document_title: The Sound of Music (film)

question_text: where was opening scene of sound of music filmed

text: The Sound of Music (film)

text: Plot[edit]

text: In 1938, Maria is a free-spirited young Austrian woman studying to become a nun at Nonnberg Abbey in Salzburg. Her love of music and the mountains, her youthful enthusiasm and imagination, and her lack of discipline cause some concern among the nuns. The Mother Abbess, believing Maria would be happier outside the abbey, sends her to the villa of retired naval officer Captain Georg von Trapp to be governess to his seven children—Liesl, Friedrich, Louisa, Kurt, Brigitta, Marta, and Gretl. The Captain has been raising his children using strict military discipline following the death of his wife. Although the children misbehave at first, Maria responds with kindness and patience, and soon the children come to trust and respect her. Liesl, the oldest, is won over after Maria protects her from discovery when she is nearly caught sneaking back into the house after meeting with Rolfe, a messenger boy she is in love with.

text: While the Captain is away in Vienna, Maria makes play clothes for the children and takes them around Salzburg and the surrounding mountains, and teaches them how to sing. When the Captain returns to the villa with Baroness Elsa Schraeder, a wealthy socialite, and their mutual friend, Max Detweiler, they are greeted by Maria and the children returning from a boat ride on the lake that concludes when their boat overturns. Displeased by his children's clothes and activities, and Maria's impassioned appeal that he get closer to his children, the Captain orders her to return to the abbey. Just then he hears singing coming from inside the house and is astonished to see his children singing for the Baroness. Filled with emotion, the Captain joins his children, singing for the first time in years. Afterwards, he apologizes to Maria and asks her to stay.

text: Impressed by the children's singing, Max proposes he enter them in the upcoming Salzburg Festival but the suggestion is immediately rejected by the Captain as he is opposed to his children singing in public. He does agree, however, to organize a grand party at the villa. The night of the party, while guests in formal attire waltz in the ballroom, Maria and the children look on from the garden terrace. When the Captain notices Maria teaching Kurt the traditional Ländler folk dance, he cuts in and dances with Maria in a graceful performance, culminating in a close embrace. Confused about her feelings, Maria blushes and breaks away. Later, the Baroness, who noticed the Captain's attraction to Maria, hides her jealousy while convincing Maria that she must return to the abbey. Back at the abbey, when Mother Abbess learns that Maria has stayed in seclusion to avoid her feelings for the Captain, she encourages her to return to the villa to look for her life. After Maria returns to the villa, she learns about the Captain's engagement to the Baroness and agrees to stay until they find a replacement governess. The Captain's feelings for Maria, however, have not changed, and after breaking off his engagement the Captain marries Maria.

text: While the Captain and Maria are on their honeymoon, Max enters the children in the Salzburg Festival against their father's wishes. When they learn that Austria has been annexed by the Third Reich in the Anschluss, the couple return to their home, where a telegram awaits informing the Captain that he must report to the German Naval base at Bremerhaven to accept a commission in the German Navy. Strongly opposed to the Nazis and the Anschluss, the Captain tells his family they must leave Austria immediately. Many of the Von Trapp's friends are prepared to accept the new regime, including Rolfe, who Liesl is devastated to see has joined the Hitler Youth. That night, as the von Trapp family attempt to leave, they are stopped by a group of Brownshirts waiting outside the villa. When questioned by Gauleiter Hans Zeller, the Captain maintains they are headed to the Salzburg Festival to perform. Zeller insists on escorting them to the festival, after which his men will accompany the Captain to Bremerhaven.

text: Later that night at the festival, during their final number, the von Trapp family slip away and seek shelter at the nearby abbey, where Mother Abbess hides them in the cemetery crypt. Brownshirts soon arrive and search the abbey, and the family is discovered by Rolfe. Upon seeing Liesl, he hesitates raising the alarm long enough to allow the family time to flee, and the family is able to escape using the caretaker's car. When the soldiers attempt to pursue, they discover their cars will not start as two nuns have removed parts of the engines. The next morning, after driving to the Swiss border, the von Trapp family make their way on foot across the frontier into Switzerland to safety and freedom.

text: Cast[edit]

text:
Julie Andrews as Maria von Trapp
Christopher Plummer as Captain von Trapp
Bill Lee as Captain von Trapp's singing voice
Eleanor Parker as Baroness Elsa von Schraeder
Richard Haydn as Max Detweiler
Peggy Wood as the Mother Abbess
Charmian Carr as Liesl von Trapp
Nicholas Hammond as Friedrich von Trapp
Heather Menzies as Louisa von Trapp
Duane Chase as Kurt von Trapp
Angela Cartwright as Brigitta von Trapp
Debbie Turner as Marta von Trapp
Kym Karath as Gretl von Trapp
Anna Lee as Sister Margaretta
Portia Nelson as Sister Berthe
Ben Wright as Herr Zeller
Daniel Truhitte as Rolfe
Norma Varden as Frau Schmidt
Gil Stuart as Franz
Marni Nixon as Sister Sophia
Ada Beth Lee as Sister Catherine (uncredited)
Doreen Tryden as Sister Agatha (uncredited)
Evadne Baker as Sister Bernice
Doris Lloyd as Baroness Ebberfeld

text: Background[edit]

text: The Sound of Music story is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, published in 1949 to help promote her family's singing group following the death of her husband Georg in 1947.[5] Hollywood producers expressed interest in purchasing the title only, but Maria refused, wanting her entire story to be told.[5] In 1956, German producer Wolfgang Liebeneiner purchased the film rights for $9,000 (equivalent to $81,000 in 2017), hired George Hurdalek and Herbert Reinecker to write the screenplay, and Franz Grothe to supervise the soundtrack, which consisted of traditional Austrian folk songs.[6] The Trapp Family was released in West Germany on October 9, 1956 and became a major success.[5] Two years later, Liebeneiner directed a sequel, The Trapp Family in America, and the two pictures became the most successful films in West Germany during the post-war years.[5] Their popularity extended throughout Europe and South America.[5]

text: In 1956, Paramount Pictures purchased the United States film rights, intending to produce an English-language version with Audrey Hepburn as Maria.[5] The studio eventually dropped its option, but one of its directors, Vincent J. Donehue, proposed the story as a stage musical for Mary Martin.[5] Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who had won the Pulitzer Prize for State of the Union.[6] They approached Richard Rodgers and Oscar Hammerstein II to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work together.[6] They offered to write a complete new score for the entire production if the producers were willing to wait while they completed work on Flower Drum Song.[7] The producers quickly responded that they would wait as long as necessary.[7] The Sound of Music stage musical opened on November 16, 1959 at the Lunt-Fontanne Theatre in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical.[8] In June 1960, Twentieth Century Fox purchased the film adaptation rights to the stage musical for $1.25 million (equivalent to $10,300,000 in 2017) against ten percent of the gross.[9][Note 1]

text: Production[edit]

text: For the film, Richard Rodgers added two new songs, "I Have Confidence" and "Something Good", for which he wrote the lyrics as well as the music (Hammerstein having died in August 1960), while three of the original stage songs were omitted,[10] "How Can Love Survive", "No Way To Stop It" and "An Ordinary Couple". Arranger and conductor Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs. Choreographers Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria, and the surrounding region, and interior scenes filmed at the 20th Century Fox studios in California. The movie was photographed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing and six-track sound recording.

text: Screenplay and pre-production[edit]

text: In December 1962, 20th Century Fox president Richard D. Zanuck hired Ernest Lehman to write the screenplay for the film adaptation of the stage musical.[11] Lehman reviewed the original script for the stage musical, rearranged the sequence of songs, and began transforming a work designed for the stage into a film that could use the camera to emphasize action and mood, and open the story up to the beautiful locations of Salzburg and the Austrian Alps.[12] The "Do-Re-Mi" sequence in the play, for example, was originally a stagnant number; Lehman transformed it into a lively montage showing some of the beautiful sites of Salzburg, as well as showing Maria and the children growing closer over time.[12] Lehman also eliminated two songs, "How Can Love Survive?" and "No Way to Stop It", sung by the characters of Elsa and Max.[12] In January 1963, he saw the Fox English-dubbed version of the two German films. Not especially impressed, he decided to use the stage musical and Maria's memoir for most of his source material.[13] While Lehman was developing the screenplay, he and Zanuck began looking for a director. Their first choice was Robert Wise, with whom Lehman had worked on the film adaptation of West Side Story, but Wise was busy preparing work for another film, The Sand Pebbles.[14] Other directors were approached and turned down the offer, including Stanley Donen, Vincent J. Donehue, George Roy Hill, and Gene Kelly.[15]

text: In January 1963, Lehman invited one of his favorite directors, William Wyler, to travel to New York City with him to see the Broadway musical. After seeing the show, Wyler said he hated it, but after two weeks of Lehman's persuasion, Wyler reluctantly agreed to direct and produce the film.[16] After hiring musical supervisor Roger Edens, Wyler, Lehman, and Edens traveled to Salzburg to scout filming locations.[17] In two weeks they managed to see approximately seventy-five locations—an experience that helped Lehman conceptualize several important sequences.[18] During that trip, Lehman began to have reservations about Wyler's commitment to the project, and communicated this to Zanuck, who instructed the writer to finalize the first draft of the screenplay as quickly as possible.[19] Lehman completed the first draft on September 10, 1963 and sent it to Wyler, who had no suggestions or changes.[19] At that time, Lehman also secretly gave a copy of the script to the agent of Robert Wise, whom Lehman still wanted as the director.[19] Later that month, Wyler's agent approached Zanuck asking that production on the film be delayed so Wyler could direct The Collector. Zanuck told him to tell Wyler to make the other film, and that they would move ahead on schedule with another director, ending Wyler's participation.[19]

