document_title: Ghost (Hamlet)

question_text: the first one to see the ghost of king hamlet is

text: Ghost (Hamlet)

text: Overview[edit]

text: The Ghost appears three times in the play: in Act I, Scene i; in the continuum of Act I, Scenes iv and v; and Act III, Scene iv. The ghost arrives at 1.00 a.m. in at least two of the scenes, and in the other scene all that is known is that it is night.

text: The Ghost first appears to a duo of soldiers—Bernardo and Marcellus—and a visitor to Denmark, Horatio. The men draw their swords and stand in fear, requesting that Horatio, as a scholar, address the ghost. Horatio asks the ghost to speak, and reveal its secret. It is about to do so when the cock crows, signalling morning, and the ghost instead disappears. In this scene, the Ghost is clearly recognised by all present as the King, dressed in his full armour. Marcellus notes that the ghost had appeared to the castle guards twice before. Talk of spectral visitations has unsettled the night watch. Francisco, who Bernardo relieves on guard duty says, "For this relief much thanks; 't is bitter cold, And I am sick at heart."[2]

text: Seeing the Ghost arrayed in a military aspect, and aware of Fortinbras marshalling his forces on the frontier, Horatio recognises that the appearance of the Ghost must portend something regarding matters of state.[2]

text: Horatio then persuades Prince Hamlet into staying up with the guards to see if the ghost returns. At midnight, it appears, and beckons Hamlet to follow. Once alone, the ghost describes his wanderings on the earth, and his harrowing life in purgatory, since he died without receiving last rites.

text:
"...but know, thou noble youth,
The serpent that did sting thy Fathers life,
Now wears his crown."

Ghost of Hamlet's Father[3]

text: He tells the young Hamlet that he was poisoned and murdered by his brother, Claudius, the new King of Denmark, and asks the prince to avenge his death. He also expresses disgust at his wife, Gertrude, for marrying Claudius, but warns Hamlet not to confront her, but to leave that to Heaven. Later, Prince Hamlet returns to his friends and has them swear on his sword to keep what they have seen a secret. When they resist, the ghost utters the words "Swear" and "Swear on the sword", from below the stage, until his friends agree.

text: The prince Hamlet, fearing that the apparition may be a demon pretending to be King Hamlet, decides to put the ghost to the test by staging a play that re-enacts the circumstances that the spirit claims led to his death. Claudius's reaction is one of guilt and horror, and Prince Hamlet is convinced that the ghost is, in fact, his father. However, due to his over-analytical mind and the complexity of the ghost's conditions, much time passes before Hamlet can carry out his orders.

text: In the third appearance, Hamlet is confronted by the ghost in his mother's closet, and is rebuked for not carrying out his revenge and for disobeying in talking with Gertrude. Hamlet fearfully apologises. Gertrude, however, cannot see the ghost, and thinks Hamlet is mad, asking why he stares and talks to nothing. In this scene, the ghost is described as being in his nightgown. He is never mentioned again.

text: King Hamlet is described by the few who mention him—and this excludes basically all except Hamlet, Horatio and the guards—as a warrior, as he led Denmark's forces to victory against Norway, and personally defeated its King Fortinbras in hand-to-hand combat. Hamlet respects him, saying Claudius pales in comparison to him, and frequently reflecting on him in an endearing manner.

text: Interpretations[edit]

text: "The Ghost in Hamlet is essential to the plot of the play."[4] He has also been the subject of a variety of interpretations. W.W. Greg was of the opinion that the Ghost was a figment of Hamlet's overwrought imagination.[5] J. Dover Wilson and others have argued that in having the Ghost appear a number of times to others before appearing to Hamlet, Shakespeare makes clear that the apparition is not a mere illusion.[4]

text: Performances[edit]

text: About a hundred years after Shakespeare died, Nicholas Rowe reported that he had heard an anecdote that Shakespeare himself had played the Ghost, starting a story that continues to this day.[1]


document_title: Amelia Lily

question_text: where did amelia lily come on the x factor

root

text: Amelia Lily

text: Early life[edit]

text: The daughter of Aranka Bradley and Barry Oliver, Amelia Lily was born on 16 October 1994 in Nunthorpe, Middlesbrough. She was educated at Chandlers Ridge Primary school followed by the independent, fee-paying Teesside High School, in nearby Eaglescliffe. Lily began her musical career while still a secondary school pupil by posting videos of herself singing on YouTube.[2] Her cover of Adele's "Someone Like You" garnered over 1 million views.[3] From the age of 13, she began writing songs with her guitar and aspired to be a country singer after being brought up listening to it.[4] She was a figure skater for 6 years during her childhood.[4] She was also working on the tills at a garden centre in Nunthorpe, for £4.90 an hour, which she "absolutely hated".[5] Lily declared in an interview for The Sun[6] that she suffered bullying for five years at a previous school, saying she "had no friends", and "used to come home crying all the time". The newspaper reported that bullies picked on her because of her different style and, even after Lily was asked to sing at an assembly, they said she "would never make it". On a SugarScape interview in August 2012, she revealed that she wanted to be a nun when she was younger.[7]

tag: p

text: Career[edit]

text: 2011: The X Factor[edit]

text: Known as the "Comeback Kid",[8] Lily auditioned for The X Factor in Liverpool in front of judges Louis Walsh, Gary Barlow, Tulisa, and Kelly Rowland in 2011. She sang Erma Franklin's "Piece of My Heart" and won praise from all four judges. Gary Barlow said "...oh my goodness, 16 years old that was incredible. That absolutely lifted the top of this arena, well done. Amazing vocals. Amelia I am blown away..."[9]

text: She progressed through boot camp to the judges' houses, where she sang "E.T." by Katy Perry in front of Rowland and guest judge Jennifer Hudson. Lily made it to the live shows in Rowland's girls category, along with Misha B, Janet Devlin and Sophie Habibis. She performed "Billie Jean" receiving positive reviews. The judges loved her performance on the Britain vs America theme show, with Louis telling her: "Amelia, you deserve to be on that stage"; Gary also gave her thumbs-up, commenting: "That was a really great opening to the show" but she was the first of the girls category to be eliminated from the live shows on 9 October by decision of her mentor. There was no public vote in the inaugural live show. After her surprise elimination, Lily continued to perform at clubs. Prior to the sixth live show of The X Factor, it was announced that Frankie Cocozza had been axed and that the public would be given the chance to reinstate a contestant eliminated during the first live show. Lily was voted back into the competition after winning 48.8% of the vote, beating 2 Shoes, James Michael and Jonjo Kerr. Her comeback performance of "The Show Must Go On" received critical acclaim from all four judges.

text: In week 7 she sang Think by Aretha Franklin. Despite positive comments from the judges, she was in the bottom two with Craig Colton, and was saved after Barlow and Tulisa voted to send Colton through to the quarter-final while Rowland and Walsh who had the casting vote voted to send Lily through to the quarter-final. This meant Walsh sent the result to deadlock and Lily was sent through to the quarter-final. The following week, Lily again received critical acclaim from the judges for her two performances: China in Your Hand and Since U Been Gone, with Barlow commenting that it was "really nice to hear ['China in Your Hand'] sung in tune." It was later revealed that she topped the public vote in the quarter-final and semi-final. On 4 December, she won a place in the final along with Little Mix and Marcus Collins. Throughout the series, she topped the public vote twice and was in the bottom two only once before reaching the finals, where she finished in third place with 26.5 per cent of the public vote.

text: Performances on The X Factor[edit]

text:
Episode
Song
Result

Audition
"Piece of My Heart"
Advanced

Bootcamp 1
"You've Got the Love" (group performance)
Advanced

Bootcamp 2
"Nobody Knows"
Advanced

Judges' houses
"E.T."
Advanced

"You and I"

Live show 1
"Billie Jean"
Not saved by Kelly Rowland
Eliminated

Return vote
N/A
1st (48.8%)
Reinstated

Live show 6
"The Show Must Go On"
1st (27.4%)

Live show 7
"Think"
5th (11.3%)
Bottom two

Results show 7
"You and I" (final showdown performance)
Saved by judges

Live show 8
"China in Your Hand"
1st (23.8%)

"Since U Been Gone"

Live show 9 (semi-final)
"Ain't No Mountain High Enough"
3rd (21.4%)

"I'm with You"

Live show 10 (final)
"Ain't No Other Man"
3rd (26.5%)
Eliminated

"River Deep – Mountain High"
(duet with Kelly Rowland)

tag: table

text: 2012: Be a Fighter[edit]

text: After Lily embarked on the X Factor tour, it was announced that she had signed a £500,000 record deal with Sony subsidiary Xenomania.[10] In September 2012, she released her debut single, "You Bring Me Joy", which reached number one on iTunes following its release,[11] eventually charting at number two in the UK.[12] Her second single, "Shut Up (and Give Me Whatever You Got)", was released in January 2013, peaking at number 11 on the UK Singles Chart. Her third single, "Party Over", was released in April 2013[13] and reached number 40.

text: Her debut album was planned to be released on 29 April 2013,[14] and was to be titled Be a Fighter. Lily described the album as featuring an eclectic range of genres—"There's a bit of dubstep on there as well which I think will surprise people! The sound is all over the place but I think the record works because we've only included songs that I really connected with."[15] Lily announced in July 2013 that the album's release had been postponed to record new material for it as she wanted it to be "perfect".[16] Be a Fighter appeared on online retailers later in 2013 with a new release date of 4 February 2014, but was subsequently taken down.

text: 2013: Girls Aloud and Olly Murs Tour[edit]

text: Lily was the support act for Girls Aloud's arena tour, Ten: The Hits Tour, participating from 21 February to 20 March 2013.[17] On the tour Lily was the opening act for several tour dates, she notably performed You Bring Me Joy and a Bruno Mars cover Locked Out of Heaven. "You Bring Me Joy" was at the time at Number 2 on the English Charts. Lily was also the main support act for Olly Murs's gig at the INTRO Festival.[18] She also performed at Allstarz Summer Party at Madejski Stadium in Reading [19] and later Chester Rocks at Chester Racecourse in June 2013, both of which were alongside Jessie J and Lawson.

