document_title: Smokey and the Bandit

question_text: who played foxy lady in smokey and the bandit

text: Smokey and the Bandit

text: Plot[edit]

text: Wealthy Texan Big Enos Burdette and his son Little Enos seek a truck driver willing to bootleg Coors beer to Georgia for their refreshment. At the time, Coors was regarded as one of the finest beers in the United States,[3] but it could not be legally sold east of the Mississippi River. Truck drivers who had taken the bet previously had been caught and arrested by "Smokey" (CB slang for highway patrol officers, referring to the Smokey Bear–type hats worn in some states).

text: The Burdettes find legendary trucker Bo "Bandit" Darville competing in a truck rodeo at Lakewood Fairgrounds in Atlanta; they offer him $80,000 to haul 400 cases of Coors beer from Texarkana, Texas back to Atlanta in 28 hours; Big Enos has sponsored a driver running in the Southern Classic stockcar race and "when he wins I want to celebrate in style." Bandit accepts the bet and recruits his partner Cledus "Snowman" Snow to drive the truck, while Bandit drives the "blocker", a black Pontiac Trans Am bought on an advance from the Burdettes, to divert attention away from the truck and its illegal cargo.

text: The trip to Texas is mostly uneventful except for at least one pursuing Arkansas State Trooper whom Bandit evades with ease. They reach Texarkana an hour ahead of schedule, load their truck with the beer and head back toward Atlanta. Immediately upon starting the second leg of the run, Bandit picks up runaway bride Carrie, whom he eventually nicknames "Frog" because she is "kinda cute like a frog," she is "always hoppin' around," and because he "wants to jump" her. But in so doing, Bandit makes himself a target of Texas Sheriff Buford T. Justice, a career lawman whose handsome but slow-witted son Junior was to have been Carrie's bridegroom. Ignoring his own jurisdiction, Sheriff Justice, with Junior in tow, chases Bandit all the way to Georgia, even as various mishaps cause his cruiser to disintegrate around them.

text: The remainder of the film is one lengthy high-speed chase, as Bandit's antics attract more and more attention from local and state police across Dixie while Snowman barrels on toward Atlanta with the contraband beer. Bandit and Snowman are helped along the way via CB radio by many colorful characters, including an undertaker with his hearse driver and their funeral procession, an elderly lady, a drive-in waitress and all her customers, a convoy of trucks, and even a madam who runs a brothel out of her RV. Neither Sheriff Justice nor any other police officers have any knowledge of Snowman's illegal manifest.

text: The chase intensifies as Bandit and Snowman get closer to Atlanta; moments after crossing back into Georgia, Bandit comes to the rescue when Snowman is pulled over by a Georgia State Patrol motorcycle patrolman, and state and local police step up their pursuit with more cruisers, larger roadblocks, and even a police helicopter to track Bandit's movements. Discouraged by the unexpected mounting attention, and with just four miles left to go, Bandit is about to give up, but Snowman refuses to listen and takes the lead, smashing through the police roadblock at the entrance to the fairgrounds. They arrive back at Lakewood Speedway (while the Southern Classic race is being run) with only 10 minutes to spare, but instead of taking the payoff, Frog and Bandit accept a double-or-nothing offer from Little Enos — a challenge to run up to Boston and bring back clam chowder in 18 hours. They quickly escape in one of Big Enos' Cadillac convertibles as Georgia State Patrol cruisers flood the racetrack to confiscate the Trans Am and truck, passing Sheriff Justice's badly damaged police car by the side of the road. Bandit first directs Sheriff Justice to Big and Little Enos, but then in a gesture of respect, reveals his true location and invites Justice to give chase, leaving Junior behind.

text: Cast[edit]

text:
Burt Reynolds as Bo Darville ("Bandit")
Sally Field as Carrie ("Frog")
Jerry Reed as Cledus Snow ("Snowman")
Jackie Gleason as Sheriff Buford T. Justice ("Smokey")
Mike Henry as Junior Justice
Pat McCormick as Big Enos Burdette
Paul Williams as Little Enos Burdette
Macon McCalman as Mr. B
Susan McIver as Hot Pants
George Reynolds as Sheriff George Branford
Laura Lizer Sommers as Little Beaver
Michael Mann as Branford's Deputy
Lamar Jackson as Sugar Bear
Ronnie Gay as Georgia Trooper
Quinnon Sheffield as Alabama Trooper
Alfie Wise as Alabama Patrolman
Pat Hustis as Tow Truck Driver
Ingeborg Kjeldsen as Foxy Lady
Ben Jones as Trucker #1
Joe Klecko as Trucker #2
Hank Worden as Trucker #3

text: Production[edit]

text: Director Hal Needham originally planned the film as a low-budget B movie with a production cost of $1 million,[2] with Jerry Reed as the Bandit. It was not until Needham's friend Burt Reynolds read the script, and said he would star, that the film was aimed at a more mainstream release; Reed would now portray Bandit's friend Snowman (Reed would eventually play the Bandit in Smokey and the Bandit Part 3). At that time Reynolds was the top box office star in the world. In the original script Carrie was called Kate while Big Enos and Little Enos were called Kyle and Dickey. Bandit's car was a second generation Ford Mustang and the prize for completing the run was a new truck rather than $80,000.[4]

text: Burt Reynolds revealed in his autobiography that Needham had written the first draft script on legal pads. Upon showing it to his friend, Reynolds told Needham that it was the worst script he had ever read but that he would still make the movie. Most of the dialogue was improvised on set.[5]

text: Universal Studios bankrolled Smokey and the Bandit for $5.3 million, figuring it was a good risk.[2] Just two days before production was to begin, Universal sent a "hatchet man" to Atlanta to inform Needham that the budget was being trimmed by $1 million. With Reynolds' salary at $1 million, Needham was left with only $3.3 million to make the film. Needham and assistant director David Hamburger spent 30 hours revising the shooting schedule.[2]

text: "Buford T. Justice" was the name of a real Florida Highway Patrolman known to Reynolds' father, who was once Police Chief of Riviera Beach, Florida. His father was also the inspiration for the word "sumbitch" used in the film, a variation of the phrase "son-of-a-bitch" that, according to Reynolds, he uttered quite often.

text: Jackie Gleason was given free rein to ad-lib dialogue and make suggestions. It was his idea to have Junior alongside him throughout. In particular, the scene where Sheriff Justice unknowingly encounters the Bandit in the "choke and puke" (a roadside diner) was not in the original story, but rather was Gleason's idea.

text: Before Gleason was cast in the film, Richard Boone was originally considered for the role of Buford T. Justice.[5]

text: Sally Field only accepted the part after her agent advised her that she needed a big movie role on her resume. Reynolds actively pushed for her casting after Universal initially resisted, claiming Field was not attractive enough. Field enjoyed making the film, but remembers that virtually the entire project was improvised.

text: Reportedly, Needham had great difficulty getting any studios or producers to take his project seriously, as in the film industry, he was better known as a stuntman. He managed to obtain studio attention after his friend Reynolds agreed to portray the Bandit in the film.

text: The movie was primarily filmed in Georgia in the cities of McDonough, Jonesboro and Lithonia. The scenes set in Texarkana were filmed in Jonesboro and the surrounding area, and many of the chase scenes were filmed in the surrounding areas on Highway 54 between Fayetteville and Jonesboro for a majority of the driving scenes, Mundy's Mill Road, Main Street in Jonesboro, Georgia State Route 400, I-85 (Pleasant Hill exit), and in McDonough. However, the scene where they drive through the Shell gas station was filmed in Ojai, California on the corner of Ojai and El Paseo. Much of the surrounding scene comes from that immediate vicinity. The scene featuring the racetrack was filmed at Lakewood Speedway at the old Lakewood Fairgrounds on the south side of Atlanta. The roller coaster seen in the movie was the Greyhound. It had not been used for some time and was repainted for the film. It was destroyed in Smokey and the Bandit II and a flashback scene in Part 3.[6]

text: The film's theme song, "East Bound and Down", was written virtually overnight by Jerry Reed. He gave Needham a preview of the song, and when initially he got no reaction from the director, offered to rewrite the song. Needham, however, liked the song so much he assured Jerry not to change a word. It became one of Reed's biggest hits and his signature song.[7]

text: The area around Helen, Georgia was also used for some locations. The scene where Buford T. Justice's car has the door knocked off by a passing semi truck was shot on Georgia State Route 75, 3 miles (4.8 km) north of Helen. The tow truck driver was a local garage owner, Berlin Wike.

text: The film features the custom clothing and costuming of Niver Western Wear of Fort Worth, Texas.[8] Niver provided much of the western attire worn in the film, as well as the custom-made sheriff's uniforms (waist size 64 inches) that Jackie Gleason wore throughout the film.

text: Reynolds and Sally Field began dating during the filming of Smokey and the Bandit.

