document_title: Service stripe

question_text: where do service stripes go on dress blues

text: Service stripe

text: Criteria[edit]

text: The United States Army authorizes one stripe for each three year period of service, while the United States Marine Corps, United States Navy, and United States Coast Guard authorize one stripe for each four year period of duty.[1]

text: In contrast to the Army, the Navy[2] and Marine Corps[3] Good Conduct Medals, a service stripe is authorized for wear by enlisted personnel upon completion of the specified term of service, regardless of the service member's disciplinary history. For example, a soldier with several non-judicial punishments and courts-martial would still be authorized a service stripe for three years service, although the Good Conduct Medal would be denied.

text: History[edit]

text: In 1777, the French ancien régime-era army had used Galons d'ancienneté, or "Seniority Braid" (cloth braid chevrons nicknamed brisures > "breaks") worn on the upper sleeves awarded for each seven years of enlistment.[4] Soldiers who wore such emblems were called briscards ("breakers"). The practice was continued in Napoleon Bonaparte's army in which they were awarded for 10, 15, and 20 years of service. The French Army later moved them to the lower sleeves and the rank stripes to the upper sleeves. Service chevrons were worn on the lower left sleeve and Wound Stripes were worn on the lower right sleeve (influencing the American Wound Chevron device).

text: In the United States, the concept of a service stripe dates back to 1782 when, during the American Revolution, George Washington ordered that enlisted men who had served for three years "with bravery, fidelity and good conduct" should wear "a narrow piece of white cloth, of angular form" on the left sleeve of the uniform coat.[4] In the U.S. Army, sleeve stripes denoted a successful completion of a standard enlistment. They were the same color as the enlisted rank stripes and were "half-chevrons" (angled strips of cloth). Service during the American Civil War was denoted by a red stripe bordered by the rank stripe color (called a "Blood Stripe"). The artillery corps, who wore red stripes on their uniforms, wore a white stripe bordered red instead.

text: Wear and use[edit]

text: Sleeve stripes are worn only by enlisted personnel. U.S. Army soldiers and U.S. Coast Guardsmen wear their stripes on the bottom cuff of the left sleeve,[2] where Marines wear them at the bottom cuff of both sleeves.[3] U.S. soldiers wear them on the left sleeve and Overseas Service Bars on the right one. Service stripes are only worn on formal uniforms, and are not seen on work uniforms.

text: Navy service stripes come in three colors and they are red, yellow, and black. They are 7 inches long and 3/8 inch wide for male chief petty officers; male sailors from rates seaman recruit to petty officer first class wear service stripes 5-1/4 inches long and 3/8 inch wide. Female navy sailors wear service stripes 5-1/4 inches long and 1/4 inch wide.[5] They are worn two inches above the left sleeve cuff on jackets, and 1-1/2 inch above the cuff on service dress blue jumpers and the new summer white jumpers. On the old-style summer white jumpers they are worn two inches above the cuff. Multiple navy service stripes are worn 1/4 inch apart from each other.

text: United States Navy, U.S. Marine Corps, and U.S. Coast Guard[edit]

text: The U.S. Navy authorizes gold service stripes for those service members with over twelve cumulative years service. The service must be free of disciplinary action in the United States Navy, United States Navy Reserve, United States Marine Corps, or the United States Marine Corps Reserve in a pay status. Both the U.S. Navy and the U.S. Marine Corps authorizes service stripes to those service members for every four years of service.[2]

text: In cases where a disciplinary infraction has occurred, the service member is not denied a service stripe but simply is authorized the standard red stripe design.

text: The Coast Guard authorizes gold and red service stripes, as well, but the distinction exists between junior enlisted personnel (E-1 to E-6 who wear red service stripes) and chief petty officers (E-7 to E-9 who wear gold service stripes).

text: United States Military Academy[edit]

text: These stripes are also used on the sleeves of the full dress uniform worn by cadets of the United States Military Academy at West Point, which denote the number of years a cadet has been at the academy. This is also done by cadets of other military colleges and prep schools.

text: United States Air Force[edit]

text: The United States Air Force is the only branch of service that does not authorize service stripes. The Air Force Longevity Service Ribbon is awarded instead. Historically, persons who were in the Army Air Forces and then became part of the Air Force when it was separated from the Army in 1947 could continue to wear their service stripes.

text: U.S. law enforcement use[edit]

text: In many civilian law enforcement agencies in the United States, policemen and sheriff's deputies will be awarded service stripes for wear on their long sleeved uniforms, usually on the lower left sleeve. One stripe may be worn for every three, four, or five years of service and differs from agency to agency.


document_title: Apocalypse Now

question_text: who did marlon brando play in apocalypse now

question_tokens: who did marlon brando play in apocalypse now

root

text: Apocalypse Now

text: Plot[edit]

text: In 1969, during the Vietnam War, United States Army Special Forces Colonel Walter E. Kurtz has gone insane and now commands his own Montagnard troops, inside neutral Cambodia, as a demi-god. Colonel Lucas and General Corman, increasingly concerned with Kurtz's vigilante operations, assign MACV-SOG Captain Benjamin L. Willard to "terminate" Kurtz "with extreme prejudice".

tag: p

text: Willard, initially ambivalent, joins a United States Navy river patrol boat (PBR) commanded by Chief, with crewmen Lance, "Chef", and "Mr. Clean" to head upriver. They rendezvous with surfing enthusiast Lieutenant Colonel Bill Kilgore, 1st Cavalry commander, to discuss going up the Nùng. Kilgore scoffs, but befriends Lance after discovering his surfing experience and agrees to escort them through the Nùng's Viet Cong–held coastal mouth. They successfully raid at dawn, with Kilgore ordering a napalm strike on the local cadres. Willard gathers his men to the PBR and journeys upriver.

text: Tension arises as Willard believes himself in command of the PBR while Chief prioritizes other objectives over Willard's. Slowly making their way upriver, Willard reveals his mission partially to the Chief to assuage his concerns about why his mission should proceed. As night falls, the PBR reaches the American Do Lung Bridge outpost on the Nùng River. Willard and Lance enter seeking information for what is upriver. Unable to find the commander, Willard orders the Chief to continue as an unseen enemy launches an assault on the bridge.

text: The next day, Willard learns from dispatch that another MACV-SOG operative, Captain Colby, who was sent on an earlier mission identical to Willard's, had joined Kurtz.[a] Meanwhile, as the crew read letters from home, Lance activates a smoke grenade, attracting the attention of a camouflaged enemy, and Mr. Clean is killed. Further upriver, Chief is impaled by a spear thrown by the natives and attempts to kill Willard by impaling him. Willard suffocates him, and Lance buries Chief in the river. Willard reveals his mission to Chef, but despite his anger towards the mission, he rejects Willard's offer for him to continue alone and insists that they complete the mission together.

text: The PBR arrives at Kurtz's outpost and the surviving crew are met by an American freelance photojournalist, who manically praises Kurtz's genius. As they wander through they come across a near-catatonic Colby, along with other US servicemen now in Kurtz's renegade army. Returning to the PBR, Willard later takes Lance with him, leaving Chef behind with orders to call in an airstrike on Kurtz's compound if they do not return. Chef is later killed by Kurtz.

text: In the camp, Willard is subdued, bound, and brought before Kurtz in a darkened temple. Tortured and imprisoned for several days, Willard is released and allowed to freely roam the compound. Kurtz lectures him on his theories of war, the human condition, and civilization while praising the ruthlessness and dedication of the Viet Cong. Kurtz discusses his family, and asks that Willard tell his son about him after his death.

text: That night, as the Montagnards ceremonially slaughter a water buffalo, Willard stealthily enters Kurtz's chamber, as he is making a recording, and attacks him with a machete. Mortally wounded, Kurtz utters "...The horror... the horror..." and dies. All in the compound see Willard departing, carrying a collection of Kurtz's writings, and bow down to him. Willard then leads Lance to the boat and the duo motor away. Kurtz's final words echo eerily as everything fades to black.

text: Cast[edit]

text:
Martin Sheen as Captain Benjamin L. Willard, a veteran U.S. Army special operations officer who has been serving in Vietnam for three years. The soldier who escorts him at the start of the film recites that Willard is from 505th Battalion, of the elite 173rd Airborne Brigade, assigned to MACV-SOG. It is later stated in the briefing scene that he worked intelligence/counterintelligence for the Central Intelligence Agency, carrying out secret operations and assassinations. Both scenes also establish he worked COMSEC. An attempt to re-integrate into home-front society had apparently failed prior to the time at which the film is set (in 1969), and so he returns to the war-torn jungles of Vietnam, where he seems to feel more at home.
Marlon Brando as Colonel Walter E. Kurtz, a highly decorated U.S. Army Special Forces officer with the 5th Special Forces Group who goes rogue. He runs his own military unit out of Cambodia and is feared as much by the US military as by the North Vietnamese and Vietcong.
Robert Duvall as Lieutenant Colonel William "Bill" Kilgore, 1st Squadron, 9th Air Cavalry Regiment commander and surfing fanatic. His character is a composite of several characters including Colonel John B. Stockton, General James F. Hollingsworth (featured in The General Goes Zapping Charlie Cong by Nicholas Tomalin), and George Patton IV, also a West Point officer whom Robert Duvall knew.[8]
Frederic Forrest as Engineman 3rd Class Jay "Chef" Hicks, a tightly wound former chef from New Orleans who is horrified by his surroundings.
Albert Hall as Chief Petty Officer George Phillips. The Chief runs a tight ship and frequently clashes with Willard over authority.
Sam Bottoms as Gunner's Mate 3rd Class Lance B. Johnson, a former professional surfer from California. He is known to drop acid. He becomes entranced by the Montagnard tribe, even participating in the sacrifice ritual.
Laurence Fishburne (credited as "Larry Fishburne") as Gunner's Mate 3rd Class Tyrone "Mr. Clean" Miller, the seventeen-year-old cocky South Bronx-born crewmember. Fishburne was only fourteen years old when shooting began in March 1976, as he had lied about his age in order to get cast in his role.[9] The film took so long to finish that Fishburne was seventeen (the same age as his character) by the time of its release.
Dennis Hopper as an American photojournalist, a manic disciple of Kurtz who greets Willard. According to the DVD commentary of Redux, the character is based on Sean Flynn, a famed news correspondent who disappeared in Cambodia in 1970. His dialogue follows that of the Russian "harlequin" in Conrad's story.
G. D. Spradlin as Lieutenant General Corman, military intelligence (G-2), an authoritarian officer who fears Kurtz and wants him removed. The character is named after filmmaker Roger Corman.
Jerry Ziesmer as Jerry, a mysterious man in civilian attire who sits in on Willard's initial briefing. His only line in the film is the famous "terminate with extreme prejudice". Ziesmer also served as the film's assistant director.
Harrison Ford as Colonel Lucas, aide to Corman and a general information specialist who gives Willard his orders. The character's name is a reference to George Lucas, who was involved in the script's early development with Milius and was originally intended to direct the film. Ford also portrayed Han Solo in Lucas's Star Wars, and prior to that had appeared in Lucas's American Graffiti (1973, produced by Coppola and Gary Kurtz) and Coppola's The Conversation (1974).
Scott Glenn as Captain Richard M. Colby, previously assigned Willard's current mission before he defected to Kurtz's private army and sent a message to his wife, intercepted by the Army, telling her he was never coming back and to sell everything they owned, including their children.
Bill Graham as Agent (announcer and in charge of the Playmates' show)
Cynthia Wood (Playboy's 1974 Playmate of the Year) as Playmate of the Year
Colleen Camp as Playmate "Miss May"
Linda (Beatty) Carpenter (Playboys's August 1976 Playmate of the Month) as Playmate "Miss August"