text: 2014: California[edit]

text: In July 2014, Lily announced the release of a single titled "California" on Warner Music, due for release 7 September. On 25 July, Lily released the music video for "California" on 25 July 2014. The music video has gained 467,529 viewers.

text: In 2016, a promo CD featuring the explicit version of "California" appeared online including two new tracks, "The Best Of Me Yet (Greatest Night)" and "U Get Me".

text: 2015–present: Theatre and Celebrity Big Brother[edit]

text: In November 2014 it was announced that Lily would be replacing Marcus Collins in the UK tour of Joseph and the Amazing Technicolor Dreamcoat[20] from February 2015.

text: In May, the London Evening Standard announced that Lily would be taking on the role of Whatsername when Green Day's American Idiot comes to London.[21]

text: She competed in Celebrity Big Brother 2017. Lily left the house on Day 25 as the runner up behind Sarah Harding.

text: Artistry[edit]

text: Lily credits Pink as her major musical influence and idol.[22] She also admires Kelly Clarkson, and cited her as her hero during The X Factor, singing one of her songs in the show, "Since U Been Gone".[23]

text: Personal life[edit]

text: Lily is a Type 1 diabetic, having been diagnosed with the condition aged three.[24] She is the sister of Any Dream Will Do's Lewis Bradley.[citation needed]

text: Discography[edit]

text: Singles[edit]

text: As lead artist[edit]

text:
Year
Title
Peak chart positions
Certifications
Album

UK
[25]
IRE
[26]
NL
[27]
SCO
[28]

2012
"You Bring Me Joy"
2
21
67
2

BPI: Silver[29]

Non-album singles

2013
"Shut Up (and Give Me Whatever You Got)"
11
63
—
8

"Party Over"
40
—
—
36

2014
"California"
83
—
—
43

"—" denotes single that did not chart or was not released.

text: As featured artist[edit]

text:
Year
Title
Peak chart positions
Album

UK
[30]
IRE
[31]
SCO
[32]

2011
"Wishing on a Star"
(as part of The X Factor Finalists 2011 featuring JLS and One Direction)
1
1
1
Charity single


document_title: Casablanca (film)

question_text: where does the story of the film casablanca take place

question_tokens: where does the story of the film casablanca take place

text: Casablanca (film)

text: Plot[edit]

text: In December 1941, American expatriate Rick Blaine owns an upscale nightclub and gambling den in Casablanca. "Rick's Café Américain" attracts a varied clientele, including Vichy French and German officials, refugees desperate to reach the still-neutral United States, and those who prey on them. Although Rick professes to be neutral in all matters, he ran guns to Ethiopia during its war with Italy and fought on the Loyalist side in the Spanish Civil War.

text: Petty crook Ugarte boasts to Rick of "letters of transit" obtained by murdering two German couriers. The papers allow the bearers to travel freely around German-controlled Europe and to neutral Portugal, and are priceless to the refugees stranded in Casablanca. Ugarte plans to sell them at the club, and asks Rick to hold them. Before he can meet his contact, Ugarte is arrested by the local police under the command of Captain Louis Renault, the unabashedly corrupt Vichy prefect of police. Ugarte dies in custody without revealing that he entrusted the letters to Rick.

text: Then the reason for Rick's bitterness—former lover Ilsa Lund—enters his establishment. Spotting Rick's friend and house pianist, Sam, Ilsa asks him to play "As Time Goes By." Rick storms over, furious that Sam disobeyed his order never to perform that song, and is stunned to see Ilsa. She is accompanied by her husband, Victor Laszlo, a renowned fugitive Czech Resistance leader. They need the letters to escape to America to continue his work. German Major Strasser has come to Casablanca to see that Laszlo fails.

text: When Laszlo makes inquiries, Ferrari, a major underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters. Privately, Rick refuses to sell at any price, telling Laszlo to ask his wife the reason. They are interrupted when Strasser leads a group of officers in singing "Die Wacht am Rhein" ("The Watch on the Rhine"). Laszlo orders the house band to play "La Marseillaise". When the band looks to Rick, he nods his head. Laszlo starts singing, alone at first, then patriotic fervor grips the crowd and everyone joins in, drowning out the Germans. Strasser has Renault close the club.

text: Ilsa confronts Rick in the deserted café. When he refuses to give her the letters, she threatens him with a gun, but then confesses that she still loves him. She explains that when they met and fell in love in Paris in 1940, she believed her husband had been killed attempting to escape from a concentration camp. While preparing to flee with Rick from the imminent fall of the city to the German army, she learned Laszlo was alive and in hiding. She left Rick without explanation to nurse her sick husband. Rick's bitterness dissolves. He agrees to help, letting her believe she will stay with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl spirit Ilsa away. Laszlo, aware of Rick's love for Ilsa, tries to persuade him to use the letters to take her to safety.

text: When the police arrest Laszlo on a minor, trumped-up charge, Rick persuades Renault to release him by promising to set him up for a much more serious crime: possession of the letters. To allay Renault's suspicions, Rick explains that he and Ilsa will be leaving for America.

text: When Renault tries to arrest Laszlo as arranged, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon with Laszlo, telling her that she would regret it if she stayed—"Maybe not today, maybe not tomorrow, but soon and for the rest of your life." Strasser, tipped off by Renault, drives up alone. Rick shoots him when he tries to intervene. When policemen arrive, Renault pauses, then orders them to "round up the usual suspects." He suggests to Rick that they join the Free French in Brazzaville. As they walk away into the fog, Rick says, "Louis, I think this is the beginning of a beautiful friendship".

text: Cast[edit]

text: The play's cast consisted of 16 speaking parts and several extras; the film script enlarged it to 22 speaking parts and hundreds of extras.[13] The cast is notably international: only three of the credited actors were born in the United States (Bogart, Dooley Wilson, and Joy Page). The top-billed actors are:[14]

text:
Humphrey Bogart as Rick Blaine. Rick was Bogart's first truly romantic role.
Ingrid Bergman as Ilsa Lund. Bergman's official website calls Ilsa her "most famous and enduring role".[15] The Swedish actress's Hollywood debut in Intermezzo had been well received, but her subsequent films were not major successes until Casablanca. Film critic Roger Ebert called her "luminous", and commented on the chemistry between her and Bogart: "she paints his face with her eyes".[16] Other actresses considered for the role of Ilsa included Ann Sheridan, Hedy Lamarr, Luise Rainer and Michèle Morgan. Producer Hal Wallis obtained the services of Bergman, who was contracted to David O. Selznick, by lending Olivia de Havilland in exchange.[17]
Paul Henreid as Victor Laszlo. Henreid, an Austrian actor who had emigrated in 1935, was reluctant to take the role (it "set [him] as a stiff forever", according to Pauline Kael[18]), until he was promised top billing along with Bogart and Bergman. Henreid did not get on well with his fellow actors; he considered Bogart "a mediocre actor." Bergman called Henreid a "prima donna".[19]

tag: ul

text: The second-billed actors are:

text:
Claude Rains as Captain Louis Renault. Rains was an English actor born in London. He had previously worked with Michael Curtiz on The Adventures of Robin Hood. He later played the villain in Alfred Hitchcock's Notorious, reteaming with Ingrid Bergman.
Conrad Veidt as Major Heinrich Strasser. He was a refugee German actor who had appeared in The Cabinet of Dr. Caligari. He fled the Nazis, but was frequently cast as a Nazi in American films. A major star in German cinema before the Nazi era, he was the highest paid member of the cast despite his second billing.[20]
Sydney Greenstreet as Signor Ferrari. Another Englishman, Greenstreet had previously starred with Lorre and Bogart in his film debut in The Maltese Falcon.
Peter Lorre as Signor Ugarte. Born in Austria-Hungary, Lorre fled Nazi Germany in 1933 after starring in Fritz Lang's first sound movie, M (1931). Greenstreet and Lorre appeared in several films together over the next few years, although they did not share a scene in Casablanca.

text: Also credited are:

text:
Curt Bois as the pickpocket. Bois was a German-Jewish actor and refugee. He had one of the longest careers in film, making his first appearance in 1907 and his last in 1987.
Leonid Kinskey as Sascha, the Russian bartender infatuated with Yvonne. He was born into a Jewish family in Russia and had immigrated to the United States. He told Aljean Harmetz, author of Round Up the Usual Suspects: The Making of Casablanca, that he was cast because he was Bogart's drinking buddy.[21] He was not the first choice for the role; he replaced Leo Mostovoy, who was deemed not funny enough.[21]
Madeleine LeBeau as Yvonne, Rick's soon-discarded girlfriend. The French actress was married to fellow Casablanca performer Marcel Dalio until their divorce in 1942. She was the last surviving cast member at her death on May 1, 2016.[22]
Joy Page as Annina Brandel, the young Bulgarian refugee. The third credited American, she was the stepdaughter of Jack L. Warner, the studio head.
John Qualen as Berger, Laszlo's Resistance contact. He was born in Canada, but grew up in the United States. He appeared in many of John Ford's films.
S. Z. Sakall (credited as S. K. Sakall) as Carl, the waiter. The Jewish-Hungarian actor fled Germany in 1939. His three sisters and his niece later died in a concentration camp.
Dooley Wilson as Sam. He was one of the few American-born members of the cast. A drummer, he had to fake playing the piano. Even after shooting had been completed, producer Wallis considered dubbing over Wilson's voice for the songs.[23][24] He had originally considered changing the character to a woman and casting singers Hazel Scott, Lena Horne, or Ella Fitzgerald.

