document_title: For Your Eyes Only (film)

question_text: who is the bond girl in for your eyes only

text: For Your Eyes Only (film)

text: Plot[edit]

text: The British information gathering vessel St Georges, which holds the Automatic Targeting Attack Communicator (ATAC), the system used by the Ministry of Defence to communicate with and co-ordinate the Royal Navy's fleet of Polaris submarines, is sunk after accidentally trawling an old naval mine in the Ionian Sea. MI6 agent James Bond is ordered by the Minister of Defence, Sir Frederick Gray and MI6 Chief of Staff, Bill Tanner, to retrieve the ATAC before the Soviets, as the transmitter could order attacks by the submarines' Polaris ballistic missiles.

text: The head of the KGB, General Gogol, has also learned of the fate of the St Georges and already notified his contact in Greece. A marine archaeologist, Sir Timothy Havelock, who had been asked by the British to secretly locate the St Georges, is murdered with his wife by a Cuban hitman, Hector Gonzales. Bond goes to Spain to find out who hired Gonzales.

text: While spying on Gonzales' villa, Bond is captured by his men, but manages to escape as Gonzales is killed by a crossbow bolt. Outside, he finds the assassin was Melina Havelock, the daughter of Sir Timothy, and the two escape. With the help of Bond, Q uses computerised technology to identify the man Bond saw paying off Gonzales as Emile Leopold Locque, and then goes to Locque's possible base in Cortina, Italy. There Bond meets his contact, Luigi Ferrara, and a well-connected Greek businessman and intelligence informant, Aris Kristatos, who tells Bond that Locque is employed by Milos Columbo, known as "the Dove" in the Greek underworld, Kristatos' former resistance partner during the Second World War. After Bond goes with Kristatos' protégée, figure skater Bibi Dahl, to a biathlon course, a group of three men, which includes East German biathlete Eric Kriegler, chases Bond, trying to kill him. Bond escapes and then goes with Ferrara to bid Bibi farewell in an ice rink, where he fends off another attempt on his life by men in ice hockey gear. Ferrara is killed in his car, with a dove pin in his hand. Bond then travels to Corfu in pursuit of Columbo.

text: There, at the casino, Bond meets with Kristatos and asks how to meet Columbo, not knowing that Columbo's men are secretly recording their conversation. After Columbo and his mistress, Countess Lisl von Schlaf, argue, Bond offers to escort her home with Kristatos' car and driver. The two then spend the night together. In the morning Lisl and Bond are ambushed by Locque and Lisl is killed. Bond is captured by Columbo's men before Locque can kill him; Columbo then tells Bond that Locque was actually hired by Kristatos, who is working for the KGB to retrieve the ATAC. Bond accompanies Columbo and his crew on a raid on one of Kristatos' opium-processing warehouses in Albania, where Bond uncovers naval mines similar to the one that sank the St Georges, suggesting it was not an accident. After the base is destroyed, Bond chases Locque and kills him.

text: Afterwards, Bond meets with Melina, and they recover the ATAC from the wreckage of the St Georges, but Kristatos is waiting for them when they surface and he takes the ATAC. After the two escape an assassination attempt, they discover Kristatos' rendezvous point when Melina's parrot repeats the phrase "ATAC to St Cyril's". With the help of Columbo and his men, Bond and Melina break into St Cyril's, an abandoned mountaintop monastery. As Columbo confronts Kristatos, Bond kills the biathlete Kriegler.

text: Bond retrieves the ATAC system and stops Melina from killing Kristatos after he surrenders. Kristatos tries to kill Bond with a hidden flick knife, but is killed by a knife thrown by Columbo; Gogol arrives by helicopter to collect the ATAC, but Bond throws it off the cliff. Bond and Melina later spend a romantic evening aboard her father's yacht when he receives a call from the Prime Minister.

text: Cast[edit]

