Ring can be reclaimed. Sam hears this and beats Gollum for his treachery. Frodo intervenes, saying that as their guide Gollum is necessary for their quest. Sam glowers as Gollum flashes him an evil smile while Frodo's back is turned.That same night back in Edoras, Pippin's curiosity gets the better of him; relieving a sleeping Gandalf of the palant\u00edr, he looks into it. Pippin sees a vision of a white tree in a stone courtyard set ablaze, but in doing so he is caught by Sauron and submitted to mental torture and questioning. Aragorn tries to rescue him and thus briefly exposes himself to Sauron. Pippin recovers from his ordeal and it is discovered that he did not tell Sauron anything of the Ring's whereabouts. From Pippin's vision of the White Tree, Gandalf deduces that Sauron is now moving to attack the great Gondorian city of Minas Tirith and he rides off to send warning, taking Pippin with him, lest his urge to look into the palant\u00edr (left now in Aragorn's keeping) return again.Leaving Rivendell on her way to the Undying Lands, Arwen (Liv Tyler) has a vision of Eldarion (Sadwyn Brophy), the son she will have with Aragorn. She realises that her father lied to her when he said she and Aragorn had no future together. She returns to Rivendell and convinces Elrond (Hugo Weaving) that having forsaken the life of the Eldar, she cannot leave Aragorn now. She tells her father that as foretold, the time to reforge Narsil has come. Narsil, the sword of Elendil, is the birthright of the true heir of Isildur, the man who used the sword to cut the One Ring from Sauron's hand.Gandalf and Pippin arrive at Minas Tirith, City of Kings, that was built out of the rock of Mindolluin. There Pippin recognises the White Tree as they go to find the Steward Denethor (John Noble). They approach him as he mourns over Boromir (Sean Bean), his son. Pippin swears loyalty to him in recompense for Boromir's sacrifice. Denethor seems to be caught up in his grief and has not taken measures to fortify the city against the threat of Sauron.Meanwhile, Frodo, Sam, and Gollum arrive at Minas Morgul. Wary of the enemy, they locate the Winding Stair (leading to the pass of Cirith Ungol) that lies hidden in the cliffs surrounding the accursed city. Just at that moment, the doors of the city open and the Witch-king of Angmar, leader of the Nazg\u00fbl, dispatches his immense Orc army from his lair, heralding the start of the war. The outpouring of the army is witnessed by Gandalf and Pippin as a flash of lightning shoots up at the opening of the doors. At the urging of Gandalf, Pippin lights the first of the beacon signals to Edoras, alerting Th\u00e9oden, Aragorn and the rest of the Rohirrim to muster at Dunharrow and thence to Minas Tirith. As they leave Edoras, Aragorn notices that \u00c9owyn saddles up with them and that she is girt with a sword, but she insists that she rides only to see them off and that the men have found their captain in Aragorn.The Morgul army crosses Anduin at Osgiliath in makeshift boats and engages the Gondorian contingent (lead by Boromir's brother Faramir (David Wenham)) in battle. The orcs prove too strong and drive the Gondorians out of Osgiliath; Faramir and his few surviving men retreat to Minas Tirith, pursued by the Nazg\u00fbl. Gandalf, riding out to meet the retreating men, wards them off, saving Faramir. Upon his arrival, Faramir (who met Frodo, Sam, and Gollum in Ithilien just before they headed for the mountain pass into Mordor) tells Gandalf of the dangerous route Gollum is taking Frodo and Sam on, convincing Gandalf of Gollum's treachery. The hobbits, lead by Gollum, are struggling to climb the extremely steep stairs. Gollum reaches out and empathises with Frodo, saying that he understands his pain. Gollum also poisons Frodo against Sam, saying that Sam will try and take the Ring from Frodo.In the captured Osgiliath, the Witch-king orders his captain to \"send forth all legions\" and annihilate the population of Minas Tirith, saying that he himself will \"break\" the wizard Gandalf. Denethor, ill-pleased by Faramir's failed defence of Osgiliath, manipulates him into taking a doomed ride to reclaim the city. Gollum continues to play the hobbits against each other, this time by blaming Sam for eating their food provisions. Frodo, in his deluded state, is suspicious of Sam and orders him back home when Sam, trying to be helpful, offers to carry the Ring, thereby fulfilling Gollum's cunning prediction. Faramir rides head-long into the arrows of the encamped orcs as Pippin sings for Denethor who unconcernedly eats his noon meal. Faramir's attack fails and Faramir is dragged back by his horse in a death-like coma.At the weapon-take at Dunharrow, a hooded figure slowly rides on a white horse along the winding road to the encampment in the hills. The figure reveals himself to Aragorn as Elrond. He presents Aragorn with his birthright -- the newly reforged sword Narsil, now named Anduril, Flame of the West. He urges Aragorn to use this sword to recall the Dead Men of Dunharrow and use their allegiance to the heir of Isildur (i.e. Aragorn) to stop the attack of the Corsairs' ships, which are already sailing from the south. Aragorn accepts this counsel and rides off that very night into the Dimholt, along with Legolas and Gimli. As he is preparing to go, a tearful \u00c9owyn comes to Aragorn and begs him not to go, declaring her love for him, but Aragorn, knowing now that Arwen has refused the promise of Valinor, likewise refuses \u00c9owyn's love. The next morning, Th\u00e9oden rides off to war with six thousand riders, unaware that \u00c9owyn and Merry, who were both told to remain behind by the King, are part of his army.The Morgul forces, composed mostly of Orcs, begin the siege of Minas Tirith by catapulting the heads of captured prisoners over the walls. Denethor sees his son Faramir and believes him to be dead; he also beholds the might of the forces marshaled against him and at this he loses hope and his mind, ordering the Gondorians to abandon their positions. Gandalf, however, steps in and incapacitates Denethor, assuming control of the defense. A skirmish between Gondorian trebuchets and Mordor's catapults ensues until the Witch-king and the other Ringwraiths on their Fell Beasts attack, destroying the trebuchets and sewing terror among the defenders.Away in Cirith Ungol, Gollum betrays Frodo to the giant spider-creature Shelob, but Sam returns to fight her off. Sam believes Frodo is dead, but when Orcs from the Tower of Cirith Ungol come and investigate, Sam overhears that Frodo has only been paralysed by Shelob's stinger.In Minas Tirith, Denethor, stricken mad with grief at having spent both his sons, prepares a funeral pyre for himself and the unconscious Faramir. Denethor is unaware that Faramir is not dead and the pyre will burn him alive. Gandalf and Pippin arrive in the Hallows and manage to save Faramir, but Denethor is thrown onto the pyre and as he burns to death, he turns and sees his son stirring awake from his injuries and exhaustion. Down in the city, the battle goes ill with the Gondorians, as the huge battering ram Grond shatters the gates of the city and trolls pour in. As the defenders retreat to the upper levels of the city, the orcs crawl through the streets of the lower levels, looting, burning and massacring the men of Gondor. But suddenly in the midst of the chaos a lone horn penetrates the air and all turn to the west and see the army of Rohan arrive at last, to the rising of the sun. The Rohirrim charge into the Orcs with great effect. However their joy is cut short by the arrival of the forces of Harad and the immense elephants, the M\u00fbmakil. The Witch-king descends on Th\u00e9oden, killing Snowmane his horse and fatally wounding the King. Seemingly in the nick of time, the Corsairs' ships arrive to help the stranded Orcs, but it is Aragorn who jumps off the lead ship, followed by an army of the dead. They completely destroy the Orcs and M\u00fbmakil, while \u00c9owyn and Merry kill the Witch-king. Th\u00e9oden dies of his wounds and Aragorn holds the Dead Army's oath fulfilled, releasing them from their curse so that they may rest in peace.Sam rescues Frodo from Cirith Ungol, which is mostly empty following a fight between the two factions of the Tower's Orc garrison over Frodo's valuable mithril shirt. They begin the long trek across Mordor to Mount Doom. Gandalf realizes that ten thousand Orcs stand between Cirith Ungol and Mount Doom, which will prevent Frodo from reaching his destination. Aragorn proposes they lead the remaining soldiers to the Black Gate to draw the Orcs away from Frodo's path, as well as distract the Eye of Sauron. Sam carries Frodo up to Mount Doom, but Gollum arrives and attacks them, just as the Battle of the Morannon begins. At the Crack of Doom, Frodo, instead of dropping the Ring into the fire, succumbs to its power and puts it on, disappearing from sight. The act alerts Sauron, who sends the Ringwraiths racing towards Mount Doom. Gollum renders Sam unconscious then attacks Frodo, seizing his ring finger and biting it off. As Gollum rejoices at finally having reclaimed his Precious, Frodo, still under the sway of the Ring's attraction, charges at Gollum. After a brief struggle, they both fall over the edge of the precipice. Gollum falls into the fire with the Ring, while Frodo barely hangs on with his strength failing. Sam rescues Frodo as the Ring finally sinks into the lava and is destroyed. Sauron's Eye screams as his essence fades before the tower of Barad-d\u00fbr collapses and then explodes, forever banishing his power. The Orcs, Ringwraiths and the remaining forces of Sauron are consumed in the ensuing shockwave as the earth collapses under their feet; the Black Gate and Mordor are both shaken apart. Frodo and Sam become stranded when the entire top of Mount Doom is blown off in a large eruption. They voice their regrets at not being able to see the Shire again amidst the torrents of lava and the destruction of Barad-dur. With the destruction of the Nazgul, Gandalf is able to call upon the Eagles to carry the hobbits to safety. They awake in Minas Tirith, reuniting with the other members of the fellowship, all of them but Boromir having survived the War of the Ring.In Minas Tirith, Aragorn is crowned King of the West, heralding the new age of peace, and marries Arwen. Here is when everybody kneels down in homage to the little hobbits. The hobbits return to the Shire, where Sam marries Rosie Cotton (Sarah McLeod). Frodo, having finished writing his entry in the Red Book of Westmarch, is still suffering from the effects of the wounds he received from the Ringwraiths at Weathertop and from Shelob. Realizing that he will never have peace in Middle Earth, he decides to go with Gandalf, Bilbo, Elrond, and Galadriel to the Grey Havens and sail to Valinor, the Undying Lands. Before embarking at the havens, Frodo passes the Red Book to Sam to record the years of his life to come. Then the last ship to leave Middle Earth sets off, pulling slowly away from the shore and passing along the Straight Road into the Uttermost West. Pippin and Merry take their leave and Sam is left staring into the golden sunset. In the last scene, Sam walks back up the lane to Bag End, where he is greeted by his wife Rosie, and his children. Surrounded by his family and with the rest of his life ahead of him, Sam sighs and says \"Well, I'm back.\" He goes inside and shuts the door as the screen fades to black.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0172495/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Shouting \"Roma Invicta!\" as his forces attack, General Maximus Decimus Meridius leads the Roman Army to victory against Germanic barbarians in the year 180 A.D., ending a prolonged war and earning the esteem of elderly Emperor Marcus Aurelius. Although the dying Aurelius has a son, Commodus, he decides to appoint temporary leadership to the morally-upstanding Maximus, with a desire to eventually return power to the Roman Senate. Aurelius informs Maximus and offers him time to consider before informing Commodus, who, in a bout of jealousy, murders his father.Declaring himself the emperor, Commodus asks Maximus for his loyalty, which Maximus, realizing Commodus' involvement in the Emperor's death, refuses. Commodus orders Maximus' execution and dispatches Praetorian Guards to murder Maximus' wife and son. Maximus narrowly escapes his execution and races home only to discover his family's charred and crucified bodies in the smoldering ruins of his villa. After burying his wife and son, a grieving Maximus succumbs to exhaustion and collapses on their graves.Slave traders find Maximus and take him to Zucchabar, a rugged province in North Africa, where he is purchased by Proximo, the head of a local gladiator school. Distraught and nihilistic over the death of his family and betrayal by his empire, Maximus initially refuses to fight, but as he defends himself in the arena his formidable combat skills lead to a rise in popularity with the audience. As he trains and fights further, Maximus befriends Hagen, a Germanic barbarian, and Juba, a Numidian hunter, the latter becoming a close friend and confidant to the grieving Maximus, the two speaking frequently of the afterlife and Maximus' eventual reunification with his family.In Rome, Commodus reopens the gladiatorial games to commemorate his father's death, and Proximo's company of gladiators are hired to participate. In a recreation of the Battle of Zama (incorrectly named the Battle of Carthage) at the Colosseum, Maximus leads Proximo's gladiators to decisive victory against a more powerful force, much to the amazement of the crowd. Commodus descends into the arena to meet the victors and is stunned to discover Maximus as the leader of Proximo's gladiators. The Emperor, unable to kill Maximus because of the crowd's roaring approval for him, sulks out of the arena.As the games continue, Commodus pits Maximus against Tigris of Gaul, Rome's only undefeated gladiator, in an arena surrounded by chained tigers with handlers instructed to target Maximus. Following an intense battle, Maximus narrowly defeats Tigris and awaits Commodus' decision to kill or spare Tigris. As Commodus votes for death, Maximus spares Tigris, deliberately insulting the Emperor and garnering the audience's approval. His bitter enemy now known as \"Maximus the Merciful,\" Commodus becomes more frustrated at his inability to kill Maximus or stop his ascending popularity while Commodus' own popularity shrinks.Following the fight, Maximus meets his former servant Cicero, who reveals that Maximus's army remains loyal to him. They are camped at the port Ostia. Maximus forms a plot with Lucilla, Commodus' sister, and Senator Gracchus to reunite Maximus with his army and overthrow Commodus. Commodus however, suspecting his sister's betrayal, threatens her young son and forces her to reveal the plot. Praetorian guards immediately storm Proximo's gladiator barracks, battling the gladiators while Maximus escapes. Hagen and Proximo are killed in the siege while Juba and the survivors are imprisoned. Maximus escapes to the city walls only to witness Cicero's death and be ambushed by a legion of Praetorian guards.Concluding that legends born in the Colosseum must die there, Commodus personally challenges Maximus to a duel in front of a roaring audience. Acknowledging that Maximus' skill exceeds his own, Commodus deliberately stabs Maximus with a stiletto, puncturing his lung, and has the wound concealed beneath the gladiator's armor. In the arena, the two exchange blows before Maximus rips the sword from Commodus's hands. Commodus requests a sword from his guards, but they betray him and refuse to lend him their weapons. Maximus drops his own sword, but Commodus pulls a hidden stiletto and renews his attack. Maximus then beats Commodus into submission and kills him with his own stilletto.As Commodus collapses in the now-silent Colosseum, a dying Maximus begins seeing his wife and son in the afterlife. He reaches for them, but is pulled back to reality by the Praetorian prefect Quintus, who asks for instructions. Maximus orders the release of Proximo's gladiators and Senator Gracchus, whom he reinstates and instructs to return Rome to a Senate-based government. Maximus collapses, and Lucilla rushes to his aid. After being reassured that her son is safe and Commodus is dead, Maximus dies and wanders into the afterlife to his family in the distance. Senator Gracchus and Proximo's gladiators carry his body out of the Colosseum. That night, a newly freed Juba buries Maximus' two small statues of his wife and son in the Colosseum, and says that he too will eventually join them, but not yet.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0045793/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In 1941 Hawaii, Private Robert E. Lee Prewitt (Montgomery Clift) is transferred from the Bugle Corps at Fort Shafter (giving up his corporal stripes) to a rifle outfit, Company \"G,\" at Schofield Barracks on the island of Oahu. When Captain Dana \"Dynamite\" Holmes (Philip Ober) learns of his reputation as a talented boxer, he recommends that Prewitt join the regimental boxing club that he heads, and promises that Prewitt will be promoted to corporal or even sergeant, if he helps win the boxing trophy on December 15. For reasons unknown to the regiment Prewitt adamantly refuses. Holmes retaliates by making army life as miserable as possible for Prewitt hoping he will agree to box. Unable to break Prewitt, Holmes orders First Sergeant Milton Warden (Burt Lancaster) to prepare court martial papers. Warden, however, knowing of Holmes' unfair treatment and realizing Prewitt is a thirty-year soldier (career soldier), suggests that he try to entice Prewitt to change his mind by doubling up on company punishment. The other non-commissioned officers assist in the conspiracy with brutal hazing rituals. Prewitt is supported only by his friend, Private Angelo Maggio (Frank Sinatra).\n", "Meanwhile, behind his commander's back, Warden begins an affair with Holmes' neglected wife Karen (Deborah Kerr). Sergeant Maylon Stark (George Reeves) has told Warden of Karen's many affairs with other soldiers at Fort Bliss, including his own. As their relationship develops, Warden asks Karen about her numerous affairs to test her sincerity with him. Karen relates that Holmes had been unfaithful to her most of their marriage. She lost a baby when Holmes came back from one affair drunk, and unable to assist her to the hospital. She then affirms her genuine love for Warden.Prewitt and Maggio spend their liberty time at the New Congress Club, a gentleman's club in downtown Honululu where Prewitt meets, and falls for, Lorene (Donna Reed), a local dancer and call girl. Prewitt confides to Lorene the reason he refuses to box for the company is that he blinded a close friend while sparring. Maggio encounters Sergeant 'Fatso' Judson (Ernest Borgnine), a crass and racist sergeant at the club. When Maggio complains that Judson's piano playing is interfering with his dancing, the two nearly come to blows. Maggio is told that Judson is the Sergeant of the Guard at the stockade.Later, at a tavern called \"Choy's,\" located near the base, Judson sees Maggio holding a photograph of his family. Judson makes an inappropriate comment to Prewitt about Maggio's sister causing Maggio to smash a bar stool on Judson's head. Judson pulls a switchblade on Maggio, but Warden, sitting in a corner, intervenes to save Maggio by telling Judson that killing Maggio would \"create two weeks of paperwork\" for him. When the brutal Judson advances on Warden with the knife, Warden breaks a beer bottle in two and uses the jagged edge as a weapon. Judson retreats, throws down his knife and goes to the bar for a drink. However, he warns Maggio that sooner or later Maggio would end up in the stockade and he would be there waiting for him.A few days later, Karen tells Warden that if he became an officer, she could divorce Holmes and they could return to the States and marry. Warden is not keen on the idea because of his dislike of officers, but agrees to consider the matter.Prewitt manages a weekend pass, courtesy of Warden, and goes to meet Lorene who is too busy at the club to talk. However, she meets him later at a bar for a drink. He tells Lorene he loves the Army, and shows Lorene his prized possession, a bugle mouthpiece. He tells her, \"I played taps last Armistice Day at Arlington National Cemetery. The President was there.\" Maggio then walks in drunk and in uniform, explaining that he was assigned to for guard duty that night, but deserted his post. Lorene encourages Prewitt to take Maggio back to the base. While Prewitt is calling for a taxi, Military Police arrive and arrest Maggio, and he is sentenced to six months in the stockade for desertation.Matters come to a head for Prewitt when Sergeant Galovitch picks a fight with Prewitt while on yard detail, and the two come to blows. At first, Galovitch repeatedly pummels Prewitt, who initially refuses to fight back, and then resorts to using only body blows. But as Galovitch and others watching continue taunting him, he begins boxing, hitting Galovitch in the face and nearly managing to knock him out before Holmes finally steps in and stops the fight. When Galovitch falsely accuses Prewitt of insubordination, Holmes is about to punish Prewitt again until the man in charge of the detail says that it was Galovitch, not Prewitt, who was spoiling for the fight. Instead of punishing Galovitch, Holmes abruptly lets him off the hook and disperses the crowd. The entire incident is witnessed by the base commander, who orders an investigation by the Inspector General. When Holmes' true intentions are revealed, the general orders a court-martial. When Holmes begs for an alternative, the commanding officer's aide suggests that Holmes resign his commission \"for the good of the service\" and leave the Army, which the general accepts with dispatch. Holmes' replacement, Captain Ross, orders that Sergeant Galovitch be demoted to private and put in charge of the latrine.A few weeks later, Maggio manages to escape from the stockade and find Prewitt. He tells of the abuse he endured by Judson, then dies in Prewitt's arms. The next morning, Prewitt plays taps as tears stream down his cheeks. Seeking revenge, Prewitt tracks down Judson in town and invites him into a back alley to talk, then attacks him. The two fight with switchblades, Prewitt using the very same switchblade Judson had pulled on Maggio earlier. Prewitt kills Judson, but not before sustaining a serious stomach wound. Prewitt goes into hiding at Lorene's apartment. Despite Prewitt's AWOL status, his platoon sergeant carries him \"present\" for three days at Warden's direction. Lorene, whose real name is Alma, tends to Prewitt's wounds.On December 7, 1941, the Japanese attack Pearl Harbor. Enemy planes also attack nearby Wheeler Air Base as well as the barricks. Warden leads several of his men in battle by climbing to the roofs of the barrcks and returns fire against straffing Japanese fighter planes, shooting down at least one of them.That evening, Prewitt, still weak from his unhealed wound, finds out about the attack over the radio, and attempts to return to camp under cover of darkness, despite protests from Lorene to wait. During the walk back to the barricks, Prewitt is spotted by several jittery sentries. He attemps to run instead of identifying himself and gets shot dead while running across a golf course. Warden arrives on the scene a few minutes later and identifies the body, laments Prewitt's stubbornness and states the irony that because of the attack, the December 15, 1941 boxing tournament is cancelled.Holmes' resignation results in Karen having to return to the States with him. When she finds out that Warden failed to apply for officer status, she realizes they will never be together.At the end, Lorene/Alma and Karen meet for the first and only time on a ship leaving for the mainland. Karen then tosses two leis into the water. She tells Alma, \"If the leis go to shore, a person will return to Hawaii. If the leis float out to sea, a person will never return.\" Alma says she will never return, telling Karen that her fianc\u00e9 was an Army Air Corps pilot killed in a B-17 during the attack, \"he was awarded the Silver Star, they sent it to his mother. She wrote me. She wanted me to have it. They are very fine people, Southern people. He was named after a general. Robert E. Lee Prewitt.\" Karen recognizes Prewitt's name from conversations with Warden. (It is clearly apparent that the U.S. Army has covered up the true nature of Prewitt's death by claiming he died a hero rather then going AWOL and getting accidently killed). Lorene/Alma holds Prewitt's treasured bugle mouth piece.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0120815/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "An American flag back-lighted by the afternoon sun gently flaps in the breeze. The camera pulls back to reveal the Normandy American Cemetery and Memorial. An elderly man (Harrison Young) approaches the cemetery and walks among the rows of gravestones, which are mostly marble crosses, with an occasional Star of David marking the grave of a Jewish soldier. He is accompanied by his wife, his daughter and her husband, and three teenage granddaughters. He searches the crosses and stops at a specific one, where he falls to his knees, crying. His family walks up behind him and tries to comforts him. The camera slowly zooms in on his face, into his eyes.June 6, 1944, Omaha Beach, Dog Green Sector:On the choppy waters of the English Channel, American Ranger soldiers are headed to Omaha Beach in landing vehicles. The captain of one unit, John H. Miller (Tom Hanks), tells his men to, upon landing, \"clear the murder holes\" and check their rifles for sand and water when they exit the boats. Miller's right hand shakes nervously.The moment the landing ramp at the front of the boat opens, a number of men are immediately struck down by machine gun fire from concrete German bunkers built into the cliffs overlooking the beach. To avoid the machine gun fire, other men jump over the gunwales of the landing boats and into the surf. Some drown under the weight of their heavy gear. Upon gaining the beach, many take refuge behind the wooden landing craft obstacles and the thin flanks of the steel tank obstacles blocking approaches to the beach.As Miller crawls up the sand, a mortar shell hits nearby and the blast temporarily stuns him, knocking his helmet off. Miller's is stunned and his hearing is reduced to a dull, muddled noise. He watches as men around him are hit by bullets or the blast of mortar rounds, or are simply too scared to move. One private looks Miller in the eye and asks him what to do. Miller's hearing slowly returns and he orders his sergeant, Mike Horvath (Tom Sizemore) to move his men up the beach and out of the line of enemy fire. As Miller staggers up the beach, he drags a wounded man. The man is hit by a mortar blast and is killed; Miller suddenly discovers that he's been dragging less than half the man's dismembered remains. The German barrage kills most of the US Army troops and leaves twice as many wounded; many of the wounded are eviscerated or missing limbs and slowly bleed to death on the beach, despite the efforts of medics to treat them.Whomever is left in Miller's platoon assembles at a sandbar that provides very little cover from the German bombardment. Miller orders his men to use bangalore explosives to clear out the barbed wire and mines behind the sandbar for their advance. The men make it to the nearest concrete bunker where a German machine gun nest on a nearby cliff keeps them from moving further. After sending a few of his men into the fire zone where they're cut down immediately, Miller has his sniper, Pvt. Daniel Jackson (Barry Pepper), run into the fire zone and take out the men in the machine gun nest. Jackson's efforts are successful and Miller moves his men behind the bunker where a soldier with a flamethrower sets the bunker ablaze.On the beach, one soldier yells to the others to let the German soldiers burn as they jump out of the bunker. Miller's men engage other German soldiers in the trenches behind the bunker, quickly creating an exit route from Omaha for the rest of the battalion. Miller also watches as a few men mercilessly execute a few surrendering German and Czech soldiers. Pvt. Adrian Caparzo (Vin Diesel) finds a Hitler Youth knife which he gives to his friend, Pvt. Stanley Mellish (Adam Goldberg) (a Jew); Mellish begins to sob. Horvath collects a handful of dirt in a small metal can marked \"France\" and puts it into his haversack alongside cans marked \"Italy\" and \"Africa\". Horvath comments to Miller that the beach commands \"quite a view\"; it is covered with the bodies of thousands of dead and wounded American soldiers. On the backpack of one of them is the name \"S. Ryan\".At the War Department in the United States, rows of secretaries are typing death notices to be sent to the families of the men killed in various battles around the world. One of the women typing discovers three letters for three men from the same family. The three men are all brothers from the Ryan family of Iowa and their mother will receive all three letters at the same time. The fourth and youngest son of Mrs. Ryan, James Francis, is part of the 101st Airborne Division, dropped into Normandy ahead of the beach invasion and his whereabouts are unknown. The letters are brought to the attention of General George Marshall (Harve Presnell) who, after reading a poignant letter sent by Abraham Lincoln to a family under similar circumstances during the Civil War, orders his officers to find James and have him brought home immediately.Back in Normandy, three days after D-Day, Miller meets with his commanding officer and reports on a mission that cost the lives of many of his men. Lieutenant Colonel Anderson (Dennis Farina) gives him new orders; Miller is tasked with taking a squad into Normandy to find Pvt. James Francis Ryan and bring him back. Miller gathers what men he can and finds Corporal Timothy E. Upham (Jeremy Davies) in the camp press box to accompany the squad as a translator - Upham speaks fluent French and German, to replace his previous interpreter. The squad sets out in the French countryside. Upham tries to talk to Mellish and Caparzo but finds them unfriendly and even insulting. The squad's medic, Irwin Wade (Giovanni Ribisi), asks Upham about a book he plans to write about the bonds of friendship among soldiers. Richard Reiben (Edward Burns), a hotheaded private from Brooklyn, questions the mission, wanting to know if the effort to find Ryan is worth the lives of men who should be fighting more important battles to liberate France and Europe. Miller himself is also skeptical about the mission but understands that his current orders are more important.The squad arrives in a small French village where Army units are currently at a standstill with the German forces they're fighting. Miller asks the nearest sergeant if Ryan is among his unit, but he's not. In an attempt to get information from the Army unit on the other side of town, they send a runner across the battlefield. The runner is cut down almost immediately. They cross the town via some side roads and come across a French family trying to escape their bombed home, but caught in cross fire. The father insists the squad take his young daughter to safety; Miller refuses but Caparzo steps out from cover to take her, against orders. He is shot in the chest by a sniper and falls, still alive, caught in the open. The squad takes cover, unable to pull Caparzo to safety. Jackson quickly identifies the town's bell tower as the sniper's likely shooting position. He finds a nearby pile of rubble that he uses to counter-fire on the sniper. As the sniper looks for another target among the squad, he sees Jackson a moment too late, and is shot through his own scope. Caparzo dies, bleeding to death. Miller looks down on his body and harshly tells his men that this is why they follow orders. They're not here to take in any children. Wade retrieves a blood-stained letter from the body that Caparzo had been writing to his father.In another part of the village, the squad and the other soldiers sit down inside a bombed building to rest. A sergeant sends one of his men to find their CO. When the sergeant sits down, he knocks over a weakened brick wall that reveals a squad of German soldiers inside the building. A standoff ensues, with both sides pointing their weapons at each other, and both demanding the other put down their guns. The impasse is unexpectedly ended when the Germans are cut down by machine-gun fire from the unit's Captain (Ted Danson) and the soldier sent to find him.Miller asks the captain if he has a Pvt. Ryan in his unit. The captain confirms that he does, and Ryan (Nathan Fillion) is brought to Miller who tells him his brothers are dead. The man breaks down and asks how they died and Miller tells him they were killed in combat. Ryan is incredulous, telling Miller that his brothers are still in grade school. Miller confirms the man's full name, and learns that he is James \"Frederick\" Ryan from Minnesota; Miller, exasperated, tells Ryan he's sure his brothers are just fine. From another private being treated for a leg wound, also from the 101st, the squad learns that the 101st's rallying point is nearby and that Ryan may have gone there.The squad spends a few hours resting in a church. Wade rewrites the blood-stained letter Caparzo wanted to send to his father. Horvath and Miller talk about how many men Miller has lost under his command. Miller accepts that men die in combat for the greater good. Cpl. Upham talks to the captain about a betting pool the men have going where they try to guess Miller's occupation before the war began. Upham and Miller come to a silent agreement that when the pool is big enough, Miller will tell him the answer.The squad arrives at a rally point near a wrecked troop glider. The rally point is filled with dozens of wounded GIs. Sitting among the men is the pilot of the glider who tells them he doesn't know where to find Pvt. James Ryan. The pilot's glider went down after being towed because steel plates had been welded to its underside to protect a general in his jeep, making the glider too heavy to fly. The glider crashed, killing the general. The squad reflects on the efforts to protect only a single man. The pilot gives Miller a bag full of dog tags taken from dead soldiers. Miller has his men go through them looking for Ryan. They do so rather callously while men from Army Airborne units march by. Wade walks over and starts picking up the tags, muttering that his comrades are acting rather coldly in front of the passing soldiers. Miller concludes that Ryan isn't among them and in a minor fit of desperation, beings to question the passing soldiers, asking if any of them know Ryan. He gets lucky with one man who is from Ryan's unit and has lost his hearing from a grenade blast, so he yells his answers. The man tells him that Ryan was assigned to a mixed unit that's guarding a bridge across the Merderet River in the nearby village of Ramelle. Miller determines that the bridge is of vital importance to the Army and the Germans because it will allow either to drive their tank units across the water.The squad sets out again. They spot two dead GIs in a field and confirm that none of them are Ryan. Miller and Horvath spot a machine gun nest near a partially destroyed radar dish. Though it would be easier, as Reiben suggests, to keep their distance from the machine gun and slip quietly around it, Miller resolves to take out the German's position so that the next Allied unit will not be surprised and killed. The squad is against his plan, but he won't relent, and gives them their assignments. Upham is instructed to stay behind with their gear. The squad attacks the machine gun emplacement, while Upham watches through one of Jackson's sniper's scopes. When the skirmish is over, the men yell frantically for Upham to bring their gear. When Upham reaches them, he sees that Wade has been shot several times in the chest and is bleeding. The men frantically try to save his life but Wade dies, saying he wants to go home. One of the Germans (Joerg Stadler) is captured alive and in retribution, the squad rushes around him, beating him. Miller is undecided how to dispose of the German POW, and orders that he dig graves for Wade and the two GIs they saw in the field. When Upham protests that prisoners aren't to be treated like slaves, Miller coldly orders Upham to help the German. As the German digs the graves, Miller sits off to one side where he cries, his right hand shaking again. He slowly recovers his composure and returns to the squad.Miller's squad wants to kill the remaining German, excepting Upham. The German begs for his life, saying he loves America, saying \"Fuck Hitler!!\". The men are unmoved and prepare their weapons to kill him when Miller intervenes. He blindfolds the German and, to the astonishment of the squad, lets the man walk off, directing Upham to tell him to surrender to the next Allied unit. Reiben in particular is offended by Miller's compassion and threatens to desert, saying that their mission has gotten two of their comrades killed. Horvath orders Reiben to fall into formation and threatens to shoot him. The entire squad begins to argue heatedly and Miller suddenly asks Upham what's the total of the pool on him. Miller reveals that he's an English composition teacher in a small Pennsylvania town. The men stop arguing, surprised by Miller. Miller says the war has changed him and he's not sure if his wife will recognize him and if he'll be able to resume his former life when he returns home. He reasons that if finding and bringing Ryan back ensures that he'll be able to get home sooner, then it's his job to complete the mission. The squad finishes burying Wade and the other GIs.The exhausted squad approaches Ramelle. While crossing a field, they spot a German half-track. Miller orders everyone to take cover while the vehicle passes. The half-track is suddenly hit by bazooka fire. Miller's squad is momentarily confused, uncertain who is firing, but moves in and kills Germans as they escape the destroyed vehicle. A small group of American soldiers emerge from their positions in the field and identify themselves as paratroopers from various Airborne units. One of them identifies himself as Pvt James Ryan (Matt Damon) .In the ruins of the village of Ramelle, Miller's squad learns that Ryan and his comrades are guarding one of two remaining bridges across the Merderet River. Their commanding officer had been killed a few days before. Miller tells Ryan that his three brothers are dead and that he's been given a ticket home. Ryan is devastated by the news of his family but refuses to leave, saying that it's his duty to stay with his unit and defend the bridge until relief arrives. Ryan says his mother would understand his desire to remain at the bridge with the \"only brothers [he] has left.\" Miller can't change Ryan's mind. Miller and Horvath reflect on Ryan's refusal and they decide to stay and help the unit defend the bridge.Miller inventories their few remaining weapons and supplies. Miller outlines a plan to bottle up German tanks on the main street of Ramelle, where the rubble creates a narrow choke point that will channel the German troops into a bottleneck and allow the soldiers to flank the Germans. Their plan includes Reiben riding out on a German half-track motorcycle to lure the German unit into the bottleneck. Miller suggests they improvise \"sticky bombs,\" socks stuffed with Composition B explosives and coated with grease. They'll use the sticky bombs to blast the treads off a tank. They retrieve some spare Comp B from the demolition charges on the bridge. Upham is given the job of running ammunition to the two Browning machine gun positions manned by Mellish and 101st paratrooper Parker (Demetri Goritsas). Jackson and Parker take position in the church tower.The men wait for the Germans to arrive, listening to \"Tous es Partout\" by Edith Piaf, while Upham interprets. Ryan tells Miller that he can remember his brothers but he can't see their faces. Miller suggests he \"think of a context\", something they've all done together. Miller tells Ryan when he wants to remember his wife, he thinks of her trimming rosebushes. Ryan tells the story of how he and his brothers nearly burned down the barn on their farm when they snuck up on their oldest brother, Danny, while he was trying to have sex with a local girl in the hayloft. James laughs and stops when he realizes that the incident was the last time they were all together, over two years ago, before any of them had gone to basic training. When Ryan asks Miller to tell him about his wife and the rosebushes, Miller politely refuses, saying that memory is for him alone.The squad feels the ground beginning to rumble, indicating that the German column has arrived. Jackson signals from the church tower that there are two Panzer tanks (which turn out to be Marder III self-propelled guns) and two Tiger I heavy tanks. There are also at least 50 German troops. Miller orders everyone to their positions and Reiben rides out to act as the rabbit to lure the Germans into town. One of the Tiger tanks proceeds down the main street, and one of the soldiers attempts to plant a sticky bomb on the tank. He waits too long and the bomb blows up, killing him. The German troops following the tank are cut down by the soldiers and by mines planted along the sides. Two men plant the Comp B bombs on the wheels of the Tiger, blasting it's tread apart, eventually bringing it to a halt. Ryan and Miller's squads open fire and shift positions several times during the battle. Though they take the Germans by surprise, several of the men are killed. Jackson is discovered in his perch and is hit by tank fire. Mellish and Corporal Henderson (Maximilian Martini) man a .30 caliber machine gun to cut off any flanking action by the Germans. Henderson is killed and then Mellish is attacked by a German soldier (Mac Steinmeier) who overpowers him in hand-to-hand combat, slowly driving a bayonet into Mellish's chest. Immediately outside the room on the stairs, Cpl. Upham sits, frozen with terror, unable to move to rescue Mellish.The German soldier kills Mellish and marches out, indifferent to the terrified Upham. Several more American men are killed when the Germans open fire with an 20 millimeter anti-aircraft flak cannon. Reiben is able to flank the cannon and takes out its operators. Sgt. Horvath is wounded during this time when he and another soldier corner each other. They each chuck helmets at each other, then shoot each other with their pistols. The German soldier here is killed and Horvath is injured. He grabs Upham and retreats when Miller orders everyone to cross the bridge to their \"Alamo\" position, where they'll make their last stand. The surviving 60-ton Tiger tank follows and appears to be unstoppable despite Horvath shooting several bazooka rockets at it in a futile attempt to disable it. Horvath is shot in the chest as he pulls back and dies a few minutes later. Miller prepares to destroy the bridge when a shell from the Tiger hits the building behind him, blowing the detonator out of his hands. He staggers across the bridge to retrieve it and is shot in the chest by the same German soldier (Joerg Stadler) he'd set free at the radar station.Miller falls, unable to continue. He draws his .45 pistol and begins to shoot vainly at the Tiger tank, which has begun to cross the bridge. After a few shots, the tank impossibly explodes. A small squadron of P-51 Mustang fighters suddenly zoom into view, having bombed the tank and several enemy targets. Reiben and Ryan rush to Miller's side and call for a medic. Upham, still on the other side of the bridge, is undetected by the enemy squad. He reveals himself and takes the entire squad prisoner. One of them is the man they captured earlier and who also shot Miller -- Upham had seen the German shoot Miller. The man recognizes Upham and calls him by name. After a moment's hesitation, Upham fires his weapon for the first time, killing the man. He orders the rest of the prisoners to disperse.As Miller lays dying, Ryan tells him that the planes are P-51 Mustangs, \"tank busters.\" Miller calls them \"Angels on our shoulders.\" He beckons Ryan closer and with his dying breath, tells him \"Earn this... earn it.\" In a voiceover, General George Marshall's voice reads a letter to Ryan's mother, informing her that her son is returning home. He quotes a passage from Lincoln's letter about the cost of war.Ryan stands looking at Miller's body. The camera focuses on Ryan's young face as it morphs into Ryan in the present. He is standing at Captain Miller's grave. He tells Miller that he hopes he's lived up to Miller's wish and been worthy of all that Miller and his men did for him. He asks his wife to tell him that he's led a good life and that he's a good man. The elder Ryan (Harrison Young) salutes Miller's grave. An American flag back-lighted by the afternoon sun gently flaps in the breeze.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0105695/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "William Munny (Clint Eastwood) is a widower with two young children. He was once a very vicious gunfighter, but after marrying, gave up gunfighting, drinking, and most other vices. His wife died of smallpox in 1878, but he continues to try to eke out a living with his children on their hog farm, and to try to be the kind of man he believes his late wife would want him to be. It is now 1880.The town of Big Whiskey, Wyoming is ruled rather arbitrarily by a sheriff named Little Bill Daggett (Gene Hackman). Two cowboys, Davey (Rob Campbell) and Mike (David Mucci) are spending their leave at a brothel owned by Skinny Dubois (Anthony James). One of the women, Delilah, makes an offhanded comment that Mike perceives as an insult, so he attacks her with a knife, scarring her face. Skinny and the de facto madam, Strawberry Alice (Frances Fisher) hold them until Little Bill can arrive. The women want Davey and Mike to hang, but Little Bill decides that since they did not murder Delilah, they should be horse-whipped instead. However, Skinny is more concerned with potential loss of business due to Delilah's disfigurement. So Little Bill decrees that instead of being horsewhipped, the men will have to give Skinny some horses. This outrages the women even more, and afterward they meet privately and pool all their resources to offer a reward to anyone who will kill the two attackers.We meet Munny on his farm trying to deal with some sick hogs. It quickly becomes clear that he is not a very good hog farmer, as he repeatedly falls in the mud when trying to grab a hog. In the midst of this he has a visitor, a young man calling himself the Scofield Kid (Jaimz Woolvett), who knows Munny by reputation and would like his help in killing Davey and Mike in return for half the reward money. Munny makes it clear that he is not interested because, since marrying his late wife, he doesn't do the things he used to do anymore. But after the Kid leaves, Munny goes back to his bumbling attempts at tending hogs, and begins to have second thoughts. He sets a can on a tree stump and begins firing at it with his pistol, without hitting it. Finally he goes in the house and gets his rifle, and blows the can away on the first shot.Back in Big Whiskey, Davey and Mike show up with the horses for Skinny. The women throw stones and horse manure at them. Mike has never shown any remorse at any point, but Davey seems genuinely sorry about what happened to Delilah. He pointedly tells Skinny that one of the horses is not for him, and then offers it to Delilah. The women only throw more manure.Realizing that he will need help in the tracking down the wayward cowboys, Munny decides to contact his former partner, Ned Logan (Morgan Freeman). He says goodbye to his kids, telling them if they need anything to see Ned's common law wife, Sally Two Trees. After several bumbling and unsuccessful attempts to mount his horse, he finally mounts successfully and rides to Ned's. Sally, apparently recognizing that whatever Munny has in mind cannot end well, just glares at him without speaking the entire time he is there. If looks could kill, not only Munny and Ned but the entire movie audience would be dead by the end of the scene. But as it is, the two men ride off in pursuit of the Kid. Eventually they catch him, and soon discern that he is severely nearsighted and can't see a target more than 50 feet away.The first to arrive in Big Whiskey in pursuit of the reward is a gray-haired Englishman known as English Bob (Richard Harris). We first meet him traveling on a train with his biographer, named Beauchamp (Saul Rubinek). President Garfield has just been shot (which, of course, occurred in 1881, meaning that some months have passed since the original attack on Delilah), and Bob is lecturing his fellow-passengers on the benefits of monarchy over democracy (despite the Russian Tsar also being assassinated earlier that same year). He and Beauchamp arrive in Big Whiskey, where Little Bill catches him concealing a gun. He brutally beats and kicks Bob until he is nearly unconscious, then throws both him and Beauchamp in jail. At the jail, Little Bill debunks many of the stories Bob has told Beauchamp about his exploits. Soon Beauchamp is out of his cell and working as Little Bill's biographer rather than Bob's. Little Bill finally puts Bob on a train out of town. Munny and his companions see the train carrying English Bob go by as they approach town.A torrential downpour begins, and by the time the Munny party reaches town, Munny is sick with fever. Arriving at the saloon, Ned and the Kid go upstairs to engage the services of the prostitutes, but Munny doesn't do that sort of thing anymore and remains downstairs. Little Bill sizes Munny up as an out-of-towner after the reward money, and beats and kicks him in a similar way to what he did to English Bob, has him thrown out into the street, and sends his deputies upstairs after Ned and the Kid. Ned and the Kid escape through a window, manage to get Munny onto his horse, and ride out of town, where Ned nurses Munny back to health with the help of some of the prostitutes.By the time Munny has regained his health, the rain has stopped but there is snow on the ground. In the next scene the snow is gone, meaning some time has been elapsing as Munny's partners have scouted out their targets. In that next scene, we see Davey with a group of cowboys chasing a calf. A shot rings out, hitting Davey's horse, which falls over, breaking the man's leg and pinning him to the ground. Ned fired the shot, but now he can't bring himself to finish the man off, and the Kid can't see that far, so Munny fires several shots and finally hits him. As Davey lies dying, he complains of being thirsty. Munny calls out to the other cowboys to give the man a drink, and promises not to shoot. They do, and Munny is true to his word.Ned has had enough of killing and leaves his companions to return home, but is captured by Little Bill's men, and we see him being interrogated by Little Bill. Men are also assigned to protect Mike. Munny and the Kid wait outside the house where Mike and his guards are holed up. When Mike comes out to use the outhouse, the Kid waits until he is finished and then shoots him. But the Kid can't deal with the fact that he has killed a man (he has boasted repeatedly of having killed five men, but now admits that this was his first), and resolves to never kill again, telling Munny, \"I'm not like you.\" Munny has him drink some whiskey, but it doesn't help.One of the prostitutes brings the reward money and informs them that Ned has been killed, after revealing Munny's identity. Munny sends the Kid home with the reward money, telling him to leave his and Ned's shares with his children and take the rest and use it to buy some good spectacles. He then rides toward town, drinking whiskey from a bottle as he goes. Outside the saloon, he sees Ned's body upright in an open casket, with a sign saying that this is what happens to assassins in this town.Munny enters the saloon, where most of the townsmen have gathered. He asks who owns the establishment, and when Skinny identifies himself, Munny tells the men near him to move away, and then shoots him. Little Bill calls him a coward for shooting an unarmed man, but Munny replies, \"He should have armed himself, if he's going to decorate his saloon with my friend.\" He then tells those near Little Bill to move away. His shotgun misfires, but he throws it at Little Bill, draws his pistol and shoots him, and shoots several other men attempting to draw guns on him; some of them get shots off before Munny kills them, but none hit him.He then tells everyone who doesn't want to be killed to leave, and all who are able to leave do so. He goes to the bar and helps himself to more whiskey. Beauchamp was not able to leave because of a body lying on top of him. Munny has him give him a rifle lying nearby, which he loads. Beauchamp tries to engage him in conversation about gunfighting, but Munny's response frightens him into leaving as well. Little Bill turns out to still be alive, but Munny hears him cock his pistol, and steps on his hand before he can get a shot off.As Munny aims his rife at Little Bill, the latter complains that he doesn't deserve this. Munny replies, \"'Deserves' has nothing to do with it.\" Little Bill then says, \"I'll see you in hell, William Munny.\" Munny simply replies, \"Yeah,\" and shoots him. As he walks to the saloon door, one of the men he shot previously moans in pain, and he shoots him again.At the door, he announces that he is coming out, that he will kill anyone he sees, and if anyone shoots at him, he will kill not only the shooter but his wife and all his friends and burn his house down. He walks to his horse, and no one shoots. He mounts his horse and as he rides past Ned's body, he announces that if they don't bury Ned right, or if they harm the prostitutes in any way, he'll come back and kill every man in the town.As the closing credits roll, we learn that Munny subsequently moved with his children to San Francisco, where he \"prospered in dry goods.\"\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0082971/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In the spring of 1936 an exploration party penetrates thick jungle on the South American continent. When the group's leader stops to examine map fragments, another of the group pulls a gun. The leader, hearing the click as the turncoat chambers a round, pulls out a bullwhip and disarms the man, sending him fleeing back through the jungle. The man who expertly wields the bullwhip is Dr. Henry \"Indiana\" Jones, Jr. (Harrison Ford), an archaeologist with a reputation for heavy-handed field work that takes him around the globe in search of ancient treasures.Indy and his remaining companion, Sapito (Alfred Molina), enter a dank and oppressively vast cave, where a competitor of his, Forrestal, disappeared. Inside the cave are several traps rigged by the ancient people who hid a small, valuable statue there -- and one of the traps is found to have snared Forrestal. Jones finds the antechamber where the statue sits atop a pedestal and is protected by an elaborate system of pressure-sensitive stones that release deadly darts from the surrounding walls. Jones avoids the booby-trapped stones and makes it to the idol. He very deftly replaces the idol with a bag of sand, judging the weight of the treasure by sight. However, the weight is not precise, the pedestal sinks and the chamber begins to disintegrate. Jones runs, narrowly avoiding the darts. When he arrives at a bottomless pit he & Sapito had crossed earlier using Jones' bullwhip, Sapito crosses safely but refuses to give Jones his whip unless he gives him the idol. Sapito drops the whip and runs off. Jones manages to jump across and pull himself up and escape under the stone door that closes. He finds Sapito dead, killed by the same trap that killed Forrestal. Jones retrieves the idol and must once again flee while a large boulder rushes toward him.Seemingly safe, Indy is cornered by the Hovitos, the local tribe, who are led by Dr. Rene Belloq (Paul Freeman), an arrogant French archaeologist who is a longtime rival and enemy of Indy's. Indy flees and is rescued by Jock (Fred Sorenson), flying a seaplane, though Indy isn't pleased to find Jock's pet snake Reggie inside.Back stateside, Indy teaches an archeology class and is still upset over the loss of the statue, which he surmises Belloq is taking to Marrakesh; he has found pieces he feels will pay for a trip to Marrakesh to find Belloq, but Indy's friend Marcus Brody (Denholm Elliott) dashes that hope by informing him that two Army Intelligence officers want to talk to him about Abner Ravenwood, his former teacher, who was his friend until Indy broke up with his daughter, Marion (Karen Allen).The Army officers are concerned because they've intercepted a German cable concerning a mammoth archaeological dig in the Egyptian desert. When they read the cable, Indy and Marcus realize the Nazis have discovered Tanis, an ancient city buried in a gigantic sandstorm in 980 B.C. and the possible burial site of the Ark of the Covenant. The Ark was built by ancient Hebrews to hold the stone tablets on which Moses inscribed the Ten Commandments. It holds immense mystical power -- enough to allow the Nazis to level mountains and lay waste to entire regions.Indy flies to Nepal (followed by a Nazi agent, Toht (Ronald Lacey)) to confront Marion Ravenwood, who runs a restaurant and bar (and who can outdrink anyone) because he needs the headpiece to the Staff of Ra, whose crystals will allow him to determine the exact location of the Ark. Marion, still bitter over their breakup, nonetheless accepts when Indy offers her $3,000 and the promise of more when they return stateside. She is cryptic about the headpiece, and after Indy leaves she ponders it as she wears it around her neck.Toht and several Sherpa heavies enter the bar and hold Marion hostage, with Toht ready to torture her for the headpiece. Indy returns and a firefight erupts during which the fireplace is dislodged and the building begins burning down. Toht finds the headpiece but when he grabs it he's badly burned -- leaving an image of one side of the headpiece branded on his hand. He escapes while Indy and Marion do likewise and fly to Egypt to see Indy's pal, Sallah (John Rhys-Davies), who is working on the Nazi site and who reveals that the Nazis are aided by a French archaeologist (Belloq).Later, while shopping at a Cairo bazaar, Indy and Marion are attacked by sword-wielding Arabs working for Nazi agents. Indy fights them off but in the confusion Marion is trapped in a large basket and taken by two of the terrorists. The effort to track her down is held up by a man brandishing a sword in intimidating fashion. The swordsman is shot down in short order by a thoroughly unimpressed Indy.Soon Indy spots a basket carried to a truck filled with explosives and is fired on by a submachine-gun-wielding assailant. His Nazi commander orders the Arabs to take off, but Indy shoots them and the truck crashes, exploding and destroying the basket.Disconsolate over losing Marion, Indy drowns his sorrows in drink but is met by more Nazi agents who escort him to a table at which is seated Belloq, who gleefully talks about finding the Ark. Indy, no longer caring whether he lives or dies, reaches for his sidearm as Arabs inside pull rifles -- only to see Sallah's large brood of children rush in and the \"Arabs\" to turn out to be US Marines, much to the embarassment of Belloq.Sallah takes Indy to see a shaman who is reading the Ra headpiece after both men have learned that Belloq and his Wehrmacht aide, Colonel Dietrich (Wolf Kahler), have obtained a copy of the headpiece. (Neither man is aware that it is a duplicate traced from Toht's burned hand.) The shaman reveals two critical facts: first, that the headpiece gives the precise height of the Staff of Ra, and second, that the staff the Nazis used was too long -- so their excavation is over a mile away from the Ark's actual burial site, which is known as the Well of Souls.Infiltrating the mammoth site, Indy is lowered into an underground maproom containing a precisely detailed miniature of the city. Using the Ra headpiece, he identifies the precise location of the Well of Souls. Sneaking further around the gigantic camp, Indy is shocked to find Marion, alive but bound and gagged. Indy starts to free her, but when she reveals that the Nazis keep asking about him and what he knows, he realizes he can't cut her loose without revealing his presence to the Nazis.Late that afternoon Indy and Sallah sneak a digging party of their own to the actual location of the Well of Souls. Late into the night they dig open the chamber, and to Indy's horror it is filled with dangerous snakes. Indy clears an area of snakes with burning torches, then lowers himself into the chamber and burns many of the snakes alive with flaming gasoline. Sallah follows and the two eventually find the gigantic chest that is the Ark.By now it is dawn, and only now does Belloq notice the commotion a mile away. The Nazis surround the site and Indy is left trapped inside, but Dietrich leaves him with something else -- Marion, who is thrown into the chamber and the area closed off.Indy notices a wall where snakes are entering. He climbs a mammoth statue and with all his might breaks it from its foundation and it crashes through the wall. The two find an opening to the surface, and discover the airfield at the excavation camp, where there is a bizarre Nazi transport plane. The two sneak up to the plane, but Indy is attacked by a mechanic and a prolonged fight ensues that is joined by a burly Nazi who pummels Indy before being punched backward and shredded to bits by the plane's propellers. Marion seizes one of the plane's machine guns and opens fire on Nazi soldiers, in the process setting a fuel dump aflame. The fire destroys the area and the plane explodes, but Indy and Marion escape.Dietrich orders his men to transport the Ark by truck to Cairo. When Sallah finds Indy and Marion, he is overjoyed they're alive and tells them of Dietrich's plan. Indy takes a horse and pursues the convoy, seizing the truck containing the Ark and surviving a brutal chase and fight with Nazi soldiers to drive the Ark to safety.He and Marion board a ship taking the Ark back to the US, but a Nazi submarine captures the ship. The Ark is taken aboard the sub and Marion taken prisoner for Belloq. Indy, however, escapes Nazi pursuit and rides the submarine as it sails on the ocean surface to an island where Belloq and the Nazis trek to the top of a mountain.Indy has grabbed a rocket launcher and intercepts Belloq, vowing to blow up the Ark unless Marion is freed. But Belloq calls Indy's bluff, knowing Indy wants to know what the Ark contains as much as anyone. Indy finds he can't carry out his threat, and is seized.At an elaborate ceremony atop the mountain Indy and Marion, tied to a pole, can only watch as the Ark is opened, but it contains nothing but sand, the remains of the stone tablets. No sooner is it opened, however, than its spirits suddenly appear. Indy and Marion, remembering an ancient code that requires people to close their eyes and not look at the now-freed spirits, withstand the mayhem that ensues as the energy of the Ark surges forth and its spirits attack the now-terrified Nazis, killing the entire contingent and destroying Belloq in gruesome fashion. The energy mass surges high into the sky before returning to the Ark and resealing it, leaving Indy and Marion drained but freed.Weeks later Indy and Marcus feud with the Army officers over the whereabouts of the Ark, Indy angry that the Army has no idea what it has in the Ark -- though it appears they in fact do understand what they have, as the Ark is sealed in a large crate and stored anonymously in a gigantic government warehouse, never to be seen again.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0075148/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Philadelphia Pennsylvania, home to the number one underdog fighter, Rocky Balboa (Sylvester Stalone). The date is November 25, 1975, Rocky is fighting Spider Rico in a prize fight at a local church arena. The fight goes smooth through the first couple of rounds. Before beginning the next round, Rocky and Spider get up from their corners after receiving advice from their corner-men and the fight continues. After a couple of punches, Spider grabs a hold of Rocky and headbutts him in the face. The crowd goes restless on Spider. Rocky, after recovering from the hit, goes after Spider and finishes him off. The bell rings signalling the end of the fight and Rocky is pronounced the winner. Rocky and Spider both leave the ring and head back to the locker room. One woman loser in the arena audience shouts at Rocky \"you're a bum!\" as he leaves the ring. In the locker room, Rocky and Spider get their prize money for the fight in which Spider Rico gets $17.80 after taxes and gym expenses, Rocky's winning prize is $40.50 after taxes and expenses. Rocky approaches and finds Spider lying on a bed where he tells Rocky that he was \"lucky\".Rocky walks home in the cold seedy night through the trash-strewn streets of Frankford Avenue in the crime-ridden Kensington neighborhood after the fight and arrives home to a small one-room apartment on a side street to feed his pet turtles, Cuff and Link. He grabs a can of the turtle food and recites himself a line regarding the item into the mirror. He then looks at a picture of himself from his youth and then grabs some ice from the freezer and puts it on the cut that Spider gave him and lies down on his bed.The next morning, Rocky visits the local pet shop where Adrian (Talia Shire) works and talks about the turtle food that he bought. Adrian, being shy and quiet, doesn't respond to Rocky even after he tells her a joke about the food. Her boss commands her to clean out the cat cages and she walks away not paying attention to Rocky.Rocky is walking down at the docks with a stick in his hand whistling, and out to collect money for his boss, Tony Gazzo, a local loan shark. He finds a man riding a forklift and when the man sees Rocky, he drives away. Rocky chases him on foot and breaks his stick off the forklift. The man runs from the forklift and Rocky catches up to him demanding Gazzo's money totaling $200. He tells Rocky that he doesn't have enough money but offers him his coat and around $130. Rocky takes the money, but refuses to hit the deadbeat guy and instead gives him a warning.A little later, Gazzo (Joe Spinell) and his driver/bodyguard Buddy, pick up Rocky on a bridge near the docks and Rocky tells him about the man and gives Gazzo what money the deadbeat had on him. Gazzo gives Rocky $20 for his collection assignment and tells him about more collection jobs in the coming days for Gazzo's other clients. The thug, Buddy, lets out a comment about Rocky's face as he and Gazzo get out of the car to talk in private. On the street, an angry and upset Gazzo asks Rocky why he didn't break the man's thumbs like he asked and Rocky tries to defend himself but Gazzo doesn't believe him. Gazzo sternly reprimands Rocky to do what he tells him to do from now on because it is bad for Gazzo's reputation in the neighborhood. Gazzo leaves Rocky by the side of the road and gets back in his car. Buddy further insults Rocky by calling him a \"meat-bag\" before driving away and Rocky angrily shouts: \"I shoulda broke YOUR thumbs!.