text: Notable uncredited actors are:

text:
Marcel Dalio as Emil the croupier. He had been a star in French cinema, appearing in Jean Renoir's La Grande Illusion and La Règle du Jeu. After he fled the fall of France and went to America, he was reduced to bit parts in Hollywood. He had a key role as "Frenchy" in another of Bogart's films, To Have and Have Not.
Helmut Dantine as Jan Brandel, the Bulgarian roulette player married to Annina Brandel. Another Austrian, he had spent time in a concentration camp after the Anschluss, but left Europe after being freed.
Gregory Gaye as the German banker who is refused entry to the casino by Rick. Gaye was a Russian-born actor who went to the United States in 1917 after the Russian Revolution.
Torben Meyer as the Dutch banker who runs "the second largest banking house in Amsterdam". Meyer was a Danish actor.
Corinna Mura as the guitar player who sings "Tango Delle Rose" (or "Tango de la Rosa") while Laszlo is consulting with Berger, and later accompanies the crowd on "La Marseillaise".
Frank Puglia as a Moroccan rug merchant.
Dan Seymour as Abdul the doorman. He was an American actor who often played villains, including the principal one in To Have and Have Not, and one of the secondary ones in Key Largo, both opposite Bogart.
Gerald Oliver Smith as the Englishman whose wallet is stolen. Smith was an English actor.
Norma Varden as the Englishwoman whose husband has his wallet stolen. She was a famous English character actress.

text: Much of the emotional impact of the film has been attributed to the large proportion of European exiles and refugees who were extras or played minor roles (in addition to leading actors Paul Henreid, Conrad Veidt and Peter Lorre): such as Louis V. Arco, Trude Berliner, Ilka Grünig, Lotte Palfi, Richard Ryen, Ludwig Stössel, Hans Twardowski, and Wolfgang Zilzer. A witness to the filming of the "duel of the anthems" sequence said he saw many of the actors crying and "realized that they were all real refugees".[25] Harmetz argues that they "brought to a dozen small roles in Casablanca an understanding and a desperation that could never have come from Central Casting".[26] They were frequently cast as Nazis in war films, even though many were Jewish.

text: The comedian Jack Benny may have had an unbilled cameo role, as was claimed by a contemporary newspaper advertisement[27] and in the Casablanca press book.[28][29] When asked in his column "Movie Answer Man", critic Roger Ebert first replied, "It looks something like him. That's all I can say."[28] In a later column, he responded to a follow-up commenter, "I think you're right. The Jack Benny Fan Club can feel vindicated."[30]

text: Production[edit]

text: The film was based on Murray Burnett and Joan Alison's then-unproduced play Everybody Comes to Rick's.[31] The Warner Bros. story analyst who read the play, Stephen Karnot, called it (approvingly) "sophisticated hokum",[32] and story editor Irene Diamond, who had discovered the unproduced play on a trip to New York in 1941, convinced producer Hal Wallis to buy the rights in January 1942 for $20,000,[33] the most anyone in Hollywood had ever paid for an unproduced play.[34] The project was renamed Casablanca, apparently in imitation of the 1938 hit Algiers.[35] Although an initial filming date was selected for April 10, 1942, delays led to a start of production on May 25.[36] Filming was completed on August 3, and the production cost $1,039,000 ($75,000 over budget),[37] above average for the time.[38] Unusually, the film was shot in sequence, mainly because only the first half of the script was ready when filming began.[39]

text: The entire picture was shot in the studio, except for the sequence showing Major Strasser's arrival, which was filmed at Van Nuys Airport, and a few short clips of stock footage views of Paris.[40] The street used for the exterior shots had recently been built for another film, The Desert Song,[41] and redressed for the Paris flashbacks.

text: The background of the final scene, which shows a Lockheed Model 12 Electra Junior airplane with personnel walking around it, was staged using little person extras and a proportionate cardboard plane.[42] Fog was used to mask the model's unconvincing appearance.[43] Nevertheless, the Disney's Hollywood Studios theme park in Orlando, Florida purchased a Lockheed 12A for its Great Movie Ride attraction, and initially claimed that it was the actual plane used in the film.[44]

text: Film critic Roger Ebert called Hal Wallis the "key creative force" for his attention to the details of production (down to insisting on a real parrot in the Blue Parrot bar).[16]

text: The difference between Bergman's and Bogart's height caused some problems. She was two inches (5 cm) taller than Bogart, and claimed Curtiz had Bogart stand on blocks or sit on cushions in their scenes together.[45]

text: Later, there were plans for a further scene, showing Rick, Renault and a detachment of Free French soldiers on a ship, to incorporate the Allies' 1942 invasion of North Africa. It proved too difficult to get Claude Rains for the shoot, and the scene was finally abandoned after David O. Selznick judged "it would be a terrible mistake to change the ending."[46][20]

text: Writing[edit]

text: The original play was inspired by a trip to Europe made by Murray Burnett and his wife in 1938, during which they visited Vienna shortly after the Anschluss and were affected by the anti-Semitism they saw. In the south of France, they went to a nightclub that had a multinational clientele, among them many exiles and refugees, and the prototype of Sam.[47][48] In The Guardian, Paul Fairclough writes that Cinema Vox in Tangier "was Africa's biggest when it opened in 1935, with 2,000 seats and a retractable roof. As Tangier was in Spanish territory, the theatre's wartime bar heaved with spies, refugees and underworld hoods, securing its place in cinematic history as the inspiration for Rick's Cafe in Casablanca."[49][50]

text: The first writers assigned to the script were twins Julius and Philip Epstein who, against the wishes of Warner Brothers, left at Frank Capra's request early in 1942 to work on the Why We Fight series in Washington, D.C.[51][52] While they were gone, the other credited writer, Howard Koch, was assigned; he produced thirty to forty pages.[52] When the Epstein brothers returned after about a month, they were reassigned to Casablanca and—contrary to what Koch claimed in two published books—his work was not used.[52] The Epstein brothers and Koch never worked in the same room at the same time during the writing of the script. Koch later commented, "When we began, we didn't have a finished script ... Ingrid Bergman came to me and said, 'Which man should I love more...?' I said to her, 'I don't know ... play them both evenly.' You see we didn't have an ending, so we didn't know what was going to happen!"[53] In the final budget for the film, the Epsteins were paid $30,416, and Koch earned $4,200.[54]

text: In the play, the Ilsa character is an American named Lois Meredith; she does not meet Laszlo until after her relationship with Rick in Paris has ended. Rick is a lawyer. To make Rick's motivation more believable, Wallis, Curtiz, and the screenwriters decided to set the film before the attack on Pearl Harbor.[55]

text: The uncredited Casey Robinson assisted with three weeks of rewrites, including contributing the series of meetings between Rick and Ilsa in the cafe.[56][57] Koch highlighted the political and melodramatic elements,[58][59] and Curtiz seems to have favored the romantic parts, insisting on retaining the Paris flashbacks.[60] Wallis wrote the final line, "Louis, I think this is the beginning of a beautiful friendship," after shooting had been completed. Bogart had to be called in a month after the end of filming to dub it.[60]

text: Despite the many writers, the film has what Ebert describes as a "wonderfully unified and consistent" script. Koch later claimed it was the tension between his own approach and Curtiz's which accounted for this: "Surprisingly, these disparate approaches somehow meshed, and perhaps it was partly this tug of war between Curtiz and me that gave the film a certain balance."[61] Julius Epstein would later note the screenplay contained "more corn than in the states of Kansas and Iowa combined. But when corn works, there's nothing better."[62]

text: The film ran into some trouble with Joseph Breen of the Production Code Administration (the Hollywood self-censorship body), who opposed the suggestions that Captain Renault extorted sexual favors from his supplicants, and that Rick and Ilsa had slept together.[63][64] Extensive changes were made, with several lines of dialogue removed or altered. All direct references to sex were deleted; Renault's selling of visas for sex, and Rick and Ilsa's previous sexual relationship were implied elliptically rather than referenced explicitly.[65] Also, in the original script, when Sam plays "As Time Goes By", Rick remarks, "What the —— are you playing?" This line was altered to: "Sam, I told you never to play..." to conform to Breen's objection to an implied swear word.[66]

text: The script has been subject to a significant amount of misquotation. One of the lines most closely associated with the film—"Play it again, Sam"—is inaccurate.[67][68] When Ilsa first enters the Café Americain, she spots Sam and asks him to "Play it once, Sam, for old times' sake." After he feigns ignorance, she responds, "Play it, Sam. Play 'As Time Goes By'." Later that night, alone with Sam, Rick says, "You played it for her, you can play it for me," and "If she can stand it, I can! Play it!" Rick's toast to Ilsa, "Here's looking at you, kid", used four times, was not written into the draft screenplays, but has been attributed to a comment Bogart said to Bergman as he taught her poker between takes.[69] It was voted the fifth most memorable line in cinema in AFI's 100 Years...100 Movie Quotes by the American Film Institute.[70]

text: Six lines from Casablanca appeared in the AFI list, the most of any film (Gone with the Wind and The Wizard of Oz tied for second with three apiece). The other five are:

text:
"Louis, I think this is the beginning of a beautiful friendship."—20th
"Play it, Sam. Play 'As Time Goes By'."—28th
"Round up the usual suspects."—32nd
"We'll always have Paris."—43rd
"Of all the gin joints in all the towns in all the world, she walks into mine."—67th

text: Additionally, the line "Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world" was nominated for the list.[71]

text: In the November/December 1982 issue of American Film, Chuck Ross claimed that he retyped the screenplay to Casablanca, changing the title back to Everybody Comes to Rick's and the name of the piano player to Dooley Wilson, and submitted it to 217 agencies. Eighty-five of them read it; of those, thirty-eight rejected it outright, thirty-three generally recognized it (but only eight specifically as Casablanca), three declared it commercially viable, and one suggested turning it into a novel.[72]

text: The Writers Guild of America, West, ranked the screenplay #1 on its list of the 101 greatest screenplays.[73]

text: Direction[edit]

text: Wallis's first choice for director was William Wyler, but he was unavailable, so Wallis turned to his close friend Michael Curtiz.[74][20] Curtiz was a Hungarian Jewish émigré; he had come to the U.S. in 1926, but some of his family were refugees from Nazi Europe.