text: Meanwhile, Wise, whose film The Sand Pebbles had been postponed, read Lehman's first draft, was impressed by what he read, and agreed to direct the film.[20] Wise joined the picture in October 1963,[21] and flew to Salzburg with associate producer Saul Chaplin and members of his production team to scout filming locations, including many that Wyler had identified.[22] When he returned, Wise began working on the script. Wise shared Lehman's vision of the film being centered on the music, and the changes he made were consistent with the writer's approach—mainly reducing the amount of sweetness and sentimentality found in the stage musical.[21] He had reservations about Lehman's opening aerial sequence because West Side Story, whose screenplay Lehman had also written, had used a similar opening sequence, but he was unable to think of a better one and decided to keep Lehman's.[21] Other changes included replacing "An Ordinary Couple" with a more romantic number, and a new song for Maria's departure from the abbey—Rodgers provided "Something Good" and "I Have Confidence" especially for the film.[23] Lehman completed the second draft on December 20, 1963,[24] but additional changes would be made based on input from Maria von Trapp and Christopher Plummer about the character of the Captain. Plummer especially helped transform a character lacking substance into a stronger, more forceful complex figure with a wry sense of humor and a darker edge.[25] Lehman completed his final draft on March 20, 1964.[26]

text: Casting and rehearsals[edit]

text: Lehman's first and only choice for Maria was Julie Andrews.[27] When Wise joined the project, he made a list of his choices for the role, which included Andrews as his first choice, Grace Kelly, and Shirley Jones.[28] Wise and Lehman went to Disney Studios to view footage from Mary Poppins, which was not yet released. A few minutes into the film, Wise told Lehman, "Let's go sign this girl before somebody else sees this film and grabs her!"[27] Andrews had some reservations—mainly about the amount of sweetness in the theatrical version—but when she learned that her concerns were shared by Wise and Lehman and what their vision was, she signed a contract with Fox to star in The Sound of Music and one other film for $225,000 (equivalent to $1,780,000 in 2017).[29] Wise had a more difficult time casting the role of the Captain. A number of actors were considered for the part, including Bing Crosby, Yul Brynner, Sean Connery, and Richard Burton.[30] Wise had seen Christopher Plummer on Broadway and wanted him for the role, but the stage actor turned down the offer several times. Wise flew to London to meet with Plummer and explained his concept of the film; the actor accepted after being assured that he could work with Lehman to improve the character;[31] Plummer later described himself as having become quite arrogant at the time, "spoiled by too many great theater roles".[32]

text: Wise also spent considerable time and effort on casting the secondary characters. For the role of Max Detweiler, Wise initially considered Victor Borge, Noël Coward, and Hal Holbrook among others before deciding on Richard Haydn.[31] For the character of Baroness Elsa Schraeder, Wise looked for a "name" actress—Andrews and Plummer were not yet widely known to film audiences—and decided on Eleanor Parker.[33] The casting of the children characters began in November 1963 and involved over two hundred interviews and auditions throughout the United States and England.[34] Some of the child-actors interviewed or tested, who were not selected, included Mia Farrow, Patty Duke, Lesley Ann Warren, Geraldine Chaplin, Shelley Fabares, Teri Garr, Kurt Russell, and The Osmonds.[35] Most of the actors selected had some acting, singing, or dancing experience. Charmian Carr, however, was a model who worked part-time in a doctor's office and had no ambition to pursue a career as an actress.[36] After a friend sent her photo to Wise's office, she was asked to interview. Wise later recalled, "She was so pretty and had such poise and charm that we liked her immediately."[36] The last person to be cast was Daniel Truhitte in the role of Rolfe.[36]

text: Rehearsals for the singing and dance sequences began on February 10, 1964.[37] The husband-and-wife team of Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out the choreography with Saul Chaplin on piano—the arrangements could not be altered under Rodgers and Hammerstein's contract.[38] The stage choreography was not used because it was too restrictive.[39] Breaux and Wood worked out all new choreography better suited for film that incorporated many of the Salzburg locations and settings.[39] They even choreographed the newly added puppet dance sequence for "The Lonely Goatherd".[40] The choreography for the Ländler strictly followed the traditional Austrian folk dance.[39] The musical arranger Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming.[41] In her book, The Sound of Music: The Making of America's Favorite Movie, Julia Antopol Hirsch says that Kostal used seven children and five adults to record the children's voices; the only scene where the child-actors actually sing is when they sing "The Sound of Music" on their own after Maria leaves.[42] Charmian Carr refuted the claim that the voices of the child actors were dubbed in the film and on the soundtrack. Carr contended that all of the children who are in the film sing on the track, but four other children were added to most of the songs to give them a fuller sound, they did not replace them as singers.[43] The voices of some of the adult actors had voice doubles, including Peggy Wood and Christopher Plummer.[44]

text: Filming and post-production[edit]

text: Principal photography began on March 26, 1964 at 20th Century Fox studios in Los Angeles, where scenes from Maria's bedroom and the abbey cloister and graveyard were filmed.[45] The company then flew to Salzburg where filming resumed on April 23 at Mondsee Abbey for the wedding scenes.[46] From April 25 through May 22, scenes were filmed at the Felsenreitschule, Nonnberg Abbey, Mirabell Palace Gardens, Residence Fountain, and various street locations throughout the Altstadt (Old Town) area of the city.[46] Wise faced opposition from city leaders who opposed him staging scenes with swastika banners. They relented after he threatened instead to include actual newsreel footage of crowds cheering Hitler during a visit to the town.[32] On days when it rained—a constant challenge for the company[47]—Wise arranged for scenes to be shot at St. Margarethen Chapel and Dürer Studios (Reverend Mother's office).[48] From May 23 to June 7, the company worked at Schloss Leopoldskron and an adjacent property called Bertelsmann for scenes representing the lakeside terrace and gardens of the von Trapp villa.[49] From June 9 to 19, scenes were shot at Frohnburg Palace which represented the front and back façades of the villa.[49] The "Do-Re-Mi" picnic scene in the mountains was filmed above the town of Werfen in the Salzach River valley on June 25 and 27.[49] The opening sequence of Maria on her mountain was filmed from June 28 to July 2 at Mehlweg mountain near the town of Marktschellenberg in Bavaria.[50][Note 2] The final scene of the von Trapp family escaping over the mountains was filmed on the Obersalzberg in the Bavarian Alps.[51]

text: The cast and crew flew back to Los Angeles and resumed filming at Fox studios on July 6 for all remaining scenes, including those in the villa dining room, ballroom, terrace, living room, and gazebo.[52] Following the last two scenes shot in the gazebo—for the songs "Something Good" and "You Are Sixteen"—principal photography concluded on September 1, 1964.[52] A total of eighty-three scenes were filmed in just over five months.[53] Post-production work began on August 25 with three weeks of dialogue dubbing to correct lines that were ruined by various street noises and rain.[54] In October, Christopher Plummer's singing voice was dubbed by veteran Disney playback singer Bill Lee.[55] The film was then edited by Wise and film editor William Reynolds.[56] Once the film was edited, Irwin Kostal, who orchestrated the musical numbers, underscored the film with background music consisting of variations on Rodgers and Hammerstein's original songs to amplify or add nuances to the visual images.[55][56] When dubbing, editing, and scoring were complete, Wise arranged for two sneak-preview showings—the first one held in Minneapolis on Friday January 15, 1965[57] at the Mann Theater, and the second one held the following night in Tulsa.[58] Despite the "sensational" responses from the preview audiences, Wise made a few final editing changes before completing the film.[58] According to the original print information for the film, the running time for the theatrical release version was 174 minutes.[1] The film was eventually given a G rating by the Motion Picture Association of America.[1]

text: The Sound of Music was filmed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing.[59] Aerial footage was photographed with an MCS-70 camera.[59] The sound was recorded on 70 mm six-track using a Westrex recording system.[1][59] The sets used for the film were based on the storyboards of sketch artist Maurice Zuberano,[60] who accompanied Wise to Austria to scout filming locations in November 1963.[61] Wise met with the artist over a ten-week period and explained his objective for each scene—the feeling he wanted to convey and the visual images he wanted to use.[60] When Zuberano was finished, he provided Wise with a complete set of storyboards that illustrated each scene and set—storyboards the director used as guidance during filming.[60] Zuberano's storyboards and location photos were also used by art director Boris Leven to design and construct all of the original interior sets at Fox studios, as well as some external sets in Salzburg.[62] The von Trapp villa, for example, was actually filmed in several locations: the front and back façades of the villa were filmed at Frohnburg Palace, the lakeside terrace and gardens were a set constructed on a property adjacent to Schloss Leopoldskron called Bertelsmann, and the interior was a constructed set at Fox studios.[63] The gazebo scenes for "Something Good" and "Sixteen Going on Seventeen" were filmed on a larger reconstructed set at Fox studios, while some shots of the original gazebo were filmed on the grounds at Schloss Leopoldskron in Salzburg.[64][65][Note 3]

text: Release[edit]

text: Marketing[edit]

text: Robert Wise hired Mike Kaplan to direct the publicity campaign for the film.[66] After reading the script, Kaplan decided on the ad line "The Happiest Sound in All the World", which would appear on promotional material and artwork.[66] Kaplan also brought in outside agencies to work with the studio's advertising department to develop the promotional artwork, eventually selecting a painting by Howard Terpning of Andrews on an alpine meadow with her carpetbag and guitar case in hand with the children and Plummer in the background.[67][68][Note 4] In February 1964, Kaplan began placing ads in the trade papers Daily Variety, Weekly Variety, and The Hollywood Reporter to attract future exhibitor interest in the project.[66] The studio intended the film to have an initial roadshow theatrical release in select large cities in theaters that could accommodate the 70-mm screenings and six-track stereophonic sound.[69] The roadshow concept involved two showings a day with reserved seating and an intermission similar to Broadway musicals.[69] Kaplan identified forty key cities that would likely be included in the roadshow release and developed a promotional strategy targeting the major newspapers of those cities.[67] During the Salzburg production phase, 20th Century Fox organized press junkets for America journalists to interview Wise and his team and the cast members.[67]

text: Critical response[edit]

text:
"No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion. This has always been a major element in the theatre, and it's my conviction that anyone who can't, on occasion, be sentimental about children, home or nature is sadly maladjusted."[70]
Richard Rodgers