\"Later that day, Rocky goes to Mickey's Gym only to find out that his locker has been rented out to new-comer Dipper Brown, and that his stuff is now hanging on skid-row. Mike the janitor tells Rocky about it and tells him where Mickey is. Rocky sees Mick (Burgess Meredith), an elderly former lightweight boxer, now a trainer, working with Dipper. Rocky goes to ask about the locker and Mick admits that Dipper is an up-and-comer and Rocky is nothing. Echoing what the woman heckler told Rocky the previous night, Mickey calls Rocky a \"bum\". Angry and dejected, Rocky leaves the gym.Rocky goes back to see Adrian at the pet store which is about to close for the night. Rocky asks her if she wants to go to see a basketball game, but she refuses the invitation. He then asks to walk her home and she again turns him down. He warns her about the people walking the streets at night and suggests that she takes a taxi home.Rocky then goes to the Lucky 7 Tavern for a beer or two where he sees his best friend and Adrian's older brother, Paulie (Burt Young), cursing up a storm in the restroom after the mirror has been broken. Rocky tells him about Adrian and he shouts at Rocky that she's a loser and can't take care of herself. They leave the restroom and go to get a beer. Paulie asks Rocky if he would like to take Adrian out on a date since she seldom leaves his house, and Rocky agrees. Paulie takes his beer and leaves. Rocky remains sitting at the bar drinking his own beer and watches TV and sees that the heavyweight boxing champion of the world, Apollo Creed (Carl Weathers) is on TV. Rocky and the bartender talk about him until Rocky leaves.On his way home, Rocky notices a group of teenage kids standing on the corner drinking and smoking cigarettes and sees that one of them is Marie, an underage teen girl he knows. He pulls her out of the group and walks her home. On the way, he tells her about respect and the kind of people that she should be hanging out with. After reaching her house, She calls Rocky a \"creep-o\" and he heads back home.The next day in New York City, Apollo Creed and his trainer Tony are meeting with Jergens, the fight promoter, and they are discussing the possible fighters for him to match in the biggest fighting event set to take place on New Year's Day. When it looks like there are no possible fighters. Apollo lets out his ideas about fighting a small time underdog fighter, giving him a shot at the title. Everyone agrees with the idea and the plan begins is set in motion.Meanwhile, Rocky is dropped off at his house by Gazzo and Buddy after his latest collection job, and they talk about Adrian. Rocky wonders how they knew about him and Adrian. Gazzo replies: \"I hear things\". Buddy further insults Rocky by calling Adrian a retard and how retards like the zoo and Rocky attempts to lunge at him, but Gazzo separates them. He gives Rocky $50 for his date with Adrian. Before leaving, Buddy tells Rocky to take Adrian to the zoo and speeds off.At Apollo's office, he and Tony are looking through a book of local club fighters of Philadelphia and they come across Rocky who seems to be the perfect fighter. Apollo takes a liking to his nickname, \"The Italian Stallion.\"That same evening, on the night of Thanksgiving, Rocky and Paulie are walking home and Paulie keeps imploring Rocky to get him a job with Gazzo as a collector, because he hates his current job at a meat packing factory. They reach Paulie's house where Adrian is making Thanksgiving dinner. She comes out of the kitchen to greet Paulie but doesn't realize Rocky is with him. Rocky says 'hello' and she walks back into the kitchen. Paulie goes to talk to her and she runs into her bedroom embarrassed. Paulie gets her out and tells to go out with Rocky for the night, but Adrian claims that it's Thanksgiving and she's cooking a turkey. Paulie goes to the kitchen and grabs the turkey out of the oven and throws it out the back door. Adriana begins to cry and Paulie yells at her to go out. Rocky tells him to forget the date but Paulie instructs him to go talk to her. Rocky walks over to her door and talks to her through the door but doesn't get any feedback. He asks her if she wants to go out with him and have a good time and she opens the door all dressed up ready to go.On Paulie's advice, Rocky and Adrian head for the local ice rink. They look around and see that it's empty and the maintenance man tells them that the rink is closed for the night. Rocky bribes him $10 and they have the rink for themselves for 10 minutes. Adrian's skating as Rocky is running along side her telling her about the fights he's been in and how it's special to him.After their date, Rocky and Adrian go back to his apartment where she is hesitant about going inside. Rocky implores her that its okay and she follows behind him. Inside his apartment, Adrian feels uncomfortable admitting that she's never been in a man's apartment before. Rocky admits he doesn't feel comfortable neither and he's kind of nervous too. She wants to leave but Rocky stops her, trying to cheer her up giving her compliments. He tells her that she wants to kiss her and he does and the two end up kissing in his corner by the door.The next day, Rocky heads for Mickey's Gym and Mick tells him that Jergens' office called asking for sparring partners. Rocky says the same thing to himself and a frustrated Mick yells at him. Rocky asks why after all this time Mick's been giving him the cold shoulder, but Mick refuses to reply. Rocky demands to know and Mick yells at him across the gym that Rocky had the talent and the heart to be a great fighter but instead became a \"leg-breaker\" for the local loan shark and bookie Tony Gazzo. Rocky defends his occupation and that it's a living, but Mick retorts that it's a waste of life and he again calls Rocky \"a bum\".Rocky goes to see Jergens and tells him that he is willing to help out with the sparring training with Creed and tells him that he'd give it his all. Jergens then offers Rocky a proposition into fighting with Creed on the night of the event but Rocky declines. Jergens tells Rocky that it was him that Creed chose to fight and that its a once in a lifetime shot to win the heavyweight boxing title. Rocky takes a minute to consider it.Back at Paulie's house, Rocky, Adrian, and Paulie watch a TV interview with Apollo and Rocky about the upcoming fight and they see that Apollo's been taunting Rocky through the whole session. Paulie tells Rocky that he should break his legs and that he should be able to win the fight. Rocky says that the taunts don't bother him. Adrian tells Paulie has a good chance of winning after Paulie's request to becoming a trainer for Rocky was declined by him. Paulie gets up and storms out of the room cursing loudly. Rocky gets ready to leave and Adrian follows him outside. Before leaving, Rocky admits to Adrian that the stuff said on TV actually hurt him inside.The following evening, Rocky meets with Gazzo outside Pat's Steakhouse grill where they get some steak sandwiches to eat and to talk about Rocky being chosen to fight Apollo. Gazzo gives Rocky $500 for training expenses and wishes him the best.A few hours later, Mick goes to see Rocky at his apartment and he begins telling him about his old days as a featherweight fighter during the 1930s and all the injuries he endured. He tells Rocky that he wants to become a manager for him. Rocky tells him that he asked for help years ago but Mick never wanted to help him. Mick, upset, gets ready to leave as Rocky is sitting in his bathroom. After Mick leaves, Rocky starts shouting to Mick about his asking to help him. Mick is half-way up the street and Rocky runs up to him and apologizes to him and they now become partners.Early the next morning, Rocky gets up at 4:00 a.m. and prepares for a morning run. He drinks a half-dozen raw eggs. Rocky starts his run and at the end, attempts to run up the stairs of the Philadelphia Art Museum but can't reach it all the way because he's out of shape and out of breath.Later, Rocky goes to see Paulie at the meat factory where they talk about Adrian. Paulie, talking \"dirty\" about Adrian, sets Rocky to the point where he admits the truth about why he can't talk to Gazzo about giving Paulie a job working for him because Paulie talks to much. Rocky, ready to leave because of the cold and the smell of the meat factory, a frustrated Paulie begins hitting a huge side of beef hanging from the ceiling, taunting Rock in the process. Rocky steps over and beings throwing punches into the meat, breaking the ribs. Paulie jokes at Rocky saying if he did that to Apollo Creed he'd be put in jail for murder. Rocky takes the meat that Paulie's prepared him for the week and leaves.At Paulie's apartment, Adrian cares to Rocky's cut up hands from hitting the meat. She begins to get intimate with him but he keeps backing her off, telling her that there's no \"foolin' around\" during training. Adrian near upset gets up and goes to the kitchen, Rocky gets up and follows her and apologizes and they embrace.Rocky begins training with Mick and Mike the janitor at the gym. Two girls walk in and ask for Rocky's autograph, Mick shoos them away and tells Rock that \"women weaken legs\" and to lay off \"the pet shop dame\": Adrian. Rocky tells him that he really likes her, and Mick shouts back at Rocky telling him to let her train him for women are a distraction to his training. Rocky takes a second and agrees with Mick and will not fool around anymore.A few days later, Rocky is jogging back to his apartment building where Adrian is waiting on the steps with a surprise for him. She has purchased and given Rocky Butkus, the big Bulldog Mastiff from the pet shop that Rocky liked so much. Rocky begins jogging around with Butkus days later. One day, Rocky and Butkus run to Paulie's workplace to find a TV news van in the back. Rocky finds Paulie and he tells Rocky that he needs publicity but Rocky, now mad, wanted privacy. Rocky and Paulie go inside and meet with the news reporter and they ask Rocky for a demonstration on how he trains with the meat. He begins to jab at the meat as the news camera looks onto him. Tony, Apollo's trainer, is watching the interview and sees that Rocky means business.On Christmas Eve, Paulie is walking home, clearly drunk. Rocky and Adrian are already there watching a Christmas movie on TV. They start talking about Paulie about what he did with the publicity stint back at the slaughterhouse. A drunken Paulie, overhearing the conversation, enters the room and threatens the both of them to leave his house. When they refuse to leave, Paulie grabs a baseball bat and threatens Rocky that he'll break both his arms. He begins swinging at a lamp and then breaks the end table next to Rocky and Adrian. Paulie begins ranting that he never done anything wrong to Rocky and he even let him go out with his sister. Paulie then admits the truth about why he hates Adrian so much and then begins smashing more things with the bat. Paulie shouts at Adrian that she owes him, but Adrian yells back saying that it is she who takes care of Paulie. Another insulting remark by Paulie about Adrian sends her running to her room crying. Rocky angrily grabs Paulie ready to punch him, but Rocky quickly realizes that Paulie is too drunk and weak. Rocky drops Paulie to the floor and walks into Adrian's room to comfort her. She asks Rocky if he'd like a roommate and that she is moving out of Paulie's house.A couple of days later, Rocky is at the gym training again with Mick and Mike. After the session, Mick introduces Rocky to their cut-man Al Silvani. Rocky gets out of the ring as Mick and Al talk, and he begins hitting a heavy bag. Paulie walks in and offers Rocky an advertising job for him. Rocky tells him if he can make money off his name, do it.The famous montage of the movie starts with Rocky running around Philadelphia, then in the gym, hitting a speed-bag, doing push-ups and sit-ups. Then in the meat factory as Rocky hits the meat once more. Rocky then runs up the stairs of the Art Museum and this time, he is able to make it all the way to the top.The next night, Rocky and Adrian are in bed at his apartment but Rocky can't sleep, he gets out of bed, puts his coat on and walks to the Spectrum arena. Rocky stands in the center of the ring and looks around to see that the place is well decorated and ready for the fight. Rocky goes back home as Adrian slowly awakes as Rocky lays down on the bed upset. He tells her that he won't be able to beat Apollo and how no one has ever gone the distance with him before.New Years Day, 1976. On the night of the fight, Rocky and Apollo are both getting prepared. When Rocky gets the cue that it's time. He leaves Adrian down at the locker room as she wishes him good luck. Rocky starts making his way towards the ring as some of the crowd cheers for him. Among the court-side crowd is Paulie with a call-girl, as well as Gazzo with another woman at his side. When he reaches the ring. Rocky, Mick and Mike watch as Apollo comes out in an Uncle Sam outfit in dedication to the new year. He reaches the ring and both of them receive instructions and rules for the fight. They turn to their corners and wait for the bell. The fight begins and Apollo begins throwing punches at Rocky but most of them miss. Apollo apparently isn't taking the fight seriously as he begins to throw a haymaker at Rocky but he dodges it and swings at Apollo knocking him down. The crowd goes wild and Apollo gets back up and the fight continues with the two of them throwing punches at each other and dodging most of them.As the rounds progress, both Rocky and Apollo are getting cut-up and bruised. Rocky's right eye is damaged and can't open it. Apollo is getting tired and hurt badly. At Round 14, Apollo finally knocks Rocky down and Mick instructs him to stay down until the count is up. Adrian comes out of the locker room and watches the ring and believes in Rocky and hopes he'll get up. Rocky gets back up and Apollo, dancing around the ring, sees with distress that Rocky is standing and wants more. Apollo, now exhausted, throws a punch a Rocky, but Rocky ducks and jabs him twice in his right chest breaking his ribs. The bell rings signalling the end of the round and the fighters are brought back to their corners. Rocky claims he can't see anything and tells Mick to cut him in order to open his eye.The bell for the 15th and final round rings, and Rocky and Apollo take their time until Apollo tags Rocky in the face. Rocky moves in as Apollo is now protecting the right side of his ribs. More punches to the faces occur on both of them until Rocky gets the last 10 seconds of the round and beats Apollo senseless and pinning him to the ropes. By this time, the whole crowd is cheering Rocky on by chanting his name over and over. The bell rings signalling the end of the fight. Apollo tell Rocky that there won't be a rematch and Rocky responds that he doesn't want one. The ring is stormed by reporters and both the fighters managers. A reporter asks Rocky questions about the fight as Rocky shouts for Adrian. While Adrian makes her way to the ring, Jergens announces that the fight came out to be a draw and it was a split decision on who won. Apollo is allowed to retain his status at the heavyweight champion and technically wins by default. A blinded Rocky doesn't seem to hear, or be bothered by, the result of the fight as he continues to shout for Adrian.Adrian makes it to ringside to see Paulie being restrained from entering the ring. Adrian sneaks in and runs to Rocky, the two embrace and declare their love for each other.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0044081/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Elia Kazan,who directed the Broadway play on which the black and white film is based, invited Marlon Brando, the male lead, and Kim Hunter and Karl Malden, his supporting cast, to repeat their Broadway triumphs in the film remake.Brando plays Stanley, a poor boy who grew up tainted by ethnic slurs, made financially stable by the fortunes of the second world war. He does well as a blue collar travelling salesman, moves to New Orleans and marries Stella (Hunter), daughter of an Aristocratic MIssissippi family anxious to escape the war;s invitable destruction of her family's land, wealth, property and social status. Stanley has never met his sister-in-law Blanche, the female lead of the play ,Vivien Leigh in the movie remake. Blanche arranges a visit to see her sister in New Orleans and shows up on Stanley's doorstop obviously annoyed that there is neither a guest bedroom for herself nor a master bedroom for her sister and brother-in-law, in their cramped, dingy apartment in a bustling quarter of the city. The tensions of wartime emergency cohabitation of family members somehow forced to move in with each other in tight, cramped quarters because of the fortunes of war are noted when it is obvious that Blanche and Stanley immediately get on each others' nerves, especially when Blanche, who passes herself off as the only Aristocrat in her new neighborhood, is the only one in her new neighborhood who actually resorts to tough bar language and ethnic slurs in passing conversation. This becomes no ordinary domestic quarrel when their tensions escalate beyond a war of words to hurtful, spiteful deeds and then to climatic physical violence. Hollywood icons Marlon Brando and Vivien Leigh are given close, tight photography in their lengthy scenes of escalating conflict, played with such deep insight and such technical brilliance that the audience is given pause, from moment to moment. to decide whether one really has a point and the other should really be apprehended by the authorities. Stanley first wants to know why Blanche seems to be planning to stay for life and what happened to his wife's claim on the family fortune, land, property and social status. Blanche wants Stanley to give up his weekly card game and his weekly bowling tournament with his friends including Mitch (Malden), to stay at home always sweating in his dirtied work clothes because he will have no place to wash and change with a lady in his house, sitting silent like a statue, until he decides it is time to just turn his paycheck over to Stella and move out so Blanche can rule the roost.\n", "When Blanche attracts the attention of lonely Mitch who sees the remnants of her Aristocratic upbringing, Stanley investigates, through a friend travelling in Mississippi, why his emotionally disturbed, alcoholic, child molesting sister-in-law was fired from her job and kicked out of her boarding house. A telling interlude has Stanley striking Stella for interfering with his treatment of Blanche. She escapes to the upstairs apartment of her landlady (Peg Hillias), but is so dependent upon Stanley that she returns to him when he goes into the yard and calls for her to come back. Things do not go well for Blanche when Stella goes to the hospital to give birth to her child just after a teenage boy accuses her of making improper advances when he came to her door to collect money for Stanley's periodical subscription and Mitch dumps her. There is surrealistic moment, to be individually sorted out by each viewer, when Blanche insists she is going to cut up Stanley's face with the jagged edges of a broken liquor bottle and then insists he is going to rape her. The play and the movie cuts from the blackout to a scene some time later when Stella is putting her baby to sleep in the front yard, Stanley is having his card game over, and authorities arrive from the local mental institution to put Blanche away for life.The landlady calls Stella to the bathroom, where Blanche is soaking up her cares in another hot water tub and wants the ladies to dress her in her faded, fake finery so a nonexistent gentleman friend can escort her on a nonexistent world cruise. Stella, Mitch and the landlady seem in agreement that Blanche is an innocent flower ravaged by wartime whom Stanley destroyed with his crude bullying.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0032904/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Tracy Samantha Lord Haven (Katharine Hepburn) is a wealthy Main Line Philadelphia socialite who had divorced C. K. Dexter Haven (Cary Grant), a member of her social set, because he did not measure up to her exacting standards. (He was an alcoholic, and her lack of faith in him exacerbated his condition.) She is about to marry nouveau riche \"man of the people\" George Kittredge (John Howard).Spy magazine publisher Sidney Kidd (Henry Daniell) is eager to cover the wedding, and he enlists Dexter, one of his former employees, to introduce reporter Macaulay \"Mike\" Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey) as friends of the family so they can report on the wedding. Tracy is not fooled but reluctantly agrees to let them stay--after Dexter explains that Kidd has an innuendo-laden article about Tracy's father, Seth (John Halliday), who, Tracy believes, is having an affair with a dancer. Though Seth is separated from Tracy's mother Margaret (Mary Nash) and Tracy harbors great resentment against him, she wants to protect her family's reputation.Dexter is welcomed back with open arms by Margaret and Dinah (Virginia Weidler), Tracy's teenage sister--much to Tracy's annoyance. In addition, Tracy gradually discovers that Mike has admirable qualities. Thus, as the wedding nears, Tracy finds herself torn between her fianc\u00e9, her ex-husband, and the reporter.The night before the wedding, Tracy gets drunk for only the second time in her life and takes an innocent swim with Mike. When George sees Mike carrying an intoxicated Tracy into the house afterward, he thinks the worst. The next day, he tells her that he was shocked and feels entitled to an explanation before going ahead with the wedding. Tracy takes exception to his lack of faith in her and breaks off the engagement. Then she realizes that all the guests have arrived and are waiting for the ceremony to begin. Mike volunteers to marry her (much to Liz's distress), but Tracy graciously declines. At this point, Dexter makes his bid for her hand, which she accepts.(From Wikipedia)\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0056592/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The movie is based on a novel by Harper Lee, who interestingly enough was the assistant to Truman Capote when he did the research for the book \"In Cold Blood.\"The story is told through the eyes of six-year-old Jean Louise \"Scout\" Finch (Mary Badham), a feisty young girl who lives in a small Alabama town with her older brother, Jem (Philip Alford) and their widower father, Atticus Finch (Gregory Peck).There has been an arrest of a black man, Tom Robinson (Brock Peters), accused of raping a white woman named Mayella Ewell (Collin Wilcox). The town is up in arms and there's talk of lynching a \"nigger who's obviously guilty\".At the preliminary hearing, someone needs to be appointed to defend Tom, and Atticus is selected. The town gets ready for a quick and speedy trial. As the trial gets nearer, some of the men in town decide to take matters into their own hands by removing Tom from jail and hanging him.Sheriff Tate (Frank Overton) comes to Atticus and tells him of the impending action. Atticus takes a chair, a lamp and a book down to the jail to sit up all night to guard Tom. But the drunken mob comes anyway and they tell Atticus to get out of the way and let them get on with it.Scott, Jem and their neighbour's nephew Dill (John Mosna) are hiding in the shadows during this interaction between Atticus and the mob. Scout comes out and says \"Hey\" to Mr. Cunningham, a member of the mob. Scout says, \"I said hey, Mr. Cunningham\" again, and it's her presence that defuses the situation.At various times throughout the movie the children discuss the \"crazy\" man who lives down the block. They think \"Boo\" Radley (Robert Duvall) comes out at night and gets little kids and animals. But Boo is to play an interesting part in the story later.Another interesting scene is when the Finch housekeeper, Cal (Estelle Evans) sees a dog coming down the street and it's acting very strangly. She tells someone to go fetch Mr. Finch and the Sheriff. They come and the Sheriff has a rifle. It seems the dog is rabid and someone needs to shoot it before it gets too close. The Sheriff hands the gun to Atticus and says he would prefer if Atticus took the shot. The children don't understand because they have no idea about this side of their father. The Sheriff says their dad is the best shot in the county. Sure enough, Atticus takes down the dog in one shot.Another interesting side story in the picture involves strange happenings with a tree on the block. Jem and Scout begin to find unusual items left in a knot hole in the tree, like a medal, pocket watch, penknife and small soap carvings of Jem and Scout; they see Mr Radley fill the hole with cement one day.The trial begins and it doesn't look good. One of the first witnesses is Bob Ewell, the victim's father. Bob testifies how he came home and saw Tom going out the side door and found Mayella all beat up.Then Mayella gets on the stand and testifies that she saw Tom coming by and tells him to come up to the house to break up a chifforobe and she'll give him a nickel. She says that when she went inside to get the nickel, Tom came up behind her and grabbed her; when she screamed, he hit her about the right side of her head and face. Round about that time her daddy comes up to the house and Tom runs out the side door. Atticus asks her again about how Tom held her and hit her and is she sure. She says over and over that she is sure.Atticus asks Tom to catch something in his left hand. Tom says that he can't use his left arm ever since it was crushed in an accident when he was 12 years old. Atticus points out that if Tom had been the one to strike Mayella, the bruises would be on the left side of her face, not the right.Now Atticus calls Tom to the stand. Atticus asks Tom to tell his version. Tom says he was walking by the house and Miss Mayella asked him to come in the yard and break up the chifforobe. Tom says she was always asking him in to do little chores. After he did the chore, he says that Mayella asked him to come inside to fix a door. Tom freezes at this point, but Atticus gets him to go on. Tom begins to sweat, he describes how Mayella grabbed him, put her arms around him and kissed him. Bob Ewell turned up, saw what was happening, and hollered at Mayella as Tom took off.Despite the obvious evidence presented by Atticus, the all-white jury in 1930's Alabama convicts Tom. Before an appeal can be arranged, Tom is transported for safekeeping; he tries to escape and is shot and killed as he runs away.Later in the year, Scout and Jem are going to a Halloween party. Scout is wearing a ham-shaped costume, out of which she can't see very well. The children decide to take a short cut through the woods, but Jem feels they are being followed. Partway through the woods, the two children are attacked by someone; there's a scuffle and Jem is knocked over. Scout cannot run away fast enough, then a second person arrives on the scene and carries Jem away.Scout eventually runs home, and is met by Atticus. Jem is safe in bed with a bruised eye and badly broken arm. Boo Radley is standing in the shadows behind the bedroom door.\n", "Scout says, \"Hey Boo\".Bob Ewell is found dead at the scene in the woods; it was he who attacked the children and was himself stabbed by Boo protecting the children. The Sheriff decides to assume that Bob Ewell fell on his own knife. Atticus thanks Boo.As Atticus explained early in the film, mocking birds do no harm to anyone, simply singing all day; the film's title refers to the unnecessary harming of innocent creatures.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0043278/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Jerry Mulligan (Gene Kelly) is an exuberant American expatriate in Paris trying to make a reputation as a painter. His friend Adam (Oscar Levant) is a struggling concert pianist who is a long time associate of a French singer, Henri Baurel (Georges Gu\u00e9tary). A lonely society woman, Milo Roberts (Nina Foch) takes Jerry under her wing and supports him, but is interested in Jerry more than his art. Jerry remains oblivious to her feelings, and falls in love with Lise (Leslie Caron), a French girl he meets at a restaurant. Lise loves him as well, but she is already in a relationship with Henri, whom she feels indebted to for having saved her family during World War II.At a raucous masked ball, with everyone in black-and-white costumes, Milo learns that Jerry is not interested in her, Jerry learns that Lise is in love with him, but is marrying Henri the next day, and Henri overhears their conversation. When Henri drives Lise away, Jerry daydreams about being with her all over Paris, his reverie broken by a car horn, the sound of Henri bringing Lise back to him.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0036868/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "At the end of World War II, Fred Derry (Dana Andrews), Al Stevenson (Fredric March) and Homer Parrish (Harold Russell) return home to Boone City. Fred was a decorated captain in the Army Air Forces in Europe, Al a sergeant in the Army who saw action in the Pacific, and Homer a sailor who served on an aircraft carrier in the Pacific. Homer's ship was sunk, killing many of his fellow sailors; his arms were burned off below the elbow and he now uses metal hook prostheses. The three men share first a plane trip then a cab ride and become friends.Although he rose to the rank of captain, Fred was an unskilled soda jerk before the war, while the older Al was a bank executive. Homer was a star athlete engaged to be married to the girl next door, Wilma (Cathy O'Donnell). Aware of how uncomfortable his hooks make people, Homer begins to pull away from Wilma and his family. He feels comfortable only when he is with Al and Fred or hanging out with his Uncle Butch (Hoagy Carmichael), who owns a comfortable tavern. Fred is married to Marie (Virginia Mayo) but can't find her when he returns home, as she has begun to work nights at one of Boone City's night clubs.Al struggles to readjust to family life. His wife, Milly (Myrna Loy) and daughter, Peggy (Theresa Wright), do their best to make him comfortable, but he develops a drinking problem. On his first night home, he insists they go out drinking. At Butch's, they run into Fred and Homer, who has come there to get away from Wilma. Al and Fred get extremely drunk. When Fred passes out in front of Marie's apartment building, Peggy and Milly take him home with them. The next morning, Peggy drives Fred to Marie's building. On the way, they struggle with the fact they are attracted to one another.Al is promoted at the bank. He is now in charge of approving loans to servicemen under the GI Bill. He believes in taking risks on the servicemen even if they don't have any collaterol for loans. Although the director of the bank gently upbraids him in private, he applauds Al's slightly drunken public speech that providing the servicemen loans is tantamount to investing in the country's future. Al knows the bank will continue to question his loan approvals.Fred and Marie initially do well upon his return, when he still has money he earned in the Air Force. But when it runs out, he is forced to return to his job as a soda jerk. This angers Marie, who wants to be married to a dashing, successful, rich military man. Peggy visits Fred at the drug store, and they have lunch together. Afterwards, they kiss. That night, Peggy phones Marie and asks her and Fred out on a double date with a man she is uninterested in. Peggy despises the way Marie speaks of Fred and resolves to break up their marriage. When she tells this to Al and Milly, they tell her that all marriages struggle and that she should leave Fred and Marie alone. The next day, Al orders Fred to never see Peggy again. Fred calls Peggy to break things off, devestating her.Homer continues to isolate himself. Late one night, Wilma comes over and tells him that her parents want her to break off their engagement, though she doesn't want to. He takes her to his room to show her how difficult life will be with him: removing his prostheses, he shows her that he is unable to button his pajamas or even open a door. Tenderly, Wilma buttons his pajamas and tells him that she loves him and will never leave him. Homer finally accepts that people will accept him.Fred is fired from his job when he punches out a man who had told Homer that he and anyone else who died in the war were suckers who fought on the wrong side. Marie takes up with a successful serviceman and announces her intention of divorcing Fred. Disillusioned, Fred decides to leave town for good, leaving behind the medals and citations he won during the war. While waiting for an Army transport plane out of town, he reminisces inside a decommissioned bomber like the one he flew over Europe. When the foreman of the company dismantling the planes tells him the metal will be used to build new houses, Fred talks him into a job.Fred is best man at Homer's wedding to Wilma. He sees Fred for the first time since being ordered to leave Peggy alone. After the ceremony, Fred and Peggy embrace. He tells her that life with him will be hard as he doesn't have much money. She smiles and kisses him.\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0058385/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Henry Higgins (Rex Harrison), an arrogant, irascible professor of phonetics, boasts to a new acquaintance, Colonel Pickering (Wilfrid Hyde-White), that he can teach any woman to speak so \"properly\" that he could pass her off as a duchess. The person whom he is shown thus teaching is one Eliza Doolittle (Audrey Hepburn), a young woman with a horrendous Cockney accent who is selling flowers on the street. After overhearing this, Eliza finds her way to the professor's house and offers to pay for speech lessons, so that she can work in a flower shop. Pickering is intrigued and wagers that Higgins cannot back up his claim; Higgins takes Eliza on free of charge as a challenge to his skills.Eliza's father, Alfred P. Doolittle (Stanley Holloway), a dustman, arrives three days later, ostensibly to protect his daughter's virtue, but in reality simply to extract some money from Higgins, and is bought off with \u00a35. Higgins is impressed by the man's genuineness, natural gift for language and especially his brazen lack of morals (Doolittle explains, \"Can't afford 'em!\").Eliza goes through many forms of speech training, such as speaking with marbles in her mouth and trying to recite the sentence \"In Hertford, Hereford, Hampshire, hurricanes hardly ever happen\" without dropping the 'h', and to say \"The rain in Spain stays mainly in the plain\" rather than \"The rine in spine sties minely in the pline\". At first, she makes no progress (due to Higgins's harsh approach to teaching), but just as she, Higgins, and Pickering are exhausted and about to give up, Higgins softens his attitude and gives an eloquent speech about the beauty and history behind the English language. Eliza tries one more time and finally \"gets it\"; she instantly begins to speak with an impeccable upper class accent.Higgins takes her on her first public appearance to Ascot Racecourse, where she makes a good impression with her stilted, but genteel manners, only to shock everyone by a sudden and vulgar lapse into Cockney; \"C'mon Dover, move your bloomin' arse!\". Higgins, who dislikes the pretentiousness of the upper class, partly conceals a grin behind his hand, as if to say \"I wish I had said that!\"The bet is won when Eliza successfully poses as a mysterious lady of patently noble rank at an embassy ball, despite the unexpected presence of a Hungarian phonetics expert trained by Higgins. Higgins's callous treatment of Eliza afterwards, especially his indifference to her future prospects, leads her to walk out on him, leaving him mystified by her ingratitude. When she is gone however, he comes to the horrified realization that he has \"grown accustomed to her face.\" Putting aside his resentment about the intrusion on his life and toward women in general, Higgins finds Eliza the next day and attempts to talk her into coming back to him. During a testy exchange, Higgins's ego gets the better of him, and his former student rejects him.Higgins makes his way home, stubbornly predicting that Eliza will be ruined without him and come crawling back. However, his bravado collapses and he is reduced to playing old phonograph recordings of her voice lessons. To Higgins' great delight, Eliza chooses that moment to return to him.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0052618/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Judah Ben-Hur (Charlton Heston) is a wealthy merchant living in Judea at the time of Christ. Under the influence of the oppressive Roman Empire, the land seethes with talk of revolt, and Caesar has sent more soldiers to quell the potential uprising. The new Tribune Messala (Stephen Boyd) once lived in Judea as a boy, and longs to rekindle his old friendship with Judah, but when they meet it is obvious that Messala has been changed by the years he has been away, fighting the enemies of the Empire. He is harsh and calculating, driven by ambition, and eager to prove himself to Caesar. Asking Judah for help in rounding up the local dissenters, they argue, and when Judah refuses to betray his own people Messala declares that they must be either friends or enemies, and leaves in anger.A few days later the Romans parade through the city in a show of force, and as they pass the house of Hur, Judah's sister leans out over the balcony for a better look. She dislodges a few roof tiles which fall onto the new Governor as he rides by, and Messala seizes an opportunity. Arresting Judah, his sister and mother, he throws them all into prison. Judah learns that he is to be condemned without trial or hearing, and flies into a desparate rage. Breaking free from his jailers, Judah smashes his way into Messala's chamber, demanding to know why he has done this evil deed. Messala calmly explains that by condemning an old friend without hesitation, he will show the rest of Judea that he is to be feared. \"I asked for your help Judah,\" says Messala, \"and now you've given it to me.\" He dismisses Judah to the death of a slave in the galleys, and leaves the mother and sister to rot in prison.Chained to a group of criminals, Judah is marched through the desert. Barely alive, they pass though a village called Nazareth, where a compassionate young man gives him water. Gazing into his eyes, Judah is filled with wonder, and recieves the life-giving gift of a simple drink. When an angry Roman guard barks the young man rises and the guard stares into his face, percieving something there that, perhaps for the first time in his life, forces the Roman to back down. Judah is marched away with the other condemned men, but continues to gaze back at the man who saved his life.Years pass. Judah rows his life away in the galleys. When the new centurion Quintas Arrius (Jack Hawkins) comes aboard, he puts all the slaves to a test of endurance, looking for any with enough spirit to defy him. Judah, filled with hate for the Romans, catches his eye. Soon the fleet engages the enemy in battle and in the mayhem, Arrius is cast overboard only to be saved by the slave Judah Ben-Hur. Finding his fleet victorius, he returns in triumph to Rome with Judah at his side and after a time adopts him as a son. A rich and influential man once again, Judah's thoughts return to Judea and the vengeance he has sworn on Messala.Along the road to Judea, Judah meets a Arab Sheik and an old wise man named Balthasar, one of those who followed the star of Bethlehem at the time of Christ's birth. Balthasar now seeks Christ grown into a man, and befriends Judah, sensing the goodness of his soul, but also the hatred for an old enemy. Finding that Judah is skilled in chariot racing, Sheik Ilderim coaches Judah to ride his team of white horses in the upcoming race against Messala and his notorious blacks. Judah accepts and prepares to meet Messala in the arena. When he learns of Judah's return, Messala is astonished, but quickly begins to plot again. In the arena, many fortunes can change.Entering the arena, the contestants line up and await the signal from the governor, Pontius Pilate. He drops a white cloth, and the race is on. In this spectacular contest many other teams crash, and Judah and Messala collide time and again, striving for the lead. When Messala, consumed by his desire to defeat Judah, crashes his chariot into another, he is thrown out and dragged behind his own stampeding horses, then trampled by others as they race around the track. Judah rides to a glorius victory, and the shattered body of Messala is carried away.As his life ebbs, Messala confronts Judah one last time, and tells him that his mother and sister are not dead as was thought, but alive, condemed to the living death of lepers. Cackling at his final victory over Judah, Messala gasps his last. \"The game goes on Judah!\" he hisses as he dies. A stunned Judah goes forth, his victory hollow, the vengeance he'd sought meaningless.Seeking release from his hatred, Judah walks through the city, encountering Balthasar again, who has now found the living Christ he was seeking. Begging him to come and hear the words of Jesus, he tries to help Judah and ease his pain, but to no avail. Judah cannot live with the thought of his beloved mother and sister suffering in the valley of the lepers, and seeks them out. Tenderly carrying them into the city, he finds it empty, as everyone has gone to the trial of Jesus. Hiding in the shadows, they all witness the suffering of Christ as he is led to his crucifixion. As Jesus passes, Judah recognises him as the young man who'd saved his life with a simple drink of water in the desert. Amazed, he pushes through the guards, and as Jesus falls, Judah carries a gourd of water to him and helps him to drink. Gazing in wonder once more into his eyes, Judah is touched by Christ.At the site of the Crucifixion, Judah and Balthasar weep at the cruelty, and watch as the sky turns dark. Judah's mother and sister take shelter in a nearby cave, and cry out in terror as the Earth trembles, and lightning slashes the sky. A flash of light reveals their leprosy had been healed, a miracle they do not understand, but for which they thank God. Judah returns to his home, finding his family healed and restored to him, and finding also that the sacrifice of Christ has taken the hatred out of his heart and saved his soul.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0059113/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "\tA high ranking Russian General has arrived at an industrial project office. It is night and this man is there on personal business: He is looking for his niece. Somehow, in the past decade, he has managed to find her, or at least someone who appears to be the daughter of his half brother\n", ".\n", "The would-be niece is skeptical, and afraid. General Yevgraf Zhivago tells her the details of the life of his half brother as he knows it. This is the movie.Yuri Zhivago is a boy, only 8 years old, when his mother dies, somewhere in central Asia, not far from Mongolia. Yuri is adopted by very close friends of his mother, the Gromykos, an upper class family with a home in Moscow and a country estate near the Ural Mountains. The Gromykos have a daughter, Tonya, who is the same age as Yuri.Yuri, now a young man, becomes a doctor, preferring to see \"life\" in General Practice rather than be a researcher. He is also an accomplished and published poet. Late one winter evening, a lonely group of socialist demonstrators is slaughtered by a Czar Cavalry Unit. Yuri witnesses the entire event from his balcony and attempts to care for the wounded. He is forced back into his home by the soldiers. He is shaken by the event.The following winter, at a music recital, Yuri's mentor is summoned to treat a woman who has attempted suicide, possibly by drinking Iodine. Yuri accompanies his mentor and sees \"life\" first hand. It is at this woman's home where he first sees Lara, the daughter of the woman. He is smitten. Shortly thereafter, at a Christmas party, the engagement announcement of Yuri and Tonya is interrupted by Lara shooting Komarovsky, Lara's sometime lover and companion. Komarovsky is only slightly wounded and Lara is escorted out of the party by her fianc\u00e9, Pasha.World War I erupts and Yuri is posted to a field unit far to southwest near Ukraine. Lara is a volunteer nurse in the same area. Her husband (Pasha), disappears during a battle, and is presumed dead. As the summer of 1917 ends, the October Russian Revolution occurs, changing the entire political landscape. World War I for the Russians had begun to wind down the previous summer, ending in the winter. Yuri and Lara, having worked together in an old country estate converted to a hospital, are the last to leave the now empty facility. They are clearly in love with each other, but have managed to keep their passions suppressed.Yuri returns to his Moscow home to find his step-mother deceased, and his home (his step father's home) occupied by 13 additional families. The Bolsheviks are now in full control of the large cities, and collectivization has begun. But Moscow is in trouble; with virtually no food supplies or heating fuel (wood), the impending Russian winter will be deadly. One night, Yuri decides to steal some fence boards that can be burned. He is observed by Yevgraf (now a policeman and party official) and is followed home. Yevgraf knows this man is his half brother and rather than arrest Yuri, the two connect for the first time. But the works of Yuri Zhivago, the published poet, has fallen out of favor with the authorities putting the lives of Yuri, his wife Tonya, his son Shasha, and his step-father Alexander, in danger. Yevgraf arranges all the necessary travel papers and the family of 4 departs Moscow eastbound in a crowed boxcar. Their destination is Yuriatin, the small town near the family's country estate at Varykino.Enroute, the train stops due to civil war activity in the area. Yuri wanders away from his train, only to stumble into the military train of a communist general. The general turns out to be the husband of Lara, Pasha. But Pasha has taken on a new name, People's Commander Strelnikov. He has become a renegade, and uses his army to fight the remaining White Russians however he can. Strelnikov and Zhivago discover they have seen each other before, at the party where Komarovsky was shot. Suspicions that Yuri is an assassin or spy are determined to be groundless and Strelnikov uncharacteristically releases Yuri. Yuri and family reach their distant estate.It is early spring. The main house has been sealed by the local communist authorities, but the gardener's cottage remains available. The family gets the vegetable garden back in shape, and settles in for what is expected to be a multi-year stay. The family thrives, and remains in the cottage, living almost invisibly. That summer, the czar and his family are executed. The family remains in the cottage through the winter.Finally, the next summer, Yuri takes the short trip into Yuriatin. Lara has lived in Yuriatin for about a year, having returned there in search of her husband, Pasha (Strelnikov). Yuri and Lara meet in the local library, and an affair between the two begins. But Yuri cannot live with the conflict of the affair. His pregnant wife loves him deeply, and so does Lara. Yuri rides into Yuriatin to break off the affair.On the way home, Yuri is kidnapped by a Red Partisan unit and is drafted to be their medical officer. A year and a half later, in the dead of winter, Yuri wanders away from the Red Guard Unit, deserting. Yuri makes his way back to Yuriatin, discovering that his family has left Varykino for Moscow. He goes to the only other place he knows, Lara's small apartment. Starving and nearly dead, Lara brings him back to health. Lara gives Yuri a letter from Tonya, addressed to him care of Lara. The letter is dated 6 months earlier. Tonya had known of Yuri's affair, and Tonya and Lara had met. Yuri's family has escaped back to Moscow, and is being deported from Russia. Shortly thereafter, Komarovsky unexpectedly appears at Lara's apartment. He brings news that Lara's husband Strelnikov is \"gone\", Yuri is considered a deserter, and their days are numbered. Komarovsky offers help by way of transportation to the far east of Russia, Vladavastok, from which they can go anywhere in the world. Lara and Yuri refuse the offer, but know Komarovsky is right, their days are numbered.Lara and Yuri move themselves to Varykino, and occupy a small portion of the main house. They stay there through most of the remaining winter. Again, Komarovsky finds them and tells them that Strelnikov has been arrested just 5 miles from Varykino. Lara and Yuri must now move quickly to survive. They accept Komarovsky's offer of protection and transportation to Manchuria, and leave Varykino immediately. But Yuri remains behind, ostensibly to bring his own sledge to the train station. Lara and Komarovsky wait for Yuri on the train at the Yuriatin train station, but Yuri does not arrive. The train leaves, and Lara announces to Komarovsky that she is pregnant with Yuri's child.Eight years pass. Yuri is found in Moscow by Yevgraf, in poor health, malnourished and jobless. Yevgraf arranges for Yuri to get his old job back at the hospital and sees him off at the street car stop on his first day. On the ride, Yuri thinks he sees Lara walking in the direction of the street car. He attempts to get off the car, succeeds and collapses in the street. He dies of a heart attack.At the memorial, huge numbers of people pay their respects, much to Yevgraf's amazement. One of those people is Lara, and Lara is searching for her daughter Tonya, lost somewhere near Mongolia during the far east civil war. Yevgraf and Lara search Moscow's orphanages, but Tonya is not found. Speaking of Lara, Yevgraf narrates: \"One day she went away and didn't come back. She died or vanished somewhere in one of the labor camps; a nameless number on a list that was after-wards...mislaid. That was quite common in those days.\"The story his been told, and the scene returns to the project office. Although Tonya, now a young woman of about 18, wants to believe who were her parents, but only if the fact is true. Morning has come, and Yevgraf makes a final request, that Tonya think about establishing with Yevgraf a family relationship. Neither have any relatives, and Tonya promises to think about it.Tonya and Yevgraf part on what promises to be a beautiful day.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0066206/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Against a backdrop of the Stars and Stripes, General George S. Patton (George C. Scott) addresses his troops on the eve of battle. His uniform is impeccable, his medals uncountable, and his ramrod demeanor unassailable. As he speaks to the men about to embark on their first great adventure, his manner runs the gamut from stern, to jovial, amused, profane and reverent. To Patton, it is obvious that war is the greatest expression of the human condition.North Africa, 1942: In their first encounter with Rommel's Africa Corps, the Americans are badly beaten. In the post-battle assessment, Gen. Omar Bradley (Karl Malden) decides what's needed is the best tank commander they've got. Patton answers the call and arrives amid wailing sirens and a cloud of dust. He's also early and catches most of the soldiers off guard, a mistake they quickly learn not to make again. Believing the casual attitude displayed by the troops to be the primary source of their defeat, he quickly begins to set things to rights. Patton's belief in himself is unshakable, and there's only one way to get things done-his way. Quickly establishing discipline and routine, he commands his men with an iron fist. He also has great respect for the Germans he's up against, and has studied the tactics of Rommel in the field.In Berlin, the Germans are also assessing Patton. His reputation is considerable, and they study his idiosyncracies looking for a clue to the man's character. They note he is a romantic, reads the Bible daily, swears like a stableboy, and believes in reincarnation. Rommel, when asked what he intends to do about Patton, simply replies \"I will attack and annihilate him.....before he does the same to me.\"Soon the Germans move against the American positions in Tunisia, and Patton watches in fascination from his command post in the hills nearby. Anticipating Rommel's plan, he routs the Germans, and gives the Americans their first victory, further inflating his ego. North Africa now has two prima donnas; Patton, and the equally egotistical British commander, Field Marshal Montgomery (Michael Bates). Naturally, they come to dislike each other intensely, and as the African campaign draws to a close, plans are made for the invasion of Italy. Patton wines and dines the appropriate officals, and pitches his own plan to invade through Sicily. Montgomery has other plans, and when Monty's are adopted over his own, Patton, outraged, vows to outdo the Field Marshal at all costs.Sicily is invaded, and Montgomery's troops fight their way up the East coast against heavy German resistance. Patton is assigned the support role of guarding Montomery's flank, but soon adopts another plan and begins to push across the island, taking the long way around. First taking Palermo, then pushing East to Messina, he races Montgomery to the finish line, pushing his men to the breaking point and creating dissension among his commanders. They do not wish to sacrifice more American casualties to Patton's ego.Soon, Montgomery and the British forces march into the liberated city of Messina amid the cheering populace. Flags wave and the pipers play as they march triumphantly into the town square; Monty has done it. He's driven the Germans out of Sicily and beaten Patton to the punch. Abruptly, the pipers falter, and fall silent. Monty quickly marches to the fore to investigate, and finds Patton, his tanks and troops neatly arrayed behind him, standing there silently with an insufferable smile on his lips. He'd arrived hours ago, and was waiting only to greet his old rival.As the Italian campaign continues, Patton becomes more controversial. During a routine inspection of wounded men in a field hospital, he encounters a shell-shocked soldier crying in a corner and becomes enraged with what he perceives as a display of cowardice. Slapping the soldier, he rages at him and orders him sent back to the front. This outburst gets Patton the first serious setback he's ever experienced. A rebuke from his commander and an order to apologize to all concerned quickly follow, a bitter pill indeed for the general. Forced to swallow his pride, he stands before the assembled troops and tersely gives his explanation, then turns on his heel and marches away.The war grinds on. Patton is called to England prior to D-Day, and believes he will be commanding the invasion, but finds that his big mouth and bigger ego have gotten him into too much trouble. He's become a liability to the fragile alliance Eisenhower is trying to hold together to fight the Germans, so Patton's orders are to shut up and stay out of trouble. Chafing at what may be his last chance to be in a great battle, he'll do anything to get back in the game. Arriving in France days after the invasion, he meets with General Bradley again, who puts Patton on probation and gives him a chance to redeem himself. Grateful for the opportunity, Patton quickly shows the rest of the world what he can do, chasing the Germans clear across France, and gaining more ground in less time than any other allied outfit.Christmas approaches, and the Germans mount a final major counter-attack at the Battle of the Bulge. Caught off guard, the American troops are trapped and surrounded, and only a miracle can save them. Patton vows to provide one. Marching his men north at breakneck speed, he amazingly arrives in time and relieves the trapped Americans, grabbing the limelight once more. Now it's on to Germany, and as the war winds down, Patton becomes despondent at the impending cessation of hostilities. All too soon, Patton's mouth gets him in trouble again as he first snubs the Russians, and then compares the defeated Nazis to other political parties in the U.S. Another uproar ensues, and Eisenhower is forced to relieve Patton once again.Having proved himself one of the greatest military commanders of WWII, he now faces a future and a world that no longer need him. Recalling history, he ruminates: \"For over a thousand years, Roman conquerors returning from the wars enjoyed the honor of a triumph - a tumultuous parade. The conqueror rode in a triumphal chariot, the dazed prisoners walking in chains before him. Sometimes his children, robed in white, stood with him in the chariot, or rode the trace horses. A slave stood behind the conqueror, holding a golden crown, and whispering in his ear a warning: that all glory is fleeting.