text: Roger Ebert has commented that in Casablanca "very few shots ... are memorable as shots," as Curtiz wanted images to express the story rather than to stand alone.[16] He contributed relatively little to development of the plot. Casey Robinson said Curtiz "knew nothing whatever about story ... he saw it in pictures, and you supplied the stories."[75]

text: Critic Andrew Sarris called the film "the most decisive exception to the auteur theory",[76] of which Sarris was the most prominent proponent in the United States. Aljean Harmetz has responded, "nearly every Warner Bros. picture was an exception to the auteur theory".[74] Other critics give more credit to Curtiz. Sidney Rosenzweig, in his study of the director's work, sees the film as a typical example of Curtiz's highlighting of moral dilemmas.[77]

text: The second unit montages, such as the opening sequence of the refugee trail and the invasion of France, were directed by Don Siegel.[78]

text: Cinematography[edit]

text: The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. Particular attention was paid to photographing Bergman. She was shot mainly from her preferred left side, often with a softening gauze filter and with catch lights to make her eyes sparkle; the whole effect was designed to make her face seem "ineffably sad and tender and nostalgic".[16] Bars of shadow across the characters and in the background variously imply imprisonment, the crucifix, the symbol of the Free French Forces and emotional turmoil.[16] Dark film noir and expressionist lighting was used in several scenes, particularly towards the end of the picture. Rosenzweig argues these shadow and lighting effects are classic elements of the Curtiz style, along with the fluid camera work and the use of the environment as a framing device.[79]

text: Music[edit]

text: The music was written by Max Steiner, who was best known for the score for Gone with the Wind. The song "As Time Goes By" by Herman Hupfeld had been part of the story from the original play; Steiner wanted to write his own composition to replace it, but Bergman had already cut her hair short for her next role (María in For Whom the Bell Tolls) and could not re-shoot the scenes which incorporated the song,[80] so Steiner based the entire score on it and "La Marseillaise", the French national anthem, transforming them as leitmotifs to reflect changing moods.[81] Even though Steiner didn't like "As Time Goes By", he admitted in a 1943 interview that it "must have had something to attract so much attention."[82]

text: Particularly memorable is the "duel of the songs" between Strasser and Laszlo at Rick's cafe.[20] In the soundtrack, "La Marseillaise" is played by a full orchestra. Originally, the opposing piece for this iconic sequence was to be the "Horst Wessel Lied", a Nazi anthem, but this was still under international copyright in non-Allied countries. Instead "Die Wacht am Rhein" was used.[83] The "Deutschlandlied", the national anthem of Germany, features in the final scene, in which it gives way to "La Marseillaise" after Strasser is shot.[84][20]

text: Other songs include:

text:
"It Had to Be You", music by Isham Jones, lyrics by Gus Kahn
"Shine", music by Ford Dabney, lyrics by Cecil Mack and Lew Brown
"Avalon", music and lyrics by Al Jolson, Buddy DeSylva and Vincent Rose
"Perfidia", by Alberto Dominguez
"The Very Thought of You", by Ray Noble, and
"Knock on Wood", music by M. K. Jerome, lyrics by Jack Scholl, the only original song.

text: The piano featured in the Paris flashback sequences was sold in New York City on December 14, 2012, at Sotheby's for more than $600,000 to an anonymous bidder.[85] The piano Sam "plays" in Rick's Café Américain, put up for auction with other film memorabilia by Turner Classic Movies at Bonhams in New York in November 2014, sold for $3.4 million.[86][87] Dooley Wilson was not a trained pianist. The piano music for the film was played offscreen and dubbed.[88]

text: Release[edit]

text: Although an initial release date was anticipated for early 1943,[89] the film premiered at the Hollywood Theater in New York City on November 26, 1942, to coincide with the Allied invasion of North Africa and the capture of Casablanca.[6][90] It went into general release on January 23, 1943, to take advantage of the Casablanca Conference, a high-level meeting in the city between British Prime Minister Winston Churchill and American President Franklin D. Roosevelt. The Office of War Information prevented screening of the film to troops in North Africa, believing it would cause resentment among Vichy supporters in the region.[91]

text: Reception[edit]

text: Initial response[edit]

text: Casablanca received "consistently good reviews".[92] Bosley Crowther of The New York Times wrote, "The Warners ... have a picture which makes the spine tingle and the heart take a leap." He applauded the combination of "sentiment, humor and pathos with taut melodrama and bristling intrigue". Crowther noted its "devious convolutions of the plot", and praised the screenplay quality as "of the best" and the cast's performances as "all of the first order".[93]

text: The trade paper Variety commended the film's "combination of fine performances, engrossing story and neat direction" and the "variety of moods, action, suspense, comedy and drama that makes Casablanca an A-1 entry at the b.o."[94] "Film is splendid anti-Axis propaganda, particularly inasmuch as the propaganda is strictly a by-product of the principal action and contributes to it instead of getting in the way."[94] The review also applauded the performances of Bergman and Henreid and note that "Bogart, as might be expected, is more at ease as the bitter and cynical operator of a joint than as a lover, but handles both assignments with superb finesse."[94]

text: Some other reviews were less enthusiastic. The New Yorker rated it only "pretty tolerable" and said it was "not quite up to Across the Pacific, Bogart's last spyfest".[95]

text: In the 1,500-seat Hollywood Theater, the film grossed $255,000 over ten weeks.[96] In its initial U.S. release, it was a substantial but not spectacular box-office success, taking in $3.7 million, making it the seventh highest-grossing film of 1943.[96][97]

text: Lasting influence[edit]

text: The film has grown in popularity. Murray Burnett called it "true yesterday, true today, true tomorrow".[98] By 1955, the film had brought in $6.8 million, making it the third most successful of Warners' wartime movies (behind Shine On, Harvest Moon and This Is the Army).[99] On April 21, 1957, the Brattle Theater of Cambridge, Massachusetts, showed the film as part of a season of old movies. It was so popular that it began a tradition of screening Casablanca during the week of final exams at Harvard University, which continues to the present day. Other colleges have adopted the tradition. Todd Gitlin, a professor of sociology who had attended one of these screenings, has said that the experience was "the acting out of my own personal rite of passage".[100] The tradition helped the movie remain popular while other films famous in the 1940s have faded from popular memory. By 1977, Casablanca was the most frequently broadcast film on American television.[101]

text: On the film's 50th anniversary, the Los Angeles Times called Casablanca's great strength "the purity of its Golden Age Hollywoodness [and] the enduring craftsmanship of its resonantly hokey dialogue". Bob Strauss wrote in the newspaper that the film achieved a "near-perfect entertainment balance" of comedy, romance, and suspense.[102]

text: According to Roger Ebert, Casablanca is "probably on more lists of the greatest films of all time than any other single title, including Citizen Kane" because of its wider appeal. Ebert opined that Citizen Kane is generally considered to be a "greater" film, but Casablanca is more loved.[16] In his opinion, the film is popular because "the people in it are all so good", and it is "a wonderful gem".[16] Ebert said that he has never heard of a negative review of the film, even though individual elements can be criticized, citing unrealistic special effects and the stiff character/portrayal of Laszlo.[75] Critic Leonard Maltin considers Casablanca to be "the best Hollywood movie of all time."[103]

text: Rick, according to Rudy Behlmer, is "not a hero ... not a bad guy": he does what is necessary to get along with the authorities and "sticks his neck out for nobody". The other characters, in Behlmer's words, are "not cut and dried" and come into their goodness over the course of the film. Renault begins as a collaborator with the Nazis who extorts sexual favors from refugees and has Ugarte killed. Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. By the end, however, "everybody is sacrificing."[75] Behlmer also emphasized the variety in the picture: "it's a blend of drama, melodrama, comedy [and] intrigue".[75]

text: A few reviewers have had reservations. To Pauline Kael, "It's far from a great film, but it has a special appealingly schlocky romanticism ..."[104] Poet and critic Dan Schneider wrote that the work "does entertain, and is an interesting piece of Americana", but criticized it as a melodrama "driven by plot, not by character development. All the characters react to what the plot dictates to them; the plot does not organically flow from their personae."[105] Umberto Eco wrote that "by any strict critical standards ... Casablanca is a very mediocre film." He viewed the changes the characters undergo as inconsistent rather than complex: "It is a comic strip, a hotch-potch, low on psychological credibility, and with little continuity in its dramatic effects." However, he added that due to the presence of multiple archetypes which allow "the power of Narrative in its natural state without Art intervening to discipline it", it is a movie reaching "Homeric depths" as a "phenomenon worthy of awe."[106] Casablanca holds a 97% "Fresh" rating on Rotten Tomatoes based on 77 reviews, with the consensus: "An undisputed masterpiece and perhaps Hollywood's quintessential statement on love and romance, Casablanca has only improved with age, boasting career-defining performances from Humphrey Bogart and Ingrid Bergman."[107]

text: Influence on later works[edit]

text: Many subsequent films have drawn on elements of Casablanca. Passage to Marseille reunited actors Bogart, Rains, Greenstreet, Lorre and director Curtiz in 1944,[108] and there are similarities between Casablanca and another later Bogart film, To Have and Have Not (1944).[109]

text: Parodies have included the Marx Brothers' A Night in Casablanca (1946), Neil Simon's The Cheap Detective (1978), and Out Cold (2001). Indirectly, it provided the title for the 1995 neo-noir film The Usual Suspects.[110] Woody Allen's Play It Again, Sam (1972) appropriated Bogart's Casablanca persona as the fantasy mentor for Allen's character.[111]