text: The film had its opening premiere on March 2, 1965 at the Rivoli Theater in New York City.[71][72] Initial reviews were mixed.[73] Bosley Crowther, in The New York Times, criticized the film's "romantic nonsense and sentiment", the children's "artificial roles", and Robert Wise's "cosy-cum-corny" direction.[74] Judith Crist, in a biting review in the New York Herald Tribune, dismissed the movie as "icky sticky" and designed for "the five to seven set and their mommies".[71] In her review for McCall's magazine, Pauline Kael called the film "the sugar-coated lie people seem to want to eat", and that audiences have "turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs".[75] [Note 5] Wise later recalled, "The East Coast, intellectual papers and magazines destroyed us, but the local papers and the trades gave us great reviews".[69] Indeed, reviewers such as Philip K. Scheuer of the Los Angeles Times described the film as "three hours of visual and vocal brilliance",[69] and Variety called it "a warmly-pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast".[69] The "wildly mixed film reviews" reflected the critical response to the stage musical, according to The Oxford Companion to the American Musical.[77] After its Los Angeles premiere on March 10, The Sound of Music opened in 131 theaters in the United States, including a limited number of roadshow events.[69] After four weeks, the film became the number one box office movie in the country, and held that position for thirty out of the next forty-three weeks in 1965.[78] The original theatrical release of the film in America lasted four and a half years.[78]

text: A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music.[79] The German, French, Italian, and Spanish versions were completely dubbed, the Japanese version had Japanese dialogue with English songs, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany.[80] In these countries, the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story.[80] Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes.[80] The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired.[81]

text: Box office[edit]

text: The Sound of Music is one of the most commercially successful films of all time.[82] Four weeks after its theatrical release, it became the number one box office movie in the United States, from revenue generated by twenty-five theaters, each screening only ten roadshow performances per week.[78] It held the number one position for thirty of the next forty-three weeks,[78] and ended up the highest-grossing film of 1965.[83] One contributing factor in the film's early commercial success was the repeat business of many filmgoers.[79] In some cities in the United States, the number of tickets sold exceeded the total population.[79][Note 6] By January 1966, the film had earned $20 million in distributor rentals from just 140 roadshow engagements in the United States and Canada.[84] Overseas, The Sound of Music broke previous box-office records in twenty-nine countries,[85] including the United Kingdom, where the film earned £4 million in rentals and grossed £6 million—more than twice as much as any other film had ever taken in.[85] It was also a major success in Holland, Hong Kong and Tokyo, where it played for as long as two years at some theaters. It was not a universal success, however, with the film only enjoying modest success in France and it was a flop in Germany. It also initially performed poorly in Italy, but a re-release after the Oscars brought better results.[86] By November 1966, The Sound of Music had become the highest-grossing film of all-time,[85] surpassing Gone with the Wind, which held that distinction for twenty-four years.[87][Note 7]

text: In November 1969, The Sound of Music completed its initial four-and-a-half year theatrical release run in the United States, having earned $68,313,000 in North American (United States and Canada) rentals and $44,168,000 in foreign rentals, for a worldwide total of $112,481,000 in gross returns.[86] It was the first film to gross over $100 million.[88] The film was re-released in 1973,[89][90] and increased its North American rentals to $78.4 million.[91] By the end of the 1970s, it was ranked seventh in all time North American rentals, having earned $79 million.[92] The film's re-release in 1990[90] increased the total North American admissions to 142,415,400—the third highest number of tickets sold behind Gone with the Wind and Star Wars—and about 283.3 million admissions worldwide.[93][94] The Sound of Music eventually earned a total domestic gross of $163,214,076, and a total worldwide gross of $286,214,076.[95] Adjusted for inflation, the film earned about $2.366 billion at 2014 prices—the fifth highest-grossing film of all time.[93][96]

text: Historical accuracy[edit]

text: The Sound of Music film, like the stage musical, presents a history of the von Trapp family that is not completely accurate. The filmmakers used artistic license to convey the essence and meaning of their story. Georg Ludwig von Trapp was indeed an anti-Nazi opposed to the Anschluss, and lived with his family in a villa in a district of Salzburg called Aigen. Their lifestyle depicted in the film, however, greatly exaggerated their standard of living. The actual family villa, located at Traunstraße 34, Aigen 5026, was large and comfortable but not nearly as grand as the mansion depicted in the film. The house was also not their ancestral home, as depicted in the film. The family had previously lived in homes in Zell Am See and Klosterneuburg after being forced to abandon their actual ancestral home in Pola following World War I. Georg moved the family to the Salzburg villa shortly after the death of his first wife in 1922.[97] In the film, Georg is referred to as "Baron", but his actual family title was "Ritter" (German for "knight"), a hereditary knighthood the equivalent of which in the United Kingdom is a baronetcy. Austrian nobility, moreover, was legally abolished in 1919 and the nobiliary particle von was proscribed after World War I, so he was legally "Georg Trapp". Both the title and the prepositional nobiliary particle von, however, continued to be widely used unofficially as a matter of courtesy.[97]

text: Georg was offered a position in the Kriegsmarine, but this occurred before the Anschluss. He was heavily recruited by the Nazis because he had extensive experience with submarines, and Germany was looking to expand its fleet of U-boats. With his family in desperate financial straits, and having no other marketable skills other than his training as a naval officer, he seriously considered the offer before deciding he could not serve a Nazi regime. Rather than threaten arrest, the Nazis actually continued to woo him.[97] In the film, Georg is depicted initially as a humorless, emotionally distant father. In reality, third child Maria von Trapp (called "Louisa" in the film) described her father as a doting parent who made handmade gifts for the children in his woodshop and who would often lead family musicales on his violin. She has a different recollection of her stepmother, whom she described as moody and prone to outbursts of rage. In a 2003 interview, Maria remembered, "[She] had a terrible temper ... and from one moment to the next, you didn't know what hit her. We were not used to this. But we took it like a thunderstorm that would pass, because the next minute she could be very nice."[98]

text: Maria Augusta Kutschera had indeed been a novice at Nonnberg Abbey in Salzburg and had been hired by the von Trapp family. However, she was hired only to be a tutor to young Maria Franziska ("Louisa" in the movie), who had come down with scarlet fever and needed her lessons at home, not to be a governess for all of the children.[97] Maria and Georg married for practical reasons, rather than love and affection for each other. Georg needed a mother for his children, and Maria needed the security of a husband and family once she decided to leave the abbey. "I really and truly was not in love," Maria wrote in her memoir, "I liked him but didn't love him. However, I loved the children, so in a way I really married the children. I learned to love him more than I have ever loved before or after." They were married in 1927, not in 1938 as depicted in the film, and the couple had been married for over a decade by the time of the Anschluss and had two of their three children together by that time. Maria later acknowledged that she grew to love Georg over time and enjoyed a happy marriage.[97]

text: The von Trapp family lost most of its wealth during the worldwide depression of the early 1930s, when the Austrian national bank folded.[97] In order to survive, the family dismissed the servants and began taking in boarders. They also started singing onstage to earn money—a fact that caused the proud Georg much embarrassment.[99] In the film, the von Trapp family hike over the Alps from Austria to Switzerland to escape the Nazis, which would not have been possible; Salzburg is over two hundred miles from Switzerland. The von Trapp villa, however, was only a few kilometers from the Austria–Germany border, and the final scene shows the family hiking on the Obersalzberg near the German town of Berchtesgaden, within sight of Adolf Hitler's Kehlsteinhaus Eagle's Nest retreat. In reality, the family simply walked to the local train station and boarded a train to Italy. Although Georg was an ethnic German-Austrian, he was also an Italian citizen, having been born in the Dalmatian city of Zadar, which at that time was part of the Austro-Hungarian Empire, and later fell into Italian territory after World War I. From Italy, they traveled to London and ultimately the United States.[97]

text: The character Max Detweiler, the scheming family music director, is fictional. The von Trapps' family priest, the Reverend Franz Wasner, was their musical director for over twenty years and accompanied them when they left Austria.[97] The character of Friedrich (the second oldest child in the film version) was based on Rupert, the oldest of the real von Trapp children. Liesl (the oldest child in the film) was based on Agathe von Trapp, the second oldest in the real family. The names and ages of the children were changed, in part because the third child (who would be portrayed as "Louisa") was also named Maria, and producers thought that it would be confusing to have two characters called Maria in the film.[97] The von Trapp family had no control over how they were depicted in the film and stage musical, having given up the rights to their story to a German producer in the 1950s who then sold the rights to American producers.[97] Robert Wise met with Maria von Trapp and made it clear, according to a memo to Richard Zanuck, that he was not making a "documentary or realistic movie" about her family, and that he would make the film with "complete dramatic freedom" in order to produce a "fine and moving film"—one they could all be proud of.[100]

text: Soundtrack[edit]

text: The soundtrack to The Sound of Music was written by Richard Rodgers and Oscar Hammerstein II, and arranged and conducted by Irwin Kostal, who also adapted the instrumental underscore passages.[citation needed] The soundtrack album was released by RCA Victor in 1965 and is one of the most successful soundtrack albums in history, having sold over 20 million copies worldwide.[101][102]

text: The album reached the number one position on the Billboard 200 that year in the United States.[103][104] It remained in the top ten  for 109 weeks, from May 1, 1965 to July 16, 1966,[105][106] and remained on the Billboard 200 chart for 238 weeks.[103] The album was the best-selling album in the United Kingdom in 1965, 1966 and 1968 and the second best-selling of the entire decade, spending a total of 70 weeks at number one on the UK Albums Chart.[107] It also stayed 73 weeks on the Norwegian charts, becoming the seventh best-charting album of all time in that country.[108] In 2015, Billboard named the album the second greatest album of all time.[109][110]

text: The album has been reissued several times, including anniversary editions with additional tracks in 1995, 2000, 2005, 2010 and 2015.[104]

text: Accolades[edit]

text: Awards and nominations[edit]

text:
Award

Category

Nominee

Result

Ref

Academy Awards

Best Picture

Robert Wise

Won

[111]

Best Director

Robert Wise

Won

[111]

Best Actress in a Leading Role

Julie Andrews

Nominated

[111]

Best Actress in a Supporting Role

Peggy Wood

Nominated

[111]

Best Music (Scoring of Music – Adaptation or Treatment)

Irwin Kostal

Won

[111]

Best Cinematography (Color)

Ted D. McCord

Nominated

[111]

Best Art Direction (Color)

Boris Leven (art direction);Walter M. Scott and Ruby R. Levitt (set decoration)

Nominated

[111]

Best Costume Design (Color)

Dorothy Jeakins

Nominated

[111]

Best Sound Recording

James Corcoran and Fred Hynes

Won

[111]

Best Film Editing

William H. Reynolds

Won

[111]

BAFTA Awards

Best British Actress

Julie Andrews

Nominated

[112]

Directors Guild of America

Outstanding Directorial Achievement in Motion Pictures

Robert Wise

Won

[113]