text: While made to take advantage of the ongoing 1970s CB radio fad, the film added to the craze.[9]

text: Though the film Moonrunners (1975) is the precursor to the television series The Dukes of Hazzard (1979-1985), from the same creator and with many identical settings and concepts, the popularity of Smokey and the Bandit and similar films helped get the Dukes series on the air. Three actors from the main cast of The Dukes of Hazzard appear in small uncredited roles in Smokey and the Bandit: Ben Jones, John Schneider and Sonny Shroyer (who played a police officer in both). In return, Reynolds portrayed the Dukes character Boss Hogg (originally portrayed by Sorrell Booke) in the film adaptation The Dukes of Hazzard (2005). Reynolds is also referenced by name in several early episodes of the series.

text: Vehicles[edit]

text: Needham saw an advertisement for the soon-to-be-released 1977 Pontiac Trans Am and knew right away that would be the Bandit's car, or, as Needham referred to it, a character in the movie. He contacted Pontiac and an agreement was made that four 1977 Trans Ams and two Pontiac LeMans 4-door sedans would be provided for the movie.[10] The Trans Ams were actually 1976-model cars with 1977 front ends. (From 1970 to 1976, both the Firebird/Trans Am and Chevrolet Camaro had two round headlights, and in 1977, the Firebird/Trans Am was changed to four rectangular headlights, while the Camaro remained unchanged.) The decals were also changed to 1977-style units, as evidenced by the engine size callouts on the hood scoop being in liters rather than cubic inches, as had been the case in 1976. The hood scoop on these cars says "6.6 LITRE", which in 1977 would have denoted an Oldsmobile 403-equipped car or a non W-72, 180 hp version of the 400 Pontiac engine. All four of the cars were badly damaged during production,[11] one of which was all but destroyed during the jump over the dismantled bridge. The Trans Am used for the dismantled bridge jump was equipped with a booster rocket, the same type that was used by Evel Knievel during his failed Snake River Canyon jump. Needham served as the driver for the stunt (standing in for Reynolds) while Lada St. Edmund was in the same car (standing in for Sally Field during the jump). By the movie's ending, the final surviving Trans Am and LeMans were both barely running and the other cars had become parts donors to keep them running. The Burdettes' car is a 1974 Cadillac Eldorado convertible painted in a "Candy Red" color scheme, and is seen briefly at the beginning of the movie and as Bandit, Snowman, Fred, and Frog make their escape in the final scene.

text: The film also made use of three Kenworth W900A short-frame semi trucks, which Jerry Reed can be seen driving, each equipped with 38-inch sleepers. Two units were 1974 models as evidenced by standard silver Kenworth emblems on the truck grille, and one unit was a 1973 model as evidenced by the gold-painted Kenworth emblem on the truck's grille signifying Kenworth's 50 years in business. The paint code for each truck was coffee brown with gold trims, and the 48-foot (15 m) mural trailer used was manufactured by Hobbs Trailers in Texas with a non-operational Thermo King Refrigeration unit. This is obvious, because there is no fuel tank on the underside of the trailer to power the refrigeration unit, and the unit is never heard running.[12]

text: Legal status of Coors beer[edit]

text: In 1977, Coors was unavailable for sale east of Oklahoma. A 1974 Time magazine article explains why Coors was so coveted that one would be willing to pay the Bandit such a high price to transport it. Coors Banquet Beer had a brief renaissance as certain people sought it out for its lack of stabilizers and preservatives. The article says that future Vice President Gerald Ford hid it in his luggage after a trip to Colorado in order to take it back to Washington. President Dwight D. Eisenhower had a steady supply airlifted to Washington by the Air Force. The article also mentions Frederick Amon, who smuggled it from Colorado to North Carolina and sold it for four times the retail price.[13] The lack of additives and preservatives meant that Coors had the potential for spoiling in a week if it were not kept cold throughout its transportation and in storage at its destination. This explains the 28-hour deadline.[14]

text: Soundtrack[edit]

text:
Smokey And The Bandit: Music from the Motion Picture

Soundtrack album by Various artists

Released
1977 (1977)

Genre
Truck-driving country
country rock
country
bluegrass
rock

Length
41:11

Label
MCA Records

Producer
Sonny Burke

Singles from Smokey And The Bandit: Music from the Motion Picture

"East Bound and Down"
Released: August 1, 1977

text: The theme music, "East Bound and Down", was sung and co-written by Reed (credited under his birth name, Jerry Hubbard) and Dick Feller. It became Reed's signature song and is found on multiple albums, including Country Legends and his live album Jerry Reed: Live Still. In 1991 it was arranged for orchestra by Crafton Beck and recorded by Erich Kunzel and the Cincinnati Pops Orchestra for their album Down on the Farm. Several other groups, such as US rock band Tonic, have also covered it. Reed also penned and performed the song for the opening credits, entitled "The Legend", which tells of some of The Bandit's escapades prior to the events of the film, and the ballad "The Bandit", which features in several versions in the movie and on the soundtrack. Reed's hit notwithstanding, Bill Justis is the first name on the credits for the soundtrack as he composed and arranged original music throughout the film. Musicians such as Beegie Adair and George Tidwell played on the soundtrack as part of long careers in music. Legendary five-string banjo player Bobby Thompson is also heard prominently towards the end of "East Bound and Down." The soundtrack album was released in 1977 on vinyl, cassette and 8-track through MCA Records.[15]

text: Track listing[edit]

text:
No.
Title
Writer(s)
Length

1.
"The Legend"
Jerry R. Hubbard
2:09

2.
"Incidental CB Dialogue" (Voice ["Bandit"] – Burt Reynolds, Voice ["Snowman"] – Jerry Reed)

0:28

3.
"West Bound And Down"
Jerry R. Hubbard, Dick Feller
2:45

4.
"Foxy Lady"
Bill Justis
2:51

5.
"Incidental CB Dialogue" (Voice ["Bandit"] – Burt Reynolds, Voice ["Smokey"] – Jackie Gleason, Voice ["Snowman"] – Jerry Reed)

0:56

6.
"Orange Blossom Special"
Ervin T. Rouse
2:40

7.
"The Bandit"
Dick Feller
3:00

8.
"March Of The Rednecks"
Bill Justis
2:22

9.
"If You Leave Me Tonight I'll Cry"
Gerald Sanford, Hal Mooney
2:47

10.
"East Bound and Down (Incidental CB Dialogue Included)" (Voice ["Bandit"] – Burt Reynolds, Voice ["Snowman"] – Jerry Reed)
Jerry R. Hubbard, Dick Feller
4:42

11.
"The Bandit"
Dick Feller
2:48

12.
"And The Fight Played On!"
Bill Justis
2:22

13.
"Ma Cousin Plays Steel"
Bill Justis
3:11

14.
"Hot Pants Fuzz Parade"
Bill Justis
4:48

15.
"Incidental CB Dialogue" (Voice ["Bandit"] – Burt Reynolds, Voice ["Snowman"] – Jerry Reed)

1:05

16.
"The Bandit (Reprise)"
Dick Feller
2:17

Total length:
41:11

text: Reception[edit]

text: Smokey and the Bandit was a smash hit at the box office. With an original budget of $5.3 million (cut to $4.3 million two days before initial production),[2] the film grossed $126,737,428 in North America,[16] making it the second-highest-grossing movie of 1977. The worldwide gross is estimated at over $300 million.[2]

text: Film critic Leonard Maltin gave the film a good rating (3 stars out of a possible 4) and characterized it as "About as subtle as The Three Stooges, but a classic compared to the sequels and countless rip-offs which followed."[17]

text: Gene Siskel, in his review in the Chicago Tribune, gave the film two stars and complained that the film failed to tell the audience when the clock started on the beer run, thus removing suspense throughout the film concerning how long remained to them. He also claimed that Bandit is never made aware of Frog's leaving Junior at the altar, which is why the Bandit continually asks why a Texas sheriff is chasing him. However, this is inaccurate: within seconds of Bandit picking her up, Frog tells him "there is a wedding in search of a bride", and goes on to explain her ill-advised romance with Junior, as Bandit holds up the CB mic for Snowman to hear.

text: The film's editors, Walter Hannemann and Angelo Ross, were nominated for the Academy Award for Best Film Editing. It currently holds a 79% "Fresh" rating on review aggregate website Rotten Tomatoes, based on 28 reviews.[18]

text: Burt Reynolds rated the film as the one he most enjoyed and had the most fun making in his career.[19]

text: Legendary film maker Alfred Hitchcock stated that the movie was one of his favorites.[20]

text: Upon meeting Burt Reynolds, Billy Bob Thornton told him that the picture was not considered as such in the south, and was considered more of a documentary.[21]

text: Smokey and the Bandit was released in the United Kingdom on August 28, 1977 and was a sizeable success there, garnering positive reviews.[22]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Laughs – Nominated
AFI's 100 Years...100 Thrills – Nominated
AFI's 100 Years...100 Heroes and Villains:

