document_title: Tropical Storm Washi

question_text: when did sendong enter the philippine area of responsibility

text: Tropical Storm Washi

text: Meteorological history[edit]

text: On December 12, the Joint Typhoon Warning Center (JTWC) noted that a developing area of low pressure had persisted about 945 km (585 mi) south-southeast of Guam. Situated along the southern edge of a subtropical ridge, the system tracked steadily westward towards the Philippines. Located within a region of good diffluence and moderate wind shear, deep convection was able to maintain itself over the circulation. Development of banding features and improvement of outflow indicated strengthening was likely.[1] Further development over the following day prompted the JTWC to issue a Tropical Cyclone Formation Alert early on December 13.[2] Less than six hours later, both the JTWC and the Japan Meteorological Agency (JMA) classified the system as a tropical depression, with the former assigning the identifier 27W.[3] Maintaining a westward track, the depression was forecast to intensify slowly over the following three days.[4] For much of December 13, a slight increase in shear displaced thunderstorm activity from the center of the depression, delaying intensification. By December 14, convection redeveloped over the low and the JTWC subsequently assessed the system to have attained tropical storm status.[5]

text: Early on December 15, the system crossed west of 135°E and entered the Philippine Atmospheric, Geophysical and Astronomical Services Administration's (PAGASA) area of responsibility. Upon doing so, PAGASA began issuing advisories and assigned the cyclone with the local name Sendong.[6] Shortly thereafter, the storm passed close to or over Palau.[7] By 0600 UTC, the JMA upgraded the system to tropical storm status, at which time they assigned it with the name Washi.[8] Maintaining a rapid westward track, Washi slowly became more organized, with low-level inflow improving during the latter part of December 15.[9] On December 16, Washi reached its peak strength as a severe tropical storm and made its first landfall along the east coast of Mindanao.

text: After passing Mindanao, Washi weakened due to land interaction, but the storm quickly regained its strength, in the Sulu Sea. Late on December 17, Washi crossed Palawan and arrived in the South China Sea, and the system moved out of the PAR on December 18. Washi weakened to a tropical depression and dissipated on December 19, because of cool, dry air, in association with the Northeast Monsoon.

text: Impact[edit]

text: Across the Cagayan de Oro river basin, a localized heavy rain event occurred during Tropical Storm Washi's passage.[10] Onshore flow from the Macajalar Bay, which the Cagayan de Oro river drains into, ran into the steep terrain of Mount Makaturing, Mount Kalatungan, and Mount Kitanglad, resulting in orographic enhancement of precipitation. A weather station in Capehan located along the Bubunawan river, a tributary of the Cagayan de Oro river, recorded 475 mm (18.7 in) over a 24‑hour span.[11] The rainfall event itself amounted to a 1-in-20 year event for much of Misamis Oriental.[12] In the span of 24 hours, 180.9 mm (7.12 in) of rain fell at Lumbia which equates to more than 60 percent of their average December precipitation.[10] Estimates from the Tropical Rainfall Measuring Mission jointly run by NASA and JAXA indicated that accumulations around the Cagayan de Oro river exceeded 400 mm (16 in).[13] Observations from Talakag captured the sheer intensity of rainfall associated with Washi, with hourly accumulations peaking at 60.6 mm (2.39 in).  Similar amounts, though less anomalous in magnitude, fell farther east on Mindanao. Satellite estimates indicated accumulations of 200 to 250 mm (7.9 to 9.8 in) along coastal areas near where Washi made landfall.[13] A total of 180.4 mm (7.10 in) was observed in Hinatuan.[10]

text: Starting in tributaries and later reaching the main Cagayan de Oro, Iponan, and Mandulog rivers, flash flooding manifested at a dramatic pace.[11] In some locations, flood waters rose by 3.3 m (11 ft) in less than an hour.[14] Alongside the effects from rainfall, high tide at Macajalar Bay further enhanced the flood event and allowed water to inundate areas that would have otherwise safe at low tide. The rivers crested at 7 to 9 m (23 to 30 ft), amounting to a 75-year flood event in some areas, with catastrophic results.[10][11] This was also far higher than the previous flood event following Tropical Depression Auring in January 2009. Located outside the main "typhoon belt," residents in the affected areas suffered from a false sense of security with tropical cyclone related disasters. Flooding from the rivers struck at approximately 2:30 a.m. local time, when most people were asleep and unable to hear warnings from PAGASA. Hardest hit were the cities of Cagayan de Oro and Iligan where tremendous loss of life occurred. Within Cagayan de Oro, the barangay of Macasandig was virtually wiped out. Between the two cities, 1,147 people lost their lives while a further 1,993 sustained injury.[11] Residents affected by these flood waters were forced to seek refuge on their roofs amidst 90 km/h (55 mph) winds. The mayor of Iligan regarded the floods as the worst in the city's history.[15]

text: Throughout the affected areas, nearly 40,000 homes were damaged of which 11,463 were destroyed. Nearly 700,000 people were affected by the storm.[11] Total casualties attributed to the event are uncertain, with the National Disaster Risk Reduction and Management Council's final report in February 2012 stating 1,268 fatalities, 181 people missing, and 6,071 injuries.[10] A later report by the World Meteorological Organization in December of that year indicated 1,292 deaths, 1,049 missing, and 2,002 injured.[11] The International Federation of Red Cross and Red Crescent Societies stated a total of 2,546 deaths in their final report on August 21, 2013.[16][17][18] Damage directly related to the storm amounted to ₱ 2.068 billion (2012 PhP, $48.4 million USD). Over half of the damage was due to damaged roads and bridges.[10] Total socio-economic losses amounted to US$97.8 million.[11]

text: Aftermath[edit]

text: A massive relief operation involving the evacuation of 100,000 people occurred on the morning of December 17, 2011. Approximately 20,000 soldiers were mobilized to assist in recovery efforts and evacuations.[15] The Philippine Coast Guard was dispatched to search for missing people after villages were reported to have been swept out to sea. Sixty people were rescued off the coast of El Salvador, Misamis Oriental and another 120 in the waters near Opol township.[19] President Benigno Aquino III visited Cagayan de Oro and Iligan on December 20, 2011, and declared a state of national calamity in the affected provinces.[20] The President also appealed to its citizens to help the victims in their way of celebrating Christmas in his Christmas Message.[21]

text: A leptospirosis outbreak in the immediate aftermath infected more than 400 people and killed 22. Additional fatalities from suicide took place in evacuation centers, though exact numbers are unknown.[11]

text: In the three years following Washi, ₱2.57 billion (US$58 million) was allocated to build 30,438 shelters, designed to withstand winds of 220 km/h (140 mph), in eight regions. Less than half of this total had been built by December 2014, though construction in Cagayan De Oro and Iligan was largely complete.[22]

text: International aid and assistance[edit]

text: Overseas humanitarian aid is pouring in for victims of Severe Tropical Storm Sendong (Washi) in Northern Mindanao, in the Philippines.

text: Australia

text: The Australian government provided A$1 million ($1.01 million USD) in financial aid.[23]

text: Denmark

text: The Danish government provided 300,000 DKK ($53,000 USD) in emergency funds for relief items such as food, water, sanitation materials, mattresses and blankets.[24]

text: European Union

text: The European Commission allocated €3 million ($3.9 million) to provide emergency relief to tens of thousands of people affected by the storm.[25]

text: France

text: The French Government provided €50,000 ($65,000 USD) in emergency funds.[26]

text: Indonesia

text: The Government of Indonesia provided $50,000 in financial aid and offered to send search and rescue teams and medical teams.[23]

text: Japan

text: The Japanese government provided 25 million yen ($320,000 USD) worth of relief goods, such as water tanks and generators, for victims of the storm.[26]

text: Malaysia

text: The Government of Malaysia provided $100,000 in financial assistance for relief and rehabilitation.[26]

text: People's Republic of China

text: The Chinese government provided $1.1 million in financial aid.[23]

text: Singapore

text: The Government of Singapore provided S$50,000 ($39,000 USD) in funds and S$27,800 ($22,000 USD) worth of relief goods.[23]

text: South Korea

text: The Government of South Korea provided $500,000 in financial aid.[23]

text: Switzerland

text: Six members of the Swiss Humanitarian Aid Unit were sent to Mindanao to ensure access to clean drinking water.[27]

text: United Kingdom

text: The British Red Cross provided £140,000 ($220,000 USD) in funds to support relief efforts.[28]

text: United Nations

text: On December 21, the United Nations Emergency Relief Agency released $3 million in funds to improve water and sanitation. On December 22, the United Nations Department of Humanitarian Affairs announced a plan to raise $26.8 million in aid for victims of Severe Tropical Storm Washi. United Nations Secretary-General Ban Ki-moon sympathized with the Philippine Government and stated "the [United Nations] would extend whatever help is needed by those who were affected by the disaster."[26] The United Nations High Commissioner for Refugees also pledged to send 42 metric tons of aid to the country.[23] The United Nations Children's Fund also appealed for $4.2 million to be sent to the Philippines.[29]

text: United States

text: The United States provided $100,000 in funds to support relief efforts. The country's ambassador, Harry K. Thomas Jr., expressed his "heartfelt condolences and sympathies" to those affected by the storm. Immediate assistance was to be provided by the United States Agency for International Development's Office of Foreign Disaster Assistance. Non-food items such as hygiene kits, water purification tablets, and containers were to be sent to the Philippines.[30]

text: Retirement[edit]

text: Due to its high death toll, PAGASA announced that the name, Sendong, would be stricken off their tropical cyclone naming lists.[31] In February 2012, the ESCAP/WMO Typhoon Committee announced that Washi will also be retired on its naming lists and was replaced with the name Hato.[32] In June 2012, PAGASA selected the name Sarah to replace Sendong for the 2015 season. However, due to fewer tropical cyclones entering the area that season, it is now next scheduled to be used in the 2019 season.


document_title: The Godfather

question_text: who played the godfather in the movie the godfather

root

text: The Godfather

text: Plot[edit]

text: In 1945, at his daughter Connie'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, who was a Marine during World War II, introduces his girlfriend, Kay Adams, to his family at the reception. Johnny Fontane, a famous singer and Vito's godson, seeks Vito's help in securing a movie role; Vito dispatches his consigliere, Tom Hagen, to Los Angeles to persuade the obnoxious studio head, Jack Woltz, to give Johnny the part. Woltz refuses until he wakes up in bed with the severed head of his prized stallion.