Golden Globe Awards

Best Motion Picture – Musical or Comedy

Robert Wise

Won

[113]

Best Director – Motion Picture

Robert Wise

Nominated

[113]

Best Motion Picture Actress – Musical or Comedy

Julie Andrews

Won

[113]

Best Supporting Actress – Motion Picture

Peggy Wood

Nominated

[113]

Laurel Awards

General Entertainment

The Sound of Music

Won

[114]

Musical Performance – Female

Julie Andrews

Won

[114]

National Board of Review

Top Ten Films of 1965

The Sound of Music

Won

[113]

New York Film Critics Circle

Best Actress

Julie Andrews

2nd place

[114]

Writers Guild of America

Best Written American Musical

Ernest Lehman

Won

[114]

text: AFI recognition[edit]

text: The Sound of Music has been included in numerous top film lists from the American Film Institute.

text:
AFI's 100 Years...100 Movies – No. 55[115]
AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 40[116]
AFI's 100 Years...100 Cheers – No. 41[117]
AFI's 100 Years of Musicals – No. 4[118]
AFI's 100 Years...100 Passions – No. 27[119]
AFI's 100 Years...100 Songs:
"The Sound of Music" – No. 10[120]
"My Favorite Things" – No. 64[120]
"Do-Re-Mi" – No. 88[120]

text: Legacy[edit]

text: In 1966, American Express created the first Sound of Music guided tour in Salzburg.[121] Since 1972, Panorama Tours has been the leading Sound of Music bus tour company in the city, taking approximately 50,000 tourists a year to various film locations in Salzburg and the surrounding region.[121] Sing-along Sound of Music revival screenings began in London in 1999, leading to a successful run at the Prince Charles Cinema which is ongoing as of 2016.[107][122] During the screenings, audience members are often dressed as nuns and von Trapp children and are encouraged to sing along to lyrics superimposed on the screen.[122] In July 2000, Sing-along Sound of Music shows opened in Boston and Austin, Texas.[122] Some audience members dressed up as cast members and interacted with the action shown on the screen.[122] The film began a successful run at the Ziegfeld Theatre in New York City in September 2000, with the opening attended by cast members Charmian Carr (Liesl), Daniel Truhitte (Rolfe), and Kym Karath (Gretl).[123] Sing-along Sound of Music screenings have since become an international phenomenon.[124]

text: In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".[82] The Academy Film Archive preserved The Sound of Music in 2003.[125]

text: Television and home media[edit]

text: The first American television transmission of The Sound of Music was on February 29, 1976 on ABC, which paid $15 million for a one-time only broadcast that became one of the top-rated films ever shown on television to that point.[126] The movie was not shown again until NBC acquired the broadcast rights and telecast the film on February 11, 1979.[127] NBC continued to air the film annually for twenty years.[126] During most of its run on NBC, the film was heavily edited to fit a three-hour time slot—approximately 140 minutes without commercials. The thirty minutes edited out of the original film included portions of the "Morning Hymn and Alleluia" sung by the nuns, part of the dialogue between Mother Abbess and Maria in the abbey, part of Liesl and Rolfe's dialogue preceding "Sixteen Going on Seventeen", Liesl's verse of "Edelweiss" sung with the Captain, the Captain and Baroness waltzing at the party, and minor dialogue cuts within existing scenes.

text: The film aired in its uncut form (minus the entr'acte) on April 9, 1995, on NBC. Julie Andrews hosted the four-hour telecast which presented the musical numbers in a letterbox format. As the film's home video availability cut into its television ratings, NBC let their contract lapse in 2001. That year, the film was broadcast one time on the Fox network, in its heavily edited 140-minute version. Since 2002, the film has aired on ABC, generally during Christmas week, and has been broadcast on its sister cable network, Freeform, periodically around Easter and other holidays. Most of its more recent runs have been the full version in a four-hour time slot, complete with the entr'acte. ABC first broadcast a high definition version on December 28, 2008. On December 22, 2013, the annual broadcast had its highest ratings since 2007; the increase in ratings were credited to NBC's broadcast of The Sound of Music Live!—a live television adaptation of the original musical which aired earlier that month.[128]

text: In the United Kingdom, the film was first aired on BBC One on 25 December 1978 and, as of December 2016, fifteen times since, mostly around Christmas time. As the BBC channels in Britain are not funded by advertising there was no need to cut scenes to fit within a timeslot and the film was screened in the full 174-minute version without breaks.[129]

text: The film has been released on VHS, LaserDisc, and DVD numerous times. The first DVD version was released on August 29, 2000 to commemorate the 35th anniversary of the film's release.[130] The film is often included in box sets with other Rodgers & Hammerstein film adaptations.[130] A 40th anniversary DVD, with "making of" documentaries and special features, was released on November 15, 2005.[130] The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[130][131][132] For the Blu-ray release, the original 70 mm negatives were rescanned at 8K resolution, then restored and remastered at 4K resolution for the transfer to Blu-ray, giving the most detailed copy of the film seen thus far. On March 10, 2015, Fox Home Entertainment released The Sound of Music 50th Anniversary Ultimate Collector's Edition—a five-disc set featuring thirteen hours of bonus features, including a new documentary, The Sound of a City: Julie Andrews Returns to Salzburg.[130][133] A March 2015 episode of ABC's 20/20 entitled The Untold Story of the Sound of Music featured a preview of the documentary and interviews by Diane Sawyer.[134]

text: Notes[edit]

text:
Jump up ^ Twentieth Century Fox also purchased the rights to the two German films for distribution in the United States. Fox combined the two films, Die Trapp-Familie and Die Trapp-Familie in Amerika, dubbed them in English, and released them as a single 106-minute film titled The Trapp Family, which was released on April 19, 1961.[9]

Jump up ^ Maria's morning run back to Nonnberg Abbey would have been about 11 miles (18 km).

Jump up ^ At the conclusion of filming at Schloss Leopoldskron, 20th Century Fox left behind the original gazebo as a gift to the city. The film's later popularity, however, led many fans to trespass onto the private and secluded lakefront property. To provide fans easier access to the famous structure, the city moved it to its present location at Hellbrunn Palace Park.[64]

Jump up ^ Terpning also created the poster artwork for Lawrence of Arabia, Doctor Zhivago, The Sand Pebbles, The Guns of Navarone, and the 1967 theatrical re-release of Gone with the Wind.[68] He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians.[68]

Jump up ^ Pauline Kael's review for McCall's generated a significant negative response from readers and contributed to her dismissal from the magazine.[75][76]

Jump up ^ In Salt Lake City, Utah  (population 199,300), for example, 309,000 tickets were sold in forty weeks.[79] In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks.[79] In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks.[79]

Jump up ^ The Sound of Music remained the highest-grossing film of all time for five years until 1971, when Gone with the Wind recaptured the crown following its successful 1967 widescreen rerelease.

tag: ol


document_title: Challenging behaviour

question_text: name the 4 flashpoints that can affect a person's challenging behaviour

question_tokens: name the 4 flashpoints that can affect a person 's challenging behaviour

root

text: Challenging behaviour

text: Types[edit]

text: Common types of challenging behaviour include self-injurious behaviour (such as hitting, headbutting, biting, scratching), aggressive behaviour (such as hitting others, headbutting, screaming, scratching others, spitting, biting, punching, kicking), inappropriate sexualised behaviour (such as public masturbation or groping), behaviour directed at property (such as throwing objects and stealing) and stereotyped behaviours (such as repetitive rocking or echolalia).

tag: p

text: Misuse[edit]

text: The term "challenging behaviour" has become subject to widespread misuse, most often as a euphemism for violent or aggressive behaviour. In educational settings it is often used to refer to acts of disobedience, defiance, or other non-compliance with authority. This is not what the term was originally intended to refer to. Increasingly professional groups are adopting alternative terms for example "behaviour of concern".[2]

text: Causes[edit]

text: Challenging behaviour may be caused by many kinds of factors, including:

text:
biological (pain, medication, the need for sensory stimulation)
social (boredom, seeking social interaction, the need for an element of control, lack of knowledge of community norms, insensitivity of staff and services to the person's wishes and needs)
environmental (physical aspects such as noise and lighting, or gaining access to preferred objects or activities)
psychological (feeling excluded, lonely, devalued, labelled, disempowered, living up to people's negative expectations)

tag: ul

text: Challenging behaviour may also simply be a means of communication. A lot of the time, challenging behaviour is learned and brings rewards and it is very often possible to teach people new behaviours to achieve the same aims. Behaviour analysts have focused on a developmental model of challenging behaviour.[3]

text: Experience and research suggests that what professionals call "challenging behaviour" is often a reaction to the challenging environments that services or others create around people with developmental disabilities, and a method of communicating dissatisfaction with the failure of services or others to listen for what kind of life makes most sense to the person, especially where services or others create lifestyles and relationships that are centred on what suits them or the service and its staff rather than what suits the person.

text: Challenging behaviour can often be viewed as a ‘behavioural equivalent’ of a mental health problem. However, research evidence indicates that challenging behaviours and mental health problems are relatively independent conditions.[4]

text: A common principle in behaviour management is looking for the message an individual is communicating through their challenging behaviour: "All behaviour has meaning". This is a core in the functional analysis process.

text: Children communicate through their behaviour, especially those who have not acquired language and vocabulary skills to tell the adult what the problem is.

text: In adults with developmental disabilities certain types of challenging behaviour can predict contact with police and hospital admission.[5]

text: Behaviour response cycle[edit]

text: Challenging behaviours may be viewed as occurring in a cycle:

text:
Trigger
Escalation
Crisis
Recovery

text: Analysis of this cycle provides a foundation for using a variety of strategies to minimise the triggers of challenging behaviour, teach more appropriate behaviours in response to these triggers, or provide consequences to the challenging behaviour that will encourage a more appropriate response. Behavioural strategies such as Applied Behaviour Analysis, operant conditioning and positive behaviour support use similar approaches to analysing and responding to challenging behaviours. Recently, Eidetic Model of Growth (EMG) has been used with promising results.[citation needed]


document_title: Derek Morgan (Criminal Minds)

question_text: when does morgan first call garcia baby girl

text: Derek Morgan (Criminal Minds)

text: Background[edit]

text: Morgan and his sisters Sarah and Desirée grew up on the South Side, in an unnamed notorious neighborhood of Chicago. He is the son of an African American father and white mother he has left he rarely speaks of his immediate family, he is close to his mother and sisters and returns every year for Fran's birthday.[2] In season 2 it was stated that he was around age 33, putting his birth year around 1976. He attended Northwestern University on a football scholarship, graduating cum laude. Although it was stated that he had earned a law degree, there has never been any mention of him practicing law. He was a star quarterback until a left knee injury ended his career.