Bandit (Bo Darville) – Nominated Hero

text: Cultural impact[edit]

text: Trans Am[edit]

text: After the debut of the film the Trans Am became wildly popular with sales almost doubling in two years of the film's release, to the delight of General Motors; in fact, it outsold its Camaro counterpart for the first time ever.[23] Reynolds was given the 1977 vehicle used during promotion of the film as a gift, though the car itself never actually appeared in the film. Because of the popularity of the movie and the sales success of the Trans Am, then President of Pontiac Alex Mair promised to supply Reynolds with a Trans Am each year. Owing to his financial difficulties, in 2014 Reynolds put his vast collection of artwork and memorabilia up for auction, including the Trans Am. High estimates for the car were up to $80,000, but that was dwarfed by the actual sale price of $450,000. Also up for auction was a go-kart replica of the car, which sold for nearly $14,000.[24] In 2016, Trans Am Depot, a Florida-based automobile customization company, announced that it would build 77 Trans Ams that would be modeled after the car that Reynolds drove in the 1977 original, despite Pontiac having been discontinued by GM in 2009. These new models were built off the Camaro platform (the very same one that the real Firebird and Trans Am used), came with Pontiac arrowhead, flaming bird and Bandit logos, as well as instrument panels, center consoles and hood scoops emulating their 1977 counterparts, and were signed by Reynolds. Some differences included the use of a supercharged 454-cid (7.4-liter) Chevrolet-sourced engine that put out 840 HP, and four round headlights, which appeared on the 1967-69 Firebirds/Trans Ams only; the actual 1977-81 models had rectangular headlights.[25]

text: Diablo sandwich[edit]

text: The diablo sandwich ordered by Sheriff Justice in the Arkansas barbecue restaurant scene has entered popular culture as a minor reference to the film. While no authoritative source identifies the composition of the sandwich, there are several possibilities. A segment of the CMT program Reel Eats used a sloppy joe-style recipe consisting of seasoned ground beef, corn and sour cream.[26] Another proposal, based more closely on images from the film and the shooting location of the scene (at an Old Hickory House restaurant in Georgia), is pulled pork and hot sauce on a hamburger bun.[27]

text: The Bandit Run[edit]

text: First run in 2007 to celebrate the 30th anniversary of the movie, The Bandit Run was the brainchild of Dave Hall, owner of Restore A Muscle Car. A group of Trans Am owners and fans of the movie take part in an annual road trip from Texarkana to Jonesboro, Georgia, recreating the route taken by the characters in the film.

text: The Bandit Run quickly caught on and has become a fixture, most recently celebrating the 40th anniversary of the movie with a special screening of the film attended by Burt Reynolds and a recreation of the jump undertaken by Bandit and Frog across a river.[28]

text: Mobil 1 commercial[edit]

text: In 2014, petroleum company Mobil 1 produced television commercials, featuring NASCAR star Tony Stewart, closely based on the film. Called Smoke is the Bandit playing on Stewart's nickname, the commercials featured him as the Bandit opposite Darrell Waltrip who played Snowman and Jeff Hammond as Buford T. Justice. The story replaced the Coors beer with Mobil 1 products. The adverts poked fun at the film and even featured a Pontiac Trans Am and a cover version of the song East Bound and Down. The commercials were produced after Stewart mentioned that the movie was one of his favorites.[29]

text: Television censorship and alternative versions[edit]

text: When Smokey and the Bandit first aired on American network television in the early 1980s, censors were faced with the challenge of toning down the raw language of the original film. For this purpose, they overdubbed dialogue deemed offensive, which was (and remains, to an extent) common practice. The most noted change made for network broadcast was the replacing of Buford's often-spoken phrase "sumbitch" (a contraction of "son of a bitch"; usually in reference to the Bandit) with the phrase "scum bum". This phrase achieved a level of popularity with children, and the 2007 Hot Wheels release of the 1970s Firebird Trans Am has "scum bum" emblazoned on its tail. The TV prints of the first two Bandit films are still shown regularly on television, although a few TV stations aired the unedited version in recent years as some of the phraseology (i.e. "(son of a) bitch", "ass", etc.) became more acceptable on TV.

text: The original actors mostly redubbed their own lines for the television version, except for Gleason. Actor Henry Corden, who voiced Fred Flintstone after original performer Alan Reed died, was used to replace a considerable amount of Sheriff Justice's dialogue. This is fitting, as Fred Flintstone was a parody of/homage to Gleason's character Ralph Kramden and The Flintstones was a parody of/homage to The Honeymooners.

text: In the UK, the heavily dubbed version was shown for a number of years, particularly by the BBC. However, in more recent years, the original version has been shown (on ITV, a commercial channel), usually with the stronger language edited out, often quite awkwardly and noticeably.

text: The theatrical release itself had a few lines deleted, including a creative edit in which Sheriff Justice tells a state trooper to "fuck off." His expletive is obscured when a passing big rig sounds its horn. At the time, using the 'F' word would immediately require an R rating and this clever self-censorship allowed the film to avoid this rating and reach a much larger audience. However, the scene and the obscured expletive was played for comedy value and written as such, with the passing truck being the gag of the scene more than a way to avoid the censors.

text: In 2006, a DVD re-release was issued of Smokey and the Bandit featuring a digitally-remastered audio track with 5.1 Dolby-compatible surround sound. It should be noted however that many of the film's original sounds were replaced. For instance, the diesel engine start and run up sequence in the opening sequence of the film was completely dubbed over with a totally new sound. A few other examples of "sound effect replacement" occur when Bandit takes off after managing to get a reluctant Cledus involved in the bet, and after he comes to a screeching halt on a roadway moments before picking up Carrie. Some of the original sound effects (such as Cledus' dog Fred's barking) and music (such as the final chase to the Southern Classic) were removed and not replaced. (Note: earlier DVD releases and the 40th Anniversary Blu-ray of the film have the original soundtrack intact.)[30]

text: Major portions of the audio 'background' have been modified with different engine sounds or tire squeals from the original film. The updated version of the film features sounds inaccurate for what would be produced by the Trans Am or the numerous other Pontiac vehicles in the film. The original film had correct sounds that were usually recorded live as the action took place.

text: Some TV versions also feature a longer version of the scene where Cledus wades into the pond after Fred.[31]

text: Spinoff[edit]

text: This section needs expansion. You can help by adding to it. (April 2013)

text: A series of television movies aired in 1994. The car featured was a Dodge Stealth.


document_title: Admiral Ackbar

question_text: when does admiral ackbar say it's a trap

question_tokens: when does admiral ackbar say it 's a trap

root

text: Admiral Ackbar

text: Backstory[edit]

text: Admiral Ackbar was designed for the film Return of the Jedi, the final entry in the original Star Wars trilogy. However, before the May 1983 debut of that film, the character made his first chronological appearance in a series of Star Wars newspaper comic strips by Archie Goodwin and Al Williamson. There he was portrayed as the leader of the alien species Mon Calamari, who were allies of the Rebel Alliance in their conflict with the Galactic Empire.[2] The Mon Calamari are a species of fish-like, amphibious humanoids with salmon-colored skin, webbed hands, high-domed heads, and large fish-like eyes.[3][4] Ackbar's back story was not explained in Return of the Jedi, but has since been established in Star Wars books and other media since the film was released.

tag: p

text: Ackbar is from the planet Mon Calamari, a world almost entirely covered by water, where his species built giant floating cities.[5] Ackbar is the leader of his home town, Coral Depths City, when forces from the Galactic Empire invade and almost destroy the planet.[6] Despite the Mon Calamari's attempts to make peace, the Imperial forces destroy several of their cities, steal their technology, and enslave its population.[5] Ackbar is one of the first to be enslaved, and is eventually presented as an interpreter and personal servant to Grand Moff Tarkin.[6] During this time Ackbar learns much about both the Empire and military tactics in general, and also learns of both the Rebel Alliance and the Death Star, a moon-sized superweapon Tarkin is developing.[6][7]

text: Ackbar is freed from captivity during a failed attempt by Rebel forces to capture Tarkin. Afterward he joins the Rebel Alliance and helps convince his people to support the cause, playing an integral part in persuading them to contribute their massive starships, the Mon Calamari cruisers, to the Rebel Alliance.[6] Starting with the rank of Commander, Ackbar helps design the B-wing, a powerful line of starfighters, which prompt Rebel leader Mon Mothma to promote him to admiral.[8] Following events in the film Star Wars, including the destruction of the Death Star, Ackbar helps the other Rebel leaders establish new bases of operation and manage a Rebel mobile task force in starships spread across the galaxy.[9] He rises up the ranks until Mothma promotes him to commander of the entire Rebel fleet and head of military operations, as well as one of her top advisers.[7]

text: Film[edit]

text: Return of the Jedi[edit]