tag: ul

text: Adaptation[edit]

text: Although inspired by Joseph Conrad's Heart of Darkness, the film deviates extensively from its source material. The novella, based on Conrad's experience as a steamboat captain in Africa, is set in the Congo Free State during the 19th century.[10] Kurtz and Marlow (whose corresponding character in the movie is Capt. Willard) work for a Belgian trading company that brutally exploits its native African workers.

text: After arriving at Kurtz's outpost, Marlow concludes that Kurtz has gone insane and is lording over a small tribe as a god. The novella ends with Kurtz dying on the trip back and the narrator musing about the darkness of the human psyche: "the heart of an immense darkness".

text: In the novella, Marlow is the pilot of a river boat sent to collect ivory from Kurtz's outpost, only gradually becoming infatuated with Kurtz. In fact, when he discovers Kurtz in terrible health, Marlow makes an effort to bring him home safely. In the movie, Willard is an assassin dispatched to kill Kurtz. Nevertheless, the depiction of Kurtz as a god-like leader of a tribe of natives and his malarial fever, Kurtz's written exclamation "Exterminate all the brutes!" (which appears in the film as "Drop the bomb. Exterminate them All!") and his last words "The horror! The horror!" are taken from Conrad's novella.

text: Coppola argues that many episodes in the film—the spear and arrow attack on the boat, for example—respect the spirit of the novella and in particular its critique of the concepts of civilization and progress. Other episodes adapted by Coppola, the Playboy Playmates' (Sirens) exit, the lost souls, "take me home" attempting to reach the boat and Kurtz's tribe of (white-faced) natives parting the canoes (gates of Hell) for Willard, (with Chef and Lance) to enter the camp are likened to Virgil and "The Inferno" (Divine Comedy) by Dante. While Coppola replaced European colonialism with American interventionism, the message of Conrad's book is still clear.[11]

text: Coppola's interpretation of the Kurtz character is often speculated to have been modeled after Tony Poe, a highly decorated Vietnam-era paramilitary officer from the CIA's Special Activities Division.[12] Poe's actions in Vietnam and in the 'Secret War' in neighbouring Laos, in particular his highly unorthodox and often savage methods of waging war, show many similarities to those of the fictional Kurtz; for example, Poe was known to drop severed heads into enemy-controlled villages as a form of psychological warfare and use human ears to record the number of enemies his indigenous troops had killed. He would send these ears back to his superiors as proof of the efficacy of his operations deep inside Laos.[13][14] Coppola denies that Poe was a primary influence and says the character was loosely based on Special Forces Colonel Robert B. Rheault, who was the actual head of 5th Special Forces Group (May to July 1969), and whose 1969 arrest over the murder of suspected double agent Thai Khac Chuyen in Nha Trang generated substantial contemporary news coverage, in the Green Beret Affair,[15] including making public the phrase "terminate with extreme prejudice",[16] which was used prominently in the movie.

text: Use of T. S. Eliot's poetry[edit]

text: In the film, shortly before Colonel Kurtz dies, he recites part of T. S. Eliot's poem "The Hollow Men". The poem is preceded in printed editions by the epigraph "Mistah Kurtz – he dead", a quotation from Conrad's Heart of Darkness.

text: Two books seen opened on Kurtz's desk in the film are From Ritual to Romance by Jessie Weston and The Golden Bough by Sir James Frazer, the two books that Eliot cited as the chief sources and inspiration for his poem "The Waste Land". Eliot's original epigraph for "The Waste Land" was this passage from Heart of Darkness, which ends with Kurtz's final words:[17]

text: Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision, – he cried out twice, a cry that was no more than a breath –

text: When Willard is first introduced to Dennis Hopper's character, the photojournalist describes his own worth in relation to that of Kurtz with: "I should have been a pair of ragged claws/Scuttling across the floors of silent seas", from "The Love Song of J. Alfred Prufrock".

text: Production[edit]

text: Development[edit]

text: While working as an assistant for Francis Ford Coppola on The Rain People, George Lucas and Steven Spielberg encouraged their friend and filmmaker John Milius to write a Vietnam War film.[18] Milius had wanted to volunteer for the war, and was disappointed when he was rejected for having asthma.[19] Milius came up with the idea for adapting the plot of Joseph Conrad's Heart of Darkness to the Vietnam War setting. He had read the novel when he was a teenager and was reminded about it by one of his college lecturers who had mentioned the several unsuccessful attempts to adapt it into a movie.[20][b]

text: Coppola gave Milius $15,000 to write the screenplay with the promise of an additional $10,000 if it were green-lit.[21][22] Milius claims that he wrote the screenplay in 1969[20] and originally called it The Psychedelic Soldier.[23] He wanted to use Conrad's novel as "a sort of allegory. It would have been too simple to have followed the book completely."[21]

text: Milius based the character of Willard and some of Kurtz's on a friend of his, Fred Rexer. Rexer claimed to have experienced, first-hand, the scene related by Brando's character wherein the arms of villagers are hacked off by the Viet Cong. Kurtz was based on Robert B. Rheault, head of special forces in Vietnam.[24] Scholars have never found any evidence to corroborate Rexer's claim, nor any similar Viet Cong behavior, and consider it an urban legend.[25][26]

text: At one point, Coppola told Milius, "Write every scene you ever wanted to go into that movie",[20] and he wrote ten drafts, amounting to over a thousand pages.[27] Milius changed the film's title to Apocalypse Now after being inspired by a button badge popular with hippies during the 1960s that said "Nirvana Now". He was influenced by an article written by Michael Herr titled, "The Battle for Khe Sanh", which referred to drugs, rock 'n' roll, and people calling airstrikes down on themselves.[20] He was also inspired by such films as Dr Strangelove.

text: Milius says the classic line "Charlie don't surf" was inspired by a comment Ariel Sharon made during the Six-Day War, when he went skin diving after capturing enemy territory and announced "We're eating their fish". He says the line "I love the smell of napalm in the morning" just came to him.[28]

text: Milius had no desire to direct the film himself and felt that Lucas was the right person for the job.[20] Lucas worked with Milius for four years developing the film, alongside his work on other films, including his script for Star Wars.[29] He approached Apocalypse Now as a black comedy,[30] and intended to shoot the film after making THX 1138, with principal photography to start in 1971.[21] Lucas's friend and producer Gary Kurtz traveled to the Philippines, scouting suitable locations. They intended to shoot the film in both the rice fields between Stockton and Sacramento, California and on-location in Vietnam, on a $2 million budget, cinéma vérité style, using 16 mm cameras, and real soldiers, while the war was still going on.[20][29][31] However, due to the studios' safety concerns and Lucas's involvement with American Graffiti and Star Wars, Lucas decided to shelve the project for the time being.[21][29]

text: Pre-production[edit]

text: Coppola was drawn to Milius's script, which he described as "a comedy and a terrifying psychological horror story".[32] In the spring of 1974, Coppola discussed with friends and co-producers Fred Roos and Gray Frederickson the idea of producing the film.[33] He asked Lucas and then Milius to direct Apocalypse Now, but both men were involved with other projects;[33] in Lucas's case, he got the go-ahead to make Star Wars, and declined the offer to direct Apocalypse Now.[20] Coppola was determined to make the film and pressed ahead himself. He envisioned the film as a definitive statement on the nature of modern war, the difference between good and evil, and the impact of American society on the rest of the world. The director said that he wanted to take the audience "through an unprecedented experience of war and have them react as much as those who had gone through the war".[32]

text: In 1975, while promoting The Godfather Part II in Australia, Coppola and his producers scouted possible locations for Apocalypse Now in Cairns in northern Queensland, that had jungle resembling Vietnam.[34] He decided to make his film in the Philippines for its access to American equipment and cheap labor. Production coordinator Fred Roos had already made two low-budget films there for Monte Hellman, and had friends and contacts in the country.[32] Coppola spent the last few months of 1975 revising Milius's script and negotiating with United Artists to secure financing for the production. According to Frederickson, the budget was estimated between $12 and 14 million.[35] Coppola's American Zoetrope assembled $8 million from distributors outside the United States and $7.5 million from United Artists who assumed that the film would star Marlon Brando, Steve McQueen, and Gene Hackman.[32] Frederickson went to the Philippines and had dinner with President Ferdinand Marcos to formalize support for the production and to allow them to use some of the country's military equipment.[36]

text: Casting[edit]