text: At the age of ten, Morgan was a witness to the shooting death of his father, also a police officer.[2] Left without a father figure, he had behavioral problems as an adolescent and earned himself a juvenile record for fighting. He was taken under the wing of a local youth center coordinator, Carl Buford. Buford acted as a surrogate father to Morgan, helping expunge Morgan's juvenile criminal record and him to obtain the aforementioned football scholarship. Although Morgan was able to avoid going into a life of crime like many of his peers, Buford was also sexually abusing him, a fact which Morgan only admitted years later and under extreme duress.[2] As a teen he discovered the body of an unidentified boy, which had a profound effect on him (he went door to door in order to collect money to buy the boy a headstone and visited the boy's grave every time he came home to Chicago). Due to his difficult past, he displays little sympathy for unremorseful criminals who attempt to use their traumatic childhood as an excuse for the crimes they commit.[3] Prior to joining the FBI, Morgan served in a bomb squad and was a Chicago PD officer. At one time he spent 18 months doing deep undercover work.

text: Years later, Morgan's past would come back to haunt him when he was arrested by the Chicago Police Department for the murder of the unidentified boy and two others. The lead detective, who had arrested Morgan several times for juvenile misdemeanors when the latter was young, believed Morgan was guilty and used a BAU profile done by Jason Gideon (Mandy Patinkin) to support his case. Believing he was being framed by the real killer, the BAU searched through Morgan's life and background to prove him innocent, which discomfited Garcia as Morgan had been generally reticent about the details of his past. They later identified Carl Buford as the man who set Morgan up to take the fall (Buford was friends with the lead detective). When Hotch asked about Buford, Morgan told him to back off. He then escaped police custody and spoke to a local boy who was friends with the latest victim. The boy revealed he was currently being molested by Buford and that the latest victim knew about it. Morgan confronted Buford, who at first denied anything happened between them, and told Morgan the other boy was lying. Refusing to back down (and wishing that he had told someone about Buford when he was a kid), Morgan eventually got Buford to admit to the abuse. Buford's admission was overheard by Chicago PD detectives who were lying in wait nearby, and they arrested Buford. Buford pleaded with Morgan to help him, to which Morgan replies, "You go to Hell," leaving the child molester to his fate.[2]

text: Characterization[edit]

text: Characterized as a "jock", Morgan is the most athletic of the BAU team members, often being tasked with the more physical aspects of the job, such as taking down intimidating suspects or chasing a runaway on foot.[4] He holds a black belt in judo and has occasionally been asked to train other FBI agents for fitness tests[5] and in SWAT tactics.[6] Due to his past as a juvenile delinquent and experience with gangsters in Chicago, he is rarely intimidated by suspects, even those belonging to criminal syndicates.

text: Morgan often appears to be happy-go-lucky and is frequently seen teasing or playing pranks on Garcia and Spencer Reid.[5][7] As his background is revealed, it becomes apparent that Morgan was putting on a facade to bury the painful memories of his past. He looks up to his "bosses" Jason Gideon and later Aaron Hotchner as well as senior agent David Rossi as mentors. They, particularly Hotch, are usually the ones to calm Morgan down when a case gets to him. Hotch once said of him, "there are very few people he truly trusts",[8] but Morgan is extremely loyal to those "few" (the BAU team). In season 5, he temporarily took over Hotch's position as Unit Chief while serial killer and nemesis George Foyet was on the loose, on the condition that Hotch be reinstated once Foyet was captured.

text: Morgan is good with children and shown to be fond of Hotch's son Jack, and JJ and Will's son Henry. This is apparent when the team is assigned to cases involving minors and Morgan is sometimes the one tasked with interviewing children or adolescents, especially boys, for information.

text: Behavioral Analysis Unit[edit]

text: Morgan was at one point being considered to replace SSA Kate Joyner as Unit Chief of the New York FBI field office.[9] His boss, BAU Unit Chief Aaron Hotchner, didn't recommend him for the position due to concerns that Morgan didn't have enough trust in his coworkers. However, after Joyner was killed by an IED in the fourth-season premiere, Hotchner told Morgan that the job was his if he wanted it. Nevertheless, Morgan chose not to take the position, and remained with the BAU.

text: Morgan bears an especially intense grudge against George Foyet (played by C. Thomas Howell). After Morgan was knocked out by Foyet in early 2009, Foyet stole Morgan's FBI credentials. He then used the credentials while dropping off a severely injured Aaron Hotchner in the Emergency Room after attacking and nearly killing Hotchner.[10]

text: Because of his experiences as a teenager, Morgan seems to bear a lingering hostility towards organized religion, but he still prays, even going so far as to visit a churchE308. He is very charming, and has been seen flirting with many women, even dancing with several at a time in a bar.[11] Morgan once asked out Jordan Todd, only later realizing that she would be his coworker. However, as with most BAU agents, a long-term stable romantic relationship has eluded him, until Season 11, where he announces his marriage with his long-time girlfriend, Savannah Hayes. They eventually had a son named Hank Spencer Morgan, naming him after Derek's father and Dr. Spencer Reid, a fellow BAU member and friend.

text: Morgan is intensely devoted to his coworkers, especially Technical Analyst Penelope Garcia. They have a bantering, sweet, flirtatious relationship. Morgan often calls her "baby girl," "doll face" or "sweetness" (having first used the term when he didn't know her name, he continued doing so when she seemed to like it[12]). In the aftermath of the New York bombing that killed SSA Joyner, Morgan told Garcia that she was his "God-given solace" after jumping out of an ambulance which was about to blow upE401. Morgan's close relationship with Garcia was made especially clear after she was shot by a perpetrator of hero homicide; taking her home from the hospital, Morgan said to Garcia: "I love you, you know that right?", and then insisted on staying with her to protect her, eventually saving her life, until the perpetrator was killed.

text: Morgan has an extremely close friendship with SSA Dr. Spencer Reid, akin to that of a protective older brother figure. Morgan frequently makes friendly banter with Reid, and attempts to help him with his love life. In the episode "Revelations" he is particularly distressed and prone to violent outbursts after Reid had been taken and after seeing the torture he went through live. Even going as far as stating that he would put the unsub's "head on a stick". Morgan often calls him "Doc", "Kid", "Genius", or "Pretty Boy" and they frequently tease and exchange banter with one another, even going as far as having a joke war in the episode "Painless". Morgan has been seen giving Reid advice on how to pick up girls at a bar after he unsuccessfully tried to hand out fliers and he is one of two people who knew that Reid was experiencing extremely painful headaches that may or may not have been related to the possibility of schizophrenia, the other being Emily Prentiss.

text: He also has an extremely close friendship with Agent Emily Prentiss. As she joined the team in season 2, they immediately bonded due to their mutual love of Kurt Vonnegut books. Morgan is protective of Prentiss, but their relationship is never shown beyond outside of the bureau. In the episode 6x17 "Valhalla", Morgan tells Prentiss that she can "trust him", and that he is there for her no matter what. In Prentiss's final episode as a series regular, 6x18 "Lauren," she disappears after walking out of the BAU to go and confront her nemesis, Ian Doyle. At the end of the episode after being stabbed in the abdomen by Doyle, Morgan rushes to her side to try to save her. She tells him to let her go, and he responds by saying "No, no, I am not letting you go." Then he says, "Listen to me, I know why you did all of this, and I know what you did for Declan. I am so proud of you. Do you understand that? I am proud of you because you are my friend, and you are my partner," to which then, Emily starts to fade in and out of consciousness while Morgan is holding her hand. At the hospital, J.J. tells the team that Prentiss, "never made it off the table," and everyone dropped their heads in sadness. Everyone, except Hotch and J.J. think Prentiss is dead as they attend her funeral, unaware that she is alive and went into hiding from Doyle once again and that she is living in France, specifically Paris. In season seven, Morgan's summer investigation leads him to be the first to discover that Prentiss is alive. When she returns to the BAU they share an emotional moment and a hug. Later, Morgan tells her he was never upset nor does he feel betrayed. In "Dorado Falls", Morgan signs them up for takedown re-certification without telling her and lets her believe Hotch was responsible. He doesn't want her to know it was him who signed her up because he doesn't want to admit that he needs to make sure she can still take care of herself. Later, he admits to Emily he did it because losing her was "7 months of Hell" and he worried that his fear of losing her would be so great he wouldn't be able to perform properly because he would be worrying about her. She tells him she understands this and agrees to 10 hours of training, but states that his demands of 'a neck rub everyday along with coffee' are pushing it.

text: Morgan also became close with Ellie Spicer, a little girl who was the daughter of a murder victim in the "Prince of Darkness" case. In the Season 6 premiere, Morgan was left injured and tied up after being attacked by the Prince of Darkness, Billy Flynn (played by Tim Curry), who also killed Matthew Spicer (a local LAPD detective) in the attack and kidnapped Spicer's daughter Ellie. After being treated by paramedics, Morgan rejoined his coworkers in hunting Flynn, who the team had identified as "a pure psychopath". Throughout the episode, Morgan snaps at several of his teammates, including Garcia, whom he is normally flirtatious with. After Flynn turns Ellie loose, the team arrives at a house where Flynn is holding two people hostage. Flynn calls Hotch's phone, and demands that Morgan enter. Hotch initially refuses, until Morgan steps to him and says, "This one is mine." Morgan enters the house with his weapon drawn, and finds Flynn in a bedroom, with two victims tied up. Flynn tells Morgan that while he may not be afraid, the hostages were. Morgan responds by saying "You point that gun at them, and I will kill you, and that is another promise." After a bit of attempted conversation, Flynn starts crying, and asks Morgan if he believes in heaven, causing the agent to raise his gun. Flynn stands up and aims his gun at the female victim, resulting in Morgan instantly opening fire, coldly shooting Flynn in the chest repeatedly until "The Prince of Darkness" dies, and falls back onto the bed. Morgan emerges from the house removing his Kevlar vest and is greeted by Ellie. He takes her into his arms and comforts her as her bravado cracks, and she begins to cry. Ellie is placed into a foster home following her father's death because her parents were separated and her aunt (Matt Spicer's sister, who had been caring for Ellie) was also killed by Flynn. When Ellie catches a boy in the home peeping at her as she bathes, she runs away, flies to D.C., seeks out Morgan and asks to live with him. Morgan declines, but he and the BAU team members are able to reunite Ellie with her mother.