tag: p

text: Shortly before Christmas, drug baron Virgil "The Turk" Sollozzo, backed by the Tattaglia crime family, asks Vito for investment in his narcotics business and protection through his political connections. Wary of involvement in a dangerous new trade that risks alienating political insiders, Vito declines. Suspicious, Vito sends his enforcer, Luca Brasi, to spy on them. However, a Tattaglia button man garrotes Brasi during Brasi's first meeting with Bruno Tattaglia and Sollozzo. Later Sollozzo has Vito gunned down in the street, then kidnaps Hagen. With Corleone first-born Sonny in command, Sollozzo pressures Hagen to persuade Sonny to accept Sollozzo's deal, then releases him. The family receives fish wrapped in Brasi's bullet-proof vest, indicating that Luca "sleeps with the fishes." Vito survives, and at the hospital Michael thwarts another attempt on his father; Michael's jaw is broken by NYPD Captain Marc McCluskey, Sollozzo's bodyguard. Sonny retaliates with a hit on Bruno Tattaglia. Michael plots to murder Sollozzo and McCluskey: on the pretext of settling the dispute, Michael agrees to meet them in a Bronx restaurant. There, retrieving a planted handgun, he kills both men.

text: Despite a clampdown by the authorities, the Five Families erupt in open warfare and Vito's sons fear for their safety. Michael takes refuge in Sicily and Fredo is sheltered by Moe Greene in Las Vegas. Sonny attacks his brother-in-law Carlo on the street for abusing his sister and threatens to kill him if it happens again. When it does, Sonny speeds to their home, but is ambushed at a highway toll booth and riddled with submachine gun fire. While in Sicily, Michael meets and marries Apollonia Vitelli, but a car bomb intended for him takes her life.

text: Devastated by Sonny's death, Vito moves to end the feuds. Realizing that the Tattaglias are controlled by the now-dominant Don Emilio Barzini, Vito assures the Five Families that he will withdraw his opposition to their heroin business and forgo avenging his son's murder. His safety guaranteed, Michael returns home to enter the family business and marry Kay, who gives birth to two children by the early 1950s.

text: With his father at the end of his career and his brother too weak, Michael takes the family reins, promising his wife the business will be 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"; Vito 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, their partner derides the Corleones for being run out of New York; Michael is dismayed to see that Fredo has fallen under Greene's sway.

text: Vito suffers a fatal heart attack. At the funeral, Tessio, a Corleone capo, asks Michael to meet with Don Barzini, signalling the betrayal that Vito had forewarned. The meeting is set for the same day as the christening of Connie’s baby. While Michael stands at the altar as the child's godfather, Corleone assassins murder the other New York dons and Moe Greene. Tessio is executed for his treachery and Michael extracts Carlo’s confession to his complicity in setting up Sonny's murder for Barzini. A Corleone capo, Clemenza, garrotes Carlo with a wire. Connie accuses Michael of the murder, telling Kay that Michael ordered all the killings. Kay is relieved when Michael finally denies it, but, when the capos arrive, they address her husband as Don Corleone, and she watches as they close the door on her.

text: Cast[edit]

text:
Marlon Brando, in the title role, is Vito Corleone (born Vito Andolini), the Don of the Corleone crime family. A native Sicilian, he is married to Carmela Corleone and the father of Tom (adoptive), Sonny, Fredo, Michael, and Connie.
Al Pacino as Michael Corleone, the Don's third son, recently returned from World War II. The only college-educated family member, he is initially steered from the family business. His progression from the family's last-born son to its ruthless boss is the main subject matter of the film.
James Caan as Santino "Sonny" Corleone, Don Corleone's hot-headed eldest son. As underboss, he is the heir-apparent to succeed his father as head of the Corleone family.
Robert Duvall as Tom Hagen, Don Corleone's informally adopted son, he is the family lawyer and consigliere. Unlike the Corleones, he is of German-Irish descent, not Sicilian.
Diane Keaton as Kay Adams-Corleone, Michael's non-Italian girlfriend and his second wife and mother of his two children.
John Cazale as Frederico "Fredo" Corleone, the middle son of the Corleone family. Deeply insecure and not very bright, he is considered the weakest Corleone brother.
Talia Shire as Constanzia "Connie" Corleone, the youngest child and only daughter of the Corleone family. Her wedding reception begins the film.
Gianni Russo as Carlo Rizzi, Connie's abusive husband. Introduced to the Corleone family by Sonny, whom he ultimately betrays to the Barzini family.
Richard S. Castellano as Peter Clemenza, a caporegime for the Corleone family. He is an old friend of Vito Corleone and Salvatore Tessio.
Abe Vigoda as Salvatore Tessio, a caporegime for the Corleone family. He is an old friend of Vito Corleone and Peter Clemenza.
Al Lettieri as Virgil "The Turk" Sollozzo, a heroin dealer associated with the Tattaglia family. He seeks both financial investment and the protection of the Tattaglia family's narcotics business through Don Corleone's political connections.
Sterling Hayden as Captain Mark McCluskey, a corrupt NYPD police captain on Sollozzo's payroll.
Lenny Montana as Luca Brasi, Vito Corleone's enforcer.
Richard Conte as Emilio Barzini, Don of the Barzini family.
Al Martino as Johnny Fontane, a world-famous singer and Vito's godson. The character is loosely based on Frank Sinatra.
John Marley as Jack Woltz, a powerful Hollywood producer.
Alex Rocco as Moe Greene, a longtime associate of the Corleone family who owns a Las Vegas hotel. The character is based on Bugsy Siegel.
Morgana King as Carmela Corleone, Vito's wife and mother of Sonny, Fredo, Michael, and Connie, and adoptive mother to Tom Hagen.
Salvatore Corsitto as Amerigo Bonasera, a mortician who, in the opening scene, asks Don Corleone for revenge against two boys who severely beat and attempted to rape his daughter.
Corrado Gaipa as Don Tommasino, an old friend of Vito Corleone, who shelters Michael during his exile in Sicily.
Franco Citti as Calò, Michael's bodyguard in Sicily.
Angelo Infanti as Fabrizio, Michael's bodyguard in Sicily. He helped set up the assassination attempt on Michael that kills Apollonia.
Johnny Martino as Paulie Gatto, a soldier under Peter Clemenza and Vito's driver. He is executed for his part in the assassination attempt on Vito.
Victor Rendina as Philip Tattaglia, Don of the Tattaglia family.
Tony Giorgio as Bruno Tattaglia, Philip Tattaglia's son and underboss of the Tattaglia family. Sonny Corleone has him assassinated in retaliation for the shooting of Vito Corleone.
Simonetta Stefanelli as Apollonia Vitelli-Corleone, a young woman Michael meets and marries while in Sicily. She is killed a few months later in an assassination attempt on Michael.
Rudy Bond as Don Cuneo, head of the New York-based Cuneo family.
Louis Guss as Don Zaluchi, Don of the Zaluchi family of Detroit.
Tom Rosqui as Rocco Lampone, a soldier under Clemenza who eventually becomes a caporegime in the Corleone family.
Joe Spinell as Willi Cicci, a soldier in the Corleone family.
Richard Bright as Al Neri, Michael Corleone's personal bodyguard and hitman who eventually becomes a caporegime.
Julie Gregg as Sandra Corleone, Sonny's wife and later widow, and the mother of their four children.
Jeannie Linero as Lucy Mancini, Sonny's mistress.
Sofia Coppola (uncredited) as infant Michael Francis Rizzi, the nephew and godson of Michael Corleone.

tag: ul

text: Production[edit]

text: Development[edit]

text: The film is based on Mario Puzo's The Godfather; a novel that remained on The New York Times Best Seller list for 67 weeks and sold over nine million copies in two years.[5][6][7] Published in 1969, it became the best selling published work in history for several years.[8] Paramount Pictures originally found out about Puzo's novel in 1967 when a literary scout for the company contacted then Paramount Vice President of Production Peter Bart about Puzo's sixty-page unfinished manuscript.[6] Bart believed the work was "much beyond a Mafia story" and offered Puzo a $12,500 option for the work, with an option for $80,000 if the finished work were made into a film.[6][9] Despite Puzo's agent telling him to turn down the offer, Puzo was desperate for money and accepted the deal.[6][9] Paramount's Robert Evans relates that, when they met in early 1968, it was he who offered Puzo the $12,500 deal for the 60-page manuscript titled Mafia after the author confided in him that he urgently needed $10,000 to pay off gambling debts.[10]

text: In March 1967, Paramount announced that they backed Puzo's upcoming work in the hopes of making a film.[6] In 1969, Paramount confirmed their intentions to make a film out of the novel for the price of $80,000,[N 1][9][11][12][13] with aims to have the film released on Christmas Day in 1971.[14] On March 23, 1970, Albert S. Ruddy was officially announced as the film's producer, in part because studio executives were impressed with his interview and because he was known for bringing his films in under budget.[15][16][17]

text: Direction[edit]

text: Evans wanted the picture to be directed by an Italian American to make the film "ethnic to the core".[18][19] Paramount's latest mafia based movie, The Brotherhood, had been a box office bomb;[7][20] Evans believed that the reason for its failure was its almost complete lack of cast members or creative personnel of Italian descent (the director Martin Ritt and star Kirk Douglas were both Jewish).[10] Sergio Leone was Paramount's first choice to direct the film.[21][22] Leone turned down the option to work on his own gangster film Once Upon a Time in America.[21][22] Peter Bogdanovich was then approached but he also declined the offer because he was not interested in the mafia.[23][24][25] In addition, Peter Yates, Richard Brooks, Arthur Penn, Costa-Gavras, and Otto Preminger were all offered the position and declined.[26][27] Evans' chief assistant Peter Bart suggested Francis Ford Coppola, as a director of Italian ancestry who would work for a low sum and budget after the poor reception of his latest film The Rain People.[28][18] Coppola initially turned down the job because he found Puzo's novel sleazy and sensationalist, describing it as "pretty cheap stuff".[10][29] At the time Coppola's studio, American Zoetrope, owed over $400,000 to Warner Bros. for budget overruns with the film THX 1138 and when coupled with his poor financial standing, along with advice from friends and family, Coppola reversed his initial decision and took the job.[27][30][31] Coppola was officially announced as director of the film on September 28, 1970.[32] Paramount had offered twelve other directors the job with The Godfather before Coppola agreed.[33] Coppola agreed to receive $125,000 and six percent of the gross rentals.[34][35]

text: Coppola and Paramount[edit]

text: Before The Godfather was in production, Paramount had been going through an unsuccessful period.[7] In addition to the failure of The Brotherhood, the studio had usurped their budget for their recent films: Darling Lili,[16] Paint Your Wagon, and Waterloo.[7][20] The budget for the film was originally $2.5 million but as the book grew in popularity Coppola argued for and ultimately received a larger budget.[N 2][26][36][38] Paramount executives wanted the movie to be set in then modern-day Kansas City and shot in the studio backlot in order to cut down on costs.[26][16][36] Coppola objected and wanted to set the movie in the same time period as its eponymous novel, the 1940s and 1950s;[26][31][16][32] Coppola's reasons included: Michael Corleone's Marine Corps stint, the emergence of corporate America, and America in the years after World War II.[32] The executives eventually agreed to Coppola's wish as the novel became increasingly successful.[36][16] The studio heads subsequently let Coppola film on location in New York City and Sicily.[41]