text: When Rebel spies discovers plans for a partially constructed second Death Star, Ackbar and Mothma plan a surprise assault on the battle station as it orbits the forest moon of Endor. The attack, known as the Battle of Endor, involves General Han Solo leading a strike team on the moon's surface to destroy the Death Star's energy shield generator, while Ackbar and General Lando Calrissian lead a space battle against the station itself.[10] Ackbar personally leads the assault from his flagship, the Mon Calamari cruiser Home One.[11] The attack does not go as planned, however, because Emperor Palpatine was expecting the assault and had in fact allowed the Death Star plans to fall into Rebel hands to lead them into a trap. On Palpatine's order, Imperial forces launch a massive counterattack against the Rebel fleet with TIE starfighters and Star Destroyer capital ships.[12] Ackbar initially calls for a tactical retreat, but Calrissian convinces him to move forward with the attack. The Rebel forces suffer heavy casualties, but ultimately succeed in destroying the Death Star and defeating the Empire.[8]

text: The Force Awakens[edit]

text: Admiral Ackbar appears in Star Wars: The Force Awakens at the headquarters of the Resistance and helps Rey find Luke Skywalker. He helps construct the plan to destroy the First Order's new superweapon, Starkiller Base.[13]

text: The Last Jedi[edit]

text: Rose reprised his role as Admiral Ackbar in Star Wars: The Last Jedi, the second installment of the sequel trilogy while his voice was provided by Tom Kane.[14] In the film, Ackbar aids the rest of the Resistance in evacuating their base on D'Qar. He orders the ships to jump to hyperspace to escape the First Order. The First Order fleet pursues the Resistance and initiates an attack on the bridge of their main cruiser, causing all occupants, including Ackbar, to be blown out into space and killed, leaving General Leia Organa as the sole survivor.

text: Television[edit]

text: The Clone Wars[edit]

text: In the fourth season of the 2008 animated series Star Wars: The Clone Wars, Ackbar is captain of the royal army of Mon Calamari. After the planet's king is assassinated, the Mon Calamari and the Quarren, another of the planet's races, argue about who should be the next king. Ackbar is meant to protect the prince of Mon Calamari, Lee Char, as a battle for the planet begins, led by the Separatist commander Riff Tamson. The battle is lost, however, even with the assistance of the Jedi Ahsoka Tano, Anakin Skywalker, and Kit Fisto. Ackbar is captured, leaving Ahsoka and Char to fend for themselves. However, after learning that Tamson plans to forcibly make himself the new king, the Quarren betray the Separatists at Char's public execution, Ackbar is freed and a battle ensues to retake the planet. Tamson is defeated and Char is crowned king.

text: Expanded Universe[edit]

text: Although his role in Return of the Jedi was relatively brief, Admiral Ackbar became a prominent character in the Star Wars expanded universe, which encompasses all licensed stories in the Star Wars universe outside of the nine main feature films, such as novels, comic books, video games and television shows.[4]

text: Star Wars: Battlefront[edit]

text: Admiral Ackbar appears in the "Battle of Jakku" DLC in Star Wars: Battlefront, set after Return of the Jedi.

text: Legends[edit]

text: With the 2012 acquisition of Lucasfilm by The Walt Disney Company, most of the licensed Star Wars novels and comics produced since the originating 1977 film Star Wars were rebranded as Star Wars Legends and declared non-canon to the franchise in April 2014.[15][16][17]

text: In the Star Wars novels written between 1991 and 1998, Ackbar is a signatory on the formal declaration of the New Republic, the government which replaces the Empire, and is one of nine individuals to join the New Republic Provisional Council, the governing body of this new form of government.[18] Ackbar retired before the beginning of The New Jedi Order series, but comes out of retirement to help fight the Yuuzhan Vong.[2] It is revealed in The Unifying Force, the final novel of the series, that Ackbar dies of old age shortly before the war ends. His death does not take place within the prose of the book, but rather the characters are notified that it has occurred.[19]

text: Concept and creation[edit]

text: Conception[edit]

text: For Admiral Ackbar's appearance in Return of the Jedi, a combination of a half-body puppet and slip-on mask was used, depending on the camera angle required for the shot. In close-up scenes of Ackbar that required dialogue, puppeteer Timothy M. Rose sat inside the chest of the character and operated the head like a hand puppet from below. Rose moved the mouth using his hand, while Mike Quinn operated the eyes via cables. For wider shots that showed Ackbar's full body, Rose wore the mask and costume while Quinn operated the mouth via remote.[20] Although the character was created with the best available puppetry technology at the time, Star Wars creator George Lucas was not entirely pleased with the final result and felt it was a compromise.[21]

text: During filming of the 2005 film Star Wars: Episode III – Revenge of the Sith, Lucas was so impressed with the animatron mask used on the Mon Calamari character Meena Tills, that he briefly considered reediting Return of the Jedi and replacing footage of Admiral Ackbar with an improved mask. He never did, however.[21]

text: Ackbar's first name, Gial, was not established until the April 2012 release of the Star Wars reference book The Essential Guide to Warfare. Co-author Paul R. Urquhart told the website TheForce.net said the name was taken from Gial Gahan, a Mon Calamari Senator character who played a minor role in the Star Wars: Legacy comic book series.[22]

text: Portrayals[edit]

text: Rose was not originally hired to portray Admiral Ackbar, but instead to help build and operate the Sy Snootles puppet for the Max Rebo Band, which performs at the palace of the alien crime lord Jabba the Hutt. While backstage at the workshop where several alien puppets were stored, Rose saw Ackbar's sculpt on a display stand and asked Phil Tippett, who designed most of the creatures, if he could play the part. He did not know that Ackbar played a major supporting role in the film and only asked to portray him because he liked the look of the character. Rose had believed it would be a background character whose role had not yet even been determined in the film, and said he was "thinking he was going to be in the third row in a new Cantina sequence or something".[4]

text: The voice of Admiral Ackbar in Return of the Jedi was performed by Erik Bauersfeld, a radio dramatist who also voiced Bib Fortuna in the film. He was cast after Star Wars sound designer Ben Burtt approached him while Bauersfeld was producing a radio drama with Lucasfilm sound designer Randy Thom. The recording session took one hour, and Bauersfeld made up the voice he believed matched the character after looking at a photo of Ackbar.[23] Bauersfeld reprised the role in the 1993 LucasArts computer game Star Wars: X-Wing[24] and Star Wars: The Force Awakens; the latter was Bauersfield's final role before his death in April 2016. He was replaced by Tom Kane in Star Wars: The Last Jedi.

text: Cultural impact[edit]

text: Critical reception[edit]

text: Admiral Ackbar ranked number 16 in 1998 list of the "Top 20 Star Wars Characters" featured in the magazine Star Wars Insider. Scott Chernoff, a writer for that magazine, called the character "one of the most visually striking and memorable characters introduced in the final installment of the saga".[4] Scott Chitwood of TheForce.net criticized the fact that Ackbar's death in The Unifying Force was so abrupt and only mentioned in passing by the characters: "He deserved a little more attention. I would have liked to see him killed in action in the final battle, but I guess that's asking a lot of a sickly old Admiral."[19]

text: "It's a trap!"[edit]

text: Admiral Ackbar's line, "It's a trap!", which he says during the Battle of Endor in Return of the Jedi, became one of the most famous and beloved lines from the original Star Wars trilogy.[1][25] More than 1,000 fan videos have been created on the video-sharing website YouTube featuring or parodying Ackbar and that line of dialogue.[25] Admiral Ackbar can be played as a hidden character in the Nintendo Wii version of the 2008 video game Star Wars: The Force Unleashed if the player enters the cheat code "ITSATWAP".[26] Footage of Ackbar reciting the line was featured on both Comedy Central comedy shows The Daily Show and The Colbert Report on February 11, 2010. On both shows, it was intercut with footage of various Republican leaders describing an invitation to President Barack Obama's health care summit as a trap.[25][27] "It's a Trap!", the 2011 episode of the animated comedy series Family Guy spoofing Return of the Jedi, took its name from Ackbar's famous line; Ackbar himself makes an appearance in the episode, portrayed by the character Klaus Heissler - a talking goldfish - from the animated series American Dad!.[28]

text: Cultural references[edit]

text: Admiral Ackbar's full-sized costume from Return of the Jedi was featured in a 200-piece exhibition of Star Wars costumes, props and other memorabilia featured at the Smithsonian Institution called "Star Wars: The Magic of Myth". The exhibit opened at the Washington, D.C. museum complex in 1997 and later went on a national tour which lasted until 2002 and visited various museums, including the San Diego Museum of Art, the Minneapolis Institute of Arts, the Field Museum of Natural History in Chicago, the Museum of Fine Arts, Houston, the Toledo Museum of Art and the Brooklyn Museum.[29][30] Ackbar was prominently featured in a sketch during Robot Chicken: Star Wars, a 2007 episode of the stop motion animated television series Robot Chicken dedicated entirely to Star Wars parodies. The sketch is a commercial for "Admiral Ackbar Cereal", with Ackbar presenting the breakfast cereal to two children and declaring, "Your tongues can't repel flavor of that magnitude!", a spoof of his line from Return of the Jedi.[31] The character was also featured in a 2009 CollegeHumor video called "Ackbar! The Star Wars Talk Show", where he played the host of a talk show similar to The Jerry Springer Show.[25][32] Morgan Phillips, an independent hip hop musician and disc jockey, included a song about the character called "Admiral Ackbar Please" on his album Star Wars Breakbeats.[33]