text: The film Casablanca was a plot device in the science-fiction television movie Overdrawn at the Memory Bank (1983), based on John Varley's story. It was referred to in Terry Gilliam's dystopian Brazil (1985). Warner Bros. produced its own parody in the homage Carrotblanca, a 1995 Bugs Bunny cartoon.[112] In Casablanca, a novella by Argentine writer Edgar Brau, the protagonist somehow wanders into Rick's Café Américain and listens to a strange tale related by Sam.[113] The 2016 musical film La La Land contains multiple allusions to Casablanca in the imagery, dialogue, and plot.[114]

text: Director Robert Zemeckis of Allied (2016), which is also set in 1942 Casablanca, studied the film to capture the city's elegance.[115]

text: Interpretation[edit]

text: Casablanca has been subjected to many readings; Semioticians account for the film's popularity by claiming that its inclusion of stereotypes paradoxically strengthens the film.[116][117][118][119] Umberto Eco wrote:

text: Thus Casablanca is not just one film. It is many films, an anthology. Made haphazardly, it probably made itself, if not actually against the will of its authors and actors, then at least beyond their control. And this is the reason it works, in spite of aesthetic theories and theories of film making. For in it there unfolds with almost telluric force the power of Narrative in its natural state, without Art intervening to discipline it ... When all the archetypes burst in shamelessly, we reach Homeric depths. Two clichés make us laugh. A hundred clichés move us. For we sense dimly that the clichés are talking among themselves, and celebrating a reunion.[120][121]

text: Eco also singled out sacrifice as a theme, "the myth of sacrifice runs through the whole film".[122] It was this theme which resonated with a wartime audience that was reassured by the idea that painful sacrifice and going off to war could be romantic gestures done for the greater good.[123]

text: Koch also considered the film a political allegory. Rick is compared to President Franklin D. Roosevelt, who gambled "on the odds of going to war until circumstance and his own submerged nobility force him to close his casino (partisan politics) and commit himself—first by financing the Side of Right and then by fighting for it".[124] The connection is reinforced by the film's title, which means "white house".[124]

text: Harvey Greenberg presents a Freudian reading in his The Movies on Your Mind, in which the transgressions which prevent Rick from returning to the United States constitute an Oedipus complex, which is resolved only when Rick begins to identify with the father figure of Laszlo and the cause which he represents.[125] Sidney Rosenzweig argues that such readings are reductive and that the most important aspect of the film is its ambiguity, above all in the central character of Rick; he cites the different names which each character gives Rick (Richard, Ricky, Mr. Rick, Herr Rick and boss) as evidence of the different meanings which he has for each person.[126]

text: Awards and honors[edit]

text: Because of its November 1942 release, the New York Film Critics decided to include the film in its 1942 award season for best picture. Casablanca lost to In Which We Serve.[96] However, the Academy of Motion Picture Arts and Sciences stated that since the film went into national release in the beginning of 1943, it would be included in that year's nominations.[127] Casablanca was nominated for eight Academy Awards, and won three. As Bogart stepped out of his car at the Academy Awards ceremony, "the crowd surged forward, almost engulfing him and his wife, Mayo Methot. It took 12 police officers to rescue the two, and a red-faced, startled, yet smiling Bogart heard a chorus of cries of 'good luck' and 'here's looking at you, kid' as he was rushed into the theater."[128]

text: When the award for Best Picture was announced, producer Hal B. Wallis got up to accept, but studio head Jack L. Warner rushed up to the stage "with a broad, flashing smile and a look of great self-satisfaction," Wallis later recalled. "I couldn't believe it was happening. Casablanca had been my creation; Jack had absolutely nothing to do with it. As the audience gasped, I tried to get out of the row of seats and into the aisle, but the entire Warner family sat blocking me. I had no alternative but to sit down again, humiliated and furious ... Almost forty years later, I still haven't recovered from the shock."[128] This incident would lead Wallis to leave Warner Bros. in April.[129]

text:
Award
Category
Nominee
Result

16th Academy Awards
Outstanding Motion Picture
Warner Bros. (Hal B. Wallis, Producer)
Won

Best Director
Michael Curtiz
Won

Best Actor
Humphrey Bogart
Nominated

Best Supporting Actor
Claude Rains
Nominated

Best Writing, Screenplay
Julius J. Epstein, Philip G. Epstein, and Howard Koch
Won

Best Cinematography
Arthur Edeson
Nominated

Best Film Editing
Owen Marks
Nominated

Best Music (Score of a Dramatic or Comedy Picture)
Max Steiner
Nominated

text: In 1989, the film was one of the first 25 films selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[130] In 2005, it was named one of the 100 greatest films of the last 80 years by Time magazine (the selected films were not ranked).[citation needed] Screenwriting teacher Robert McKee maintains that the script is "the greatest screenplay of all time".[17] In 2006, the Writers Guild of America, West agreed, voting it the best ever in its list of the 101 greatest screenplays.[131] The film has been selected by the American Film Institute for many of their lists of important American films:

text:
Year
Category
Rank

1998
AFI's 100 Years...100 Movies
2

2001
AFI's 100 Years...100 Thrills
37

2002
AFI's 100 Years...100 Passions
1

2003
AFI's 100 Years...100 Heroes and Villains
4: Rick Blaine (hero)

2004
AFI's 100 Years...100 Songs
2: "As Time Goes By"

2005
AFI's 100 Years...100 Movie Quotes
5, 20, 28, 32, 43, 67: See "Writing" above.

2006
AFI's 100 Years...100 Cheers
32

2007
AFI's 100 Years...100 Movies (10th Anniversary Edition)
3

text: Home media releases[edit]

text: Casablanca was initially released on Betamax and VHS by Magnetic Video and later by CBS/Fox Video (as United Artists owned the rights at the time). It was next released on laserdisc in 1991, and on VHS in 1992—both from MGM/UA Home Entertainment (distributing for Turner Entertainment Co.), which at the time was distributed by Warner Home Video. It was first released on DVD in 1997 by MGM, containing the trailer and a making-of featurette (Warner Home Video reissued the DVD in 2000). A subsequent two-disc special edition, containing audio commentaries, documentaries, and a newly remastered visual and audio presentation, was released in 2003.[132]

text: An HD DVD was released on November 14, 2006, containing the same special features as the 2003 DVD.[133] Reviewers were impressed with the new high-definition transfer of the film.[134]

text: A Blu-ray release with new special features came out on December 2, 2008; it is also available on DVD.[135] The Blu-ray was initially only released as an expensive gift set with a booklet, a luggage tag and other assorted gift-type items. It was eventually released as a stand-alone Blu-ray in September 2009. On March 27, 2012, Warner released a new 70th Anniversary Ultimate Collector's Edition Blu-ray/DVD combo set. It includes a brand-new 4K restoration and new bonus material.[136][137]

text: Sequels and other versions[edit]

text: Almost from the moment Casablanca became a hit, talk began of producing a sequel. One titled Brazzaville (in the final scene, Renault recommends fleeing to that Free French-held city) was planned, but never produced.[138] (A newspaper article at the time mentions that Bogart and Greenstreet "will continue their characterizations from the first film, and it's likely that Geraldine Fitzgerald will have an important role".[139]). Since then, no studio has seriously considered filming a sequel or outright remake. François Truffaut refused an invitation to remake the film in 1974, citing its cult status among American students as his reason.[140] Attempts to recapture the magic of Casablanca in other settings, such as Caboblanco (1980), "a South American-set retooling of Casablanca",[141] and Havana (1990)[142] have been poorly received.

text: Stories of a Casablanca remake or sequel nonetheless persist. In 2008, the Daily Mail reported that Madonna was pursuing a remake set in modern-day Iraq.[143] In 2012, both The Daily Telegraph and Entertainment Weekly reported on efforts by Cass Warner, granddaughter of Harry Warner and friend of the late Howard Koch, to produce a sequel featuring the search by Rick Blaine and Ilsa Lund's illegitimate son for the whereabouts of his biological father.[144][145]

text: The novel As Time Goes By, written by Michael Walsh and published in 1998, was authorized by Warner.[146][147] The novel picks up where the film leaves off, and also tells of Rick's mysterious past in America. The book met with little success.[148] David Thomson provided an unofficial sequel in his 1985 novel Suspects.[149]

text: There have been two short-lived television series based upon Casablanca, both sharing the title. The first, a Cold War espionage program set during the production's present day, aired on ABC as part of the wheel series Warner Bros. Presents in hour-long episodes from 1955 to 1956, with Charles McGraw as Rick and Marcel Dalio, who played Emil the croupier in the movie, as the police chief.[150] The second series, briefly broadcast on NBC in April 1983, starred David Soul as Rick and was cancelled after 3 weeks.[140]

text: There were several radio adaptations of the film. The two best-known were a thirty-minute adaptation on The Screen Guild Theater on April 26, 1943, starring Bogart, Bergman, and Henreid, and an hour-long version on the Lux Radio Theater on January 24, 1944, featuring Alan Ladd as Rick, Hedy Lamarr as Ilsa, and John Loder as Victor Laszlo. Two other thirty-minute adaptations were aired: on Philip Morris Playhouse on September 3, 1943, and on Theater of Romance on December 19, 1944, in which Dooley Wilson reprised his role as Sam.[151]

text: Julius Epstein made two attempts to turn the film into a Broadway musical, in 1951 and 1967, but neither made it to the stage.[152] The original play, Everybody Comes to Rick's, was produced in Newport, Rhode Island, in August 1946, and again in London in April 1991, but met with no success.[153] The film was adapted into a musical by the Takarazuka Revue, an all-female Japanese musical theater company, and ran from November 2009 through February 2010.[154]

text: Colorization[edit]