text: Gulf & Western executive Charles Bluhdorn was frustrated with Coppola over the number of screen tests he had performed without finding a person to play the various roles.[39] Production quickly fell behind because of Coppola's indecisiveness and conflicts with Paramount, which led to costs being around $40,000 per day.[39] With the rising costs, Paramount had then Vice President Jack Ballard keep a close eye on production costs.[42] While filming, Coppola stated that he felt he could be fired at any point as he knew Paramount executives were not happy with many of the decisions he had made.[26] Coppola was aware that Evans had asked Elia Kazan to take over directing the film, because he feared that Coppola was too inexperienced to cope with the increased size of the production.[43] Coppola was also convinced that the film editor, Aram Avakian, and the assistant director, Steve Kestner, were conspiring to get him fired. Avakian complained to Evans that he could not edit the scenes correctly because Coppola was not shooting enough footage. Evans however was satisfied with the footage being sent to the west coast, and authorized Coppola to fire them both. Coppola later explained: "Like the godfather, I fired people as a preemptory strike. The people who were angling the most to have me fired, I had fired."[44] Brando threatened that he would quit if Coppola were fired.[26][42]

text: Paramount wanted The Godfather to appeal to a wide audience and threatened Coppola with a "violence coach" to make the film more exciting. Coppola added a few more violent scenes to keep the studio happy. The scene in which Connie smashes crockery after finding out Carlo has been cheating was added for this reason.[31]

text: Writing[edit]

text: On April 14, 1970, it was revealed that Puzo was hired by Paramount for $100,000, along with a percentage of the film's profits, to work on the screenplay for the film.[45][46][17] Working from the book, Coppola wanted to have the themes of culture, character, power, and family at the forefront of the film, whereas Puzo wanted to retain aspects from his novel[47] and his initial draft of 150 pages was finished on August 10, 1970.[45][46] After Coppola was hired as director, both Puzo and Coppola worked on the screenplay, but separately.[48] Puzo worked on his draft in Los Angeles, while Coppola wrote his version in San Francisco.[48] Coppola created a book where he tore pages out of Puzo's book and pasted them into the book.[48] There, he made notes about each of the book's fifty scenes, which related to major themes prevalent in the scene, whether the scene should be included in the film, along with ideas and concepts that could be used when filming to make the film true to Italian culture.[48][42] The two remained in contact while they wrote their respective screenplays and made decisions on what to include and what to remove for the final version.[48] A second draft was completed on March 1, 1971, and was 173 pages long.[45][49] The final screenplay was finished on March 29, 1971,[46] wound up being 163 pages long,[48][45] 40 pages over what Paramount had asked for.[50] When filming, Coppola referred to the notebook he had created over the final draft of the screenplay.[48][42] Screenwriter Robert Towne did uncredited work on the script, particularly on the Pacino-Brando garden scene.[51] Despite finishing the third draft, some scenes in the film were still not written yet and were written during production.[52]

text: The Italian-American Civil Rights League wanted all uses of the words "mafia" and "Cosa Nostra" to be removed from the script, in addition to feeling that the film emphasized stereotypes about Italian-Americans.[14][53][54][55] The league also requested that all the money earned from the premiere be donated to the league's fund to build a new hospital.[54][55] Coppola claimed that Puzo's screenplay only contained two instances of the word "mafia" being used, while "Cosa Nostra" was not used at all.[54][55] Those two uses were removed and replaced with other terms, which Coppola felt did not change the story at all.[54][55] The league eventually gave its support for the script.[54][55]

text: Casting[edit]

text: Puzo was first to show interest in having Marlon Brando portray Don Vito Corleone by sending a letter to Brando in which he stated Brando was the "only actor who can play the Godfather."[56] Despite Puzo's wishes, the executives at Paramount were against having Brando play the part due to the poor success of his recent films and his short temper.[57][36] Coppola favored Brando or Laurence Olivier for the role,[58][59] but Olivier's agent refused the role claiming Olivier was sick;[60] however, Olivier went on to star in Sleuth later that year.[59] The studio mainly pushed for Ernest Borgnine to receive the part.[58] Other considerations were George C. Scott, Richard Conte, Anthony Quinn, and Orson Welles.[61][58][62]

text: After months of debate between Coppola and Paramount over Brando, the two finalists for the role were Borgnine and Brando,[63] the latter of which Paramount president Stanley Jaffe required to perform a screen test.[64][65] Coppola did not want to offend Brando and stated that he needed to test equipment in order to set up the screen test at Brando's California residence.[65][66] For make-up, Brando stuck cotton balls in his cheeks,[63] put shoe polish in his hair to darken it, and rolled his collar.[67] Coppola placed Brando's audition tape in the middle of the videos of the audition tapes as the Paramount executives watched them.[68] The executives were impressed with Brando's efforts and allowed Coppola to cast Brando for the role if Brando accepted a lower salary and put up a bond to ensure he would not cause any delays in production.[63][68][69]

text: From the start of production, Coppola wanted Robert Duvall to play the part of Tom Hagen.[14][70][71] After screen testing several other actors, Coppola eventually got his wish and Duvall was awarded the part of Tom Hagen.[70][71] Al Martino, a then famed singer in nightclubs, was notified of the character Johnny Fontane by a friend who read the eponymous novel and felt Martino represented the character of Johnny Fontane.[18] Martino then contacted producer Al Ruddy, who gave him the part.[18] However, Martino was stripped of the part after Coppola became director and then awarded the role to Italian singer Vic Damone.[18] Damone eventually dropped the role because he did not want to play an anti-Italian American character, in addition to being paid too little.[72] According to Martino, after being stripped of the role, he went to his godfather and crime boss Russ Bufalino who then orchestrated the publication of various news articles that talked of how Coppola was unaware of Ruddy giving Martino the part; that, when coupled with pressure from the mafia who felt Martino deserved the role, led Damone to quit as Fontane.[18] Either way, the part of Johnny Fontane ended up with Martino.[18][72]

text: Robert De Niro originally was given the part of Paulie Gatto.[73][63] A spot in The Gang That Couldn't Shoot Straight opened up after Al Pacino quit the project in favor of The Godfather, which led De Niro to audition for the role and leave The Godfather after receiving the part.[73][74] After De Niro quit, Johnny Martino was given the role of Gatto.[18] Coppola cast Diane Keaton for the role of Kay Adams due to her reputation for being eccentric.[75] John Cazale was given the part of Fredo Corleone after Coppola saw him perform in an Off Broadway production.[75] Gianni Russo was given the role of Carlo Rizzi after he was asked to perform a screen test in which he acted out the fight between Rizzi and Connie.[76]

text: Nearing the start of filming on March 29, Michael Corleone had yet to be cast.[77] Paramount executives wanted a popular actor, either Warren Beatty or Robert Redford.[78][63][79] Producer Robert Evans wanted Ryan O'Neal to receive the role in part due to his recent success in Love Story.[79][80] Pacino was Coppola's favorite for the role as he could picture him roaming the Sicilian countryside, and wanted an unknown actor who looked like an Italian-American.[31][79][80] However, Paramount executives found Pacino to be too short to play Michael.[14][18] Dustin Hoffman, Martin Sheen, and James Caan also auditioned.[75] Caan was well received by the Paramount executives and was given the part of Michael initially, while the role of Sonny Corleone was awarded to Carmine Caridi.[18] Coppola still pushed for Pacino to play Michael after the fact and Evans eventually conceded, allowing Pacino to have the role of Michael as long as Caan played Sonny.[81] Evans preferred Caan over Caridi because Caan was seven inches shorter than Caridi, which was much closer to Pacino's height.[18] Despite agreeing to play Michael Corleone, Pacino was contracted to star in MGM's The Gang That Couldn't Shoot Straight, but the two studios agreed on a settlement and Pacino was signed by Paramount three weeks before shooting began.[82]

text: Coppola gave several roles in the film to family members.[18] He gave his sister, Talia Shire, the role of Connie Corleone.[83][84] His daughter Sofia played Michael Francis Rizzi, Connie's and Carlo's newborn son.[18][85] Carmine Coppola, his father, appeared in the film as an extra playing a piano during a scene.[86] Coppola's wife, mother, and two sons all appeared as extras in the picture.[18] Several smaller roles, like Luca Brasi, were cast after the filming had started.[87]

text: Filming[edit]

text: Before the filming began, the cast received a two-week period for rehearsal, which included a dinner where each actor and actress had to assume character for its duration.[88] Filming was scheduled to begin on March 29, 1971, with the scene between Michael Corleone and Kay Adams as they leave Best & Co. in New York City after shopping for Christmas gifts.[89][90] The weather on March 23 predicted snow flurries, which caused Ruddy to move the filming date forward; however snow never materialized and a snow machine was used.[90] Principal filming in New York continued until July 2, 1971.[91][92] Coppola asked for a three-week break before heading overseas to film in Sicily.[91] Following the crew's departure for Sicily, Paramount announced that the release date would be moved from December to spring 1972.[93]

text: Cinematographer Gordon Willis initially turned down the opportunity to film The Godfather because the production seemed "chaotic" to him.[95][81] After Willis later accepted the offer, he and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses.[96] Willis and Coppola chose to use a "tableau format" of filming to make it seem if it was viewed like a painting.[96] He made use of shadows and low light levels throughout the film to showcase psychological developments.[96] Willis and Coppola agreed to interplay light and dark scenes throughout the film.[39] Willis underexposed the film in order to create a "yellow tone."[96] The scenes in Sicily were shot to display the countryside and "display a more romantic land," giving these scenes a "softer, more romantic" feel than the New York scenes.[97]

text: One of the film's most shocking moments involved an actual, severed, horse's head.[31][98] Coppola received some criticism for the scene, although the head was obtained from a dog-food company from a horse that was to be killed regardless of the film.[99] On June 22, the scene where Sonny is killed was shot on a runway at Mitchel Field in Mineola, where three tollbooths were built, along with guard rails, and billboards to set the scene.[100] Sonny's car was a 1941 Lincoln Continental with holes drilled in it to resemble bullet holes.[101][102] The scene took three days to film and cost over $100,000.[103][102]

text: Coppola's request to film on location was observed; approximately 90 percent was shot in New York City and its surrounding suburbs,[104][105] using over 120 unique locations.[106] Several scenes were filmed at the Filmways Studio in East Harlem.[107] The remaining portions were filmed in California, or on-site in Sicily, except for the scenes set in Las Vegas because there were insufficient funds to travel there.[108][104] Savoca and Forza d'Agrò were the Sicilian towns featured in the film.[109] The opening wedding scene was shot in a Staten Island neighborhood using almost 750 locals as extras.[105][110] The house used as the Corleone household and the wedding location was at 110 Longfellow Road in the Todt Hill neighborhood of Staten Island.[110][111] The wall around the Corleone compound was made from styrofoam.[110] Scenes set in and around the Corleone olive oil business were filmed on Mott Street.[106][112]

text: After filming had ended on August 7,[113] post-production efforts were focused on trimming the film to a manageable length.[114] In addition, producers and director were still including and removing different scenes from the end product, along with trimming certain sequences.[115] In September, the first rough cut of the film was viewed.[114] Of the scenes removed from the film, many were centered around Sonny because they did not advance the plot.[116] By November, Coppola and Ruddy finished the semifinal cut.[116] Debates over personnel involved with the final editing remained even 25 years after the release of the film.[117] The film began to be shown to Paramount staff and exhibitors in late December and going into the new year.[118]

text: Music[edit]

text:
Love theme from The Godfather

The famous theme, composed by Larry Kusic and Nino Rota.