\"\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0073195/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Late one night, on one of the many beaches of Amity Island off the coast of New England, local teenagers throw a bonfire party, tossing back the booze and playing music. Chrissie Watkins (Susan Backlinie), a beautiful blonde, catches the eye of Tom Cassidy (Jonathan Filley) and leads him away from the frivolities towards the water where she begins to strip down. She invites him for some moonlit skinny dipping and dives into the water as Tom struggles to undress on the shore. Inebriated, Tom collapses and passes out on the sand. Chrissie continues to swim out to deeper waters when she feels a sharp tug on her leg. Confused, she gasps in panic as she is tugged again before being pulled under water. She breaks the surface, screaming as something thrashes her around violently. She screams for help again before submerging one last time and then the water is still.Amity Island is a small, beachside community that prides itself in its humble traditions and popular oceanfront. Despite the population of locals on the island, the community depends on tourism as a major source of economic support and waits eagerly for each summer to arrive when herds of mainlanders come to savor Amity's shores.Martin Brody (Roy Scheider), the new Chief of Police, receives a call at home regarding Watkins' disappearance. Following the report made by Tom Cassidy that she was last seen off the coast, Brody goes to the beach with his deputy Jeff Hendricks (Jeffrey Kramer) to search for clues. They don't need to look very long; within a few moments Hendricks stumbles upon Chrissie's mangled corpse.At the police station, Brody waits for the coroner's (Robert Nevin) report at his desk while the secretary relays the crime reports of the day; nothing more serious than a few kids 'karate-chopping' picket fences. The coroner then calls with his report. Brody hangs up and contemplates for a moment before typing the cause of death on Chrissie's report: 'Shark attack'. Unwilling to waste any time, he goes to the local hardware store and gathers supplies for making signs to close the beaches. His intentions are quickly noticed by Mayor Vaughn (Murray Hamilton) who attempts to sway Brody's notion that a shark was directly involved in Chrissie's death. He explains that she could very well have swam out too far and gotten tired before being mangled by a boat's propellers. During a town meeting, Brody tries to reassert his belief that Chrissie's death was caused by a shark and that he wants to close the beaches for the safety of the public, much to the dismay of the island's business owners. Vaughn, however, garners the coroner's support who admits that Chrissie could have been killed by a boat propeller. Vaughn reiterates to Brody that he doesn't want to act too hastily. Closing the beaches would sentence Amity Island to a dreary summer without tourists and they cannot afford to lose that source of income, especially with the Fourth of July approaching.Over the course of the next couple of days, tourists flock to the island, brought over from the mainland by ferry. One particular day, Brody sits on the beach, scanning the water nervously as people frolic in the surf, splashing and calling to each other. A young man ( nm5026721) plays fetch with his Labrador retriever in the surf. An elderly man wearing a swim cap, Henry Wiseman (Alfred Wilde), approaches Brody and chides him about his apparent fear of water. \"Thats some bad hat, Harry,\" Brody replies, annoyed. Young Alex Kintner (Jeffrey Voorhees) takes his inflatable, yellow raft and asks his mother (Lee Fierro) if he can take it out in the water. With her consent, he rushes into the surf. While Brody continues to keep watch, the beachgoers continue their fun, splashing loudly. The young man who had been playing with his dog calls to the unresponsive pooch, the fetching stick floating in the water. All at once Brody notices a large, grey object emerge out of the water and overturn the young boy on his yellow raft. Alex is tossed into the water and pulled under as his blood turns the sea red. The other swimmers begin screaming and leave the water as Brody ushers them back to shore. Mrs. Kintner approaches the water's edge, calling for her son. The only response is the lap of waves on the shore, pushing Alex's torn and bloody raft onto the beach.Shortly after, Mrs. Kintner issues a $3000 reward for the capture of the shark and a meeting is held between the town's business owners, attended by Mayor Vaughn and Brody. Brody assures the townspeople that they are assigning extra deputies and bringing in an expert from the Oceanographic Institute for advice on the matter but the main concern in town is if the beaches will be closed. Brody's 'yes' is responded with a string of criticism but Mayor Vaughn quickly interjects that the beaches will be closed for only 24 hours. The uproar of the townsfolk is suddenly cut short by the screeching sound of nails on a chalkboard behind them. Local fisherman Quint (Robert Shaw) remains seated as he calmly explains that a shark like this is not one to be trifled with and he has no interest in such meager compensation. He offers to capture and kill the shark himself for $10,000 which no one stands to offer. Quint quietly leaves, a wry smile on his face.Brody returns home and, the following day, tells his eldest son Michael (Chris Rebello) that he's not to go anywhere near the water. Ellen thinks him to be acting a bit too harshly, even when Michael tests his new sailboat in the shallow water in front of their home. When she sees a picture in a book that Brody's holding of a shark attacking a small boat and puncturing the hull, however, she shouts for Michael to listen to his father and get out of the water.That very evening, two men decide to take matters into their own hands and fashion a large hook baited with a pork roast. They toss it out from a dock and it attracts the attention of the shark. However, their attempt to be heroes nearly turns fatal when the dock they've secured the line to is detached and pulled out into the water by the beast, taking one man with it. He fortunately manages to swim back to his friend as the dock eerily turns and follows him back to shore, eventually drifting back on its own, harmless.Amateur shark hunters and fisherman from all over descend on Amity Island hoping to get a claim to the $3000 reward that has apparently been advertised expansively by Mrs. Kintner. They crowd the waters surrounding the island, creating some tension to local swimmers. Among the horde of newcomers is Matt Hooper (Richard Dreyfuss), who has arrived from the Oceanographic Institute. He is escorted by Brody to examine and give his professional opinion on the remains of Chrissie Watkins. After viewing the body and recording his observations, a visibly shaken Hooper angrily informs Brody and the coroner that no boating accident killed Watkins. \"It was a shark,\" he states defiantly.Meanwhile, some of the local fisherman have successfully caught a large shark and haul it back to town where the body is strung up for all to see. The townsfolk are ecstatic to see such a large find and are overjoyed and convinced that the killer has been caught. However, most are ignorant to the species until Hooper and Brody arrive. Hooper takes a look at the shark and informs everyone that it's a tiger shark and that the bite radius does not match up with the marks he found on Chrissie's corpse. Mayor Vaughn objects and claims that the beaches should be reopened but Hooper maintains that he won't be completely satisfied until he can cut open the shark for more conclusive evidence. Vaughn, however, is not eager to do so in public at the risk of seeing the 'little Kintner boy spill out over the dock'. At that moment, Mrs. Kintner arrives on the scene, clad in a black, mourning dress. She addresses Chief Brody and slaps him across the face, informing him that she found out about Chrissie's death and accuses him of keeping the beaches open and letting people swim when he knew there was a shark out there. When she leaves, Vaughn consoles Brody and tells him that Mrs. Kintner is wrong. \"No she's not,\" replies Brody.Unsatisfied with how his findings took to the water, Hooper visits Brody for dinner that night, sharing his theories with Ellen Brody (Lorraine Gary) who is none too pleased about the presence of a large shark in the area but stands by her husband's intuition. Hooper discusses the possibility of a rogue shark in the area while Brody chugs his wine. Hooper explains that a rogue shark will often claim territory to an area where the feeding is good and will remain there until the food source is gone. Brody agrees to take Hooper down to the docks to cut open the tiger shark and find out, once and for all, if this is indeed the shark that's been terrorizing the island. Hooper cuts out the stomach and, in a mess of bile and seawater, recovers a few fish, a tin can, and a license plate from Louisiana that confirms his suspicions that the shark swam up to Amity from the warmer waters of the Gulf of Mexico. There is, however, no sign of any human remains and Hooper tells Brody that he's 'still got one hell of a fish out there' and measures out a space with his hands to show how big it's mouth might be.That night, Brody and Hooper continue their investigation and Hooper decides that some reconnaissance out on the water is needed, much to Brody's dismay. With sonar equipment installed on his boat, Hooper drives the boat out to deeper waters until the sonar detects a large object just ahead of them. Aiming their lights out, they find a half submerged fishing boat that Brody recognizes as Ben Gardner's (Craig Kingsbury), a local fisherman. Hooper bravely opts to take a closer look underwater and dons scuba gear despite Brody's protests. Hooper dives under and examines the hull of the ship, soon discovering a gaping hole in the side where a rather large tooth is embedded. As he peers closer into the hole, the ghostly torso of Ben Gardner appears, his one remaining eye gazing out in horror. Terrified, Hooper panics and drops the tooth as he scrambles back onto his own boat.The next morning, he and Brody attempt to reason with Mayor Vaughn, who seems more concerned with an act of vandalism on one of Amity's billboards. The graffiti sprayed on the image of a woman swimming altered her face to one of horror and included a large, black fin following her in the water. Hooper tries to convince Vaughn that, based on his findings, the proportions on the drawing are actually correct and that, with the evidence of Gardner's boat and his remains towed back to the island and the tooth he found, the existence of a large, killer shark, namely a Great White, cannot be ignored any longer. Vaughn is adamant, however, saying that without the evidence of the tooth, there's no proof that the shark isthat the beaches will remain open for the Fourth of July and tells Hooper that losing the tooth is very convenient for him and he most likely wants nothing but the publicity to get him in the National Geographic.Hooper can only laugh at the insult as Vaughn walks away.On July 4th, the beaches are flooded with mainlanders and tourists. Brody and Hooper have their hands full keeping order and making sure that enough security is patrolling the beaches, including boats full of patrolmen with rifles and shark spotters. However, the increased precautionary measures create tension among the beachgoers, making them hesitant to enter the water. Vaughn notices this and convinces one of his local friends to take his wife and grandchildren out. They do so nervously but this encourages more people to enter the water and releases the tension. Brody patrols the beach while Ellen takes care of their youngest son, Sean (Jay Mello). Michael and a friend begin to take his new sailboat out but Brody tells them to take it to the estuary where it's safer. Suddenly, a shark fin appears in the water and everyone begins to scream in panic, stampeding back to the shore and knocking a few hapless swimmers over. Vaughn watches in disbelief as Brody oversees the situation. The patrol boats quickly scramble towards the fin but discover that it is false; a prank pulled by a couple of boys in snorkel gear.As the chaos winds down, a girl painting on the edge of the estuary sees a dark fin with the shadow of its body beneath it. She cries out 'shark' but the general reaction is desensitized by the fin hoax. Brody responds to the call and quickens his pace when Ellen reminds him that Michael is in the estuary. Michael and his friend sit in their sailboat and are approached by a friendly man (Ted Grossman) in a rowboat before both crafts are suddenly capsized. Michael surfaces and watches in horror as the man attempts to return to his rowboat, only to be eaten alive by the massive shark. His severed leg sinks to the bottom of the estuary and the shark swims back into open water. Michael and his friend are brought safely ashore, though Michael is unconscious from shock. He is later brought to the hospital and Brody confronts Vaughn in the lobby and demands that immediate action be taken now that there's no doubt in anyone's mind that they have a killer shark around the island. Vaughn, shaken and distressed, realizes his mistakes and tells Brody that his family was on the beach too. He allows Brody to do what's necessary.With Vaughn's signature approval, Brody hires Quint to hunt the shark, promising the fee he'd demanded earlier. At Quint's boathouse, Brody and Hooper discuss with him the terms of the voyage. From the start, Quint looks down upon Hooper for his academic prowess and believes that it will not serve him any good out on the raw sea. However, Brody insists that both he and Hooper will accompany Quint despite his belief that they have no nautical experience -- Hooper mentions that he's crewed three TransPac sailboats, justifying his experience at sea. When Hooper ties a 'sheep shank' knot with ease, Quint relents. Come morning, they meet at the docks and prepare Quint's ship, Orca, for the voyage. Hooper brings his own hi-tech equipment including harpoons, tracking devices, scuba gear and tanks, and a shark-proof steel cage, though Quint is less than impressed with the safety guarantee on the cage.Once at sea, they attempt to attract the shark by chumming the water with fish guts and blood. Hours pass and Quint sets up a baited line with piano wire and fashions it to a rod secured against a fishing chair. He waits as Brody practices his knot work and Hooper plays cards. Quint's line begins to pull and he eases into his chair, quietly fastening straps to his shoulders and adjusting the rod. Just when Brody successfully knots his rope, the line jerks forward, taken by something far under. Hooper projects that the taker might be a sports fish, like a marlin, but Quint assures them that it's 'their' fish. The line is pulled under the boat and Quint marvels at the fish's clever move until the line completely snaps. Quint and Hooper argue over what might have taken the line and Quint suggests that Hooper doesn't have the education to admit his error; that no regular fish could have severed piano wire. Hooper makes a series of dirty faces and climbs up to the bridge.Later on, and still with no sign of the shark, Brody is assigned to chum duty, a job that he has come to detest. As he smokes a cigarette, he scoops out the chum and blindly throws it into the water while casting Quint a contemptuous look. Suddenly, the massive shark surfaces, its mouth agape, but only for an instant. Brody quickens to a stand, having seen enough of the shark to be fearful. He backs slowly into the cabin and tells Quint that he's 'going to need a bigger boat'. At that moment, Hooper sees the shark begin to circle the boat and Quint rushes out to see it. He wages a 25 footer, three tons and orders Hooper and Brody to action. Quint grabs his harpoon gun and instructs Hooper to tie the other end of the rope attached to it to one of the large, yellow bins on the boat. Quint shoots a total of three harpoons, each trailing a yellow bin, into the shark but it doesn't show the slightest bit of fatigue and easily disappears below the surface as Hooper manages to attach a tracking device to it.Quint is at first disdainful towards Hooper after the shark escapes but, that night, the men bond after sharing drinks and comparing scars they've received by some of the deep's more dangerous creatures. Hooper and Quint realize they have more in common than they thought and begin to bond. Brody points to one scar on Quint and he reveals that he'd had a tattoo removed, a tattoo that represented the US Navy cruiser\n", "'Indianapolis'. He tells the story of how he was on the ship the day two Japanese torpedoes blasted a hole in the side large enough to sink the ship in minutes. Quint and some 1,100 men went in the water but, by the time rescue arrived, only 300 survived, some dying of thirst or exposure but most getting attacked and eaten by sharks. Quint's hatred for sharks is evident, describing them as lifeless with doll's eyes and how terrible it was to see and hear the men around him picked off. Worse yet for him is the survivor's guilt he feels. When help finally did arrive, Quint vowed never to wear a life jacket again. As Quint finishes his story, the men sing a sea shanty as the three yellow barrels break the surface of the water outside. As they finish their song, the boat is bumped repeatedly and violently by the shark causing minor leaks. Quint runs onto deck and fires shots at the fleeing shark, evident only by the barrels trailed in its wake and they quickly disappear beneath the waves.The next day the hunt for the shark continues. When they spot the three barrels floating in the water, Quint instructs Hooper to collect them with a hook and secure the rope to cleats at the stern of the boat. The shark begins to swim off again and Hooper's legs are nearly crushed when the rope is pulled taught. Quint drives the boat forward at full throttle but, despite the power, the shark manages to drag the boat backwards, threatening to capsize it, until the cleats rip out of the stern. Out of options, and with the barrels no longer attached to the shark, Quint allows Hooper to try a new method. Hooper opts to submerge himself in the shark cage, hoping that the shark will swim close enough that he can inject it with a harpoon filled with strychnine nitrate. Brody protests but Hooper angrily retorts, \"You got any better suggestions?\" as he puts on his scuba gear.In the cage, Hooper is ambushed by the shark which begins to rip the cage apart, making short work of the metal. Hooper loses his harpoon but is able to escape and swim down to the reef while the shark destroys the cage. Brody and Quint bring up the remains but, before they can do anything, the shark leaps out of the water, landing on the stern, crushing the transom. The boat upends and Brody and Quint hang on for dear life as the shark's jaws gnash and water fills the cabin. Quint loses his grip and slides right into the shark's mouth. The jaws come down on Quint's midsection several times and drags his lifeless body into the sea. As the Orca begins to sink, Brody retreats into the cabin and finds one of Hooper's spare scuba tanks just as the shark barrows through the side, breaking the window. Brody beats it on the nose with the tank before throwing the whole thing into its mouth. The shark backs away as Brody climbs out of the cabin and climbs onto the boat's mast with a rifle in his hand. As the shark circles again and charges Brody, now lying angled on the mast, he aims the rifle at the shark and fires off a few shots, missing. Finally, he takes close aim. \"Smile, you son of a bitch,\" he says, and fires, hitting the tank and detonating it in a violent explosion. The force rips the shark apart and its body sinks to the sea floor as Brody laughs happily.Brody grabs hold of a piece of flotsam as Hooper surfaces, unharmed. Together they create a makeshift raft and begin paddling back to shore as seagulls descend on the remains of the shark.\"I used to be afraid of the water,\" Brody admits.\"I can't imagine why,\" Hooper replies.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0112573/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In the 13th Century England, after several years of political unrest in Scotland, the land is open to an invasion from the south. King Edward I of England (Patrick McGoohan) has decided to conquer Scotland. After invading Scotland and winning the war by 1280 A.D., Edward (known as 'Longshanks') grants areas of land in Scotland to his nobility which they are to rule, along with the traditional privileges. One of the privileges granted to English lords ruling Scotland was Primae Noctis, the right for the lord to take a newly married Scottish woman into his bed and spend the wedding night with the bride. Longshanks' plan is to breed out the population of Scotland.In the northern Scottish town of Lanark, a young boy named William Wallace, follows his father and brother to a meeting of Scottish nobles, arranged by Longshanks himself. When Wallace Senior and his older son arrive at the meeting place, they see that the Scots have all been hanged, along with their servants. William also sees the hanging corpses and panics when his father finds him.Wallace Senior attends another meeting where it's decided that they will go to war with the English. William wishes to accompany his father and brother, however, his father tells him to stay home and mind the farm. A few days later, Campbell Senior, William's best friend's (Hamish) father arrives at the farm. William's father is killed in battle, as was his brother. Following the funeral, William is given a thistle by a young girl. William's uncle, Argyle, arrives on horseback and tells William that he'll be leaving home with him. That night William and Argyle listen to bagpipers play a tribute for William's dead family. Argyle tells William that the pipes are outlawed. He also sees William's interest in his sword and tells William that he'll give him a traditional education and teach him how to fight later.Ten years later, the adult William Wallace (Mel Gibson) returns home to his father's farm. He reconnects with his old friend Hamish. At a community wedding, Wallace sees the local magistrate take the bride for himself according to \"primae noctis.\" Wallace also falls in love with his childhood sweetheart Murron MacClannough (Catherine McCormack), the young girl who gave him the thistle at his father's funeral, and they marry in secret so that she does not have to spend a night in the bed of the English lord.The Scots continue to live under the iron fist of Longshanks' cruel laws. Wallace intends on living as a farmer and avoiding involvement in the ongoing \"troubles\" in Scotland. When an English soldier tries to rape Murron, Wallace fights off several soldiers and the two attempt to flee, but the village sheriff captures Murron and publicly executes her by slitting her throat, proclaiming \"an assault on one of the King's soldiers is the same as an assault on the King himself.\" In retribution, Wallace returns to the village, seemingly ready to surrender. He attacks his captors and joins several villagers as they slaughter the English garrison. Wallace himself brutally executes the sheriff in the same manner that he executed Murron.Following their triumph, Wallace is compelled to fight against the English who have taken over his homeland and enslaved himself and his countrymen and women. In response to Wallace's exploits, the commoners of Scotland rise in revolt against England. As his legend spreads, hundreds of Scots from the surrounding clans volunteer to join Wallace's militia. Wallace leads his army through a series of successful battles against the English, including the Battle of Stirling Bridge (September 11, 1297) where Wallace's Scots are outnumbered by the English army.Afterwords, the victourious Scots invade northern England and sack of the city of York and kill its lord, the nephew of Longshanks himself. During his campaign, Wallace seeks the assistance of young Robert the Bruce (Angus MacFadyen), son of the leper noble Robert the Elder (Ian Bannen) and the chief contender for the Scottish crown. However, Robert is dominated by his scheming father (who suffers from leprosy and lives in seclusion, seen only by his son), who wishes to secure the throne of Scotland to his son by bowing down to the English, despite his son's growing admiration for Wallace and his cause.King Edward Longshanks, worried enough by the threat of the rebellion, poses to send the French princess Isabelle (Sophie Marceau) to try and negotiate peace with Wallace. Princess Isabelle is the wife of Prince Edward (Peter Hanly) the Prince of Wales and Longshanks' oldest son. The King sends her because his son is a weak-willed man and would not be imposing enough to negotiate, but she is a strong leader.Longshanks also knows that if Wallace kills her, the French king will declare war on Wallace in revenge. Wallace rejects the offer of a title, an estate and a chest of gold that Longshanks has told Isabelle to offer and continues with the fighting. However, during their conversation, Isabelle tells Wallace that she understands his suffering and that she has heard about the death of his wife. They share a moment of understanding and she becomes charmed by him.For Wallace to continue fighting, he needs the Scottish nobility on his side, contributing troops and food. But Wallace has problems convincing the nobility that they have a real chance to take back the country from the English. The nobles think that the Scots will lose and the English will treat them even worse than they are treated now. Also, the nobles are getting money from England and live quite well. Some of them are more concerned that this money continues to come and that their standard of living continues to be the best instead of looking after their people.Robert the Bruce is particularly torn over what he sees as his duty to the people to free them and what his father tells him to do to keep in good with the English and earn his crown.Two Scottish nobles, Lochlan and Mornay, planning to submit to Longshanks, betray Wallace at the bloody Battle of Falkirk the following year on July 22, 1298 as a new and larger English army, led by King Edward Longshanks himself, invades Scotland to crush the Scots rebellion once and for all. The Scots lose the battle due to Longshanks clever use of his long-bowmen and his massive reserves which outnumber the Scots. Wallace nearly loses his life when, in a last desperate act, he furiously breaks ranks and charges toward Longshanks to kill him personally. He is intercepted by one of the king's hooded lancers and knocked from his horse, but gains the upper hand when the lancer dismounts to examine the fallen Wallace. Wallace is set to kill the lancer, but upon taking the lancer's helmet off, discovered his opponent is Robert the Bruce. Bruce is able to get Wallace to safety just before the English can capture him, but laments his actions for some time to come because of what Wallace has stood for, which he betrayed.Over the next seven years, Wallace goes into hiding and wages a protracted guerrilla war against the English. In order to repay Mornay and Lochlan for their betrayals, Wallace brutally murders both men: Mornay by crushing his skull with a flail in his bed chamber and Lochlan by slitting his throat during a meeting of the nobles at Edinburgh and dumping his body on their banquet table.In 1305, as Wallace's guerrilla war continues, Princess Isabelle of France meets with Wallace as the English king's emissary. Having heard of him beforehand and after meeting him in person, she becomes enamored with him and secretly assists him in his fight. Eventually, she and Wallace make love, after which she becomes pregnant.Robert the Bruce contacts Wallace to set up a meeting, where the Bruce intends to declare his intent to join Wallace and commit troops to the war. Still believing there is some good in the nobility of his country, Wallace eventually agrees to meet with Robert the Bruce in Edinburgh. However, Robert's father has conspired with the other nobles to set a trap and Wallace is captured. He is beaten until he is unconscious and then handed over to the English. Learning of his father's treachery, the younger Bruce disowns his father.In London, Wallace is brought before the English magistrates and tried for high treason. He denies the charges, declaring that he had never accepted Edward as his King. The court responds by sentencing him to be \"purified by pain.\" After the sentencing, a shaken Wallace prays for strength during the upcoming torture and rejects a painkiller brought to him by Isabelle. Afterward, the princess goes to her husband and father-in-law, begging them to show mercy. Prince Edward, speaking for the now terminally ill and mute King Edward Longshanks, tells his wife that the king will take pleasure in Wallace's death. Isabelle verbally lambastes her husband and father-in-law, then informs the weakened Longshanks of her pregnancy with Wallace's child and swears that Edward will not last very much longer as king. The mute Longshanks is shaken and unable to tell his son of her plans.Wallace is taken to a square at the Tower of London for his torture and execution by beheading. He refuses to submit to the king and beg for mercy despite being half hanged, racked, castrated, and disemboweled publicly. Awed by Wallace's courage, the Londoners watching the execution begin to yell for mercy, and the magistrate offers him one final chance for mercy. Using the last strength in his body, the defiant William instead shouts, \"Freedom!\" Just as he is about to be beheaded, Wallace sees an image of Murron in the crowd smiling at him, before the blow is struck.Epilogue. On June 24, 1314, nearly nine years after Wallace's death, Robert the Bruce, now a Scottish king and still guilt-ridden over his involvement Wallace's betrayal, leads a strong Scottish army and faces a ceremonial line of English troops at the fields of Bannockburn where the English under their new king, Edward II (who had ascended the English throne upon the death of his father Edward Longshanks in 1307), are to accept him as the rightful ruler of Scotland. Just as he is about to cross the field to accept the English endorsement, the Bruce turns back to his troops. Invoking Wallace's memory, he urges his charges to fight with him as they did with Wallace. Robert then turns toward the English troop line and leads a charge toward the English, who were not expecting to fight.The film ends with Mel Gibson's voice intoning that the Scottish won their freedom in this battle.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0060196/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The film tells the story of three men who pursue, often at the expense of others, information about the location of a buried treasure of coins. The first character introduced in the movie is Tuco Benedicto Pacifico Juan Maria Ramirez (the Ugly) - called Tuco - (Eli Wallach), who has a bounty on his head for numerous crimes. Tuco has a partnership with Blondie (The Good, played by Clint Eastwood) in which the latter turns him in for the reward money which the two then split after Blondie saves Tuco from hanging at the last moment. Meanwhile, a third character called Angel Eyes (Lee Van Cleef, playing the Bad) has learned of a hidden trunk of gold owned by a Confederate soldier named Bill Carson. He sets off to find the gold.Soon, Blondie grows tired of his relationship with Tuco, and leaves Tuco in the desert with no water. Tuco survives and is intent on exacting revenge on his former partner. He finds Blondie, and turns the tables by planning to abandon him in the desert. However, before Tuco can complete his torture in the New Mexico desert, a runaway stagecoach full of dead and dying Confederate soldiers appears. Bill Carson, the man with knowledge of the whereabouts of the gold, dying from thirst, persuades Tuco to get him a drink by disclosing the name of the graveyard where the loot is located. As Tuco goes for the water, Carson dies, but not before revealing the name on the grave to Blondie.Dressed in the uniforms of the dead soldiers, Tuco takes Blondie, near death, to a local Catholic mission run by his brother, a priest. While Blondie recovers, Tuco and his brother (Luigi Pistilli) confront each other about the mistakes each has made in life. After leaving the mission, the two, still impersonating Confederate soldiers are captured and taken to a Union prison camp. Angel Eyes has followed the trail of Bill Carson to the prison camp and is posing as a Union Sergeant.Angel Eyes and his colleague Wallace beat and torture Tuco until he reveals the location of the cemetery. When Angel Eyes learns that only Blondie knows the name, he changes tactics. He proposes a partnership, and accompanied by five or six other killers, they leave to find the coins. Tuco escapes while being transported from the camp by train, in the process killing Wallace. At the nearest town, Tuco encounters a bounty hunter (Al Mulock) he had wounded at the beginning of the film, who seeks his revenge. As Tuco shoots the bounty hunter, Blondie, who is in the same town with Angel Eyes, recognizes the sound of Tuco's gun, seeks him out, and he and Tuco resume their old partnership. Together they kill Angel Eyes' gunmen along the main street, but Angel Eyes himself escapes.Tuco and Blondie stumble on a battle between the Union and the Confederates, fighting for a bridge of questionable strategic value. Since the cemetery is on the other side of the bridge, they decide to destroy it and force the soldiers go somewhere else to fight. While they are setting up the dynamite, Tuco reveals that the cemetery is called Sad Hill and Blondie reveals that the coins are buried in a grave marked by the name of Arch Stanton (Adam S. Gottbetter).On the other side of the river Tuco deserts Blondie by horseback and finally enters the nearby graveyard.Tuco frantically searches around the graveyard for the grave of Arch Stanton. Eventually Tuco finds it, but before he can begin digging he's held at gunpoint by Blondie, who in turn is held at gunpoint by Angel Eyes, who has finally caught up to both of them. However, Blondie reveals that Arch Stanton's grave contains only a decomposing corpse.Blondie then leads the three of them into an empty patch of land in the middle of the cemetery. He writes the name of the real grave under a stone which he places in the center.At the conclusion of a three-way shootout, Blondie shoots Angel Eyes and Tuco finds his gun empty, having been unloaded the previous night by Blondie. Blondie then reveals that the real location of the coins is a grave marked \"Unknown\" right next to Arch Stanton. Tuco digs up the loot from the grave only to find himself once again staring down the barrel of Blondie's gun, who now holds a noose in his hand. After placing Tuco into the noose, fastening it to a nearby tree and making Tuco stand on the unstable wooden cross of one of the graves, Blondie takes half the coins and rides away while Tuco cries for help. In a dramatic twist, Blondie turns around to shoot the rope above Tuco's head, as he used to do in their times of partnership, freeing him one last time before riding off as Tuco screams in rage.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0064115/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Wyoming, c. 1900s. Butch Cassidy (Paul Newman) and the Sundance Kid (Robert Redford), the leaders of the famous Hole in the Wall Gang, are planning another bank robbery. As they return to their hideout in Hole-in-the-Wall, they find out that the gang has selected a new leader, Harvey Logan. He challenges Butch to a knife fight, which Butch wins, using a ruse. Logan had the idea to rob the Union Pacific Flyer train instead of banks. He wanted to rob it twice, the idea being that the return would be considered safe and therefore more money might be involved. Butch takes this idea as his own.The first robbery goes very well and the Marshal of the next town can't manage to raise a posse. Butch and Sundance listen to his attempts, enjoying themselves. Sundance's lover, Etta Place (Katherine Ross), is introduced. But obviously both men vie for her attention as she also goes bike-riding with Butch, a dialogue-free part of the film, accompanied by \"Raindrops Keep Falling on My Head.\"The second robbery goes wrong. Not only does Butch use too much dynamite to blow the safe, but also a second train arrives, which is carrying a posse of six heavily armed men on horseback that has been specially outfitted to hunt Butch and Sundance down. The gang flees, but the entire posse follows Butch and Sundance. They try hiding in a brothel in a nearby town that night, but are betrayed. When they find out the posse is continuing to follow their trail, they try riding double on a single horse in the hope that the posse will split up, but that fails. They then arrive in a nearby town and try to arrange an amnesty with the help of a friendly sheriff (Jeff Corey) of Carbon County. But the sheriff tells them they have no chance of getting one, and that they will be hunted down until they are killed by the posse.Still on the run the next day, they muse about the identities of their pursuers. They fixate on Lord Baltimore, a famous Indian tracker, and Joe Lefors, a tough, renowned lawman, identifiable by his white skimmer hat (which the lead posse member is wearing). After climbing some mountains, they suddenly find themselves trapped on the edge of a canyon. With their unseen persuers on their tail, they decide to jump into the river far below, even though Sundance can't swim and would prefer to fight.Later that day, they arrive at Etta's house and learn from the local newspapers all about the posse and the identities of their persuers and that they have been paid to stay together until they kill Butch and the Kid. They decide it's time to leave the country. Destination: Bolivia.After a montage of showing Butch, Sundance, and Etta of their travels to New York, they arrive in a small Bolivian village at the end of the world. Sundance already resents the choice. Their first attempted bank robbery stops before it gets off the ground, as they are unable to speak or understand Spanish. Etta teaches them the words they need. Their next robbery is clumsily executed, as Butch still needs his cribsheet. After each robbery, they seem to get better, until they are sought by the authorities all over Bolivia.However, their confidence drops as one evening when Butch, Sundance, and Etta are having dinner at a fancy restaurant in a nearby town when they see a man wearing a white straw hat standing on the other side of the street talking to a few men. Fearing that Lefors is once again after them, Butch suggests going straight, so as to not attract Lefors' attention.They get their first honest job as payroll guards in a mine, directed by an American, named Garris (Strother Martin). However, on their first working day, they are attacked by highwaymen. Garris is killed, and Butch and Sundance are forced to kill the Bolivian robbers. Ironically, Butch had never killed a man in his entire criminal career, but while they are attempting to go straight, he is forced to kill the bandidos. Since they seem unable to escape violence regardless of their occupation, they decide to return to robbery. That evening, Etta decides to leave them as she senses that their days are numbered and she doesn't want to watch them die.A few days later, Butch and Sundance attack a payroll mule train in the jungle, taking the money and the mule. When they arrive in the nearest town, San Vicente, a stable boy recognizes the brand on the mule's backside and alerts the local police. While Butch and Sundance are eating at a local eatery, the police arrive and a climatic gun battle begins.The two of them manage to find shelter in an empty house, but they're soon low on ammunition. Butch makes a run to the mule to fetch the rest of the ammunition while Sundance covers him, shooting several Bolivian policemen. But even the \"fastest gun in the West\" cannot match the twenty or more Bolivian policemen at once. Butch manages to retrieve the ammunition and runs back to the house, but they are both wounded. While tending to their wounds in the house, about 100 soldiers of the Bolivian cavalry arrive and surround the place, eager to get at the notorious 'Bandidos Yanquis'.The wounded pair discuss where they will be going next, realizing that their time is up (Butch suggests Australia, where at least they speak English). They dash out of the house in a futile attempt to get to their horses. The image freezes and slowly turns to a sepia tone tintype while a voice is heard ordering: \"Fuego!\" (Fire), followed by the sound of hundreds of rifles being fired in three consecutive volleys....\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0040897/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Fred Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt) are down on their luck in Mexico and are both victims of a swindle in which workers are hired but not paid by a notoriously corrupt local businessman (Barton MacLane). Intrigued in the local pub by the stories of Howard (Walter Huston), an old burnt-out gold prospector keen on finding business partners to go prospecting, they cannot join him because they don't have enough money. When Dobbs makes a small score in a local lottery, that changes, and they hook up with Howard and set off for the hills.They find land on which much gold can be mined, and they split the gold equally, with each hiding and tending to his individual share. One day, Curtin sees a gila monster (a venomous lizard) and resolves to kill it, but it hides under a rock. Curtin will have to lift the rock to shoot it, but when Dobbs, whose gold, coincidentally, is hidden under this same rock, sees Curtin lifting it, even after seeing the gila monster, he fears that his goods will soon be stolen by one of the others. When another man named Cody (Bruce Bennett) finds them and insists on becoming their partners in prospecting, they resolve to shoot him. Before they do so, however, a group of bandits led by Gold Hat (Alfonso Bedoya) finds them and the bandits try to barter for some of their weapons, but these weapons are indispensable to the men and they refuse to do business. This results in exchange of gunfire, and Cody, who helps to defend the men, is killed. The bandits are ultimately scared away, and gold prospecting continues until they have mined enough gold to be prosperous for the remainder of their lives.All that remains is to take their gold back to the city where they can sell it, but this will require an arduous trip through the desert. Early in the trip, Howard, a man known to be skilled in the ways of medicine, is forced by some primitive local people to return with them to treat an ill child, and has little choice but to trust Dobbs and Curtin to hold his share of the goods until he returns to them. Curtin has every intention of doing this, but Dobbs remains suspicious of Curtin, believing that Curtin will kill him the very moment he goes to sleep. Troubled by this, he tries to murder Curtin, and soon holds all the goods, but he must now make a long trip through the desert alone.Unfortunately for Dobbs, he encounters Gold Hat on his trip, and Gold Hat, who recognizes him, murders him and takes his goods. Gold Hat returns to the city to sell the goods, but once it is determined that he has stolen the goods he holds, he is executed by firing squad. When it turns out that Curtin has survived, and when Howard returns, it soon becomes clear that their fortune is missing, and they share an unexpected laugh, appreciating that, despite their bad luck, they were far more prosperous than Dobbs and Gold Hat.Life, Curtin and Howard understood, would go on, and their unbroken spirit made them symbols of resolve in the face of adversity.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0053604/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "C. C. Baxter (Jack Lemmon) is a lonely office drone for an insurance company in New York City. Four different company managers take turns commandeering Baxter's apartment, which is located on West 67th Street on the Upper West Side, for their various extramarital liaisons. Unhappy with the situation, but unwilling to challenge them directly, he juggles their conflicting demands while hoping to catch the eye of fetching elevator operator Fran Kubelik (Shirley MacLaine). Meanwhile the neighbors in the apartment building assume Baxter is a \"good time Charlie\" who brings home a different drunken woman every night. Baxter accepts their criticism rather than reveal the truth.The four managers write glowing reports about Baxter a little too glowing, so personnel director Mr. Sheldrake (Fred MacMurray) suspects something illicit behind the praise. Sheldrake lets Baxter's promotion go unchallenged on condition that he be allowed to use the apartment as well, starting that night. Sheldrake gives Baxter two tickets to The Music Man to ensure his absence. Delighted about his promotion, Baxter asks Kubelik to meet him at the theatre. She agrees and it is revealed to the audience that she is Sheldrake's girlfriend, intending to break off their affair that night but is instead charmed by Sheldrake to the apartment. Baxter is disappointed at being stood up, but is willing to forgive Kubelik.At an office party on Christmas Eve, Baxter discovers the relationship between Sheldrake and Kubelik, though he conceals this realization, while Kubelik learns from Sheldrake's secretary that she is merely the latest female employee to be his mistress, the secretary herself having filled that role several years earlier. At the apartment, Kubelik confronts Sheldrake with this information and while he maintains that he genuinely loves her, he leaves to return to his family. Meanwhile, a depressed Baxter picks up a woman in a local bar and, upon returning the apartment, is astounded to find Kubelik in his bed, fully clothed and overdosed on Baxter's sleeping pills.Baxter sends his bar pickup home and enlists the help of his neighbour, a physician, in reviving Kubelik without notifying the authorities. The doctor makes various assumptions about Kubelik and Baxter, which Baxter concedes without revealing Sheldrake's involvement. Baxter later telephones Sheldrake and informs him of the situation, and while Sheldrake professes gratitude for Baxter's quiet handling of the matter, he avoids any further involvement. Kubelik recuperates in Baxter's apartment under his care for two days, during which he tries to entertain and distract her from any possible suicidal afterthoughts, talking her into playing numerous hands of gin rummy, though she is largely uninterested.Baxter and Kubelik's absence from work is noted and commented on, with Baxter's former \"customers\" assuming that Baxter and Kubelik were having an affair. Kubelik's taxi-driver brother-in-law comes looking for her and two of the customers cheerfully direct him to Baxter's apartment, partly out of spite since he has been denying them access since his arrangement with Sheldrake. The brother-in-law also assumes the worst of Baxter and punches him several times.Sheldrake, angered at his secretary for sharing the truth with Kubelik, fires her. She retaliates by telling his wife about his infidelities, leading to the breakup of the marriage. Sheldrake moves into a room at his athletic club and continues to string Kubelik along while he enjoys his newfound bachelorhood. Baxter finally takes a stand when Sheldrake demands the apartment for another liaison with Kubelik on New Year's Eve, which results in Baxter quitting the firm. When Kubelik hears of this from Sheldrake, she realizes that Baxter is the man who truly loves her and abandons him, running to the apartment. Baxter, in the midst of packing to move out, is bewildered by her appearance and her insistence on resuming their earlier game of gin rummy. When he declares his love for her, her reply is the now-famous final line of the movie: \"Shut up and deal.\"\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0091763/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Chris Taylor (Charlie Sheen) is a young American who has abandoned a privileged life at a university to enlist in the infantry, volunteering for combat duty in Vietnam. The year is September 1967. Upon arrival in Da Nang, South Vietnam, he sees dead soldiers in body bags being loaded into his plane, but more distressing to him is the shellshocked state of a departing soldier with the \"thousand-yard stare.\" Taylor and several other replacements have been assigned to Bravo Company, 25th Infantry division, \"somewhere near the Cambodian border.\" Worn down by the exhausting work and living conditions, his enthusiasm for the war wanes quickly and he develops an admiration for the more experienced soldiers, despite their reluctance to extend their friendship.One day, another new arrival, platoon commander Lieutenant Wolfe (Mark Moses) discusses the plans for a patrol later that night with the platoon sergeants: the compassionate Sergeant Elias (Willem Dafoe), harsh but hard core Staff Sergeant Barnes (Tom Berenger), cowardly, sycophantic \"lifer\" Sergeant Red O'Neil (John C. McGinley), and drug addict Sergeant Warren (Tony Todd). Barnes and Elias argue over whether to send the new men out on a patrol that is likely to be ambushed. O'Neil insists that the new troops go out instead of several men under him who are nearly finished with their tours of duty. Barnes agrees, only on the condition that O'Neil goes out as well.That night, North Vietnamese soldiers set upon Taylor's sleeping unit. Gardner (Bob Orwig), a fellow new recruit, is killed, and another soldier, Tex (David Neidorf), is maimed. Despite having passed the watch duty to Junior (Reggie Johnson), a more experienced but consistently irresponsible soldier who fell asleep, Taylor is blamed for the casualties (O'Neil is also to blame, having thrown the grenade that maimed Tex). Immediately after the fighting, Taylor discovers a light wound to his neck, and he is sent to the field hospital for treatment.A few days later, Taylor returns to his unit from the hospital and, through a soldier named King (Keith David), gains acceptance from the \"heads\", a tight-knit group led by Elias that socializes, dances, and takes drugs in a private bunker. Next door, Barnes leads the more traditional members of the unit whom drink beer and play cards and don't smoke marijuana. Taylor becomes a more seasoned soldier as the patrols continue and soon no longer stands out amongst the others.During one patrol on New Years Day, January 1, 1968, two members of the platoon, Sandy (J. Adam Glover) and Sal (Richard Edson) find an abandoned bunker and are killed when they stumble upon a booby trap attached to a box of documents. Shortly after, a soldier named Manny Washington (Corkey Ford) goes missing. His mutilated body is found tied to a post close by. The platoon is infuriated by the senseless death of their comrade and are ordered to report to a nearby village of South Vietnamese citizens.The platoon reaches the village, where a food and weapons cache is discovered. The other soldiers explore the village. In one house, Taylor discovers a mute and mentally disabled boy and his mother hiding in a hole beneath the floor. Taylor harasses and taunts the retarded boy by shooting his rilfe at his feet, but stops himself short of killing the boy. However, Bunny (Kevin Dillon) then takes over and beats the boy to death with his gun, even though Sgt. O'Neil orders them to leave the hut. While questioning the village chief, Barnes loses his patience and senselessly kills the man's wife despite his denials that they are aiding the Viet Cong. Barnes is about to murder the man's young daughter to force him to tell them to where the enemy is, when Sergeant Elias arrives at the scene and starts a fistfight with Barnes. Lieutenant Wolfe, passive during the shooting of the wife, eventually ends the fight, and relays orders from his own superior officer to burn the village. As the men leave, a group of four soldiers, including Bunny and Junior, drag a young Vietnamese girl into the bushes with the intention of raping her. Taylor comes upon them and stops the group from raping the girl. His comrades ridicule him for stopping them.Upon returning to base, Elias reports Barnes' actions to Captain Harris (Dale Dye), who cannot afford to remove Barnes due to a lack of personnel. However, Harris threatens to court martial Barnes if there is evidence that he murdered an unarmed civilian. O'Neil and Bunny, nervous about the possibility of an investigation, speak to Barnes and Bunny suggests \"fragging\" Elias. A narrating Taylor speaks of this as \"a civil war in the platoon. Half with Elias, half with Barnes.\" Taylor talks with Elias one night and Elias tells him that the United States is due for a loss in war because they'd been mostly successful in past wars. He also confesses that he's disillusioned with America's mission in Southeast Asia, that he used to believe it was winnable even a few years ago, but knows now that it's not.On their next patrol the platoon is ambushed and pinned down in a firefight by unseen enemy soldiers. Flash (Basile Achara) is killed and Sergeant Warren (Tony Todd) and Lerner (Johnny Depp) are badly injured in the resulting skirmish. Lieutenant Wolfe calls in wrong coordinates for artillery support, resulting in the deaths of Fu Sheng (Steve Barredo), Morehouse (Kevin Eshelman), and Tubbs (Andrew B. Clark) and the severe wounding of Ace (Terry McIlvain). Big Harold (Forest Whitaker) has his leg blown off by a trip-wired booby trap while trying to escape the artillery barrage. Elias, with Taylor, Rhah (Francesco Quinn), and Crawford (Chris Pedersen), go to intercept flanking enemy troops. Though Lt. Wolfe is commanding officer, Barnes takes command. He orders the rest of the platoon to retreat to be airlifted from the area, and goes back into the jungle to find Elias' group. After sending Taylor, Rhah, and Crawford (who has been shot in the lung) back, Barnes finds Elias. Barnes fires three rounds into Elias' chest and leaves him for dead. Barnes runs into Taylor and tells him that Elias is dead and that he'd seen his body nearby. Barnes orders Taylor back to the landing zone. After they take off, the men see a severely wounded Elias emerge from the jungle, running from a large group of NVA soldiers. He dies after being shot several more times by the NVA while the American helicopters futilely attempt to provide him cover overhead.At the base, Taylor tries to talk his dwindling group of six \"heads\" into killing Barnes in retaliation, claiming that when he'd met Barnes in the forest after shooting Elias, that the look on Barnes' face told him the truth. While King agrees, Doc Gomez (Paul Sanchez) believes they should wait for \"military justice\" to decide Barnes' fate. Rhah reminds Taylor how much he admired Barnes when he first arrived, and that Barnes isn't meant to die, noting that on several previous occasions Barnes has sustained wounds that ought to have proved mortal: \"the only thing that can kill Barnes, is Barnes.\" Barnes then appears, very drunk with a bottle of bourbon, having overheard Taylor calling for his murder. He enters the room, daring them to kill him. No one takes up the offer but as Barnes leaves, Taylor attacks him. Barnes quickly gets the upper hand, pins Taylor down and holds a knife to his face. Rhah urges him not to do it, telling Barnes he'll be court-martialed and imprisoned, and he leaves, slashing Taylor under the eye.A few days later, the platoon is sent back to the ambush area in order to build and maintain heavy defensive positions against a potential attack. Rhah is promoted to Sergeant, commanding the remains of Elias' squad. The platoon is so severely weakened, though, that there are numerous gaps in their defense. When this is pointed out to him, Lt. Wolfe only replies that he doesn't \"give a fuck\" any more. The troops try to prepare for the incoming battle, during which they know the majority of them will die. Just hours before nightfall, King is allowed to go home as his tour of duty has come to an end. O'Neil tries to use Elias' R&R; days for himself in order to escape the impending battle (in which he believes he will die). When he asks Barnes for permission, Barnes refuses, saying, \"Everybody gotta die some time, Red.\" Junior tries to escape the battle by spraying mosquito repellent onto his feet and passing it off as trench foot, a ploy that Barnes recognizes right away. Bunny states that he feels no remorse for the murders he has committed, saying that he enjoys Vietnam, and goes on to proclaim himself to be \"Audie Murphy\", a famous and highly decorated World War II hero.Francis (Corey Glover), one of the last few remaining \"heads\", is assigned to the same foxhole as Taylor. That night a large attack occurs and the American defensive perimeter is broken and the camp overrun by hundreds of attacking North Vietnamese troops. Taylor and Francis take on and cut down several attacking enemy troops until they both pause when they hear signal whistles from the unseen NVA sergeants ordering their men to cease fire. Hearing a Vietnamese voice over a bullhorn and understanding that the NVA are ordering RPGs up to the line to blow up the foxhole they are in, Taylor grabs Francis and both of them crawl out of the foxhole seconds before it's hit by an RPG. Taylor and Francis then attack and kill several enemy soldiers that overrun their destroyed foxhole until Taylor loses it during the fight and charges off into the carnage, shooting one enemy soldier after another.Meanwhile, the NVA attack against the base continues relentlessly. The command bunker is destroyed by a NVA suicide bomber (Oliver Stone makes a cameo as the doomed battalion commander inside the bunker). During the massed North Vietnamese Army attack, many members of the platoon are killed, including Lt. Wolfe, Parker (Peter Hicks), Doc, Bunny, and Junior when their foxholes are overrun. O'Neil survives only by hiding himself under a dead body. The desperate company commander, Captain Harris, orders the Air Force pilots to \"expend all remaining\" inside his perimeter. During the chaos, Barnes and Taylor come face-to-face. As Barnes is about to kill Taylor with a shovel, the two are knocked unconscious by the last-ditch American napalm attack.A wounded Taylor regains consciousness the next morning with a serious wound to his lower abdomen. He soon finds Barnes, who is also wounded after being shot in both legs during the battle. Taylor takes an AK-47 rifle from a dead enemy soldier and aims it at Barnes, who lays helpless on the ground. Nonetheless, Barnes feels at first not threatened, and he dismissively orders Taylor to call a medic. When Taylor does not comply, but instead continues to aim his weapon, Barnes (deranged to the last) dares him to pull the trigger by saying: \"Do it!\" Taylor shoots Barnes three times in the chest, killing him. Taylor then drops his rifle, collapses, and awaits medical attention.Interestingly, although not in the script, Taylor is seen on the verge of pulling the pin of a grenade that he found, only to drop it as reinforcements come to Taylor. (Charlie Sheen thought that Taylor would be committing suicide after killing Barnes. Oliver Stone thought that the mistake was good so he decided to keep it in the film.)Francis emerges from his foxhole and stabs himself with a bayonet in order to be evacuated as a casualty. O'Neil is found by other Americans, and Harris (much to O'Neil's distress) gives him command of the platoon. As he is loaded onto the helicopter, Taylor is reminded by Francis that because they have been wounded twice, they can go home. Back at the bombed-out command post, hundreds of NVA bodies are being dumped into mass graves. After bidding farewell to Rhah, Francis, Tony Hoyt (Ivan Kane) and Ebenhoch (Mark Ebenhoch) (his last surviving friends in the platoon; the other survivors are Rodriguez (Chris Castillejo), Huffmeister (Robert Galotti), and O'Neil), Taylor boards his helicopter. The helicopter flies away and Taylor weeps as he stares down at the destruction, while he (from a future perspective) narrates that he will forever be in Vietnam, with Barnes and Elias battling for what Rhah called \"possession of his soul\", and that he believes he and other veterans must rebuild themselves, and find goodness and purpose in their lives.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0044706/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0099348/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "During a US Civil War battle, Union Army Officer Lieutenant John J. Dunbar (Kevin Costner) learns that his injured leg is to be amputated. Seeing the plight of fellow soldiers with amputated legs, Dunbar refuses amputation and attempts suicide by riding a horse across the line of fire, between the opposing Union and Confederate positions. His action has the unexpected effect of rallying his comrades, who storm the distracted Confederates and win the battle. After the ensuing battle, an experienced general's surgeon saves Dunbar's leg. The commanding officer recognizes Dunbar as a hero and gives him Cisco, the horse who carried him in battle, and offers Dunbar his choice of posting.Dunbar, anxious to see the Western frontier before it ends, requests transfer west. After meeting with Major Fambrough (Maury Chaykin), who has slipped into delusions of grandeur (apparently believing he is a king and Dunbar a medieval knight), he is paired with a drayage teamster named Timmons (Robert Pastorelli), who conveys Dunbar to his post. After the departure of Timmons and Dunbar, Fambrough commits suicide with his own pistol.After a scenic journey, Dunbar and Timmons arrive with fresh supplies at the desolate Fort Sedgwick, finding it deserted except for a lone wolf that Dunbar later befriends and dubs Two Socks, because of the coloring of its front legs. Dunbar, while waiting for reinforcements to arrive, sets about bringing order the deserted post, left in complete disarray by its previous occupants. Meanwhile, Timmons, while returning to their point of departure, is ambushed by Pawnee Indians and scalped. Timmons' death and the suicide of the major who sent them there prevents Union officers from knowing of Dunbar's assignment to the post, effectively isolating Dunbar. Dunbar remains unaware of the full situation and its implications. He notes in his journal how strange it is that no more soldiers join him at the post.Dunbar initially encounters Sioux neighbors when the tribe's medicine man, Kicking Bird (Graham Greene), happens upon the fort while Dunbar bathes out of sight, and, assuming it abandoned, attempts to capture Cisco. After Dunbar scares off Kicking Bird, he is confronted by an aggressive warrior named Wind in His Hair (Rodney A. Grant), who declares that he is not scared of the white man. Eventually, Dunbar establishes a rapport with Kicking Bird, but the language barrier frustrates them. On his way to visit the tribe's camp, Dunbar interrupts the suicide attempt of Stands With A Fist (Mary McDonnell), a white woman captured by the tribe as a child and recently widowed, who recovers and acts as a translator. Dunbar finds himself drawn to the lifestyle and customs of the tribe, and becomes a hero among the Sioux and accepted as an honorary member of the tribe after he helps them locate a migrating herd of buffalo, which they depend upon as a source of food, material, and clothing.Dunbar further helps defend the settlement against a Pawnee raiding party, providing the Sioux warriors with surplus rifles and ammunition from the fort. He eventually is accepted as a full member of the tribe. After members of the tribe witness him playing with Two Socks, he is named ugm\u00e1nitu Taka Ob'wahi (\"Dances with Wolves\"; ugm\u00e1nitu Taka means large coyote, the Lakota word for wolf). Dunbar falls in love with Stands With A Fist, a relationship forbidden by the recent death of her husband in battle but consummated in secret. The two eventually win the approval of Kicking Bird, who takes on the role of her father, and marry. Dunbar subsequently spends more time living with the tribe than manning his post at Fort Sedgwick. Wind In His Hair, his last rival, acknowledges him as a friend.Dunbar's idyll ends when he tells Kicking Bird that white men will continue to invade their land in \"numbers like the stars.\" They tell Chief Ten Bears (Floyd 'Red Crow' Westerman), who decides it is time to move the village to its winter camp. As the packing finishes, Dunbar realizes that his journal, left behind at the deserted fort, is a blueprint for finding the tribe, revealing that he knows far too much about their ways. Wearing Indian clothing, he returns to Fort Sedgwick to retrieve the journal but finds it is has suddenly been occupied by newly arrived Army troops. They see Dunbar and initially assuming he is an Indian, kill his horse Cisco and capture Dunbar.When they recognize Dunbar as a white man, they treat him as a deserter, and beat him during an interrogation. Dunbar tells Lt. Elgin (Charles Rocket) (whom Dunbar met earlier in Maj. Fambrough's office) that he has a journal containing his orders for his posting to Fort Sedgwick. Spivey (Tony Pierce), one of the first soldiers to arrive at the fort, denies the existence of the journal, which he had found and has in his pocket. After further beating, Dunbar declares in the Lakota language that his name is Dances With Wolves. Army officers and a few troops set off to deliver Dunbar to Fort Hayes for execution. When they happen upon Two Socks, they shoot at the wolf, who refuses to leave Dunbar. Despite his attempts to intervene, Two Socks is fatally wounded, and the convoy moves off.Soon after, Wind In His Hair and other warriors from the tribe attack the column of men, rescuing Dunbar. Smiles A Lot (Nathan Lee Chasing His Horse) retrieves Dunbar's journal floating in a stream. After returning to the winter camp, Dunbar realizes that as a deserter and fugitive, he will continue to draw the unwelcome attention of the Army and endanger the welfare of the tribe if he stays with the Sioux. Under the protests of his Sioux friends, Dunbar decides that he must leave the tribe, saying he must speak to those who would listen. His wife decides to accompany him.As Dances With Wolves and Stands With A Fist leave the camp, Wind In His Hair cries out that Dances with Wolves will always be his friend, a remembrance of their first confrontation. Shortly afterward, a column of cavalry and Pawnee army scouts arrive to find their former camp site empty.\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0253474/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "\"The Pianist\" begins in Warsaw, Poland in September, 1939, at the outbreak of the Second World War, first introducing Wladyslaw (Wladek) Szpilman, who works as a pianist for the local radio. The Polish Army has been defeated in three weeks by the German Army and Szpilman's radio station is bombed while he plays live on the air. While evacuating the building he finds a friend of his who introduces him to his sister, Dorota. Szpilman is immediately attracted to her.Wladyslaw returns home to find his parents and his brother and two sisters, packing to leave Poland. The family discusses the possibility of fleeing Poland successfully and they decide to stay. That night, they listen to the BBC and hear that Britain and France have declared war on Germany. The family celebrates, believing the war will end once the Allies are able to engage Germany.Wladek meets with Dorota, who accompanies him around Warsaw to learn of the injustice Jewish people have to face under the new Nazi regime. Conditions for Jews on Warsaw have quickly deteriorated. Businesses that were once friendly to them now won't allow their patronage. Wladek's father is harshly forbidden to walk on the sidewalk in the city by two German officers; when he begins to protest, one of the men hits him in the face. The family soon has to move to the Jewish ghetto established by Nazi rule. The Holocaust is starting, and the family, though well-to-do before the war, is reduced to subsistence level, although they are still better off than many of their fellow Jews in the overcrowded, starving, pestilential ghetto.Wladyslaw takes a job playing piano at a restaurant in the ghetto, turning down an offer to work for the Jewish Police, and the family survives, but living conditions in the ghetto continue to deteriorate and scores of Jews die every day from disease, starvation, and random acts of violence by German soldiers. By 1942, the aged father must apply for working papers through a friend of Wladek's, so that he can take a job in a German clothier. However, the day comes when the family is selected to be shipped to their deaths at the Treblinka concentration camp. As the family sits under the blazing sun in a holding pen with hundreds of other Jews waiting for the trains, the father uses the family's last 20 zlotys to buy a piece of candy from a boy (who apparently isn't aware of his own impending doom). Each family member eats a tiny morsel of candy, their last meal together.As they are going to the trains, Wladyslaw is saved by Itzak Heller, a Jewish man working as a police guard. Wladyslaw watches the rest of his family board the train, never to be seen again. He hides for a few days, and blends in with the ten percent or so of the Jews that the Nazis kept alive in the ghetto to use for slave labor, tearing down the brick walls separating the ghetto and rebuilding apartment houses for new, non-Jewish residents. He is put to work, under grueling, abusive conditions, building a wall. He thinks he sees Dorota, but she passes quickly. He learns that some of the Jews are planning an uprising, and helps them by smuggling guns into the ghetto. At one point, he is almost caught by a German officer, who suspects that Wladek is hiding something in a sack of beans. After this close call, he decides he must escape and take his chances in the larger city, so with the help of friend, Majorek (who was the friend that got his father working papers), he escapes and finds Dorota, who is now married and pregnant, and her brother dead.They hide Wladyslaw for one night, and the next day take him to a vacant apartment near the ghetto wall, where he can live indefinitely on smuggled food; he must be silent however, since several non-Jews also live in the building and believe the apartment is empty. There, Wladek watches the Jewish Ghetto Uprising of April/May1943, for which he helped smuggle the weapons, and watches weeks later as the uprising is finally crushed and its participants killed. Later, the man who had been taking care of him and smuggling food to him wants to move him, but he decides to stay put, feeling safer where he is. His friend gives him an address to go to in case of an emergency, and leaves, gravely warning Wladek not to be caught alive by the Nazis. Wladyslaw remains in the apartment a few more months until he has an accident , breaking some dishes. The noise has blown his cover, and he has to scurry out of the building, being chased by an angry German woman.Wladek goes to the emergency address he was given, where he meets another man who is with the Polish resistance, who have been hiding Jews. This man hides Wladek in another vacant apartment, where there is a piano, but his new caretaker, Szalas, is very slack about smuggling in food, and Wladyslaw once more faces starvation, and at one point almost dies of jaundice. Dorota and her husband visit him, finding him gravely ill. They report that Szalas had been collecting money from generous and unwitting donors and had pocketed it all, leaving Wladek to die in isolation.Wladek recovers in time to see the larger 1944 Warsaw Uprising, in which the Poles tried to retake control of their city. Soon, Nazis start attacking the building and he has to flee. The Poles had expected the advancing Soviet Red Army to help them, but the Russians did not come, instead allowing the Germans to put down the revolt, and drive the entire remaining population of Warsaw out of the city. Wladyslaw hides in the abandoned hospital that had been across the street from his second hideout. The Germans had by then decided to burn Warsaw to ashes, so Wladyslaw flees the hospital and jumps back over the wall into the ghetto, now an abandoned, desolate wasteland of bricks and rubble.He stays there, rummaging through burned-out buildings to find something to eat, and continues to hide, until one night a Nazi officer, Captain Wilm Hosenfeld, finds him. To prove to Hosenfeld that he is a pianist, he plays a somber and brief rendition of Chopin's \"Ballade in G Minor\", the first time he has played since he worked in the Jewish ghetto years before.Hosenfeld, moved by Szpilman's playing, helps him survive, allowing him to continue hiding in the attic even after the house is established as the Captain's headquarters. Hosenfeld eventually abandons the house with his staff when the Russian army draws closer to Warsaw. Hosenfeld gives Wladek a final parcel of food and his overcoat. He asks Wladek his surname, which sounds exactly like \"spielmann\", the German word for pianist. Hosenfeld promises to listen for Wladek on the radio. Hosenfeld also tells him that he only needs to survive for a few more days; the Russian army will liberate Warsaw soon. Shortly afterward, Wladyslaw sees Polish partisans, and, overcome with joy, goes outside to meet his countrymen. Seeing his coat given to him by Hosenfeld, they think he is a German and try to kill him, before he can convince them he is Polish.Newly freed Poles walk past an improvised Russian prisoner of war camp, and Hosenfeld is among the prisoners. The Poles hurl insults at the Germans through the fence, but when Hosenfeld hears that one of the Poles is a musician, he goes to the fence and tells him that he helped Wladyslaw, and asks him to ask Wladyslaw to return the favor, before a Russian soldier throws him back down on the ground. The Polish musician does indeed bring Wladyslaw back to the site to petition the Russians, but they have departed without a trace by the time he gets there. Wladyslaw is unable to help Hosenfeld, but he returns to playing piano for the radio station.Closing title cards tell us that Hosenfeld died in a Soviet gulag in 1952. Wladyslaw lived to be an old man, dying in Poland at the age of 88. The cards are intercut with footage of Wladek triumphantly playing Chopin's Grand Polonaise Brilliante in concert.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0099685/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The film opens with three men driving in their car late at night on a highway. In the car are Henry Hill (Ray Liotta), Jimmy Conway (Robert DeNiro) and Tommy DeVito (Joe Pesci). Jimmy and Tommy are asleep when Henry hears a loud thumping noise. Trying to figure out the source of the sound, Henry suddenly realizes they need to stop and check the trunk. When they open it, we see a beaten man wrapped in several bloody tablecloths. An enraged Tommy stabs the man several times with a kitchen knife and Jimmy shoots him four times with a revolver. Henry slams the trunk lid shut and we hear a voiceover (Henry) say \"As far back as I can remember, I always wanted to be a gangster.