text: Casablanca was part of the film colorization controversy of the 1980s,[155] when a colorized version aired on the television network WTBS. In 1984, MGM/UA hired Color Systems Technology to colorize the film for $180,000.[156] When Ted Turner of Turner Broadcasting System purchased MGM/UA's film library two years later, he canceled the request, before contracting American Film Technologies (AFT) in 1988. AFT completed the colorization in two months at a cost of $450,000.[156] Turner later reacted to the criticism of the colorization, saying, "[Casablanca] is one of a handful of films that really doesn't have to be colorized. I did it because I wanted to. All I'm trying to do is protect my investment."[156]

text: The Library of Congress deemed that the color change differed so much from the original film that it gave a new copyright to Turner Entertainment. When the colorized film debuted on WTBS, it was watched by three million viewers, not making the top-ten viewed cable shows for the week. Although Jack Matthews of the Los Angeles Times called the finished product "state of the art", it was mostly met with negative critical reception.[156] It was briefly available on home video. Gary Edgerton, writing for the Journal of Popular Film & Television criticized the colorization, "... Casablanca in color ended up being much blander in appearance and, overall, much less visually interesting than its 1942 predecessor."[156] Bogart's son Stephen said, "if you're going to colorize Casablanca, why not put arms on the Venus de Milo?"[140]

text: Anecdotes and inaccuracies[edit]

text: Several rumors and misconceptions have grown up around the film, one being that Ronald Reagan was originally chosen to play Rick. This originated in a press release issued by the studio early on in the film's development, but by that time the studio already knew that he was going into the Army, and he was never seriously considered.[157] George Raft claimed that he had turned down the lead role. Studio records make clear that Wallis was committed to Bogart from the start.[158]

text: Another well-known story is that the actors did not know until the last day of shooting how the film was to end. The original play (set entirely in the cafe) ended with Rick sending Ilsa and Laszlo to the airport. During scriptwriting, the possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Casey Robinson wrote to Hal Wallis before filming began, the ending of the film "set up for a swell twist when Rick sends her away on the plane with Laszlo. For now, in doing so, he is not just solving a love triangle. He is forcing the girl to live up to the idealism of her nature, forcing her to carry on with the work that in these days is far more important than the love of two little people."[159] It was certainly impossible for Ilsa to leave Laszlo for Rick, as the production code forbade showing a woman leaving her husband for another man. The concern was not whether Ilsa would leave with Laszlo, but how this result could be engineered.[160] The problem was solved when the Epstein brothers, Julius and Philip, were driving down Sunset Boulevard and stopped for the light at Beverly Glen. At that instant the identical twins turned to each other and simultaneously cried out, "Round up the usual suspects!"[161] By the time they had driven past Fairfax and the Cahuenga Pass and through the Warner Brothers studio's portals at Burbank, in the words of Julius Epstein, "the idea for the farewell scene between a tearful Bergman and a suddenly noble Bogart" had been formed and all the problems of the ending had been solved.[162] The confusion was probably caused by Bergman's later statement that she did not know which man she was meant to be in love with. Rewrites did occur during the filming, but Aljean Harmetz's examination of the scripts has shown that many of the key scenes were shot after Bergman knew how the film would end; any confusion was, in critic Roger Ebert's words, "emotional", not "factual".[16]

text: The film has several logical flaws, the foremost being the two "letters of transit" that enable their bearers to leave Vichy French territory. According to the  audio (help·info), Ugarte says the letters had been signed by (depending on the listener) either Free French General Charles de Gaulle or Vichy General Maxime Weygand. The English subtitles on the official DVD read de Gaulle; the French ones specify Weygand. Weygand had been the Vichy Delegate-General for the North African colonies until November 1941, a month before the film is set. De Gaulle was the head of the Free French government in exile, so a letter signed by him would have provided no benefit.[37] A classic MacGuffin, the letters were invented by Joan Alison for the original play and never questioned.[163]

text: In the same vein, though Laszlo asserts that the Nazis cannot arrest him, saying, "This is still unoccupied France; any violation of neutrality would reflect on Captain Renault," Ebert points out, "It makes no sense that he could walk around freely. ... He would be arrested on sight."[16]

text: In addition, no uniformed German troops were stationed in Casablanca during World War II, and neither American nor French troops occupied Berlin in 1918.[37]

text: According to Harmetz, the usual route out of Germany, at least for people in the film industry, was not via Morocco and Lisbon but via Vienna, Prague, Paris and England. Only the film's technical adviser, Robert Aisner, traced the path to Morocco shown in the film's opening scene.[164]


document_title: List of infantry weapons in the American Revolution

question_text: what weapons did they use in the battle of saratoga

text: American weapons[edit]

text: Brown Bess[edit]

text: The Brown Bess Musket muzzle-loading smoothbore musket was one of the most commonly used weapons in the American Revolution. While this was a British weapon, it was used heavily by the American Colonists. This musket was used to fire a single shot ball, or a cluster style shot which fired multiple projectiles giving the weapon a "shotgun" effect. There were two variations of the Brown Bess: the Short Land Pattern and the Long Land Pattern. The Short Land was shorter, less bulky, less heavy than the Long Land. Most American fighters implemented the Long Land Pattern.[1]

text: Charleville Musket[edit]

text: Large numbers of Charleville Model 1763 and 1766 muskets were imported into the United States from France during the American Revolution, due in large part to the influence of Marquis de Lafayette.[6] The Charleville 1766 heavily influenced the design of the Springfield Musket of 1795.

text: American-made Muskets[edit]

text: Many muskets were produced locally by various gunsmiths in the colonies, often reusing parts from other weapons. These are known as "Committee of Safety" muskets, as they were funded by the fledgling local government. Because of the need to produce as many weapons as quick as possible, and also out of fear of prosecution by the British government, many of the muskets did not bear a maker's mark. Also, the muskets took a long reloading time so during bayonet charges the Americans were vulnerable to the British. Some were simply marked as property of a state, or "US," U:STATES," or "UNITED STATES." [2]

text: Long Rifles[edit]

text: Long rifles were an American design of the 18th century, produced by individual German gunsmiths in Pennsylvania. Based on the Jäger rifle,[3] long rifles, known as "Pennsylvania Rifles", were used by snipers and light infantry throughout the Revolutionary War. The grooved barrel increased the range and accuracy by spinning a snugly fitted ball, giving an accurate range of 300 yards compared to 100 yards for smoothbore muskets. Drawbacks included the low rate of fire due to the complicated reloading process, the impossibility to fit it with a bayonet, the high cost, and lack of standardization that required extensive training with a particular rifle for a soldier to realize the weapon's full potential. Due to the drawbacks, George Washington argued for a limited role of rifles in the Colonial military, while Congress was more enthusiastic and authorized the raising of several companies of riflemen.[4] Long rifles played a significant part in the battles of Saratoga and New Orleans, where rifleman units picked off officers to disrupt British command and control, but required support by units armed with smoothbore muskets or by artillery to prevent the riflemen from being overrun.[5]

text: Bayonet[edit]

text: The bayonet was a crucial weapon because of the limited range and accuracy and long loading time of the muskets. Bayonets were fixed on the ends of the guns and were a fearsome weapon in hand-to-hand combat in which one or both sides charged the other; with the bayonet leading the charge. The triangular shape of the bayonet created a deep, easily infected puncture wound. Continental Army and militia units, both loyalists and patriots, frequently were not equipped with bayonets. Regular British infantrymen however had a bayonet as part of their standard gear, stored in a side pouch.[6]

text: British Infantry Weapons[edit]

text: Pattern 1776 Infantry Rifle[edit]

text: The Pattern 1776 Rifle was built by William Grice, and was based on German rifles in use by the British Army during its time. About 1,000 of these were built and used by the British Army. The rifle was given to light companies of regiments in the British Army during the American Revolution. The Gun is .62 Calibre with a 30.5 inch barrel [7]

text: Ferguson Rifle[edit]

text: The Ferguson rifle is the first breech-loading rifle to be adopted by the military. It had a much faster fire rate than muskets, and was one of only a very few rifles that could be reloaded while in the prone position. The cost was much higher than any other rifle used by the British military. It had an accurate range of approximately 100 yards with a 3–4 inch inaccuracy. The creator of this rifle, Major Patrick Ferguson, used approximately 100 of them for his rifle corps; however when the Major was mortally wounded the rifle production ended and Ferguson's unit was disbanded. Only two military examples of Ferguson rifles are known to exist today, along with a few civilian models and modern reproductions.[8]

text: Brown Bess Musket[edit]

text: The Brown Bess musket was the gun used by the British military from 1722 until about 1838. It was used throughout the Revolutionary War and the Napoleonic Wars. It was capable of firing approximately three to four shots per minute. The Brown Bess Musket was a flint-lock musket, meaning it would use flint in order to spark the gunpowder loaded into the gun to cause the gun to fire.