Problems playing this file? See media help.

tag: table

text: Coppola hired Italian composer Nino Rota to create the underscore for the film, including the main theme, "Speak Softly Love".[119][120] For the score, Rota was to relate to the situations and characters in the film.[119][120] Rota synthesized new music for the film and took some parts from his Fortunella score, in order to create an Italian feel and evoke the tragic film's themes.[121] Paramount executive Evans found the score to be too "highbrow" and did not want to use it; however, it was used after Coppola managed to get Evans to agree.[119][120] Coppola believed that Rota's musical piece gave the film even more of an Italian feel.[120] Coppola's father, Carmine, created some additional music for the film,[122] particularly the music played by the band during the opening wedding scene.[120][121] There are a total of nine instances within the film where incidental music can be heard.[121]

text: There was a soundtrack released for the film in 1972 in vinyl form by Paramount Records, on CD in 1991 by Geffen Records, and digitally by Geffen on August 18, 2005.[123] The album contains over 31 minutes of music coming from the movie, with most being composed by Rota, along with a song from Coppola and one by Johnny Farrow and Marty Symes.[124][125][126] Allmusic gave the album five out of five stars, with editor Zach Curd saying it is a "dark, looming, and elegant soundtrack."[124] 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."[126]

text: Release[edit]

text: The world premiere for The Godfather took place in New York City on March 14, 1972, almost three months after the planned release date of Christmas Day in 1971,[127][128] with profits from the premiere donated to The Boys Club of New York.[129] Before the film premiered, the film had already made $15 million from rentals from over 400 theaters.[36] The following day, the film opened in New York at five theaters.[130][18][128] Next was Los Angeles at two theaters on March 22.[131] The Godfather was commercially released on March 24, 1972, throughout the rest of the United States.[130][128] The film reached 316 theaters around the country five days later.[132]

text: Box office[edit]

text: 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 the USA & Canada during its initial release,[133] increasing its earnings to $85.7 million through a reissue in 1973,[134] and including a limited re-release in 1997 it ultimately earned an equivalent exhibition gross of $135 million.[130] 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.[131][135] News articles at the time proclaimed it was the first film to gross $100 million in North America,[131] but such accounts are erroneous since this record in fact belongs to The Sound of Music, released in 1965.[136] The film repeated its native success overseas, earning in total an unprecedented $142 million in worldwide theatrical rentals, to become the highest net earner.[137] Profits were so high for The Godfather that earnings for Gulf & Western Industries, Inc., which owned Paramount, jumped from 77 cents per share to $3.30 a share for the year, according to a Los Angeles Times article, dated December 13, 1972.[131] To date, it has grossed between $245 million and $286 million in worldwide box office receipts,[138] and adjusted for ticket price inflation in North America, ranks among the top 25 highest-grossing films.[139]

text: Critical response[edit]

text: The Godfather has received critical acclaim and is seen as one of the most influential films of all time, particularly in the gangster genre.[140][141] On Rotten Tomatoes, the film has a 99% rating based on 85 reviews with an average rating of 9.2/10 and the site's critical consensus reads, " One of Hollywood's greatest critical and commercial successes, The Godfather gets everything right; not only did the movie transcend expectations, it established new benchmarks for American cinema".[142] Metacritic assigned the film an average score of 100% based on 14 reviews from mainstream critics, considered to be "universal acclaim".[141] The film is ranked at the top of Metacritic's top 100 list,[143] and is ranked 7th on Rotten Tomatoes' all-time best list (100% "Certified Fresh").[144]

text: Roger Ebert of the Chicago Sun Times praised Coppola's efforts to follow the storyline of the eponymous novel, the choice to set the film in the same time as the novel, and the film's ability to "absorb" the viewer over its three-hour run time.[145] While Ebert was mainly positive, he criticized Brando's performance, saying his movements lacked "precision" and his voice was "wheezy."[145] The Chicago Tribune's Gene Siskel gave the film four out of four stars, commenting that it was "very good."[146] 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.[147] In addition, Sarris stated that Richard Castellano, Robert Duvall, and James Caan were good in their respective roles.[147]

text: Desson Howe of The Washington Post called the film a "jewel" and wrote that Coppola deserves most of the credit for the film.[148] Writing for The New York Times, Vincent Canby felt that Coppola had created one of the "most brutal and moving chronicles of American life" and went on to say that it "transcends its immediate milieu and genre."[149] Director Stanley Kubrick thought the film had the best cast ever and could be the best movie ever made.[150] Stanley Kauffmann of The New Republic wrote negatively of the film in a contemporary review, claiming that Pacino "rattles around in a part too demanding for him," while also criticizing Brando's make-up and Rota's score.[151]

text: Previous mafia films had looked at the gangs from the perspective of an outraged outsider.[152] In contrast, The Godfather presents the gangster's perspective of the Mafia as a response to corrupt society.[152] Although the Corleone family is presented as immensely rich and powerful, no scenes depict prostitution, gambling, loan sharking or other forms of racketeering.[153] Some critics argue that the setting of a criminal counterculture allows for unapologetic gender stereotyping, and is an important part of the film's appeal ("You can act like a man!", Don Vito tells a weepy Johnny Fontane).[154]

text: Remarking on the fortieth 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".[155] Two years before, Roger Ebert wrote in his journal that it "comes closest to being a film everyone agrees... is unquestionably great."[156]

text: Accolades[edit]

text: The Godfather was nominated for seven awards at the 30th Golden Globe Awards: Best Picture – Drama, James Caan for Best Supporting Actor, Al Pacino and Marlon Brando for Best Actor – Drama, Best Score, Best Director, and Best Screenplay.[157] 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 – Drama.[158][159] The Godfather won a record five Golden Globes, which was not surpassed until 2017.[160]

text: Rota's score was also nominated for Grammy Award for Best Original Score for a Motion Picture or TV Special at the 15th Grammy Awards.[161][162] Rota was announced the winner of the category on March 3 at the Grammys' ceremony in Nashville, Tennessee.[161][162]

text: When the nominations for the 45th Academy Awards were revealed on February 12, 1973, The Godfather was nominated for eleven awards.[163][164] 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.[163][164][165] 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.[166][167][168] 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.[169] Going into the awards ceremony, The Godfather was seen as the favorite to take home the most awards.[158] From the nominations that The Godfather had remaining, it only won three of the Academy Awards: Best Actor, Best Adapted Screenplay, and Best Picture.[165][170]

text: Brando, who had also not attended the Golden Globes ceremony two months earlier,[168][171] 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.[172][173] 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.[172][173][174] 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.[175]

text: The Godfather had five nominations for awards at the 26th British Academy Film Awards.[176] 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 film's costume designer Anna Hill Johnstone for Best Costume Design.[176] All of The Godfather's nominations failed to win except for Rota.[176]

text:
Awards and nominations received by The Godfather

Award
Category
Nominee
Result

45th Academy Awards
Best Picture
Albert S. Ruddy
Won

Best Director
Francis Ford Coppola
Nominated

Best Actor (refused)
Marlon Brando
Won

Best Supporting Actor
James Caan
Nominated

Robert Duvall
Nominated

Al Pacino
Nominated

Best Adapted Screenplay
Mario Puzo, Francis Ford Coppola
Won

Best Costume Design
Anna Hill Johnstone
Nominated

Best Film Editing
William Reynolds, Peter Zinner
Nominated

Best Sound
Bud Grenzbach, Richard Portman, Christopher Newman
Nominated

Best Original Dramatic Score
Nino Rota
Revoked

26th British Academy Film Awards
Best Actor
Marlon Brando (Also for The Nightcomers)
Nominated

Best Supporting Actor
Robert Duvall
Nominated

Most Promising Newcomer to Leading Film Roles
Al Pacino
Nominated

Best Film Music
Nino Rota
Won

Best Costume Design
Anna Hill Johnstone
Nominated

25th Directors Guild of America Awards
Outstanding Directorial Achievement in Motion Pictures
Francis Ford Coppola
Won

30th Golden Globe Awards
Best Motion Picture - Drama

Won

Best Director - Motion Picture
Francis Ford Coppola
Won

Best Motion Picture Actor - Drama
Marlon Brando
Won

Al Pacino
Nominated

Best Supporting Actor - Motion Picture
James Caan
Nominated

Best Screenplay
Mario Puzo and Francis Ford Coppola
Won

Best Original Score
Nino Rota
Won

15th Grammy Awards
Best Original Score Written for a Motion Picture or TV Special
Nino Rota
Won

25th Writers Guild of America Awards
Best Drama Adapted from Another Medium
Mario Puzo and Francis Ford Coppola
Won

text:
1990 Selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[177]
1998 Time Out conducted a poll and The Godfather was voted the best film of all time.[178]
1999 Entertainment Weekly named it the greatest film ever made.[179][180][181]
2002 Sight & Sound polled film directors voted the film and its sequel as the second best film ever;[182] the critics poll separately voted it fourth.[183]
2002 The Godfather was ranked the second best film of all time by Film4, after Star Wars Episode V: The Empire Strikes Back.[184]
2005 Named one of the 100 greatest films of the last 80 years by Time magazine (the selected films were not ranked).[185][186]
2006 The Writers Guild of America, West agreed, voting it the number two in its list of the 101 greatest screenplays, after Casablanca.[187]
2008 Voted in at No. 1 on Empire magazine's list of The 500 Greatest Movies of All Time.[188]
2012 The Motion Picture Editors Guild listed The Godfather as the sixth best-edited film of all time based on a survey of its membership.[189]

text: American Film Institute recognition[edit]

text:
1998 AFI's 100 Years...100 Movies – #3[190]
2001 AFI's 100 Years...100 Thrills – #11[191]
2005 AFI's 100 Years...100 Movie Quotes:

"I'm going to make him an offer he can't refuse." – #2[192]