text: When the University of Mississippi began a process to find a new mascot in 2010, students Matthew Henry, Tyler Craft, Joseph Katool, and Ben McMurtray started a campaign to have Admiral Ackbar selected. Although their efforts started out as a joke, some students began to seriously push for the idea,[34][35] while others strongly opposed it and felt it was an embarrassment for the university.[36] The campaign quickly went viral and received national news media attention,[31][36] and Lucasfilm issued a tongue-in-cheek statement about the matter which read, "The last time we checked in with Admiral Ackbar he was leading the Rebel Alliance Fleet on a critical mission so it will be difficult for him to show up for the games!"[31]


document_title: List of African countries by Human Development Index

question_text: which country in africa is the most developed

text: Human Development Index is a comparative measure of life expectancy, literacy, education, and standards of living for countries worldwide. It is a standard means of measuring well-being. It is used to distinguish whether the country is a developed, developing, or underdeveloped country, and also to measure the impact of economic policies on quality of life. Countries (almost all UN member states and a couple of special territories) fall into three broad categories based on their HDI: high, medium, and low human development.

text: List of African countries[edit]

text: The following is a list of African countries by Human Development Index for the year 2015, published in 2017:[1]

text:
= increase.
 = steady.
 = decrease.

tag: ul

text:
Rank
Country
HDI

Rank in Africa
Rank Worldwide
New 2016 Estimates for 2015
Change compared between 2016 report and 2015 report

High human development

1
63
 Seychelles
0.782
 0.010

2
64
 Mauritius
0.781
 0.004

3
83
 Algeria
0.745
 0.009

4
94
 Tunisia
0.725
 0.004

5
96
 Libya
0.716
 0.008

Medium human development

6
106
 Botswana
0.698

7
108
 Gabon
0.697
 0.007

8
110
 Egypt
0.691
 0.001

9
116
 South Africa
0.666

10
122
 Cape Verde
0.648
 0.002

11
123
 Morocco
0.647
 0.019

12
125
 Namibia
0.640
 0.012

13
136
 Republic of the Congo
0.592
 0.001

13
135
 Equatorial Guinea
0.592
 0.005

15
139
 Ghana
0.579

15
139
 Zambia
0.579
 0.007

17
142
 São Tomé and Príncipe
0.574
 0.019

18
146
 Kenya
0.555
 0.007

Low human development

19
149
 Swaziland
0.541
 0.010

20
150
 Angola
0.533
 0.001

21
151
 Tanzania
0.531
 0.010

22
152
 Nigeria
0.527
 0.013

23
153
 Cameroon
0.518
 0.006

24
154
 Zimbabwe
0.516
 0.007

25
155
 Mauritania
0.513
 0.007

26
156
 Madagascar
0.512
 0.002

27
159
 Rwanda
0.498
 0.015

28
161
 Lesotho
0.497

28
162
 Comoros
0.497
 0.006

30
163
 Senegal
0.494
 0.028

31
163
 Uganda
0.493
 0.010

32
166
 Sudan
0.490
 0.011

33
167
 Togo
0.487
 0.003

34
168
 Benin
0.485
 0.005

35
169
 Malawi
0.476
 0.003

36
170
 Ivory Coast
0.474
 0.012

37
172
 Djibouti
0.473
 0.003

38
173
 Gambia
0.452
 0.011

39
174
 Ethiopia
0.448
 0.006

40
175
 Mali
0.442
 0.004

41
176
 Democratic Republic of the Congo
0.435
 0.01

42
177
 Liberia
0.427
 0.003

43
178
 Guinea-Bissau
0.424
 0.004

44
179
 Eritrea
0.420
 0.029

45
180
 Sierra Leone
0.420
 0.007

46
181
 Mozambique
0.418
 0.002

46
182
 South Sudan
0.418
 0.049

48
183
 Guinea
0.414
 0.003

49
184
 Burundi
0.404
 0.004

50
185
 Burkina Faso
0.402

51
186
 Chad
0.396
 0.004

52
187
 Niger
0.353
 0.005

53
188
 Central African Republic
0.352
 0.002

See also[edit]

Africa portal

List of countries by Human Development Index
List of African countries by GDP
List of African countries by GDP PPP
List of African countries by GDP per capita
List of African countries by population
List of African countries by census
Poverty in Africa
List of countries by percentage of population living in poverty

References[edit]

Jump up ^ "Key to HDI countries and ranks, 2013" (PDF). Human Development Report United Nations Development Programme. p. 159. Retrieved 26 July 2014.

[show]

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Topics:

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Measures:

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Topics:

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Topics:

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Measures:

Below Poverty Line (India)
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Topics:

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Measures:

India State Hunger Index
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Complex measures

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Topics:

Feminization of poverty

Measures:

Gender-related Development Index (GDI)
Gender Parity Index

Other

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Pen's parade

[show]

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Miscellaneous

Malnutrition
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[show]

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Indices of Deprivation

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Carstairs index
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tag: table

text: Africa-related listsCountries in AfricaEconomy of AfricaLists of countries by HDI


document_title: List of Presidents of the United States by military service

question_text: who was the last president to serve in the revolutionary war

text: The United States Constitution names the President of the United States the commander in chief of the U.S. armed forces. Previous service in the military is not a prerequisite for the position of president. As of the 2016 presidential election[update], no member of the U.S. Marine Corps or U.S. Coast Guard has yet been elected President. The most frequent military experience is Army/Army Reserve with 15 presidents, followed by State Militias at 9, Navy/Naval Reserve at 6 and the Continental Army with 2 presidents serving.

text: Eight presidents served during World War II, while seven served in the military during the American Civil War.

text: The following list outlines the military service of each president before becoming the commander in chief.

text:
President
Service
Rank
Active Service

Donald Trump
None
None
None

Barack Obama
None
None
None

George W. Bush
Texas Air National Guard, United States Air Force
First Lieutenant
Stateside service as pilot during Vietnam War (1968–1973). [1] (See George W. Bush military service controversy)

Bill Clinton
None
None
None.[2] Received student draft deferments, and planned to join Reserve Officers' Training Corps. Withdrew and entered draft, but received high number and was not drafted.[3] (See Bill Clinton: Vietnam War opposition and draft controversy.)

George H. W. Bush
United States Naval Reserve
Lieutenant (Junior Grade)
Naval aviator in World War II (1942–1945). Shot down and received the Distinguished Flying Cross.

Ronald Reagan
United States Army Reserve, United States Army Air Forces
Captain
Stateside service during World War II (1942–1945); Army Reserve (1937–1942).

Jimmy Carter
United States Navy
Lieutenant (navy)
Served during World War II as a midshipman at the United States Naval Academy. Sea duty and stateside service 1946–1953 during the Korean War.

Gerald Ford
United States Naval Reserve
Lieutenant Commander
World War II (1942–1945); combat on USS Monterey, discharged in 1946.

Richard Nixon
United States Naval Reserve
Commander
World War II (1942–1945); earned two battle stars for service in the Pacific.

Lyndon B. Johnson
United States Naval Reserve
Commander[4]
World War II received Silver Star medal after observation mission in which aircraft he was on allegedly came under Japanese attack. However, new evidence has come to light proving that the plane in fact developed mechanical problems and therefore turned around, having never come under fire. Johnson was the only member of the crew to receive a decoration, therefore leading historians to conclude that General MacArthur awarded him this to secure political influence.[5]

John F. Kennedy
United States Naval Reserve
Lieutenant (navy)
Served in combat during World War II. Received the Navy and Marine Corps Medal and the Purple Heart.

Dwight D. Eisenhower
United States Army
General of the Army
Stateside service during World War I. Served as Supreme Allied Commander in Europe during World War II (1942–1945). Entire active-duty career spanned from 1915 until 1969 (excepting his two terms as president).

Harry S. Truman[6]
Missouri Army National Guard,
United States Army,
United States Army Reserve
Colonel
Stateside National Guard service in Missouri (1905–1911); served in combat in France during World War I (1917–1918); transferred to Army Reserve and retired in 1953.

Franklin D. Roosevelt
None
None
None; Assistant Secretary of the Navy during World War I.

Herbert Hoover
None
None
None; helped guide US Marines in 1900 during the Boxer Rebellion.

Calvin Coolidge
None
None
None

Warren G. Harding
None
None
None

Woodrow Wilson
None
None
None

William Howard Taft
Connecticut Home Guard
None
None; United States Secretary of War 1904–1908. Enlisted in Connecticut Home Guard for World War I. Was chairman of American Red Cross executive committee during World War I. President Wilson conferred military titles on Red Cross leaders to provide them authority to carry out their wartime responsibilities, and Taft was appointed a major general.