text: Steve McQueen was Coppola's first choice to play Willard, but the actor did not accept because he did not want to leave America for 17 weeks. Al Pacino was also offered the role but he too did not want to be away for that long a period of time and was afraid of falling ill in the jungle as he had done in the Dominican Republic during the shooting of The Godfather Part II.[32] Jack Nicholson, Robert Redford, and James Caan were approached to play either Kurtz or Willard.[31] Tommy Lee Jones, Keith Carradine, Nick Nolte, and Frederic Forrest were also considered for the role of Willard.[37]

text: In a 2015 The Hollywood Reporter interview, Clint Eastwood revealed that Coppola offered him the role of Willard, but much like McQueen and Pacino, didn't want to be away from America for a long time. Eastwood also revealed that McQueen tried to convince him to play Willard while he would play Kurtz because he would only have to work for two weeks.[38]

text: Coppola and Roos had been impressed by Martin Sheen's screen test for Michael in The Godfather and he became their top choice to play Willard, but the actor had already accepted another project and Harvey Keitel was cast in the role based on his work in Martin Scorsese's Mean Streets.[39] Principal photography began three weeks later. Within a few days, Coppola was unhappy with Harvey Keitel's take on Willard, saying that the actor "found it difficult to play him as a passive onlooker".[31] After viewing early footage, the director took a plane back to Los Angeles and replaced Keitel with Martin Sheen. By early 1976, Coppola had persuaded Marlon Brando to play Kurtz for an enormous fee of $3.5 million for a month's work on location in September 1976. Dennis Hopper was cast as a war correspondent and observer of Kurtz; when Coppola heard Hopper talking nonstop on location, he remembered putting "the cameras and the Montagnard shirt on him, and [shooting] the scene where he greets them on the boat".[31] James Caan was the first choice to play Colonel Lucas. Caan wanted too much money for what was considered a minor part in the movie, and Harrison Ford was eventually cast instead.

text: Principal photography[edit]

text: On March 1, 1976, Coppola and his family flew to Manila and rented a large house there for the five-month shoot.[31] Sound and photographic equipment had been coming in from California since late 1975.

text: Typhoon Olga wrecked the sets at Iba and on May 26, 1976, production was closed down. Dean Tavoularis remembers that it "started raining harder and harder until finally it was literally white outside, and all the trees were bent at forty-five degrees". One part of the crew was stranded in a hotel and the others were in small houses that were immobilized by the storm. The Playboy Playmate set had been destroyed, ruining a month's shooting that had been scheduled. Most of the cast and crew went back to the United States for six to eight weeks. Tavoularis and his team stayed on to scout new locations and rebuild the Playmate set in a different place. Also, the production had bodyguards watching constantly at night and one day the entire payroll was stolen. According to Coppola's wife, Eleanor, the film was six weeks behind schedule and $2 million over budget;[40] he had to offer his car, house, and The Godfather profits as security to finish the film.[41]

text: Coppola flew back to the U.S. in June 1976. He read a book about Genghis Khan to get a better handle on the character of Kurtz.[40] After filming commenced, Marlon Brando arrived in Manila very overweight and began working with Coppola to rewrite the ending. The director downplayed Brando's weight by dressing him in black, photographing only his face, and having another, taller actor double for him in an attempt to portray Kurtz as an almost mythical character.[42]

text: After Christmas 1976, Coppola viewed a rough assembly of the footage but still needed to improvise an ending. He returned to the Philippines in early 1977 and resumed filming.[42] On March 5, 1977, Sheen had a heart attack and struggled for a quarter of a mile to reach help. By that time, the film was already so over-budget, even he worried funding would be halted if word about his condition were to reach the investors, and claimed he suffered heat stroke instead. He was back on the set on April 19. A major sequence in a French plantation cost hundreds of thousands of dollars but was cut from the final film. Rumors began to circulate that Apocalypse Now had several endings but Richard Beggs, who worked on the sound elements, said, "There were never five endings, but just the one, even if there were differently edited versions". These rumors came from Coppola departing frequently from the original screenplay. Coppola admitted that he had no ending because Brando was too fat to play the scenes as written in the original script[citation needed]. With the help of Dennis Jakob, Coppola decided that the ending could be "the classic myth of the murderer who gets up the river, kills the king, and then himself becomes the king – it's the Fisher King, from The Golden Bough".[43]

text: A water buffalo was slaughtered with a machete for the climactic scene. The scene was inspired by a ritual performed by a local Ifugao tribe which Coppola had witnessed along with his wife (who filmed the ritual later shown in the documentary Hearts of Darkness) and film crew. Although this was an American production subject to American animal cruelty laws, scenes like this filmed in the Philippines were not policed or monitored and the American Humane Association gave the film an "unacceptable" rating.[44] The budget remained a problem; after Star Wars became a gigantic hit, Coppola sent a telegram to George Lucas asking for money.[45] Principal photography ended on May 21, 1977.[46]

text: Post-production and audio[edit]

text: Japanese composer Isao Tomita was scheduled to provide an original score, with Coppola desiring the film's soundtrack to sound like Tomita's electronic adaptation of The Planets by Gustav Holst. Tomita went as far as to accompany the film crew in the Philippines, but label contracts ultimately prevented his involvement.[47] In the summer of 1977, Coppola told Walter Murch that he had four months to assemble the sound. Murch realized that the script had been narrated but Coppola abandoned the idea during filming.[46] Murch thought that there was a way to assemble the film without narration but it would take ten months and decided to give it another try.[48] He put it back in, recording it all himself. By September, Coppola told his wife that he felt "there is only about a 20% chance [I] can pull the film off".[49] He convinced United Artists executives to delay the premiere from May to October 1978. Author Michael Herr received a call from Zoetrope in January 1978 and was asked to work on the film's narration based on his well-received book about Vietnam, Dispatches.[49] Herr said that the narration already written was "totally useless" and spent a year writing various narrations with Coppola giving him very definite guidelines.[49]

text: Murch had problems trying to make a stereo soundtrack for Apocalypse Now because sound libraries had no stereo recordings of weapons. The sound material brought back from the Philippines was inadequate, because the small location crew lacked the time and resources to record jungle sounds and ambient noises. Murch and his crew fabricated the mood of the jungle on the soundtrack. Apocalypse Now had novel sound techniques for a movie, as Murch insisted on recording the most up-to-date gunfire and employed the Dolby Stereo 70 mm Six Track system for the 70mm release. This used two channels of sound from behind the audience as well as three channels of sound from behind the movie screen.[49] The 35mm release used the new Dolby Stereo optical stereo system, but due to the limitations of the technology at the time, this 35mm release that played in the majority of theaters did not include any surround sound.[50]

text: In May 1978, Coppola postponed the opening until spring of 1979 and screened a "work in progress" for 900 people in April 1979 that was not well received.[51] That same year, he was invited to screen Apocalypse Now at the Cannes Film Festival.[52] United Artists were not keen on showing an unfinished version in front of so many members of the press. Since his 1974 film The Conversation won the Palme d'Or, Coppola agreed to screen Apocalypse Now with only a month before the festival. The week prior to Cannes, Coppola arranged three sneak previews of slightly different versions. He allowed critics to attend the screenings and believed that they would honor the embargo placed on reviews. On 14 May, Rona Barrett reviewed the film on television and called it "a disappointing failure".[52] At Cannes, Zoetrope technicians worked during the night before the screening to install additional speakers on the theater walls, to achieve Murch's 5.1 soundtrack.[52] On August 15, 1979 Apocalypse Now was released in the U.S. in only 15 theaters equipped to play the Dolby Stereo 70mm prints with stereo surround sound.[53]

text: Other versions[edit]

text: Alternative and varied endings[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2015) (Learn how and when to remove this template message)

tag: table

text: At the time of its release, discussion and rumors circulated about the supposed various endings for Apocalypse Now. Coppola said the original ending was written in haste, where Kurtz convinced Willard to join forces and together they repelled the air strike on the compound. Coppola said he never fully agreed with the Kurtz and Willard dying in fatalistic explosive intensity, preferring to end the film in a more encouraging manner.

text: When Coppola originally organized the ending, he considered two significantly different ends to the movie. One involved Willard leading Lance by the hand as everyone in Kurtz's base throws down their weapons, and ends with images of Willard's Swift boat slowly pulling away from Kurtz's compound, this final scene superimposed over the face of a stone idol, which then fades into black. The other option showed an air strike being called and the base being blown to bits in a spectacular display, consequently killing everyone left within it.

text: The original 1979 70mm exclusive theatrical release ended with Willard's boat, the stone statue, then fade to black with no credits, save for '"Copyright 1979 Omni Zoetrope"' right after the film ends. This mirrors the lack of any opening titles and supposedly stems from Coppola's original intention to "tour" the film as one would a play: the credits would have appeared on printed programs provided before the screening began.[54]

text: There have been, to date, many variations of the end credit sequence, beginning with the 35mm general release version, where Coppola elected to show the credits superimposed over shots of the jungle exploding into flames.[54] Rental prints circulated with this ending, and can be found in the hands of a few collectors. Some versions of this had the subtitle "A United Artists release", while others had "An Omni Zoetrope release". The network television version of the credits ended with "...from MGM/UA Entertainment Company" (the film made its network debut shortly after the merger of MGM and UA). One variation of the end credits can be seen on both YouTube and as a supplement on the current Lionsgate Blu-ray.

text: Later when Coppola heard that audiences interpreted this as an air strike called by Willard, Coppola pulled the film from its 35 mm run and put credits on a black screen. However, the "air strike" footage continued to circulate in repertory theaters well into the 1980s, and it was included in the 1980s LaserDisc release. In the DVD commentary, Coppola explains that the images of explosions had not been intended to be part of the story; they were intended to be seen as completely separate from the film. He had added the explosions to the credits as a graphic background to the credits.

text: Coppola explained he had captured the now-iconic footage during demolition of the sets (set destruction and removal was required by the Philippine government). Coppola filmed the demolition with multiple cameras fitted with different film stocks and lenses to capture the explosions at different speeds. He wanted to do something with the dramatic footage and decided to add them to the credits.[55]

text: Apocalypse Now Redux[edit]

text: In 2001, Coppola released Apocalypse Now Redux in cinemas and subsequently on DVD. This is an extended version that restores 49 minutes of scenes cut from the original film. Coppola has continued to circulate the original version as well: the two versions are packaged together in the Complete Dossier DVD, released on August 15, 2006 and in the Blu-ray edition released on October 19, 2010.