2006 AFI's 100 Years of Film Scores – #5[193]
2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) – #2[194]
2008 AFI's 10 Top 10 – #1 Gangster Film[195]

text: Cinematic influence[edit]

text: Although many films about gangsters preceded The Godfather, Coppola's heavy infusion of Italian culture and stereotypes, and his portrayal of mobsters as characters of considerable psychological depth and complexity was unprecedented.[196] Coppola took it further with The Godfather Part II, and the success of those two films, critically, artistically and financially, opened the doors for numerous other depictions of Italian Americans as mobsters, including films such as Martin Scorsese's Goodfellas and TV series such as David Chase's The Sopranos. A comprehensive study of Italian American culture on film, conducted from 1996 to 2001 by the Italic Institute of America,[197] showed that close to 300 movies featuring Italian Americans as mobsters (mostly fictitious) have been produced since The Godfather, an average of nine per year.[198]

text: Popular culture and legacy[edit]

text: The Godfather epic, encompassing the original trilogy and the additional footage Coppola incorporated later, is by now thoroughly integrated into American life and, together with a succession of mob-theme imitators, has led to a highly stereotyped concept of Italian American culture. The first film had the largest impact and, unlike any film before it, its depiction of Italians who immigrated to the United States in the early decades of the 20th century is perhaps attributable to the Italian American director, presenting his own understanding of their experience. The films explain through their action the integration of fictional Italian American criminals into American society. Though the story is set in the period of mass immigration to the U.S., it is rooted in the specific circumstances of the Corleones, a family that lives outside of the law. Although some critics have refashioned the Corleone story into one of universality of immigration, other critics have posited that it leads the viewer to identify organized crime with Italian American culture. 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.[199] The Godfather increased Hollywood's negative portrayals of immigrant Italians in the aftermath of the film and was a recruiting tool for organized crime.[200]

text: 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"—voted the second-most memorable line in cinema history in AFI's 100 Years... 100 Movie Quotes by the American Film Institute—was adopted by actual gangsters.[201] In the French novel Le Père Goriot, Honoré de Balzac wrote of Vautrin telling Eugene: "In that case I will make you an offer that no one would decline."[202]

text: Real-life gangsters responded enthusiastically to the film, with many of them feeling it was a portrayal of how they were supposed to act.[203] Salvatore "Sammy the Bull" Gravano, the former underboss in the Gambino crime family,[204] stated: "I left the movie stunned ... I mean I floated out of the theater. Maybe it was fiction, but for me, then, that was our life. It was incredible. I remember talking to a multitude of guys, made guys, who felt exactly the same way." According to Anthony Fiato after seeing the film, Patriarca crime family members Paulie Intiso and Nicky Giso altered their speech patterns closer to that of Vito Corleone's.[205] Intiso would frequently swear and use poor grammar; but after the movie came out, he started to articulate and philosophize more.[205]

text: Television[edit]

text: John Belushi, appearing in a Saturday Night Live sketch as Vito Corleone in a therapy session expressing his inner feelings towards the Tattaglia Family, says, "Also, they shot my son Santino 56 times".[206]

text: 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."[207]

text: The film has been parodied several times on the animated television series The Simpsons. In the season three episode "Lisa's Pony" Lisa wakes up to find a horse in her bed and starts screaming. The music and the scene itself resemble the famous "horse's head" scene in The Godfather. In the season four episode "Mr. Plow", the scene in which Sonny Corleone is shot at the tollbooth is mimicked when Bart Simpson is pelted with snowballs.[208][209] The scene is again parodied in the season sixteen episode "All's Fair in Oven War", which includes James Caan as himself in a guest voice role. In the season eighteen episode "The Mook, the Chef, the Wife and Her Homer", the film's final scene is mimicked with a door being closed on Lisa Simpson.[210]

text: Home media[edit]

text: The theatrical version of The Godfather debuted on American network television on November 16, 1974, on NBC, and again two days later, with only minor edits.[211] The television airings attracted a large audience and helped generate anticipation for the upcoming sequel.[211] 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.[212] 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.[212] The Godfather Trilogy was released in 1992, in which the films are fundamentally in a chronological order.[213]

text: The Godfather Family: A Look Inside was a 73-minute documentary released in 1991.[214] Directed by Jeff Warner, the film featured some behind the scenes content from all three films, interviews with the actors, and screen tests.[214] The Godfather DVD Collection was released on October 9, 2001, in a package that contained all three films—each with a commentary track by Coppola—and a bonus disc containing The Godfather Family: A Look Inside.[215] The DVD also held a Corleone family tree, a "Godfather" timeline, and footage of the Academy Award acceptance speeches.[215]

text: The Godfather: The Coppola Restoration[edit]

text: During the film's original theatrical release, the original negatives were worn down due to the reel being printed so much to meet demand.[216][217] In addition, the duplicate negative was lost in Paramount archives.[217] In 2006 Coppola contacted Steven Spielberg—whose studio DreamWorks had recently been bought out by Paramount—about restoring The Godfather.[216][217] Robert A. Harris was hired to oversee the restoration of The Godfather and its two sequels, with the film's cinematographer Willis participating in the restoration.[218][219] Work began in November 2006 by repairing the negatives so they could go through a digital scanner to produce high resolution 4K files.[216][217] If a negative were damaged and discolored, work was done digitally to restore it to its original look.[216][217] After a year and a half of working on the restoration, the project was complete.[217] Paramount called the finished product The Godfather: The Coppola Restoration and released it to the public on September 23, 2008, on both DVD and Blu-ray Disc.[218][219] Dave Kehr of The New York Times believed the restoration brought back the "golden glow of their original theatrical screenings".[218] As a whole, the restoration of the film was well received by critics and Coppola.[216][217][218][219][220] The Godfather: The Coppola Restoration contains several new special features that play in high definition, along with additional scenes.[220]

text: Video game[edit]

text: The game is based upon this film and tells the story of an original character, Aldo Trapani, whose rise through the ranks of the Corleone family intersects with the plot of the film on numerous occasions.[221][222] Duvall, Caan, and Brando supplied voiceovers and their likenesses,[223] but Pacino did not.[223] Francis Ford Coppola openly voiced his disapproval of the game.[224]


document_title: Big One (roller coaster)

question_text: when did the pepsi max open in blackpool

text: Big One (roller coaster)

text: History[edit]

text: The Big One was manufactured by Arrow Dynamics. Construction of the ride began in September 1993 and lasted just over seven months. The tubular track and supports were airlifted from Bolton to Blackpool and stored at nearby Blackpool Airport. During the start of the construction of the ride, the south of Blackpool promenade was closed and pieces of the structure were stored on the road adjacent to the Pleasure Beach. The first pieces to be fitted were the large foundations that would follow on from the main supports. Once all the supports were fitted, the tubular track was fitted followed by additional supports on the turnaround and the mid course brake section. The ride opened to the public on 28 May 1994. For the first five years of its life, it was sponsored by the makers of the UK version of the soft drink Pepsi Max; until 1999. when the sponsorship ran out and the name was shortened to Big One and all traces of Pepsi Max were gone.

text: Statistics[edit]

text: The ride is the second Hyper Coaster to be built by Arrow Dynamics, the first being Magnum XL-200 at Cedar Point in Sandusky, Ohio. At its highest point, the ride reaches 235 feet (72 m) above sea level, but only stands 213 feet (65 m) above the ground with the first drop measuring 205 feet (62 m). These numbers were later confirmed by Ron Toomer of Arrow Dynamics.[1] The first drop has an incline angle of 65 degrees and the usual maximum speed for the ride is 74 miles per hour (119 km/h). The ride lasts approximately three minutes and during this time riders normally experience positive g-forces of up to 3.5g and negative g-forces of up to 0.5g. Blackpool Pleasure Beach advertises the ride as rising 235 feet (72 m), but that is above sea level and not the actual height of the ride.

text: The ride is capable of running three trains at any one time. Each train has five cars with six passengers to a car, enabling each train to carry 30 riders two-abreast in total. This gives Big One a capacity of 1,800 people per hour. The colour scheme for each train is the same: a blue base with two coloured bands around the side and front (red and white) showing the Union Jack logo. Each train is numbered at the back of the fifth car, and each car is numbered according to the back of each section. During testing, sand bags are used to weigh the train down. This is a safety mechanism and is common practice on roller coasters of a certain height. Before the ride was granted a certificate to operate, Blackpool Pleasure Beach had to appeal to Blackpool Airport which is one mile from the park. Due to the ride's height, warning beacons had to be installed on the peaks of the first two hills, including the main drop, before the ride was given the all clear to operate.

text: Records[edit]

text: When it opened on 28 May 1994, Big One was both the tallest and steepest roller coaster in the world.[2] It was also one of the longest out-and-back roller coasters, measuring 5,497 feet (1,675 m). With a 205-foot drop and 74 mph top speed, it was second only to Steel Phantom at Kennywood in West Mifflin, Pennsylvania in speed, but it was the fastest coaster in Europe.[2][note 1] The Big One lost its height record to Fujiyama in Japan in 1996, though it remained the tallest and fastest roller coaster in Europe until 2002, when Silver Star opened at Europa-Park in Germany. The ride still remains the tallest in the United Kingdom, although Stealth in Thorpe Park is the fastest. It is also the second longest in the UK, losing only to Lightwater Valley's Ultimate.

text: Richard Rodriguez completed a 112-day endurance record on the roller coaster in 2012. This broke the world record for the most consecutive days on a rollercoaster. This attempt was only during operating hours (approximately six hours a day) as opposed to 24 hours a day. He also had his own row of seating assigned only for him during the record.

text: Incidents[edit]

text: In May 1994 during the ride's inaugural season, 26 people were injured when the computer system failed to completely stop a train returning to the station. The result of this brake failure was a collision with a train parked inside the ride's station.[3] Another train collision occurred in August 2000, caused by another computer failure and injured 16 people.[3]

text: Notes[edit]

text: Jump up ^ When Desperado opened three months later, Big One became the third fastest. Though not standing as tall as Big One, Steel Phantom and Desperado both had longer drops (225 feet) and therefore achieved greater speeds.

tag: ol


document_title: List of nominated members of Rajya Sabha

question_text: who was nominated first woman for rajya sabha

text: As per the Fourth Schedule (Articles 4(1) and 80(2)) of the Constitution of India, 12 members are nominated by President for term of six years for their contributions to art, literature, science, and social services.

text: Current Nominated Members of Rajya Sabha[edit]

text: This is a Current list of Members of the Rajya Sabha who have been nominated by the President.

text:
No.
Name[1]
Field
Affiliation [2]
Date of
Appointment[3]
Date of
Retirement[3]