text: French Weapons[edit]

text: Charleville Musket[edit]

text: The Charleville musket was the primary musket used by French infantry during the American Revolution. Getting its name from the principal French arsenal located in Charleville, France in the Champagne-Ardenne province, this weapon had a general effective range of 50 yards and fired a .69-cal round.[9] A typical Charleville musket is 60.00 inches in length, weighs an average of 10.06lb (loaded), and is capable of firing two rounds per minute.[10][not in citation given] These single-shot-muzzle-loaded muskets contained iron sights and are notorious for being the superior weapon to the British ‘Brown Bess’ due to its lighter weight and (relatively) higher accuracy.[11]

text: Numerous models of the Charleville musket were utilized in the American Revolution. The French shipped 11,000 muskets to Philadelphia, PA and 37,000 to Portsmouth, New Hampshire; both of these shipments contained model ‘1760's’ muskets. The model 1777 was not shipped to American troops, however they were used as the primary armament for General Rochambeau's regiments that departed for America in 1780.[10] Many infantrymen utilized a 15-inch bayonet; according to many reports, bayonets may have accounted for over 1/3 of all kills.[11]

text: Native American Weapon[edit]

text: Tomahawk[edit]

text: A tomahawk, or war club, was the favorite weapon of the Native Americans during the revolutionary war.[12] These traditional hatchets were often made of stone and wood and could be used for a variety of purposes.[12] They were useful in hand-to-hand combat, could be thrown short distances, and were often used as tools.[13] Tomahawks usually consisted of a light wooden handle and a thin square blade.[13] More often than not, they would have one thick spike protruding from one end of the blade. These spikes could be used as tools or weapons. Contrary to popular belief, tomahawks very rarely had any decorative markings. Instead, they were simple and functional.[13]


document_title: Ballon d'Or

question_text: who have the most ballon d'or in the history of football

text: Ballon d'Or

text: History

text: Stanley Matthews of Blackpool was the inaugural winner of the Ballon d'Or.[4] Prior to 1995, the award was often known in English language media as the European Footballer of the Year award. Milan's George Weah, the only African recipient, became the first non-European to win the award in the year that rules of eligibility were changed.[2] Ronaldo of Internazionale became the first South American winner two years later.[2] Lionel Messi and Cristiano Ronaldo have won the award a record five times each. Three players have won the award three times each: Johan Cruyff of Ajax and Barcelona, Michel Platini of Juventus and Marco van Basten of Milan. With seven awards each, Dutch and German players won the most Ballons d'Or. Spanish club Barcelona has the most winners, with 11 wins.[5]

text: Between 2010 and 2015 inclusive, the award was merged with a similar one, the FIFA World Player of the Year award, to create the FIFA Ballon d'Or, which was awarded to the world's best male player before FIFA and France Football broke the merging agreement.[6] After 2011, UEFA created the UEFA Best Player in Europe Award to maintain the format of the original Ballon d'Or.[7]

text: Eight players (Bobby Charlton, Franz Beckenbauer, Gerd Müller, Paolo Rossi, Zinedine Zidane, Rivaldo, Ronaldinho and Kaká)  have won the FIFA World Cup, the European Cup/UEFA Champions League and the Ballon d'Or during their careers.[8]

text: Winners

text:
Key

This indicates the Ballon d'Or winning player has also won the FIFA World Player of the Year or The Best FIFA Men's Player award in the same year

text:
Year

Rank

Player

Team

Points

Ballon d'Or (1956–2009)

1956

1st

 Stanley Matthews

 Blackpool

47

2nd

 Alfredo Di Stéfano

 Real Madrid

44

3rd

 Raymond Kopa

 Real Madrid

33

1957

1st

 Alfredo Di Stéfano[note 1]

 Real Madrid

72

2nd

 Billy Wright

 Wolverhampton Wanderers

19

3rd

 Duncan Edwards

 Manchester United

16

 Raymond Kopa

 Real Madrid

1958

1st

 Raymond Kopa

 Real Madrid

71

2nd

 Helmut Rahn

 Rot-Weiss Essen

40

3rd

 Just Fontaine

 Stade de Reims

23

1959

1st

 Alfredo Di Stéfano

 Real Madrid

80

2nd

 Raymond Kopa

 Real Madrid

42

3rd

 John Charles

 Juventus

24

1960

1st

 Luis Suárez

 Barcelona

54

2nd

 Ferenc Puskás

 Real Madrid

37

3rd

 Uwe Seeler

 Hamburg

33

1961

1st

 Omar Sívori[note 2]

 Juventus

46

2nd

 Luis Suárez

 Internazionale

40

3rd

 Johnny Haynes

 Fulham

22

1962

1st

 Josef Masopust

 Dukla Prague

65

2nd

 Eusébio

 Benfica

53

3rd

 Karl-Heinz Schnellinger

 Köln

33

1963

1st

 Lev Yashin

 Dynamo Moscow

73

2nd

 Gianni Rivera

 Milan

53

3rd

 Jimmy Greaves

 Tottenham Hotspur

33

1964

1st

 Denis Law

 Manchester United

61

2nd

 Luis Suárez

 Internazionale

43

3rd

 Amancio

 Real Madrid

38

1965

1st

 Eusébio

 Benfica

67

2nd

 Giacinto Facchetti

 Internazionale

59

3rd

 Luis Suárez

 Internazionale

45

1966

1st

 Bobby Charlton

 Manchester United

81

2nd

 Eusébio

 Benfica

80

3rd

 Franz Beckenbauer

 Bayern Munich

59

1967

1st

 Flórián Albert

 Ferencváros

68

2nd

 Bobby Charlton

 Manchester United

40

3rd

 Jimmy Johnstone

 Celtic

39

1968

1st

 George Best

 Manchester United

61

2nd

 Bobby Charlton

 Manchester United

53

3rd

 Dragan Džajić

 Red Star Belgrade

46

1969

1st

 Gianni Rivera

 Milan

83

2nd

 Luigi Riva

 Cagliari

79

3rd

 Gerd Müller

 Bayern Munich

38

1970

1st

 Gerd Müller

 Bayern Munich

77

2nd

 Bobby Moore

 West Ham United

70

3rd

 Luigi Riva

 Cagliari

65

1971

1st

 Johan Cruyff

 Ajax

116

2nd

 Sandro Mazzola

 Internazionale

57

3rd

 George Best

 Manchester United

56

1972

1st

 Franz Beckenbauer

 Bayern Munich

81

2nd

 Gerd Müller

 Bayern Munich

79

 Günter Netzer

 Borussia Mönchengladbach

1973

1st

 Johan Cruyff[note 3]

 Barcelona

96

2nd

 Dino Zoff

 Juventus

47

3rd

 Gerd Müller

 Bayern Munich

44

1974

1st

 Johan Cruyff

 Barcelona

116

2nd

 Franz Beckenbauer

 Bayern Munich

105

3rd

 Kazimierz Deyna

 Legia Warsaw

35

1975

1st

 Oleg Blokhin

 Dynamo Kyiv

122

2nd

 Franz Beckenbauer

 Bayern Munich

42

3rd

 Johan Cruyff

 Barcelona

27

1976

1st

 Franz Beckenbauer

 Bayern Munich

91

2nd

 Rob Rensenbrink

 Anderlecht

75

3rd

 Ivo Viktor

 Dukla Prague

52

1977

1st

 Allan Simonsen

 Borussia Mönchengladbach

74

2nd

 Kevin Keegan[note 4]

 Hamburg

71

3rd

 Michel Platini

 Nancy

70

1978

1st

 Kevin Keegan

 Hamburg

87

2nd

 Hans Krankl

 Barcelona

81

3rd

 Rob Rensenbrink

 Anderlecht

50

1979

1st

 Kevin Keegan

 Hamburg

118

2nd

 Karl-Heinz Rummenigge

 Bayern Munich

52

3rd

 Ruud Krol

 Ajax

41

1980

1st

 Karl-Heinz Rummenigge

 Bayern Munich

122

2nd

 Bernd Schuster

 Barcelona

34

3rd

 Michel Platini

 Saint-Étienne

33

1981

1st

 Karl-Heinz Rummenigge

 Bayern Munich

106

2nd

 Paul Breitner

 Bayern Munich

64

3rd

 Bernd Schuster

 Barcelona

39

1982

1st

 Paolo Rossi

 Juventus

115

2nd

 Alain Giresse

 Bordeaux

64

3rd

 Zbigniew Boniek

 Juventus

39

1983

1st

 Michel Platini

 Juventus

110

2nd

 Kenny Dalglish

 Liverpool

26

3rd

 Allan Simonsen

 Vejle

25

1984

1st

 Michel Platini

 Juventus

110

2nd

 Jean Tigana

 Bordeaux

57

3rd

 Preben Elkjær

 Hellas Verona

48

1985

1st

 Michel Platini

 Juventus

127

2nd

 Preben Elkjær

 Hellas Verona

71

3rd

 Bernd Schuster

 Barcelona

46

1986

1st

 Igor Belanov

 Dynamo Kyiv

84

2nd

 Gary Lineker[note 5]

 Barcelona

62

3rd

 Emilio Butragueño

 Real Madrid

59

1987

1st

 Ruud Gullit[note 6]

 Milan

106

2nd

 Paulo Futre[note 7]

 Atlético Madrid

91

3rd

 Emilio Butragueño

 Real Madrid

61

1988

1st

 Marco van Basten

 Milan

129

2nd

 Ruud Gullit

 Milan

88

3rd

 Frank Rijkaard[note 8]

 Milan

45

1989

1st

 Marco van Basten

 Milan

129

2nd

 Franco Baresi

 Milan

80

3rd

 Frank Rijkaard

 Milan

43

1990

1st

 Lothar Matthäus

 Internazionale

137

2nd

 Salvatore Schillaci

 Juventus

84

3rd

 Andreas Brehme

 Internazionale

68

1991

1st

 Jean-Pierre Papin

 Marseille

141

2nd

 Dejan Savićević

 Red Star Belgrade

42

 Darko Pančev

 Red Star Belgrade

 Lothar Matthäus

 Internazionale

1992

1st

 Marco van Basten

 Milan

98

2nd

 Hristo Stoichkov

 Barcelona

80

3rd

 Dennis Bergkamp

 Ajax

53

1993

1st

 Roberto Baggio

 Juventus

142

2nd

 Dennis Bergkamp

 Internazionale

83

3rd

 Eric Cantona

 Manchester United

34

1994

1st

 Hristo Stoichkov

 Barcelona

210

2nd

 Roberto Baggio

 Juventus

136

3rd

 Paolo Maldini

 Milan

109

1995

1st

 George Weah[note 9]

 Milan

144

2nd

 Jürgen Klinsmann

 Bayern Munich

108

3rd

 Jari Litmanen

 Ajax

67

1996

1st

 Matthias Sammer

 Borussia Dortmund

144

2nd

 Ronaldo[note 10]

 Barcelona

143

3rd

 Alan Shearer

 Newcastle United

107

1997

1st

 Ronaldo[note 11]