text: The longest section of added footage in the Redux version is a chapter involving the de Marais family's rubber plantation, a holdover from the colonization of French Indochina, featuring Coppola's two sons Gian-Carlo and Roman as children of the family. Around the dinner table, a young French child recites a poem by Charles Baudelaire entitled L'Albatros. The French family patriarch is not satisfied with the child's recitation. The child is sent away. These scenes were removed from the 1979 cut, which premiered at Cannes. In behind-the-scenes footage in Hearts of Darkness, Coppola expresses his anger, on the set, at the technical limitations of the shot scenes, the result of tight allocation of resources. At the time of the Redux version, it was possible to digitally enhance the footage to accomplish Coppola's vision. In the scenes, the French family patriarchs argue about the positive side of colonialism in Indochina and denounce the betrayal of the military men in the First Indochina War. Hubert de Marais argues that French politicians sacrificed entire battalions at Điện Biên Phủ, and tells Willard that the US created the Viet Cong (as the Viet Minh) to fend off Japanese invaders.

text: Other added material includes extra combat footage before Willard meets Kilgore, a humorous scene in which Willard's team steals Kilgore's surfboard (which sheds some light on the hunt for the mangoes), a follow-up scene to the dance of the Playboy Playmates, in which Willard's team finds the Playmates awaiting evacuation after their helicopter has run out of fuel (trading two barrels of fuel for two hours with the Bunnies), and a scene of Kurtz reading from a Time magazine article about the war, surrounded by Cambodian children.

text: A deleted scene titled "Monkey Sampan" shows Willard and the PBR crew suspiciously eyeing an approaching sampan juxtaposed to Montagnard villagers joyfully singing "Light My Fire" by The Doors. As the sampan gets closer, Willard realizes there are monkeys on it and no helmsman. Finally, just as the two boats pass, the wind turns the sail and exposes a naked dead civilian tied to the sail boom. His body is mutilated and looks as though the man had been whipped. The singing stops. It is assumed the man was tortured by the Viet Cong. As they pass on by, Chief notes out loud, "That's comin' from where we're going, Captain." The boat then slowly passes the giant tail of a shot down B-52 bomber as the noise of engines way up in the sky is heard. Coppola said that he made up for cutting this scene by having the PBR pass under an airplane tail in the final cut.

text: Workprint version[edit]

text: A 289-minute workprint circulates as a video bootleg, containing extra material not included in either the original theatrical release or the "redux" version.[56]

text: Reception[edit]

text: Cannes screening[edit]

text: A three-hour version of Apocalypse Now was screened as a "work in progress" at the 1979 Cannes Film Festival and met with prolonged applause.[57] At the subsequent press conference, Coppola criticized the media for attacking him and the production during their problems filming in the Philippines and said, "We had access to too much money, too much equipment, and little by little we went insane", and "My film is not about Vietnam, it is Vietnam".[57] The filmmaker upset newspaper critic Rex Reed who reportedly stormed out of the conference. Apocalypse Now won the Palme d'Or for best film along with Volker Schlöndorff's The Tin Drum – a decision that was reportedly greeted with "some boos and jeers from the audience".[58]

text: Box office[edit]

text: Apocalypse Now performed well at the box office when it opened in August 1979.[57] The film initially opened in one theater in New York City, Toronto, and Hollywood, grossing USD $322,489 in the first five days. It ran exclusively in these three locations for four weeks before opening in an additional 12 theaters on October 3, 1979 and then several hundred the following week.[59] The film grossed over $78 million domestically with a worldwide total of approximately $150 million.[54]

text: The film was re-released on August 28, 1987 in six cities to capitalize on the success of Platoon, Full Metal Jacket, and other Vietnam War movies. New 70mm prints were shown in Los Angeles, San Francisco, San Jose, Seattle, St. Louis, and Cincinnati – cities where the film did financially well in 1979. The film was given the same kind of release as the exclusive engagement in 1979, with no logo or credits and audiences were given a printed program.[41]

text: Critical response[edit]

text: Upon its release, Apocalypse Now received mixed reviews.[60][61][62] In his original review, Roger Ebert wrote, "Apocalypse Now achieves greatness not by analyzing our 'experience in Vietnam', but by re-creating, in characters and images, something of that experience".[63] In his review for the Los Angeles Times, Charles Champlin wrote, "as a noble use of the medium and as a tireless expression of national anguish, it towers over everything that has been attempted by an American filmmaker in a very long time".[59]

text: Other reviews were less positive; Frank Rich in Time said: "While much of the footage is breathtaking, Apocalypse Now is emotionally obtuse and intellectually empty".[64] Vincent Canby argued, "Mr. Coppola himself describes it as "operatic," but [...] Apocalypse Now is neither a tone poem nor an opera. It's an adventure yarn with delusions of grandeur, a movie that ends—in the all-too-familiar words of the poet Mr. Coppola drags in by the bootstraps—not with a bang, but a whimper."[65]

text: Ebert added Coppola's film to his list of The Great Movies, stating: "Apocalypse Now is the best Vietnam film, one of the greatest of all films, because it pushes beyond the others, into the dark places of the soul. It is not about war so much as about how war reveals truths we would be happy never to discover".[66]

text: Various commentators have debated whether Apocalypse Now is an anti-war or pro-war film. Some commentators' evidence of the film's anti-war message include the purposeless brutality of the war, the absence of military leadership, and the imagery of machinery destroying nature.[67] Advocates of the film's pro-war stance, however, view these same elements as a glorification of war and the assertion of American supremacy. According to Frank Tomasulo, "the U.S. foisting its culture on Vietnam," including the destruction of a village so that soldiers could surf, affirms the film's pro-war message.[67] Additionally, the author Anthony Swofford recounted how his marine platoon watched Apocalypse Now before being sent to Iraq in 1990 in order to get excited for war.[68] Nidesh Lawtoo illustrates the pro-war/anti-war tendencies of the film by focusing on the contradictory responses the movie in general and the "Ride of the Valkyries" scene in particular triggered in a university classroom.[69] According to Coppola, the film may be considered anti-war, but is even more anti-lie: "...the fact that a culture can lie about what's really going on in warfare, that people are being brutalized, tortured, maimed, and killed, and somehow present this as moral is what horrifies me, and perpetuates the possibility of war".[70]

text: In May 2011, a newly restored digital print of Apocalypse Now was released in UK cinemas, distributed by Optimum Releasing. Total Film magazine gave the film a five-star review, stating: "This is the original cut rather than the 2001 ‘Redux’ (be gone, jarring French plantation interlude!), digitally restored to such heights you can, indeed, get a nose full of the napalm."[71]

text: Rotten Tomatoes gives the film a "Certified Fresh" rating of 96% based on 84 reviews, with an average rating of 8.9/10. The website's critical consensus states that "Francis Ford Coppola's haunting, hallucinatory Vietnam war epic is cinema at its most audacious and visionary".[72]

text: Legacy[edit]

text: Today, the movie is regarded by many as a masterpiece of the New Hollywood era. Roger Ebert considered it to be the finest film on the Vietnam war and included it on his list for the 2002 Sight & Sound poll for the greatest movie of all time.[73][74] It is on the American Film Institute's 100 Years...100 Movies list at number 28, but it dropped two spots to number 30 on their 10th anniversary list. Kilgore's quote, "I love the smell of napalm in the morning," written by Milius, was number 12 on the AFI's 100 Years...100 Movie Quotes list and was also voted the greatest movie speech of all time in a 2004 poll.[75] It is listed at number 22 on Empire's 2016 list of the 500 greatest movies of all time.[76] Entertainment Weekly ranked Apocalypse Now as having one of the "10 Best Surfing Scenes" in cinema.[77]

text: In 2002, Sight and Sound magazine polled several critics to name the best film of the last 25 years and Apocalypse Now was named number one. It was also listed as the second best war film by viewers on Channel 4's 100 Greatest War Films and was the second rated war movie of all time based on the Movifone list (after Schindler's List) and the IMDb War movie list (after The Longest Day). It is ranked number 1 on Channel 4's 50 Films to See Before You Die. In a 2004 poll of UK film fans, Blockbuster listed Kilgore's eulogy to napalm as the best movie speech.[78] The helicopter attack scene with the Ride of the Valkyries soundtrack was chosen as the most memorable film scene ever by Empire magazine (this same piece of music was also used in 1915 to similar effect to accompany The Birth of a Nation). This scene is recalled in one of the last acts of the 2012 video game Far Cry 3 as the song is played while the character shoots from a helicopter.[79] It was likewise adapted for the Cat's Eye anime episode "From Runan Island with Love" and the Battle of Italica scene in Gate: Jieitai Kano Chi nite, Kaku Tatakaeri.

text: In 2009, the London Film Critics' Circle voted Apocalypse Now the best movie of the last 30 years.[80]

text: In August 2009, the head of the German Financial Regulator told the Bundestag Finance Committee that the failure of the "terrible" Depfa Bank, which was completely supervised by its Irish equivalent, led to the collapse of its German parent which forced Berlin to bail it out at a cost of €102 billion. The committee was told that the alternative was a run on German banks and the eventual collapse of the European finance system and "You would have woken up on Monday morning in the film Apocalypse Now".[81]

text: In 2011, actor Charlie Sheen, son of Martin Sheen, started playing clips from the film on his live tour and played the film in its entirety during post-show parties. One of Charlie Sheen's films, the 1993 comedy Hot Shots! Part Deux, includes a brief scene in which Charlie is riding a boat up a river in Iraq while on a rescue mission and passes Martin, as Captain Willard, going the other way. As they pass, each man shouts to the other "I loved you in Wall Street!", referring to the 1987 film that had featured both of them. Additionally, the promotional material for Hot Shots! Part Deux included a mockumentary that aired on HBO titled Hearts of Hot Shots! Part Deux—A Filmmaker's Apology, in parody of the 1991 documentary Hearts of Darkness: A Filmmaker's Apocalypse, about the making of Apocalypse Now.[82]

text: On January 25, 2017, Coppola announced that he was seeking funding through Kickstarter for a horror role-playing video game based on Apocalypse Now.[83] The game has since been cancelled by Montgomery Markland (the game's director), as revealed on the official game Tumblr.[84]

text: Awards and honors[edit]

text:
Awards and Nominations received by Apocalypse Now

Award
Category
Nominee
Result

52nd Academy Awards[85]
Best Picture
Francis Ford Coppola, Fred Roos, Gray Frederickson, and Tom Sternberg
Nominated