1
Roopa Ganguly
Art
Bharatiya Janata Party
04-Oct-2016
03-Oct-2022

2
Sambhaji Raje
Social work
Bharatiya Janata Party
07-Jun-2016
03-May-2022

3
Suresh Gopi
Art
Bharatiya Janata Party
25-Apr-2016
24-Apr-2022

4
Subramanian Swamy
Economics
Bharatiya Janata Party
25-Apr-2016
24-Apr-2022

5
Narendra Jadhav
Economics
Nominated
25-Apr-2016
24-Apr-2022

6
Mary Kom
Sport
Nominated
25-Apr-2016
24-Apr-2022

7
Swapan Dasgupta
Journalism
Nominated
25-Apr-2016
24-Apr-2022

8
K. T. S. Tulsi
Law
Nominated
25-Feb-2014
24-Feb-2020

9
K. Parasaran
Law
Nominated
09-Jun-2012
28-Jun-2018

10
Rekha
Art
Nominated
27-Apr-2012
26-Apr-2018

11
Sachin Tendulkar
Sport
Nominated
27-Apr-2012
26-Apr-2018

12
Anu Aga
Business
Nominated
27-Apr-2012
26-Apr-2018

text: Complete List of Nominated Members of Rajya Sabha[edit]

text: This is a Complete list of Members of the Rajya Sabha who have been nominated by the President.

text:
Sr. No.
Image
Name
Tenure

1
 –
Alladi Krishnaswamy Iyer
1952–1953

2

Satyendranath Bose
1952–1960

3

Prithviraj Kapoor
1952–1960

4
 –
Jagadisan Mohandas Kumarappa
1952–1954

5
 –
Kalidas Nag
1952–1954

6

Rukmini Devi Arundale
1952–1962

7
 –
N.R. Malkani
1952–1962

8
 –
Sahib Singh Sokhey
1952–1956

9
 –
Zakir Hussain
1952–1962

10
 –
Maithili Sharan Gupt
1952–1964

11
 –
Kakasaheb Kalelkar
1952–1964

12
 –
Radha Kumud Mukherjee
1952–1958

13

P.V. Kane
1953–1964

14
 –
Moturi Satyanarayana
1954–1966

15
 –
Ardeshir Ruttonji Wadia
1954–1966

16
 –
Bhargavram Vitthal Warerkar
1956–1968

17
 –
Tara Chand
1956–1968

18
 –
Ajudhia Nath Khosla
1958–1964

19
 –
K.M. Panikkar
1959–1966

20
 –
Jairamdas Daulatram
1959–1976

21
 –
Mohanlal Saksena
1959–1964

22
 –
Tarasankar Bandyopadhyay
1960–1966

23
 –
V.T. Krishnamachari
1961–1967

24
 –
R.R. Diwakar
1962–1968

25
 –
Gopal Singh
1962–1968

26
 –
M. Ajmal Khan
1964–1972

27
 –
Satyavrata Siddhantalankar
1964–1968

28

Shakuntala Paranjpye
1964–1970

29
 –
Badri Nath Prasad
1964–1970

30
 –
G. Ramachandran
1964–1970

31
 –
M. N. Kaul
1964–1972

32
 –
Harivanshrai Bachchan
1966–1972

33
 –
Dhananjay Ramchandra Gadgil
1966–1972

34
 –
M.C. Setalvad
1966–1972

35

G. Sankara Kurup
1968–1972

36

Joachim Alva
1968–1974

37

S. Nurul Hasan
1968–1974

38
 –
K. Ramiah
1968–1974

39
 –
Ganga Sharan Sinha
1968–1974

40
 –
Maragatham Chandrasekhar
1970–1988

41
 –
Umashankar Joshi
1970–1976

42
 –
Rasheeduddin Khan
1970–1982

43
 –
Vidya Prakash Dutt
1971–1980

44
 –
Abu Abraham
1972–1978

45
 –
Pramathanath Bishi
1972–1978

46
 –
C. K. Daphtary
1972–1978

47
 –
Habib Tanvir
1972–1978

48
 –
Krishna Kriplani
1974–1980

49

Lokesh Chandra
1974–1986

50
 –
Scato Swu
1974–1986

51
 –
B.N. Banerjee
1976–1982

52
 –
Malcolm Adiseshiah
1978–1984

53
 –
Fathema Ismail
1978–1984

54
 –
Pandurang Dharmaji Jadhav
1978–1984

55
 –
Bhagwati Charan Varma
1978–1984

56

Nargis Dutt
1980–1986

57

Khushwant Singh
1980–1986

58
 –
Asima Chatterjee
1982–1990

59

Sivaji Ganesan
1982–1986

60
 –
Hayatullah Ansari
1982–1988

61
 –
Madan Bhatia
1982–1994

62
 –
V.N. Tiwari
1982–1984

63
 –
Ghulam Rasool Kar
1984–1987

64
 –
Tindivanam K. Ramamurthy
1984–1990

65
 –
H.L. Kapur
1985–1988

66

Salim Ali
1985–1988

67
 –
Purushottam Kakodkar
1985–1991

68

Ela Bhatt
1986–1988

69
 –
Amrita Pritam
1986–1992

70

M.F. Husain
1986–1992

71

R.K. Narayan
1986–1992

72

Ravi Shankar
1986–1992

73
 –
Syeda Anwara Taimur
1988–1990

74
 –
Sat Paul Mittal
1988–1994

75
 –
Bishambhar Nath Pande
1988–1994

76
 –
Mohammad Yunus
1989–1995

77

Prakash Ambedkar
1990–1996

78

Jagmohan
1990–1996

79
 –
Bhupinder Singh Mann
1990–1996

80
 –
Russi Karanjia
1991–1997

81
 –
Mahendra Prasad
1993–1994

82
 –
M. Aram
1993–1999

83

Vyjayantimala Bali
1993–1999

84
 –
B.B. Dutta
1993–1999

85
 –
Maulana Habibur Rahman Nomani
1993–1999

86

Nirmala Deshpande
1997 – 1999 and 2004 – 2010

87

Shabana Azmi
1997–2003

88
 –
P. Selvie Das
1997–2003

89
 –
Kartar Singh Duggal
1997–2003

90

Kuldip Nayyar
1997–2003

91
 –
Raja Ramanna
1997–2003

92

C. Narayana Reddy
1997–2003

93

Mrinal Sen
1997–2003

94
 –
Chaudhary Harmohan Singh Yadav
1997–2003

95
 –
Nanaji Deshmukh
1999–2005

96

Lata Mangeshkar
1999–2005

97
 –
Fali Nariman
1999–2005

98
 –
Cho Ramaswamy
1999–2005

99

Hema Malini
2003–2009

100
 –
Bimal Jalan
2003–2009

101

K. Kasturirangan
2003–2009

102
 –
Narayan Singh Manaklao
2003–2009

103
 –
Vidya Niwas Misra
2003–2009

104
 –
Chandan Mitra
2003–2009

105

Dara Singh
2003–2009

106

Kapila Vatsyayan
2006–2012

107

Ram Jethmalani
2006–2009

108
 –
Shobhana Bhartia
2006–2012

109

Shyam Benegal
2006–2012

110

M.S. Swaminathan
2007–2013

111
 –
C. Rangarajan
2008–2010

112
 –
H. K. Dua
2009–2015

113
 –
Ashok Sekhar Ganguly
2009–2015

114
 –
Mani Shankar Aiyar
2010–2016

115

Javed Akhtar
2010–2016

116

B. Jayashree
2010–2016

117

Ram Dayal Munda
2010–2011

118
 –
Bhalchandra Mungekar
2010–2016

119
 –
Mrinal Miri
2012–2016

120
 –
Anu Aga
2012–2018

121
 –
K. Parasaran
2012–2018

122

Rekha
2012–2018

123

Sachin Tendulkar
2012–2018

124
 –
K. T. S. Tulsi
2014-2020

125

Subramanian Swamy
2016-2022

126

M C Mary Kom
2016-2022

127

Narendra Jadhav
2016-2022

129

Suresh Gopi
2016-2022

130
 –
Swapan Dasgupta
2016-2022

131
 –
Sambhaji Raje
2016-2022

132
 –
Roopa Ganguly
2016-2022


document_title: Christopher Robin (film)

question_text: who plays the little girl in christopher robin

text: Christopher Robin (film)

text: Plot[edit]

text: Christopher Robin is leaving for boarding school, so his friends from the Hundred Acre Wood – Winnie the Pooh, Tigger, Piglet, Eeyore, Kanga, Roo, Owl, and Rabbit – throw a goodbye party. Christopher comforts Pooh and tells him that he will never forget him.

text: Christopher goes to boarding school, after which he grows up, meets and marries architect Evelyn, with whom he has daughter Madeline. He serves in the British Army during World War II. After the war, he works as an efficiency expert at Winslow Luggages. He neglects his family due to his demanding job and plans on sending Madeline to boarding school. With the company hitting hard times, Giles Winslow Jr. tells Christopher to decrease expenditures by 20%, largely by choosing which employees to lay off, and to present his plan on Monday. This causes Christopher to reluctantly miss joining his family at their countryside cottage in Sussex for a summer-ending weekend.

text: When Pooh awakens and is unable to find his friends, he decides to travel through Christopher's door and finds himself in London. He reunites with Christopher, who is shocked to see Pooh, but takes him back to his London home.  After a night and morning of chaos (including Pooh knocking down all of his kitchen shelves in search of honey), Christopher escorts the bear back to Sussex on the next train.

text: After sneaking past Christopher's cottage, the two enter the Hundred Acre Wood. Christopher becomes exasperated by Pooh's absent-mindedness and fear of Heffalumps and Woozles. Christopher angrily tells Pooh that he is not a child anymore, before the two get separated in the fog. Christopher discovers Eeyore and Piglet, who lead him to the others, hiding in a log out of fear of a Heffalump. Unable to persuade his friends that he is truly Christopher Robin, he pretends to defeat a Heffalump to convince them. Finally believing that it is Christopher Robin, they joyfully greet him. When they reunite with Pooh at their meeting spot, Christopher apologizes for getting upset earlier. Christopher tells Pooh how lost he feels, but Pooh reminds him that they have found each other and comforts him with a hug. The next morning, Christopher, realising how late he is, rushes from the Hundred Acre Wood to make his presentation. He encounters his family and, unable to tell them about his old friends in the Hundred Acre Wood, leaves.

text: Pooh realizes that Tigger removed Christopher's paperwork when drying his briefcase, so Pooh, Tigger, Piglet and Eeyore decide to travel to London to give it back. They meet Madeline, who recognizes them from her father's drawings. She joins them, wanting to dissuade her father about boarding school; Evelyn follows after discovering a note Madeline left.

text: At the meeting, Christopher discovers that his briefcase contains items from the woods that Tigger left for him. Evelyn arrives and Christopher joins her to search London for Madeline. Madeline's group stow away in Winslow company crates, but Tigger, Eeyore and Piglet are accidentally thrown out, and they encounter Christopher and Evelyn in the process. Madeline and Pooh arrive near the Winslow building and reunite with Christopher's group, but Madeline accidentally trips on the stairs and loses all but one of the papers, upsetting her and Pooh. Christopher assures Madeline of her importance to him and that he will not send her to boarding school.