\"We now go back several decades, to see the events that will lead up to this scene.In the 1950s, young Henry Hill idolizes the Lucchese crime family gangsters in his blue-collar, predominantly Italian neighborhood in East New York, Brooklyn, and in 1955 quits school and goes to work for them. The local mob capo, Paulie Cicero (Paul Sorvino) (based on the actual Lucchese mobster Paul Vario) and Cicero's close associate Jimmy Conway (De Niro) (based on Jimmy Burke) help cultivate Henry's criminal career.Henry is teamed up with the young Tommy and the two sell cartons of cigarettes, given to them by Jimmy, to employees of a local factory, a crossing guard and some cops. While selling them, two detectives show up and confiscate the load, arresting Henry. Tommy slinks away to tell Tuddy, Paul's brother. Henry goes to court and is given a slap on the wrist. Jimmy gives him a substantial reward for his silence and the rest of the gang greets Henry with joyful acceptance.As adults, Henry and Tommy (Joe Pesci in his Academy Award-winning performance) conspire with Conway to steal some of the billions of dollars of cargo passing through John F. Kennedy International Airport. They help out in a key heist, stealing over half a million dollars from the Air France cargo terminal. The robbery helps Henry gain more of Cicero's trust, to whom Henry gives a sizable cut of the haul. However, because Henry is half-Irish, he knows he can never become a \"made man\", a full member of the crime family. Nor can Jimmy Conway, who is also Irish.Henry's friends become increasingly daring and dangerous. Conway loves hijacking trucks, and Tommy has an explosive temper and a psychotic need to prove himself through violence. At one point, he humiliates an innocent and unarmed young waiter \"Spider\" (Michael Imperioli), asking Spider to dance \u00e0 la The Oklahoma Kid, then shooting him in the foot. A few nights later, when Spider stands up to an extremely intoxicated Tommy, Tommy (egged on by Jimmy) suddenly draws his gun and shoots Spider in the chest, killing him instantly. Jimmy is angry with Tommy for shooting Spider but Tommy is completely indifferent, callously asking where he can find a shovel to bury the dead man.Henry also meets and falls in love with Karen (Lorraine Bracco), a no-nonsense young Jewish woman; they go to the Copacabana club two to three times a week (and the site of a famous continuous steadicam shot). Karen feels uneasy with her boyfriend's career, but is also \"turned on\" by it. Henry and Karen eventually marry (which involves convincing Karen's parents that Henry is half-Jewish).In June 1970, Tommy (aided by Jimmy Conway) brutally murders Billy Batts (Frank Vincent), a made man in the competing Gambino crime family, over a simple insult Batts uses on Tommy. The murder is a major offense that could get them all killed by the Gambinos if discovered. After stopping at Tommy's mother's place for dinner (and also to pick up a shovel), Henry, Conway and DeVito bury Batts's corpse in an abandoned field, bringing us back to the car trunk scene from the start of the movie. When they discover six months later that the land has been sold, they are forced to exhume, move, and rebury the badly decomposed body.Henry's marriage deteriorates when Karen finds he has a mistress, Janice Rossi (Gina Mastrogiacomo). Karen confronts a sleeping Henry with a gun as he wakes up. As soon as she lowers the gun, Henry subdues her and screams that he has enough on his mind having to worry about being \"whacked on the street\" without waking up with a gun in the face.After beating and dangling a debt-ridden Florida gambler over a lion cage at the Lowry Park Zoo in Tampa, Henry and Jimmy are caught and sent to prison for four years because the guy's sister is a typist for the FBI. There, Henry deals drugs to the other prisoners to keep afloat and to support his family, and, when he returns to them, he has a lucrative drug connection in Pittsburgh. Cicero warns Henry against dealing drugs, since mob bosses can get hefty prison sentences if their men are running drugs behind their back.Henry ignores Cicero and involves Tommy and Jimmy (as well as Karen and his new mistress, Sandy (Debi Mazar) in an elaborate smuggling operation. About the same time, December 1978, Jimmy Conway and friends plan and successfully carry out a record $6,000,000 offscreen heist from the Lufthansa cargo terminal at JFK Airport. Soon after the heist, Jimmy grows increasingly paranoid when some of his associates foolishly flaunt their gains in plain sight, possibly drawing police attention, and begins having them whacked. Worse, after promising to welcome Tommy into the Lucchese family as a \"made man,\" the elder members of the family coldly shoot him in the head in retaliation for Billy Batts's death and his reckless behavior.In an extended, virtuoso sequence titled \"Sunday, May 11th, 1980,\" all of the different paths of Henry's complicated Mafia career collide: he must coordinate a major cocaine shipment; cook a meal for his family; placate his mistress, who processes the cocaine he sells; cope with his clueless babysitter/drug courier, Lois; avoid federal authorities who, unknown to him, have had him under surveillance for several months; and satisfy his sleazy customers, all the while a nervous wreck from lack of sleep and snorting too much of his own product.Lois demands that Henry take her home so she can get her lucky hat, which she won't fly without. Henry and Lois are arrested by the police as he backs out of his driveway. The authorities had been conducting a secret investigation for at least a month and had finally caught Henry in the act. Karen bails her husband out of jail, after destroying all of the cocaine that was hidden in the house and getting her mother to put their house up as collateral for bail money. Henry and his family are left penniless and Henry and Karen break down when Karen admits she destroyed the $60,000 in coke Henry had been planning to ship when he was busted.After Henry's drug arrest, Cicero and the rest of the mob abandon him. Convinced that he and his family are marked for death, Henry decides to become an informant for the FBI. He and his family enter the federal Witness Protection Program, disappearing into anonymity to save their lives, but not before he testifies against Paulie and Jimmy in court. He is now an \"average nobody\" and tells us \"I get to live the rest of my life like a schnook.\" The movie's quick final shot is of Tommy firing a pistol directly into the camera, a tribute to the final shot of The Great Train Robbery.The film closes with a few title cards (over Sid Vicious's version of \"My Way\") showing what became of Hill, Paul Cicero (Vario) and Jimmy Conway (Burke). Henry's marriage to Karen ended in separation with her getting custody of their children, and Cicero and Conway will spend practically the rest of their lives in prison. Cicero died in 1988. Conway's title card explains that he was eligible for parole in 2004, though he died in prison of lung cancer in 1996.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0070047/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Father Lancaster Merrin (Max Von Sydow) is an elderly Catholic priest on an archeological dig in Iraq. Merrin has a sense of foreboding and encounters a number of strange omens, including the unearthing of a series of confusing items, a near miss with a runaway horse drawn carriage, and a clock that stops ticking in mid-stroke. Finally, Merrin discovers a statue of a bizarre demonic figure; although the film does not mention it, it is a representation of a demonic figure known as Pazuzu.Back in the United States, in Washington D.C.'s upscale Georgetown neighborhood, a successful actress named Chris McNeil (Ellen Burstyn) begins experiencing strange phenomena. Chris lives with her twelve-year-old daughter Regan (Linda Blair), her personal assistant Sharon (Kitty Wynn), and two housekeepers. Regan's father is estranged for reasons unknown. There are mysterious, unexplained sounds in the attic of the house, which Chris attributes to rats. Regan slowly begins to exhibit strange behavior, undergoing behavioral changes much like depression and anxiety. She turns up in Chris's bed one night, complaining that her own bed was \"shaking\".Chris is working on a new movie in Georgetown with a director known as Burke Dennings (Jack MacGowran). While filming a scene one day, she notices a young Catholic priest watching her; his name is Damien Karras (Jason Miller). Father Karras has a background in psychology and counsels parishoners at a nearby church; Chris also notices him while walking home from the shoot one day.Karras is a thoughtful, conflicted man. He discusses his vocation with a superior and asks to be transferred because he feels he is losing his faith. He also has an elderly mother who lives alone in a slum in New York; he visits her and is reminded of how lonely her life is, and he feels guilty that she has to live in such poor surroundings.The strange occurrences in the McNeil house begin to increase. Regan reveals that she has been playing with a Ouija board and claims that she has the ability to communicate with a spiritual entity all by herself. A nearby Catholic church is desecrated, a statue of the Virgin Mary painted crudely and adorned with conical clay additions made to resemble breasts and a penis. Regan also works with clay and paint, making small animal sculptures.Meanwhile, Father Karras's mother falls ill and, due to a lack of funds, she is placed in a very shabby hospital and resigned to a ward full of mental patients. Father Karras is distraught when he visits her and she seems to blame him for her situation. Later, she passes away under these conditions, adding to his sorrow.Chris has an elaborate party at her home with a number of affluent guests. One of her guests is another Jesuit named Father Dyer (Rev. William O'Malley), and Chris asks him about Karras, having noticed him and referring to him as \"intense\". She finds that Karras and Dyer are good friends. During the party, Regan appears happy and social, but she reappears after being sent to bed, dressed in her nightgown and urinates on the carpet in front of the guests while making an ominous statement to a prominent astronaut (\"You're gonna die up there\"). After the guests leave, Chris bathes Regan and puts her to bed, but is startled by a loud sound from Regan's bedroom. She rushes back down the hall and discovers Regan's bed shaking violently, rising up off the floor with Regan on it. Chris jumps on the bed and it still levitates.Chris subjects Regan to a series of medical tests to discover what the problem is. The doctors are unable to discover anything, despite putting Regan through some grueling, painful procedures. The best they can come up with is that Regan may have a lesion on her brain, but ultimately they are frustrated when nothing appears on her brain scan. At Chris's house, Regan suffers what appears to be a seizure, and two doctors visit to assist. They find her rising and falling up and down on the bed in a way that seems impossible for a human being. When they try to sedate her, she hurls them across the room with abnormal strength, speaking to them in what seems to be a male voice: \"Keep away! The sow is mine!\" Eventually they sedate her.Out of options, they advise Chris to search for a psychiatrist, but they also reluctantly discuss another possibility: they mention the phenomenon of demonic possession and the rite of exorcism. While they seem to hold professional contempt for it, they do admit that it has been known to solve problems such as what Regan is going through. Chris is skeptical, having no real religious affiliation of her own.The situation worsens when Chris is out one evening; she returns to find the house deserted except for Regan, who is alone in her bedroom and appears to be in deep sleep. The bedroom is freezing cold, the window standing wide open, and she is uncovered. Sharon returns and Chris is furious with her for leaving Regan unattended, but Sharon explains that she left Regan in the care of Burke, who was visiting the house, while she went to the pharmacy to get Regan's medication. Burke's absence is unexplained until the doorbell rings and an associate of Chris's breaks the news that Burke has just died on the steps outside Chris's house.Shortly after this, Chris is visited by a kindly detective named Kinderman (Lee J. Cobb), who seems suspicious of Burke's death. He questions Chris about the events of that evening, and Chris is nervous, hesitant to tell him about Regan's problem. While he is visiting, he notices a few small animal figures that Regan has crafted; they are similar in style to the desecration of the statue in the church. Kinderman leaves and immediately a violent disturbance comes from Regan's bedroom. Chris hears a deep male voice bellowing at Regan to \"do it\", and Regan screaming in protest. In the bedroom, Chris finds Regan plunging a crucifix violently into her vagina. When Chris tries to stop her, Regan assaults her with impossible strength, and furniture around the room starts to move on its own. As Chris watches in horror, her daughter's head turns completely around backwards, and she speaks to Chris in Burke's voice, saying to her \"Do you know what she did? Your cunting daughter??\" Chris then realizes that Regan is responsible for Burke's death.Desperate, Chris arranges to meet with Father Karras, and when she mentions the notion of exorcism, Karras is almost amused. He tells her that exorcism is nearly unheard of, and that he doesn't know anybody who has ever performed one. Chris is distraught and convinces him to meet with Regan anyway. Karras is shocked by the girl's appearance; she is tied to the headboard of her bed, her face misshapen and covered in lesions, her voice deep and gravelly. Regan announces that she's the devil, and toys with Karras in a number of ways, seeming to make a drawer next to the bed open all by itself, then speaking to Karras in a number of languages. She also conjures up the voice of a subway vagrant that Karras has encountered alone earlier. Karras remains unconvinced, and when Regan claims \"Your mother's in here with us\", Karras asks her what his mother's maiden name is. Unable to answer, Regan vomits spectacularly all over him.Chris cleans Karras's sweater and discusses Regan with him. Karras is still not convinced that Regan is possessed, especially because Regan says she's \"the devil\", and he recommends psychiatric care for her. Chris pleads with him to help her obtain an exorcism, swearing that the \"thing\" in the bed upstairs is not her daughter.While Karras thinks it over, he is approached by Kinderman, who questions him about the fact that the desecration of the church could be connected to Burke's death; what he was unable to tell Chris was that Burke's body was found with his head turned completely around backwards, and the police department considers it a homicide. Kinderman knows that Karras suspects something unusual about the McNeil house, but his confidentiality as a priest prevents him from discussing it with Kinderman.Karras visits Regan again and records their conversation, during which he sprinkles Regan with water. He tells her it is holy water and she begins to writhe in pain, seemingly going into a trance and speaking in a strange language. Later he tells Chris that it will be difficult to make a case with the Bishop for possession; the water he sprinkled on Regan was simply tap water, and was not blessed. The Bishop, and Karras himself, would consider Regan to be mentally ill and not possessed. Chris confides in Karras and tells him that Regan was the one who killed Burke Dennings. Later, Karras uses his tape recordings of Regan's seemingly incomprehensible babble to discover that she is really speaking backwards, in English. A phone call from Sharon interrupts him; she summons him to the house to see Regan, not wanting Chris to see that's happening: as they look at Regan's unconscious body, the words \"help me\" begin to materialize on her stomach, rising up in her skin like scar tissue.Karras reluctantly agrees to try and get an exorcism for Regan, although he seems to have more in common with the doctors who recommended it as a form of shock therapy. The church calls in Father Merrin to perform the exorcism, with Karras assisting. Merrin has performed exorcisms in the past, including a difficult one that \"nearly killed him\", according to the Bishop. When Merrin arrives at the McNeil house, Regan bellows his name from upstairs, as if she knows him, and she makes strange animal sounds. He warns Karras about conversing with the demon, and reminds him that the demon will mix lies with the truth to confuse and attack them.When they enter Regan's bedroom, she immediately begins with a string of obscenities. Merrin and Karras recite the ritual of exorcism and Regan manifests strange phenomena such as levitation, telekinesis, an abnormally long tongue, and strange vomiting. She constantly curses the priests and emits evil laughter and verbal abuse. Regan begins to talk to Karras in the voice of his mother, and he starts to break down. Merrin sends him away; when he returns, he finds Merrin dead on the floor, the victim of a heart attack. Regan cackles gleefully, infuriating Karras, who grabs her and shouts at the demon, \"Come into me! Take me!\" The transference works almost immediately; Karras begins to transform and Regan returns to her normal self. Before Karras can harm her, his \"normal\" personality breaks through for a split second and he commits suicide, hurling himself out Regan's window. Just as Burke did, he tumbles down the stairs outside Regan's window and lays dying in the street below. By chance, Father Dyer happens upon the scene and administers the last rites to his friend.In a brief epilogue, we see Chris and Regan as they prepare to leave the house in Georgetown. They are visited by Father Dyer. Chris speaks with him privately and tells him that Regan doesn't remember anything about the possession or the exorcism. Regan then appears and greets him cheerfully, transfixed by Father Dyer's white collar. Before they leave, she suddenly hugs Father Dyer and kisses him. As Chris pulls away in their car, she orders the driver to stop for a moment and gives Father Dyer the religious medallion that belonged to Father Karras; in their struggle, Regan had torn it from his body and it was in her bedroom all along.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0077416/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In the Western Pennsylvania foundry town of Clairton, during the late 1960s, Russian-American steel workers Michael (Robert De Niro), Steven (John Savage), Nick (Christopher Walken), Stanley (John Cazale), John (George Dzundza), and Axel (Chuck Aspegren) are preparing for two rites of passage: marriage and military service.They are like schoolmates, hanging out in a local bar and enjoying weekends of deer hunting. Michael and Nick are also both in love with Linda (Meryl Streep), who seems to juggle both of the men. But their placid life is soon to be changed after they are enlisted in the airborne infantry of Vietnam.Before they go, Steven marries the pregnant Angela and their wedding party is also the men's farewell party.Nick's girlfriend, Linda, makes breakfast for her father while wearing a bridesmaid's dress. Her father, an abusive and hallucinating alcoholic, is upstairs and alone, having an alcoholic attack and has trashed his room. Linda brings him his breakfast and he hits her, leaving a bruise on her face. She leaves for the wedding.At the wedding reception, the friends quickly become drunk, dancing and acting obnoxiously. Stan is dancing with his girlfriend when the band's singer cuts in. While he dances with her, Stan notices that he keeps putting his hand on her buttocks. John simply laughs and Stan grows angrier until he marches over and hits his girlfriend. Mike dances with Linda and offers to buy her a beer. The two go to the bar and have a drink together while Nick watches them somewhat suspiciously. The bride and groom leave the party in a decorated car and Mike and Nick chase after them, Mike stripping himself naked as he runs, winding up with Nick in a basketball court.The morning after, with the car still decorated from the wedding, the men drive into the mountains to go deer hunting. Mike takes hunting very seriously and gives Stan a cold shoulder when Stan can't find his hunting boots. He asks Mike for his extra pair and Mike refuses, having grown tired of Stan's casual attitude and forgetfulness on previous trips. Though they don't agree with Mike's hard attitude, Mike stands by his principles. The next morning, Mike and Nick go out into the woods (Rachmaninoff's dramatic piece \"Praise the Name of the Lord\" plays on the soundtrack.) Michael stalks and shoots a deer, bringing it down in a single shot.The troupe returns to Clairton and they go straight to John's bar. John plays a somber piece on the piano and the men sit mostly silent, contemplating their last night together as a group.The scene cuts to a mountainous region of Vietnam where a small village is being firebombed by the US Army. Michael is there, lying unconscious among the dead. A North Vietnamese Army (NVA) soldier walks into the village. He finds a small group of survivors, men, women and children, hiding in a hidden bunker. He casually arms a grenade, tosses it in and walks off as it explodes. Moments later he sees a woman, badly injured, carrying a baby. The soldier mercilessly shoots her. Mike springs up and kills the soldier with a flamethrower. As Mike walks around shooting any surviving NVA soldiers, another unit of helicopters arrive and among them are Nick and Steve. Mike doesn't seem to acknowledge them at first when incoming mortar shells from the NVA begin to hit the village. In the distance, more NVA are approaching.The three are captured and held prisoner in a riverside prisoner-of-war camp along with other US Army and ARVN prisoners. For entertainment, the guards force their prisoners to play Russian roulette and gamble on the outcome. All three are forced to play; Steven aims the gun above his head, grazing himself with the bullet and is punished by incarceration to an underwater cage. Believing that the experience has broken Steven, Mike considers abandoning him. Nick angrily rejects Mike's idea.Mike, convincing the guards to let him go head-to-head with Nick in the final round, devises a plan to escape that requires 3 bullets in the pistol and shares his plan with Nick. Mike tells him to go after the closest guy when Mike makes his move. Nick, sensing the increased likelihood of imminent demise finds the plan crazy and protests but, seeing it as their best chance of survival, however slim, Mike pleads with Nick to trust him. In a final game, Mike successfully convinces their captors use 3 bullets in the cylinder while Nick stalls after being chosen to go first. Mike then volunteers to go first and fires and clicks an empty chamber. With only 2 empty of 5 remaining chambers, an almost-broken Nick has his turn and it's an empty chamber. Mike, enraged by continuous taunting, raises his gun to his head and at the last minute pushes the rifles pointed at him aside while turning the gun on his captors. With 3 bullets in the 4 chambers left, Mike is able to shoot down 3 captors in rapid succession before grabbing a machine gun and killing the rest. Mike has to pull a raving mad Nick from his continued pummeling of his captor and both escape, taking Steven with them.The three escape the camp by floating downriver on a tree. An American helicopter rescues them, but only Nick is able to board it. The weakened Steven falls into the river. Mike jumps in after him, and helps him to he riverbank. Steven has broken his legs in the fall. Mike carries him to friendly lines.The psychologically devastated Nick recuperates in a military hospital in Saigon, where the psychologist concludes he is not fit to remain there due to his all but incomprehensible babbling. After he's released, he tries to call Linda in Clairton but hangs up before the call is connected. He aimlessly searches for Mike in the red light district.Nick encounters Juli\u00e9n Grinda (Pierre Segui), a champagne-drinking Frenchman outside a gambling den where men play Russian roulette for money. Grinda entices Nick to participate, then leads him in to the den. Unbeknown to Nick, Mike is in the crowd, as a gambler. Though Mike sees Nick, Nick leaves in a hurry and in a daze and they do not reunite.Back in the U.S., Mike eventually becomes romantically involved with Linda. Nick and Steven are still missing.Mike finds out that Steve is alive and has returned, and visits Angela, Steve's wife, to find out where he is. She is consumed by madness and not talking to anyone, so writes down a number for him. It is the number for Steven's hospital, which is a veteran's rehabilitation clinic.Michael reunites with Steven, who has lost both his legs and the use of an arm and is mentally unstable. Steven reveals that someone in Saigon has been mailing large amounts of cash to him, which Mike suspects is from Nick, who may still be alive. Mike takes Steven home over Steven's protests.Mike travels to Saigon just before its fall in 1975. With the help of the Grinda, he finds Nick in a crowded roulette club, but Nick appears to have no recollection of his friends or his home in Pennsylvania, appearing instead to be in a constant state of shock. In a game of Russian roulette in the gambler's bar, Mike and Nick are pitted against each other, in an attempt on Mike' part to have Nick remember his life before the war and his family and friends. Mike's attempts to persuade him to come home are unsuccessful, Nick defiantly raises the gun and shoots himself in the head.The film ends with Nick's funeral back in America and his friends' response to it. Everyone's there, and even Angela & Steven seem to be on the mend. At the wake they all sing \"God bless America\", and toast Nick.\"CAVATINA\" by Stanley Myers is played (on guitar by John Williams) as the credits roll.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0020629/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0067116/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In December 1970 in Marseilles, France, a plainclothes policeman is observing former longshoreman turned entrepreneur Alain Charnier (Fernando Rey) chatting with some unsavory types. Charnier is being tailed by the undercover cop because he is a kingpin in smuggling heroin overseas - a fact that costs the cop his life when he later returns home and is shot in the face by Pierre Nicoli (Marcel Bozzuffi), Charnier's henchman.Meanwhile, in Brooklyn, NY, a corner Santa is chatting with some children outside a seedy bar while a hotdog vendor completes a transaction. The Santa is Detective Jimmy \"Popeye\" Doyle (Gene Hackman) and the vendor is his partner, Detective Salvatore Russo (Roy Scheider), whom Doyle nicknames \"Cloudy.\" The two narcotics cops are staking out the bar in hope of finding a pusher named Willie (Alan Weeks). When Popeye sees Willie in the bar passing some drugs to a companion, he starts singing to the children, his signal to Cloudy. Cloudy enters the bar and grabs Willie's buddy. Willie sees the commotion and suddenly flees outside, with Popeye and Cloudy in hot pursuit. They corner him in an alley and Willie slashes Cloudy's arm with a hidden knife and runs. The cops chase him on foot to a deserted lot where he falls and is beaten by both cops before Russo implores Doyle to stop. Once the two cops calm down they confusingly interrogate Willie, trying to get information on his drug connection.In France, Alain Charnier finishes a day overseeing dock work and drives home to his seaside villa and his young trophy wife (Ann Rebbot), who obviously has expensive tastes. The two exchange gifts for their upcoming trip to the US. Charnier later meets his gunman Nicoli at a rendezvous point for an acquaintance of Charnier, TV personality Henri Devereaux (Fr\u00e9d\u00e9ric de Pasquale). Devereaux is traveling to the US to make a film and has decided to aid Charnier's smuggling effort because he needs money. Nicoli believes involving Devereaux is a mistake, but is reassured by Charnier.In NYC, Popeye and Cloudy sign off for the night and Popeye takes his reluctant partner to a nightclub called The Chez. Popeye notices one table in particular, populated by known narcotics connections who are being entertained by a free-spending young man whom Popeye describes as a \"greaser.\" Popeye smells a drug deal underway and persuades Cloudy to help him tail the greaser and his companion, a big-haired blonde. Throughout the night they tail the two, watching them drop off a suitcase in Little Italy and then switch cars early the next morning from an attractive coupe to a beat-up sedan. They then drive to a candy store/luncheonette, \"Sal and Angie's\", in a working-class area of Brooklyn. Peering inside as the couple prepares to open for the day, Popeye and Cloudy notice that the blonde is now a brunette, having worn a wig the night before.Realizing they are on to something, the two cops for the next week stake out the candy store. Combing records they find that the greaser is Salvatore \"Sal\" Boca (Tony Lo Bianco) and his wife is Angie (Arlene Farber). The candy store's income could not explain Sal's free-spending ways. The posh coupe is owned by Angie while the beat-up sedan is owned by Sal's brother Lou (Benny Marino), a garbageman in training at a facility on Ward's Island in the East River. All three Bocas have criminal records. The candy store is regularly visited by unsavory types from New Jersey, and Sal makes numerous trips to an expensive condo in Manhattan at which lives lawyer Joel Weinstock (Harold Gary), a known drugs financier who bankrolled a heroin shipment from Mexico.Popeye and Cloudy raid a junk-house bar. One Afro-haired patron (Al Fann) talks back at Popeye and is hauled into a men's room to be beaten up - actually cover so Popeye can debrief his informant, who reveals that a big shipment is due within a few weeks that will satisfy everyone in the city. In order to make the ruse look convincing, Popeye punches his colleague in the jaw, a bit too enthusiastically.Popeye's boss, Walt Simonson (Eddie Egan, the real-life inspiration for Popeye Doyle), is reluctant to let the two cops continue with their investigation of Boca, pointedly reminding Popeye of a previous case where his hunches backfired. But with Joel Weinstock, whom the police have long wanted to arrest, potentially involved, Simonson relents and goes to court for a wiretap on Boca's house and candy store. The federal Bureau of Narcotics and Dangerous Drugs (BNDD) now becomes involved and assigns Agents Bill Mulderig (Bill Hickman) and Bill Klein (Sonny Grosso, the real-life inspiration for Cloudy Russo), who've worked with Popeye before; Popeye and Mulderig are at constant loggerheads because Mulderig blames Popeye for the death of a policeman in a previous case and doesn't believe Popeye's hunches to begin with.Charnier, Nicoli, and Devereaux arrive in NYC and Devereaux brings with him Charnier's Lincoln, signed for in Charnier's stead. They speak fair English, but nonetheless have an interpreter, La Valle (Andre Ernotte), with them. La Valle escorts Charnier to a police auction of impounded cars and identifies Lou Boca as the scrap metal buyer for Charnier's business (suggesting how the Bocas may have linked up with Charnier).After several days of monitoring mundane conversations, the wiretap finally brings Popeye and Cloudy their first break - Charnier phones Sal to arrange a 12 o'clock meeting the next day. Popeye, Cloudy, and Mulderig tail Sal to midtown Manhattan, where they spot Sal meeting with Charnier and Nicoli. While Mulderig follows Sal, Popeye and Cloudy tail Charnier, dubbed \"Frog One,\" and Nicoli as they walk through the city. The Frenchmen stop to eat at an expensive restaurant, which the cops observe while standing outside in freezing temperatures and eating bad pizza with worse coffee. Later, Popeye finds out that Frog One is staying at the Westbury Hotel, but Mulderig still doesn't believe Popeye is on to anything, leading to a brief argument.At Joel Weinstock's condo, a young dope chemist (Pat McDermott) tests a sample of Charnier's heroin and it measures to 89% pure. There are sixty kilos due to arrive and when all is said and done it will total out to $32 million with a half-million cash down payment. Weinstock, however, wants to wait before the switch is made, much to Sal's displeasure as Sal fears that Charnier will abort the deal if Weinstock drags it out too long.The next day Popeye arrives at the Westbury just in time to see Charnier breeze right by the distracted Mulderig and Klein and walk into the city without a tail. Popeye tails Charnier himself, almost loses him at a flower shop, but then picks him up again at the Grand Central subway station. They play a cat-and-mouse game on the platform, but the wily Charnier manages to hop back on a train at the last moment and waves goodbye as the furious Popeye futilely runs after the train.Charnier meets Sal in Washington DC - Sal followed there by Klein - where Charnier insists that the deal must be consummated by the end of the week, despite Sal's protests that his mob pals want to wait. On the flight back to New York, Charnier expresses his worries to Nicoli, who points out that Sal's concern about the police is warranted. The Frenchmen agree that Doyle is the main problem, and Nicoli volunteers to assassinate Doyle. Charnier reluctantly agrees, unaware that a fight has erupted between Popeye and Mulderig, and that Popeye has been taken off the case by a furious Simonson.The dejected Popeye returns to his Brooklyn apartment building, where he is fired upon by Nicoli from the roof. Popeye manages to enter the building and pursues Nicoli to the roof, and then back down when he sees Nicoli fleeing. Nicoli runs to a nearby elevated train station and boards the train while Popeye screams for a uniformed conductor on board to stop him. As the train proceeds, the conductor follows Nicoli as he moves forward through the train. Popeye commandeers a Pontiac Le Mans from a flabbergasted citizen. Nicoli kills the uniformed conductor and seizes the motorman, forcing him to keep the train going through all the regular stops. Popeye furiously pursues in the car, barely escaping as other cars sideswipe him, and he nearly strikes a woman pushing her child in a baby carriage. Nicoli then kills a passenger who tries to intervene, and the crowd on the train flees while the terrified motorman collapses with a heart attack, locking the train on a collision course with a stopped train. The two trains crash and passengers, including Nicoli, are thrown about. Despite injuries and losing his gun, Nicoli slips out undetected - by everyone except Popeye. Nicoli starts down the stairs but is cornered by Popeye, and when he tries to flee he is shot dead.Popeye and Cloudy, now back on the case, tail Sal as he takes the Lincoln from a parking garage to a side street. The police stake out the car all night; at 4:10 AM a gang of thieves tries to strip it, but they are arrested by a horde of policemen and the car is towed to a garage to be searched as evidence. The mechanic (Irving Abrahams), cannot find any narcotics in the car, but Popeye refuses to believe it. While Devereaux (who signed for the car) and La Valle argue with the garage desk sergeant, Cloudy notices a 120-pound discrepancy between the car's listed weight and actual weight. The mechanic reveals one area he didn't open up - the car's rocker panels underneath the doors. Popeye chews him out and then helps open up these panels, and the stash is found. The car is replaced (either repaired or the department aquires another, intact one), the stash replaced, and it is returned to Devereaux, while the police now wait for the dealers to make their final move.Devereaux meets again with Charnier and is reluctant to do any more favors, until Charnier reveals that Devereaux is now an accomplice - to Devereaux's surprise and horror. Devereaux walks away, but Charnier takes the car himself and drives it to Ward's Island, where Lou Boca directs him to an abandoned factory building. There the heroin stash is revealed and tested positively. The stash is hidden inside the building and cash payment is hidden in the rocker panels of the junker car Lou Boca bought. With the deal consummated, the Bocas briefly celebrate and Sal drives Charnier back to the city - and right into a police roadblock led by Popeye. Sal drives back to the factory with police in pursuit, and the mobsters hide inside the main building while Charnier hides in a secondary building. A gunfight ensues, in which Sal Boca is shot dead. Popeye hunts for Charnier inside the dilapidated warehouse. Cloudy joins him as Popeye appears to have cornered Charnier, but as the two cops approach the room Popeye hears a noise from another door. He opens fire before Cloudy can corner the now-dead man - who turns out to be Agent Mulderig. Determined to get Frog One at any cost, and not caring that he just killed a Federal agent, Popeye strides through the warehouse, believing the Frenchman is still in hiding. After he rounds a corner a single gunshot is heard.In an epilogue, it is revealed that Weinstock and the surviving Bocas either skated or received peripheral sentences while Henry Devereaux wound up in federal prison for four years; Chanier escaped and is believed to be living in France, and Doyle and Russo were suspended from narcotics duty.(Note: The French Connection drug bust that inspired the film took place in 1961. However, the film's script sets the action at the time of actual filming, i.e. the winter of 1970-71, in order to avoid the need for period accuracy in the many New York street scenes.)\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0021749/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt1504320/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The film opens with Prince Albert, Duke of York (later King George VI), known to his wife and family as \"Bertie\" (Colin Firth), the second son of King George V, speaking at the close of the 1925 British Empire Exhibition at Wembley Stadium, with his wife Elizabeth (Helena Bonham Carter) by his side. His stammering speech visibly unsettles the thousands of listeners in the audience. The prince tries several unsuccessful treatments and gives up, until the Duchess persuades him to see Lionel Logue (Geoffrey Rush), an Australian speech therapist.In their first session, Logue requests that they address each other by their Christian names, a breach of royal etiquette: Logue tells the prince that he will be calling him Bertie from now on. At first, Bertie is reluctant to receive treatment, but Logue bets Bertie a shilling that he can read perfectly at that very moment, and gives him Hamlet's \"To be, or not to be\" soliloquy to read aloud, with music blaring so that he can't hear himself. Logue records Bertie's reading on a gramophone record, but convinced that he has stammered throughout, Bertie leaves in a huff, declaring his condition \"hopeless.\" Logue gives him the recording as a keepsake.Later that year, after Bertie's father, King George V (Michael Gambon), makes his 1934 Christmas address, he explains to his son the importance of broadcasting for the modern monarchy in a perilous international situation. He declares that Bertie's older brother, David, Prince of Wales, will bring ruin to the family and the country when he ascends the throne, and demands that Bertie train himself to fill in, beginning by reading his father's speech into a microphone for practice. After an agonizing attempt to do so made worse by his father's coaching, Bertie plays Logue's recording and hears himself reciting Shakespeare fluently, amazing both himself and the Duchess.Bertie returns to Logue's treatment, where they work together on muscle relaxation and breath control, as Logue gently probes the psychological roots of the stammer, much to the embarrassment of the standoffish Bertie. Nevertheless, Bertie reveals some of the pressures of his childhood, among them his strict father; the repression of his natural left-handedness; a painful treatment with metal splints for his knock-knees; a nanny who favoured his elder brother, going so far as deliberately pinching Bertie at the daily presentations to their parents so that he would cry and his parents would not want to see him; unbelievably, not feeding him adequately (\"It took my parents three years to notice,\" says Bertie); and the death in 1919 of his little brother, Prince John. As the treatment progresses, Lionel and Bertie become friends and confidants.On 20 January 1936, King George V dies, and David, Prince of Wales (Guy Pearce) ascends the throne as King Edward VIII. However, David wants to marry Wallis Simpson (Eve Best), an American divorc\u00e9e and socialite, which would provoke a constitutional crisis--the sovereign, as head of the Church of England, may not marry a divorced person.At a party in Balmoral Castle, Bertie points out that David cannot marry Wallis. David accuses his brother of a medieval-style plot to usurp his throne, citing Bertie's speech lessons as an attempt to groom himself. Bertie is tongue-tied at the accusation, whereupon David resurrects his childhood taunt of \"B-B-B-Bertie.\"At his next treatment session, Bertie has not forgotten the incident. After he briefs Logue on the extent of David's folly with Wallis Simpson, Logue insists that Bertie could be king. Outraged, Bertie accuses Logue of treason and mocks Logue's failed acting career and humble origins, causing a rift in their friendship.When King Edward VIII does in fact abdicate to marry, Bertie becomes King George VI. Feeling overwhelmed by his accession, the new king realises that he needs Logue's help, and he and the queen visit the Logues' residence to apologise. Lionel's wife is stunned to meet the royals in their modest home. When the king insists that Logue be seated in the king's box during his May 1937 coronation in Westminster Abbey, Archbishop of Canterbury Dr. Cosmo Lang (Derek Jacobi) questions Logue's qualifications. This prompts another confrontation between the king and Logue, who explains that he never claimed to be a doctor and had only begun practicing speech therapy by informal treatment of shell-shocked soldiers in the last war. When the king still isn't convinced of his own strengths, Logue sits in St. Edward's Chair dismissing the Stone of Scone as a trifle, whereupon the king remonstrates with Logue for his disrespect. The king then realises that he is as capable as those before him.In September 1939, shortly after the United Kingdom's declaration of war with Germany, George VI summons Logue to Buckingham Palace to prepare for his radio address to the country. As the king and Logue move through the palace to a tiny studio, Winston Churchill (Timothy Spall) reveals to the king that he, too, had once had a speech impediment but found a way to use it to his advantage. The king delivers his speech as if to Logue alone, who coaches him through every moment. Afterwards, the king steps onto the balcony of the palace with his family, where thousands cheer and applaud him.A final title card explains that during the many speeches King George VI gave during World War II (1939-1945), Logue was always present. Logue and the king remained friends, and \"King George VI made Lionel Logue a Commander of the Royal Victorian Order in 1944. This high honour from a grateful King made Lionel part of the only order of chivalry that specifically rewards acts of personal service to the Monarch.\"\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0025316/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "It Happened One Night begins with a rich heiress named Ellie Andrews sequestered by her father on his yacht, disapproving of her marriage to a famous aviator named King Westley. After an argument, she escapes the yacht and swims away. She buys a bus ticket to travel back to New York to her husband, where she meets an out of work reporter named Peter Warne. Eventually he finds out her true identity from a newspaper article about her escape. He offers to help her get to her destination in exchange for exclusive rights to her story, and secures her cooperation by threatening to turn her in to her father if she does not agree.\n", "Andrews and Warne share hotel rooms on their trip, pretending to be husband and wife to keep from arousing suspicion. Because she is a married woman, they put up a blanket as a barrier, with Warne referring to it as the walls of Jericho. One of the other bus passengers recognizes Andrews from an article offering a $10,000 reward for her return. While the bus is stranded in mud, the passenger offers to split the money with Warne if he helps him turn in Andrews. Warne scares the passenger away by implying that hes a professional criminal looking for $1,000,000 in ransom money and then threatens to shoot him when he becomes frightened. Warne and Andrews then leave the bus to hitchhike in case the other passenger decides to turn them in to the police.\n", "After they spend the night sleeping in hay, Andrews gets a driver to stop by flashing one of her legs, who turns out to be a robber who drives off with their possessions. After chasing after him, Warne inexplicably returns with a bloody temple and the mans car. In the meantime, the father reluctantly agrees to allow the marriage to the aviator if his daughter returns. While spending another night in a blanket-partitioned hotel room, Andrews throws herself at Warne and proposes that they both be together. Warne seemingly rejects her and after she falls asleep he drives back to New York in the middle of the night. He sells his story about his love and potential marriage to Andrews to his old boss for $1000, so as not to propose to her while broke. Meanwhile, the suspicious manager of the hotel kicks out Andrews when she finds out that Warne has left.\n", "Thinking that Warne hates her, Andrews phones her father in order to turn herself in. Her father picks her up with a police escort while Warne is returning just in time to see them drive by. Angry with her, Warne contacts the father about reward money. He agrees to go to their home while a real marriage ceremony for Andrews and the aviator is to take place. He only comes to collect $39.60 for his expenses and not the full $10,000 and admits to the father that he loves his daughter. The father starts to like Warne and during the ceremony manages to convince his daughter that Warne really loves her and that she should leave the aviator. Andrews runs away during the ceremony, her father pays off the aviator to annul the wedding, and she eventually marries the reporter. The film ends in a hotel room with the \"walls of Jericho\" coming down.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0043924/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "George Eastman (Montgomery Clift), is the poor nephew of rich industrialist Charles Eastman (Herbert Heyes), who takes a job in his uncle's factory. Despite George's family relationship to the owner, the rich Eastman family treats him as an outsider and gives him the humblest job available in the factory and no entree into their exclusive social circle. George, uncomplaining, hopes to impress his uncle, whom he addresses as \"Mr. Eastman\", with his hard work and earn his way up. While working in the factory, George starts dating fellow factory worker Alice \"Al\" Tripp (Shelley Winters), in defiance of the workplace rules. Alice is a poor and inexperienced girl who is dazzled by George and slow to believe that his Eastman name brings him no advantages.After a stepping out with Alice, George meets the attractive \"society girl\" Angela Vickers (Elizabeth Taylor) and they quickly fall in love. Being Angela's escort at local parties and dances thrusts George into the intoxicating and carefree lifestyle of high society of the idle rich that his wealthy Eastman kin had denied him.When Alice announces that she is pregnant and makes it clear that she expects George to marry her, he temporizes, spending more and more of his time with Angela and his new well-heeled rich friends. An attempt to procure an abortion for Alice fails, and she renews her insistence on marriage. George is invited to join Angela at the Vickers's holiday lake house and excuses himself to Alice, saying that the visit will advance his career and accrue to the benefit of the coming child.George and Angela spend time at secluded Loon Lake, and after hearing a story of a couple's supposed drowning there, with the man's body never being found, George hatches a plan to rid himself of Alice so that he can marry Angela.Meanwhile, Alice finds a picture in the newspaper of George, Angela, and their friends, and realizing that George lied to her about being forced to go to the lake, she meets George in the nearby town and threatens to expose everything to his society friends if he doesn't marry her. They quickly drive to City Hall to elope but they find it closed for Labor Day, and George suggests spending the day at the nearby lake; Al unsuspectingly agrees.When they get to the lake, George acts visibly nervous when he rents a boat from a man who seems to deduce that George gave him a false name; the man's suspicions are aroused more when George asks him whether any other boaters are on the lake (none are). While they are out on the lake, Alice confesses her dreams about their happy future together with their child. As George apparently takes pity on her and, judging from his attitude, decides not to carry out his murderous plan, Alice tries to stand up in the boat, causing it to capsize, and Alice drowns.George escapes, swims to shore, and eventually drives back up to the Vickers' lodge, where he tries to relax but is increasingly tense. He says nothing to anyone about having been on the lake or about what happened there.Meanwhile, Alice's body is discovered and her death is treated as a murder investigation almost from the first moment, while an abundant amount of circumstantial evidence and witness reports stack up against George. Just as Angela's father approves Angela's marriage to him, George is arrested and charged with Alice's murder.Though the viewers know that the planned murder in fact turned into an accidental drowning, George's furtive actions before and after Alice's death condemn him.During his trial, George takes the witness stand where he gives a heartful testimony about his relationship with Alice and about his thoughts about killing her to have a life with Angela, and gives the details about the boating accident. But his testimony is pulled apart in cross-exmination by the hot-tempered and agressive prosecutor (Raymond Burr) who tries to imply that George planned and commited first degree murder because of his nervous behavior and of his filing a false name with the boat owner, and of other inconsistances involving both Alice and Angela.George's denials are futile, and he is found guilty of murder by the jury and is immediatley sentenced to death in the electric chair. A few weeks later, on his last day on Death Row, George writes a goodbye letter to Angela explaining that although he didn't kill Alice, his feelings of abandonment and loss of his privledge life made him leave Alice to drown in an attempt to cut off his past lifestyle to be with Angela. George is taken out of his cell to the death chamber to be executed.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0064665/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Joe Buck (Jon Voight) leaves his job as a dishwasher in a small town in Texas, and gets on the bus heading for New York City. There he plans to use his considerable (from what the local girls have told him) manly talents to make a splash with (and a good living from) wealthy, high-society women. He is dogged by flashbacks to experiences from his childhood -- suggestions of violence, sexual abuse and abandonment -- yet somehow he has retained an upbeat spirit of hopefulness, joy, and enthusiasm for life. His kindness and generous spirit is heart-rending, and of course, his na\u00efvet\u00e9 makes him an easy target in the big city. He does not learn from being ripped off initially, but his trusting spirit remains intact when he meets the sickly and streetwise Ratso (Dustin Hoffman). \"My name is Enrique Salvatore Rizzo ... Call me Rico ... Im not Ratso ... In my own home, call me Rico.\" After initially conning Joe out of twenty dollars, they eventually become friends, companions, and soul mates. With Ratso taking over the management side of the hustling operation, they set about finding the wealthy women with whom Joe hopes to make his fortune, not just for himself, but for Ratso, too. As Ratso's health becomes more of an issue, Joe faces dark choices, leading him to actions he never anticipated.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0031679/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The governor of an unnamed western state, Hubert \"Happy\" Hopper (Guy Kibbee), has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor (Edward Arnold), pressures Hopper to choose his handpicked stooge, while popular committees want a reformer. The governor's children want him to select Jefferson Smith (James Stewart), the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge and next to a newspaper story on one of Smith's accomplishments he chooses Smith, calculating that his wholesome image will please the people while his na\u00efvet\u00e9 will make him easy to manipulate.Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine (Claude Rains), who was Smith's late father's oldest and best friend, and he develops an immediate attraction to the senator's daughter, Susan (Astrid Allwyn). The unforgiving Washington press quickly labels Smith a bumpkin, with no business being a senator. Paine, to keep Smith busy, suggests he propose a bill.Smith comes up with legislation that would authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in a Public Works bill framed by the Taylor political machine and supported by Senator Paine.Unwilling to crucify the worshipful Smith so that their graft plan will go through, Paine tells Taylor he wants out, but Taylor reminds him that Paine is in power primarily through Taylor's influence. Through Paine, the machine accuses Smith of trying to profit from his bill by producing fraudulent evidence that Smith owns the land in question. Smith is too shocked by Paine's betrayal to defend himself, and runs away.However, Smith's chief of staff, Clarissa Saunders (Jean Arthur), has come to believe in him, and talks him into launching a filibuster to postpone the Works bill and prove his innocence on the Senate floor just before the vote to expel him. While Smith talks non-stop, his constituents try to rally around him, but the entrenched opposition is too powerful, and all attempts are crushed. Due to influence of the Taylor \"machine\", on his orders, newspapers and radio stations in Smith's home state refuse to report what Smith has to say and even twist the facts against the Senator. An effort by the Boy Rangers to spread the news results in vicious attacks on the children by Taylor's minions.Although all hope seems lost, the senators begin to pay attention as Smith approaches utter exhaustion. Paine has one last card up his sleeve: he brings in bins of letters and telegrams from Smith's home state from people demanding his expulsion. Nearly broken by the news, Smith finds a small ray of hope in a friendly smile from the President of the Senate (Harry Carey). Smith vows to press on until people believe him, but immediately collapses in a faint. Overcome with guilt, Paine leaves the Senate chamber and attempts to kill himself with a gun. When he is stopped, he bursts back into the Senate chamber, loudly confesses to the whole scheme, and affirms Smith's innocence.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0095953/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Charlie Babbitt (Tom Cruise), a Los Angeles car dealer in his mid-twenties, is in the middle of importing four grey market Lamborghinis. The deal is being threatened by the EPA, and if Charlie cannot meet its requirements he will lose a significant amount of money. After some quick subterfuge with an employee, Charlie leaves for a weekend trip to Palm Springs with his girlfriend, Susanna (Valeria Golino).Charlie's trip is cancelled by news that his estranged father, Sanford Babbitt, has died. Charlie travels to his hometown in Cincinnati, Ohio, to settle the estate, where he learns an undisclosed trustee is inheriting $3 million on behalf of an unnamed beneficiary, while all he is to receive is a classic Buick Roadmaster convertible and several prize rose bushes. Eventually he learns the money is being directed to a mental institution, which is the home of his autistic older brother, Raymond (Dustin Hoffman), of whose existence Charlie was previously unaware. It is revealed that Charlie grew up as a rebellious child and that following the death of his mother, he ran away from home at age 16 to California where he lived ever since, never speaking to his father ever again. Prior to his flight to California, Charlie had taken the Roadmaster out on his 16th birthday without his father's permission. His father subsequently called the police, reported the car was stolen and Charlie and his friends were picked up by the police. Charlie's father allowed the police to hold his son in jail for two days (the friends he was driving with had been bailed out by their own parents within hours). This leads Charlie to ask the question that permeates the movie: \"Why didn't somebody tell me I had a brother?\"Although Raymond has autism, he also has superb memory recall, but little understanding of subject matter thus making him an \"overgrown child\". He is frightened by change and adheres to strict routines (for example, his continual repetition of the \"Who's on First?\" sketch). Except when he is in distress, he shows little emotional expression and avoids eye contact. Numbed by learning that he has a brother and determined to get what he believes is his fair share of the Babbitt estate, Charlie takes Raymond on what becomes a cross-country car trip (due to Raymond's fear of flying) back to Los Angeles to meet with his attorneys. Charlie intends to start a custody battle in order to get Raymond's doctor, Dr. Gerald R. Bruner (Jerry Molen), to settle out of court for half of Sanford Babbitt's estate so that the mental institution can maintain custody of Raymond.During the course of the long journey, Charlie learns about Raymond's autism, which he initially believes is curable resulting in his frequent frustration with his brother's antics. He also learns about how his brother came to be separated from his family, as a result of an accident when he was left alone with Raymond when Charlie was a baby, about 20 months old and Raymond was age 10. Raymond also sings \"I Saw Her Standing There\" by The Beatles like he did when Charlie was three or four years old. Charlie remembers the incident as early as he could remember and always thought that the person singing to him, (whom the young Charlie referred to as the 'Rain Man' due to Raymond's slow-speaking of his own name) was an imaginary character.Charlie proves to be sometimes shallow and exploitative, as when he uses Raymond's precision memory and takes him to Las Vegas to win money at blackjack by counting cards. Casino security begins to watch Charlie and Raymond, though they can't find any proof that either is using a cheater's system to win against the house. Security sends an attractive woman who finds Raymond alone in the casino's bar. She is able to get Raymond to allude to his and Charlie's counting of cards. Later, security asks to speak to Charlie privately and suggests that Charlie take his winnings, about $80,000 and leave. Charlie agrees.In the end, Charlie finds himself becoming protective of Raymond, and grows to truly love him.Upon arriving in Los Angeles, Charlie finally meets with his attorney Boros (Adam S. Gottbetter) to try to get his share of his inheritance, but then decides that he no longer cares about the money and really just wants to have custody of his brother. However, at a meeting with a court-appointed psychiatrist and Dr. Bruner, Raymond is unable to decide exactly what he wants (to live with Charlie in California or stay at the mental hospital in Ohio). Eventually, the psychiatrist presses Raymond to make the decision, upsetting him and leading Charlie to request that the doctor back off. Raymond is allowed to go back home to Cincinnati. Charlie, who has gained a new brother and mellowed considerably, promises Raymond as he boards an Amtrak train that he'll visit in two weeks.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0075686/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Annie Hall is a film about a comedian, Alvy Singer (Woody Allen), who falls in love with Annie Hall (Diane Keaton). Both of the characters are completely different but both strikingly entertaining and unusual. Alvy is an extreme pessimist that obsesses over the subject of death and has very sarcastic and cynical views about the world and the people around him. Annie is a ditsy and clumsy talented singer and photographer. When Alvy and Annie meet for the first time they are instantly attracted to each other and as a result their conversations are awkward but never the less adorable. The film takes you through the couple's love lives, before and after their relationship. Alvy often comes out of the scene he is in to talk directly to the audience about his views on whatever situation he is in.Alvy Singer is a neurotic comedian who desperately wants to analyze his relationship with his former girlfriend Annie Hall. The beginning is romantic. Then problems arise. He is not too enthusiastic about her idea of moving in with him, and leaving her apartment. He dislikes her habit of smoking weed before having sex and her lack of education. After she enrolls in adult education classes, she soon gets attracted to a professor. Alvy and Annie break up in a fight. He tries to calm down and starts a new relationship but with no success. After a while she calls him and they start again, convinced they will make it this time. Everything looks wonderful. But soon they both reveal to their shrinks that the relationship has gone sour again. After visiting California they break up, peacefully this time.Alvy is proud about their calm transition from relationship to friendship. He tries to date another woman but again with no success. He gets a panic attack and flies to California where Annie is in a happy relationship. She rejects him. He gets so upset that he ends up in jail. After coming back to New York he writes a play about their relationship, but with a happy ending. He meets her again later in New York with some other guy. They go for lunch as friends, remembering their good times. At the end he realizes that although relationships are absurd and irrational, we still need to go through them. We need to believe they are not what they are.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0089755/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "[Out Of Africa]A well-heeled Danish lady goes to an English colony in Africa and buys 1000 acres. Her beau dies and to avoid loneliness she proposes marriage to his gentleman but rascally brother whom she got along well with as a friend. He agrees, in no small part because she has money. They agree to start a cattle farm and she goes back to Denmark to get funding from her family, but when she returns she is distraught to find her husband has decided on his own they would grow coffee instead, despite the fact it has never been grown at that altitude.The First World War breaks out and most of the men go south to protect some front we don't see much of, but the lady leads a long and dangerous supply run to them herself, learning much about survival, resourcefulness and leadership along the way, and gaining the grudging respect of the men, who didn't think a woman would be up to it.After the fighting, her husband continues to live more independently than she would like, and eventually he transmits syphilis to her, although he suffers no noticeable effects of it. He is apologetic that he gave it to her, but hes not apologetic for being unfaithful or fiercely independent. She returns to Denmark for treatment, is cured after 3 years and returns to the farm, never to have conjugal relations with him again. He moves out of her house after soliciting a sum of money from her one last time.The coffee crops start coming in but turning a profit proves difficult. She enlists the services of a local tribe to work her farm and eventually much of the tribe works for her, and they wind up living on her uncultivated acres. She builds a school and hires a teacher to educate the black children, somewhat to the disapproval of many of the English settlers who would rather see the natives remain uneducated and easily manipulated.She is taken by a freelance hunter but her affections to him are not returned and he dies. His partner (Robert Redford) gradually becomes enamored with her and she reciprocates. He is honest and loyal but very independent as he lives a live of adventure in the wilderness, as he regretfully notes the inroads of civilization. She wants him to be more domesticated but he travels a lot and comes and goes as he pleases.The farm is just barely getting by as she mortgages it further with a local backer. She has a bumper crop but her barn catches fire, causing her to go bankrupt. She had no insurance as it was considered pessimistic in those freewheeling pioneer times.Her lover dies in a crash in his private plane and she buries him on her land. Her farm and lover gone, her life in Africa is over and she leaves, never to return. She has loved and lost, but it was better than never having loved at all. We are told at the end that she went on to write some books under a pseudonym about her adventures.