Best Director
Francis Ford Coppola
Nominated

Best Actor in a Supporting Role
Robert Duvall
Nominated

Best Writing, Screenplay Based on Material from Another Medium
John Milius and Francis Ford Coppola
Nominated

Best Sound
Walter Murch, Mark Berger, Richard Beggs, and Nathan Boxer
Won

Best Art Direction
Art Direction: Dean Tavoularis and Angelo P. Graham; Set Decoration: George R. Nelson
Nominated

Best Cinematography
Vittorio Storaro
Won

Best Film Editing
Richard Marks, Walter Murch, Gerald B. Greenberg and Lisa Fruchtman
Nominated

1979 Cannes Film Festival[86]
Palme d'Or

Won

1st American Movie Awards
Best Actor
Martin Sheen
Nominated

Best Supporting Actor
Robert Duvall
Won

33rd British Academy Film Awards
Best Film

Nominated

Best Actor
Martin Sheen
Nominated

Best Supporting Actor
Robert Duvall
Won

Best Direction
Francis Ford Coppola
Won

Best Original Film Music
Carmine Coppola and Francis Ford Coppola
Nominated

Best Cinematography
Vittorio Storaro
Nominated

Best Editing
Richard Marks, Walter Murch, Gerald B. Greenberg, and Lisa Fruchtman
Nominated

Best Production Design
Dean Tavoularis
Nominated

Best Soundtrack
Nathan Boxer, Richard Cirincione, Walter Murch
Nominated

5th César Awards
Best Foreign Film (Meilleur film étranger)
Francis Ford Coppola
Nominated

David di Donatello Awards
Best Foreign Director (Migliore Regista Straniero)
Francis Ford Coppola
Won

32nd Directors Guild of America Awards
Outstanding Directorial Achievement in Motion Pictures
Francis Ford Coppola
Nominated

37th Golden Globe Awards
Best Motion Picture – Drama
Francis Ford Coppola, Fred Roos, Gray Frederickson, and Tom Sternberg
Nominated

Best Director
Francis Ford Coppola
Won

Best Supporting Actor
Robert Duvall
Won

Best Original Score
Carmine Coppola and Francis Ford Coppola
Won

22nd Annual Grammy Awards
Best Original Score Written for a Motion Picture
Carmine Coppola and Francis Ford Coppola
Nominated

1979 National Society of Film Critics Awards
Best Supporting Actor
Frederic Forrest
Won

Writers Guild of America Awards
Best Drama Written Directly for the Screen
John Milius and Francis Ford Coppola
Nominated

text:
AFI's 100 Years...100 Movies – No. 28
AFI's 100 Years...100 Movie Quotes:

"I love the smell of napalm in the morning." – No. 12

AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 30

text: Home video releases[edit]

text: The first home video releases of Apocalypse Now were pan-and-scan versions of the original 35 mm Technovision anamorphic 2.35:1 print, and the closing credits, white on black background, were presented in compressed 1.33:1 full-frame format to allow all credit information to be seen on standard televisions. The first letterboxed appearance, on Laserdisc on December 29, 1991, cropped the film to a 2:1 aspect ratio (conforming to the Univisium spec created by cinematographer Vittorio Storaro), and included a small degree of pan-and-scan processing at the insistence of Coppola and Storaro. The end credits, from a videotape source rather than a film print, were still crushed for 1.33:1 and zoomed to fit the anamorphic video frame. All DVD releases have maintained this aspect ratio in anamorphic widescreen, but present the film without the end credits, which were treated as a separate feature. The Blu-ray releases of Apocalypse Now restore the film to a 2.35:1 aspect ratio, making it the first home video release to display the film in its theatrical aspect ratio of 2.39:1.

text: As a DVD extra, the footage of the explosion of the Kurtz compound was featured without text credits but included commentary by Coppola, explaining the various endings based on how the film was screened.

text: On the cover of the Redux DVD, Willard is erroneously listed as "Lieutenant Willard".

text: Documentaries[edit]

text: Hearts of Darkness: A Filmmaker's Apocalypse (American Zoetrope/Cineplex Odeon Films) (1991) Directed by Eleanor Coppola, George Hickenlooper, and Fax Bahr

text: Apocalypse Now – The Complete Dossier DVD (Paramount Home Entertainment) (2006). Disc 2 extras include:

text:
The Post Production of Apocalypse Now: Documentary (four featurettes covering the editing, music, and sound of the film through Coppola and his team)

"A Million Feet of Film: The Editing of Apocalypse Now" (18 minutes). Written and directed by Kim Aubry.[87]
"The Music of Apocalypse Now" (15 minutes)
"Heard Any Good Movies Lately? The Sound Design of Apocalypse Now" (15 minutes)
"The Final Mix" (3 minutes)


document_title: List of heaviest bells

question_text: where is the largest bell in the world

question_tokens: where is the largest bell in the world

text: List of heaviest bells

text: Heaviest functioning bell in the world[edit]

text: The title of heaviest functioning bell in the world has been held chronologically by:

text:
Year
lb
tons
kg
Bell
Fate

732
96,000
48
43,545
To-dai-ji Temple Bell
Surpassed

1484
655,000
327.5
297,103
Great Bell of Dhammazedi
Sank during transport

1602
96,000
48
43,545
To-dai-ji Temple Bell
Surpassed

1633
148,000
74
67,132
Chion-in Temple Bell
Surpassed

1810
195,000
97.5
88,451
Mingun Bell
Fell during earthquake (raised again in 1896)

1839
148,000
74
67,132
Chion-in Temple Bell
Surpassed

1896
195,000
97.5
88,451
Mingun Bell
Surpassed

1902
251,000
125.5
113,852
Shitennō-ji Temple Bell
Recycled for war

1942
195,000
97.5
88,451
Mingun Bell
Surpassed

2000
255,736
127.6
116,000
Bell of Good Luck
Incumbent

text: The Great Bell of Dhammazedi[edit]

text: At approximately 300 tons, the Great Bell of Dhammazedi is the largest bell to have existed in recorded history.[1] Cast in 1484 by King Dhammazedi of Mon, this bell was located at the Shwedagon Pagoda in Rangoon, Burma (now Yangon, Myanmar). The bell was said to be twelve cubits (6.276 m) high and eight cubits (4.184 m) wide. Click here to see a drawing of the bell as it appeared while still at the Shwedagon Pagoda.

text: The Great Bell of Dhammazedi remained at the Shwedagon Pagoda as the heaviest functioning bell in the world until 1602. That year, Portuguese warlord and mercenary Philip de Brito removed it and attempted to carry it by a specially constructed raft down the Yangon River to his stronghold of Thanlyin (later known as Syriam). However, the ship carrying the bell sank at the confluence of the Yangon and Bago rivers. The Dhammazedi Bell remains buried to this day at that location, possibly well-preserved, beneath some 25 feet (7.6 m) of sediment. Numerous attempts have been made to locate and recover the bell, thus far without success.[2][3]

text: So while the Great Bell of Dhammazedi might indeed be the heaviest bell in the world, it must be disqualified from consideration as such, until it has been recovered and restored to a functional status.

text: The Chion-in Temple Bell[edit]

text: Cast in 1633, the 74-ton Chion-in Temple Bell, located in Kyoto, Japan, held the title of heaviest functioning bell in the world until 1810.[4]

text: From March 1839 until March 1896, the Mingun Bell was not functional due to the fact that it was not hanging freely from its shackles. During this period, the Chion-in Temple Bell regained its former title.[4]

text: The Mingun Bell[edit]

text: Cast in 1808, the 90-ton Mingun Bell in Mingun, Sagaing Division, Burma became the heaviest functioning bell in the world from its suspension in 1810 until 23 March 1839. On that date, it was knocked off its supports by a large earthquake. Click here to see a photograph of the Mingun Bell as it appeared in the late 1800s.

text: The Mingun Bell was resuspended in March 1896 by a team of men from the Irrawaddy Flotilla Company.[5] The Mingun Bell was again the world's heaviest functioning bell from its resuspension in 1896 until 1902.

text: The Mingun Bell regained its status as the heaviest functioning bell in the world in 1942.

text: The Shitennō-ji Temple Bell[edit]

text: In 1902, the newly-cast 114-ton Shitennō-ji Temple Bell was hung in Osaka, Japan.[6] The Shitennō-ji Temple Bell reigned as the heaviest functioning bell in the world from that year until 1942, when it was melted down for its metal to assist with the then-ongoing World War II effort.[6]

text: The Bell of Good Luck[edit]

text: Cast on New Year's Eve 2000, the Bell of Good Luck is located in the Foquan Temple in Pingdingshan, Henan, China.[7][8] The bell weighs 116 metric tons and it is 810.8 cm (318 in) in height and 511.8 cm (201 in) in diameter.[7][8] The Bell of Good Luck has therefore claimed the title of heaviest functioning bell in the world since its construction in 2000, up to the present date.

text: The Tsar Bell[edit]

text: The 216-ton Russian Tsar Bell (also known as the Tsar Kolokol III) on display on the grounds of the Moscow Kremlin is the heaviest bell known to exist in the world today.[9] However, a very large piece broke off from the Tsar Bell during a fire which engulfed the tower the bell was intended to be hung in, so this irreparably damaged bell has never been suspended or rung. The Tsar Bell cannot be considered as the heaviest functioning bell in the world due to its inability to serve as a percussion instrument. Rather, it may be considered to be the largest bell, or at least the largest bell-shaped sculpture in the world.

text: Existing bells[edit]

text: Bells weighing 50000 lbs (25 tons) or more:

text:
Name of bell (or edifice containing bell)
Location
Weight (lbs)
Year cast
Manufacturer or foundry
Notes