text: In "Big Sea," Morgan gets personal on a case in Jacksonville, Florida when bodies are discovered buried in the ocean floor off the coast. His aunt Yvonne fears that her missing daughter, Cindi, was one of the victims. Rossi tells Seaver that Morgan's cousin escaped a stalker and was never heard from. After Morgan catches the Unsub, he shows him pictures of two of his victims during his interrogation. When Morgan showed Cindi's picture he claims that she cried for Morgan before her throat was sliced."The killer didn't know Cindi's name, but he knew those of the other victims" Morgan said to Rossi. Even though Cindi wasn't one of the victims, Morgan lies to his aunt, and tells her that she was dead, to give her closure however, she is still missing. In the season six finale, he fatally shoots the unsub leader of the human trafficking ring who'd been pretending to be a victim and was about to shoot Rossi.

text: Reception[edit]

text: This section needs expansion. You can help by adding to it. (June 2012)

tag: table

text: Morgan was included in TV Guide's list of "TV's Sexiest Crime Fighters".[13]


document_title: Harold & Kumar Go to White Castle

question_text: who played freakshows wife in harold and kumar

text: Harold & Kumar Go to White Castle

text: Plot[edit]

text: Investment banker Harold Lee is persuaded by his colleagues to do their work while they leave for the weekend. Kumar Patel attends a medical school interview, but intentionally botches it to prevent getting accepted. Harold is attracted to his neighbor, Maria, but is unable to admit his feelings. After smoking marijuana with Kumar, and seeing an advertisement for White Castle, the pair decide to get hamburgers. After traveling to the nearest White Castle in New Brunswick, they find it replaced by "Burger Shack" but learn of another White Castle in Cherry Hill.

text: Kumar suggests stopping at Princeton University to buy more marijuana. Kumar buys marijuana from a student and they are discovered by campus security and forced to flee, losing their marijuana. Harold and Kumar resume their drive, and Kumar pulls over to urinate. A raccoon gets in the car and bites Harold. Kumar takes Harold to a hospital where Kumar's father and older brother work. Kumar steals ID badges to obtain medical marijuana, but after being mistaken for his brother, Kumar performs surgery on a gunshot victim and, after the surgery, the patient tells them how to reach White Castle.

text: Kumar spots Maria at a movie theatre. He decides to get her attention so Harold can talk to her, but Harold panics and crashes the car. They are rescued by Freakshow, a tow-truck driver, who takes them to his house to repair their car. Harold and Kumar are propositioned by Freakshow's wife, but after Freakshow suggests a foursome, Harold and Kumar flee in disgust. Kumar pick up a hitchhiker, Neil Patrick Harris, who is high on ecstasy. Harold and Kumar go into a convenience store to get directions and Harris drives away. The duo are then harassed by a racist police officer for jaywalking. Harold attempts to punch Kumar for teasing the officer, but ends up punching the officer, resulting in his arrest.

text: Kumar fakes a 911 call to draw the police away and breaks into the station to free Harold. Harold and Kumar flee. The pair encounters an escaped cheetah, and after smoking marijuana with it, they ride it. After encountering a group of extreme sports punks who have been harassing the pair, Harold and Kumar steal their truck. A police officer spots the speeding truck and chases them. They are trapped when they reach the edge of a cliff. Spotting the White Castle below, Harold and Kumar use a hang glider from the truck to reach their destination. The pair place their orders but are disheartened to find they have no money. Harris suddenly appears, and pays for their meal as an apology for stealing their car.

text: Kumar realizes he wants to be a doctor, but is afraid of conforming to the stereotype of Indians becoming doctors. Harold notices his co-workers pull up with two women and gets angry at them because they said they had to work with clients but were actually out partying. He tells them off and threatens to get them fired and humiliated if it happens again. After returning to their apartment they encounter Maria. Harold professes his feelings for her and they kiss. She informs Harold that she is leaving for Amsterdam but will return in ten days. Kumar convinces Harold to go with him to Amsterdam to pursue Maria, reminding him that marijuana is legal in the Netherlands.

text: Cast[edit]

text:
John Cho as Harold Lee, a second generation Korean-American man working at his first job in investment banking.
Kal Penn as Kumar Patel, a second generation Indian-American whose family thinks that he will become a doctor like his father and brother.
Paula Garcés as Maria Perez, Harold and Kumar's neighbor, on whom Harold has a crush.
Neil Patrick Harris as a fictionalized version of himself.
Ryan Reynolds as an OR nurse
David Krumholtz as Goldstein, Harold and Kumar's neighbor and Rosenberg's roommate
Eddie Kaye Thomas as Rosenberg, Harold and Kumar's neighbor and Goldstein's roommate
Brooke D'Orsay as Clarissa, twin sister student at Princeton University who agreed to smoke weed with Kumar
Kate Kelton as Chrissy, twin sister student at Princeton University who agreed to smoke weed with Kumar
Christopher Meloni as Randy/Freakshow, a car mechanic with infected pimples on his face and neck who fixed Harold and Kumar's car
Sandy Jobin Bevans as Officer Palumbo, a police officer
Fred Willard as Dr. Willoughby, medical school dean who interviewed Kumar
Robert Tinkler as J.D.
Anthony Anderson as the Burger Shack Employee
Siu Ta as Cindy Kim, student at Princeton University who has a crush on Harold
Malin Åkerman as Liane, Freakshow's wife
Dov Tiefenbach as Bradley Thomas, student at Princeton University who sold weed to Kumar
Gary Anthony Williams as Tarik Jackson, a philosophical black man in who has been arrested for being black
Gary Archibald as Nathaniel Brooks
Craig Stevens as Ralph
Jamie Kennedy as Creepy Guy (uncredited)
Ethan Embry as Billy Carver

text: Soundtrack[edit]

text:
Harold & Kumar Go to White Castle – Soundtrack

Soundtrack album by Various Artists

Released
July 27th, 2004

Label
Bulletproof

text: Harold & Kumar Go to White Castle : Original Soundtrack was released on July 27, 2004. It contains 16 songs from the film.

text:
"Chick Magnet" – MxPx
"One Good Spliff" – Ziggy Marley / The Melody Makers
"Yeah (Dream of Me)" – All Too Much
"Righteous Dub" – Long Beach Dub All Stars
"Skunk One" – Kottonmouth Kings
"Same Old Song" – Phunk Junkeez
"White Castle Blues" – The Smithereens
"Crazy On You" – Heart
"Cameltoe" – Fannypack
"Kinda High, Kinda Drunk" – Coolio
"Mary Jane" – Rick James
"I Wanna Get Next to You" – Rose Royce
"Hold On" – Wilson Phillips
"Ridin'" – Classic & 86
"Arrival at White Castle" – Heiruspecs
"Total Eclipse of the Heart" – Nicki French

text: Songs that are in the film but do not appear on the soundtrack include:

text:
"Also Sprach Zarathustra" – David Kitay
"Baby Baby" – Amy Grant
"Ballin' Boy" – No Good
"Click Click Pow" – Lexicon (real song title is "The Official")
"Warrior Dance" – Zion I feat. Pep Love
"Fall In Line" – Phunk Junkeez
"Faraway" – Dara Schindler
"Gangsta Gangsta" – J. O'Neal / D. Black
"Girl From Ypsilanti" – Daniel May
"Let's Get Retarded" – Black Eyed Peas (this song is the unedited version of their "Let's Get It Started" hit)
"Looney" – Moonshine Bandits
"Mariachi Speier" – Eric Speier
"On the Ganges" – Matt Hirt
"Rock to the Rhythm" – Lexicon (actual song name is "Rock")
"Rock Your Body 2004" – Stagga Lee
"Ooh Wee" – Mark Ronson

text: Release[edit]

text: Box office[edit]

text: In its opening weekend, the film grossed $5,480,378 in 2135 theatres in the United States and Canada. In total it had a worldwide gross of $23,936,908.[1]

text: Critical reception[edit]

text: The film was positively received by critics, with a 74% rating at Rotten Tomatoes based on 147 reviews; the consensus states "The likable leads and subversion of racial stereotypes elevate Harold and Kumar above the typical stoner comedy."[2][3]

text: Film critic Roger Ebert of the Chicago Sun-Times awarded the film 3 out of 4 stars and wrote "One secret of fiction is the creation of unique characters who are precisely defined. The secret of comedy is the same, with the difference being that the characters must be obsessed with unwholesome but understandable human desires."[4]

text: Sequels[edit]

text: Harold & Kumar Escape from Guantanamo Bay is the 2008 sequel to White Castle. The movie revolves around Harold and Kumar trying to get to Amsterdam to find Maria, but when the two are mistaken for terrorists on the plane, they are sent to the Guantanamo Bay detention camp.

text: Both Hurwitz and Schlossberg announced plans to write a third Harold and Kumar film, with Greg Shapiro returning as producer, and Kal Penn and John Cho returning in their title roles,[5][6] While Todd Strauss-Schulson directed the film. A Very Harold & Kumar 3D Christmas, was released on November 4, 2011 in 2D and 3D.


document_title: Kingdom of Heaven (film)

question_text: who played the king of jerusalem in kingdom of heaven

text: Kingdom of Heaven (film)

text: Plot[edit]

text: In 1184 France, Balian, a blacksmith, is haunted by his wife's recent suicide. A Crusader passing through the village introduces himself as Balian's father, Baron Godfrey of Ibelin, and asks him to return with him to the Holy Land, but Balian declines. After the town priest reveals that he ordered Balian's wife beheaded before burial, Balian kills him and flees the village.

text: Balian joins his father, hoping to gain forgiveness and redemption for himself and his wife in Jerusalem. Soldiers sent by the bishop arrive to arrest Balian, but Godfrey refuses to surrender him, and in the ensuing attack, Godfrey is struck by an arrow that breaks off in his body, fatally wounding him.