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0119217/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Though Will Hunting (Matt Damon) has genius-level intelligence (such as a talent for memorizing facts and an intuitive ability to prove sophisticated mathematical theorems), he works as a janitor at MIT and lives alone in a sparsely furnished apartment in an impoverished South Boston neighborhood. An abused foster child, he subconsciously blames himself for his unhappy upbringing and turns this self-loathing into a form of self-sabotage in both his professional and emotional lives. Hence, he is unable to maintain either a steady job or a steady romantic relationship.The first week of classes, Will solves a difficult graduate-level math problem that Professor Gerald Lambeau (Stellan Skarsg\u00e5rd), a Fields Medalist and combinatorialist, left on a chalkboard as a challenge to his students, hoping someone might solve it by the semester's end. Everyone wonders who solved it, and Lambeau puts another problem on the board -- one that took him and his colleagues two years to prove. Will is discovered in the act of solving it, and Lambeau initially believes that Will is vandalizing the board and chases him away. When Will turns out to have solved it correctly, Lambeau tries to track Will down.Meanwhile, Will attacks a youth who had bullied him years before in kindergarten, and he now faces imprisonment after attacking a police officer who was responding to the fight. Realizing Will might have the potential to be a great mathematician, such as the genius \u00c9variste Galois, Lambeau goes to Will's trial and intervenes on his behalf, offering him a choice: either Will can go to jail, or he can be released into Lambeau's personal supervision, where he must study mathematics and see a psychotherapist. Will chooses the latter even though he seems to believe that he does not need therapy.Five psychologists fail to connect with Will. Out of sheer desperation, Lambeau finally calls on Sean Maguire (Robin Williams), an estranged old friend and MIT classmate of his. Sean differs from his five predecessors in that he is from Will's neighborhood and pushes back at Will and is eventually able to get through to him and his hostile, sarcastic defense mechanisms. At one point, Will analyzes a watercolor painting that Sean had done himself and concludes that it reflects Sean's suppressed feelings and guilt over the premature death of his wife. Sean becomes offended and hostile and grabs Will by the throat, threatening to sink his chances for reform, at which point Will ends the appointment and walks out; Lambeau walks in believing that Will has ruined his chances with yet another therapist. However, Sean sees Will as a challenge and tells Lambeau to bring him back each week.In a later session, Will is particularly struck when Sean tells him how he gave up his ticket to see the Red Sox in the 1975 World Series (missing Carlton \"Pudge\" Fisk's famous home run in Game 6) in order to meet and spend time with a stranger in a bar, who would later become his wife. Will is encouraged to try to establish a relationship with Skylar (Minnie Driver), a young woman he met at a bar near Harvard.This doctor-patient relationship, however, is far from one-sided. Will challenges Sean in the same way that Sean is encouraging Will to take a good, hard, objective look at himself and his life. Sean's own pathology is that he is unable and unwilling to even consider another romantic relationship in the aftermath of his beloved wife's premature death from cancer several years before, possibly the primary reason why Sean agrees to take Will on as a client.Meanwhile, Lambeau pushes Will so hard to excel that Will eventually refuses to go to the job interviews that Lambeau has arranged for him for positions that might prove challenging, even to his immense talents. Lambeau and Sean also squabble about Will's future. Will's accidental witnessing of this furious quarrel somehow acts as a catalyst for his decision to enter a deeper level of trust and sharing with Sean. He has apparently realized from this event that the situation is a little more complex than Will vs. The World. He now sees that these mentors are every bit as human, fallible, and conflicted as he is.Skylar asks Will to move to California with her, where she will begin medical school at Stanford. Will panics at the thought. Skylar then expresses support about his past, which is received as patronization and triggers a tantrum in which Will storms out of the dorm while in a state of undress. He shrugs off the work he's doing for Lambeau as \"a joke,\" even though Lambeau is incapable of solving some of the theorems and admittedly envies Will. Lambeau begs Will not to throw it all away, but Will walks out on him anyway.Sean points out that Will is so adept at anticipating future failure in his personal and romantic relationships, that he either allows them to fizzle out or deliberately bails in order to avoid the risk of future emotional pain. When Will then provides a whimsical reply to Sean's very serious query of what he wants to do with his life, Sean simply shows him the door. When Will further tells his best friend Chuckie (Ben Affleck) that he wants to be a laborer for the rest of his life, Chuckie becomes brutally honest with Will: He believes it's an \"insult\" for Will to waste his potential as a laborer, and that his recurring wish is to knock on Will's door in the morning when he picks him up for work and find that he just isn't there, that he has left without saying goodbye. Chuckie's honesty hits home with Will more than anyone else's, even Sean, a trained professional.Will goes to another therapy session, where he and Sean share that they were both victims of child abuse. At first, Will is defensive and resentful at Sean's repeated reassurances that \"It's not your fault,\" but he eventually breaks down in tearful acknowledgment. Finally, after much self-reflection, Will decides to cease being a victim of his own inner demons and to take charge of his life. When his buddies present him with a rebuilt Chevy Nova for his 21st birthday, he decides to go to California and reunite with Skylar, setting aside his lucrative corporate and government job offers.Will leaves a brief note for Sean explaining what he's doing, using one of Sean's own quips, \"I had to go see about a girl.\" Sean also leaves to travel the world, though not before reconciling with Lambeau. The movie ends as Chuckie poignantly discovers, in fulfillment of his own long-standing wish, that Will has left for a better life. Will is then shown starting his life-affirming drive to California for a new beginning with Skylar and a leap into an unpredictable future.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0086425/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0084805/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Michael Dorsey is an actor living and working in New York City. Most of his work seems to be on the stage; he is adept at disguises, and has a tendency to tailor his own look at the audition based on what he thinks the director wants. However, he is also very stubborn and willful; for instance, he has one confrontation with a director over whether his character can get up and move center stage for a death scene. Michael storms off the stage and quits the play, even though apparently they are well into rehearsals.Michael lives with his best friend Jeff Slater, an eccentric playwright, and both men earn a living by waiting tables in a restaurant. As the film opens, Jeff and Michael's many friends and associates throw him a surprise birthday party, during which Michael's inability to connect with women becomes obvious. He has the tendency to lie, even about trivial things, to the point where the women see through him and avoid him. When Michael's potential love connection leaves the party with another man, Michael decides to console his neurotic friend Sandy Lester by walking her home. Sandy is nervous about an audition that she has the following day for a soap opera called \"Southwest General\", Michael coaches her and agrees to walk her to the audition the next day.When they get to the studio, the director refuses to even allow Sandy to read; he says she isn't intimidating enough. When Michael tries to talk to a secretary to get ahold of a friend of his in the cast, he finds out his friend has left the cast to do a Broadway play--a role that Michael's agent, George Fields, had promised for Michael himself. Michael becomes furious and goes straight to George's office and barges in. George humors him at first but then explains to Michael that his reputation as a troublemaker has made him impossible to employ. Even directors who have hired Michael for commercials have found themselves overbudget due to Michael's inability to take direction. Michael questions George about Jeff's play that he's writing; Michael has sent George a copy of it, and George dismisses it as a pointless play that nobody will see. Michael becomes resolved; he will raise the $8000 it will take to produce Jeff's play. George disagrees and tells Michael nobody will hire him.The next thing we see is Michael, walking down a busy New York street, in disguise as a woman. He goes to the audition for \"Southwest General\" and gives them the bogus name Dorothy Michaels, name dropping George as \"her\" agent. Dorothy meets the show's producer, Rita Marshall, who takes her in to meet Ron Carlisle, the show's director. Ron sees Dorothy and immediately dismisses her, just as he must have done to Sandy. He tells Dorothy she's not right for the part, but Dorothy presses the issue and asks why. When Ron tells her she's not intimidating enough, Dorothy questions his intentions and becomes visibly angry and loud, scolding Ron and even Rita about wanting to portray powerful women in a negative, unattractive light. Rita seems to take what Dorothy said to heart, and follows her when she storms out, asking her to come back in for a reading. Ron is put off by Dorothy's outburst, but Rita smooths it over by flattering him, telling him Dorothy was impressed with the way he communicated the part to her. Dorothy's audition is impressive, and although Ron says there is something about her that doesn't sit right with him, Rita decides to hire her for the role.Still dressed as Dorothy, Michael goes to the Russian Tea Room, where he knows George will be having lunch, and intercepts him, insinuating himself at George's table and discreetly revealing to George that he is Michael Dorsey in disguise. George is horrified, and even more shocked that Michael managed to land a job as Dorothy. Michael borrows $1000 from George and goes shopping for a new wardrobe.Michael has a discussion with Jeff about his strange new gig. He plans on simply doing the soap opera until he raises the money to do Jeff's play, which is intended as a vehicle for Michael and Sandy. Michael and Jeff both wonder how they'll tell Sandy that they have the money to do the play, without telling her that the producers hired a man in drag instead of her. Michael decides to lie to her, telling her a family member died. Michael and Sandy decide to celebrate by going out to dinner; while Sandy is in the shower, Michael spots a dress she owns and wants to try it on, but after he undresses, Sandy returns unexpectedly. At a loss to explain why he is in his underwear, Michael has sex with Sandy. Afterwards, they both wonder how it will change their friendship; Sandy is pessimistic and says Michael will never call her now, but Michael promises to have dinner with her the following day.At his first day on the job as Dorothy, Michael meets his fellow cast members, including a beautiful woman named Julie Nichols. She plays a nurse on the show, and she also happens to be Ron's girlfriend. Dorothy makes a good impression on everybody, but Michael is shocked when he discovers that Dorothy has a scene where she kisses a lecherous male cast member, played by an older man named John Van Horn. Since Michael does not relish the idea of kissing another man, \"Dorothy\" ends up changing the scene, hitting John over the head with a folder when he tries to kiss her. Although Ron is incensed, he lets it pass, and this begins the emergence of both Dorothy and the character she is playing as a strong, no-nonsense woman.Dorothy and Julie also begin a friendship. Although Julie sees Dorothy as simply another woman, Dorothy is really Michael, and he is extremely attracted to Julie. A series of mishaps occurs where Michael breaks plans with Sandy in order to spend time with Julie, culminating in an evening when he goes to Julie's apartment as Dorothy in order to discuss work and socialize with her. Dorothy meets Julie's infant daughter, Amy, and discovers that Julie has a fondness for drinking. She seems vaguely unhappy and in search of her own voice, something that keeps her under the spell of Ron. Dorothy sees Ron treating Julie with disrespect, not only cheating on her with other women but constantly talking down to her, clearly not taking her seriously as a person. When Julie mentions that Ron was supposed to show up for dinner one night and stood her up, Michael suddenly remembers Sandy and the dinner she had planned to make at her apartment for the both of them that night. After leaving Julie's, Michael goes home, changes out of his disguise, and goes over to Sandy's. She isn't nearly as furious with him as she should be, and even Michael points this out to her. Sandy accuses him of having an affair, having spotted Dorothy going into Michael's apartment. Michael tells her \"Sandy, I'm not having an affair wtih the woman that went into my apartment. It's impossible.\"As Dorothy, Michael begins to learn about what it means to be a woman, particularly the roles that men may expect women to play. When Ron talks down to Dorothy, she stands up for herself and gives it back to him, which inspires Julie and the other women on the show. Additionally, Dorothy's spunky attitude is a hit with the viewers of \"Southwest General\", causing the show's ratings to climb and Dorothy to become a minor celebrity.George remains an unwilling accomplice in Michael's deception, perhaps mostly due to the fact that Michael already assocated him with Dorothy by telling everyone he's her agent. He takes Michael to a party one night and they see Julie there with Ron. Michael isn't in disguise, so neither one of them recognizes him as Dorothy. Michael makes an attempt to talk to Julie, but she ignores him, eventually throwing a drink in his face when he makes an off-color remark to her. This adds to Michael's panic about his relationship with Julie; as Dorothy, he is Julie's friend and confidante. As Michael, he doesn't stand a chance with her.As Dorothy's tenure with \"Southwest General\" is about to end, Julie invites her to come with her to upstate New York, where her widowed father still lives on the farm where Julie grew up. Against Jeff's advice, Michael goes with Julie, maintaining his Dorothy disguise all weekend. Dorothy meets Julie's father, Les, a conservative but kind man who enjoys the laid back life he leads on the farm. Julie tells Dorothy that Les hasn't dated any women since her mother passed away, and it becomes clear that he takes a strong liking to Dorothy. Dorothy manages to politely avoid Les's advances.When they return to New York, the precarious position that Michael is in begins to implode. Rita tells Dorothy that because of her popularity with the viewers, they will be picking up their option to keep her on the show for another season. Michael is very upset to get that news, since he wants to leave the show in order to do Jeff's play, but George tells him there is nothing he can do about it, the studio has the legal option to keep Dorothy on. As Michael is about to go to bed, he gets a frantic call from Julie asking Dorothy if she can come over and sit for Amy while Julie goes out with Ron; Julie has decided to break up with Ron, and she tells Dorothy that she herself is the inspiration for Julie's newfound assertiveness. After a few harrowing hours where Amy refuses to cooperate with Dorothy, Julie returns, despondent about the breakup, and in a moment of vulnerability, she tells Dorothy that she treasures their friendship more than anything, but feels like she wants something she just can't have. In response, Michael leans in and tries to kiss Julie, but Julie of course does not know Dorothy is really a man, and she assumes Dorothy is a lesbian who just made a pass at her. Confused and upset, she is clearly distraught that her new best friend has made a pass at her, when the phone rings. It is Les, and he asks if he can speak to Dorothy, inviting her to a downtown club for drinks and dancing. What Les really does is propose marriage to Dorothy, giving her an engagement ring. Dorothy tells him she needs time to think it over and leaves.Michael returns home by cab and finds John Van Horn waiting outside his apartment for Dorothy. When she refuses to invite him up, he starts singing loudly and attracts the attention of neighbors, so Dorothy invites him up anyway. After making several attempts to seduce Dorothy, John is horrified when Jeff returns home unexpectedly. Embarassed, he leaves. Jeff turns to Michael and says \"You slut!\" The final strand to unravel is Sandy, who shows up right after, banging on the front door to be let in. Michael hurriedly takes a shower, removing his makeup and Dorothy disguise, and Sandy demands to know why he hasn't been returning her phone calls. Michael attempts to lie to her again, giving her a box of chocolates that Les sent Dorothy, but her forgets there is a note attached. Sandy reads it and it says \"Thank you for a wonderful night in front of the fire, Les.\" Cornered, Michael finally comes clean with Sandy, but all he manages to get out is \"I'm in love with another woman\" before Sandy plunges into hysteria. Even so, Sandy tells Michael that she could handle the fact that he was in love with another woman, but she does not like being lied to. Michael has already come to the realization that he has been behaving like Ron, rationalizing his lies and callous treatment of women, which may explain why Michael does not have any real relationship with a woman at all.Things come to a head when, the next day at the studio, one of the reels of the show is accidentally destroyed and the cast is forced to do a crucial scene live on the air. Before they go on, Dorothy visits Julie's dressing room. Julie tells Dorothy that she cannot see her anymore. Since Julie now thinks another woman is in love with her, she can't lead Dorothy on by pretending to be friends when she knows Dorothy wants more from her. When they go on the air, Ron and Rita watch nervously, hoping that the scene comes off alright. They are horrified when Dorothy starts veering wildly from the script, taking her character into a long speech about why she came to Southwest General. After concocting a crazy story about disfiguring diseases, exile in foreign countries, and other nonsensical things, Dorothy takes off her wig and reveals herself to be a man underneath, weaving her own real story into that of her character, as if her unmasking was always intended to be part of the Southwest General plot all along. Sandy and Les react in horror, watching the episode from their TV sets, while the cast themselves are shocked to discover that Dorothy is actually a man. Julie walks up to Michael and angrily hits him in the stomach.Some time after the fallout, Michael drives upstate and finds Les in the bar where he likes to hang out, presumably to return the ring and try to make amends. Les is hostile at first, but eventually softens enough to allow Michael to apologize. Michael explains why he took the role as Dorothy, and that he never meant to hurt anybody. Les and Michael eventually lighten up enough to joke about the situation, and Les admits that Michael was good company. Michael tells Les that he is in love with Julie, but Les says Julie never mentions him.The final scene occurs when Michael attempts to see Julie. He waits for her outside the TV studio, but Julie spots him and walks away. Michael chases after her and tries to make small talk with her. Julie tries to avoid him but finally allows him to talk to her. Michael tells Julie what he told Les, that he only did it for the money, and that he couldn't help falling in love with Julie. He also says that he was a better person as Dorothy than he ever was as himself. He asks her to give him a chance, since they were already good friends. Julie admits that she misses Dorothy, but Michael reminds her that he is Dorothy. \"I just gotta learn to do it without the dress,\" he tells her. Julie softens and smiles, playfully asking him if she can borrow one of Dorothy's outfits. In the final shot, they walk down the street together talking and laughing, and after they get about a block away, Julie happily puts her arm around Michael.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0116282/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The movie opens with a car towing a new tan Oldsmobile Cutlass Ciera through a sub-freezing blizzard to a small inn in Fargo, North Dakota. It is 8:30 p.m. on a cold night in January 1987. When the driver goes inside, we see that it is Jerry Lundegaard (William H. Macy), and he uses the false name 'Jerry Anderson' to check in. He then goes to the inn's bar/restaurant to have a meeting with two men.Jerry has obviously never met them before. The short, bug-eyed, dark-haired, annoyed, talkative one, Carl Showalter (Steve Buscemi), tells him that Shep Proudfoot, a mutual acquaintance of theirs who set up the meeting, had said Jerry would be there at 7:30 rather than 8:30. The other man, a tall, blond Swede named Gaear Grimsrud (Peter Stormare), sits silently and smokes. They discuss the tan Ciera as part of a payment to them from Jerry, plus $40,000. Apparently, Jerry has hired the men to kidnap his wife in order to get a ransom from his wife's father. Jerry is a fast talker and doesn't want to say much at why he needs the money, but he reveals that his father-in-law is rich and that he plans on asking for $80,000 and keeping the other half for himself. Carl and Gaear accept the deal.The next day, Jerry returns to his home in Minneapolis, Minnesota and his father-in-law, Wade Gustafson (Harve Presnell), is sitting on the couch watching TV, visiting that night for supper. They all eat dinner, and Jerry and his wife Jean's young teenage son, Scotty (Tony Denman), leaves early to go to McDonald's. Jerry and Wade start to argue about this and that Jerry seems to spoil Scotty and does not inflict much disipline. To get out of the conversation, Jerry changes the subject by bringing up a deal he had apparently suggested earlier to Wade, in which he's asking for a loan of $750,000 to build a 40-acre parking lot in Wayzata. Wade tells Jerry that his associate, Stan Grossman, usually looks at those kinds of deals before he does. Jerry nervously urges him to accept it, saying he and his family need the money soon. Wade, who appears to have a condescending attitude toward Jerry, tells him that Jean and Scotty will never have to worry about money... but does not mention Jerry's name.Another day later, Carl and Gaear are driving the Cutlass Ciera towards Minneapolis. Gaear tells Carl he wants to stop at \"pancakes house\", and Carl complains that they just had pancakes for breakfast. Gaear looks at him and tells him coldly they will stop at pancakes house. Carl agrees, somewhat reluctantly, they will stop in Brainerd, get pancakes, and \"get laid.\"Back in Minneapolis, Jerry is the executive sales manager at the car lot Wade owns, a job which fits Jerry's talkative, weaselly manner. He's arguing with a couple about the \"TruCoat\" on the couple's new car, and now Jerry is clearly over-charging them for it when they had said they didn't want it. Jerry says he will talk to his manager about it, and leaves the room to have a conversation with another salesman about hockey tickets. He comes back and lies to the couple by stating that his manager has approved a discount on the TruCoat, and the husband agrees but profanely accuses Jerry of being a liar.The story goes back briefly to a motel room at the Blue Ox, a motel in Brainerd that evening. Gaear and Carl are having enthusiastic sex with two women on separate beds in the same room.The next morning at the Lundegaards', Jean (Kristin Rudr\u00fcd) and Scotty are having an argument about his grades. The phone rings, and it's Wade calling for Jerry. Wade tells him that Stan Grossman has looked at the parking lot deal and he says it's \"pretty sweet.\" Jerry tries to restrain his excitement, as he apparently had thought Wade wouldn't want to go through with it. They make a meeting for 2:30 pm that afternoon.Jerry is optimistic about the future meeting with Wade, and is now considering calling off the kidnap/ransom plot. He makes his way to the dealership's large service garage to seek out a burly Native American mechanic, named Shep Proudfoot (Steve Reevis). A man of few words, Shep is apparently the middleman who set up Jerry's earlier meeting with Carl and Gaear. Surprisingly, Shep does not know who Carl is. He tells Jerry he'll only vouch for Grimsrud, not Carl. Regardless, Jerry tells him that's fine, but was just wondering if there was an alternate phone number to reach Carl and Gaear. Shep casually tells Jerry that he can't help him anymore, for he has no other means to get in contact with Gaear or Carl. Jerry is visibly nervous.In the next scene, Carl and Gaear are driving and the skyline of the Twin Cities is visible. Carl chats mindlessly to Gaear and asks him if he's ever been to the Twin Cities, to which Gaear responds with a short \"nope.\" Carl goes on about how that's the most Gaear has said all day. He asks Gaear how much he'd like it if he stopped talking.Meanwhile, Jerry is sitting in his office at the car dealership talking on the phone. On the other end is a man named Reilly from the banking loan company GMAC who tells Jerry that he can't read the serial numbers of a list of vehicles on a financing document Jerry sent by fax some time ago. Jerry is elusive, telling him there's no problem since the loans are in place already. The man tells him 'yes', and that Jerry got $320,000 last month from the loans for the new set of cars sold, but there's an audit on the loan and that if Jerry cannot supply the proof of the sales to prove that the vehicles exist, GMAC will have to recall all of that money. Jerry clearly tries to get the man off the phone as quickly as he can while still being vague about the particulars. Jerry tells him that he'll fax him another copy. The man tells him a fax copy is no good, because he can't read the serial numbers of the cars from the fax he already has. Jerry tells him he'll send him another one as soon as possible and then hangs up.(Note: It is highly implied at this point that Jerry is secretly embezzling money from the car dealership bank accounts either for personal use or to pay off more anonymous debts. So, in order to cover up his crime, he replaced the money he stole by sending fake sales documents to acquire a $320,000 insurance loan from GMAC for a new batch of cars that he sold... cars which apparently don't exist, thus in some part explains why Jerry needs $320,000 to pay back GMAC when they come to recall their loan.)At the Lundegaards' house, at about the same time Jerry is on the phone, Jean sits alone watching a morning TV show. She hears a noise and looks up at the sliding-glass door in the back just as Carl comes up the steps to the back deck, wearing a ski mask and holding a crowbar. He peers through the window as if looking for someone, steps back, and smashes the door with the bar. Jean screams and tries to run for the front door, but Gaear suddenly barges in through the front door, also wearing a ski mask. He grabs her wrist and she bites his hand. She runs up the stairs as Carl enters. Gaear lifts up his mask, looks at the bite, and tells Carl he needs ointment. Jean takes a phone into the second floor bathroom and locks herself in, trying desperately to call 911. The cord is under the door. Carl and Gaear unplug the phone before she can finish dialing. The door frame starts to break as Carl uses the crowbar to get through. Sobbing hysterically, she frantically tries to pry the screen off the second-story window to escape before the men get in. The door busts open, and the two men stand there looking at an empty bathroom, the window open. Carl runs to go outside to look for her, and Gaear raids the medicine cabinet for some salve. As he is about to put it on his hand, he looks up into the mirror and sees the shower curtain drawn on the tub. He pauses for a moment and realizes where Jean is. Jean, hiding in the tub, begins thrashing and screaming and takes off, blindly hurtling through the bathroom and down the hall. She runs screaming, trying to throw off the curtain, and she trips and falls down the flight of stairs and lands hard at the bottom. Gaear calmly follows her down the stairs and nudges her body to see if she is alive.At the 2:30 p.m. business meeting, Stan Grossman (Larry Brandenburg) and Wade tell Jerry that the deal is looking good. They ask him what kind of finder's fee he was looking for. Jerry seems confused and tells Stan and Wade that they would be lending all the money to him to proceed with building the parking lot. They explain that while Jerry will get a finder's fee of around 10% of the $750,000, Wade and Stan will oversee the rest of the development of the parking lot with the rest of the money. Jerry (realizing that $75,000 is nowhere near what he needs to pay back his massive debit to GMAC), tries to convince them to give him all of the $750,000 so Jerry can invest it himself... with neither Wade and Stan overseeing his work. Stan tells Jerry they thought his asking for $750,000 was merely an investment he brought to them, and states that they are not a bank. Jerry insists to Wade and Stan to give him all of the 750 grand and he will pay them back the principal and interest when the deal starts paying, but Wade and Stan insist on running the deal themselves. Jerry desperately guarantees them their money back if they let Jerry run the deal and let him have all the money, but Wade and Stan say they are not interested and that they would like to move on the deal independently. Jerry accepts this and takes the check Stan gives to him for his finder's fee. Jerry goes out to his car alone and vents his rage and frustration with the ice scraper on his frozen windshield.Jerry walks into his house later that day. He surveys his empty house, where there are obvious signs of a struggle during the kidnapping. He practices the fake desperate and sad phone call he will make to her father.Later that night, Carl and Gaear are driving with the sobbing Jean, now covered with a blanket in the back seat of the car. They pass a huge statue of Paul Bunyan and the welcome sign for Brainerd. Gaear, smoking and looking out the window as usual, is annoyed by Jean's whimpering and tells her to shut up or he'll throw her in the trunk.\"Geez, that's more than I've heard you say all week,\" Carl tells him. Gaear gives him a hard, cold stare and turns away. It is then that a Minnesota State Police cruiser behind them flips on its lights and pulls them over. Carl realizes they're being stopped because he failed to put temporary vehicle registration tags on the car, and he tells Gaear he'll take care of it. He tells Jean to keep quiet or they'll shoot her. Gaear stares at him expressionlessly. The trooper approaches Carl's window and asks for a driver's license and registration. Carl gives the trooper his driver's license, but does not have the car's vehicle registration or insurance. He then tries unsuccessfully to coolly bribe the trooper, who tells him to step out of the car. Nervously, Carl hesitates, and Jean makes a noise in the back seat. The trooper points his flashlight at Jean. Quickly, Gaear reaches across Carl, grabs the trooper's hair, slams his head onto the door, pulls a pistol from the glove box, and shoots him in the head, blowing his brains out. Carl sits stunned, the trooper's blood having splattered across his face, and Gaear tells him to ditch the body.As Carl lifts the dead trooper by the arms, a pair of headlights starts towards them down the highway. He freezes in the lights, holding the obviously dead man in his arms by the police car. The two people in the car stare as they pass. Gaear quickly climbs into the driver's seat and takes off after the other car. He is briefly puzzled when its tail lights vanish in the dark, but quickly spots the car turned over in the snow on the roadside. Gaear stops and jumps out of the car. The driver is limping and trying to run across the snowy field. Gaear fires once, striking the man in the back. He falls face-first and dies. Gaear then walks over to the upside down car and looks inside, where a young woman is lying awkwardly in her upside-down seat. He leans back, aims his pistol, and the screen cuts to black as he shoots her.A little later, the phone rings at the home of a sleeping couple, Brainerd police chief Marge Gunderson (Frances McDormand) and her husband Norm (John Carroll Lynch). As she gets out of bed we see she is very pregnant. Norm makes her some breakfast before she goes out to the scene of the shooting.That morning, Marge arrives at the scene of the overturned car driven by the collateral shooting victims. Marge is observant and quick-working, and she determines from the size of the footprints that the shooter was a heavyset individual. She surmises the events we've already seen - the trooper pulled over a motorist for a traffic violation, said motorist shot him. The second car came driving past, and the shooter, realizing they'd seen him, chased them down and shot them.Marge then looks at the trooper's unit, parked several hundred yards up the road and sees a set of smaller prints by the trooper's body, lying in the snow by the roadside. Here, Marge deduces that a second, smaller man was involved. From the fact that the trooper's car's lights were turned off, Marge deduces that the accomplice was warming up in the cruiser while the heavy person was chasing down the two witnesses. As Marge and the other officer, Lou, drive away, Lou notes that the trooper's notebook was lying on the floor of his car, which the killers apparently overlooked, and they find their first clue: the officer had partially filled out a ticket at 2:18 AM for a tan Cutlass Ciera with a license plate number starting with DLR. Marge realizes that this is not the beginning of a license plate number, but an abbreviation of the word \"dealer\" which is an indication that the car was stopped because it had dealer plates that hadn't been changed yet.At a restaurant in Minneapolis, Jerry, Wade, and Stan Grossman sit and discuss Jean's kidnapping. Jerry tells them that the kidnappers called him and expressly told him not to call the cops. Wade is angry and insists on calling the police. As a surprise to Jerry, Stan sides with Jerry and says they should not call the police or negotiate with the kidnappers and that they should give them the ransom. Jerry tells Wade the men asked for one million dollars (obviously planning to give Carl and Gaear their $40,000 and to keep the rest for himself to pay off his debits). Jerry also says he needs the money ready by tomorrow. Stan offers to stay with Jerry and wait for a phone call from the kidnappers, but Jerry tells him the men said they'd deal only with him. Stan asks Jerry if Scotty will be okay. It seems to suddenly dawn on Jerry that this will affect his son, and he seems visibly upset or at least surprised that he had never thought about his scheme affecting Scotty before.At home, Jerry tells Scotty about the kidnapping, and the boy cries and asks if Jean will be okay. Jerry nods and doesn't offer much comfort. He tells the boy that if anyone calls for Jean, he should just say she is visiting relatives in Florida.That afternoon, Carl and Gaear pull up to a cabin by a lake, and Gaear opens the back door to guide Jean inside. She is hooded and tied at the wrists. Jean squeals and tries to run away; Gaear reaches to catch her, but Carl stops him and watches her running blindly in the snow, laughing hysterically. She falls, and Carl laughs hysterically. Gaear, staring expressionlessly, goes to get her.Downtown in Brainerd, Marge goes to the police station to eat lunch, and her husband Norm is waiting there for her with food from Arby's. As they eat, Lou pokes his head into Marge's office and tells her that the night before the shootings, two men checked into the Blue Ox Motel with a tan Ciera with dealer plates; apparently, \"they had company.\"Marge goes to a bar to interview the two women who Carl hired to have sex with him and Gaear in the motel. The two ditzy women, whom work as strippers at the bar during the evening hours, are not very helpful in describing the two men. The first one describes Carl, the \"little fella,\" as funny-looking, and the other describes Gaear, the \"big fella\", as an older man who didn't talk much but smoked a lot. The women tell Marge that the men told them that they were headed to the Twin Cities.In the cabin, Carl is banging the top of the staticky TV, cursing at it. Jean is tied to a chair, the hood covering her head and her cold breath steaming through the fabric. Gaear sits with the same emotionless expression, watching silently as Carl screams and bangs on the TV, trying to improve the reception.Late at night at the Gundersons' house, they turn off the TV to go to sleep. The phone rings for Marge, and it's Mike Yanagita (Steve Park) calling; apparently an old acquaintance of hers from high school, he tells her that he's in the Twin Cities and that he saw her on the news in the story about the triple homicide in Brainerd. Marge makes brief but polite conversation as the man chatters.The next morning, Jerry is half-heartedly selling a car as he gets a phone call from Carl in his office. Carl tells him that he will be arriving tomorrow to pick up the ransom, but demands more money so he and Gaear can leave the country because of the shootings. He demands the entire ransom of $80,000, unaware that Jerry told Wade the ransom is $1 million. As soon as Carl hangs up, Jerry gets another phone call from the man at GMAC, telling him he never received the serial numbers for the vehicles in the mail as Jerry told him the previous day. Jerry, again being elusive about the subject, maintains that the documents are still in the mail. The man at GMAC sternly tells Jerry that he will refer the matter of the accounting irregularities to the company's legal department if he doesn't get the license plate numbers of the vehicles by the close of business the very next day and proclaims: \"my patience is at an end.\" After the man at GMAC hangs up, Jerry flies into a rage as he realizes that his control over the situation is fading fast.In Brainerd, Marge and Norm sit in a buffet restaurant eating lunch together. An officer comes in with some papers, and tells Marge he found phone numbers she had asked for that had been called from the Blue Ox Motel, both to Minneapolis, including one to a trucking company and another to the residence of Shep Proudfoot. Marge tells the officer and Norm that she'll take a drive down to Minneapolis.At night at the Lundegaards' house, Jerry, Wade, and Stan are sitting around the kitchen table. Wade is telling Jerry he wants to deliver the $1 million himself to the kidnapper, and Jerry is upset, saying that they wanted to deal only with him. Wade (clearly distrustful of Jerry) says that if he can't deliver it, he'll go to the authorities.The next day, Carl leaves Gaear behind at the lakeside cabin to look after Jean, while he drives alone to Minneapolis to pick up the ransom money. Carl first drives to the Minneapolis airport. He drives the tan Ciera up to the roof of the parking garage and steals a Minnesota license plate off another car so he can replace the dealer tags. At the exit booth of the garage, he tells the attendant that he has decided not to park there and that he doesn't want to pay. The friendly man explains that there's a flat four dollar fee. Carl doesn't want to pay, but the polite parking attendant insists that he pay. Carl gets upset and insults him: \"I guess you think, you know, you're an authority figure, with that stupid fucking uniform. Huh, buddy?\" he sneers. However, he gives him the money anyway and drives off.At the dealership garage, Jerry goes to talk to Shep only to find Marge questioning him. Marge is questioning Shep about the phone call made to him from the Blue Ox Motel by one of the suspects of the three murders in her town. Shep claims that he doesn't remember receiving any phone call. She reminds him that he has a criminal record and is on parole, though nothing in his record suggests him capable of homicide, so if he had been talking to criminals and became an accessory to the Brainerd murders, that would land him back in prison. She then asks him cheerfully if he might remember anything now.Marge then goes to visit with Jerry in his office. He is clearly antsy as he nervously doodles on a notepad. She tells him that she is investigating three murders in her upstate town of Brainerd and asks him if there has been a tan Cutlass Ciera stolen from the lot lately, but he dances anxiously around her question by changing the subject. He eventually tells her there haven't been any stolen vehicles, and she leaves. When he sees Marge leave, Jerry tries to call Shep in the garage, but another mechanic tells Jerry that Shep has just left; he just walked out after talking with Marge.That evening, Marge goes to eat dinner at the Radisson Hotel restaurant; she apparently has spoken to Mike Yanagita, the man who called her late at night, and he meets her there. He is chatty and a little odd, and he is obviously and awkwardly trying to hit on her. He tries to change seats so as to sit next to her in the booth, but she politely tells him to sit back across from her, saying, \"Just so I can see ya, ya know. Don't have to turn my neck.\" He apologizes awkwardly and clumsily launches into a story about his wife, whom he and Marge both knew from school but has since died of leukemia. He starts to cry, telling Marge he always liked her a lot. She comforts him politely.In the celebrity room at another hotel, Carl sits at a table with another prostitute. He hits on her awkwardly as they watch Jose Feliciano on a small stage. In the hotel room later, they are having sex. Suddenly, she is flung off from on top of him by Shep, who has somehow tracked Carl down and is angry at Carl for nearly getting him in trouble with Marge. He kicks the escort in the rear as she runs screaming and naked down the hall. Shep beats Carl, first punching him and then throwing him across the room and hitting him viciously with his belt.Sometime later, Carl, cut up and bruised from the beating, calls Jerry at his house. He is humiliated and extremely agitated. He tells Jerry to bring the ransom money to the Radisson Hotel parking garage roof in 30 minutes or he'll kill him and his family. Wade, listening on the other line in the house, immediately leaves with the briefcase full of the million dollars. Jerry almost asks Wade if he could come along, but being afraid of his antagonistic father-in-law, he chooses to say nothing. As he drives, Wade reveals he has brought a gun in his jacket and practices what he will say to the kidnapper. Jerry leaves soon after him to see what will happen.On the roof of the parking garage, Carl sits waiting in his idling Ciera as Wade pulls up. Carl demands to know where Jerry is, and Wade demands to see Jean. Carl demands that Wade give him the briefcase with the money in it, but Wade refuses unless he sees his daughter Jean. Surprised and angry by Wade's demands, Carl shoots Wade in the stomach without hesitating and goes to snatch the briefcase from his hands. Wade shoots Carl in the face as he leans over. Carl reels back and grabs his wounded right jaw after being gazed by the bullet. He quickly lethally shoots Wade multiple times. Clutching his bleeding jaw while screaming in agonizing pain, Carl grabs the briefcase, gets into his car, and drives away. As he speeds through the garage, he passes Jerry. Both of them take a quick notice of each other, but Carl continues driving on. He drives up to the garage attendant and, holding his bloody jaw, tells the man to open the gate. At the same time, Jerry continues up to the roof and finds Wade lying there, shot dead. Jerry casually pops open his car trunk (to put his father-in-law in the trunk of his car).As Jerry leaves the garage with Wade in his trunk, he sees that Carl has killed the attendant with a bullet to the head and smashed through the exit gate, breaking it off. A distraught Jerry goes home, and Scotty tells him Stan Grossman called for him. Jerry tells Scotty everything went fine, and he goes to bed without calling Stan back.In Brainerd the next morning, Gerry Olson, one of Marge's deputies, stops by the house of a chatty older man, named Mr. Mohra, who is shoveling snow off his driveway. The man has apparently reported an incident at his bar, and he tells Olson that a few days ago \"a little funny-looking man\" (obviously Carl) asked him where he could \"get some action in the area\" (hookers). When he refused, Carl had threatened the man and stupidly bragged about killing someone. He also says that Carl mentioned that he was staying out near a lake. The bar had been near Moose Lake, he tells the officer, so he believes that that is the place Carl was talking about. Officer Olson politely thanks the neighbor for the tip and leaves.Meanwhile, Carl is stopped on the side of a snowy road, a bloody rag pressed against his wounded jaw. He looks inside the briefcase and is astounded at how much is inside; he had expected $80,000 and instead got the million that Jerry had been planning to keep mostly for himself. After thinking for a minute, Carl takes out the $80,000 that Gaear apparently would still be expecting and throws it in the backseat. He closes the case, fixes his rag, and takes it out into the snow beside a fence. He looks right and left, seeing only fence and snow, and he buries the money. Carl sticks an ice scraper into the snow on top as the only marker besides the bloodied snow he'd dug aside (presumably to come back later for the rest of it), and he drives away.In Minneapolis, Marge sits next to her packed luggage in her hotel room talking on the phone to a female friend. She tells the friend that she saw Mike and that he was upset from his wife's death. The woman tells Marge that Mike never married that woman, that he had been bothering her for some time and that she is still alive. She tells Marge that Mike has been having life-long psychiatric problems and he has been living in an insane asylum for a few years now and that he is now living with his parents. Marge then checks out of the hotel, buys a breakfast sandwich from a Hardees restaurant, and silently ponders her next move and she contends driving back to Brainerd having gotten nowhere with her investigation. But then a thought pops into her head as she remembers something.Marge then goes to visit Jerry at the car dealership, obviously having picked up something from his nervous and elusive behavior on her first visit the day before. He sits in his office writing out a new sales form for GMAC, making sure the serial numbers for the non-existent vehicles are again smudged and illegible. He is irritated by her visit. He tries to get her out, but polite and insistent as usual, Marge tells him that the tan Ciera she's investigating had dealer plates and that someone who works at the dealership got a phone call from the perpetrators, which is too much of a coincidence. She asks if he's done a lot count recently, and rather than answer, Jerry yells at her by saying that the car is not from that lot. In a serious tone, Marge tells Jerry not to get snippy with her. Jerry tells her he is cooperating, but it's obvious to us that he is now clearly insane at realizing the depth of the mess he has created and how miserably all his assorted schemes have failed. He jumps up, puts on his hat and coat, and tells her he'll go inventory the lot right now. Marge waits at the desk, peeking a look at his picture of Jean and at the GMAC loan form on his desk. From the window she sees him driving out of the lot. She hurriedly calls the Minneapolis police from Jerry's desk phone.At the cabin, Gaear sits in his long johns eating a TV dinner as he watches a soap opera on the fuzzy television. Carl comes in with his bloodied face and the $80,000 he took from the briefcase before he buried it. Gaear looks unfazed by Carl's extensive wound. Carl asks what happened to Jean, who is lying on the kitchen floor motionless, still tied to the chair; there is blood on the stove behind her. Gaear tells Carl she started screaming and wouldn't stop. Carl shows him the money, takes his $40,000, and tells him he's keeping the Ciera and that Gaear can have his old truck and they must part ways. Gaear tells him they'll split the car.\"How do you split a fuckin' car, ya dummy?! With a fuckin' chainsaw?\" Carl spits at him, his words slurred from his jaw wound. Gaear tells him one will pay the other for half, so Carl must pay half for the value of the car from his share money so he can take the car for himself. Carl refuses and screams that he got shot in the face and makes an implied threat that he will keep the Ciera as extra compensation. Carl storms out of the front door to the car to drive away. Seconds later, Gaear comes running out behind him wielding an ax. As Carl turns around, Gaear raises the ax and the scene cuts to black as the blade lands in Carl's neck.A little later, Marge is driving along an isolated road talking on the CB radio to Lou. They are discussing Jean's kidnapping; that a Minneapolis police detective learned from Stan and Jean's son Scotty, and the fact that her father, Wade, is missing. She tells Lou she is driving around Moose Lake, following the tip from the loudmouth bar owner Mr. Mohra. Their conversation reveals that the news has gotten word out on the wire for the public to keep an eye out for Jerry and Wade. She suddenly spots the tan Ciera parked in front of the cabin. Lou tells her he will send her back-up.When she gets out, she hears the loud roar of the motor of a power tool in the distance. She makes her way around the house towards the noise behind the cabin, and sees Gaear pushing Carl's dismembered foot down into a woodchipper, having chopped up his dead body and disposing of it. There is a huge puddle of blood and the rest of Carl's body in the snow. Gaear works at getting the rest of Carl into the chipper, using a small log to push it down. Marge pulls her gun and yells at him to put his hands up, but he doesn't hear over the machine. She yells again, and he turns around to see her. She points to the police crest on her hat, aiming her gun at him. He turns quickly, hurls the log at her, and takes off across the frozen lake behind the cabin. The log glances her leg, and she fires after him twice as he flees. One shot hits him in the back of his thigh. He falls in the snow, and she arrests him.Marge drives away with Gaear handcuffed in the backseat. \"So that was Mrs. Lundegaard in there?\" she asks, looking at him in the rear view mirror. He looks expressionlessly out the window.\"I guess that was your accomplice in the woodchipper. And those three people in Brainerd.\" He does not react; she is talking mostly to herself. She tells him there is more to life than a little bit of money. \"Don't you know that?\" she asks. She pulls over to the side of the road as a fleet of cruisers and an ambulance drive toward them on their way to the cabin. \"And here you are. And it's a beautiful day.\"Two days later, at a motel outside of Bismarck, North Dakota, two state policemen bang on a room door asking for a Mr. Anderson. The voice inside, Jerry's, tells them he'll be there in a sec. The owner unlocks the door, and Jerry is seen trying to escape out the bathroom window, wearing only a T-shirt and boxers. He screams and flails wildly and insanely as the police arrest him.That night at the Gundersons', Marge climbs into bed next to Norm. He tells her the mallard he painted for a stamp contest has been chosen to be on the three cent stamp, but another man he knows got the twenty-nine cent. Marge tells him she's proud of him and that people use the three cent stamp all the time. Norm rests his hand on her pregnant belly and says, \"Two more months.\"She smiles and rests her hand on his, and repeats, \"Two more months.\"\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0049261/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In the early 1920s, Jordan \"Bick\" Benedict (Rock Hudson), the head of the rich Benedict ranching family in Texas, goes to Maryland to buy a stud horse, War Winds. There he meets and courts the 18-year-old socialite Leslie Lynnton (Elizabeth Taylor), who becomes his wife after a whirlwind romance.They return to Texas to start their life together on the family ranch, Reata, which is owned and run by Luz (Mercedes McCambridge), Bick's older and grumpy sister. Leslie doesn't get along with Luz for Luz scorns Leslie's wealthy background while Leslie thinks that Luz is rude. Jett Rink (James Dean) is a local ranch hand who works for Luz and hopes to find his fortune by leaving Texas; he also has a secret love for Leslie despite the fact that she is married to his boss.One day during a cattle roundup, Luz expresses her hostility for Leslie by cruelly digging in her spurs while riding Leslie's beloved horse, War Winds. Luz dies after War Winds bucks her off, and as part of her will, Jett is given a small plot of land within the 595,000-acre Benedict ranch. Bick tries to buy back the land, but Jett refuses. Jett keeps the fenced off waterhole as his home and names the property Little Reata.A few years later, Leslie eventually gives birth to twins, Jordan \"Jordy\" Benedict III (Dennis Hopper as a teenager and young adult) and Judy Benedict (Fran Bennett as a teen and young adult), and a younger daughter named Luz II (Carroll Baker as a teen and young adult).One day, Jett discovers oil in a footprint left by Leslie and develops an oil drilling well on his property. Bick is annoyed with Jett's prospecting and tries to deny him access to his land. Finally Jett hits his first gusher, he drives into the Benedict yard (covered in crude oil) proclaiming in front of the entire family that he will be richer than the Benedicts. After Jett makes a rude sexual remark to Leslie, Bick and Jett have a fist fight.Shortly after, in the 1930s, Jett starts an oil drilling company, named 'JetTexas' that makes him enormously wealthy. But Bick resists the lure of drilling for oil on his much larger part of the cattle ranch, preferring to remain a rancher to maintain the legacy of his family's original business.During the 1940s, tensions in the Benedict household revolve around how the parents want to bring up their grown-up children. Bick stubbornly insists that Jordy must succeed him and run the ranch, just like his father and grandfather before him, but Jordy wants to be a doctor. Leslie wants Judy to attend finishing school in Switzerland, but Judy loves the ranch and wants to stay in Texas for her education (and to her high school boyfriend).After World War II breaks out, Jett visits the Benedicts and tries to convince Bick to allow oil production on his land to help the war effort. Bick finally realizes there is no one to take over the ranch after him, and concedes. During this visit, Luz II, now a teen-aged girl, starts flirting with Jett. Once oil production starts, the wealthy Benedict family becomes even wealthier, depicted by the addition of a swimming pool next to the house. Jordy gets married to a young Mexican-American woman and they have a son. Judy gets married to her long-term high school boyfriend and they too have a son.The Benedict/Rink rivalry continues however, and it comes to a head when the Benedicts find out that Luz II and the much older Jett Rink have been dating. At a huge gala Jett organizes in his own honor, an irate Jordy tries to fight him, after realizing he and his Mexican American wife, Juana (Elsa C\u00e1rdenas), were invited just so Jett's employees could turn Juana away. Jett has his goons hold Jordy and punches him out in front of the crowd. Fed up, Bick then takes Jett to a kitchen room, about to fight him, but realizes that Jett is now just a drunken shell of a man, who has only his money. He tells him, \"You're not even worth hitting. ... You're all through,\" and leaves, but not before symbolically and quite noisily caving in Rink's wine cellar shelves domino style. The party ends when Jett, completely drunk, slumps down in front of everyone before his big speech. Luz II sees him afterwards, once everyone has left the ballroom, and discovers that he is a lonely, pathetic wreck who can only repeat how much he still loves Leslie.The Benedicts, all except Jordy, drive down an empty road to a diner. An altercation develops between the racist diner owner Sarge (Mickey Simpson) and Bick after he refuses to serve a non-English-speaking Mexican family that just walked in who have no dollars but pesos. Bick intervenes on behalf of the Mexican family. A fist fight ensues when Bick stands up for the immigrant family against the racist Sarge, leaving Bick the loser who collapes over a table of pies. Sarge throws all of them out of the diner saying that it is his American free right to refuse service to people he does not like, including paying customers.In the final scene back at the ranch, the brused Bick watches his two grandchildren playing in a crib with Leslie and reflects on his life and family. Leslie tells Bick that, after watching him lose the fight in the diner, she finally respects him and considers the Benedict family a success.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0032551/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "After serving four years in prison for killing a man, hotheaded Tom Joad (Henry Fonda) heads back to the family farm in Oklahoma. On his way he meets Casy (John Carradine), a former preacher who has lost his faith. The pair find the farm deserted; Tom's share cropping family was evicted. Tom is reunited with his family at his uncle's farm, only to discover the family must also leave that farm the next day. The extended family of eight (plus Casy) packs up their belongings onto an old truck and head to California to look for work.Shortly after leaving, Grandpa (Charley Grapewin) dies of a stroke and the family buries him along the roadside. Money is tight; they have trouble affording 15 cents for a loaf of bread. They are warned that there is little work in California. Grandma (Zeffie Tilbury) dies just before the family reaches the California border.They arrive at an itinerate camp populated with hungry children. A man and sheriff come to the camp promising work but won't say how much they will be paid. A local man at the camp warns the others and the sheriff wants to arrest the man. The man runs away and the sheriff shoots at him, killing a bystander. Tom knocks out the sheriff and flees.The family leaves the camp and arrives at a farm that needs workers. Tom is wary. The farm is surrounding by a barbed-wire fence with plenty of armed guards. The family settles in a shack and picks peaches for five cents a box, earning barely enough to feed the family. After dinner, Tom takes a walk and encounters Casy in a camp just outside the farm. Casy is helping to lead a labor strike against the farm. Thugs from the farm kill Casy and Tom kills one of the attackers. Tom is hit in the face with a club, leaving a big gash.The family loads up the truck again, hiding Tom under a mattress. They head north, and stay at a U.S. government camp. Life is better. The camp has toilets, showers and is run by camp inhabitants. Warned ahead of time, the camp men stop thugs from starting a fight at the Saturday night dance that would provide an excuse for the local sheriff to take control of the camp.The sheriff arrives at the camp looking for Tom. Tom vows to his mother, Ma Joad (Jane Darwell), that he will fight injustice wherever he finds it, and heads off into the night. She worries that she will never see him again. The family hears of work and heads north and Ma is hopeful about their future.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0046303/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0120689/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The movie begins with an old man named Paul Edgecomb (Dabbs Greer) in a retirement center. He takes two pieces of dry toast from an orderly, who mentions Paul's habit for taking walks outside the ground. The orderly is worried about Paul, but allows him to continue with his daily routine.Paul and several other residents are watching TV when an old movie with Fred Astaire dancing to the song \"Heaven\" is on. Paul sees it and walks away, followed by his friend Elaine (Eve Brent). Elaine realizes that the movie has awakened some powerful memories for Paul, and asks about it. Paul tells Elaine his story: that he was a prison guard during the Depression, in charge of Death Row, informally called \"The Green Mile,\" because of its green tile floor. Paul's most powerful memory of this time took place in 1935....The story then flashes back to the 1930's at the State Prison, where a young Paul (now played by Tom Hanks) is suffering from a urinary infection. Some of the other guards- Brutus \"Brutal\" Howell (David Morse), Dean Stanton (Barry Pepper) and Harry Terwilliger (Jeffrey DeMunn) bring in a new inmate. His name is John Coffey (Michael Clarke Duncan) \"like the drink, only not spelled the same.\" He is a gigantic muscular man, but when Paul talks to John they find that he has the mindset of a small child- very meek and apparently scared of the dark.When John is brought in, another guard named Percy Wetmore (Doug Hutchison) is sent off Death Row to attend to work elsewhere. Percy is not happy about this, and in frustration he lashes out at another inmate named Eduard Delecroix (Michael Jeter), breaking Del's fingers. Paul is given a copy of John Coffey's records and finds that he was sent to Death Row after being convicted for the murder (and implied rape) of two small girls. John Coffey does not mention his crime, only stating that he \"tried to take it back, but it was too late.\"Later on, Paul is outside when he is met by Warden Hal Moores (James Cromwell). Hal gives Paul the execution papers for an inmate named Bitterbuck, and has a conversation with him about the young guard named Percy. It's revealed that Percy is the nephew of the governor's wife, and his powerful political connections are what got him hired- and keep him in the job, because Percy is apparently \"stupid and mean\" according to the other guards. Paul finds out that Percy has put in to be an administrator at a mental hospital, which would mean better pay and better hours. Paul theorizes that Percy wants to witness an execution up close before moving onto a new job. Warden Moores also mentions that his wife, Melinda, is not well she suffers from bad headaches and must have an X-Ray in order to find the source of the problem. That night, Paul meets with his wife Jan (Bonnie Hunt) and discusses the problem with Hal's wife.Next day, Brutus spots a mouse in the cell block. They watch it run into a small room in the corner, which turns out to be a padded room for dangerous inmates but is currently used for storage. The guards check everything in the room but do not find the mouse. A few hours later, Percy spots the mouse and goes into a fury trying to kill it. Paul berates Percy for scaring the inmates in his pursuit of the mouse. Percy doesn't care, thinking the inmates are contemptible. Paul feels differently, believing that under enough strain the inmates would \"snap\" and cause serious problems. Brutus grabs Percy, but Percy threatens to use his connections to get the others fired if they hurt him.We then see Paul and the others doing a rehearsal for the next execution, with the prison's elderly janitor, Toot-Toot (Harry Dean Stanton) helping them. Paul instructs Percy to watch and learn while the others prep the electric chair. That night, the execution of inmate Arlen Bitterbuck is carried out. Afterward, Paul confronts Percy about his new job opportunity. Percy reveals that he wants to \"be out front\" (meaning placed in charge of an inmate's execution) before he leaves.Next day, the inmate named Del has found the mouse again, named it \"Mr. Jingles\" and is trying to tame it. The mouse is able to fetch a spool of thread as a trick. The other guards allow Del to keep Mr. Jingles as a pet.Paul meets with Warden Hal again, getting word of a new inmate coming in, a man named William Wharton who killed three people in a holdup. Hal is almost in tears; the doctors have told him that his wife Melinda has a tumor the size of a lemon in her brain, virtually inoperable and eventually fatal. That night, Paul suffers from his urinary infection even more; he is almost in constant pain.Paul intends to see the doctor next day after the new inmate is brought in. Percy and Harry go to retrieve Wharton from a hospital, where he is in an apparent trance presumably from medication. As soon as Wharton gets inside, he springs to life, attacking the guards and kneeing Paul in the groin. Dean is nearly strangled before anyone can get Wharton under control. When the others go to report what has happened, John Coffey asks to speak with Paul. When Paul approaches John's cell, John grabs Paul and puts his hand over Paul groin. John holds on for several seconds, until the lights flare brightly. John then lets go, coughing and gasping until he releases a cloud of gnat-like spores from his mouth. Paul asks what happened, but John can only say that \"I helped.\" Later when Paul visits the washroom, he feels no pain at all. John Coffey's act has healed his infection.The next morning, Paul goes into town to see John Coffey's public defender, Burt Hammersmith (Gary Sinise) who preceded over John's trial. Burt is absolutely convinced of Coffey's guilt. Back at the prison, Paul presents John with a loaf of cornbread baked by his wife, as a thanks for Coffey's \"help\". Coffey shares the cornbread with Del & Mr. Jingles, but does not give any to Wharton. This enrages Wharton, who takes his fury out on the guards, urinating on Harry. The guards use a fire hose to catch Wharton off guard, then wrap him up in a straitjacket and send him to the padded room. When Wharton spits on them later, he is sent to the room again.The rehearsal for Eduard Delecroix's execution takes place the next day. Paul has decided to put Percy in charge, in the hope that he will finally leave the prison right afterward. When Percy walks by the cells later, he is grabbed by Wharton. Percy wets himself in terror, and threatens the men to never mention this. Paul states that \"what happens on the Mile, stays on the Mile.