Tsar Bell
Moscow Kremlin, Moscow, Russia
445,166 pounds (201,924 kg)
1735
Ivan Feodorovich Motorin
broken[10]

Bell of Good Luck
Foquan Temple, Fodushan Scenic Area, Pingdingshan, Henan, China
255,200 pounds (115,800 kg)
2000
Tianrui Group
currently the heaviest functioning bell in the world[7][8][11]

Mingun Bell
Mingun, Myanmar
195,000 pounds (88,000 kg)
1808
unknown
[11]

Tsarsky Kolokol
Trinity Lavra of St. Sergius, Sergiyev Posad, Moscow Oblast, Russia
158,400 pounds (71,800 kg)
2004
Zavod imeni Likhacheva, Moscow, Russia
[10]

Chion-in Temple Bell
Kyoto, Japan
148,000 pounds (67,000 kg)
1633
unknown
[4]

Great Uspensky Bell (also known as Great Assumption Bell)
Moscow Kremlin, Moscow, Russia
144,452 pounds (65,522 kg)
1817
Yakov Zavyalov and Rusinov
[10]

To-dai-ji Temple Bell
Nara, Japan
96,000 pounds (44,000 kg)
732
unknown
[11]

Yongle Bell
Da Zhong Si (Great Bell Temple), Beijing, China
93,000 pounds (42,000 kg)
ca. 1420
unknown
[11]

Name unknown
Moscow, Russia
88,000 pounds (40,000 kg)
1600
Andrey Chokhov
[10]

Tharrawaddy Min Bell
Shwedagon Pagoda, Yangon, Myanmar
84,000 pounds (38,000 kg)
1842
Maha Sithu and Maha Min Kyaw Thinkhaya[12]
[11]

Gotenba Bell
Toki no Sumika Park, Gotemba, Shizuoka, Japan
79,750 pounds (36,170 kg)
2006
Royal Eijsbouts bell foundry
[11][13]

Đại hồng chung
Bai Dinh Pagoda, Gia Vien, Ninh Binh, Vietnam
79,336 pounds (35,986 kg)
2007
Nguyễn Văn Sở, Huế, Vietnam
[14]

Blagovestnik (also known as Firstborn)
Trinity Lavra of St. Sergius, Sergiyev Posad, Moscow Oblast, Russia
78,250 pounds (35,490 kg)
2002
Zavod imeni Likhacheva, Moscow, Russia
[10]

Savvino-Storozhevsky Monastery
Zvenigorod, Moscow Oblast, Russia
77,000 pounds (35,000 kg)
2003
Vera LLC, Shilova, Voronezh, Russia
[10][15]

Yuriev Monastery
Veliky Novgorod, Novgorod Oblast, Russia
75,837 pounds (34,399 kg)

unknown
[10]

World Peace Bell
Newport, Kentucky, U.S.
73,381 pounds (33,285 kg)
1998
Fonderie Paccard
[16]

Kazansky Monastery
Tambov, Tambov Oblast, Russia
72,226 pounds (32,761 kg)

unknown
[10]

Kirillo-Belozersky Monastery
Kirillov and Belozersk, Vologda Oblast, Russia
72,226 pounds (32,761 kg)

unknown
[10]

Saint Isaac's Cathedral
Saint Petersburg, Russia
67,191 pounds (30,477 kg)
mid-19th century
unknown
[10]

Torzhestvennyj Bell
Cathedral of Christ the Saviour, Moscow, Russia
59,749 pounds (27,102 kg)
1878
unknown
[10]

Evangelist (bell)
Trinity Lavra of St. Sergius, Sergiyev Posad, Moscow Oblast, Russia
59,400 pounds (26,900 kg)
2002
Zavod imeni Likhacheva, Moscow, Russia
[10]

Saint Sophia Cathedral
Veliky Novgorod, Novgorod Oblast, Russia
58,286 pounds (26,438 kg)
1659
unknown
[10]

St. Petersglocke
Cologne Cathedral, Cologne, Germany
52,800 pounds (23,900 kg)
1923
Heinrich Ulrich
The heaviest bell in the world which hangs on a straight bar, and the largest bell to be rung by swinging.[17]

Sysoi
Assumption Cathedral in Rostov, Rostov-Velikij, Yaroslavl Oblast, Russia
52,000 pounds (24,000 kg)
1689
Flor Terentyev
[10][18]

Singu Min Bell
Shwedagon Pagoda, Yangon, Myanmar
50,600 pounds (23,000 kg)
1779
unknown
[11][19]

text: Destroyed or lost bells[edit]

text: Bells weighing 50000 lbs (25 tons) or more, no longer in existence (lost or destroyed):

text:
Name of bell (or edifice containing bell)
Location
Weight (lbs)
Year cast
Manufacturer or foundry
Notes

Great Bell of Dhammazedi
Shwedagon Pagoda, Yangon, Myanmar
655,000 pounds (297,000 kg)
1484
unknown
submerged in the Bago River in 1608; may be recoverable[11]

Shitennō-ji Temple Bell
Osaka, Japan
251,000 pounds (114,000 kg)
1902
unknown
destroyed 1942[11]

Tsarsky Kolokol Bell (aka ‘’Trotzkoi Bell’’)
Trinity Lavra of St. Sergius, Sergiyev Posad, Moscow Oblast, Russia
144,452 pounds (65,522 kg)
1748
unknown
destroyed 1930[10]

Savvino-Storozhevsky Monastery
Zvenigorod, Moscow Oblast, Russia
76,767 pounds (34,821 kg)
1667
unknown
destroyed 1941[10]

Godunov Bell (also known as Old Assumption Bell, or Resurrection Bell)
Trinity Lavra of St. Sergius, Sergiyev Posad, Moscow Oblast, Russia
66,809 pounds (30,304 kg)
ca. 1600
Andrey Chokhov
destroyed 1701[10]

Kaiserglocke
Cologne Cathedral, Cologne, Germany
61,160 pounds (27,740 kg)
1874
Andreas Hamm
destroyed 1918[17]

text: Gallery[edit]

text:
Tsar Bell (Moscow, Russia)

Mingun Bell (Mingun, Myanmar)

Bell Tower, Trinity Lavra of St. Sergius (Moscow, Russia)

Chion-in Temple Bell (Kyoto, Japan)

Ivan the Great Bell Tower and Assumption Belfry (Moscow, Russia)

To-dai-ji Temple Bell (Nara, Japan)

Yongle Bell (Beijing, China)

Tharrawaddy Min Bell (Yangon, Myanmar)

Shitennō-ji Temple Bell (Osaka, Japan)

World Peace Bell (Newport, Kentucky, USA)

St. Petersglocke (Cologne, Germany)

Maha Ganda Bell (Yangon, Myanmar)


document_title: Continental Army

question_text: who made up the members of the continental army

text: Continental Army

text: Origins[edit]

text: The Continental Army consisted of soldiers from all 13 colonies and, after 1776, from all 13 states. When the American Revolutionary War began at the Battles of Lexington and Concord on April 19, 1775, the colonial revolutionaries did not have an army. Previously, each colony had relied upon the militia, made up of part-time citizen-soldiers, for local defense, or the raising of temporary "provincial regiments" during specific crises such as the French and Indian War of 1754–63. As tensions with Great Britain increased in the years leading to the war, colonists began to reform their militias in preparation for the perceived potential conflict. Training of militiamen increased after the passage of the Intolerable Acts in 1774. Colonists such as Richard Henry Lee proposed forming a national militia force, but the First Continental Congress rejected the idea.[1]

text: On April 23, 1775, the Massachusetts Provincial Congress authorized the raising of a colonial army consisting of 26 company regiments. New Hampshire, Rhode Island, and Connecticut soon raised similar but smaller forces. On June 14, 1775, the Second Continental Congress decided to proceed with the establishment of a Continental Army for purposes of common defense, adopting the forces already in place outside Boston (22,000 troops) and New York (5,000).[2] It also raised the first ten companies of Continental troops on a one-year enlistment, riflemen from Pennsylvania, Maryland, Delaware and Virginia to be used as light infantry,[2] who became the 1st Continental Regiment in 1776.

text: On June 15, 1775, the Congress elected by unanimous vote George Washington as Commander-in-Chief, who accepted and served throughout the war without any compensation except for reimbursement of expenses.[3][4][5][6]

text: On July 18, 1775, the Congress requested all colonies form militia companies from "all able bodied effective men, between sixteen and fifty years of age." It was not uncommon for men younger than sixteen to enlist as most colonies had no requirement of parental consent for those under twenty-one (adulthood).[7]

text: Four major-generals (Artemas Ward, Charles Lee, Philip Schuyler, and Israel Putnam) and eight brigadier-generals (Seth Pomeroy, Richard Montgomery, David Wooster, William Heath, Joseph Spencer, John Thomas, John Sullivan, and Nathanael Greene) were appointed by the Second Continental Congress in the course of a few days.[8][9][10] After Pomeroy did not accept, John Thomas was appointed in his place.[11]

text: As the Continental Congress increasingly adopted the responsibilities and posture of a legislature for a sovereign state, the role of the Continental Army became the subject of considerable debate. Some Americans had a general aversion to maintaining a standing army; but on the other hand the requirements of the war against the British required the discipline and organization of a modern military. As a result, the army went through several distinct phases, characterized by official dissolution and reorganization of units.