Theodore Roosevelt
United States Army
Colonel
New York National Guard, 1882 to 1886, captain and company commander. Spanish–American War service as second in command and then commander of the 1st United States Volunteer Cavalry (Rough Riders). Only U.S. President to receive the Medal of Honor (awarded posthumously in 2001). Also a Navy Civilian, as Assistant Secretary of the Navy[7]

William McKinley
United States Army
Brevet Major
American Civil War. Served in the 23rd Ohio Infantry under future President Rutherford B. Hayes; fought in the Battle of South Mountain, The Battle of Antietam, and in the Valley Campaigns of 1864.

Benjamin Harrison
United States Army
Brigadier General
American Civil War; Commanded an Infantry Brigade at the battles of Resaca, New Hope Church, Kennesaw Mountain, Marietta, Peachtree Creek and Atlanta; also Commanded a brigade during Sherman's March to the Sea.

Grover Cleveland
None
None
None.

Chester A. Arthur
New York State Militia
Brigadier General
Judge Advocate General, Second Brigade of the New York Militia. Served as Engineer-in-Chief on the Governor's staff, Quartermaster General and Inspector General of the New York Militia before and during the American Civil War. Declined appointment as commander of the 9th New York Volunteer Infantry Regiment and command of four New York City regiments organized as the Metropolitan Brigade when Governor requested he remain Quartermaster General.

James Garfield
United States Army
Major General
American Civil War (1861–1863; commanded an Ohio Infantry Brigade at the Battles of Shiloh and Corinth; served as Chief of Staff for General William Rosecrans at the Battle of Chickamauga; left the army to serve in the United States House of Representatives).

Rutherford B. Hayes
United States Army
Major General
American Civil War. Served in the 23rd Ohio Infantry and commanded future President William McKinley; wounded at the Battle of South Mountain; also served at the Battle of Antietam and in the Valley Campaigns of 1864.

Ulysses S. Grant
United States Army
General of the Army
Mexican–American War and American Civil War; served 1843–54 and 1861–68.

Andrew Johnson
United States Army
Brigadier General
Served in Tennessee Militia in 1830s. American Civil War; served as Military Governor of Tennessee in 1862.

Abraham Lincoln
Illinois State Militia
Captain
Black Hawk War (served three months in 1832); see Abraham Lincoln in the Black Hawk War.

James Buchanan
Pennsylvania State Militia
Private
War of 1812

Franklin Pierce
United States Army
Brigadier General
New Hampshire Militia, 1831–46; Mexican–American War; commanded Infantry Brigade at Battle of Contreras (where his leg was injured), Battle of Churubusco, and the Assault on Mexico City.

Millard Fillmore
New York State Militia
Major
Served in New York Militia in 1820s and 1830s; Organized Union Continentals home guard unit in Buffalo, New York during the American Civil War.

Zachary Taylor
United States Army
Major General
War of 1812, Black Hawk War, Second Seminole War, Mexican–American War; entire career spanned from 1808 until 1848.

James K. Polk
Tennessee State Militia
Colonel
Joined cavalry unit in Tennessee Militia as a Captain. Subsequently appointed a Colonel on the staff of Governor William Carroll.

John Tyler
Virginia militia
Captain
War of 1812.

William Henry Harrison
United States Army
Major General
Northwest Indian War, War of 1812.

Martin Van Buren
None
None
None.

Andrew Jackson
Tennessee State Militia, Continental Army, United States Army
Major General
American Revolutionary War, War of 1812, Creek War, First Seminole War.

John Quincy Adams
None
None
None

James Monroe
Continental Army
Major
American Revolutionary War; depicted holding the American flag behind General George Washington in the famous painting Washington Crossing the Delaware; wounded at the Battle of Trenton, depicted in the painting The Capture of the Hessians at Trenton, December 26, 1776 by John Trumbull.

James Madison
Virginia militia
Colonel
American Revolutionary War, did not see action.

Thomas Jefferson
Virginia militia
Colonel
Commander of Albemarle County Militia at start of American Revolution, did not see action.

John Adams
None
None
Adams served as chairman of the Continental Congress's Board of War (1776–77), making him the simultaneous equivalent of today's Secretary of Defense and Chairman of Senate Armed Services Committee; was a semi-participant in a naval engagement between a British and US ship during the American Revolution.

George Washington
Virginia militia, Virginia Regiment, Continental Army, United States Army
Lieutenant General[8]
French and Indian War, American Revolutionary War.


document_title: The Third Man

question_text: the third man who is the third man

question_tokens: the third man who is the third man

text: The Third Man

text: Plot[edit]

text: Opportunistic racketeering thrives in a damaged and impoverished Allied-occupied Vienna, which is divided into four sectors, each controlled by one of the occupying forces: American, British, French, and Soviet. These powers share the duties of law enforcement in the city. American pulp Western writer Holly Martins (Joseph Cotten) comes to the city seeking his childhood friend, Harry Lime, who has offered him a job. Upon arrival he discovers that Lime was killed just hours earlier by a speeding truck while crossing the street. Martins attends Lime's funeral, where he meets two British Army Police: Sergeant Paine (Bernard Lee), a fan of Martins' pulp novels; and his superior, Major Calloway (Trevor Howard), who says Lime was a criminal and suggests Martins leave town.

text: An official of the British occupying forces (Wilfrid Hyde-White) subsequently approaches Martins, requesting that he give a lecture and offering to pay for his lodging. Viewing this as an opportunity to clear his friend's name, Martins decides to remain in Vienna. He receives an invitation to meet from Lime's friend, "Baron" Kurtz (Ernst Deutsch), who tells Martins that he, along with another friend, Popescu (Siegfried Breuer), carried Lime to the side of the street after the accident. Before dying, according to Kurtz, Lime asked Kurtz and Popescu to take care of Martins and Anna Schmidt (Alida Valli), Lime's actress girlfriend.

text: Hoping to gather more information, Martins goes to see Anna at her theatre, where she suggests in passing that Harry's death may not have been accidental. She then accompanies Martins to question the porter at Lime's apartment building. The porter claims Lime was killed immediately and could not have given any instructions to his friends before dying. He also states that Kurtz and Popescu did not move the body out of the street alone, but were helped by a third man. Martins berates him for not being more forthcoming with the police about what he knows. Concerned for his family's safety, the porter indignantly tells Martins not to involve him. Shortly afterwards the police, searching Anna's flat for evidence, find and confiscate her forged passport and detain her. Anna tells Martins that she is of Czechoslovak nationality and will be deported from Austria by the Russian occupying forces if discovered.

text: Martins visits Lime's "medical adviser", Dr. Winkel (Erich Ponto), who says that he arrived at the accident after Lime was dead, and only two men were present. Later, the porter secretly offers Martins more information but is murdered before their arranged meeting. When Martins arrives, unaware of the murder, a young boy recognizes him as having argued with the porter earlier and points this out to the gathering bystanders, who become hostile, and then mob-like. Escaping from them, Martins returns to the hotel, and a cab whisks him away. He fears it is taking him to his death, but takes him to the book club. With no lecture prepared, he stumbles until Popescu, in the audience, asks him about his next book. Martins replies that it will be called The Third Man, "a murder story" inspired by facts. Popescu tells Martins that he should stick to fiction. Martins sees two thugs approaching and flees.

text: Calloway again advises Martins to leave Vienna, but Martins refuses and demands that Lime's death be investigated. Calloway reluctantly reveals that Lime had been stealing penicillin from military hospitals, and selling it on the black market diluted so much that many patients died. In postwar Vienna, antibiotics were new and scarce outside military hospitals and commanded a very high price. Calloway's evidence convinces Martins. Disillusioned, he agrees to leave Vienna.

text: Martins visits Anna to say good-bye and finds that she also knows of Lime's misdeeds, but that her feelings toward him are unchanged. She tells him she is to be deported. Upon leaving her flat, he notices someone watching from a dark doorway; a neighbour's lit window briefly reveals the person to be Lime (Orson Welles), who flees, ignoring Martins's calls. Martins summons Calloway, who deduces that Lime has escaped through the sewers. The British police immediately exhume Lime's coffin and discover that the body is that of Joseph Harbin, an orderly who stole penicillin for Lime and went missing after turning informant.

text: The next day, Martins goes to Kurtz and demands to see Lime. Lime comes out to meet him and they ride Vienna's Ferris wheel, the Wiener Riesenrad. Lime indirectly threatens Martins's life but relents when told that the police already know his death and funeral were faked. In a monologue on the insignificance of his victims, he reveals the full extent of his amorality. He again offers a job to Martins and leaves. Calloway asks Martins to help lure Lime out to capture him, and Martins agrees, asking for Anna's safe conduct out of Vienna in exchange. However, Anna refuses to leave and remains loyal to Lime. Exasperated, Martins decides to leave but changes his mind after Calloway shows Martins the children who are victims of Lime's diluted penicillin, brain-damaged as a result of meningitis.