text: Christopher improvises a plan involving reducing the prices of luggage, giving employees paid leave, and selling their luggage to everyday people to increase demand. Winslow Jr., who instead proposed firing some of the staff, dismisses the idea; Winslow Sr. warms to it and agrees to the plan. Winslow Jr. is humiliated as Christopher points out that he contributed nothing to the plan, having been golfing all weekend.

text: Christopher finally takes his family into the Hundred Acre Wood to meet the rest of his friends.

text: In a mid-credits scene, the employees of Winslow's are seen having fun at the beach while Richard M. Sherman performs "Busy Doing Nothing" on a piano. Pooh, Piglet, Eeyore and Tigger are relaxing on beach chairs with Eeyore saying "Thank you for noticing me".

text: Cast[edit]

text:
Ewan McGregor as Christopher Robin, a businessman working as a efficiency expert at Winslow Luggages who was once an imaginative boy.
Orton O'Brien as young Christopher Robin[8]
Hayley Atwell as Evelyn Robin, Christopher's wife who works as an architect.
Bronte Carmichael as Madeline Robin, Christopher's daughter.
Elsa Minell Solak portrays a 3-year old Madeline
Mark Gatiss as Giles Winslow Jr., Christopher's boss at Winslow Luggages.
Oliver Ford Davies as Old Man Winslow, the father of Giles Winslow Jr.
Ronke Adekoluejo as Katherine Dane
Adrian Scarborough as Hal Gallsworthy
Roger Ashton-Griffiths as Ralph Butterworth
Ken Nwosu as Paul Hastings
John Dagleish as Matthew Leadbetter
Amanda Lawrence as Joan MacMillan
Katy Carmichael as Christopher Robin's Mother
Tristan Sturrock as Christopher Robin's Father
Paul Chahidi as Cecil Hungerford
Matt Berry as Policeman Bobby
Simon Farnaby as Taxi Driver
Mackenzie Crook as Newspaper Seller

text: Voices[edit]

text:
Jim Cummings as
Winnie the Pooh, a honey-loving plush toy bear who lives in the Hundred Acre Wood.
Tigger, a toy tiger who lives in the Hundred Acre Wood who loves to bounce on his tail like a spring.[9][10][11]
Brad Garrett as Eeyore, a toy donkey in the Hundred Acre Wood who always loses his tail and talks with a deep depressing voice and tone.
Nick Mohammed as Piglet, a diminutive toy pig in the Hundred Acre Wood who is afraid of everything but has a big heart.
Peter Capaldi as Rabbit, a rabbit who is a neat freak and a vegetable farmer in the Hundred Acre Wood.
Sophie Okonedo as Kanga, a toy kangaroo in the Hundred Acre Wood who is the mother of Roo.
Sara Sheen as Roo, a toy joey in the Hundred Acre Wood who is the child of Kanga.[12]
Toby Jones as Owl, the wise owl of the Hundred Acre Wood.

text: Production[edit]

text: Development[edit]

text: On April 2, 2015, Walt Disney Pictures announced that a live-action adaptation based on the characters from the Winnie the Pooh franchise was in development which would take a similar pattern to 2010's Alice in Wonderland, 2014's Maleficent, and 2015's Cinderella. Alex Ross Perry was hired to write the script and Brigham Taylor hired to produce the film, about an adult Christopher Robin returning to the Hundred Acre Wood to spend time with Pooh and the gang.[13] On November 18, 2016, it was reported that the studio had hired Marc Forster to direct the film, titled Christopher Robin, and the project would have "strong elements of magical realism as it seeks to tell an emotional journey with heartwarming adventure."[14] On March 1, 2017, Tom McCarthy was hired to rewrite the existing screenplay.[15]

text: Casting[edit]

text: On April 26, 2017, Ewan McGregor was announced to play the title character while Allison Schroeder was recruited to do additional work on the script.[16][17] On June 22, 2017, it was revealed that Gemma Arterton had been in negotiations to portray the wife of the title character but, ultimately, she passed on the role.[18] In August and September 2017, Hayley Atwell and Mark Gatiss were cast as Evelyn, Christopher Robin's wife and Giles Winslow, Christopher Robin's boss, while Brad Garrett and Nick Mohammed were cast as Eeyore and Piglet with Jim Cummings reprising his roles as both Winnie the Pooh and Tigger.[19][9][20][21] In January 2018, Peter Capaldi, Sophie Okonedo and Toby Jones were cast as Rabbit, Kanga and Owl respectively. Chris O'Dowd was originally announced as the voice of Tigger, but later stepped down from the role after audiences in test screenings reacted negatively towards how he voiced the character[22] and was replaced by Cummings.[22][23]

text: Filming[edit]

text: Principal photography on the film began in early August 2017, in the United Kingdom,[24][25][18] and concluded on November 4, 2017.[26] Much of the filming of the Hundred Acre Wood scenes took place at Ashdown Forest, which was the original inspiration for the setting, as well as Windsor Great Park.[27]

text: Music[edit]

text: Jóhann Jóhannsson was hired to score the film, shortly before his death on February 9, 2018.[28] The film is dedicated to his memory.[27] Klaus Badelt was announced as taking over composing duties for Jóhannsson, but the score was ultimately written by Geoff Zanelli and Jon Brion.[29] At an Academy event, songwriter and Disney Legend Richard Sherman revealed that the film would feature the iconic "Winnie the Pooh" theme, and that he was working on three new songs for the film,[30] titled "Goodbye Farewell", "Busy Doing Nothing" and "Christopher Robin",[27] with the first one being performed by the voice cast,[27] and the last two by Sherman.[27] "Up, Down and Touch the Ground" and "The Wonderful Thing About Tiggers" are also included in the film.[27]

text: Visual effects[edit]

text: Visual effects studios Framestore and Method Studios, are leading the animation for the Hundred Acre Wood characters, with Overall Vfx Supervisor Chris Lawrence and Animation Supervisor Michael Eames leading the teams.[31]

text: Release[edit]

text: Christopher Robin premiered in Burbank, California on July 30, 2018,[6] and was released on August 3, 2018 by Walt Disney Studios Motion Pictures.[32] The film was denied release in China, as some have speculated it was due to Chinese netizens have drawn comparisons between Winnie the Pooh and Chinese leader Xi Jinping since mid 2017. Other industry insider speculates it was likely due to other reasons such as the film's size and the presence of other Hollywood films in the market.[33][34]

text: Marketing[edit]

text: The first teaser poster of the film was released on March 5, 2018,[35] and the first teaser trailer was unveiled the following day.[36]

text: On May 24, 2018, it was announced that the full trailer would premiere the following day during McGregor's appearance on The Ellen DeGeneres Show.[37]

text: Reception[edit]

text: Box office[edit]

text: As of  August 28, 2018[update], Christopher Robin has grossed $79.1 million in the United States and Canada, and $36.4 million in other territories, for a total worldwide gross of $115.6 million.[4]

text: In the United States and Canada, Christopher Robin was released alongside The Spy Who Dumped Me, The Darkest Minds, and Death of a Nation: Can We Save America a Second Time?.[38] The film made $9.5 million on its first day, including $1.5 million from Thursday night previews. It went on to debut to $24.6 million, finishing second at the box office behind holdover Mission: Impossible – Fallout.[39][40] The film fell 47% to $13 million in its second weekend, finishing third behind The Meg and Mission: Impossible – Fallout.[41][42] In its third weekend, the film declined 31% to $8.9 million, finishing in sixth place.[43] The movie retained its sixth place position during its fourth weekend and grossed $6.3 million, dropping 29%.[44]

text: Critical response[edit]

text: On the review aggregation website Rotten Tomatoes, the film has an approval rating of 71% based on 191 reviews, with an average rating of 6.1/10. The website's critical consensus reads, "Christopher Robin may not equal A. A. Milne's stories – or their animated Disney adaptations – but it should prove sweet enough for audiences seeking a little childhood magic."[45] On Metacritic, the film has a weighted average score of 59 out of 100, based on 42 critics, indicating "mixed or average reviews".[46] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave it 4.5 out of 5 stars.[39]

text: Ben Kenigsberg of the New York Times reviewed the film this way: "Once Christopher Robin softens its insufferable, needlessly cynical conception of the title character, it offers more or less what a Pooh reboot should: a lot of nostalgia, a bit of humor and tactile computer animation."[47] And David Sims of The Atlantic wrote, "It's an odd, melancholic experience that at times recalls Terrence Malick as it does A. A. Milne, but there will certainly be some viewers in its exact wheelhouse."[48] Michael Phillips of the Chicago Tribune gave the film 3 out of 4 stars and said, "Pooh's wisdom and kindness cannot be denied. The same impulses worked for the two Paddington movies, God knows. Christopher Robin isn't quite in their league, but it's affecting nonetheless."[49] Richard Lawson of Vanity Fair gave the film a positive review and heavily praised the voice performance from Cummings, calling it "Oscar-worthy". Overall, he said, "As Winnie the Pooh (and Tigger too), the veteran voice actor gives such sweet, rumpled, affable life to the wistful bear of literary renown that it routinely breaks the heart. Cummings's performance understands something more keenly than the movie around it; he taps into a vein of humor and melancholy that is pitched at an exact frequency, one that will speak to child and adult alike. His Pooh is an agreeable nuisance and an accidental philosopher, delivering nonsensical (and yet entirely sensible) adages in a friendly, deliberate murmur ringed faintly with sadness. I wanted to (gently) yank him from the screen and take him home with me, his fuzzy little paw in mine as we ambled to the subway, the summer sun fading behind us. He's a good bear, this Pooh."[50]

text: Conversely, Alonso Duralde of TheWrap called the film "slow and charmless" and wrote, "What we're left with is a Hook-style mid-life crisis movie aimed at kids, designed to shame parents who spend too much time at the office and not enough with their families."[51] Sarah Melton from Exclaim! gave the film a rating of 5/10, calling it a "sickly sweet tale" with a predictable ending.[52] Helen O'Hara of Empire magazine gave the film a 2 out of 5 stars and said "Everyone's trying hard, but they can't quite live up to the particularly gentle, warm tone of Pooh himself. Unlike the bear of very little brain, this is a film pulled in different directions with entirely too many thoughts in its head".[53]

text: The performance of Ewan McGregor as Christopher Robin was particularly well received. David Fear of Rolling Stone said, "He's an actor who can roll with this movie's punches, whether it requires him to be light on his feet or dragged down by existential despair, exhilarated by childlike play or exasperated by a house-wrecking creature who says things like, 'People say nothing is impossible, but I do nothing every day'."  [54] Adam Forsgren for East Idaho News wrote, "First and foremost is McGregor's performance in the title role. The guy sells being the put-upon, overburdened office drone so well that it's a treat to see him begin to rediscover his younger self and let himself play...McGregor is the glue that holds this whole movie together." [55] Stephanie Zacharek of Time stated, "But it's doubtful the movie would work at all if not for McGregor: He turns Christopher's anxiety into a haunting presence, the kind of storm cloud that we can all, now and then, feel hovering above us. Yet McGregor is also an actor capable of expressing unalloyed delight. And when, as Christopher Robin, he finally does, some of that delight rubs off on us too." [56] Brian Lowry also noted in his review for CNN, "Give much of the credit to McGregor in the thankless task of playing opposite his adorably furry co-stars, ably handling the comedy derived from the fact that he doesn't dare let others see them." [57]