\" They will not say anything about what happened. Del, however, delights in Percy being humiliated.Later on, Mr. Jingles runs across the room between cells. Percy walks up and stomps on the mouse, coldly uncaring about what he has done leaving Del screaming in shock. John Coffey asks for the mouse, so Paul picks it up and hands it to John. The other guards watch in shock, awe, and possibly horror as light shines from John's hands. John coughs, releases another cloud of spores, and Mr. Jingles runs across the room- good as new.Percy, seeing that the mouse is uninjured, is furious- thinking the guards have set out to make a fool out of him. Paul confronts Percy and gives him an ultimatum- Percy will transfer out immediately after Delecroix's execution, or the others will go public about Percy's record of mistreatment of the prisoners and his behavior on the Mile. Percy agrees.Just before he \"walks the Mile\" to the electric chair, Del gives Mr. Jingles to Paul knowing that he will be taken care of. When Paul points out that he cannot have a mouse sitting on his shoulder during an execution, John Coffey volunteers to take care of Mr. Jingles.Percy sets everything up for Del's execution, with one small exception- he does not properly soak the sponge required for proper electric conduction, wanting to punish Del one more time. As a result, the execution is excruciating for Del and the entire horrified audience- he rolls in pain, screaming and even catches fire before finally dying.The guards confront Percy, but Paul tells them that Percy isn't worth fighting over and that he will still honor their agreement to leave.Paul and his wife go to visit Hal and Melinda the next day. Hal reveals that Melinda is rapidly falling apart, she is losing her memory and experiencing severe behavior changes including uncontrollable cursing. Paul invites the other guards (minus Percy) to dinner later and discusses John Coffey's acts of healing both him and Mr. Jingles. Paul states that he wants to sneak John Coffey out to try and heal Melinda. The others are very skeptical, pointing out that Coffey is a convicted murderer, and it would be disastrous if they are found or if he escapes. Paul puts forth his belief that Coffey is innocent; Paul \"does not see God putting a gift like that in the hands of a man who would kill a child.\"The next day, they carry out the plan- Paul drugs Wharton so he will not see them leaving, then the others gag Percy and put him in the padded room as supposed \"retribution\" for Eduard Delecroix. They open up John Coffey's cell, and he is excited at the prospect of going for a ride outside and also seems to already know what they want him to do . John agrees to try and help Melinda. Wharton grabs Coffey as they head out, and John is apparently horrified by what he sees when touching Wharton.They arrive at Hal's home, and Hal threatens them with a shotgun. Paul talks him down while Coffey goes upstairs to meet Melinda. John gets very close to Melinda's face and something comes out of her mouth and into his, making the light in the room shine intensely. John breaks the connection with her, falling down coughing. Melinda sits up, looking much healthier and having no memory of anything that happened before her X-Ray. Hal collapses, weeping at his wife's restoration. John continues to cough, unable to release the \"spores\" like before. Melinda gives Coffey a pendant with the mark of St. Christopher-the healer- as a present.John returns to the prison, still very ill from the encounter. Percy is released, apparently keeping silent but the others still fear that he might talk. John grabs Percy, releasing the spores directly into Percy's mouth. Percy, in a daze, walks over to Wharton's cell and empties his revolver into Wharton's chest. The others seize Percy, who leans back and coughs up the remaining black spores. Upon examination, Percy appears to be catatonic. He is eventually sent to a mental hospital (ironically the same place where he was supposed to be an administrator) for presumably the rest of his life.Coffey repeats that Wharton and Percy were \"bad men,\" and places his hand on Paul. Paul sees that Wharton was responsible for the murder John Coffey was convicted for. Now that he knows Coffey is innocent, Paul is unsure how to proceed. He talks to his wife that night and he suggests talking to John about it. He even asks Coffey if they should just \"let him go.\" Coffey does not want to escape; he reveals that in addition to healing he can also feel the pain of all others around him and does not wish to continue with such pain in the world. Paul offers John a last request; Coffey states that he has always wanted to see a \"flicker show\" (a motion picture). They bring in a movie projector with the film \"Top Hat,\" the same movie that the elderly Paul was watching at the beginning of the movie, which is what triggered Paul's memories particularly when Fred Astaire is dancing to \"Heaven\" and John watches in awe saying \"they like angels!\"That night, John Coffey is put to death as the guards watch on in tears. The elderly Paul's voice cuts in and states that he left The Green Mile soon after, unable to carry on after seeing John Coffey die. He and some of the others transferred to a youth corrections' facility.Elaine admits that Paul's tale is \"quite a story,\" and does not apparently believe it. She also points out that Paul mentioned his son being grown up in 1935, which means he should be much older than he appears.Paul takes Elaine on a walk, and they come to a cabin in the woods. There is a mouse sleeping in a small box; Elaine is shocked to meet Mr. Jingles- Paul found the mouse again after Coffey's execution and has kept him ever since. Paul states that he is now 108 years old, and that he believes John Coffey \"infected him [and Mr. Jingles] with life.\" Paul feels that this is his punishment for killing a genuine miracle of God- he must stay alive and watch everyone he cares about, including friends like Elaine, grow old and die before his own death.Later, Paul is seen at Elaine's funeral, quietly wondering just how much longer he has to go. \"We each owe a death,\" he states, \"There are no exceptions. But oh God, sometimes The Green Mile seems so long.\"\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0075860/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "In what appers to be the Sonoran Desert; in or near Mexico, a cartographer named David Laughlin (Bob Balaban) is introduced to a French-speaking man named Claude Lacombe (renowned French director Fran\u00e7ois Truffaut). Though David has been hired as Mr Lacombe's interpreter, he explains that he is actually a cartographer (a mapmaker). The two men along with a crew soon find a strange sight: a circular ring of airplanes in brand-new condition, with fuel still in the tank. The planes are identified as belonging to 'Flight 19,' a group of Navel planes that were reported missing off the coast of Florida in the mid-40's. The men soon after find a local who reported the planes. David and Claude find the man has red sunburned marks on the side of his face. Through an interpreter, the sunburned man claims the sun came out that evening, and talked to him.in an air traffic control tower in the US, some of the control tower receive reports of unidentified aircraft flying through the air and coming dangerously close to hitting an airplane. When the tower requests the planes in the vicinity of the incident if they wish to report a 'UFO (unidentified flying object),' both planes decide not to.In Muncie, Indiana, a strange power outage blackens the area. This incident affects two different families of people.The first is Jillian Guiler (Melinda Dillon). When she wakes in the middle of the night and finds her son Barry (Cary Guffey) missing, she wanders off into the countryside to find him.The second person is Roy Neary (Richard Dreyfuss). Roy gets a call from the power company he works for, and goes out to answer a service call. However, stopping at a train's track, a number of metal objects in the vicinity (including Roy's truck) begin to act strangely. A strange craft appears overhead, and flashes bright lights at Roy before flying off. Once the craft has disappeared, Roy drives off, before almost hitting Barry on a hillside road.As Jillian appears, several strangely-lit craft fly by, along with a bright red light at the tail end. Entranced by the strange objects, Roy gets back in his truck and gives chase, along with several local police cars. The strange objects fly off over the edge of a cliff, and as Roy and the officers watch, ascend into some thundering storm clouds overhead, as the darkened city underneath them regains power.Roy returns to his family eager to tell of what he saw, but his wife Ronnie (Teri Garr) refuses to acknowledge her husband's flights of fancy. Even though Roy has red sunburns from being flashed by the craft he saw, she still doesn't 'believe.'Some time afterwards, Roy meets up with Jillian and Barry, and Jillian relates how there seems to be a melody and an image of a mountain she cannot get out of her mind. Roy soon finds himself obsessing over the same mountain image, carving it in mashed potatoes as well as sculpting it out of putty or shaving cream.Meanwhile, Bob and Claude have gone around the world and observed other strange phenomenon:-A group of people in India have been chanting a strange 5-note sequence that they claim came from above.-A missing ship named the Coat Appoxi has appeared in another desert region.-Information gleaned from the musical notation sequence and a message indicates that there appears to be plans for the extraterrestrial life to descend to Earth. The Military and NASA coordinate a plan to create a false scare in the landing region that a toxic spill will make the area dangerous.Back in Muncie, Jillian is shocked one evening when the same lights as before descend towards her home, and soon after abduct her son Barry. Still in a state of shock, Jillian takes her story to the news outlets.Shortly thereafter, a person from the US Government sits down for a town hall chat with several locals in attendance (including Roy and his family), denying that there are UFO's, or that the government is covering up any such things.Roy is slowly losing his mind over the strange images in his head, and finally drives his wife Ronnie to take their kids and leave. After they have left, Roy constructs an enormous miniature of a mountain in his family's living room, before seeing a news article on the television, showing Devil's Tower...the same structure he's been seeing in his mind!Roy heads off towards Devil's Tower, only to encounter every one leaving in the wake of a (fake) chemical spill warning. Roy also finds Jillian there, and the two attempt to get to Devil's Tower, but are captured by some Military men.Roy and Jillian are separated, with Roy brought before Bob and Claude. The two listen to Roy's story...a story that sounds similar to several other people who have been drawn to the mountainous structure nearby. The two make an impassioned plea to the Military Director at the base, but he refuses to believe their 'theory' that these people were 'invited,' and attempts to fly the civilians out of there.Jillian and Roy manage to escape, making it to the other side of the mountain before night settles in, finding an enormous landing strip having been constructed. The two secretly make their way down as several little lit ships appear, before a giant 'mother ship' hovers down.Using light and sound based on the 5-note motive, the aliens appear and release some humans who had been abducted previously (many having never aged). Barry is returned as well.When Claude sees Roy has appeared as well, he and Roy decide that he -Roy- will go with several people meant to be swapped for the returnees by the aliens.After Roy and several others board the ship, it takes off for distant space.- Done by KrystelClaire:Strange events are happening all over the world: a UFO is said to have appeared in the Mojave desert in New Mexico, a long-ago lost ship appears in the middle of the Ghobi desert, many Indian people start to chant a tune they have heard coming from \"above\", and some airplanes have sights of flying saucers. A team of people are investigating all these phenomena, specially Claude Lacombe (renown French director Fran\u00e7ois Truffaut) and his interpreter Jean Claude (Philip Dodds)In the USA, Roy Neary (Richard Dreyfuss) is trying to find his way at night. He's close to home, but is looking for the place he has to go to in a map. He is an electric company technician who has to solve a problem with an electrical blackout. While waiting at a railroad crossing, everything seems to go crazy around him -- his flashlight won't work, the radio in his truck goes haywire, and some mailboxes along the road open themselves. Suddenly, a bright light lands on the truck. Looking out of the window, he is flashed several times by what seems to be a UFO. Roy then attempts to drive after the three small flying saucers and a small red light.Mainwhile, Barry Guiler (Cary Guffey), a little boy of around 6, wakes up because all his toys start playing themselves and making noise in the middle of the night. He goes out of home on his own. He lives in a cheap home nearby a forest. Dressed in his pyjamas, he goes out. A toy police car wakes up his mother Jillian Guiler (Melinda Dillon) as well. From her window, she calls out for him, but Barry enters the wood anyway, laughing alone. Jillian runs after him. When she catches up with him, Barry is standing up in the middle of a curvy town road. He seems stunned, dazed. Jillian arrives just in time to save him from being run over by Roy.The UFOs disappear among cloudy and stormy weather. Many people have seen them, and they wait all through the night in the same curve of the same road for the UFOs to appear again, hoping for a friendly sign. Roy, Barry and Jillian are among those people.During daylight, they all try to go on with their lives. However, it seems that they can't cope. Barry repeats a lullaby over and over again. Jillian tries to draw a mountain she has never seen, and Roy seems to have gone crazy. He makes all kinds of strange attemps to create a sculpture of the same mountain than Jillian. First with shaving foam, secondly with mashed potatoes. The three children of the couple, Brad, Sylvia and Toby (Shawn Bishop, Adrienne Campbell and Justin Dreyfuss), become silent and frightened as well, after a terrible row with plenty of shouting on everybody's part. As a higher level of Roy's brand-new eccentric behaviour, he starts pulling out some small trees from his home garden in a frenzy, and also he steals his neighbour's duck pond metal rail in plain daylight. His wife Ronnie (Teri Garr) is getting more and more frightened because of her husband's hectic behaviour. She cannot take it anymore and leaves him. She takes her children with her, while neighbours stop doing their everyday chores to look in amazement at the final row of the couple.Now Roy can create his mountain sculpture without being disturbed. He makes it so huge that it occupies all the kitchen. While he is talking on the phone, he finally realises what he is so obsessed about. The famous anchorman Howard K. Smith (himself) is announcing on TV that Devil's Peak is being evacuated, because there is a deadly gas leaked in the atmosphere. They show some images of the place, so Roy decides to make the journey there immediately.At the same time, Barry has disappeared. He had been kidnapped by the supposed energy of a UFO. Jillian had tried to prevent it, closing all doors, windows, and even the chimney place, but it is useles. Barry feels attracted by the lights and he goes into them through the dog trap in the main door. Newspapers will laugh about Jillian's evidence before the police, claiming that she alleges that \"some clouds kidnapped my son\", and treat her like a demented person.The following day, Roy is driving in the opposite direction. He arrives at the nearest train station to the mountain, where hundreds of people are boarding a train in panic, climbing into the wagons through the windows and even getting on top of some coaches. The military police are watching all the operation. There, Roy finds Jillian, who wants to go to the same place than him. They get out of the station quietly helped by the chaos. Jillian is carrying two pigeons in a small cage, in the hope that, if there is any poisonous substances in the air, the birds will die before she does so. They drive together across fields and empty roads with many cows and horses dead along the way. They get close to their destination, but they are stopped by the miliatry police and the two French investigators dressed in white, astronaut-like outfits and gas masks. One of them forces Roy and Jillian to get into a white van, while taking the cage with the two birds, now completely dead. Jillian, Roy and another man jump off from the helicopter which was going to take them out of the area. They had taken off their masks, proving that there is no real danger in breathing the alledgedly deadly air. The three runaways make it to the mountain, being followed by armed soldiers and several helicopters. The third man gets gassed out and passes out so the two main characters are the only ones who make it to the other side of the mountain.There, Jillian and Roy find a kind of runway lane surrounded by scientifical devices and cameras by all sides except one. There are people all over the place, some of them armed with heavy weaponry, and the two Frenchmen are also there. Jillian and Roy look at the sudden weather changes hidden behind some mountain rocks. The UFO's appear, altogether with the smaller red light. They fly so close to them that they could have almost touched them.The UFO's and the official people maintain a kind of dialogue: they play the tune which Barry and the Indian people sang. They use a kind of huge keyboard and a screen with light and colours. Everything is successful. Roy goes down the mountain after having kissed Jillian but she prefers to stay hidden behind a rock. He thinks he is going to be captured by an army officer, but the man is running away, hiding himself on the portable toilet facility, a scene which will be repeated later on Spielberg's Jurassik Park film. The UFOs go away. The French people see Roy, but they let him be.The scientists are going to start to analyse all the materials they have recorded. All of a sudden, the hugest UFO of them all appear, and they all go back to their positions. Again, there is the tuned music conversation, accompained by coloured lights. The music moves faster and faster until it dies out. Everybody is watching, breathless.The UFO is opened. Through the below part of the device, several people (and a dog) who had previously disappeared, walk out of the UFO. They are all healthy and calm. One of the last ones is Barry. Jillian leaves her hiding place and goes running to him, hugging and kissing her son while crying tender tears. Barry does not look traumatized or hurt in any way.The UFO door opens again. First, a long-legged and long-armed creature appears. The next instant, some twenty grey-skinned aliens appear and get out of the UFO. They have got no hair, they are naked, and they are as tall as a child. One of the aliens repeats the hand movements which represent the music tune.Some volunteers, including Roy, decide to go into the UFO with the aliens. No aliens stay on Earth. The spacecraft and their occupants fly away from planet Earth into the million-starred celestial copola.--originally written by KrystelClaire\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0074958/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0073440/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The overarching plot takes place over five days leading up to a political rally for Replacement Party candidate Hal Phillip Walker, who is never seen throughout the entire movie. The story follows 24 characters roaming around Nashville, in search of some sort of goal through their own (often overlapping) story arcs.Day OneThe film opens with a campaign van for presidential candidate Hal Phillip Walker driving around Nashville as an external loudspeaker blares Walker's folksy political aphorisms and vaguely anti-establishment populism. This is juxtaposed with country superstar Haven Hamilton (Henry Gibson) recording an overblown patriotic song (\"200 Years\") intended to commemorate the upcoming Bicentennial, and growing irritated with the accompanying musicians in the studio. A young Englishwoman named Opal (Geraldine Chaplin), who claims to be working on a radio documentary for the BBC, appears in the studio but is told to leave by Haven. Down the hall from Haven's session is Linnea Reese (Lily Tomlin), a white gospel singer recording a song with a black choir.Later that day, the beloved country singer Barbara Jean (Ronee Blakley) is returning to Nashville, having recovered from a burn accident, and the elite of Nashville's music scene, including Haven Hamilton and his companion Lady Pearl (Barbara Baxley), have converged on Berry Field to greet her plane as it arrives. Also present are Pfc. Glenn Kelly (Scott Glenn) and the folk/rock trio \"Bill, Mary, and Tom\" whose catchy hit song \"It Don't Worry Me\" seems to be on everybody's lips. They are in town to record their second album. Bill (Allan F. Nicholls) and Mary (Cristina Raines) are married, but largely unhappy, partly due to the fact that Mary is in love with womanizing Tom (Keith Carradine).Meanwhile, Mr. Green (Keenan Wynn) arrives at the airport to pick up his niece, Martha (Shelley Duvall), who has renamed herself \"L.A. Joan\", a teenage groupie who has come to Nashville ostensibly to visit her aunt Esther Green who is sick in the hospital. However, Martha repeatedly puts off visiting her aunt in favor of chasing after musicians or pretty much any male she comes across, including the oddball motorcyclist known as \"Tricycle Man,\" (Jeff Goldblum). Working at the airport restaurant are African-American cook Wade Cooley (Robert DoQui), and his pretty waitress friend, Sueleen Gay (Gwen Welles), an aspiring country singer who refuses to recognize that she can't carry a tune.After greeting the crowds on the tarmac, Barbara Jean faints due to the heat, and her handlers, headed by her domineering husband-manager Barnett (Allen Garfield), rush her to the hospital. Barbara Jean's appearance having been cut short, those in attendance depart the airport in a rush, and wind up stranded on the highway after a pile-up occurs. During the commotion, Winifred (Barbara Harris), an aspiring country singer who has chosen the stage name \"Albuquerque,\" runs away from her husband, Star (Bert Remsen), after he refuses to take her to the Grand Ole Opry. Star gives a ride to Kenny Frasier (David Hayward), a nondescript, bespectacled young man who has just arrived in town carrying a violin case. Opal takes advantage of the traffic jam to interview first Linnea and then Tommy Brown (Timothy Brown), an African-American country singer who is performing at the Opry. Tommy and his entourage later go to Lady Pearl's nightclub, but Wade, who is drinking and trying to pick up white girls at the bar, insults Tommy for acting too \"white\" and starts a fight.Linnea's husband, Del Reese (Ned Beatty) is working with political organizer John Triplette (Michael Murphy) to plan a small fundraiser and a large outdoor concert gala for the Walker campaign. Sueleen appears at a local club's open mike night in a provocative outfit, and despite her lack of singing ability, club manager Trout (Merle Kilgore) recommends her to Triplette for the fundraiser based on her appearance. Winifred shows up at Trout's club trying to recruit musicians to record a demo with her, but Star sees her and chases her out. Del invites Triplette for a family dinner with Linnea and their two deaf children. Linnea and Del are having communications problems and she focuses on the children rather than on him. In the middle of dinner, Tom calls trying to make a date with Linnea, but she puts him off, so he takes Opal back to his room instead. Pfc. Kelly sneaks into Barbara Jean's hospital room and sits in the chair by her bed all night, watching her sleep.Day TwoTom calls Linnea again but, with Del listening on the other line, Linnea yells at Tom and tells him not to call her any more. Kenny rents a room from Mr. Green. Haven Hamilton throws a pre-show party at his house before the evening's Grand Ole Opry performance. At the party, Opal talks to Haven's son Bud (Dave Peel) who tells her, unconvincingly, that he is happy to act as his father's business manager and has no musical ambitions of his own. Under Opal's prodding, Bud starts to sing her a song he wrote, a tender love ballad, but Opal departs in a rush when she spots a movie star among the guests. Lady Pearl talks about her love for John and Bobby Kennedy, the only politicians she ever admired. Triplette tries to persuade Haven to perform at the Walker gala by telling him that if Walker is elected, Walker would back Haven for Governor of Tennessee. Haven says he'll give Triplette his decision after the Opry show that night.At Opryland USA, the Grand Ole Opry broadcast begins with Tommy Brown (\"Bluebird\") and Haven Hamilton (\"For the Sake of the Children\", \"Keep a-Goin\"). Haven then introduces Connie White (Karen Black) as a substitute for the hospitalized Barbara Jean. Connie sings \"Memphis\" and \"I Don't Know If I Found It in You\" while Barbara Jean and Barnett listen morosely on the radio in her hospital room. Winifred tries unsuccessfully to get backstage. Barbara Jean and Barnett have an argument because he is going to the after-show gathering to thank Connie for substituting at the last minute. Barbara Jean doesn't want him to go, and he suggests in an accusatory tone that she may be headed for another nervous breakdown. Barnett finally calms down Barbara Jean and goes to the after-party at a nightclub, but Connie doesn't seem happy to see him. Connie takes the stage (\"Rolling Stone\") but the disgruntled Barnett criticizes her performance. Lady Pearl regales Opal with stories about the Kennedy brothers, rendering Opal for once speechless. Haven tells Triplette that Barbara Jean and Connie never appear on the same stage, and that he (Haven) will appear anyplace Barbara Jean also appears. Bill gets upset when his wife Mary doesn't show up all evening, and he confesses to chauffeur Norman (David Arkin), that he suspects her of having an affair. Mary, in bed with Tom, keeps whispering \"I Love You,\" but Tom doesn't respond.Day ThreeIt is Sunday morning and the characters are shown attending various local church services. A Roman Catholic service includes Lady Pearl, Wade and Sueleen; Haven Hamilton sings in the choir at a Protestant service; and Linnea is seen in the choir at a black Protestant church as a baptism is taking place, with Tommy Brown in the pews. At the hospital chapel, Barbara Jean sings a hymn from her wheelchair while Mr. Green and Pfc. Kelly, among others, watch. Mr. Green tells Kelly how he and his wife lost their son in WWII. Opal wanders alone through a huge auto scrap yard making free-form poetic speeches about the cars into her tape recorder. Haven, Tommy Brown and their families attend the stock car races, where Winifred attempts to sing on a small stage but cannot be heard over the cars. Bill and Mary argue in their hotel room and are interrupted by Triplette, who wants to recruit them for the Walker concert gala. Tom tries to get Norman to score him some pills.Day FourOpal walks alone through a large school bus parking lot trying to spin a commentary linking the buses to racism in the South, but has trouble hitting the right note. Barbara Jean is discharged from the hospital at the same time Mr. Green shows up to visit his sick wife. Barbara Jean asks after Mrs. Green and sends her regards. After Barbara Jean and her entourage have left, a nurse tells Mr. Green his wife died earlier that morning. Pfc. Kelly tells Mr. Green why he has been following Barbara Jean around; his mother saved Barbara Jean's life in the fire and loved her more than anything. She asked her son to go see Barbara Jean on his leave from Vietnam service. Back at Mr. Green's house, Kenny gets upset when Martha tries to look at his violin case.Barbara Jean performs a matinee at Opryland USA. Triplette and Del attend and try to convince Barnett to have Barbara Jean play the Walker concert gala at the Parthenon the next day, but he refuses. Kenny and Pfc. Kelly are both in the audience and watch raptly as Barbara Jean sings, although Opal annoyingly tries to interview Kelly about Vietnam during a song. Barbara Jean gets through the first couple of songs (\"Tapedeck in his Tractor\", \"Dues\") all right, but then begins to tell rambling stories about her childhood instead of starting the next song. After several false starts, Barnett escorts her from the stage and tells the disappointed audience that they can come to the Parthenon tomorrow and see Barbara Jean perform for free, thus committing her to the Walker concert.Tom calls Linnea and invites her to meet him that night at a club called the Exit Inn. Linnea arrives but sits by herself because Martha is trying to pick up Tom. Mary and Bill are also there, and Opal sits with them and mentions that she slept with Tom, causing Mary to look away in humiliation. Wade tries unsuccessfully to pick up Linnea, while Norman tries equally unsuccessfully to pick up Opal. Tom is introduced as a surprise guest artist. He casually mentions that he \"used to be in a trio,\" but then invites Bill and Mary up to the stage, where the three perform an uncomfortable rendition of \"Since You're Gone\". Again alone on the stage, Tom introduces his new solo number, \"I'm Easy,\" which he dedicates to someone special in the audience. Mary, Opal, and Martha all hope that they are the one, but Tom only has eyes for Linnea. She goes to his room where they make love. When Linnea says she has to go, Tom begs her to stay another hour, and is visibly miffed when she refuses. Without even waiting for her to get dressed and leave, Tom grabs the phone and calls a girlfriend in New York, inviting her to fly down and join him.Sueleen appears at the all-male Walker fundraiser, but is booed off the stage when she sings poorly and doesn't take off her clothes. Del and Triplette explain to her that the men expect her to strip and that if she does so, they will let her sing the next day at the Parthenon with Barbara Jean. Sueleen is humiliated, but strips anyway. Winifred shows up at the fundraiser hoping to get a chance to sing, but after she sees what is going on, she stays hidden behind a curtain. Del drives Sueleen home and drunkenly comes on to her, but she is rescued by Wade. After he hears what happened, Wade tells Sueleen the truth, that she can't sing, and asks her to go back to Detroit with him the next day. Sueleen refuses because she is determined to sing at the Parthenon with Barbara Jean.Day FiveThe performers, audience and Walker and his entourage arrive for the Parthenon concert; Walker will wait in his limousine until his speech after the musical performances. In the performing lineup are Haven, Barbara Jean, Linnea and her choir, Bill, Mary and Tom, and Sueleen. Winifred has shown up again hoping for a chance to sing. Barnett gets upset because Barbara Jean will have to perform in front of a large Walker advertisement, but has to go along with it because his wife's career will be harmed if he pulls her out of another show. Mr. Green and Kenny attend Esther Green's burial service and Mr. Green leaves angrily, vowing to find Martha (who is not at the service) and make her show some respect to her aunt. Mr. Green and Kenny go to the Parthenon to look for Martha.The Walker gala starts and Haven and Barbara Jean perform a song together (\"One, I Love You\"), then Barbara Jean sings a very personal solo song about her childhood (\"My Idaho Home\"). As the song ends, gunshots are heard. Kenny has pulled a gun from his violin case and fired at the performers, grazing Haven and seriously wounding Barbara Jean. Pfc. Kelly disarms Kenny as chaos breaks out. Barbara Jean is carried bleeding and unconscious from the stage. Haven tries to calm the crowd by exhorting them to sing, asserting that \"This isn't Dallas, this is Nashville\" in reference to the JFK assassination. As he is led from the stage for treatment of his wounds, Haven hands the microphone off to Winifred, who tentatively begins to sing \"It Don't Worry Me.\" As she is joined by Linnea's gospel choir, Winifred's confidence grows until all eyes are upon her. The film ends with the audience clapping and dancing as Winifred belts out the chorus, \"You may say that I'm not free, but it don't worry me.\" She has finally gotten her big break.\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0061722/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "The film explores the life of 21-year-old Ben Braddock (Dustin Hoffman) shortly after earning his bachelor's degree from an unnamed college in the Northeast. The school is widely believed to be Williams College, Webb's alma mater (in the opening sequence of the movie, Dustin Hoffman, playing Benjamin Braddock, is wearing a Williams College tie). Benjamin is seen arriving at LAX International Airport over the opening credits.The movie really begins at a party that same evening celebrating his graduation at his parents' house in Pasadena, a suburb of Los Angeles. Benjamin is visibly uncomfortable at the party attended by his parents' friends. He remains aloof while his parents deliver accolades and neighborhood friends ask him about his future plans. Benjamin escapes from each person who comes to congratulate him, exposing his seeming embarrassment at all the honors he had won at college. Mrs. Robinson (Anne Bancroft), the neglected wife of his father's law partner, asks Benjamin to drive her home, which he reluctantly does. We never learn Mrs. Robinson's first name (or, indeed, the first names of any of Benjamin's and Elaine's parents) during the course of the film (in the novel, we are told that the initial of Mrs. Robinson's first name is G).Arriving at her home, she pleads for Benjamin to come inside, saying that she doesn't like to enter a dark house alone. Once inside, she forces a drink on him, and later exposes herself to him offering to have an affair with him. This scene, known as the \"Mrs. Robinson, you are trying to seduce me\" scene, as said by Benjamin, is said to be one of the most iconic scenes in the film. She, for no clear reason, does attempt to seduce him, removing her clothing. Mr. Robinson arrives home a few minute later, but does not see or suspect anything. Initially flustered and shocked by her advances, Benjamin flees into the night.A few days later Benjamin contacts Mrs. Robinson and clumsily organizes a tryst at a hotel beginning their affair. A now confident and relaxed Benjamin spends the summer drifting around in the pool by day and seeing Mrs. Robinson at the hotel by night. Benjamin is clearly uncomfortable with sexuality, but he is drawn into the affair with the older, but still attractive, Mrs. Robinson. Their affair appears to last most of the summer. All of their scenes pass in a musically-backed montage, showing the endless pass of time. One scene is edited so that it appears Benjamin is walking directly from his parents' dining room into the hotel room he shares with Mrs. Robinson. This seems to accent the separation of he and his parents, though they still live under the same roof. Benjamin discovers that they have nothing to talk about but, she refuses to talk and only wants sex. After pestering her one evening, Mrs. Robinson tells Benjamin that she was forced to give up college and marry someone she didn't love when she became pregnant with her daughter Elaine.Meanwhile, Benjamin is hounded by his father to select a graduate school to attend. Benjamin, clearly not interested in pursuing his studies, shrugs off his father's wishes and spends his time lounging about and sleeping with Mrs. Robinson. His affair may serve as an escape from his lack of direction or ambition, and his fear and anxiety of his impending future. Mr. Robinson, unaware of his wife's budding affair, encourages Benjamin to call on his daughter, Elaine (Katharine Ross). Benjamin's parents also repeatedly encourage him to date her. During one liaison, Mrs. Robinson forces a promise from Ben to never date Elaine. Whether out of fear of Mrs. Robinson, or sensing that getting involved with the daughter of his lover could be disastrous, he tries to avoid it. However, because of the three parents' persistent intervention, he is essentially forced to date her.Therefore, he tries to ensure his date with her will be a disaster so she would not want to pursue a relationship with him. He drives recklessly, practically ignoring Elaine, and then takes her to a strip club where she is openly humiliated and silently begins to cry. After making her cry he relents and explains he was mean only because his parents forced him to ask her out. He awkwardly kisses her to try and cheer her up and they go and get a burger at a drive-in. Benjamin discovers that Elaine is someone he is comfortable with and that he can talk to her about his worries.From here, Benjamin's life falls apart. The jealous Mrs. Robinson threatens to reveal their affair to destroy any chance Benjamin has with Elaine, so Benjamin rashly decides he has to tell Elaine first. Upset over hearing about Benjamin's tryst with her mother, Elaine returns to Berkeley refusing to speak with Benjamin.Benjamin decides he is going to marry Elaine in order to have a future with her and goes to Berkeley where he rents a room in a local flop house, and begins to stalk her. He contrives a meeting on a bus while she is on her way to a date with her classmate Carl. The next day, an angry Elaine bursts into Benjamin's room and demands to know what he is doing in Berkeley after he \"raped\" her mother by taking advantage of her while she was drunk that evening of his graduation party. Shocked by what Elaine said, Benjamin tells her it was her mother who seduced him that night, but Elaine refuses to believe him and doesn't want to hear the fact that her mother is a crafty vixen. Benjamin says he will leave Berkeley and go somewhere else for her sake. Elaine tells Benjamin not to leave until he has a definite plan at what he wants to do with his life.The next day, Elaine comes into Ben's apartment in the middle of the night and asks him to kiss her. Over the next few days, the two hang out in Berkeley while Benjamin keeps pressing her to get blood tests so that they can get married. Elaine is unsure about this and tells him she had told Carl she might marry him.Mr. Robinson, who has found out everything about Benjamin and his wife's affair, goes to Ben's apartment in Berkeley where he threatens Benjamin with violence and forces Elaine to drop out of school and takes her away to marry Carl. Benjamin tells Mr. Robinson that his wife is the bad person and she manipulated him into having an affair with her. But Mr. Robinson also is skeptic and refuses to belive Benjamin. Benjamin is left with just a note from Elaine saying that she loves him but that her father is really angry and it can never work out.Benjamin drives back to Pasadena and arrives at the Robinson house that evening looking for Elaine. After getting no response by knocking on the front door, goes around to the back of the house and forces open a screen door. Benjamin quickly sees that Elaine is not there, but finds Mrs. Robinson instead. She coldly tells him he won't be able stop Elaine and Carl's wedding and she immediately calls the police and play-acts by claiming that a man broke into her house and is assaulting her. Finally seeing the sociopath that Mrs. Robinson really is, Benjamin flees and drives back to Berkeley to hide out there.The next morning, Benjamin goes to the Delta Chi Fraternity house to look for Elaine or Carl where he learns from Carl's frat brothers that the wedding is in Santa Barbara that very morning. Benjamin then speeds off towards Santa Barbara, stopping only at a gas station to ask for directions to the church. Benjamin is in such a hurry that he rushes off without refueling.Consequently, Ben runs out of gas and must sprint the last few blocks. He arrives at the church just as the bride and groom are about to kiss. Thinking he is too late, he bangs on the glass at the back of the church and screams out \"Elaine!\" repeatedly. Elaine turns around, hesitates by looking at her parents and her would-be husband, but then screams out \"Ben!\" and starts running towards him. A brawl breaks out as everyone tries to stop her and Benjamin from leaving. Elaine manages to break free from her mother, who claims \"It's too late!\" for Elaine apparently already said her marriage vows, to which Elaine replies, \"Not for me!\" Benjamin holds everybody off by swinging a cross ripped from the wall, then using it to jam the outside door while the pair escape. They run down the road and flag down a bus. The elated and smiling couple take the back seat. But in the final shot, Benjamin's smile gradually fades to an enigmatic, neutral expression as he gazes forward down the bus, not looking at Elaine. Elaine also seems unsure, looks lovingly across at Ben but notices his expression and turns away with a similar expression as the bus drives away, taking the two lovers to an uncertain future.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0069704/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "It's the last night of the summer in 1962, and a number of friends are meeting at Burger City for one last hurrah. They include:-Steve Bolander (Ron Howard), The recently-graduated Class President.-Curt Henderson (Richard Dreyfuss), another recent graduate and Steve's best friend, who was awarded the local Moose Lodge's first scholarship.-Laurie Henderson (Cindy Williams), who is heading into her Senior Year in high school, and was the head cheerleader, as well as Steve Bolander's girlfriend. She is also Curt's younger sister.-Terry \"The Toad\" Fields (Charles Martin Smith), a rather nerdish and socially awkward kid with glasses and a mutual friend of Stve and Curt.-John Milner (Paul Le Mat), a young man and high school graduate in his early 20's who spends most of his days fixing cars for a living and racing a yellow deuce coupe, said by some to be the fastest car in the Valley.At Burger City, Curt confides to Steve that he is considering not heading East for college the next day. Steve is upset by this, but Curt feels that maybe he needs to get his feelings in order. After their discussion, Steve tells Terry that he is going to give him his 1958 Chevrolet Impala until he comes back from college. As Terry only has a little Vespa scooter, the opportunity to have a hot set of wheels makes him ecstatic.After the formalities, Steve gets into Laurie's car, and tells her that he thinks they should see other people while he is away. Laurie tries to hide the fact that this upsets her, but becomes very quiet considering the ramifications.Meanwhile, Curt and John talk about how it seems every girl that comes by is ugly or has a boyfriend. \"Where is the dazzling beauty I've been waiting for all my life,\" bemoans Curt. John's conversation turns to how the strip that they cruise on keeps shrinking, remembering when a tank full of gas was needed to complete a full circuit.It is then that the group decides to split up. John heads off cruising in his yellow deuce coupe, while Terry heads out in Steve's car. Curt decides to accompany Steve and Laurie to the \"Freshman Hop,\" a sockhop in the school gymnasium.As Milner heads off to cruise around, he encounters a couple of his buddies also cruising down the streets, who tell him of a \"very wicked 56 Chevy looking for him,\" as well as alerting him to cops watching for speeders.Steve, Laurie and Curt have pulled up to a stop light, with a white Thunderbird next to them. As Curt looks, a blonde driving the vehicle smiles at him, and seems to mouth the words \"I love you,\" before taking off. Curt is taken by the vision of this 'goddess,' and pleads with his friend and sister to follow the Thunderbird. However, his words fall on deaf ears.Milner soon after encounters a carload of girls. When he asks if any of them wants to ride with him, one of the girl's sisters volunteers. However, it is only after she gets into his car does he realize what he's gotten himself into. The girl, named Carol (Mackenzie Phillips), is easily a very young girl, and John is determined to not have her along with him for the rest of the night.Meanwhile, Steve, Laurie and Curt have made it to the Sockhop. Laurie's friend Peg (Kathleen Quinlan) confides that Laurie will be fine without Steve, but Laurie is still upset and confused about Steve's wish to see other people. Steve meanwhile, has explained his plans to some of his own friends, who laugh that he will use the opportunity to \"screw around.\" Curt meanwhile, roams the halls of the school and comes across his old locker. He tries the combination, only to find that it has been changed.After Steve and Laurie meet up after talking to their friends, Steve wishes to dance, but Laurie refuses, her anger over his decision boiling to the surface. Curt meanwhile, meets one of his teachers who is Chaperoning the dance. Mr. Wolfe (Terence McGovern) and Curt then discuss the teacher's past, how he went to a college in Middlebury, Vermont, and only stayed one semester. Wolfe contends that he wasn't the adventuresome type, and Curt explains how he might not be as well. The teacher encourages Curt to not stay, but to go out and explore life.Back in the yellow deuce coupe, John and Carol continue to be at odds with each other. Carol explains how she and her friends used shaving cream to coverup someone's windshield as a gag, and shows John that she still has a can with her at that moment. They then fight over the music on the radio, with John being irritated by the Beach Boys song \"Surfin' Safari\" on the radio. John's night is further complicated when Officer Holstein (Jim Bohan) pulls him over. Holstein gives Milner a ticket, claiming one of his taillights is out, and claims that he received reports of John speeding, but is going to let him go this time, promising that one day soon, he's going to catch him in the act. After Holstein leaves, John gives Carol the ticket to put in a pouch on the driver's side door, which already contains plenty of tickets from \"the law.\"Terry meanwhile, has pulled up to a light, next to a black 56 Chevy. The driver is Bob Falfa (Harrison Ford), who shouts over to Terry that he's looking for John Milner, and to let John know that he's looking to race him. After the encounter with Falfa, Terry notices a blonde walking the streets. After saying that she resembles Connie Stevens, the girl stops to talk to Terry. Terry claims he's known as \"Terry the Tiger,\" and offers to let her feel the tuck-and-roll upholstery of the Impala. The girl, named Debbie (Candy Clark), gets in, and the two drive off.Back at the sockhop, Steve and Laurie are chosen to lead a spotlight snowball dance, and put on smiling faces for the rest of the students. As they dance together, Laurie continues to argue quietly, before beginning to cry, and telling Steve to \"go to hell,\" as the song \"Smoke Gets In Your Eyes\" fills the gymnasium.Curt meanwhile, has run into his ex-girlfriend, Wendy (Deby Celiz). With nothing else to do at the school, he asks if he can tag along with her and her friend Bobbie (Lynne Marie Stewart). Wendy agrees, much to the ire of her friend.Back in the gymnasium, as the music picks back up, Steve and Laurie are now dancing intimately, when a teacher named Mr Kroot (Mark Anger) tells them to \"break it up.\" Steve gets smart and tells Kroot to 'kiss a duck,' as well as calls him a 'marblehead.' Kroot tells Steve that he is suspended, but Steve smilingly tells Kroot that he graduated last semester, and by all accounts, Kroot can't do anything to him. As Kroot storms off, Steve and Laurie laugh at the moment. After the incident, they decide to go to The Canal to be alone, their relationship appearing to have been patched up.Terry meanwhile, has taken Debbie to Burger City to get food. As they wait, a former 'flame' of Debbie's leans into the car to talk to her. Debbie ignores all his advances, before flicking a lit match at him. Debbie confides that the guy is just 'Horny,' and that she likes Terry because he's different. As Terry's face develops a smile, Debbie tells Terry that she figures he's smart enough to get them some liquor. Seeing a new way to impress Debbie, Terry heads off to a liquor store, leaving behind the order they placed.Curt has now come to occupy the back seat of Bobbie's VW Bug, and Wendy in the passenger seat. Seeing the white T-Bird, Curt demands they follow it, much to Bobbie's irritation. When Wendy asks Curt who this girl in the T-Bird is, Curt says he has no idea. Bobbie meanwhile, claims that she's the wife of a guy who owns a jewelry store. Curt doesn't believe it, since the girl in the T-Bird is young and beautiful.Wendy confides to Bobbie about Curt's dream to be a Presidential Aide, and to one day shake hands with President Kennedy. Curt and Wendy then playfully bicker about telling of his future ambitions, and Curt invites her into the backseat to cuddle. Wendy then confides that she thinks Curt's decision to stay in town is a good idea, saying that maybe they can attend the local college together. Just then, Kip Pullman (Ed Greenberg) pulls up next to their car. Bobbie tells Curt to 'say anything' to Kip, whom she has a crush on and would like to meet. Curt then takes her request a bit too far, and yells over to Kips that \"Bobbie is madly in love with him, and trembles at the sight of his rippling biceps.\" This causes Bobbie to pull over immediately, demanding Curt leave her car. Curt does so, and then sees the T-Bird off a ways. He chases after it, but it soon disappears, and he is unsure where to go or what to do next.John meanwhile, has given in to Carol's request for a drink, and takes her to Burger City for a Coke. While there, John meets one of his hot rod buddies, and explains that he's babysitting Carol. Carol gets upset and throws her drink at him, before storming out of the car. John lets her go for a bit, but then feels a sense of responsibility and catches up to Carol, who gets back into his coupe.Terry meanwhile, has gotten to the liquor store, but is unsure how to get a bottle of Old Harper for Debbie. As he ponders outside the store, a wino comes up, and Terry asks him to help. The wino takes Terry's money, but instead buys wine and exits out the back door of the store. Terry goes in, and runs off a list of things for the storekeeper to give him along with the bottle of Old Harper. However, the storekeeper still asks Terry for his ID. Terry returns to the car, now without the money, and asks Debbie for more. She is at first upset, but agrees. As Terry approaches the store again, he sees another man approaching. Terry explains his situation, and the man claims he will help Terry. However, seconds later, the man rushes out, and tosses Terry the bottle of Old Harper. The man appears to have robbed the store, and the store owner soon after emerges, firing on the man with a gun! Terry hightails it back to the Impala, and quickly gets out of there with Debbie.Meanwhile, John has taken Carol to an old junk yard, and gives her a run down of the various vehicles that he's known about, usually belonging to guys he's known who have long since died in crashes or accidents. Carol claims that John told her he's never been in an accident, but he confides that he's come close a couple of times, and that so far, noone has been able to beat him.Curt meanwhile, has taken to sitting on the hood of a car, watching an episode of \"Ozzie and Harriet\" through the window of an appliance store. As he notices, several guys who are part of a gang called \"The Pharoahs\" accost him, claiming he's sitting on a car that belongs to a friend of theirs. When Curt gets off, one of the members tells Curt that he appears to have left a scratch in the hood. The guys then take Curt along with them in their car, deciding on a 'fitting punishment. As Curt feels he is going to die, the white T-Bird passes by. Shortly thereafter. Falfa's 56 Chevy passes, and the leader of the Pharoahs claims that this guy aims to beat Milner, claiming John's days are numbered.Meanwhile, John and Carol encounter another carload of girls. The girls claim that John's car deserves their special prize. When John is eager to accept it, the girls hurl a waterballoon at him, which misses and hits Carol. John bursts into laughter, but Carol wants revenge, and John seems eager to have a little mischief. As both cars come to the next red light, John proceeds to flatten the other car's tires, and Carol sprays shaving cream all over the other car's windows, before the two jump back into John's car and drive off.Terry and Debbie have made it to the Canal, where Terry mixes up the Old Harper with some soda. Terry and Debbie attempt to get intimate, but there appear to be too many people walking around. Terry leaves the car door open and the music on, and he and Debbie go looking for a quiet place to be alone.Curt and the Pharoahs pull into a miniature golf establishment, where the Pharoahs attempt to pry open the pinball machines in the main building for gas money. They are soon caught by Mr. Gordon (Scott Beach), who is a member of the Moose Lodge in town. Curt claims that the guys he is with are his friends, and Gordon takes Curt into the back to meet with another Moose Lodge member named Hank (Al Nalbandian). They both congratulate Curt on winning the Lodge's first scholarship, before he takes leave along with the Pharoahs, who have finished cleaning out the change in the pinball machines. The leader of the Pharoahs is impressed with how Curt handled the situation, and decides that he and his friends will consider making Curt one of them.Back at the Canal, Terry stops necking with Debbie, when he realizes the music from the car has stopped. He and Debbie then return to where the car was, only to find that it has been stolen!Meanwhile, in another part of the Canal, Steve and Laurie are getting intimate in her car. The conversation shifts a little towards Steve's decision of wanting to go, and how Curt does not. The talk again upsets Laurie, and she stops giving in to Steve's advances. When he claims he wants something to remember her by, she goes limp, infuriating him more that she is just going to let him do whatever but she isn't going to take any pleasure out of it. When Steve makes an off hand comment about Laurie watching her brother 'doing something,' Laurie yells that Steve is \"disgusting\" and kicks him out of the car, before driving off.Terry and Debbie are walking near the canal, with Debbie explaining about reports of a person in the area dubbed \"The Goat Killer,\" who kills and dismembers his victims. Terry is getting more and more freaked out by her talking, when a noise distracts them. At first thinking it might be the goat killer, Terry is relieved when it turns out to be Steve. When Debbie explains that their car was stolen, Terry attempts to divert the subject (not wanting Steve to know that \"his\" car was stolen).Back with John and Carol, John attempts to trick Carol into telling where she lives, to try and take her home, but Carol is stubborn, claiming she isn't going home until she \"gets some action.\" It is then that Bob Falfa's car pulls alongside John, and the two trade barbs, with Bob insisting on racing John. They do a small race through several lights before John stops at a red light and Bob continues on through. Carol notes that Bob is fast, but John says that while he is fast, he also seems stupid.Meanwhile, Steve separates from Terry and Debbie, and goes back to Burger City, while Terry and Debbie go off to report the car stolen.Curt and the Pharoahs have meanwhile located a Police Car watching for speeders. The leader of the Pharoahs charges Curt with hooking a towcable to the rear axle of the car. Curt is unsure about this, but is told that he has to do this, or the Pharoahs will still plan to make him suffer for the vehicle he scratched. Curt has some close calls, but eventually gets the cable hooked. As he rushes back to the Pharoahs, they then speed by the officers, with Curt yelling at the top of his lungs, \"Stand by for justice!\" The cops then take off, but the cable catches, tearing the rear axle off their car. Nearby, Terry and Debbie are witness to the incident as well.Carol soon finds herself confused when John takes her along a dark stretch of road, and John seems intent on having his way with her. Carol's spitfire demeanor wavers and she insists that much of her toughness was pretend. John explains that if he knew where she lived, he could take her home, and Carol immediately tells him her address. Of course, John was hoping that his 'trick' would work, and they head off for her place.At Burger City, Steve meets up with a waitress there named Budda (Jana Bellan). Budda takes a moment to talk with Steve, who explains about how he and Laurie broke up. Budda takes this opportunity to tell Steve how she secretly likes him, and offers to have him come over to her place after her shift is over. As they talk, both are unaware that Laurie has returned to Burger City as well and is outside, having stopped at seeing Budda and Steve talking in a booth. Laurie assumes the worst, and quickly leaves before they see her. Back inside the restaurant, Steve declines Budda's offer, and watches her get back to work.Outside, The Pharaohs pull up with Curt, and eagerly applaud what he has done. The Pharaohs are eager to induct Curt the next evening into their group, but Curt does not tell them that he'll be gone. Curt then gets into his car, and sees the white T-Bird pass by. He tries to start up his car, but it won't turn over, and he watches once again as the mysterious blonde slips from his grasp once again.Laurie is cruising around the strip when she encounters Bob Falfa. She parks her car and gets in with him, and they begin to cruise. Falfa attempts to talk with her, but Laurie explains she does not want to talk.John finally gets Carol to her place, and they have an awkward goodbye, until John gives her the cover to his gearshift as a memento. Carol happily takes it and goes to her house, as John drives off, a strange look on his face.Back at Burger City, Curt has run into Steve, and is shocked when Steve explains that he is now considering not going to college out East. Curt attempts to calm Steve, but also ends up fixing his car, and takes off, leaving Steve unsure of just what to do now.Meanwhile, Terry has had an adverse reaction to the alcohol, and has thrown up most of it. After Terry recovers, he and Debbie walk a ways off, and find Steve's Impala parked in a lot! Terry finds the car unlocked and the keys gone. He attempts to hotwire the car when the guys who stole it confront him, and attempt to beat him up. Debbie attempts to stop them, but they are both saved when John rolls by, and comes over and scares away the two men.Back at Burger City, another classmate of Steve's tells him that Laurie was seen driving around with Bob Falfa. Just as Terry and Debbie pull up outside Burger City with his car, Steve rushes out and shoos Terry and Debbie out of his car, and drives off. Debbie is shocked that Steve just took Terry's car, and Terry tells her the truth about how the car wasn't really his, and how he just has a Vespa Scooter for transportation. Even so, Debbie smiles and tells Terry that she had a good time, and as she takes leaves, tells him that she'll probably see him around.Curt meanwhile, has made his way to a radio station on the outskirts of town. Rumor is that Wolfman Jack, whose voice has played across the airwaves all evening is located here. As Curt enters the station, he encounters a bearded man sitting in the control booth. Curt hands the man a piece of paper featuring a dedication and a request to the girl in the white T-Bird. The man explains that he can have the dedication sent into the Wolfman's main station and broadcast the next day. But Curt explains that he needs the request put out tonight, as he is unsure if he is going to be leaving town or not.The man in the control booth then explains to Curt that he really should not sell himself short, and to go out and experience life. Curt takes the words to heart, and is excited when the man tells him if he can, he'll try to get the message relayed right away. As Curt is about to exit the studio, he hears a familiar voice. He turns, and sees the man in the control booth speaking into his microphone, in the voice of Wolfman Jack. Curt smiles at having met one of his heroes, and exits the building.John is still at Burger City when Falfa comes up in his Chevy. John tells Falfa to meet him out at Paradise Road for their race. Terry pleads to go along, and John concedes.The word spreads throughout the strip, and soon reaches Steve's ears, who heads out there when word comes that Laurie is riding with Falfa.Meanwhile, Curt has returned to Burger City, and over to a nearby phone booth. On his car radio, he hears Wolfman Jack relay his dedication to the blonde in the T-Bird, and smiles as Wolfman calls Curt a good friend. Wolfman dedicates the next song to the blonde, and gives her the number of the phone booth at Burger City, encouraging the girl to call Curt.Meanwhile, John, Falfa, and a number of other kids have rolled out to Paradise Road. Once out there, John finally realizes that Laurie is riding with Falfa, and asks what she is doing. Laurie gives a nonchalant \"None of your business.\" Laurie stays in Falfa's car, but Terry gets out to drop the flag for the race. As the vehicles take off, the race stays tight, until Falfa's vehicle skids off the road, rolls, and crashes.Steve arrives just in time to see the aftermath, and rushes to the wreck, to see Falfa emerge and Laurie beating and hitting him. Steve pulls her off Falfa as some of the other teenagers pull Falfa away from the car just as it bursts into flames.In a moment of desperation, Laurie cries and pleads for Steve not to leave, to which Steve embraces her, and tells her he will stay.Terry talks to John, and explains how impressed he was how John beat Falfa, but John confides to Terry that just before Falfa's car swerved off the road, he was beating him. Terry explains that John was just nervous, and that he'll never be beaten. John just backs up Terry's hero worship, and to calm him down, says that they'll take on all comers, as Terry yawns, muttering, \"what a night.\"Meanwhile, back at Burger City, the phone rings, and Curt answers it, ecstatic to be talking to the girl of his dreams. He inquires about her name, but she does not give it. When Curt asks to meet her, she explains that she'll be cruising the strip again that night, but Curt wants to meet her now. She then says goodbye as Curt struggles to speak more, and the line goes dead.Several hours later, Curt goes to the airport to get on the plane to head East, with his friends and family saying goodbye. Steve does not accompany him, and Curt boards the plane, and takes off to a new adventure. As he glances out the window of the plane, he sees a white Thunderbird travelling along a stretch of road.As the plane banks off, the audience is treated to images of John, Terry, Steve, and Curt, along with where they ended up in life:-John Milner was killed by a drunk driver in December 1964.-Terry Fields was reported missing in action near An Loc in December 1965.-Steve Bolander is an insurance agent in Modesto, California.-Curt Henderson is a writer living in Canada.