 Internazionale

222

2nd

 Predrag Mijatović

 Real Madrid

68

3rd

 Zinedine Zidane

 Juventus

63

1998

1st

 Zinedine Zidane

 Juventus

244

2nd

 Davor Šuker

 Real Madrid

68

3rd

 Ronaldo

 Internazionale

66

1999

1st

 Rivaldo

 Barcelona

219

2nd

 David Beckham

 Manchester United

154

3rd

 Andriy Shevchenko

 Milan

64

2000

1st

 Luís Figo[note 12]

 Real Madrid

197

2nd

 Zinedine Zidane

 Juventus

181

3rd

 Andriy Shevchenko

 Milan

85

2001

1st

 Michael Owen

 Liverpool

176

2nd

 Raúl

 Real Madrid

140

3rd

 Oliver Kahn

 Bayern Munich

114

2002

1st

 Ronaldo[note 13]

 Real Madrid

169

2nd

 Roberto Carlos

 Real Madrid

145

3rd

 Oliver Kahn

 Bayern Munich

110

2003

1st

 Pavel Nedvěd

 Juventus

190

2nd

 Thierry Henry

 Arsenal

128

3rd

 Paolo Maldini

 Milan

123

2004

1st

 Andriy Shevchenko

 Milan

175

2nd

 Deco[note 14]

 Barcelona

139

3rd

 Ronaldinho

 Barcelona

133

2005

1st

 Ronaldinho

 Barcelona

225

2nd

 Frank Lampard

 Chelsea

148

3rd

 Steven Gerrard

 Liverpool

142

2006

1st

 Fabio Cannavaro[note 15]

 Real Madrid

173

2nd

 Gianluigi Buffon

 Juventus

124

3rd

 Thierry Henry

 Arsenal

121

2007

1st

 Kaká

 Milan

444

2nd

 Cristiano Ronaldo

 Manchester United

277

3rd

 Lionel Messi

 Barcelona

255

2008

1st

 Cristiano Ronaldo

 Manchester United

446

2nd

 Lionel Messi

 Barcelona

281

3rd

 Fernando Torres

 Liverpool

179

2009

1st

 Lionel Messi

 Barcelona

473

2nd

 Cristiano Ronaldo[note 16]

 Real Madrid

233

3rd

 Xavi

 Barcelona

170

FIFA Ballon d'Or (2010–2015)

2010

1st

 Lionel Messi

 Barcelona

22.65%

2nd

 Andrés Iniesta

 Barcelona

17.36%

3rd

 Xavi

 Barcelona

16.48%

2011

1st

 Lionel Messi

 Barcelona

47.88%

2nd

 Cristiano Ronaldo

 Real Madrid

21.60%

3rd

 Xavi

 Barcelona

9.23%

2012

1st

 Lionel Messi

 Barcelona

41.60%

2nd

 Cristiano Ronaldo

 Real Madrid

23.68%

3rd

 Andrés Iniesta

 Barcelona

10.91%

2013

1st

 Cristiano Ronaldo

 Real Madrid

27.99%

2nd

 Lionel Messi

 Barcelona

24.72%

3rd

 Franck Ribéry

 Bayern Munich

23.36%

2014

1st

 Cristiano Ronaldo

 Real Madrid

37.66%

2nd

 Lionel Messi

 Barcelona

15.76%

3rd

 Manuel Neuer

 Bayern Munich

15.72%

2015

1st

 Lionel Messi

 Barcelona

41.33%

2nd

 Cristiano Ronaldo

 Real Madrid

27.76%

3rd

 Neymar

 Barcelona

7.86%

Ballon d'Or (2016–present)

2016

1st

 Cristiano Ronaldo

 Real Madrid

745

2nd

 Lionel Messi

 Barcelona

316

3rd

 Antoine Griezmann

 Atlético Madrid

198

2017

1st

 Cristiano Ronaldo

 Real Madrid

946

2nd

 Lionel Messi

 Barcelona

670

3rd

 Neymar[note 17]

 Paris Saint-Germain

361

text: Wins by player

text: One-time winners are only included if they have also finished 2nd or 3rd in another year.

text:
Player

1st

2nd

3rd

 Lionel Messi[note 18]

5 (2009, 2010, 2011, 2012, 2015)

5 (2008, 2013, 2014, 2016, 2017)

1 (2007)

 Cristiano Ronaldo[note 19]

5 (2008, 2013, 2014, 2016, 2017)

5 (2007, 2009, 2011, 2012, 2015)

—

 Michel Platini

3 (1983, 1984, 1985)

—

2 (1977, 1980)

 Johan Cruyff

3 (1971, 1973, 1974)

—

1 (1975)

 Marco van Basten

3 (1988, 1989, 1992)

—

—

 Franz Beckenbauer

2 (1972, 1976)

2 (1974, 1975)

1 (1966)

 Ronaldo

2 (1997, 2002)

1 (1996)

1 (1998)

 Alfredo Di Stéfano

2 (1957, 1959)

1 (1956)

—

 Kevin Keegan

2 (1978, 1979)

1 (1977)

—

 Karl-Heinz Rummenigge

2 (1980, 1981)

1 (1979)

—

 Luis Suárez

1 (1960)

2 (1961, 1964)

1 (1965)

 Eusébio

1 (1965)

2 (1962, 1966)

—

 Bobby Charlton

1 (1966)

2 (1967, 1968)

—

 Raymond Kopa

1 (1958)

1 (1959)

2 (1956, 1957)

 Gerd Müller

1 (1970)

1 (1972)

2 (1969, 1973)

 Zinedine Zidane

1 (1998)

1 (2000)

1 (1997)

 Gianni Rivera

1 (1969)

1 (1963)

—

 Ruud Gullit

1 (1987)

1 (1988)

—

 Lothar Matthäus

1 (1990)

1 (1991)

—

 Roberto Baggio

1 (1993)

1 (1994)

—

 Hristo Stoichkov

1 (1994)

1 (1992)

—

 Andriy Shevchenko

1 (2004)

—

2 (1999, 2000)

 George Best

1 (1968)

—

1 (1971)

 Allan Simonsen

1 (1977)

—

1 (1983)

 Ronaldinho

1 (2005)

—

1 (2004)

text: Wins by country

text:
Country

Players

Wins

 Germany

5

7

 Netherlands

3

7

 Portugal

3

7

 France

4

6

 Italy

5

5

 Brazil

4

5

 England

4

5

 Argentina

1

5

 Soviet Union

3

3

 Spain

2

3

 Czech Republic

1

1

 Czechoslovakia

1

1

 Bulgaria

1

1

 Denmark

1

1

 Hungary

1

1

 Liberia

1

1

 Northern Ireland

1

1

 Scotland

1

1

 Ukraine

1

1

text: Wins by club

text:
Club

Players

Wins

 Barcelona

6

11

 Real Madrid

6

10

 Juventus

6

8

 Milan

6

8

 Bayern Munich

3

5

 Manchester United

4

4

 Dynamo Kyiv

2

2

 Internazionale

2

2

 Hamburg

1

2

 Ajax

1

1

 Benfica

1

1

 Blackpool

1

1

 Borussia Dortmund

1

1

 Borussia Mönchengladbach

1

1

 Dukla Prague

1

1

 Dynamo Moscow

1

1

 Ferencváros

1

1

 Liverpool

1

1

 Marseille

1

1

text: Additional awards

text: An honorary award, under the name Super Ballon d'Or, was awarded to Alfredo Di Stéfano in 1989, after he surpassed Johan Cruyff and Michel Platini in France Football's voting.[11]

text: A decade later, France Football elected Pelé the Football Player of the Century after consulting their former Ballon d'Or recipients. Among the 34 previous winners, 30 cast their votes; Stanley Matthews, Omar Sívori and George Best abstained, and Lev Yashin had died. Each voter was allotted five votes worth up to five points; however, Di Stéfano only chose a first place, Platini a first and second place, and George Weah two players for fifth place. Pelé was named the greatest by 17 voters, receiving almost double the number of points earned by the runner-up, Diego Maradona.[12]

text:
Football Player of the Century

Player

Pts

1st

2nd

3rd

4th

5th

 Pelé (BRA)

122
17
5
4
2
1

 Diego Maradona (ARG)

65
3
6
5
5
1

 Johan Cruyff (NED)

62
1
4
7
9
2

 Alfredo Di Stéfano (ESP)

44
4
3
3
1
1

 Michel Platini (FRA)

40
1
5
1
3
6

text: To coincide with the 60th anniversary of the Ballon d'Or in 2016, France Football published a reevaluation of the awards presented before 1995, when only European players were eligible to win the award. 12 out of the 39 Ballons d'Or presented during this time period would have been awarded to South American players; in addition to Pelé and Diego Maradona, Garrincha, Mario Kempes, and Romário were retrospectively recognized as worthy winners. The original recipients, however, remain unchanged.[13]

text: Maradona and Pelé also received honorary Ballons d'Ors for their services to football in 1996 and 2013, respectively.[14][15]

text:
Le nouveau palmarès (internationalized reevaluation)

Year

Original winner

Alternative

1958

 Raymond Kopa (FRA)

 Pelé (BRA)

1959

 Alfredo Di Stéfano (ESP)

 Pelé (BRA)

1960

 Luis Suárez (ESP)

 Pelé (BRA)

1961

 Omar Sívori (ITA)

 Pelé (BRA)

1962

 Josef Masopust (TCH)

 Garrincha (BRA)

1963

 Lev Yashin (URS)

 Pelé (BRA)

1964

 Denis Law (SCO)

 Pelé (BRA)

1970

 Gerd Müller (FRG)

 Pelé (BRA)

1978

 Kevin Keegan (ENG)

 Mario Kempes (ARG)

1986

 Igor Belanov (URS)

 Diego Maradona (ARG)

1990

 Lothar Matthäus (GER)

 Diego Maradona (ARG)

1994

 Hristo Stoichkov (BUL)

 Romário (BRA)