document_title: Taarak Mehta Ka Ooltah Chashmah

question_text: taarak mehta ka ooltah chashmah sonu original name

text: Taarak Mehta Ka Ooltah Chashmah

text: Plot summary[edit]

text: Gokuldham Society is a residential society in Powder Galli, Goregaon, Mumbai with four wings: A Wing, B Wing, C Wing and D Wing. Although the society has more than 50 flats, the show revolves around the lives of eight families:

text:
Jethalal Champaklal Gada, an electronics shop-owner from Kachchh district, Gujarat, and his wife Daya, father Champaklal Jayantilal Gada and son Tipendra (Tapu). Residents of B Wing.
The narrator, Taarak Mehta, a column-writer and his wife Anjali, a disciplined dietician who are from Gujarat]]. Residents of B Wing.
The society's secretary, Aatmaram Tukaram Bhide, a home tutor from Ratnagiri, Maharashtra, his wife Madhavi, a business woman and daughter Sonalika (Sonu). Residents of A Wing.
Dr. Hansraj Hathi, the resident doctor from Uttar Pradesh, his wife Komal and son Gulabkumar (Goli). Residents of A Wing.
Roshan Singh Sodhi, a car mechanic from Amritsar, Punjab and his Parsi wife, also named Roshan and their son Gurucharan (Gogi). Residents of A Wing.
Krishnan Subramaniam Iyer, a Tamil scientist from Chennai, Tamil Nadu and his Bengali wife Babita from Kolkata, West Bengal. Residents of C Wing.
Popatlal Pandey, a newspaper journalist working for Toofan Express and from Bhopal, Madhya Pradesh. Residents of C Wing.
Pankaj Diwan Sahay also called Pinku, part of the Tapu sena and resides in another society(gulmohar apartments)

text: There are also other recurring characters including Sundarlal (brother of Jethalal's wife Daya, from Ahmedabad, Gujarat)and his friends. Abdul, the shopkeeper of the provisions store located outside the society entrance, reporter Rita Shrivastav from 'Kal Tak' a news channel, Inspector Chalu Pandey, Asit Kumarr Modi as himself, Jethalal's shop assistants - Natwarlal Prabhashankar Udhaiwala (Natu Kaka) and his nephew Baagheshwar Dadu Udhaiwala (Baagha), who are often bent on doing the wrong job, and Baagha's fiancée Bawri Dhondulal Kanpuria.

text: The members of the society and other characters have a good psychological bond of love and sympathy for one another that makes them live like members of one family. They are often seen celebrating festivals and participating in events together. Although they are shown to live the lives of typical Indian families, the characters, more often than not Jethalal Gada, tend to find themselves in trouble, cropping up from routine activities that intensify in a comical manner.

text: The quirks of the individual characters seek to enhance the humour quotient of the show. Whatever the nature of the problem that a member of the society encounters, all the other members stand by them to extend every possible help. In an episode, the resolution of the problem that a character faces is usually followed by a moral message at the end by Taarak Mehta, which is meant for all the characters of the show as well as the viewers.

text: The Tapu Sena[edit]

text: The Tapu Sena is a five-member group of children residing in Gokuldham Society: Tapu (the leader of Tapu Sena), Goli, Gogi, Pinku and Sonu. These children have played significant roles, providing a fun young tone to the show. Usually, the group becomes a nuisance for the other members of the society because of their mischief, while at other times, it draws praises from the members by doing something laudable. The society secretary, Atmaram Tukaram Bhide is especially annoyed with the Tapu Sena for playing cricket in the society compound as sometimes they break the window glasses, or just cause a problem as shown in some episodes. Since the beginning of the show, the Tapu Sena has, with their childlike activities, characterized the typical frolicsome Indian children. As the children grow up and mature, the stories are tailored to suit their ages.[3][4]

text: Cast[edit]

text: Main[edit]

text:
Dilip Joshi as Jethalal Champaklal Gada
Disha Vakani as Daya Jethalal Gada
Bhavya Gandhi as Tipendra Jethalal Gada (Tapu) (2008–2017)
Raj Anadkat as Tipendra Jethalal Gada (Tapu) (2017–present)
Amit Bhatt as Champaklal Jayantilal Gada
Shailesh Lodha as Taarak Mehta
Neha Mehta as Anjali Taarak Mehta
Tanuj Mahashabde as Krishnan Subramaniam Iyer
Munmun Dutta as Babita Krishnan Iyer
Mandar Chandwadkar as Aatmaram Tukaram Bhide
Sonalika Joshi as Madhvi Aatmaram Bhide
Jheel Mehta as Sonalika Aatmaram Bhide (Sonu) (2008–2012)
Nidhi Bhanushali as Sonalika Aatmaram Bhide (Sonu) (2012–present)
Gurucharan Singh as Roshan Singh Harjeet Singh Sodhi (2008–2013, 2014–present)
Laad Singh Maan as Roshan Singh Harjeet Singh Sodhi (2013–2014)
Jennifer Mistry Bansiwal as Roshan Kaur Roshan Singh Sodhi (2008–2013, 2016–present)
Dilkhush Reporter as Roshan Kaur Roshan Singh Sodhi (2013–2016)
Samay Shah as Gurcharan Singh Roshan Singh Sodhi (Gogi)
Nirmal Soni as Dr. Hansraj Hathi (2008–2009)
Azad Kavi as Dr. Hansraj Hathi (2009–present)
Ambika Ranjankar as Komal Hansraj Hathi
Kush Shah as Gulabkumar Hansraj Hathi (Goli)
Shyam Pathak as Popatlal Pandey
Sharad Sankla as Abdul

text: Recurring[edit]

text:
Tarun Uppal as Pinku (Pankaj Diwan Sahay)
Ghanashyam Nayak as Natwarlal Prabhashankar Udhaiwala Nattu Kaka (Nattukaka)
Tanmay Vekaria as Bagheshwar Dadukh Udhaiwala(Bagha)
Monika Bhadoriya as Bawree Dhondulal Kanpuria
Mayur Vakani as Sundarlal
Priya Ahuja Rajda as Reporter Rita Shrivastav
Daya Shankar Pandey as Inspector Chalu Pandey

text: Production and promotion[edit]

text: The major part of the shooting is done in Mumbai. However, some parts of the show have also been shot in places such as Gujarat, New Delhi, Goa and in foreign locations such as London, Brussels, Paris and Hong Kong.[5]

text: To celebrate Taarak Mehta Ka Ooltah Chashmah completing 1,000 episodes on 6 November 2012,[6] the director "decided to shoot the film on a different canvas as he does not want the audience to feel that they are watching yet another episode of the serial."[7]

text: In October 2013, Joshi and Vakani participated in a promotional event held in New Jersey at the Expo Center.[8]

text: In February 2015, Joshi, Vakani, and Lodha hosted the red carpet at the 60th Britannia Filmfare awards to promote the 'Clean India' campaign.[9]

text: Reception and impact[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2017) (Learn how and when to remove this template message)

text: In 2010, the show beat Balika Vadhu to become the most watched television programme in India. The show has constantly achieved high ratings throughout its run, irrespective of the Indian Premiere League. In the first week of 2017, the show stood in fourth position with 6,004 TVT ratings. In the fourth week, the show entered the top five and stood in fifth position with 6,059 TVT ratings. In March 2017, the show remained within the top five shows urban rural metrics. In the 25th week of 2017, the show stood at the top spot with 6,092 TVT ratings. In the 26th week of 2017, the show stood at third spot with 6,049 TVT ratings. It is the longest running scripted show on Indian television.In the 1st week of 2018 the show topped the trp chart with 6961 tvt ratings.[10][better source needed]

text: Polish Deputy Prime Minister and Minister of Culture and National Heritage, Piotr Glinski visited the sets of Taarak Mehta Ka Ooltah Chashmah in February 2016.

text: Special episodes[edit]

text: C.I.D. on Sony TV and SAB TV. The Episodes were named as Mahasangam.

text: Awards[edit]

text: Indian Television Academy Awards[edit]

text:
Year
Category
Recipient(s)
Result

2008
Best Actress-Comedy
Disha Vakani[11]
Won

2009
Best Actress-Comedy[12]
Won

Best Serial–Comedy[12]
Neela Tele Films Private Limited
Won

2010
Best Serial-Comedy[13]
Won

2012
Best Actor-Comedy
Dilip Joshi[14]
Won

2013
The ITA Scroll Of Honour[15]
Neela Tele Films Private Limited
Won

2014
Best Actor-Comedy
Dilip Joshi[16]
Won

Best Actress-Comedy
Disha Vakani[17]
Won

2015
Best Show - Comedy
Neela Tele Films Private Limited
Won

2016
Best Serial- Comedy
Neela Tele Films Private Limited
Won

text: Indian Telly Awards[edit]

text:
Year
Category
Recipient(s)
Result

2009
Best Actor in a Comic Role (Male)
Dilip Joshi[18]
Won

Best Actor in a Comic Role (Female)
Disha Vakani[18]
Won

Best Sitcom[18]
Neela Tele Films Private Limited
Won

Best Sitcom Writer
Raju Odedra and Rajan Upadhyay[18]
Won

2010
Most Popular Actor in a Comic Role (Male)
Dilip Joshi[19]
Won

Most Popular Actor in a Comic Role (Female)
Disha Vakani[19]
Won

Most Popular Child Artist (Male)
Bhavya Gandhi[19]
Won

Best Sitcom[19]
Neela Tele Films Private Limited
Won

Best Sitcom Writer
Raju Odedra and Rajan Upadhyay[19]
Won

2012
Most Popular Actor in a Comic Role (Male)
Dilip Joshi[20]
Won

Best Actress in a Comic Role (Jury)
Disha Vakani[20]
Won

Best Sitcom[20]
Neela Tele Films Private Limited
Won

2013
Actress in a Comic Role (Jury)
Disha Vakani[21]
Won

Best Director (Sitcom)
Harshad Joshi and Malav Rajda[21]
Won

Most Popular Actor in a Comic Role
Dilip Joshi[21]
Won

Best Sitcom / Comedy Program[21]
Neela Tele Films Private Limited
Won

text: Star Guild Awards[edit]

text:
Year
Category
Recipient(s)
Result

2011
Best Actor in a Drama Series
Dilip Joshi
Won

2013
Best Comedy Series
Neela Tele Films Private Limited
Won

text: Other awards[edit]

text:
Year
Award
Category
Result

2011
Global Honours
Best Actor in a Comic Role (Male)[22]
Won