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0110912/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Late one morning in the Hawthorne Grill, a restaurant on Sunset Boulevard in Los Angeles, a couple of young Brits called Honey Bunny (Amanda Plummer) and Pumpkin (Tim Roth) discuss the pros and cons of robbing banks versus liquor stores. Then they add restaurants to the equation, realizing they can make more by taking customers' wallets than they get out of the till. They stand up in their booth and announce that they're robbing the diner.Earlier in the day, Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta) arrive at a San Fernando Valley apartment building. They are hit men in the employ of Marsellus Wallace and have come to retrieve a valuable belonging of Wallace's from a group of would-be crooks led by a young and naive guy named Brett (Frank Whaley). They take back the valuable item -- kept in a briefcase, it glows warmly and transfixes whoever looks at it. Jules recites what he claims is a Bible verse, Ezekiel 25:17, before he and Vincent execute Brett.Story #1: Vincent Vega And Marsellus Wallace's WifeAt his strip club, Marsellus Wallace (Ving Rhames) pays boxer Butch Coolidge (Bruce Willis) to throw his next fight. Jules and Vincent arrive; though it's only a few hours after their visit to the Valley, the two hit men are sporting gym clothes in place of the suits they wore earlier in the day. While Jules heads to the men's room, Vincent goes to the bar and encounters Butch. The men take an instant dislike to each other. Vincent insults Butch but before Butch can retaliate, Marsellus calls Vincent over and embraces him. Marsellus is leaving town that evening and Vincent is to take Marsellus' wife, Mia (Uma Thurman), out for dinner to keep her entertained. Rumors abound that Marsellus gravely wounded another associate, Antoine, who he believed had been improperly friendly with Mia, so Vincent is nervous. Before picking Mia up, he visits his drug dealer, Lance (Eric Stoltz), and buys some high-quality heroin. Properly sedated, he escorts the cocaine-addicted, chain-smoking Mia to Jack Rabbit Slim's, a West Hollywood 1950s-themed restaurant. After some small talk about European travel, Mia's failed acting career, foot massage, and the rumors about Antoine (which Mia dispels), Mia enters herself and Vincent in a dance contest. They dance the twist and win an award. After dinner, they return to the Wallaces' home. Vincent goes to the bathroom to talk himself out of making a pass at Mia. Meanwhile, she discovers the baggie of heroin in his coat pocket and, assuming it's cocaine, snorts some. She immediately passes out and begins to foam at the mouth. Panicked, Vincent takes the dying Mia to Lance's where they argue about what to do with her. Following Lance's advice, Vincent is able to revive her with a shot of adrenaline administered straight to the heart. Vincent takes Mia home. They agree not to tell Marsellus what happened since both of them would get in trouble for it.Story #2: The Gold WatchThe following night, before his fight, Butch dreams of an incident from his childhood: Back at his Tennessee home in 1973, Captain Koons (Christopher Walken) visited Butch to bring him a gold watch. The watch had belonged to Butch's great-grandfather, who took it to World War I with him. Butch's grandfather had taken it to World War II, and Butch's father to Vietnam. Butch's father died as a POW, but gave the watch to Koons to return to Butch. Koons says that he and Butch's father had to hide the watch in their rectums to keep it away from their captors.Butch wakes from the dream. Instead of throwing the match (not shown on-screen), he fights so viciously that he kills his opponent. He took Marsellus' money and bet it on himself; his winnings will amount to a small fortune. Butch makes small talk with Esmarelda (Angela Jones), the driver of the cab he is in, who reveals that she knows he's the boxer who killed his opponent; she seems fascinated with the topic of death. Esmarelda drives Butch to the seedy motel where he and his French girlfriend, Fabienne (Maria de Medeiros), are staying, having abandoned their apartment. In the morning they will travel to Butch's hometown of Knoxville, Tennessee, claim their winnings, and leave the country. While packing the next morning, however, Fabienne reveals that she forgot the gold watch, the belonging Butch cherishes above all others. After a savage outburst in which he wrecks the motel room, Butch takes Fabienne's car to get the watch, parking a few blocks away and walking through a vacant lot to his apartment building as a precaution. He enters without incident and finds his wristwatch in the bedroom. He realizes he's not alone in the apartment when he notices a submachine gun in the kitchen. Catching Vincent off guard as he emerges from the bathroom, Butch kills him with the gun he found.Leaving the apartment with his watch, Butch encounters Marsellus crossing the street. He tries to run Marsellus over with his car but only wounds him and is hit by another car himself. Both are injured and Marsellus chases Butch into a pawn shop. There, the owner, Maynard (Duane Whitaker), overpowers them. Marsellus and Butch wake up in the basement of the pawn shop, bound and gagged. Maynard has called his cousin Zed (Peter Greene), who works as a security guard. Maynard and Zed are apparently a pair of redneck serial killers who kill passersby who happen into their store. While the Gimp (Stephen Hibbert), a huge manchild dressed head to toe in black leather fetish gear, watches Butch, Maynard and Zed take Marsellus into the next room and begin to rape him. Butch escapes and knocks out the Gimp. Rather than leave the pawn shop, he procures a samurai sword and rescues Marsellus; in the process, Maynard is killed and Zed emasculated by a shotgun blast. Marsellus stays behind to oversee the torture-execution of Zed (\"I'ma get medieval on your ass,\" he tells him), but promises that as long as Butch never mentions what happened and never returns to Los Angeles, Marsellus will forget that Butch betrayed him in the boxing ring. Butch agrees. In the final scene, Butch and Fabienne leave town on Zed's chopper-style motorcycle.Story #3: The Bonnie SituationThree days earlier, flashing back in time to just after Vincent and Jules finish killing Brett for stealing Marsellus' prized possession, a gang member they had not known about bursts out of the bathroom and empties his gun point blank at them. However, all of the bullets miss Vincent and Jules, hitting the wall behind them, so they kill the gang member. Jules is certain this is a miracle but Vincent dismisses the idea. They leave with Marvin (Phil LaMarr), Marsellus' inside man in the gang. In the car, Vincent asks Marvin if he believes in miracles, but accidentally shoots him in the head and kills him. The inside of the car is now covered in blood and brain matter. Jules drives to the house of his only friend in the Valley, a former colleague named Jimmie (Quentin Tarantino). Jimmie lets them hide the car but angrily tells them that they have to get rid of the body within an hour -- before his wife Bonnie comes home from her night shift at a hospital. Jules calls Marsellus at his home to explain their predicament. Marsellus then calls Winston Wolf (Harvey Keitel), a suave and professional criminal and gambler who solves problems. Wolf arrives at Jimmie's house and tells Vincent and Jules how to clean up the car and themselves -- they have to strip out of their business suits and wear Jimmie's spare T-shirts and shorts (which explains their appearance at the strip club) -- then helps them dispose of the car and body at a junkyard belonging to a discreet friend named Monster Joe, whose daughter is Mr. Wolf's girlfriend.With the whole situation resolved, Jules and Vincent decide to have breakfast at the Hawthorne Grill, where they continue their discussion about miracles. Jules reveals his plan to leave his criminal life and travel the globe as a mendicant, helping those suffering under tyranny. Vincent mocks him, then goes to the bathroom. Just then Honey Bunny and Pumpkin (from the prologue) begin their robbery of the diner. They collect the cash from the register and the patrons' wallets. Jules gives Pumpkin his wallet, but when Pumpkin tries to take Marsellus' briefcase, Jules pulls his gun and disarms Pumpkin. While Vincent holds Honey Bunny at bay, Jules explains to Pumpkin how, even earlier that morning, he would have killed Pumpkin and Honey Bunny without a second thought. He recites his ersatz version of Ezekiel 25:17 again: \"The path of the righteous man is beset on all sides by the iniquities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and good will shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon you.\"Jules explains that while he previously thought it was cool to make such a cold-blooded passage the last thing his victims heard, he now realizes that the \"tyranny of evil men\" part of the passage refers to him, and he intends to become a better person. He and Vincent allow Honey Bunny and Pumpkin to leave with all the money but not the briefcase. They leave the diner themselves and head to Marsellus' strip club.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0043265/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "An English spinster, Rose (Katharine Hepburn), is the sister of a missionary, Rev. Samuel Sayer (Robert Morley). The two Christian missionaries are in a remote African village with grass huts and a little wooden church, which is located somewhere deep in a German African colony during WWI near the Ulanga River. The German war machine appears to brutally start burning the little straw hut village, killing the native women and children while kidnapping the African men, and just as quickly the German terror vanishes. When the smoke clears from the burning village, all is in ruin. The meek and fragile Rev. Samuel Sayer is so distraught by what he has just witnessed he kills himself. Rose is left all alone to fend for herself;she is lost in despair. There is no safety here, and the German threat is all around. There is no way out except to travel south down the dangerous and unforgiving Ulanga River. The river leads to Lake Victoria and possible freedom. Except for the last danger, which is the Louisa - a German gunship that patrols the Tanganyika shore of the lake up to the southern mouth of the river. The Ulanga is filled with dangers like animals that can eat you, rocks and white water rapids that can smash and sink a boat. It has only been successfully navigated once by a map maker named Spangler a hundred years ago and no one since has repeated the feat.Rose is straggling about the burnt village in shock and despair from her brother's suicide when a Mr. Charlie Allnut (Humphrey Bogart) shows up out of nowhere to save her. This scruffy old gin-swigging rummy is a boat captain who is unshaven and crusty. Mr. Allnut is there to deliver mail and supplies to the village. Mr. Allnut travels up and down the northern part of the Ulanga on a rusty old 12-foot boat called the African Queen. The boat barely runs, powered by a small antique steam engine on its last legs kept together and encouraged to run with a few well placed kicks and bangs from a hammer by Mr. Allnut. Mr. Allnut buries Rev. Sayer and takes Rose to the African Queen for safety before the Germans come back. While on the African Queen Rose attempts to convince Mr. Allnut they should go south down the Ulanga and sink the Louisa. Mr. Allnut thinks the spinster is a crazy old maid and tells her so. And Rose thinks Mr. Allnut is washed-up rummy good for nothing coward unfit to be a captain. As impossible as it may seem Mr. Allnut decides to follow her suggestion because its the only way to avoid the Germans, and probably the only way to shut Rose up and stop her from nagging on and on about her crazy plan to fight the German navy.During the first few days aboard the African Queen navigating the Ulanga they annoy each other to the point of being disgusted. Rose reads her bible while Mr. Allnut drinks rum from a generous supply he has on board until he passes out every day. Rose decides to dump all of Mr. Allnuts bottles of gin into the river one morning while Mr. Allnut is still passed out. When Mr. Allnut awakes, he is emotionally destroyed by the thought of no more booze. How could you, Miss? Mr. Allnut asks over and over as the African Queen smokes and tugs along the Ulanga. Rose decides to stop talking to Mr. Allnut and gives him the silent treatment until he gives in to her plan to sink the Louisa. Mr. Allnut continues to talk to Rose even though Rose refuses to acknowledge his existence on the little boat. Mr. Allnut pretends he doesn't care even though the silence is slowing killing him. It is apparent they cannot stand each others company. Finally Mr. Allnut can't take the silence anymore and agrees to Rose's impossible plan to sink the Louisa using home made torpedoes made by Mr. Allnut. Mr Allnut says he can make them from the supplies on the boat - explosives and two gas canisters used for welding.As the two strangers sail down Ulanga River like great map makers before them and determined to sink the Louisa, Rose is impressed by Mr. Allnut's abilities and admires his seamanship when they hit big white water and how he skillfully navigates past the dangerous rocks. They ride into some really rough white water that causes Rose to feel aroused by the thrill of the ride. Not understanding the experience she compares it to a thrilling sermon delivered by her brother when the holy ghost consumed him. The spiritual excitement overcomes her as she describes her excitement to Mr. Allnut. Rose and Mr. Allnut survive a second and more dangerous set of white water rapids, along with extra dangers from African guerrillas shooting at them from the banks of the river hoping to kill them and capture the African Queen. When they realize they have survived certain death again they start hugging and kissing. After they kiss, they realize they are in love. It's implied they are lovers that afternoon after much flirting and a quick nap. However, their troubles are not over as the African Queen breaks down and they work as a team to fix it. Mr. Allnut shaves, baths and listens to Rose read the good book. They make tea and find they adore each others company. They call each other dear and tell each other sweet nothings.Nevertheless there is still more danger ahead. The river disappears, the water is shallow, and Mr. Allnut is forced to get into the mucky river and pull the African Queen by hand to higher water. Blood sucking leeches, mosquitoes, and dangerous animals torment the couple's efforts. The African Queen comes to a complete stop, stuck dead in mucky swamp water and high weeds covering any sight of land or water ways. They are lost in the weeds and can't see anything. They are disheartened and beaten and accept their doomed fate as they hold each other in exhaustion waiting to die. Passed out on the African Queen they lie there defeated. When it begins to rain and the river rises, the African Queen becomes unstuck and floats down the river only a few hundred feet from high water and the mouth of the Ulanga River. The Ulanga River is pouring into Lake Victoria and they see the Louisa gunship for the first time as it makes a routine patrol..The two lovers are now alive again! With new hope and determination they are convinced they can now sink the Louisa. They wait in the banks of the Ulanga out of sight of the Louisa until it comes back on its routine patrol. They have fixed and fastened two homemade torpedoes to the insides of the African Queen. By cutting circle holes above the water line they can stick the tips of the torpedoes through the holes which act as battering rams that will compress on collision and ignite the explosives to explode the gas canisters when they crash into the Louisa at full speed ahead. Rose and Mr. Allnut lovingly argue about who will stay ashore while the other steers the boat into the Louisa. The hero will jump just before the collision and explosion that will sink the Louisa on impact. They both decide they would not want to live without the other so they will do it together. Rose and Mr. Allnut wait until the Louisa comes back on its patrol routine that evening and begin to plan to ram the Louisa. Building steam as the weather starts to change and the waves grow higher. The Louisa is not expecting the African Queen to even be there let alone capable of exploding and sinking the Louisa. As they steam towards the Louisa the lake begins to become rough, a rain storm squalls, and the seas begin filling the boat with water. A rogue wave turns the African Queen upside over tossing Rose and Mr. Allnut into the lake. The two are separated by another huge wave and disappear. Have they drowned? Alas, the Louisa is not sunk and the African Queen appears to be gone with the two star-crossed lovers.The sun appears after the storm and we see Mr. Allnut is alive. He was rescued and captured by the Germans. Mr. Allnut is now standing on the Louisa's deck in the captain's office. He is being interrogated by the Louisa's captain (Peter Bull). The captain is determined to have Mr. Allnut answer his questions. The German captain always ends each question with the threat of death and hanging to Mr. Allnut, who is depressed and despondent. Mr. Allnut answers each question and threat of death with a hopeless sigh of, who cares! Because Mr. Allnut believes his Rose has drowned. Mr. Allnut is relieved by the thought of hanging rather than live without his Rose. Suddenly he hears Rose's voice coming from a life boat that has rescued her. Mr. Allnut, thrilled that Rose is alive, decides to deny he knows her in hopes of saving her from his fated hanging by the Germans. But the very English Rose not only argues with the captain but brags how she and Charlie and the African Queen sailed down the Ulanga, and how Charlie made homemade torpedoes, and how they came within feet of sinking the Louisa by themselves and would have, but the storm saved the Louisa from their doom when the weather caused the African Queen to sink and a wave tossed them into the water. The Louisa's captain thinking them both crazy decides to hang them both. On the deck of the Louisa, Rose and Charlie stand holding hands deeply in love, happy about dying together. Standing there with the hangman's rope around their necks Charlie asks the Louisa's captain to marry them as his last request before hanging. Charlie says he really doesn't care about getting married but it would mean a lot to the Mrs. A teary-eyed Rose is thrilled by the suggestion. The Louisa's captain thinks they are both mad but reluctantly agrees to marry them. The two are so happy to be married that they don't care they are going to be hung. Just as he pronounces them man and wife the Louisa explodes. The sunken African Queen has been hit by the Louisa. Rose and Charlie find themselves swimming and the Louisa is gone. They did it. A wood plank with the name African Queen floats by and the two grab it as they swim to apparent safety. Swimming away, the two sing merrily, \"There was an old fisherman...\"\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0031971/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0026752/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0033870/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Private eye Sam Spade and his partner Miles Archer are approached by Miss Wonderly to follow a man, Floyd Thursby, who allegedly ran off with her younger sister. The two accept the assignment because the money is good, but Spade also implies that the woman looks like trouble, though she projects wholesome innocence.That night, Detective Tom Polhaus informs Spade that Archer has been shot and killed while tailing Thursby. Even later that night, two officers visit Spade at his apartment and inquire about Spade's whereabouts in the last few hours. Spade asks what the visit is really about. The officers say that Thursby was also killed and that Spade is a suspect, since Thursby likely killed Archer. They have no evidence against Spade at the moment, but tell him that they will be conducting an investigation into the matter.The next day, Spade gets a visit from Archer's wife, with whom he has been having an affair. The widow asks Spade if he killed Miles so that they could be together. Spade dismisses her and tells her to leave, and coldly orders his secretary Effie to remove all of Archer's belongings from the office. He then goes to a new address left in a note from his client, whose name he learns is Brigid O'Shaughnessy. He also finds out that Brigid never had a sister, and Thursby was her acquaintance who had betrayed her.Later, Spade is visited by another man, Joel Cairo, who offers Spade $5000 if the private eye can retrieve a figurine of a black bird that has recently arrived. While Spade has no idea what the man is talking about, he plays along. Suddenly, Cairo pulls a gun on Spade, and declares his intention to search Spade's office. But when he approaches Spade to search his person, Spade disarms him and knocks him unconscious. After cataloguing Cairo's belongings and questioning him in return, Spade returns Cairo's firearm and allows the man to search his office. Following this, Spade is again contacted by Brigid O'Shaughnessy. She offers her sympathies for the death of his partner. Spade senses a connection between O'Shaughnessy and Cairo, and casually mentions that Cairo has contacted him. O'Shaughnessy gets extremely nervous when she hears this. She tells Spade that she must meet with Cairo, and asks Spade to arrange a meeting. Spade agrees.When Cairo and Brigid O'Shaughnessy meet, they make references that the reader and Spade don't initially comprehend. Cairo says he is ready to pay for the black figurine. Brigid O'Shaughnessy, however, says she does not have it at the moment. They also refer to a mysterious figure, \"G\" (\"the fat man\" in the film), whom they seem to be scared of. The two then continue to talk about some events that happened overseas. Eventually, O'Shaughnessy insinuates that Cairo is a homosexual, and Cairo insinuates that O'Shaughnessy simply uses her body to get what she wants, and the two begin to fight. At this point, the police show up, coincidentally, to talk to Spade. Spade greets them at the door, but refuses to let them in. The officers say they know Spade was having an affair with Archer's wife; just as they are about to leave, they hear Cairo screaming for help. They force their way into Spade's apartment, and Spade invents a story that involves describing how Cairo and O'Shaughnessy were just play-acting. The officers seem to accept, if not believe, Spade's story, but they take Cairo with them down to the station for some \"grilling\". Spade sends Brigid to stay with Effie, where she will be safe.The next morning, Spade makes his way to the hotel where Cairo is staying. Cairo shows up disheveled, saying that he was held in police custody through the night. Meanwhile, Spade notices that he's being tailed by some kid named Wilmer Cook. He confronts the gunsel[1], and tells him that both he and his boss, \"G,\" will have to deal with him at some point. He later receives a call from Casper Gutman, who wishes to meet with him. Gutman, a huge person weighing over 300 lbs, says he will pay handsomely for the black bird. Spade implies that he can get the item (though at this point this is a bluff), but wants to know what it is first.Gutman tells him that the figurine was a gift from the Island of Malta to the King of Spain a few hundred years ago, but was lost on ship in transit. It was covered with fine jewels, but acquired a layer of black enamel at some time, to conceal its value (estimated to be in the millions). Gutman learned of its whereabouts seventeen years ago, and has been looking for it ever since. He traced it to the home of a Russian General, then sent three of his 'agents' (Cairo, Thursby and Brigid O'Shaughnessy) to get it. The latter supposedly did retrieve the figurine, but learned of its value and decided to keep it for themselves. Spade starts to get dizzy at this point (Gutman has drugged him), and when he goes to leave, Wilmer trips him and knocks him out by kicking his temple.When Spade awakens, he returns to his office and tells the story of the Maltese Falcon to Effie. Soon afterwards, an injured man, identified as Captain Jacobi of \"La Paloma,\" shows up at the office; he drops a package on the floor and then dies of gunshot wounds. Spade opens the package, and finds the figurine falcon. Sam is called away from the office. To prevent losing the item, Spade stores the package at a bus station lost luggage counter and mails himself the collection tag. He first goes to the dock where \"La Paloma\" was anchored, but learns that a fire had been started on board. He then proceeds to the place Rhea Gutman said she was when she phoned earlier. There he finds a drugged-up, seventeen-year old girl, her stomach all scratched up by a pin in attempts to keep herself awake, who just manages to give him some information about the whereabouts of Brigid, which turns out to be a false lead.When he arrives back at his apartment, he finds O'Shaughnessy in a shadowy doorway. Inside, Wilmer, Cairo, and Gutman are there waiting. Gutman hands Spade $10,000 in cash in exchange for the bird. Spade takes the money, but in addition says that they need a \"fall guy\" to take the blame for the murders of at least Thursby and Jacobi, if not Archer as well. Reluctantly, both Cairo and Gutman agree to make Wilmer the fall guy. Gutman proceeds to tell Spade the missing pieces of the story. The night that Thursby was killed, he was first approached by Wilmer and Gutman. The latter attempted to reason with him, but Thursby remained loyal to Brigid O'Shaughnessy and refused to cooperate. Later things escalated, then Wilmer shot Thursby. Also, Brigid O'Shaughnessy had seduced Captain Jacobi and hid the Falcon with him. Later, Brigid O'Shaughnessy instructed Jacobi to deliver the package to Spade. Once Gutman learned of this fact, he attempted to remove Spade from the situation with the spiked drink. Wilmer managed to shoot the captain, but Jacobi still got to Spade's office to deliver the figurine. After finishing his story, Gutman warns Spade to be very careful with Brigid O'Shaughnessy as she is not to be trusted.Spade places a call to his secretary, Effie, and asks her to go the office and pick up the figurine. Effie brings it to Spade's apartment, and Spade hands the package to Gutman, who at this time is overwhelmed with excitement. He checks the figurine, but quickly learns that it is a fake. He realizes with dismay that the Russian must have discovered the true value of the falcon and made a copy. During this time, Wilmer manages to escape from Spade's apartment. Gutman quickly regains composure, and decides to go back to Europe to continue the search. Before he leaves, Gutman asks Spade for the $10,000. Spade returns $9000, saying he's keeping the remainder for his time and expenses. Then Cairo and Gutman leave Spade's apartment.Immediately after Cairo and Gutman leave, Spade phones the police department and tells them the entire story. Wilmer killed Jacobi and Thursby. He also tells them what hotel Gutman is staying at and urges them to hurry, since Gutman and Cairo are leaving town soon. Afterwards, Spade angrily asks Brigid O'Shaughnessy why she killed Miles Archer. At first, Brigid O'Shaughnessy acts horrified at this accusation, but seeing that she cannot lie anymore, she drops the act. She wanted to get Thursby out of the picture so that she could have the Falcon for herself, so she hired Archer to scare him off. When Thursby didn't leave, she killed Archer and attempted to pin the crime on Thursby. When Thursby was later killed himself, she knew that Gutman was in town and that she needed another protector, so she came back to Spade.However, she says that she's also in love with Spade and would have come back to him anyhow. Spade coldly replies that the penalty for murder is most likely twenty years, and he'll wait for her until she gets out. If they hang her, Spade says that he'll always remember her. He goes on to say that while he despised Miles Archer, the man was his partner, and that he's going to turn her in to the police for his murder as that was a line he could not cross in the industry of detective work. Brigid O'Shaughnessy begs him not to, but he replies that he has no choice. When the police get Gutman, Gutman will finger Sam and Brigid as accomplices. Thus the only way Spade can avoid getting charged is to say he played both sides against each other. He tells Brigid O'Shaughnessy that he has some feelings for her, but that he simply can't trust her. Just before the police arrive, Brigid O'Shaughnessy asks Spade if the Falcon had been real, and he'd gotten the entire $10,000, would it have made a difference. Spade replies that, while she shouldn't be so sure that he's crooked, more money would have been one more item on \"her side.\"When the police finally show up at Spade's apartment, Spade immediately turns over Brigid O'Shaughnessy as Archer's killer. They tell Spade that the kid Wilmer was waiting for Gutman at the hotel and shot him when he arrived. Spade also hands over the $1000 bill, and the falcon to the police as evidence.\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0066921/synopsis?ref_=tt_stry_pl\n", "\n", "\"A bit of the old ultra-violence\".London, England in the foreseeable future. \"Our humble narrator\" Alex DeLarge (Malcolm McDowell) and his droogs, Georgie (James Marcus), Dim (Warren Clarke), and Pete (Michael Tarn), are seated in the Korova Milk Bar stoned on milk laced with narcotics.Shortly, the gang leaves the Korova for a night of ultra-violence. They encounter a wino (Paul Farrell) in a concrete subway tunnel under a local motorway, and beat him with their truncheons. Later, they arrive at a derelict theater. On the stage, another gang, led by a schoolmate named Billy Boy, is preparing to rape a voluptuous girl. Instead, the two gangs have a battle in which Alex and his droogs are victorious.Alex and his droogs next head out into the dark countryside looking for action. Alex pilots their stolen Durango 95 sports car. After playing \"hogs of the road\", driving on the wrong side of the road and running a number of other travelers into ditches and over embankments, Alex suggests making the \"surprise visit\". Stopping at a fancy country house that displays a backlighted sign that simply reads \"Home\", they trick their way into the house. They beat its owner, a writer named Frank Alexander (Patrick Magee), and gang rape his wife (Adrienne Corri) while Alex brightly croons Singin' in the Rain.When they've finished having fun, the gang returns to the Korova. A woman seated at an adjacent table sings the chorus from Beethoven's 9th symphony. Listening to the woman, Alex is ecstatic - \"I felt all the malenky little hairs on my plott standing endwise\" - but Dim ruins the mood when he makes a farting noise. Alex hits him in the crotch with his truncheon. Henceforth, Dim is resentful and threatening but Alex dismisses him.Dawn is nigh as Alex arrives at his apartment. Before going to bed he fantasizes scenes of violence while listening to Beethoven's 9th symphony.In the morning, Alex's mother (Sheila Raynor) tries to wake Alex for school, but he feigns illness. At the breakfast table she discusses the situation with his father (Philip Stone). Alex's parents seem foolish and impotent. When Alex later awakens and wanders about the apartment in his underwear he encounters his probation officer, Mr. Deltoid (Aubrey Morris), in his parent's bedroom - Deltoid is so much a member of the family that Alex's mother had given him a key. The officer lectures Alex about his school truancy and threatens him with jail. Then Deltoid is abashed when he discovers that, in addition to water, the bedside glass from which he's been drinking also contains a set of dentures.After Deltoid leaves, Alex begins another busy day. He picks up two girls at a local shopping mall record store and brings them home. In a sped-up sequence backed by the William Tell Overture, he has sex with both of them.Later that day, he encounters his droogs in his apartment house lobby. They ominously tell him that they've been \"talking\". They feel that Alex has been abusing them, especially Dim, and they suggest that Alex has been taking more than his fair share of the spoils from their robberies. Then Georgie shares an idea to make lots more money. He wants to rob a rich lady who owns an upscale health farm at the edge of town. Alex perceives Georgie's independent thinking as a threat but appears to go along with it. He then unexpectedly attacks his droogs as they walk along a river bank outside the apartment block. He throws first Georgie and then Dim into the dirty river water. When Alex offers to help pull Dim out of the water, he slashes the back of Dim's outstretched hand with a hidden dagger. Alex makes the excuse that the sound of Beethoven from an open window inspired his violence but his droogs don't believe him. They all retire to a restaurant where Alex first humiliates his droogs, then considers Georgie's idea.Arriving at the health farm that evening, the droogs try the same trick they'd used at Alexander's house the previous night: tricking the woman in the house into believing that one of them has been injured in a traffic accident. However, the proprietress (Miriam Karlin) is suspicious and calls the police telling them that she'd heard the news reports about the writer and his wife being tricked in the same manner. When the droogs aren't let into the house, Alex climbs up a drainpipe, enters a second floor window, and confronts her. They fight, the woman defending herself with a bust of Beethoven, until Alex strikes her with a huge plastic phallus sculpture. Then, as police sirens are heard in the distance, Alex runs out the front door. It is there and then that his droogs take their revenge. Dim hits Alex in the face with a milk bottle and the droogs flee. As Alex writhes and screams on the ground the police arrive.At a police station, an uncooperative and belligerent Alex is questioned by several cops. When an overzealous beat cop punches Alex in his bandaged face for no reason, Alex kicks the officer in the groin. The other officers then beat Alex until Deltoid shows up. Deltoid tells Alex that the proprietress of the health farm has died, and he spits in Alex's face and tells him how disappointed he is. Alex laughs it off, but is soon headed for prison.Prison.Alex has received a 14-year sentence. He deposits his possessions with Chief Officer Barnes (Michael Bates), undresses, and is inspected for hemorrhoids. After answering several questions about his health and personal well being, Alex is given prison garb. He's now prisoner number 655321.Two years have passed when Alex is shown scheming to get favors by feigning piety. He helps the prison chaplain (Godfrey Quigley) with his service and he studies the Bible. But rather than thinking pious thoughts, Alex visualizes himself torturing Jesus at the crucifixion, killing people in battle, and laying about with concubines in an Old Testament setting.Alex tells the chaplain that he's heard of a new treatment, the so-called Ludovico Technique, that helps criminals get out of prison. The chaplain says that it's experimental and that he's not sure it's right for Alex. But Alex, who wants a way out of prison life, plots how to be selected for the experiment. Later, the government's Interior Minister (Anthony Sharp) visits the prison and, when Alex makes a show of himself, the minister picks Alex as a perfect Ludovico subject. Alex is taken before the prison governor (Michael Gover) who tells the boy that, although he'd rather punish him, Alex will shortly be released.The Ludovico Technique.Chief Officer Barnes then transports Alex to the Ludovico Centre. Alex is given a room and is interviewed by Dr. Branom (Madge Ryan). She promises him that he'll be fine, then gives him an injection.In his first day of treatment Alex appears in an auditorium in a straight jacket. His head is strapped to the back of a restraining chair so that he can neither turn his head nor look away. An eye doctor installs lid-clamps that forcibly keep Alex's eyes open. Then, while the doctor constantly drops eye wash into Alex's grotesquely clamped eyes, Alex is subjected to two violent films. The first shows explicit scenes of a severe beating, the second, a gang rape. Half way through the first film Alex begins to feel sick. By the end of the second, Alex is shouting for something into which to vomit. At the rear of the auditorium, Dr. Brodsky (Carl Duering) explains to observers that the drug administered to Alex causes a form of paralysis with deep feelings of terror and helplessness. In his room following the treatment, Dr. Branom assures Alex that his feeling of sickness is a sign that he's getting better.On the following day Alex is back in the auditorium, this time for two shows: morning and afternoon. Then, while viewing scenes of Nazis during World War II, Alex begins screaming in earnest. \"Stop it! Stop it! Please, I beg you! It's a sin!\" The background music is none other than Beethoven's 9th symphony. Alex screams that he shouldn't be made to feel sick while listening to such beautiful music. Brodsky loudly apologizes saying that it can't be helped while quietly he speculates to nearby staff that perhaps this is the punishment element, and wouldn't the prison governor be pleased.Two weeks later, presumably after 12 more treatments, Alex is paraded before a group of dignitaries by the Interior Minister. Alex is there for demonstration purposes. He is first confronted by an angry Irishman (John Clive) who throws him to the ground and forces Alex to lick his boot. Next he's approached by a statuesque platinum blond (Virginia Wetherell) clad only in panties. She comes right up to Alex and tempts him. Alex collapses in a fit of nausea when he tries to touch her breasts. The Interior Minister proclaims a new era in law enforcement and social justice, but the prison chaplain claims that the procedure has debased Alex's human nature by taking away his ability to actually choose good over evil. The Interior Minister counter claims that the only thing that matters is results.Welcome Home.Alex returns home to find his parents plus a stranger (Clive Francis) sitting in the living room reading newspaper accounts of his release. He enters and tries to be friendly but is met only by awkward excuses. When he inquires about the stranger eating toast on the couch, his father tells him that the stranger is a lodger who can't be kicked out because he's already paid the next month's rent. Alex is upset but the lodger, who has ingratiated himself with Alex's parents, pushes the situation by castigating Alex for the things he did before going to prison and for breaking his parents' hearts. Before Alex can hit the lodger, his psychological conditioning kicks in leaving him gagging and fighting for air. When he has recovered, Alex storms out.Alex later stares at the Thames river below a bridge, presumably contemplating suicide. He's approached by a bum seeking spare change. Alex fishes some cash from his pocket and hands it over. Then, taking a closer look, the bum recognizes Alex as the same guy who beat him in the subway tunnel two years earlier. Alex looks at the bum in horror and tries to escape, but is trapped in the very same tunnel by the bum and his elderly compatriots. They hit and kick Alex as he cowers on the ground, disabled by his conditioning. Two cops show up to break up the fight. To Alex's further horror, his rescuers turn out to be Dim and Georgie, two of his former droogs, who are now constables. Demonstrating that police training hasn't altered their basic violent natures, they handcuff Alex, drive him out of town, march him into a wood, push his head into a cattle trough filled with filthy water, and beat him with their batons. They then remove the cuffs and leave him battered and gasping. With thoughts of home echoing in his head, Alex staggers to the first house he can find. It displays a welcoming, backlighted sign that simply reads: \"Home\".At home, Frank Alexander is at his typewriter, sitting in the wheelchair that has been his personal transport since he was severely beaten two years earlier. Julian (David Prowse), his muscular attendant, answers the doorbell. As Julian opens the door, Alex collapses into the entryway. Julian carries him into the house.When confronted by a concerned Mr. Alexander who asks: \"My God. What's happened to you, my boy?\" Alex, who now realizes he's at the very same residence in which, two years earlier, he and his droogs had ganged raped Alexander's wife, is thunderstruck by his precarious situation. But he relaxes when he realizes that Mr. Alexander doesn't recognize him \"[voice-over] For in those carefree days, I and my so-called droogs wore our maskies, which were like real horrorshow disguises\". Mr. Alexander, who recognizes Alex only as the subject of the Ludovico treatment, invites the lad to have a bath and some supper.As Alex relaxes in the bath, Mr. Alexander calls a friend with whom he discusses how Alex's Ludovico conditioning represents the thin edge of totalitarianism, and how that can be used against the sitting government. As he finishes the conversation, Alexander leaves the impression that the time for a visit has been arranged when he looks at his watch and replies, \"He'll be here\". He then hangs up the phone.Mr. Alexander sits in his wheelchair relishing a fantasy of political intrigue when he becomes aware of singing coming from the bathroom. In his bath, Alex has struck up a bright rendition of Singin' in the Rain. Mr. Alexander's face twists in agony and rage as he realizes just who Alex is.Later, at the dinner table, an obviously distraught Mr. Alexander encourages Alex to eat and drink. Flanked by the wheelchair-bound Mr. Alexander and the burly Julian, Alex eats a plate of spaghetti while Mr. Alexander insists that Alex have some red wine with his meal. \"Try the wine. Have another...\" Mr. Alexander tells Alex. As he eats, Alex grows increasingly fearful, wondering if the hostile-looking old man knows his real identity. Then Mr. Alexander brings up the subject of his wife's rape and subsequent death. He believes that, though she officially died of pneumonia, it was her broken spirit that killed her. She was, according to Mr. Alexander, a victim of the modern age, just as Alex is a victim of the modern age. He tells Alex that two friends are expected and that they will help the boy.A minute later, man named Dolin (John Savident) and a woman (Margaret Tyzack) enter. They question Alex about the Ludovico treatment and whether it is true that, in addition to conditioning him against sex and violence, it has also made him incapable of listening to music. \"No, missus\", Alex replies. \"You see, it's not all music. It's just the 9th.\" They ask what he feels when he hears Beethoven's 9th symphony and he admits to thoughts of suicide. The woman then asks, \"Do you still feel suicidal?\" Alex replies that he feels low, like \"any second, something terrible is going to happen to me\", at which point he passes out, face down, into the plate of spaghetti. He has been drugged by the wine. Dolin congratulates Mr. Alexander who then asks Julian to bring the car around to the front. The conspirators have plans for Alex that will embarrass the government.Alex awakens the next morning in a small, second floor bedroom in an unknown country house. The room is flooded with the strains of Beethoven's 9th symphony blasted from a stereo in the room below \"[voice-over] I woke up. The pain and sickness all over me like an animal.\" As Mr. Alexander beams in satisfaction, Alex is driven to suicide. He leaps from the second floor window to the stone patio below.Cured.Days (or maybe weeks or months) later, Alex wakes up in a hospital with legs, arms, and head in casts. Newspaper clippings reveal that the government is being vilified for inhuman experimentation. The Interior Minister is being subjected to especially fierce attack. When his parents visit, Alex gives them their much deserved final rejection.Later, Doctor Taylor (Pauline Taylor), a psychiatrist with blue hair, shows Alex a series of cartoons having sexual or violent connotations. Alex is to supply the punch lines. She is testing him to determine whether his Ludovico conditioning is still active. It isn't.Later still, the Interior Minister visits Alex. He assures Alex that he wants to be his friend. With oily smoothness well-larded with weasel words the Minister apologizes for what his government has done. He promises Alex a good job on a good salary, provided of course that Alex helps the government. \"We always help our friends, don't we?\" He assures the lad that the subversive writer, Frank Alexander, who has been threatening him has been put away. For his part, Alex milks the meeting for all it's worth. As the aristocratic Minister spoon-feeds dinner to the juvenile thug, Alex asks the name of his new friend. Decorously clearing his throat, the Minister replies that his name is \"Frederick\". He tells Alex that he can be instrumental in changing public opinion. \"Do you understand, Alex?\" he asks. \"Do I make myself clear?\" \"As an unmuddied lake, Fred\" is Alex's response. As a symbol of their understanding, the Minister calls for his assistants. They sweep in with flowers, followed by a massive stereo system blasting Beethoven's 9th symphony, followed by a troop of reporters and photographers. Alex poses with his new friend, Fred, as the choral climax of Beethoven's 9th symphony reaches its zenith. Alex's eyes roll back into his head as he fantasizes about an orgy in the snow with a gorgeous blond to the applause of Victorian onlookers.Alex is heard in voiceover: \"I was cured, all right\".\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0075314/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Travis Bickle (Robert De Niro) goes to a New York City taxi depot where he applies for a job as a driver to the tough-talking personnel officer (Joe Spinell). Travis claims that he is an honorably discharged Marine (it is implied that he is a Vietnam Veteran). After making an impression on the personnel officer, Travis gets the job for the night shift due to his chronic insomnia.Via his narrative journal, Travis is soon revealed to be a lonely and depressed young man of 26 years. His origins and hometown are unknown. He sends his parents letters as well as birthday and Christmas cards, lying about his life and saying he works with the Secret Service. Travis spends his restless days alone in his rundown apartment somewhere in Manhattan, or in seedy porn theaters on and off 42nd Street. At one porn theater he tries to make an advance on the concession lady to no avail. He works 12 or 14 hour shifts during the evening and night time hours carrying passengers among all five boroughs of New York City. Sometimes during his breaks, he goes to a local all-night diner to have something to eat or just a few cups of coffee where fellow taxi drivers also hang out during their late-night lunch breaks. One of whom is a self-appointed philosophical type named Wizard (Peter Boyle). Wizard talks about the degradation of the night time in the city. Travis barely interacts with the other taxi drivers, mainly speaking awkwardly and shyly when he's spoken to.During taxi driving, Travis spies and becomes infatuated with a woman named Betsy (Cybill Shepherd), a campaign volunteer for New York Senator Charles Palantine, who is running for the presidential nomination and is promising dramatic social change. Travis spies Betsy joking with a co-worker named Tom (Albert Brooks). Travis works up the nerve to ask her out and Betsy is initially intrigued by Travis. She agrees to a date with him after he flirts with her over coffee and sympathizes with her own apparent loneliness. She compares him to a character in the Kris Kristofferson song \"The Pilgrim.\"Travis is further revolted by what he considers the moral decay around him. One night while on shift, Iris (Jodie Foster), a 12-year-old child prostitute, gets in his cab, attempting to escape her pimp. Shocked by the occurrence Travis fails to drive off quickly enough and her pimp, \"Sport\" (Harvey Keitel), reaches the cab. Sport forcibly grabs Iris away with him and gives Travis a crumpled twenty dollar bill as a bribe not to say anything, which haunts Travis with the memory of his failure to help the girl.During one of his shifts, Travis picks up Senator Palantine himself (Leonard Harris) and an aide. He tells the senator he plans to vote for him and the senator, acting like a real politician, tells Travis he learns more from cab drivers than limo drivers. The senator asks Travis \"what's the one thing that bugs you the most?\" and Travis responds that he would like the next president to \"clean the scum off New York City.\"On their date, however due to his lack of social skills, Travis takes Betsy to a porno theater to view a hardcore Swedish \"sex education\" film (titled: Language of Love). Offended, she leaves him and takes a taxi home alone. The next day he tries to reconcile with Betsy, phoning her and sending her flowers, but all of his attempts are in vain and she refuses to speak with him. Going back into the campaign office, Travis confronts Betsy and shouts that she will \"burn in hell like the rest of them\".Rejected and depressed, Travis later picks up a man (director Martin Scorsese) who appears to be as mentally unbalanced as he is. The man tells Travis to park outside an apartment building while letting the meter run. He tells Travis to look at the woman in the window and tells him that's his wife in her boyfriend's apartment. He tells Travis he plans to kill them both with a .44 Magnum.One evening at the diner, Travis tries to express his despair to Wizard, but finds Wizard's half-hearted response: \"that's just about the stupidest thing I ever heard\".Travis's thoughts turn more violent. Disgusted by the petty street crime (especially prostitution) that he witnesses while driving through the city, he now finds a focus for his frustration and buys a number of pistols from an illegal drug/weapons dealer (Steven Prince).Travis develops an ominously intense interest in Senator Palantine's public appearances and it seems that he somehow blames the presidential hopeful for his own failure at wooing Betsy and maybe hopes to include her boss in his growing list of targets. Back at his apartment with his newly purchased guns, he begins a program of intense physical training and practices a menacing speech in the mirror, while pulling out a pistol that he attached to a home-made sliding action holster on his right arm (\"You talkin' to me?\"). Later, he hangs around a Palantine rally and asks a suspicious secret service man about joining the service before disappearing into the crowd.In an accidental warm-up, Travis randomly walks into a robbery in a run-down grocery and shoots the would-be thief (Nat Grant) in the face; adding to the bizarre violence, the sympathetic grocery owner (Victor Argo) encourages Travis (who has no permit for his guns) to flee the scene and then proceeds to club the near-dead stickup man with a steel pole.Later, seeing Iris on the street, he follows her. Another day later, Travis asks to pay for her time, and is sent to Sport. A tense conversation ensues but Sport sends Travis up to Iris's room. Once in her room, Travis does not have sex with her and instead tries to convince her to leave this way of life behind.The next day, Travis and Iris meet for breakfast at a local coffee shop and Travis becomes obsessed with saving this na\u00efve child-woman who thinks hanging out with hookers, pimps and drug dealers is more \"hip\" than dating young boys and going to school. Iris considers Travis's offer but then Sport seduces and convinces her to stay, while (seemingly) Travis spies into the window from his cab. Travis writes a note to Iris including all his money and stating that he doesn't intend to survive.Any lingering doubt in the viewer's mind about Travis Bickle's sanity is obliterated when he is suddenly and shockingly shown to be sporting a crude Mohawk haircut at a public rally. He creeps through the crowd and prepares to assassinate Senator Palantine but is spotted by Secret Service men and flees.Travis returns to his apartment to collect all his guns, then drives to \"Alphabet City\" (an area of New York's Lower East side consisting of Avenues A through E). He walks up to Sport and confronts him. When Sport flicks a lit cigarette at him, Travis says \"suck on this\" and shoots Sport in the belly. Storming into the brothel, Travis blows the bouncer's hand off. Sport, who has followed Travis, grazes Travis neck with a bullet (causing an arterial gush from his neck) but Travis unloads one of his guns into Sport, killing him. Travis again shoots the screaming bouncer who follows him up the stairs, slapping him. Iris' mafioso customer shoots Travis in the arm and Travis shoots his face off. The bouncer tackles Travis but Travis stabs him through the hand and finally kills the bouncer with a bullet to the brain. He then calmly tries repeatedly to fire a bullet into his own head under his chin but all the weapons are empty so he resigns himself to resting on a convenient sofa until police arrive. When they do, the blood-soaked Travis mimes shooting himself in the head and then blissfully thinks of the mayhem and carnage in his wake.A brief epilogue shows Travis recuperating from the incident. He has received a handwritten letter from Iris' parents who thank him for saving their daughter, and the media (in newspaper clipping) hails him as a hero for saving her as well. Travis blithely returns to his job and suddenly seems on more friendly terms with the other cabbies. One night one of his fares happens to be Betsy. She comments about his saving of Iris and Travis' own media fame, yet Travis denies being any sort of hero. He drops her off without charging her. As he is driving off, he gets a strange look on his face and adjusts his cab's rear view mirror, giving the impression that his irrationality is about to break through again.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0032145/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0036775/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Walter Neff (MacMurray) is a successful insurance salesman for Pacific All-Risk returning to his office building in downtown Los Angeles late one night. Neff, clearly in pain, sits down at his desk and tells the whole story into a Dictaphone for his colleague Barton Keyes (Robinson), a claims adjuster.It is the story of how he meets the sultry Phyllis Dietrichson (Stanwyck) during a routine house call to renew an automobile insurance policy for her husband. A flirtation develops, at least until Neff hears Phyllis wonder how she could take out a policy on her husband's life without him knowing it. Neff knows she means murder and wants no part of it.Phyllis pursues Neff to his own home, and persuades him that the two of them, together, should kill her husband. Neff knows all the tricks of his trade and comes up with a plan in which Phyllis's husband will die an unlikely death, in this case being thrown from a train. Pacific All-Risk will therefore be required, by the \"double indemnity\" clause in the insurance policy, to pay the widow twice the normal amount.Keyes, a tenacious investigator, does not suspect foul play at first, but eventually concludes that the Dietrichson woman and an unknown accomplice must be behind the husband's death. He has no reason to be suspicious of Neff, someone he has worked with for quite some time and admires.Neff is not only worried about Keyes. The victim's daughter, Lola (Jean Heather), comes to him convinced that her stepmother, Phyllis is behind her father's death because her mother also died under suspicious circumstances when she was her nurse. Neff begins to care about what might happen to Lola, both of whose parents have been murdered. It is for this reason Phyllis wants her killed because she had suspected her of murdering her parents in the first place.Then he learns Phyllis is seeing Lola's boyfriend, Nino, behind his back. Trying to save himself and no longer caring about the money, Neff believes the only way out is to make the police think Phyllis and Lola's boyfriend did the murder, which is what Keyes now believes anyway. However, when Neff and Phyllis meet, she tells him she has been seeing Lola's boyfriend only to provoke him into killing the suspicious Lola in a jealous rage. Neff, now wholly disgusted, is about to kill Phyllis when she shoots him first. Neff is badly wounded but still standing and walks towards her, telling her to shoot again. Phyllis does not shoot and he takes the gun from her. She says she never loved him or anyone else and had been using him all along, \"until a minute ago, when I couldn't fire that second shot.\" Neff coldly says he does not believe this new ploy. Phyllis hugs him tightly but then pulls away and looks up at him, startled that he has not responded. Neff says \"Goodbye, baby,\" then shoots and kills her. Before leaving, he convinces Nino to not go inside because Phyllis was responsibile for trying to break up him and Lola. Neff convinces him that she still loves him and she's waiting for him to call her. Nino reluctantly agrees to call Lola and takes his quarter.Neff drives to his office where he dictates his full confession to Keyes, who arrives and hears enough of the confession to understand everything. Neff tells Keyes he is going to Mexico rather than face a death sentence but collapses to the floor before he can reach the elevator.[edit] Alternate endingWilder shot an alternate ending to the film (to appease censors), featuring Neff paying for his crime by going to the gas chamber. This footage is lost, but stills of the scene still exist.source:Wikipedia\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0048545/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Shortly after moving to Los Angeles with his parents, 17-year-old Jim Stark (James Dean) enrolls at Dawson High School. In the opening scene, Jim is brought into the police station for public drunkenness. When his mother, father and grandmother arrive at the police station to retrieve him, conflicts in Jim's family situation are introduced as he explains to the arresting officer. His parents are often fighting. His weak-willed father (Jim Backus) often tries to defend Jim, but Jim's picky and domineering mother always wins the arguments for his father cannot find the courage to stand up to his wife. Jim feels betrayed both by this fighting and his father's lack of moral strength, causing feelings of unrest and displacement. This shows up later in the film when he repeatedly asks his father, \"What do you do when you have to be a man?\"The next day, while trying to conform with fellow students at the school, he becomes involved in a dispute with a local bully named Buzz Gunderson (Corey Allen). While Jim tries to deal with Buzz, he becomes friends with a shy 15-year-old boy, John, who is nicknamed Plato (Sal Mineo), who was also at the police station the night of the opening scene for shooting and killing puppies. Plato idolizes Jim as a father-figure much to Jim's concern. Plato tells Jim that his parents divorced several years ago and are never in Los Angeles. His mother lives away in her hometown and never visits, calls or writes, while his father (a wealthy business executive) is always traveling and avoids comming home, leaving only his housekeeper to look after Plato. Plato experiences many of the same problems as Jim, such as searching for meaning in life and dealing with his absent and selfish parents who \"don't understand.\"In the school hallway, Jim meets Judy (Natalie Wood), whom he also recognizes from the police station the previous night, where she was brought in for being out alone after dark, who originally acts unimpressed by Jim, saying in a sarcastic tone, \"I bet you're a real yo-yo.\" She is apparently the property of Buzz. Judy too has an unhappy homelife when it shows her before going to school when she deals with her unattenative and sexist father who gives all his attention to Judy's younger brother as well as ignors both Judy and his wife for he feels that women are ment only to serve him, and nothing more.That afternoon, Jim goes on a field trip with his science class to the Griffith Observatory. At the Planetarium, he watches a dramatic presentation of the violent death of the universe. After the show, he watches Buzz and his thugs slash a tire of his car for no reason, and then Buzz challenges him to a knife fight, while the gang taunts Jim as a \"chicken.\" Jim reluctantly takes part in the fight and wins, subduing Buzz by holding his switchblade up to his neck before discarding both knifes off a railing. Both Jim and Buzz get slight injuries during the knife fight. Not to be outdone, Buzz and his thugs challenge Jim to a \"Chickie Run\" with Buzz and Jim racing stolen cars towards an abyss. The one who first jumps out of the car loses and is deemed a \"chicken\" (coward).That evening, the \"game\" is held with Judy and several students in attendance to watch. But the race ends in tragedy for Buzz when a strap on the sleeve of his leather jacket becomes looped over a handle on the car door, preventing him from jumping out before the car goes over the cliff.Jim runs home and tries to tell his parents what happened, but quickly becomes frustrated by their failure to understand him and storms out of the house. Jim goes to the police to find the sergeant who took his statement the previous night to tell him about the accident involving Buzz's death, but learns that the police officer is not there. Jim refuses to speak to any policeman and will speak only to the sergeant and he leaves. But Jim is spotted leaving the station by three of Buzz's friends, Crunch (Frank Mazzola), Goon (Dennis Hopper), and another one of Buzz's gang members whom is not named. Mistakenly thinking that Jim told the police about the \"Chickie Run\", they decide to hunt Jim down to \"silence him\"... permenently.Jim meets up with Judy and they go to an abandoned mansion to hide out. Plato finds them there (he was the one who told Jim about the house). There they act out a \"fantasy family,\" with Jim as father, Judy as mother and Plato as child. However, Crunch, Goon, and the other boy soon discover them, and terrorize Plato who finally brandishes his mother's handgun that he took from the house, shooting Crunch, and at Jim, and a police officer who investigates, in a clearly unstable state.Plato runs and hides in the Observatory, which is soon besieged by the police. Jim and Judy follow him inside, and Jim convinces Plato to lend him the gun, from which he silently removes the ammunition magazine. When Plato steps out of the observatory, he becomes agitated again at the sight of the police and charges forward, brandishing his weapon. He is fatally shot by a police officer as Jim yells to the police, too late, that he had already removed the bullets. Plato was wearing Jim's jacket at the time, and as a result, Jim's parents (brought to the scene by police) think at first that Jim was shot. Mr. Stark then runs to comfort Jim, who is distraught by Plato's death. Mr. Stark promises to be a stronger father, one that his son can depend on. Thus reconciled, Jim introduces Judy to his parents and they drive off together as dawn starts to break.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0047396/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "L.B. \"Jeff\" Jeffries (James Stewart) recuperates from a broken leg during a sweltering New York summer. As a successful photographer, he's known for taking difficult pictures no one else can get, including the one of an out-of-control race car which smashed his camera and broke his leg an instant after it was snapped. Jeffries lives in a small apartment, and spends his time in a wheelchair looking out the rear window into the courtyard of the building; he can also see into the lives of all his neighbors, catching glimpses of their daily routines. It's the sort of thing only an invalid might do, watching them eat, clean, sleep and argue. There's the girl who exercises in her underwear, the married couple who sleep on their small balcony to beat the heat, the struggling songwriter working at his piano; and there's the salesman who lives across the courtyard from Jeffries, the one with the nagging bedridden wife. They seem to fight all too often.Every day a therapist comes to visit Jeff, dispensing her mature wisdom and berating him for sitting there all day spying on his neighbors. Stella (Thelma Ritter) tells him she can smell trouble coming. He should get his mind off his neighbors and think about marrying that beautiful girlfriend of his. Jeff replies that he's not ready for marriage. Sure, she's a wonderful girl, but she's also a rich, successful socialite, and Jeff lives the life of a war correspondent, always on the go, usually living out his suitcase and often in an unpleasant environment. It's not the life he wants to offer her. \"Well\" says Stella, \"that girl is packed with love for you right down to her fingertips.\"\"That Girl\" arrives shortly after Stella leaves. Lisa Carol Fremont (Grace Kelly) breezes in wearing a stunning satin dress, looking every inch the beautiful socialite she is, and obviously very much in love with Jeff. They have dinner, but soon enough the conversation turns to the future, and they quarrel. Jeff sees no way they can reconcile their different lifestyles, and she walks to the door, telling him goodbye. \"When will I see you again?\" asks Jeffries.\"Not for a long time,\" she replies sadly. \"At least, not until tomorrow night.\"The night drags by, and it's too hot for Jeffries to sleep. It starts to rain. He dozes in his wheelchair by the window, but notices activity across the yard. The salesman goes out carrying his heavy silver sample case, and Jeffries looks at his watch: it's 2:00am. The blinds in the bedroom are drawn, so Jeffries can't see the wife. Later, the salesman returns, lifting the case easily, as if it were empty. Twice more he goes out in the rain in the middle of the night, lugging the heavy case, but coming home with it lighter. Intrigued, Jeffries wonders what the salesman is doing, but he finally dozes off around daybreak.Discussing the incident with Stella, and then later with Lisa, they all begin to watch the salesman. With the blinds now open, they can see that the wife is gone. Jeffries pulls out his binoculars, and then a large telephoto lens to get a better look. They watch as he goes into the kitchen and cleans a large knife and saw. Later, he ties a large packing crate with heavy rope, and has moving men come and haul the crate away. Stella runs around the front of the building to catch the name of the moving company, but misses the truck. By now they're all thinking the same thing; there's foul play going on, and the missing wife has been murdered by the salesman. They check his name on the front of the building: Lars Thorwald (Raymond Burr).Jeffries calls in an old Army buddy - Thomas J. Doyle (Wendell Corey) who's now a detective, and explains the situation to him. Naturally he doesn't believe a word of it, and tells Jeffries to stick to photography. After further checking, the detective finds that Mrs. Thorwald is in the country, has sent a postcard to her husband, and the packing crate they had seen was full of her clothes. Chastened, they all admit to being a little ghoulish, even disappointed when they find out there wasn't a murder after all. Jeffries and Lisa settle down for an evening alone, but soon a scream pierces the courtyard. One of the neighbors had a little dog they would let roam around the yard, and now it's dead with it's neck is broken. It had been digging in Thorwald's small flower garden. All of the neighbors rush to their windows to see what's happened, except for one. Jeffries notices that Thorwald sits unmoving in his dark apartment, with only the tip of his cigarette glowing.Shortly after the dog is found dead, Jeff notices a change in Thorwald's small flower garden in the courtyard: using a slide he'd taken about two weeks before he discovers that the zinnia that the dog had been digging around is now a few inches shorter. Jeff suspects that Thorwald had buried something there & had dug it up after murdering the dog. Convinced that Thorwald is guilty after all, they slip a letter under his door asking \"What have you done with her?