text: Lime sneaks out for his rendezvous with Martins, but Anna, still loyal to Lime, arrives and warns him off just in time. He tries again to escape through the sewers, but the police are there in force. Lime shoots and kills Paine, but Calloway shoots and wounds Lime. Badly injured, Lime drags himself up a ladder to a street grating exit but cannot lift it. Martins picks up Paine's revolver, follows Lime, reaches him, but hesitates. Lime looks at him and nods. A shot is heard. Later, Martins attends Lime's second funeral. At the risk of missing his flight out of Vienna, Martins waits in the cemetery to speak to Anna. She approaches him from a distance and walks past, ignoring him.

text: Cast[edit]

text:
Joseph Cotten as Holly Martins
Alida Valli (credited as Valli) as Anna Schmidt
Orson Welles as Harry Lime
Trevor Howard as Major Calloway
Bernard Lee as Sergeant Paine
Wilfrid Hyde-White as Crabbin
Ernst Deutsch as "Baron" Kurtz
Erich Ponto as Dr. Winkel
Siegfried Breuer as Popescu
Paul Hörbiger as Karl, Lime's porter
Hedwig Bleibtreu as Anna's landlady
Robert Brown as British Military Policeman in Sewer Chase (uncredited)
Alexis Chesnakov as Brodsky (uncredited)
Herbert Halbik as Little Hansel - Boy with Ball (uncredited)
Paul Hardtmuth as the hall porter at Hotel Sacher (uncredited)
Geoffrey Keen as British Military Policeman (uncredited)
Eric Pohlmann as waiter at Smolka's (uncredited)
Annie Rosar as the porter's wife (uncredited)
Nelly Arno as Kurtz's mother[6] (uncredited)
Karel Štěpánek as actor at Josefstadt Theatre (uncredited)
Joseph Cotten as the narrator (pre-1999 US version)
Carol Reed as the narrator (pre-1999 UK, and all post-'99 versions)
Charles Winchester as the Thug (Post-1999 UK, and all post-'99 versions)

text: Production[edit]

text: Development[edit]

text: Before writing the screenplay, Graham Greene worked out the atmosphere, characterisation and mood of the story by writing a novella.[7] He wrote it as a source text for the screenplay and never intended it to be read by the general public, although it was later published under the same name as the film. In 1948 he met Elizabeth Montagu in Vienna. She gave him tours of the city, its sewers and some of its less reputable night-clubs. She also introduced Greene to Peter Smolka, the eastern European correspondent for The Times. Smolka gave Greene the stories about the black market in Vienna.[8]

text: The narrator in the novella is Major Calloway, which gives the book a slightly different emphasis from that of the screenplay. A small portion of his narration appears in a modified form at the film's beginning in Reed's voice-over: "I never knew the old Vienna". Other differences include both Martins' and Lime's nationalities; they are English in the book. Martins' given name is Rollo rather than Holly. Popescu's character is an American called Cooler. Crabbin was a single character in the novella. The screenplay's original draft replaced him with two characters, played by Basil Radford and Naunton Wayne, but ultimately in the film, as in the novella, Crabbin remains a single character.

text: There is also a difference of ending. The novella's implies that Anna and Martins are about to begin a new life together, in stark contrast to the unmistakable snub by Anna that closes the film. In the book, Anna does walk away from Lime's grave, but the text continues:

text: I watched him striding off on his overgrown legs after the girl. He caught her up and they walked side by side. I don't think he said a word to her: it was like the end of a story except that before they turned out of my sight her hand was through his arm — which is how a story usually begins. He was a very bad shot and a very bad judge of character, but he had a way with Westerns (a trick of tension) and with girls (I wouldn't know what).

text: During the shooting of the film, the final scene was the subject of a dispute between Greene, who wanted the happy ending of the novella, and Reed and David O. Selznick, who stubbornly refused to end the film on what they felt was an artificially happy note. Greene later wrote: "One of the very few major disputes between Carol Reed and myself concerned the ending, and he has been proved triumphantly right."[9]

text: David O. Selznick's contribution, according to himself, was mainly to have provided his actors Cotten and Welles and to have produced the US-version, less to the co-writing of the script with Reed and Greene.[10]

text: Through the years there was occasional speculation that Welles, rather than Reed, was the de facto director of The Third Man. In film scholar Jonathan Rosenbaum's 2007 book Discovering Orson Welles, Rosenbaum calls it a "popular misconception",[11] although Rosenbaum did note that the film "began to echo the Wellesian theme of betrayed male friendship and certain related ideas from Citizen Kane."[12] In the final analysis, Rosenbaum writes, "[Welles] didn't direct anything in the picture; the basics of his shooting and editing style, its music and meaning, are plainly absent. Yet old myths die hard, and some viewers persist in believing otherwise."[12] Welles himself fuelled this theory in a 1958 interview, in which he said that he had had an important role in making The Third Man, but that it was a "delicate matter, because [he] wasn't the producer".[13] However, in a 1967 interview with Peter Bogdanovich, Welles said that his involvement was minimal: "It was Carol's picture".[14] However, Welles did contribute some of the film's best-known dialogue. Bogdanovich also stated in the introduction to the DVD:

text: However, I think it's important to note that the look of The Third Man— and, in fact, the whole film—would be unthinkable without Citizen Kane, The Stranger and The Lady from Shanghai, all of which Orson made in the '40s, and all of which preceded The Third Man. Carol Reed, I think, was definitely influenced by Orson Welles, the director, from the films he had made.[15]

text: Principal photography[edit]

text: Six weeks of principal photography was shot on location in Vienna,[16] ending on 11 December 1948. Some use was made of the Sievering Studios facilities in the city.[17] Production then moved to the Worton Hall Studios in Isleworth[18] and Shepperton Studios near London and was completed in March 1949.[19]

text: The scenes of Harry Lime in the sewer were shot on location or on sets built at Shepperton; most of the location shots used doubles for Welles.[20] However, Reed claimed that, despite initial reluctance, Welles quickly became enthusiastic, and stayed in Vienna to finish the film.[21] The crew sprayed water on the cobbled streets to make them reflect light at night.[20]

text: According to the recollection of assistant director Guy Hamilton, interviewed in 2015, Greene and Reed worked very well together, but Orson Welles "generally annoyed everyone on the set". His temporary absence forced Hamilton to step in as body double for him. Apparently, the filming of the sewer scenes was moved to studios in the UK as a result of Welles' complaints about shooting in the actual sewers.[22]

text: Reed had four different camera units shooting around Vienna for the duration of the production. He worked around the clock, using Benzedrine to stay awake.[23]

text: "Swiss cuckoo clock" speech[edit]

text: In a famous scene, Lime meets with Martins on the Wiener Riesenrad, the large Ferris wheel in the Prater amusement park. Looking down on the people below from his vantage point, Lime compares them to dots, and says that it would be insignificant if one of them or a few of them "stopped moving, forever". Back on the ground, he notes:

text: You know what the fellow said – in Italy, for 30 years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did that produce? The cuckoo clock.

text: Welles added this remark – in the published script, it is in a footnote. Greene wrote in a letter,[24] "What happened was that during the shooting of The Third Man it was found necessary for the timing to insert another sentence." Welles apparently said the lines came from "an old Hungarian play" — in any event the idea is not original to Welles, acknowledged by the phrase "what the fellow said".

text: The likeliest source is the painter James Abbott McNeill Whistler. In a lecture on art from 1885 (published in Mr Whistler's 'Ten O'Clock' [1888]), he said, "The Swiss in their mountains ... What more worthy people! ... yet, the perverse and scornful [goddess, Art] will have none of it, and the sons of patriots are left with the clock that turns the mill, and the sudden cuckoo, with difficulty restrained in its box! For this was Tell a hero! For this did Gessler die!" In a 1916 reminiscence,[25] American painter Theodore Wores said that he "tried to get an acknowledgment from Whistler that San Francisco would some day become a great art center on account of our climatic, scenic and other advantages. 'But environment does not lead to a production of art,' Whistler retorted. 'Consider Switzerland. There the people have everything in the form of natural advantages – mountains, valleys and blue sky. And what have they produced? The cuckoo clock!"

text: This is Orson Welles (1993) quotes Welles: "When the picture came out, the Swiss very nicely pointed out to me that they've never made any cuckoo clocks",[26] as the clocks are native to the German Black Forest. Writer John McPhee pointed out that when the Borgias flourished in Italy, Switzerland had "the most powerful and feared military force in Europe" and was not the peacefully neutral country it would later become.[27]

text: Score[edit]

text:
What sort of music it is, whether jaunty or sad, fierce or provoking, it would be hard to reckon; but under its enthrallment, the camera comes into play ... The unseen zither-player ... is made to employ his instrument much as the Homeric bard did his lyre.