text: Soldiers in the Continental Army were citizens who had volunteered to serve in the army (but were paid), and at various times during the war, standard enlistment periods lasted from one to three years. Early in the war the enlistment periods were short, as the Continental Congress feared the possibility of the Continental Army evolving into a permanent army. The army never numbered more than 17,000 men. Turnover proved a constant problem, particularly in the winter of 1776–77, and longer enlistments were approved. Broadly speaking, Continental forces consisted of several successive armies, or establishments:

text:
The Continental Army of 1775, comprising the initial New England Army, organized by Washington into three divisions, six brigades, and 38 regiments. Major General Philip Schuyler's ten regiments in New York were sent to invade Canada.
The Continental Army of 1776, reorganized after the initial enlistment period of the soldiers in the 1775 army had expired. Washington had submitted recommendations to the Continental Congress almost immediately after he had accepted the position of Commander-in-Chief, but the Congress took time to consider and implement these. Despite attempts to broaden the recruiting base beyond New England, the 1776 army remained skewed toward the Northeast both in terms of its composition and of its geographical focus. This army consisted of 36 regiments, most standardized to a single battalion of 768 men strong and formed into eight companies, with a rank-and-file strength of 640.
The Continental Army of 1777–80 evolved out of several critical reforms and political decisions that came about when it became apparent that the British were sending massive forces to put an end to the American Revolution. The Continental Congress passed the "Eighty-eight Battalion Resolve", ordering each state to contribute one-battalion regiments in proportion to their population, and Washington subsequently received authority to raise an additional 16 battalions. Enlistment terms extended to three years or to "the length of the war" to avoid the year-end crises that depleted forces (including the notable near-collapse of the army at the end of 1776, which could have ended the war in a Continental, or American, loss by forfeit).
The Continental Army of 1781–82 saw the greatest crisis on the American side in the war. Congress was bankrupt, making it very difficult to replenish the soldiers whose three-year terms had expired. Popular support for the war reached an all-time low, and Washington had to put down mutinies both in the Pennsylvania Line and in the New Jersey Line. Congress voted to cut funding for the Army, but Washington managed nevertheless to secure important strategic victories.
The Continental Army of 1783–84 was succeeded by the United States Army, which persists to this day. As peace was restored with the British, most of the regiments were disbanded in an orderly fashion, though several had already been diminished.

text: In addition to the Continental Army regulars, local militia units, raised and funded by individual colonies/states, participated in battles throughout the war. Sometimes the militia units operated independently of the Continental Army, but often local militias were called out to support and augment the Continental Army regulars during campaigns. (The militia troops developed a reputation for being prone to premature retreats, a fact that Brigadier-General Daniel Morgan integrated into his strategy at the Battle of Cowpens in 1781.)

text: The financial responsibility for providing pay, food, shelter, clothing, arms, and other equipment to specific units was assigned to states as part of the establishment of these units. States differed in how well they lived up to these obligations. There were constant funding issues and morale problems as the war continued. This led to the army offering low pay, often rotten food, hard work, cold, heat, poor clothing and shelter, harsh discipline, and a high chance of becoming a casualty.

text: Operations[edit]

text: At the time of the Siege of Boston, the Continental Army at Cambridge, Massachusetts, in June 1775, is estimated to have numbered from 14–16,000 men from New England (though the actual number may have been as low as 11,000 because of desertions). Until Washington's arrival, it remained under the command of Artemas Ward, while John Thomas acted as executive officer and Richard Gridley commanded the artillery corps and was chief engineer. It was during this siege that Washington allegedly uttered his famous words, "It is cold out here." This was a poetic representation of the harsh conditions the men endured during the summer of the siege, and a reference to a political cartoon by Benjamin Franklin. It served as a piece of satire as it was a remark about cold conditions, while the men experienced some of the hottest temperatures of that year.

text: The British force in Boston was increasing by fresh arrivals. It numbered then about 10,000 men. Major Generals Howe, Clinton, and Burgoyne, had arrived late in May and joined General Gage in forming and executing plans for dispersing the rebels. Feeling strong with these veteran officers and soldiers around him—and the presence of several Men-of-War under Admiral Graves—the governor issued a proclamation, declaring martial law, branding the entire Continental Army and supporters as "rebels" and "parricides of the Constitution." Amnesty was offered to those who gave up their allegiance to the Continental Army and Congress in favor of the British authorities, though Samuel Adams and John Hancock were still wanted for high treason. This proclamation only served to strengthen the resolve of the Congress and Army.

text: After the British evacuation of Boston (prompted by the placement of Continental artillery overlooking the city in March 1776), the Continental Army relocated to New York. For the next five years, the main bodies of the Continental and British armies campaigned against one another in New York, New Jersey, and Pennsylvania. These campaigns included the notable battles of Trenton, Princeton, Brandywine, Germantown, and Morristown, among many others.

text: The Continental Army was racially integrated, a condition the United States Army would not see again until Truman ordered the desegregation of the military in 1948. African American slaves were promised freedom in exchange for military service in New England, and made up one fifth of the Northern Continental Army.[12]

text: Throughout its existence, the Army was troubled by poor logistics, inadequate training, short-term enlistments, interstate rivalries, and Congress's inability to compel the states to provide food, money or supplies. In the beginning, soldiers enlisted for a year, largely motivated by patriotism; but as the war dragged on, bounties and other incentives became more commonplace. Two major mutinies late in the war drastically diminished the reliability of two of the main units, and there were constant discipline problems.

text: The army increased its effectiveness and success rate through a series of trials and errors, often at great human cost. General Washington and other distinguished officers were instrumental leaders in preserving unity, learning and adapting, and ensuring discipline throughout the eight years of war. In the winter of 1777–1778, with the addition of Baron von Steuben, of Prussian origin, the training and discipline of the Continental Army began to vastly improve. (This was the infamous winter at Valley Forge.) Washington always viewed the Army as a temporary measure and strove to maintain civilian control of the military, as did the Continental Congress, though there were minor disagreements about how this was carried out.

text: Near the end of the war, the Continental Army was augmented by a French expeditionary force (under General Rochambeau) and a squadron of the French navy (under the Comte de Barras), and in the late summer of 1781 the main body of the army travelled south to Virginia to rendezvous with the French West Indies fleet under Admiral Comte de Grasse. This resulted in the Siege of Yorktown, the decisive Battle of the Chesapeake, and the surrender of the British southern army. This essentially marked the end of the land war in America, although the Continental Army returned to blockade the British northern army in New York until the peace treaty went into effect two years later, and battles took place elsewhere between British forces and those of France and its allies.

text: Demobilization[edit]

text: A small residual force remained at West Point and some frontier outposts until Congress created the United States Army by their resolution of June 3, 1784.

text: Planning for the transition to a peacetime force had begun in April 1783 at the request of a congressional committee chaired by Alexander Hamilton. The commander-in-chief discussed the problem with key officers before submitting the army's official views on 2 May. Significantly, there was a broad consensus of the basic framework among the officers. Washington's proposal called for four components: a small regular army, a uniformly trained and organized militia, a system of arsenals, and a military academy to train the army's artillery and engineer officers. He wanted four infantry regiments, each assigned to a specific sector of the frontier, plus an artillery regiment. His proposed regimental organizations followed Continental Army patterns but had a provision for increased strength in the event of war. Washington expected the militia primarily to provide security for the country at the start of a war until the regular army could expand—the same role it had carried out in 1775 and 1776. Steuben and Duportail submitted their own proposals to Congress for consideration.

text: Although Congress declined on May 12 to make a decision on the peace establishment, it did address the need for some troops to remain on duty until the British evacuated New York City and several frontier posts. The delegates told Washington to use men enlisted for fixed terms as temporary garrisons. A detachment of those men from West Point reoccupied New York without incident on November 25. When Steuben's effort in July to negotiate a transfer of frontier forts with Major General Frederick Haldimand collapsed, however, the British maintained control over them, as they would into the 1790s. That failure and the realization that most of the remaining infantrymen's enlistments were due to expire by June 1784 led Washington to order Knox, his choice as the commander of the peacetime army, to discharge all but 500 infantry and 100 artillerymen before winter set in. The former regrouped as Jackson's Continental Regiment under Colonel Henry Jackson of Massachusetts. The single artillery company, New Yorkers under John Doughty, came from remnants of the 2nd Continental Artillery Regiment.

text: Congress issued a proclamation on October 18, 1783, which approved Washington's reductions. On November 2, Washington then released his Farewell Order to the Philadelphia newspapers for nationwide distribution to the furloughed men. In the message he thanked the officers and men for their assistance and reminded them that "the singular interpositions of Providence in our feeble condition were such, as could scarcely escape the attention of the most unobserving; while the unparalleled perseverance of the Armies of the United States, through almost every possible suffering and discouragement for the space of eight long years, was little short of a standing miracle."

text: Washington believed that the blending of persons from every colony into "one patriotic band of Brothers" had been a major accomplishment, and he urged the veterans to continue this devotion in civilian life.

text: Washington said farewell to his remaining officers on December 4 at Fraunces Tavern in New York City. On December 23 he appeared in Congress, then sitting at Annapolis, and returned his commission as commander-in-chief: "Having now finished the work assigned me, I retire from the great theatre of Action; and bidding an Affectionate farewell to this August body under whose orders I have so long acted, I here offer my Commission, and take my leave of all the employments of public life." Congress ended the War of American Independence on January 14, 1784, by ratifying the definitive peace treaty that had been signed in Paris on September 3.

text: Congress had again rejected Washington's concept for a peacetime force in October 1783. When moderate delegates then offered an alternative in April 1784 which scaled the projected army down to 900 men in one artillery and three infantry battalions, Congress rejected it as well, in part because New York feared that men retained from Massachusetts might take sides in a land dispute between the two states. Another proposal to retain 350 men and raise 700 new recruits also failed. On June 2 Congress ordered the discharge of all remaining men except twenty-five caretakers at Fort Pitt and fifty-five at West Point. The next day it created a peace establishment acceptable to all interests.

text: The plan required four states to raise 700 men for one year's service. Congress instructed the Secretary at War to form the troops into eight infantry and two artillery companies. Pennsylvania, with a quota of 260 men, had the power to nominate a lieutenant colonel, who would be the senior officer. New York and Connecticut each were to raise 165 men and nominate a major; the remaining 110 men came from New Jersey. Economy was the watchword of this proposal, for each major served as a company commander, and line officers performed all staff duties except those of chaplain, surgeon, and surgeon's mate. Under Josiah Harmar, the First American Regiment slowly organized and achieved permanent status as an infantry regiment of the new Regular Army. The lineage of the First American Regiment is carried on by the 3rd United States Infantry Regiment (The Old Guard).