\" and then watch his reaction. Lisa delivers the note and slips away before Thorwald can find her. When she returns to the apartment, excited, Jeff has a look of excitement on his face as well, realizing that Lisa is a courageous woman who likely could accompany him in his adventurous life.Calling Thorwald's apartment, Jeffries tells Thorwald to meet him at a bar down the street, as a pretext to getting him out of the apartment. When Thorwald leaves, Lisa and Stella grab a shovel and start digging, but after a few minutes, they find nothing.Refusing to give up, Lisa climbs the fire escape to Thorwald's apartment and squeezes in an open window, much to Jeffries' alarm. Rummaging around the apartment, Lisa finds Mrs. Thorwald's purse and wedding ring, things she surely would never have left behind on a trip. She holds them up for Jeffries to see, but he can only watch in terror as Thorwald comes back up the stairs to the apartment. Lisa is trapped.Calling the police as Thorwald goes in, he and Stella watch helplessly as Lisa tries to hide, but is found by Thorwald moments later. They see her try to talk her way out, but Thorwald grabs and begins to assault her. Terrified by their helplessness, they can only watch as he turns out the lights and listen as Lisa screams for help. The police arrive and beat on Thorwald's door, saving Lisa just in time.Jeffries watches from across the courtyard as the police question Lisa, then arrest her. Her back is to him, and he see her hands behind her back pointing to Mrs. Thorwald's ring, which is now on her finger. Thorwald sees this as well, and realizing that she's signaling to someone across the way, looks up directly at Jeffries with murderous understanding.Pulling back into the dark, Jeffries calls his detective friend, who agrees to help get Lisa out of jail, and is now convinced that Thorwald is guilty of something. Stella takes all the cash they have for bail and heads for the police station. Jeffries is left alone, and looking back over to Thorwald's apartment, he sees all the lights are off. Down below, he hears the door to his own building slam shut, then slow footsteps begin climbing the stairs. Thorwald is coming for him, and he's trapped in his wheelchair.Looking for a weapon, he can find only the flash for his camera. He grabs a box of flashbulbs, and under his door he watches the hall lights go off. Footsteps stop outside his door, then it slowly opens. Thorwald stands in the dark looking at Jeffries. \"Who are you?\" he says heavily. \"What do you want from me?\" Jeffries doesn't answer, but as Thorwald comes for him he sets off the flash, blinding Thorwald for a few seconds.He is slowed but not stopped, and Jeffries keeps setting off flashbulbs in Thorwald's face, but he finally fumbles his way to Jeffries' wheelchair, then grabs him and pushes him towards the open window. Fighting to stay alive, Jeffries cannot stop Thorwald, and is pushed out. Hanging onto the ledge, yelling for help, he sees Lisa, the detective and the police all rush in. Thorwald is pulled back, but it's too late; Jeffries slips and falls just as the police run up beneath him. Luckily, they break his fall, and Lisa sweeps him up in her arms. Thorwald confesses to the murder of his wife, and the police take him away.A few days later the heat has lifted, and Jeffries sleeps peacefully in his wheelchair, now with two broken legs from the fall. Lisa reclines happily next to him, now wearing blue jeans and a simple blouse, and reading a camping book. She smiles at him as he sleeps, but pulls out a hidden fashion magazine from under the cushion.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0041959/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "Sights of Vienna, Austria, flash across the screen as an Englishman's voice (Carol Reed) describes the racketeer trade in the post-World War II era. He describes that many amateurs have tried to get involved in this career, but he implies that they always end up dead. Meanwhile, the city is quartered into sectors policed by occupying forces -- the English, the Russians, the Americans and the French -- though they barely can handle the criminal element and don't even speak the same language. The city is devastated (\"bombed about a bit,\" says the narrator), covered in jagged rubble. He begins to tell the story of an American coming to Vienna named Holly Martins, who has come to accept a job from an old friend.Holly Martins (Joseph Cotten) gets off his train and is surprised that his friend, Harry Lime, isn't at the station to meet him. Holly goes to Lime's flat, but the building porter (Paul H\u00f6rbiger), through extremely broken English, tells him that he just missed Lime's friends leaving with a coffin. The porter says that Harry was killed, hit by a truck right in front of the building.Martins goes to a massive graveyard and finds a funeral service. An Englishman (Trevor Howard) hovering nearby informs Holly it is Harry's funeral. Standing by the grave are two middle-aged men, both of whom eye Holly suspicously. Also in attendance is a pretty woman (Alida Valli) who doesn't notice him. After the funeral, Martin begins to walk back into town, and the Englishman offers him a ride.The stranger introduces himself as Major Calloway, a police officer in the British sector of Vienna, and offers to buy him a drink. Holly agrees and proceeds to drink while reminiscing about Harry. It is revealed that Holly is an author of pulp Western novellas. As he talks about his old friend, Calloway says that it's better that Lime is dead, since he was a murderer and a racketeer. Holly takes umbrage at Calloway's suggestion and reaches to punch him, but he's quickly socked in the face by fellow English soldier Sergeant Paine (Bernard Lee). Paine apologizes and escorts the tipsy Martins to the nearby hotel, explaining to Holly earnestly that he is a huge fan of his books. Calloway sets Martins up at the hotel for the night, telling him he can catch a plane out of Vienna the next day. Holly promises he will prove him wrong about Lime.Happening by on the way out of the hotel is another Englishman named Crabbin (Wilfrid Hyde-White). Paine tells Crabbin that Holly is an author, and though Crabbin has never heard of him, he is excited to have a writer in Vienna. Crabbin introduces himself to Holly and explains he represents the British cultural propaganda department in Vienna. He invites Holly to stay and give lecture in a few days at the department's meeting. Figuring he could use the extra time in town as an opportunity to look into Harry's death, Holly accepts the offer.Holly is then called on the hotel phone by a man who identifies himself as Baron Kurtz. The man says he is a friend of Harry's. Martins and Kurtz set up a meeting at a nearby cafe. When they meet, Holly recognizes Kurtz (Ernst Deutsch) as one of the two men at Harry's funeral. Kurtz is carrying one of Holly's books, which he says Harry had given to him, and a small dog.Holly proceeds to grill Kurtz about the circumstances of Harry's death. Kurtz and Martins go out to the street in front of Harry's apartment building to reconstruct the events of the accident. Kurtz's version is this: he was walking out of Harry's flat with him when Harry saw a Romanian friend of his, Popescu, across the street. Harry then began to cross the street to greet Popescu when a truck drove up and ran Harry over. Then Kurtz and Popescu carried Harry to the sidewalk. Shortly thereafter, Harry's doctor, Dr. Winkel, happened by. The doctor was too late to save Harry, however. Holly asks Kurtz to help him investigate further, but Kurtz says as he is an Austrian, he must be careful with the police. Martins tells him the police think Harry was a racketeer. Kurtz points out most everyone in Vienna is mixed up in some sort of racket, but mostly nothing serious--tires, stamps, etc.Kurtz describes how after Harry was hit, he instructed him to see after Holly when he arrived. Holly points out the porter, who is near them outside the apartment sweeping, told him that Harry died instantaneously. Kurtz looks the porter over and says that Harry died before the ambulence arrived, but that he was still alive immediately after he was run over. Holly tells Kurtz he wants to speak to Popescu, but he says Popescu has left Vienna. At Holly's insistence, Kurtz tells him the identity of the pretty woman at the funeral. He does not remember her name, but he tells Holly she was a companion of Harry's who works as an actress at a local theater. Kurtz tells Holly he lives in the Russian sector but works at the Casanova Club, and if he has any need for advice to contact him there. Holly then tries to question the porter again. However, the porter's wife, overhearing the conversation, looks frightened and calls for her husband to come inside.That evening, Holly goes to theater where the woman, named Anna Schmidt, is performing. He introduces himself as a friend of Harry Lime's, and she tells him to come back after the show. When he meets her afterwards, Martins finds out that Anna, so depressed over Harry's death that she declares she wishes she too were dead, had been dating Harry for some time and that Harry had allegedly asked Kurtz that Anna be taken care of as well just before he died. Martins thinks it funny that Harry had time to think of both him and Anna right after the accident, even though he supposedly died instantly, or at least very quickly. Anna also reveals that the man driving the truck was Harry's own driver. Holly tells Anna that he has a feeling that there's something suspicous about Harry's death -- that seemingly everyone he knew was at the scene -- and he convinces her to help him speak to the porter again.Anna and Holly go to talk with the porter in Harry's apartment. Anna pokes around the flat, seemingly reminiscing, and half-heartedly translates the German for Martins. The porter tells them that Harry's neck was broken in such a way that he had to have died immediately; therefore, there was no way he could have asked Kurtz that Anna and Martins be taken care of. He also says that three men carried Harry to the sidewalk, not two (Kurtz & Popescu), as Kurtz had claimed. Holly asks the porter why he did not reveal this information at the inquest, and the porter responds he didn't want to be mixed up in the situation and that he wasn't the only witness who did not give a complete testimony. As Holly tries to convince the porter take his story to the police, the conversation becomes heated. The porter, who becomes fearful, insists in German that Holly leave and never come back. An elfin boy spies them arguing just before Holly and Anna leave.Holly walks Anna back to her place and they are met by Anna's landlady (Hedwig Bleibtreu), who frantically tells her that the police are inspecting her apartment. Holly and Anna go upstairs to find Major Calloway and Sergeant Paine supervising as her apartment is torn apart. Calloway asks for her passport, which he and Paine inspect and then suspect is fake. The Major tells her he must keep it. Holly tells Calloway that he suspects Harry may have been murdered, but he says he doesn't care how Harry died as long he's dead. He suggests Holly should go back to the airport and go home. As they continue to go through her things, including love letters to her from Harry, Anna explains quietly to Holly about her passport, which she reveals Harry forged for her. She explains that she is Czechoslovakian and that the Russians would claim her and have her deported if it was found out that she was not Austrian. Calloway takes Anna back with the other officers to the police station, and on her way out, Holly asks her to remind him of Harry's doctor's name so he can go talk with him.Holly goes to ask Dr. Winkel (Erich Ponto) about Harry's death. The doctor was the man standing by Kurtz at the funeral. In his home, Holly sees the same small dog that Kurtz was carrying earlier. The doctor tersely adheres to Kurtz's take on the events, and he confirms that he arrived after Harry was already dead. Holly asks if it's possible that Harry was pushed in front of the truck, if he knows if Harry could have died instantaneously or not, and if there was a third man who helped carry Harry's body to the sidewalk. Dr. Winkel tells Holly he can give no additional opinion as to the circumstances of the accident, since he did not witness the event and the injuries would have been the same no matter how it happened. He also says there was no third man on the scene by the time he arrived.At the international police station, Anna sees a Russian officer flipping through her papers as she waits. Calloway comes in and questions her about Harry. He shows her a picture of man named Joseph Harbin and asks if she knows who he is. Anna says she's never seen him before. He explains that Harbin is a worker in a military hospital, but she insists she does not know him. He accuses her of lying, which he says is stupid because he could help her with her passport. He explains that in one of her confiscated letters, Harry had written her to instruct her to place a call to the Casanova Club for someone named Joseph. Anna barely remembers that the message for Joseph was something about meeting Harry at his home. Calloway tells her that the day she telephoned that message to Joseph Harbin, he disappeared. Anna insists Calloway has Harry all wrong, and he sends her away, though he keeps her passport and belongings.Anna then goes with Holly, who was waiting outside the station for her, to the Casanova Club. Crabbin is inside just leaving, and he reminds Holly of the lecture he is to give the next night. Holly and Anna sit at the bar and see Kurtz playing violin for a dining couple. Kurtz looks dismayed to see Holly again and, when questioned, insists that only he and Popescu carried Harry and that the porter must have been mistaken. Kurtz says that Popescu happens to be at the club that night, despite his earlier claim that Popescu was out of town. Holly meets Popescu (Siegfried Breuer), whose account of Harry's death mirrors Kurtz's account in all aspects. Holly again asks if a third man helped him and Kurtz carry Harry's body, but Popescu denies this, asking where Holly heard such a thing. He tells him the porter at Harry's building had heard the accident and witnessed the aftermath. This is evidently news to Popescu, who was unaware that the porter was a witness since he had not given testimony at the inquest.Popescu is then seen arranging and attending a mysterious meeting on a bridge with Kurtz, Dr. Winkel, and an unseen fourth man.The following morning, while Holly wanders thoughtfully in front of Harry's former home, the porter leans out the window and apologizes to Holly for his previous demeanor, arranging to meet with him later to tell him something important. When the porter closes the window and turns around, he reacts with surprise and terror to an unseen person who has presumably snuck up behind him.Holly goes to visit Anna to tell her the porter wants to talk to him again. She is especially depressed about Harry, and she begs Holly to tell her stories about him. They talk about Harry, painting him as a mischevous boy who never grew up. She insists they go see the porter together, accidently calling him Harry, which lightly miffs Holly.As they walk up to the front of the porter's building, they see a crowd gathered near the door. Anna immediately wants to leave, assuming it to be trouble. Holly, however, walks over to the crowd, where he is told the porter has been murdered. The little boy who had seen Holly and the porter arguing begins insisting something about Holly loudly in German. Slowly, the assembled crowd turns to stare at Holly. Anna explains that the crowd thinks he is the murderer. He grabs Anna and they run away. The crowd pursues them, with the little boy in the lead. Holly and Anna duck into a movie theater, losing the mob. Holly tells Anna to go back home where she'll be safe.Holly eventually makes his way back to his hotel, where he asks the desk clerk for a taxi driver. The clerk indicates that an imposing-looking man standing there is a driver already waiting for him. With Holly in the back seat, the driver speeds off recklessly without Holly saying where he wants to go. Holly, very frightened, asks him if he is taking him to be killed. The driver does not answer and finally stops in front of a doorway. Holly, sure that he's about to be murdered, starts to run, but the door opens. Crabbin greets him, and Holly realizes it is time for the speaking engagement that he'd agreed to.Holly struggles with the intellectual questions posed to him. The audience begins to dissipate, while Crabbin agonizes over the misstep of hiring Holly. Unexpectedly, Popescu arrives, and he asks Holly if he's working on a book. Holly says that he's writing a book called \"The Third Man\" and that it's based on fact. Popescu suggests that Holly stick to fiction, but Holly insists he will finish this \"book.\" As the meeting is closed, two thuggish-looking men arrive and get whispered orders from Popescu. Holly takes off up the spiral staircase at the back of the building and the two thugs pursue him. Holly ducks into in unlocked room, where he is bitten by an unexpected parrot. He makes his way out of a window and finds refuge from the thugs in a car hidden among the wartime rubble.Once safe, Holly goes to the international police station to tell Calloway about his findings. Calloway, though now convinced that Harry Lime was murdered, is still indifferent and explains that it's better that Harry is dead. Holly insists he is wrong, so the Major offers to show Holly why he believes Harry is guilty of racketeering and murder. Calloway then presents a myriad of evidence, proving that Harry obtained penicillin illegally, dilluted it, and sold it to war-ravaged, poor hospitals, resulting in the painful deaths of many people. (Watered-down penicillin is not only ineffective, but it also makes the patient immune to future doses of penicillin, thus rendering medical treatment incredibly difficult or impossible.) Many of his victims were children with meningitis; the lucky ones, the Major says, died, and the unlucky ones lived and went insane. He shows Holly a slide of the hospital worker Joseph Harbin, who he explains helped steal the penicillin for Harry. The police forced Harbin to give them information about Harry's operation, but he has recently gone missing. Holly, now convinced of Harry's guilt, is devastated by the news about his old friend and agrees to go back to America.After Holly goes out to a bar and gets drunk, he buys flowers and takes them to Anna in her apartment. He drunkenly calls to Anna's cat, who is indifferent to him, and Anna explains the only person the cat ever liked was Harry. The cat slips out the window. Anna lets Holly know that Calloway also told her about Harry's misdeeds, and though she now believes in his guilt as well, it doesn't change her feelings for Harry.We then see a man outside Anna's window on the street. He ducks into a dark doorway. Anna's cat, who has run out of the apartment, curls up at his feet.In the apartment, Anna says Harry is better off dead, but not because he was punished for doing wrong, as Calloway believes. Holly agrees he's better off dead, and he no longer cares who killed him or why. He believes there was justice in Harry's death, and he says maybe he would have even killed Harry himself. He also tells Anna that he's fallen in love with her, but she makes it apparent that the feeling isn't mutual, as she thinks only of Harry.Disappointed and still drunk, Holly stumbles outside to return to his hotel, but he sees the obscured man standing in the dark doorway, the cat still at his feet. Holly shouts at him to stop spying and to show himself, but he does not move. Holly's noise causes a woman upstairs to turn on her light and open her window to yell at him to be quiet. The light from the woman's apartment shines down into the street, revealing the man in the doorway to be Harry Lime (Orson Welles). Harry smiles at a shocked Holly, but slips away when the woman turns off her light. Seeing Harry's shadow running off down a nearby street, Holly takes pursuit. He follows the sound of footsteps down a passageway that opens into a plaza, but once Holly reaches the end of the passageway, Harry is already gone.Holly brings Calloway and Paine out the area to re-enact the events, but they are unconvinced. However, suddenly a light bulb goes off for Calloway as he eyes a booth in the plaza. Opening the door on the booth, Calloway shows Holly that it is an entranceway to the Vienna sewers, with steps leading downwards. They follow the stairs into the sewers, where they see an endless range of tunnels for Harry to use as escape routes.That night, Calloway leads a team to excavate Harry's grave. When they open the coffin, the body inside is revealed to be that of Joseph Harbin.The international police come to Anna's apartment for her as she lies in bed crying in Harry's old pajamas. Anna surely assumes this is because of her forged papers. As she is led into the station, Holly sees her and yells at her that he's seen Harry alive. Calloway is standing in the hallway as the police lead her through the station, and he instructs them to bring her into his office. He interrogates her alone, asking when she saw Lime last. He explains in his coffin was Joseph Harbin's body. She looks thrilled as she realizes this does mean that Harry is alive, and she asks where he is. Calloway thinks she might know, but it is clear she was not aware he has been alive either. He says they know Harry is hiding in the Russian sector (which is where Kurtz lives, as he told Holly), and that if she helps them catch Lime, Calloway will help her with the Russians, who are about to interrogate her about her passport. She cannot help him, though, and he tells her they will catch him eventually, as Vienna is a closed city. She says that she wishes that he was dead, as he would be safe from \"all of you.\"The next morning, Holly goes to visit Baron Kurtz's apartment in the Russian sector. Kurtz looks over his balcony and invites Holly up, but Holly refuses, as he shouts back that he wants to speak only with Harry. Dr. Winkel comes out on the balcony also, and he and Kurtz exchange concerned looks. Though they admit nothing about Harry, Holly insists that he come meet him at the nearby fairgrounds.As Holly waits next to the ferris wheel, he spots Harry walking up to warmly greet him, acting as if nothing has changed. They go for a ride on the ferris wheel. Harry shows no remorse for his penicillin racket, asking Holly about the people far below them if Holly would really care if one of \"those little dots\" stopped moving forever, especially if he were paid each dot. When Holly reveals that he told the police about seeing Harry, Harry is very unhappy that Holly has been talking to the cops. Harry, staring at Holly, clearly considers shooting him and throwing him out of the ferris wheel to his death. Holly takes him seriously enough to wrap his arm tightly around the car door should Harry try anything. However, when Holly also says that they've dug up his grave and found Harbin, Harry changes his mind and jokes that neither one of them would ever think of doing something to the other. Harry also reveals that he was the one who informed the Russian police about Anna's forged passport as payment for them letting him hide out in the Russian sector. As they finish the ride, Harry offers to cut Holly in on his schemes, but without waiting for an answer, Harry leaves quickly, telling him that they can meet again any time he wants, but no police.Holly goes to meet with Calloway and tells him he knows where Harry is staying. The Major tries to convince him to help them trap Harry by arranging to meet him at a cafe in the international zone. However, though Holly knows his friend has done wrong, he is unwilling to be the one to doom him. Just then, the Russian officer comes in with Anna's passport, explaining to Calloway that she must be deported. The Major mentions to him that the Russians were supposed to be helping the British police with Harry Lime, but the Russian says the two cases are not related and that they will get to his case eventually. He leaves the room, Anna's passport sitting on Calloway's desk. Calloway, seemingly resigned to Holly giving up in Harry's case, talks about how helpful Holly could have been in getting Lime, but Holly is staring at Anna's papers sitting on the desk. Holly asks what price would Calloway pay for his help, and he tells him to name it.Paine accompanies Anna to board the train that will save her from the Russian authorities. Just as she settles into her car, she spies Holly trying to see her off inconspicuously. Understanding that her leaving must have been part of a deal Holly struck with Calloway, she gets off the train and confronts Holly about why he's there. He admits he has agreed to \"betray\" Harry in turn for her getting away. Anna makes it evident that she's disgusted with Holly and could never do anything to hurt Harry. She leaves angrily, ripping up her passport, and allows the train to depart with her belongings.Now despondent, Holly asks that Calloway and Paine just take him to the airport, having changed his mind to help them catch Harry. He shows them Anna's torn up papers. Calloway agrees, but on the way to the airport, the Major makes an extra stop. It is the children's ward of a hospital, where Calloway shows Holly the devastating effects of Harry's dilluted penicillin. Horrified by the sight of painfully dying children, Holly reluctantly agrees again to entrap Harry.At a cafe Holly waits to meet Harry while Calloway, Paine, and several other policemen stake out nearby in the shadows. Anna comes into the cafe to admonish Holly, his location disclosed to her by Baron Kurtz as he was being arrested. While she talks to him, Harry has snuck in the back of the cafe. Just as Harry enters behind Anna, she yells at Holly for being a police informant. Harry reacts, drawing a gun to shoot Holly. Anna is standing in the way and tells Harry that he must escape or the police will get him. Harry tells Anna to move so he can kill Holly, but he spots Sergeant Paine entering the front of the cafe and turns to run.Harry rushes to the nearest sewer entrance and goes down into the tunnels. Paine, Calloway, Holly, and international policemen pursue Harry through the maze of sewer passages. Harry, for a time, evades the many men, but he is eventually cornered. Holly happens upon the panicked Harry and, hiding from the range of Harry's gun, tells him that he must give up. Sergeant Paine, followed by Calloway, comes rushing to Holly to warn him to get back, but Harry shoots Paine, and he falls. Harry tries to run but is shot by Calloway.Harry manages to crawl out of sight while Calloway leans over the dying Paine. Holly takes Paine's gun and sets off after Harry, and Calloway tells him to shoot on sight. In a passageway, badly wounded, Harry strains to climb up steps to escape through a sewer grate. He manages to make it to the top of the staircase, where he reaches his fingers up through the grate, feeling the air above. However, he is too weak to lift the manhole cover, and he drops his head into his arms. Holly walks up and aims the gun at Harry. Harry weakly lifts his head and nods slightly at Holly, a silent okay for Holly to mercy-kill him. A shot rings out in the sewers. Calloway sees the figure of Holly emerging from the passageway alone.Soon after, Harry again has another funeral in the same cemetery. Holly, Calloway, and Anna are the only attendees. After the service, Calloway begins to drive Holly to the airport. Seeing Anna walking behind them down the same tree-lined trail as the first time he saw her, Holly asks to get out to speak to her. Holly waits for Anna as she walks down the long road toward him. When she nears him, though, she does not acknowledge his presence and walks by. Holly doesn't say anything, but he puts his head down and lights a cigarette.\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0053125/synopsis?ref_=tt_stry_pl\n", "\n", "\n", "At the end of an ordinary work day, advertising executive Roger O. Thornhill (Cary Grant) hurries from a Madison Avenue office building to a business meeting at the Oak Room bar of the Plaza Hotel. After asking his secretary to phone his mother, he realizes that she won't be able to reach her by telephone, so he will need to send a telegram instead. When a hotel pageboy passes by calling for a Mr. George Kaplan, Thornhill flags him down, to inquire about sending a telegram. Unfortunately, this also draws the attention of two henchmen, names Valerian (Adam Williams) and Licht (Robert Ellenstein), who mistake Roger for Kaplan because from the vantage point they are standing at, he appears to be answering the page. As Roger steps into the corridor to send his wire, the henchmen abduct Roger at gunpoint and force him into a waiting car.Wordlessly, they drive him out of Manhattan to a Long Island country estate displaying the name \"Townsend\" at its entrance. The car snakes up a long winding driveway to the front entrance. A maid lets them in the front door, and Roger is locked inside the library of the mansion. Left alone, he finds a newspaper on the desk addressed to \"Mr. Lester Townsend, 169 Baywood, Glen Cove, N.Y.\"Shortly, the library door opens and there enters an urbane English-accented gentleman (James Mason), evidently none other than Townsend himself, followed soon after by his personal secretary, Leonard (Martin Landau). The gentleman addresses his captive as \"Kaplan,\" and by his questions, Roger can only assume that the real Kaplan must be some sort of secret agent on this man's trail. Roger tries to convince him that his name is Thornhill and has never been anything else, but his skeptic captor will not hear of it. To \"prove\" his point, the man proceeds to recite the elusive Kaplan's recent itinerary of hotels, cities, and ever-changing hometowns, including Kaplan's present occupancy of room 796 at the Plaza Hotel, and his future stops in the next few days in Chicago and Rapid City, South Dakota. To find out how much \"Kaplan\" knows about his organization and their current arrangements, he puts Leonard in charge of extracting the information while he withdraws to join Mrs. Townsend (Josephine Hutchinson) and their party guests. Leonard unseals a fifth of bourbon taken from a liquor cabinet, and with the aid of Valerian and Licht, he begins to force the whiskey down Roger's throat.Having failed to get any information from their victim, Valerian and Licht place the severely intoxicated Thornhill behind the wheel of a Mercedes on a seaside highway under cover of darkness, planning to guide him off of a cliff to his death. Almost unaware of his surroundings, Roger comes sufficiently alert at the last moment to push Valerian out of the car and start driving for himself. The two thugs follow him down the winding highway in their own car. Roger, on the verge of passing out and plagued with double vision, manages to careen his way down the cliffside highway without hitting anything. As he slams on brakes to barely avoid running over a bicyclist, a pursuing police car plows into the rear of the Mercedes, and a third car plows into the rear of the police car. Finding themselves overmatched, the two henchmen drive away leaving Roger in police custody.Roger tells everyone at the police station how his captors had tried to kill him, but in his drunken condition no one pays any attention to his bizarre story. One of the policemen mentions that the Mercedes Roger was driving was reported stolen. Roger phones his mother to let her know he is at the Glen Cove police station for the night. In the morning, Roger and his attorney Larrabee (Edward Platt) face the judge, with Roger's mother, Clara Thornhill (Jessie Royce Landis), looking on in weary bemusement. The judge gives Roger a chance to prove his doubtful story, and continues the case over to the next day.A pair of county detectives accompanies Roger, his mother, and Larrabee to the house where he says last night's events took place. They are escorted into the same library while the same maid goes for Mrs. Townsend. Roger shows them the sofa which should still be stained and soaked with spilled bourbon, but it has apparently been cleaned. He opens the liquor cabinet, only to find it is full of books. When \"Mrs. Townsend\" comes in, she greets Roger like an old friend, and asks if he had gotten home all right. She says that he had been so drunk when he left their party the night before, that they had all been worried about him. When Captain Junket (Edward Binns) mentions the stolen car registered to a Mrs. Babson, Mrs. Townsend asks, \"You didn't borrow Laura's Mercedes?\" Roger suggests that they question her husband. Mrs. Townsend informs them that he is at the United Nations where he will be addressing the General Assembly that afternoon. As his protests continue to fall on deaf ears, his mother chimes in, \"Roger, pay the two dollars!\" The visitors get back into the car and drive away. Behind them, a gardener looks up from his work. It is Valerian, disguised.Roger and his mother take a cab to the Plaza Hotel, where Roger tries to phone Kaplan's room. But he learns that Kaplan hasn't answered his phone in two days. Rogers cajoles his mother into getting the key to room 796 from the front desk. They go upstairs and into Kaplan's room. Both the chambermaid and the valet treat him as Kaplan, since he's the man in room 796 whom they have never actually seen. Roger finds a photo of his host from the evening before, which he slips into his pocket. The phone rings. Roger answers it and hears the familiar voice of one of his recent captors. He then calls the hotel operator and learns that the call originated inside the hotel.Roger hurries his mother out of the room, and as they enter an elevator going down, Valerian and Licht step out of one coming up just in time to join the crowded group of passengers in the down elevator. To cut the tension on the way down, Mrs. Thornhill asks the two men if they are really going to kill her son. The thugs start laughing and gradually everyone in the car (except Roger) joins in. When the doors open, Roger insists, \"Ladies first.\" And under cover of escorting the ladies off the car, he manages to elude his pursuers and escape into the street. He jumps into a cab and asks the driver take him to the United Nations. Seeing the thugs following him, he asks the driver to lose them if he can.When he gets to the U.N. General Assembly Building, Roger asks for Lester Townsend, giving his own name as Kaplan. He is told to go to the public lounge where the attendant can page Mr. Townsend for him. Meanwhile, Valerian steps out of another taxi and tells Licht to wait with the cab on the other side of the building for him. Valerian then walks into the General Assembly Building. When Lester Townsend (Philip Ober) answers the page, he is not the same man Roger had seen the evening before. Roger asks him about the house in Glen Cove, which Townsend says is his, but the house is currently locked up with only the gardener and his wife living on the grounds (implying it to be Valerian and the house maid). Townsend says that he always stays in the city when the General Assembly is in session. Roger asks about Mrs. Townsend and learns that she has been dead for many years. As Roger shows him the picture of his captor, Townsend flinches and begins to collapse. Valerian has thrown a knife across the lounge and flees unnoticed, and Townsend falls dead at Roger's feet. Reflexively, Roger pulls the knife out of Townsend's back just as people begin to look at the commotion, and a photographer's light bulb goes off. It appears to everyone around him that Roger has killed the real Lester Townsend! Roger drops the knife, bolts to the exit and jumps into a taxicab.The next morning, the action changes to inside the boardroom of a government intelligence agency in Washington D.C. where a group of planners remark about the photo of \"U.N murderer\" Roger Thornhill on the front page of a newspaper. They consider how to deal with the sudden appearance of a man who has been mistaken for the non-existent George Kaplan. It is revealed that these agents invented a non-existent agent named \"George Kaplan\" as a decoy for their real agent who has infiltrated an enemy group headed by a man named Vandamm. They've succeeded in making Vandamm believe that their phantom \"Kaplan\" is the real agent, by creating a trail of hotel registrations complete with prop clothing and other personal belongings moved in and out of the various hotel rooms by fellow agents. And now Vandamm has somehow mistaken Thornhill for Kaplan. The intelligence chief, a middle-aged gentleman called the Professor (Leo G. Carroll) suggests that the agency do nothing to help Thornhill. If they try to help him, they risk exposing their real agent who would probably be killed. For the time being, they will simply wait and let this real-life \"Kaplan\" (Thornhill) lend credibility to their invented \"Kaplan.\"Meanwhile back in New York, Roger calls his mother from Grand Central Station to tell her he's taking the train to Chicago. He has learned that Kaplan checked out of the Plaza and has gone on to the Ambassador East in Chicago, so Roger is following him there to find out what is going on. He tries to buy a ticket on the 20th Century Limited, but the ticket agent recognizes him and quietly calls security. Roger slips away unseen, makes his way to the platform, and boards the 20th Century Limited without a ticket, closely pursued by police. Colliding with a beautiful young woman (Eva Marie Saint) in the train corridor, he ducks into a nearby compartment as the police appear at the other end of the corridor. The woman misdirects the police off of the train as it gets underway.As time passes, Roger manages to elude the conductors while they tally up the passenger count. Then he makes his way to the dining car, where the steward seats him with the same beautiful young woman who had helped him in the corridor earlier. She introduces herself as Eve Kendall. He gives her a false name, but she answers: \"No. You're Roger Thornhill of Madison Avenue, and you're wanted for murder on every front page in America. Don't be so modest.\" But she assures him she won't turn him in, since it's going to be a long night and she doesn't particularly like the book she's started. He lights her cigarette from his personally monogrammed \"R-O-T\" matchbook. \"Roger O. Thornhill. What does the 'O' stand for?\" she asks. He tells her, \"Nothing.\" When he admits he doesn't have a ticket, she invites him to share her drawing room, just as the train comes to an unscheduled stop. Two men in plain clothes get out of a police car and board the train. Roger and Eve leave the dining car to make their way to her compartment.Presently, Eve is lying on the lower berth while Roger talks to her from his hiding place in the closed upper berth. A knock comes at the door, and the two police detectives enter and question her about the man she was talking with at dinner. She deflects their questions, saying she'd never seen him before, and that they hadn't talked about anything important. They leave to continue their search. Using a key she had stolen earlier from a porter, Eve opens the upper berth to let Roger out.As the evening progresses, Roger and Eve become very close very quickly, falling in love in spite of not knowing much about each other. A buzz at the door announces the porter, who is ready to make Eve's bed for her. Roger hides in the washroom while the porter is there, and Eve returns the berth key to the porter, telling him that she had found it on the floor. The porter leaves. Since there's only one bed, Eve insists that Roger is going to sleep on the floor as they return to their interrupted embrace.In another part of the train, the porter delivers a note into the hand of Leonard, who passes it to his boss. The note reads, \"What do I do with him in the morning? Eve.\"In the morning, Eve and Roger get off the train in Chicago with Roger dressed in a redcap's uniform and carrying her luggage. He walks ahead as the two police detectives stop and ask if she has anything to report. She doesn't, and she rejoins Roger. She is also aware of Vandamm and Leonard walking a short ways behind. She tells Roger to change back into his suit which she's hidden on one of her cases, while she calls Kaplan for him.The police soon discover a redcap who is missing his uniform, and they begin to examine every redcap porter in the station trying to find Thornhill. Roger ducks into the men's room, quickly changes, and starts to shave with a very tiny travel razor from the train's washroom. The police walk right past him, not recognizing him through the shaving cream on his face.Meanwhile, Eve in a phone booth is making notes, while in another booth several booths away Leonard is giving instructions into the phone. Eve and Leonard leave their booths at the same time, taking no notice of each other. When Roger joins her, she says that Kaplan wants him to take the Indianapolis bus and to get off at a stop known as Prairie Stop, where Kaplan will meet him at 3:30 p.m.. He asks how he can find her again later. Eve, for some reason, is clearly nervous. She looks toward an empty doorway and tells him, \"They're coming!\" He hurries away.That afternoon, Roger steps off the bus in the midst of a vast open prairie and begins to wait. An occasional car or truck drives by, with long empty intervals between them. Looking around, Roger notices a nearby corn field, and a crop duster at work in the distance. And still he waits. A man gets out of a car on the opposite side of the road. Thinking he might be Kaplan, Roger approaches. But the man is just waiting for the next bus. The man comments on the crop duster, observing that it seems to be dusting where there aren't any crops.After the man gets on the next bus, Roger is left alone again. The crop dusting plane approaches, swooping low over Roger's position. It comes around and approaches again, strafing the ground with machine gun fire. Roger tries to flag down a car, but it doesn't stop. The plane strafes again, and Roger runs into the corn field, hiding among the tall stalks. The plane's first pass over the field accomplishes nothing, and Roger begins to think he's eluded them. On its next pass the plane drops pesticide over the field. Gasping for breath, Roger has to abandon the cover of the corn stalks. He sees a gasoline tanker truck approaching, and he stands in its way forcing it to stop, which it does barely in time, knocking him to the ground unhurt. The tanker's quick stop presents a sudden obstacle to the low-swooping plane, and it flies headlong into the load of gasoline, bursting into flames. Roger and the drivers flee the truck moments before the second gas tank explodes. Some passersbys stop to view the accident scene, and Roger steals a pickup truck from one of them and drives away. The stolen pickup is next seen that evening parked on a Chicago street.Roger inquires at the front desk of the Ambassador East Hotel for George Kaplan's room number, only to learn that Kaplan had checked out that morning at 7:10 a.m., leaving a forwarding address for the Hotel Sheraton-Johnson in Rapid City, South Dakota. Roger can't understand how he could have gotten the message that morning at 9:10 a.m. if Kaplan had already left. Standing in confusion for a moment, Roger spots, of all people, Eve Kendall entering the lobby. She picks up a newspaper and takes the elevator to the fourth floor. Roger tells the desk clerk that Eve Kendall is expecting him in room 4-something-or-other, he can't remember the whole number. The clerk tells him 463.Roger rings the buzzer at room 463, and is admitted by a surprised Eve. She runs into his arms, apparently happy to see him alive, but he keeps his barriers up. Roger also notices a newspaper detailing the crop dust plane crash into the tanker truck killing both men aboard the plane. Roger plans to stick with Eve and not let her out of his sight, but Eve says that she has plans of her own. The phone rings. Eve tells the caller that she will meet them, jotting an address on a memo pad. She tears off the note and places it into her purse, where she also carries a small handgun. Roger insists on having dinner with her, but she tells him to leave and never see her again. Last night was all there was, they're not going to get involved. He keeps insisting that they have dinner first. She gives in, on the condition that he have the hotel valet clean up his dusty suit. Roger goes into the bathroom to shower, and he passes his trousers out to her. The valet takes his suit away. Then Eve slips away, not knowing that Roger was faking the shower and was watching her. He uses a pencil to shade over the impressions on the top blank sheet of the memo pad, revealing the address she had jotted down as \"1212 N. Michigan.\"A few hours later, wearing his own suit again, Roger steps out of a taxi at 1212 N. Michigan to find an art auction underway in the gallery at that address. In the crowd, Eve Kendall sits under the attentive and watchful eye of Roger's recent captor, the false \"Lester Townsend,\" with Leonard standing close by. Townsend/Vandamm puts his hand on Eve's shoulder, apparently as a clear sign of affection, and he smiles at her while she smiles back. Consumed by anger and jealousy, Roger approaches the trio, and his accusatory tone causes the suspicious \"Townsend\" to draw away from Eve. She becomes alarmed. Just then an unusual primitive figurine goes up for sale. \"Townsend\" bids on the sculpted figure, and when he wins the sale, Roger learns that his name is Vandamm. By now, Vandamm has had enough of \"Kaplan,\" and he tells Leonard to finish him off who walks off. This whole scene is observed by the Professor who is lurking in the crowd. Roger starts to leave, but Valerian blocks his way at the main entrance, while Leonard blocks the front stage.(Note: It is speculated here that Vandamm's other henchman, Licht, was shooter in the crop duster plane which crashed along with the anonymous pilot aboard. Thus, Licht, from this point, is never seen again in the movie.)As Vandamm and Eve make their exit, Roger is trapped and must wait behind in the crowd. To manufacture an escape, Roger begins to disrupt the auction, bidding wildly and making rude remarks about the art work. When the police finally arrive, Roger starts a fight with a gallery employee to provoke an arrest. Vandamm's men can do nothing as the police lead him away. As they leave, the Professor makes a quick phone call. When Roger identifies himself as the United Nations killer on their way downtown, the policemen call the station for instructions. They are told to take him to the airport instead of police headquarters.At the Northwest Airlines counter, the Professor arrives and takes Thornhill off the policemen's hands, and leads him out onto the tarmac to catch a plane to Rapid City, SD, near Mt. Rushmore. The Professor explains that Vandamm has a house near Mt. Rushmore, and they think that will be his jumping off point to leave the country the following night. He explains that George Kaplan does not exist, but that he and his associates in Washington need for Roger to continue to play the role of Kaplan for the next 24 hours, to assure Vandamm that everything is all right. They want Vandamm to continue on his journey so that they can learn more about his spy organization overseas and his dealings with smuggling government secrets in and out of the USA. Roger learns that Eve is the government's undercover agent, and that the scene Roger made at the art auction has put her life in jeopardy. Roger's harsh words, and Eve's candid reactions, had made it obvious to Vandamm that his mistress is emotionally involved with a man he believes to be a government agent. For Eve's sake, Roger agrees to co-operate with the Professor to help set things right again.A meeting is set up between \"Kaplan\" and Vandamm in the cafeteria of the Mt. Rushmore Visitors Center. While the Professor stands hidden in the background, Vandamm arrives with Eve and Leonard. In exchange for not revealing Vandamm's plans to leave the country that night, Roger asks Vandamm to give Eve over to him so that she can get what's coming to her. Vandamm reluctantly agrees. When Roger takes hold of Eve, she draws the handgun from her purse, shoots Roger, and runs away. The Professor emerges from the crowd, examines Roger and shakes his head regretfully. Leonard prompts Vandamm to leave before the authorities arrive. Park employees carry Roger out on a stretcher, and the Professor has him loaded into a Park Service vehicle. They drive away.The Park Service vehicle stops in a secluded wood where a very healthy Roger steps out to find Eve waiting for him. She had asked for this meeting so that they can clear the air. Eve tells him that she had met Phillip Vandamm some time ago at a party and fallen in love with him. Then the Professor had contacted her and told her Vandamm's sordid secrets, asking her to use her unique relationship with Vandamm to help the government, the first time anyone had ever asked Eve to do anything important. Roger is glad that it will all be over when Vandamm takes off that night, and he and Eve can go on with their lives. But she and the Professor tell him that she will be going away with Vandamm, because they still need her to find out more information about him. Roger doesn't want to let her go, and he tries to hold her back forcibly. But the Professor's driver knocks him down, and Eve drives away to return to Vandamm's house.That evening, Roger finds himself locked in a hospital room wearing next to nothing. The Professor brings in a change of clothes for him to use for the next few days on his stay in the hospital. Roger asks the Professor if he could have some bourbon to help ease his stay, and agreeably the Professor leaves to fetch the bourbon. Roger quickly finishes dressing, climbs out the window and along a ledge, making his escape through the neighboring hospital room.He makes his way to Vandamm's house, where he sees lights flashing at a nearby landing strip as if someone is signaling an incoming plane. From outside the living room window, he overhears Vandamm reassuring Eve that everything is all right, and that the plane is about ten minutes away. Leonard asks to have a parting talk with Vandamm in private. Eve goes upstairs to get her things. Leonard notes that even though Eve's actions that afternoon had dispelled Vandamm's doubts, he still doesn't trust her enough to tell her that the figurine they bought at the auction in Chicago holds a bellyful of microfilm. Leonard's suspicions had been aroused by the scene at the Visitors Center. To prove his point, Leonard aims Eve's gun at Vandamm and fires. But Vandamm finds himself unhurt, just as Kaplan must have been unhurt, because the gun is loaded with blanks. Leonard had searched Eve's luggage and found it and immediately knew it was a fake shooting. Not appreciating this cruel revelation from Leonard, Vandamm punches him in the face. But Vandamm quickly regains his composure and knows for certain now that Eve has betrayed him, and that she is working with Kaplan. He tells Leonard that the solution to this is simple: he will drop her from the plane over the ocean.Roger has to warn Eve. He climbs up to her balcony just as she leaves her room and returns downstairs. He jots a note inside the cover of his monogrammed matchbook saying, \"They're onto you. I'm in your room.\" From the upper landing, he tosses the matchbook down to her. It lands on the floor. She doesn't see it. Leonard comes over to speak to her, and he picks up the matchbook, tossing it onto the coffee table as he walks away, not realizing its origins. Then Eve recognizes it and reads the message. She makes an excuse and comes upstairs again.Roger warns her that Leonard found the gun with the blanks, that they plan to do away with her, and that the figure from the auction is filled with microfilm. Roger begs her not to get on that plane, but dutifully she goes downstairs again. The entourage leaves for the plane, and only the housekeeper, Anna (Nora Marlowe), remains downstairs. Roger tries to slip out through the house, but the maid Anna stops him at gunpoint. She tells him that after the plane leaves with Vandamm, Valerian (who is revealed to be Anna's husband), as well as Leonard will return.At the landing strip, Eve is wavering about whether to get on the plane or not. As Vandamm gives his goodbyes to Leonard and Valerian, he also tells them to say goodbye to his sister back in New York (the same woman who impersonated Mrs. Townsend for the authorities). Suddenly, shots ring out at the house, and as everyone turns to see Roger fleeing the house, Eve grabs the figure out of Vandamm's arms and runs away into the darkness toward Roger. He has driven a car from the house toward the plane, and Eve jumps into the car. They speed away. Valerian and Leonard give chase on foot. Roger explains it took him five minutes to realize the housekeeper had been covering him with that same gun filled with blanks.They stop at the front gate, which is now closed and locked. Abandoning the car, they run into the dark woods. Before long they find themselves at the top of the Mt. Rushmore monument, with Leonard and Valerian in hot pursuit. Seeing no other way out, they start climbing down the stone faces. Leonard and Valerian split up and start climbing down after them.Pausing for breath, Roger suggests that if they get out of this alive, that they go back on the train together. Eve asks if that was a proposition. Roger tells her it was a proposal. When Eve asks what had happened to Roger's first two marriages, he tells her his wives had left him because he led too dull a life. The two thugs keep coming at them from two sides, and they all continue climbing down.As Roger and Eve come around an outcropping, they are surprised by Valerian waiting with a drawn knife. He pounces on Roger, and the two of them tussle until Roger manages to kick him away. Valerian plunges to his death.In the meantime, Leonard has caught up with Eve and is trying to wrest the figurine out of her hands. He gets the statuette away, and pushes her over a ledge. She falls a few feet and manages to grab onto another ledge with her fingertips. Roger comes to help her. He reaches her and takes hold of her wrist, but he can't pull her up. Leonard comes to the ledge just above him. Roger pleads with Leonard to help them. Instead of helping, Leonard steps on Roger's fingers. Just then a shot rings out. Leonard drops the figure which shatters, revealing the hidden microfilm. He falls into the depths, already dead.On the summit, the Professor and the captive Vandamm stand with a group of park rangers. One of the rangers puts away his gun.Now the only way for Roger to save Eve is to pull her up on his own. As he finally succeeds in lifting her up, the scene changes to a Pullman compartment, and Roger is lifting his bride into the upper berth. The honeymooners embrace as the train enters a tunnel.\n", "\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "http://www.imdb.com/title/tt0035575/synopsis?ref_=tt_stry_pl\n", "\n" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n" ] } ], "prompt_number": 207 }, { "cell_type": "code", "collapsed": false, "input": [ "len(synopses_imdb)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 208, "text": [ "100" ] } ], "prompt_number": 208 }, { "cell_type": "code", "collapsed": false, "input": [ "len(links)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 10, "text": [ "100" ] } ], "prompt_number": 10 }, { "cell_type": "code", "collapsed": false, "input": [ "genres = []\n", "\n", "for i in links:\n", " print \"http://www.imdb.com\" + str(i)\n", " request = urllib2.Request(\"http://www.imdb.com\" + str(i))\n", " response = urllib2.urlopen(request)\n", " soup = BeautifulSoup(response, \"html.parser\")\n", " \n", " for div in soup.findAll('div', {'itemprop': 'genre'}):\n", " genres_inner = []\n", " for a in div.findAll('a'):\n", " genres_inner.append(a.text)\n", " genres.append(genres_inner)\n", " print genres_inner\n", " print" ], "language": "python", "metadata": {}, "outputs": [ { "output_type": "stream", "stream": "stdout", "text": [ "http://www.imdb.com/title/tt0068646/\n", "[u' Crime', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0111161/\n", "[u' Crime', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0108052/\n", "[u' Biography', u' Drama', u' History']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0081398/\n", "[u' Biography', u' Drama', u' Sport']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0034583/\n", "[u' Drama', u' Romance', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0073486/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0031381/\n", "[u' Drama', u' Romance', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0033467/\n", "[u' Drama', u' Mystery']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0032138/\n", "[u' Adventure', u' Family', u' Fantasy', u' Musical']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0120338/\n", "[u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0056172/\n", "[u' Adventure', u' Biography', u' Drama', u' History', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0071562/\n", "[u' Crime', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0054215/\n", "[u' Horror', u' Mystery', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0043014/\n", "[u' Drama', u' Film-Noir']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0052357/\n", "[u' Mystery', u' Romance', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0047296/\n", "[u' Crime', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0109830/\n", "[u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0059742/\n", "[u' Biography', u' Drama', u' Family', u' Musical', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0055614/\n", "[u' Crime', u' Drama', u' Musical', u' Romance', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0076759/\n", "[u' Action', u' Adventure', u' Fantasy', u' Sci-Fi']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0083866/\n", "[u' Adventure', u' Family', u' Sci-Fi']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0062622/\n", "[u' Mystery', u' Sci-Fi']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0102926/\n", "[u' Crime', u' Drama', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0071315/\n", "[u' Drama', u' Mystery', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0050212/\n", "[u' Adventure', u' Drama', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0045152/\n", "[u' Comedy', u' Musical', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0038650/\n", "[u' Drama', u' Family', u' Fantasy']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0053291/\n", "[u' Comedy']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0050083/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0057012/\n", "[u' Comedy', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0086879/\n", "[u' Biography', u' Drama', u' Music']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0078788/\n", "[u' Drama', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0083987/\n", "[u' Biography', u' Drama', u' History']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0167260/\n", "[u' Adventure', u' Fantasy']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0172495/\n", "[u' Action', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0045793/\n", "[u' Drama', u' Romance', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0120815/\n", "[u' Action', u' Drama', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0105695/\n", "[u' Western']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0082971/\n", "[u' Action', u' Adventure']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0075148/\n", "[u' Drama', u' Sport']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0044081/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0032904/\n", "[u' Comedy', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0056592/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0043278/\n", "[u' Musical', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0036868/\n", "[u' Drama', u' Romance', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0058385/\n", "[u' Drama', u' Family', u' Musical', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0052618/\n", "[u' Adventure', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0059113/\n", "[u' Drama', u' Romance', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0066206/\n", "[u' Biography', u' Drama', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0073195/\n", "[u' Drama', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0112573/\n", "[u' Action', u' Biography', u' Drama', u' History', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0060196/\n", "[u' Western']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0064115/\n", "[u' Biography', u' Crime', u' Western']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0040897/\n", "[u' Action', u' Adventure', u' Drama', u' Western']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0053604/\n", "[u' Comedy', u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0091763/\n", "[u' Drama', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0044706/\n", "[u' Western']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0099348/\n", "[u' Adventure', u' Drama', u' Western']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0253474/\n", "[u' Biography', u' Drama', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0099685/\n", "[u' Biography', u' Crime', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0070047/\n", "[u' Horror']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0077416/\n", "[u' Drama', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0020629/\n", "[u' Drama', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0067116/\n", "[u' Action', u' Crime', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0021749/\n", "[u' Comedy', u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt1504320/\n", "[u' Biography', u' Drama', u' History']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0025316/\n", "[u' Comedy', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0043924/\n", "[u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0064665/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0031679/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0095953/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0075686/\n", "[u' Comedy', u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0089755/\n", "[u' Biography', u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0119217/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0086425/\n", "[u' Comedy', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0084805/\n", "[u' Comedy', u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0116282/\n", "[u' Crime', u' Drama', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0049261/\n", "[u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0032551/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0046303/\n", "[u' Drama', u' Romance', u' Western']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0120689/\n", "[u' Crime', u' Drama', u' Fantasy', u' Mystery']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0075860/\n", "[u' Drama', u' Sci-Fi']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0074958/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0073440/\n", "[u' Drama', u' Music']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0061722/\n", "[u' Comedy', u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0069704/\n", "[u' Comedy', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0110912/\n", "[u' Crime', u' Drama', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0043265/\n", "[u' Adventure', u' Romance', u' War']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0031971/\n", "[u' Adventure', u' Western']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0026752/\n", "[u' Adventure', u' Drama', u' History']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0033870/\n", "[u' Drama', u' Film-Noir', u' Mystery']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0066921/\n", "[u' Crime', u' Drama', u' Sci-Fi']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0075314/\n", "[u' Crime', u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0032145/\n", "[u' Drama', u' Romance']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0036775/\n", "[u' Crime', u' Drama', u' Film-Noir', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0048545/\n", "[u' Drama']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0047396/\n", "[u' Mystery', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0041959/\n", "[u' Film-Noir', u' Mystery', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0053125/\n", "[u' Mystery', u' Thriller']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n", "http://www.imdb.com/title/tt0035575/\n", "[u' Biography', u' Drama', u' Musical']" ] }, { "output_type": "stream", "stream": "stdout", "text": [ "\n", "\n" ] } ], "prompt_number": 15 }, { "cell_type": "code", "collapsed": false, "input": [ "len(genres)" ], "language": "python", "metadata": {}, "outputs": [ { "metadata": {}, "output_type": "pyout", "prompt_number": 17, "text": [ "100" ] } ], "prompt_number": 17 }, { "cell_type": "code", "collapsed": false, "input": [ "title_list = open('title_list.txt', 'w') \n", "\n", "for item in titles:\n", " title_list.write(\"%s\\n\" % item)\n", "\n", "title_list.close()" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 92 }, { "cell_type": "code", "collapsed": false, "input": [ "links_imdb = links" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 218 }, { "cell_type": "code", "collapsed": false, "input": [ "#wiki links\n", "links_list = open('link_list_wiki.txt', 'w') \n", "\n", "for item in links_wiki_new:\n", " links_list.write(\"%s\\n\" % item)\n", "\n", "links_list.close()" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 211 }, { "cell_type": "code", "collapsed": false, "input": [ "for i in range(len(links)):\n", " links[i] = 'http://www.imdb.com' + str(links[i])" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 216 }, { "cell_type": "code", "collapsed": false, "input": [ "#wiki links\n", "links_list = open('link_list_wiki.txt', 'w') \n", "\n", "for item in links_wiki_new:\n", " links_list.write(\"%s\\n\" % item)\n", "\n", "links_list.close()" ], "language": "python", "metadata": {}, "outputs": [] }, { "cell_type": "code", "collapsed": false, "input": [ "#imdb links\n", "links_list = open('link_list_imdb.txt', 'w') \n", "\n", "for item in links_imdb:\n", " links_list.write(\"%s\\n\" % item)\n", "\n", "links_list.close()" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 220 }, { "cell_type": "code", "collapsed": false, "input": [ "#wiki synopses\n", "synopses_list = open('synopses_list_wiki.txt', 'w') \n", "\n", "for item in synopses_wiki_plot:\n", " synopses_list.write(\"%s\\n BREAKS HERE\" % item)\n", "\n", "synopses_list.close()" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 191 }, { "cell_type": "code", "collapsed": false, "input": [ "#imdb synopses\n", "synopses_list = open('synopses_list_imdb.txt', 'w') \n", "\n", "for item in synopses_imdb:\n", " synopses_list.write(\"%s\\n BREAKS HERE\" % item.encode('utf-8'))\n", "\n", "synopses_list.close()" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 210 }, { "cell_type": "code", "collapsed": false, "input": [ "genres_list = open('genres_list.txt', 'w') \n", "\n", "for item in genres:\n", " genres_list.write(\"%s\\n\" % item)\n", "\n", "genres_list.close()" ], "language": "python", "metadata": {}, "outputs": [], "prompt_number": 18 } ], "metadata": {} } ] }