William Whitebait, New Statesman and Nation (1949)[28]

tag: div

text: Anton Karas composed the musical score and played it on the zither. Before the production came to Vienna, Karas was an unknown performer in local Heurigers. According to Time:[29]

text: The picture demanded music appropriate to post-World War II Vienna, but director Reed had made up his mind to avoid schmaltzy, heavily orchestrated waltzes. In Vienna one night Reed listened to a wine-garden zitherist named Anton Karas, [and] was fascinated by the jangling melancholy of his music.

text: According to Guy Hamilton, Reed met Karas by coincidence at a party in Vienna, where he was playing the zither.[22] Reed brought Karas to London, where the musician worked with Reed on the score for six weeks.[29] Karas stayed at Reed's house during that time.[22] Film critic Roger Ebert wrote, "Has there ever been a film where the music more perfectly suited the action than in Carol Reed's The Third Man?"[30]

text: Differences between releases[edit]

text: As the original British release begins, the voice of director Carol Reed (uncredited) describes post-war Vienna from a racketeer's point of view. The version shown in American cinemas cut 11 minutes of footage[31] and replaced Reed's voice-over with narration by Joseph Cotten as Holly Martins. David O. Selznick instituted the replacement because he did not think American audiences would relate to the seedy tone of the original.[32] Today, Reed's original version appears on American DVDs, in showings on Turner Classic Movies, and in US cinema releases, with the eleven minutes of footage restored. Both the Criterion Collection and Studio Canal DVD releases include a comparison of the two opening monologues.

text: A new restored version of the film was released in the United Kingdom on 26 June 2015.[22]

text: Reception[edit]

text: In the United Kingdom, The Third Man was the most popular film at the British box office for 1949.[33] In Austria, "local critics were underwhelmed",[34] and the film ran for only a few weeks. Still, the Viennese Arbeiter-Zeitung, although critical of a "not-too-logical plot", praised the film's "masterful" depiction of a "time out of joint" and the city's atmosphere of "insecurity, poverty and post-war immorality".[35] William Cook, after his 2006 visit to an eight-room museum in Vienna dedicated to the film, wrote "In Britain it's a thriller about friendship and betrayal. In Vienna it's a tragedy about Austria's troubled relationship with its past."[34]

text: Some critics at the time criticised the film's unusual camera angles. C. A. Lejeune in The Observer described Reed's "habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted" as "most distracting". American director William Wyler, Reed's close friend, sent him a spirit level, with a note saying, "Carol, next time you make a picture, just put it on top of the camera, will you?"[36]

text: Upon its release in Britain and America, the film received overwhelmingly positive reviews.[37] Time magazine said that the film was "crammed with cinematic plums that would do the early Hitchcock proud—ingenious twists and turns of plot, subtle detail, full-bodied bit characters, atmospheric backgrounds that become an intrinsic part of the story, a deft commingling of the sinister with the ludicrous, the casual with the bizarre."[38] New York Times movie critic Bosley Crowther, after a prefatory qualification that the film was "designed [only] to excite and entertain", wrote that Reed "brilliantly packaged the whole bag of his cinematic tricks, his whole range of inventive genius for making the camera expound. His eminent gifts for compressing a wealth of suggestion in single shots, for building up agonized tension and popping surprises are fully exercised. His devilishly mischievous humor also runs lightly through the film, touching the darker depressions with little glints of the gay or macabre."[39] One very rare exception was the British communist paper Daily Worker (later the Morning Star), which complained that "no effort is spared to make the Soviet authorities as sinister and unsympathetic as possible."[40]

text: Critics today have hailed the film as a masterpiece. Roger Ebert added the film to his "Great Movies" list and wrote, "Of all the movies that I have seen, this one most completely embodies the romance of going to the movies."[41] In a special episode of Siskel & Ebert in 1994 discussing film villains, Ebert named Lime as his favourite film villain. Gene Siskel remarked that it was an "exemplary piece of moviemaking, highlighting the ruins of World War II and juxtaposing it with the characters' own damaged histories". James Berardinelli has also praised the film, calling the film a "must-see" for lovers of film noir.[42]

text: The film has a 100% rating on Rotten Tomatoes based on 76 reviews, with an average rating of 9.3/10 and the following consensus: "This atmospheric thriller is one of the undisputed masterpieces of cinema, and boasts iconic performances from Joseph Cotten and Orson Welles."[43]

text: Soundtrack release[edit]

text: "The Third Man Theme" was released as a single in 1949/50 (Decca in the UK, London Records in the US). It became a best-seller; by November 1949, 300,000 records had been sold in Britain, with the teen-aged Princess Margaret a reported fan.[29] Following its release in the US in 1950 (see 1950 in music), "The Third Man Theme" spent 11 weeks at number one on Billboard's US Best Sellers in Stores chart, from 29 April to 8 July.[44] The exposure made Anton Karas an international star,[45] and the trailer for the film stated that "the famous musical score by Anton Karas" would have the audience "in a dither with his zither".[46][47]

text: Awards and honours[edit]

text: Academy Awards

text:
Best Director (Carol Reed) - Nominated
Best Cinematography - Black and White (Robert Krasker) - Won
Best Film Editing (Oswald Hafenrichter) - Nominated

text: British Academy Film Awards

text:
Best Film (Carol Reed) - Nominated
Best British Film (Carol Reed) - Won

text: Cannes Film Festival

text: Grand Prix (Carol Reed) - Won

text: Directors Guild of America

text: Outstanding Directing - Feature Film (Carol Reed) - Nominated

text: National Board of Review

text: Top Ten Films - Won

text: Besides its top ranking in the BFI Top 100 British films list, in 2004 the magazine Total Film ranked it the fourth greatest British film of all time. In 2005, viewers of BBC Television's Newsnight Review voted the film their fourth favourite of all time, the only film in the top five made before 1970.

text: The film also placed 57th on the American Film Institute's list of top American films in 1998, though the film's only American connections were its executive co-producer David O. Selznick and its actors Orson Welles and Joseph Cotten. The other two executive co-producers, Sir Alexander Korda and Carol Reed, were Hungarian and British, respectively. In June 2008, the American Film Institute (AFI) revealed its 10 Top 10—the best 10 films in 10 "classic" American film genres—after polling over 1,500 people from the creative community. The Third Man was acknowledged as the fifth best film in the mystery genre.[48] The film also placed 75th on AFI's list of 100 Years...100 Thrills and Harry Lime was listed as 37th villain in 100 Heroes and Villains.

text: Copyright status[edit]

text: In the United Kingdom, films of this vintage are copyright protected as dramatic works until 70 years after the end of the year in which that last "principal author" died. The principal authors are generally the writer/s, director/s or composer/s of original work, and since in the case of The Third Man Graham Greene died in 1991, the film is protected until the end of 2061.

text: This film lapsed into public domain in the United States when the copyright was not renewed after David Selznick's death. In 1996, the Uruguay Round Agreements Act[49] restored the film's US copyright protection to StudioCanal Image UK Ltd. The Criterion Collection released a digitally restored DVD of the original British print of the film. In 2008, Criterion released a Blu-ray edition,[50] and in September 2010, Lions Gate reissued the film on Blu-ray.[46]

text: On 18 January 2012, the US Supreme Court ruled in Golan v. Holder that the copyright clause of the American Constitution does not prevent the US from meeting its treaty obligations towards copyright protection for foreign works. Following the ruling, notable films such as The Third Man and The 39 Steps were taken back out of the public domain and became fully protected under American copyright law.[51] Under current US copyright law, The Third Man remains under copyright until 1 January 2045.[49]

text: Adaptations[edit]

text: Cotten reprised his role as Holly Martins in the one-hour Theatre Guild on the Air radio adaptation of The Third Man on 7 January 1951. The Third Man was also adapted as a one-hour radio play on two broadcasts of Lux Radio Theatre: on 9 April 1951 with Joseph Cotten reprising his role and on 8 February 1954 with Ray Milland as Martins.

text: A British radio drama series, The Adventures of Harry Lime (broadcast in the US as The Lives of Harry Lime), created as a "prequel" to the film, centres on Lime's adventures prior to his "death in Vienna", and Welles reprises his role as Lime. Fifty-two episodes aired in 1951 and 1952, several of which Welles wrote, including "Ticket to Tangiers", which is included on the Criterion Collection and Studio Canal releases of The Third Man. Recordings of the 1952 episodes "Man of Mystery", "Murder on the Riviera", and "Blackmail is a Nasty Word" are also included on the Criterion Collection DVD The Complete Mr. Arkadin.

text: A television spin-off starring Michael Rennie as Harry Lime ran for five seasons from 1959 to 1965. Seventy-seven episodes were filmed; directors included Paul Henreid (10 episodes) and Arthur Hiller (six episodes). Jonathan Harris played sidekick Bradford Webster for 72 episodes, and Roger Moore guest-starred in the installment "The Angry Young Man", which Hiller directed.