text: In Messina, Sicily, Godfrey knights Balian and orders him to serve the King of Jerusalem and protect the helpless, then succumbs to his injuries. During Balian's journey to Jerusalem his ship runs aground in a storm, leaving Balian the only survivor. Balian is confronted by a Muslim cavalier, who attacks him over his horse. Balian reluctantly slays the cavalier but spares the man's servant, and the man tells Balian that his deed will gain him fame and respect among the Saracens.

text: Balian becomes acquainted with Jerusalem's political arena: the leper King Baldwin IV; Tiberias, the Marshal of Jerusalem; the King's sister, Princess Sibylla; and her husband Guy de Lusignan, who supports the anti-Muslim activities of brutal factions like the Knights Templar. After Baldwin's death, Guy intends to break the fragile truce with the sultan Saladin and make war on the Muslims.

text: Guy and his ally, the cruel Raynald of Châtillon, attack a Saracen caravan, and Saladin advances on Raynald's castle Kerak in retaliation. At the request of the king, Balian defends the villagers, despite being overwhelmingly outnumbered. Captured, Balian encounters the servant he freed, who he learns is actually Saladin's chancellor Imad ad-Din. Imad ad-Din releases Balian in repayment of the earlier debt. Saladin arrives with his army to besiege Kerak, and Baldwin meets it with his. They negotiate a Muslim retreat, and Baldwin swears to punish Raynald, though the exertion of these events weakens him.

text: Baldwin asks Balian to marry Sibylla and take control of the army, knowing they have affection for each other, but Balian refuses because it will require Guy's execution. After Baldwin dies, Sibylla succeeds her brother, and Guy becomes king. Guy releases Raynald, asking him to give him a war, which Raynald does by murdering Saladin's sister. Sending the heads of Saladin's emissaries back to him, Guy declares war on the Saracens and sends assassins to kill Balian, though Balian survives the attempt.

text: Guy and the Templars march Jerusalem's army to war, despite Balian's advice to remain near water. Saladin's army annihilates the Crusaders in the ensuing desert battle, executes Raynald, and marches on Jerusalem. Tiberias and his men leave for Cyprus, believing Jerusalem lost, but Balian remains to protect the people in the city, knighting the men of the city. After a siege that lasts three days, a frustrated Saladin parleys with Balian. When Balian reaffirms that he will destroy the city before surrendering it, Saladin agrees to allow the Christians to leave safely in exchange for Jerusalem—though he ponders if it would be better if there were nothing left to fight over.

text: Balian is confronted by the disgraced Guy one final time, but defeats and spares him. In the marching column of citizens, Balian finds Sibylla, who has renounced her claim as Queen. After they return to France, English knights en route to retake Jerusalem ride through the town to enlist Balian, now the famed defender of Jerusalem. Balian tells the crusader that he is merely a blacksmith again, and they depart. Balian is joined by Sibylla, and they pass by the grave of Balian's wife as they ride toward a new life together. An epilogue notes that "nearly a thousand years later, peace in the Holy Land still remains elusive."

text: Cast[edit]

text: Many of the characters in the film are fictionalised versions of historical figures:

text:
Orlando Bloom as Balian
Eva Green as Sibylla
Jeremy Irons as Tiberias
David Thewlis as the Hospitaller
Brendan Gleeson as Reynald
Marton Csokas as Guy de Lusignan
Edward Norton as King Baldwin
Michael Sheen as Priest
Liam Neeson as Godfrey
Velibor Topić as Almaric
Ghassan Massoud as Saladin
Alexander Siddig as Imad ad-Din al-Isfahani
Khaled Nabawy as Mullah
Kevin McKidd as English Sergeant
Jon Finch as Patriarch
Ulrich Thomsen as Templar Master
Nikolaj Coster-Waldau as Village Sheriff
Martin Hancock as Gravedigger
Nathalie Cox as Balian's Wife
Eriq Ebouaney as Firuz
Jouko Ahola as Odo
Philip Glenister as Squire
Bronson Webb as Apprentice
Steven Robertson as Angelic Priest
Iain Glen as Richard Coeur de Lion
Angus Wright as Richard's Knight

text: Historical accuracy[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. (March 2016) (Learn how and when to remove this template message)

text: Bloom's character, Balian of Ibelin, was a close ally of Raymond III of Tripoli, the film's Tiberias, and a member of that faction which sought a place within the patchwork of the Near East and opposed the aggressive policy of Raynald of Châtillon, the Templars, and "fanatics newly from Europe", who refused to come to terms of peace with the Muslims.[9] Balian was a mature gentleman, just a year or two younger than Raymond, and one of the most important nobles in the kingdom, not a French blacksmith. His father, Barisan (the French "Balian"), founded the Ibelin family in the east, and probably came from Italy. Balian and Sibylla were indeed united in the defence of Jerusalem but no romantic relationship existed between the two. Balian married Sibylla's stepmother Maria Comnena, Dowager Queen of Jerusalem and Lady of Nablus. Nablus, rather than Ibelin, was Balian's fief at the time of Jerusalem's fall.

text: The Old French Continuation of William of Tyre (the so-called Chronicle of Ernoul) claimed that Sibylla had been infatuated with Balian's older brother Baldwin of Ibelin, a widower over twice her age, but this is doubtful; instead, it seems that Raymond of Tripoli attempted a coup to marry her off to him to strengthen the position of his faction. This legend seems to have been behind the film's creation of a romance between Sibylla and a member of the Ibelin family.[10]

text: King Baldwin IV of Jerusalem, who reigned from 1174 to 1185, was a leper, and his sister Sibylla did marry Guy of Lusignan, though on her own initiative. Baldwin IV had a falling out with Guy, and so Guy did not succeed Baldwin IV immediately. Baldwin crowned Sibylla's son from her previous marriage to William of Montferrat, five-year-old Baldwin V, co-king in 1183.[11] The little boy reigned as sole king for one year, dying in 1186 at nine years of age. After her son's death, Sibylla and Guy (to whom she was devoted) garrisoned the city, and she claimed the throne. The coronation scene in the movie was, in real life, more of a shock: Sibylla had been forced to promise to divorce Guy before becoming queen, with the assurance that she would be permitted to pick her own consort. After being crowned by Patriarch Heraclius of Jerusalem (who is unnamed until late in the movie), she chose to crown Guy as her consort. Raymond of Tripoli was not present, but was in Nablus attempting a coup, with Balian of Ibelin, to raise Sibylla's half-sister (Balian's stepdaughter), Princess Isabella of Jerusalem, to the throne. Isabella's husband, Humphrey IV of Toron, refused to precipitate a civil war and swore allegiance to Guy.[12]

text: Raymond of Tripoli was a cousin of Amalric I of Jerusalem, one of the Kingdom's most powerful nobles, and sometime regent. He had a claim to the throne himself, but, being childless, instead tried to advance his allies in the Ibelin family. He was often in conflict with Guy and Raynald of Châtillon, who had risen to their positions by marrying wealthy heiresses and through the king's favour. The film's portrayal of Raynald of Châtillon as insane is not supported by contemporary sources, though the same sources do portray Raynald as a reckless, aggressive freebooting warlord who frequently violated truces between the Kingdom of Jerusalem and the Sultanate of Egypt. The film's picture of Guy encouraging Raynald of Châtillon to attack Muslim pilgrimage convoys on their way to Mecca to provoke a war with Saladin is false. Guy was a weak, indecisive king who wanted to avoid a war with Saladin and who was simply unable to control the reckless Raynald. Saladin's abortive march on Kerak followed Raynald's raid on the Red Sea, which shocked the Muslim world by its proximity to the holy cities of Mecca and Medina. Guy and Raynald also harassed Muslim caravans and herders, and the claim that Raynald captured Saladin's sister is based on the account given in the Old French Continuation of William of Tyre. This claim, unsupported by any other account, is generally believed to be false. In actuality, after Raynald's attack on one caravan, Saladin made sure that the next one, in which his sister was travelling, was properly guarded: the lady came to no harm.[10] The depiction in the film of the Battle of Hattin, where the Crusader force wandered around the desert for three days without water before being ambushed, is consistent with the known facts. The scene in the film where Saladin hands Guy a cup of iced water (which in the Muslim world was a sign that the victor intended to spare the life of his prisoner), and then notes that he did not hand Raynald the cup (indicating that Raynald was to be executed) is supported by the Persian historian Imad ad-Din al-Isfahani who was present with Saladin after the Battle of Hattin.

text: Balian was present at the Battle of Hattin, but escaped and fled to Tyre and then Jerusalem, to retrieve his wife and children. The defenders of the city, including the military orders and the Patriarch Heraclius, named him the leader of the city's defence. On the ninth day of the siege of Jerusalem, Saladin's forces breached the wall, but the defenders held out until the tenth day, when Balian surrendered the city to Saladin. The Christians of the city were made to ransom themselves, and Balian was unable to raise the funds to ransom all the city's poor; thousands marched out into safety and thousands into slavery.[13]

text: Balian and Sibylla remained in the Holy Land during the events of the Third Crusade. Sibylla was a victim of an epidemic during the Siege of Acre. Balian's relations with Richard I of England were far from amicable, because he supported the claim to kingship of Conrad of Montferrat against Richard's vassal Guy. He and his wife Maria arranged her daughter Isabella's forcible divorce from Humphrey of Toron so she could marry Conrad. Ambroise, who wrote a poetic account of the crusade, called Balian "more false than a goblin" and said he "should be hunted with dogs".[14]

text: An episode of The History Channel's series History vs. Hollywood analysed the historical accuracy of the film. This program and a Movie Real (a series by A&E Network) episode about Kingdom of Heaven were both included on the DVD release.