text: However the United States military realized it needed a well-trained standing army following St. Clair's Defeat on November 4, 1791, when a force led by General Arthur St. Clair was almost entirely wiped out by the Western Confederacy near Fort Recovery, Ohio. The plans, which were supported by U.S. President George Washington and Henry Knox, Secretary of War, led to the disbandment of the Continental Army and the creation of the Legion of the United States. The command would be based on the 18th-century military works of Henry Bouquet, a professional Swiss soldier who served as a colonel in the British army, and French Marshal Maurice de Saxe. In 1792 Anthony Wayne, a renowned hero of the American Revolutionary War, was encouraged to leave retirement and return to active service as Commander-in-Chief of the Legion with the rank of Major General.

text: The legion was recruited and raised in Pittsburgh, Pennsylvania. It was formed into four sub-legions. These were created from elements of the 1st and 2nd Regiments from the Continental Army. These units then became the First and Second Sub-Legions. The Third and Fourth Sub-Legions were raised from further recruits. From June 1792 to November 1792, the Legion remained cantoned at Fort LaFayette in Pittsburgh. Throughout the winter of 1792–93, existing troops along with new recruits were drilled in military skills, tactics and discipline at Legionville on the banks of the Ohio River near present-day Baden, Pennsylvania. The following Spring the newly named Legion of the United States left Legionville for the Northwest Indian War, a struggle between American Indian tribes affiliated with the Western Confederacy in the area south of the Ohio River. The overwhelmingly successful campaign was concluded with the decisive victory at the Battle of Fallen Timbers on August 20, 1794, Maj. Gen. Anthony Wayne applied the techniques of wilderness operations perfected by Sullivan's 1779 expedition against the Iroquois. The training the troops received at Legionville was also seen as an instrumental to this overwhelming victory.

text: Nevertheless, Steuben's Blue Book remained the official manual for the legion, as well as for the militia of most states, until Winfield Scott in 1835. In 1796, the United States Army was raised following the discontinuation with the legion of the United States. This preceded the graduation of the first cadets from United States Military Academy at West Point, New York, which was established in 1802.

text: Rank insignia[edit]

text: During the American Revolutionary War, the Continental Army initially wore ribbons, cockades and epaulettes of various colors as an ad hoc form of rank insignia, as General George Washington wrote in 1775:

text: "As the Continental Army has unfortunately no uniforms, and consequently many inconveniences must arise from not being able to distinguish the commissioned officers from the privates, it is desired that some badge of distinction be immediately provided; for instance that the field officers may have red or pink colored cockades in their hats, the captains yellow or buff, and the subalterns green."

text: In 1776 captains were to have buff or white cockades.

text:
Rank insignia of the Continental Army 1775 [13]

Ribands across the breast
Cockades in the hats
Epaulettes or stripes on the right shoulder

General
and
commander-in-chief
Major general
Brigadier general
Aide-de-camp
Colonel,
Lieutenant colonel,
Major
Captain
Lieutenant, Ensign
Sergeant
Corporal

text: Later on in the war, the Continental Army established its own uniform with a black cockade (as used in much of the British Army) among all ranks and the following insignia:

text:
Ranks and insignia of the Continental Army 1780[14]

General and
Commander-in-Chief
Major general
Brigadier general
Colonel
Lieutenant colonel
Aide-de-camp
Major
Captain
Subaltern
Lieutenant
Ensign
Sergeant major
Sergeant
Corporal
Private

Gold epaulets
Jacket with gold trim
Silver epaulets
Gold epaulets
Hat with green cockade
Gold epaulets
Gold epaulet
(Right shoulder)
Gold epaulet
(Left shoulder)
No epaulets
Red epaulets
Red epaulet
(Right shoulder)
Green epaulet
(Right shoulder)
No epaulets

text: Major battles[edit]

text:
Siege of Boston
Battle of Long Island
Battle of Harlem Heights
Battle of Trenton
Battle of Princeton
Battle of Brandywine
Battle of Germantown
Battle of Saratoga
Battle of Monmouth
Siege of Charleston
Battle of Camden
Battle of Cowpens
Battle of Guilford Court House
Siege of Yorktown


document_title: Rumer Willis

question_text: who did rumor willis play on pretty little liars

text: Rumer Willis

text: Early life[edit]

text: She was born in Paducah, Kentucky, while her father, Bruce Willis, was filming In Country. She was named after British author Rumer Godden.[1] Her mother, actress Demi Moore, hired a cameraman to videotape her birth.[2] She has two younger sisters, Scout LaRue Willis (born 1991), and Tallulah Belle Willis (born 1994), as well as two younger paternal half-sisters from her father's marriage to model Emma Heming, Mabel Ray Willis (born 2012) and Evelyn Penn Willis (born 2014).[3]

text: Raised in Hailey, Idaho,[1] Willis enrolled as a freshman at the Interlochen Arts Academy in Interlochen, Michigan. In January 2004, she enrolled as a sophomore at Wildwood Secondary School in Los Angeles, California.[2] She attended the University of Southern California for one semester before dropping out.

text: Career[edit]

text: In 1995, Willis made her film debut alongside her mother in Now and Then. The following year she appeared in Striptease (1996). She has worked with her father twice: in The Whole Nine Yards in 2000 and Hostage in 2005.

text: In 2008, Willis ventured into the role of spokesperson for Ocean Pacific.[4] That same year, she was featured in the comedy The House Bunny[5] and the horror film From Within. In 2009, she co-starred in Sorority Row and in the independent film Wild Cherry, starring opposite Tania Raymonde and Kristin Cavallari.[6] In 2013, she starred as Maya in the independent film The Odd Way Home.

text: Willis' television credits include guest appearances on Miss Guided, Army Wives, CSI: NY, Medium, 90210, The Secret Life of the American Teenager, Hawaii Five-0 and Workaholics.

text: In May 2013, it was announced that Willis would portray Zoe, an organizer in a worldwide charity, in the fourth season of Pretty Little Liars.[7]

text: From September 21 to November 1, 2015, Willis starred as Roxie Hart in "Chicago" on Broadway. Willis was supposed to start her run on August 18 but was forced to delay her opening due to a foot injury. On March 22, 2017, she appeared in season 3 of FOX's musical-drama Empire premiere as Jamal's (Jussie Smollett) musical female counterpart.

text: Dancing with the Stars[edit]

text: On February 24, 2015, Willis was announced as one of the celebrities to compete on season 20 of Dancing with the Stars. Her professional partner was Valentin Chmerkovskiy.[8] Her performance during week 1 earned her the highest score of the night (32 out of 40), and her performance during two rounds of competition in week 8 landed her two perfect scores.[9]

text: On May 19, 2015, Willis and Chmerkovskiy were crowned the season's champions, winning over singer and actor Riker Lynch and army veteran Noah Galloway who took second and third place, respectively.[10] Willis joined partner Valentin Chmerkovskiy and other Dancing with the Stars professionals on the 40-city "Dancing with the Stars: Perfect 10 Tour" during the summer of 2015.

text:
Week #
Dance / Song
Judges' score
Result

Inaba
Goodman
Hough
Tonioli

1
Foxtrot / "Take Me to Church"
8
8
8
8
No elimination

2
Cha-cha-cha / "Rumor Has It"
8
8
8
8
Safe

3
Salsa / "Turn the Beat Around"
8
9
8
8
Safe

4
Waltz / "Turning Tables"
9
8
9
9
Safe

5
Samba / "Poor Unfortunate Souls"
10
9
10
10
Safe

6
Jazz / "Bootylicious"
Team Freestyle / "Trouble"
8
10
8
9
7
10
9
10
Safe

7
Jive / "Dear Future Husband"
Foxtrot Dance-Off / "Orange Colored Sky"
8
Awarded
9
2
9
extra
9
points
Last to be called safe

8
Rumba / "Perhaps, Perhaps, Perhaps"
Paso doble (Trio Challenge) / "Scott & Fran's Paso Doble"
10
10
10
10
10
10
10
10
Safe

9
Viennese Waltz / "Earned It"
Contemporary Fusion / "Theme from Swan Lake, Op. 20"
10
10
9
10
9
10
10
-
Last to be called safe

10
Foxtrot / "Take Me to Church"
Freestyle / "Toxic"
Foxtrot & Paso Doble (fusion) / "Big Jet Plane"
10
10
10
10
10
10
10
10
10
10
10
10
Winner

text: Filmography[edit]

text:
Film

Year
Title
Role
Notes

1995
Now and Then
Angela Albertson
Credited as Willa Glen

1996
Striptease
Angela Grant
Credited as Willa Glen

2000
Whole Nine Yards, TheThe Whole Nine Yards
Girl running between Jimmy and Oz

2005
Hostage
Amanda Talley

2008
From Within
Natalie

2008
House Bunny, TheThe House Bunny
Joanne

2008
Streak
Drea
Short film

2008
Whore
Smoking girl

2009
Wild Cherry
Katelyn Chase

2009
Sorority Row
Ellie Morris

2012
Six Letter Word
Zoe
Short film

2012
Diary of Preston Plummer, TheThe Diary of Preston Plummer
Kate Cather

2013
Ganzfeld Experiment, TheThe Ganzfeld Experiment
Lucky

2013
The Odd Way Home
Maya
Completed

2014
Return to Sender

2014
There's Always Woodstock
Emily

2015
The Escort
Dana

2017
Hello Again
Emily
Filming

text:
Television

Year
Title
Role
Notes

2008
Miss Guided
Shawna
Episode: "Frenemies"

2008
Army Wives
Renee Talbott
Episode: "Transitions"

2008
CSI: NY
Mackendra Taylor
Episode: "My Name Is Mac Taylor"

2009
Medium
Bethany Simmons
Episode: "The First Bite Is the Deepest"

2009
Secret Life of the American Teenager, TheThe Secret Life of the American Teenager
Heather
Episode: "Knocked Up, Who's There?"

2009–2010
90210
Gia Mannetti
10 episodes

2012
Workaholics
Lisa
Episode: "True Dromance"

2012–2013
Hawaii Five-0
Sabrina Lane
2 episodes

2013
Pretty Little Liars
Zoe
Episode: "The Guilty Girl's Handbook"

2015
Dancing with the Stars
Herself / Contestant
Season 20

2017
Empire
Tory Ash