text: Production[edit]

text: Cinematography[edit]

text: The visual style of Kingdom of Heaven emphasises set design and impressive cinematography in almost every scene. It is notable for its "visually stunning cinematography and haunting music".[15] Cinematographer John Mathieson created many large, sweeping landscapes,[16] where the cinematography, supporting performances, and battle sequences are meticulously mounted.[17] The cinematography and scenes of set-pieces have been described as "ballets of light and color" (as in films by Akira Kurosawa).[18] Director Ridley Scott's visual acumen was described as the main draw of Kingdom of Heaven, with the "stellar" and "stunning" cinematography and "jaw-dropping combat sequences" based on the production design of Arthur Max.[19][20]

text: Visual effects[edit]

text: British visual effects firm The Moving Picture Company completed 440 effects shots for the film.[21] Additionally, Double Negative also contributed to complete the CGI work on the film.[22]

text: Music[edit]

text: The music differs in style and content from the soundtrack of Scott's earlier 2000 film Gladiator[23] and many other subsequent films depicting historical events.[24] A combination of medieval, Middle Eastern, contemporary classical, and popular influences,[23][24] the soundtrack is largely the result of British film-score composer Harry Gregson-Williams. Jerry Goldsmith's "Valhalla" theme from The 13th Warrior and "Vide Cor Meum" (originally used by Scott in the Hannibal movie and composed by Patrick Cassidy and Hans Zimmer), sung by Danielle de Niese and Bruno Lazzaretti, were used as replacements for original music by Gregson-Williams.

text: Reception[edit]

text: Critical response[edit]

text: Upon its release it was met with a mixed reception, with many critics being divided on the film. Critics such as Roger Ebert found the film's message to be deeper than that of Scott's Gladiator.[20]

text: The cast was widely praised. Jack Moore described Edward Norton's performance as the leper-king Baldwin as "phenomenal", and "so far removed from anything that he has ever done that we see the true complexities of his talent".[25] The Syrian actor Ghassan Massoud was praised for his portrayal of Saladin, described in The New York Times as "cool as a tall glass of water".[26] Also commended were Eva Green, who plays Princess Sibylla "with a measure of cool that defies her surroundings",[16] and Jeremy Irons.[27]

text: Lead actor Bloom's performance generally elicited a lukewarm reception from American critics, with the Boston Globe stating Bloom was "not actively bad as Balian of Ibelin", but nevertheless "seems like a man holding the fort for a genuine star who never arrives".[28] One critic conceded that Balian was more of a "brave and principled thinker-warrior"[16] rather than a strong commander, and Balian used brains rather than brawn to gain advantage in battle.[29]

text: Bloom had gained 20 pounds for the part,[16] and the Extended Director's Cut (detailed below) of Kingdom of Heaven reveals even more complex facets of Bloom's role, involving connections with unknown relatives. Despite the criticism, Bloom won two awards for his performance.

text: Online, general criticism has been also divided. Review aggregation website Rotten Tomatoes gives the film a score of 39% based on reviews from 185 critics.[30] Review aggregator Metacritic gives the film a 63/100 rating, indicating "generally favorable reviews" according to the website's weighted average system.[31]

text: Academic criticism[edit]

text: In the time since the film's release, scholars have offered analysis and criticisms through a lens situating Kingdom of Heaven within the context of contemporary international events and religious conflict, including: broad post-9/11 politics, neocolonialism, Orientalism, the Western perspective of the film, and the detrimental handling of differences between Christianity and Islam.[32]

text: Academic criticism has focused on the supposed peaceful relationship between Christians and Muslims in Jerusalem and other cities depicted. Crusader historians such as Jonathan Riley-Smith, quoted by The Daily Telegraph, called the film "dangerous to Arab relations", calling the movie "Osama bin Laden's version of history" and would "fuel the Islamic fundamentalists". Riley-Smith further commented against the historical accuracy stating that "the fanaticism of most of the Christians in the film and their hatred of Islam is what the Islamists want to believe. At a time of inter-faith tension, nonsense like this will only reinforce existing myths", arguing that the film relied on the romanticized view of the Crusades propagated by Sir Walter Scott in his book The Talisman, published in 1825 and now discredited by academics, "which depicts the Muslims as sophisticated and civilized, and the Crusaders are all brutes and barbarians. It has nothing to do with reality."[33][34][35] Paul Halsall defended Ridley Scott, claiming that "historians can't criticize filmmakers for having to make the decisions they have to make... [Scott is] not writing a history textbook".[29]

text: Thomas F. Madden, Director of Saint Louis University's Center for Medieval and Renaissance Studies, criticised the film's presentation of the Crusades:

text: Given events in the modern world it is lamentable that there is so large a gulf between what professional historians know about the Crusades and what the general population believes. This movie only widens that gulf. The shame of it is that dozens of distinguished historians across the globe would have been only too happy to help Scott and Monahan get it right.[36]

text: Scott himself defended this depiction of the Muslim-Christian relationship in footage on the DVD version of the movie's extra features. Scott sees this portrayal as being a contemporary look at the history. He argued that peace and brutality are concepts relative to one's own experience, and since contemporary society is so far removed from the brutal times in which the movie takes place, he told the story in a way that he felt was true to the source material, yet was more accessible to a modern audience. In other words, the "peace" that existed was exaggerated to fit modern ideas of what such a peace would be. At the time, it was merely a lull in Muslim-Christian violence compared to the standards of the period. The recurring use of "Assalamu Alaikum", the traditional Arabic greeting meaning "Peace be with you", is spoken both in Arabic and English several times.

text: The "Director's Cut" of the film is a four-disc set, two of which are dedicated to a feature-length documentary called "The Path to Redemption". This feature contains an additional featurette on historical accuracy called "Creative Accuracy: The Scholars Speak", where a number of academics support the film's contemporary relevance and historical accuracy. Among these historians is Dr. Nancy Caciola who said that, despite the various inaccuracies and fictionalized/dramatized details, she considered the film a "responsible depiction of the period."[37]

text: Screenwriter William Monahan, who is a long-term enthusiast of the period, has said "If it isn't in, it doesn't mean we didn't know it... What you use, in drama, is what plays. Shakespeare did the same."[38]

text: Caciola agreed with the fictionalization of characters on the grounds that "crafting a character who is someone the audience can identify with" is necessary in a film. She said that "I, as a professional, have spent much time with medieval people, so to speak, in the texts that I read; and quite honestly there are very few of them that if I met in the flesh I feel that I would be very fond of." This appears to echo the sentiments of Scott himself.

text: The historical content and the religious and political messages present have received both praise and condemnation. John Harlow of the Times Online wrote that Christianity is portrayed in an unfavourable light and the value of Christian belief is diminished, especially in the portrayal of Patriarch Heraclius of Jerusalem.[39] When journalist Robert Fisk watched the film in a Beirut cinema, he reported that the Muslim audience rose to their feet and applauded during a scene in the film in which Saladin respectfully places a fallen cross back on top of a table after it had fallen during the three-day siege of the city.[40]

text: Box office[edit]

text: The film was a box office disappointment in the US and Canada, earning $47.4 million against a budget of around $130 million, but did better in Europe and the rest of the world, earning $164.3 million, with the worldwide box office earnings totalling at $211,643,158.[41] It was also a big success in Arabic-speaking countries, especially Egypt. Scott insinuated that the US failure of the film was the result of bad advertising, which presented the film as an adventure with a love story rather than as an examination of religious conflict.[citation needed][42] It's also been noted that the film was altered from its original version to be shorter and follow a simpler plot line. This "less sophisticated" version is what hit theatres, although Scott and some of his crew felt it was watered down, explaining that by editing, "You've gone in there and taken little bits from everything".[43]

text: Accolades[edit]

text:
Awards for Kingdom of Heaven

Award
Date of ceremony
Category
Recipient
Outcome

Golden Schmoes Awards

Best DVD/Blu-Ray of the Year
4-Disc Director's Cut Special Edition
Nominated

Goya Awards
January 26, 2006
Best Costume Design
Janty Yates

Hollywood Film Awards
24 October 2005
Composer of the Year
Harry Gregson-Williams (also for The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe)
Won

International Film Music Critics Association

Best Original Score for an Action/Adventure Film
Harry Gregson-Williams
Nominated

International Online Cinema Awards

Best Costume Design
Janty Yates

Motion Picture Sound Editors
4 March 2006
Best Sound Editing in Feature Film - Foreign

Best Sound Editing in Feature Film - Music

Satellite Awards
December 17, 2005
Outstanding Actor in a Supporting Role, Drama
Edward Norton

Outstanding Art Direction and Production Design
Arthur Max

Outstanding Costume Design
Janty Yates

Outstanding Visual Effects
Tom Wood

Outstanding Original Score
Harry Gregson-Williams
Won

Teen Choice Awards
August 14, 2005
Choice Movie: Action Adventure

Nominated

Choice Movie Actor: Action Adventure/Thriller
Orlando Bloom

Choice Movie Love Scene
Orlando Bloom and Eva Green

Choice Movie Liplock

Visual Effects Society Awards
15 February 2006
Outstanding Supporting Visual Effects in a Motion Picture
Wesley Sewell, Victoria Alonso, Tom Wood, and Gary Brozenich
Won

text: Extended Director's Cut[edit]

text: Unhappy with the theatrical version of Kingdom of Heaven (which he blamed on paying too much attention to the opinions of preview audiences, and conceding to Fox's request to shorten the film by 45 minutes), Ridley Scott supervised a director's cut of the film, which was released on 23 December 2005 at the Laemmle Fairfax Theatre in Los Angeles, California.[44] Unlike the mixed critical reception of the film's theatrical version, the Director's Cut received overwhelmingly positive reviews from film critics, including a four-star review in the British magazine Total Film and a ten out of ten from IGN DVD.[45][46][47] Empire magazine called the reedited film an "epic", adding, "The added 45 minutes in the director’s cut are like pieces missing from a beautiful but incomplete puzzle."[7] One reviewer suggested it is the most substantial director's cut of all time[8] and James Berardinelli wrote that it offers a much greater insight into the story and the motivations of individual characters.[48] "This is the one that should have gone out," reflected Scott.[7]

text: The DVD of the extended director's cut was released on 23 May 2006. It comprises a four-disc box set with a runtime of 194 minutes, and is shown as a roadshow presentation with an Overture, Intermission, and Entr'acte, in the vein of traditional Hollywood epic films like The Ten Commandments (1956), Ben-Hur (1959), Lawrence of Arabia (1962), and Doctor Zhivago (1965) during the heyday of the roadshow theatrical release.[44] The first Blu-ray release omitted the roadshow elements, running at 189 minutes, but they were restored for the 2014 Ultimate Edition release.[49]

text: Scott gave an interview to STV on the occasion of the extended edition's UK release, when he discussed the motives and thinking behind the new version.[50] Asked if he was against previewing in general in 2006, Scott stated: "It depends who's in the driving seat. If you've got a lunatic doing my job, then you need to preview. But a good director should be experienced enough to judge what he thinks is the correct version to go out into the cinema."[51]