text:
Roger Moore as James Bond: MI6 agent 007, who is sent to retrieve a stolen "ATAC" system that could be misused for controlling British military submarines.
Carole Bouquet as Melina Havelock: The daughter of marine archaeologists who are murdered while tracking down the ATAC's whereabouts. Bouquet had auditioned for the role of Holly Goodhead in Moonraker, but was unsuccessful.[1]
Julian Glover as Aristotle Kristatos: Initially shown as an ally, later as the main villain. A smuggler planning to expand his fortune by selling the ATAC to the KGB. Glover had been shortlisted as a possible Bond for Live and Let Die, eventually losing out to Moore.[1]
Chaim Topol (credited as "Topol") as Milos Columbo: Kristatos' former smuggling partner who assists Bond in his mission. Named after Gioacchino Colombo, the Ferrari engine designer, specifically Ferrari 125, which Fleming admired.[2] Topol suggested the pistachios as a trademark of the character, which are used in a scene to orient Columbo's men on where to shoot.[3]
Lynn-Holly Johnson as Bibi Dahl: An ice-skating prodigy who is training with the financial support of Kristatos. Johnson was an ice skater before turning to acting, and achieved second place at the novice level of the 1974 United States Figure Skating Championships.[4]
Michael Gothard as Emile Leopold Locque: A Belgian hired killer and associate of Kristatos.
Cassandra Harris as Countess Lisl von Schlaf: Columbo's mistress. At the time of filming Harris was married to future Bond actor Pierce Brosnan, and the couple lunched with the film's producer Albert R. Broccoli during filming.[1]
John Wyman as Erich Kriegler: An East German Olympic class biathete and Kristatos' henchman/KGB contact. The academic Jeremy Black said that he resembles Hans of You Only Live Twice and Stamper of Tomorrow Never Dies.[5]
Desmond Llewelyn as Q, the head of MI6's technical department.
Jill Bennett as Jacoba Brink: Bibi's skating coach.
Jack Hedley as Sir Timothy Havelock: A marine archaeologist hired by the British Secret Service to secretly locate the wreck of St. Georges.
Lois Maxwell as Miss Moneypenny, M's secretary.
Geoffrey Keen as Sir Frederick Gray: The British Minister of Defence, a minister in the British government. The role, along with Bill Tanner as Chief of Staff, was used to brief Bond in place of M, following the death of Bernard Lee.[6]
James Villiers as MI6 Chief of Staff Bill Tanner. The role of Tanner first appeared on film in The Man with the Golden Gun, although in an un-credited capacity. Villiers presumed he would play the role of M in subsequent films and was disappointed not to be asked; the producers thought him too young for the role and wanted an actor in his 70s.[7]
John Moreno as Luigi Ferrara: 007's MI6 contact in northern Italy.
Walter Gotell as General Gogol: Head of the KGB.
Toby Robins as Iona Havelock: Melina's mother and wife of Sir Timothy.
Jack Klaff as Apostis: One of Kristatos's henchmen and chauffeur.
Stefan Kalipha as Hector Gonzales: A Cuban hitman hired by Kristatos to kill the Havelocks.
Charles Dance as Claus, an associate of Locque. The role was early in Dance's career;[1] in 1989 he would play Ian Fleming in Anglia Television's Goldeneye: The Secret Life of Ian Fleming, a dramatised portrayal of the life of Ian Fleming.[8]
Eva Reuber-Staier as Rublevich: General Gogol's secretary.
Janet Brown as the British Prime Minister Margaret Thatcher, who appears in the closing scene alongside John Wells as Denis.
John Hollis as the "bald villain in wheelchair",[9] voiced by Robert Rietti.[10] The character appears in the pre-credits sequence and is both unnamed and uncredited. The character contains a number of characteristics of Ernst Stavro Blofeld,[9] but could not be identified as such because of the legal reasons surrounding the Thunderball controversy with Kevin McClory claiming sole rights to the Blofeld character, a claim disputed by Eon.[11]
Bob Simmons, who previously portrayed Bond in the gun barrel sequences in the first three films and SPECTRE agent Colonel Jacques Bouvar in Thunderball, cameos as another villain as Gonzales' henchman who falls victim to Bond's exploding Lotus.[7]

text: Production[edit]

text:
“
We had gone as far as we could into space. We needed a change of some sort, back to the grass roots of Bond. We wanted to make the new film more of a thriller than a romp, without losing sight of what made Bond famous – its humour.
”

— John Glen[12]

text: For Your Eyes Only marked a change in the make up of the production crew: John Glen was promoted from his duties as a film editor to director, a position he would occupy for four subsequent films.[13] The transition in directors resulted in a harder-edged directorial style, with less emphasis on gadgetry and large action sequences in huge arenas (as was favoured by Lewis Gilbert).[14] Emphasis was placed on tension, plot and character in addition to a return to Bond's more serious roots,[15] whilst For Your Eyes Only "showed a clear attempt to activate some lapsed and inactive parts of the Bond mythology."[16]

text: The film was also a deliberate effort to bring the series more back to reality, following the success of Moonraker in 1979.[17] As co-writer Michael G. Wilson pointed out, "If we went through the path of Moonraker things would just get more outlandish, so we needed to get back to basics".[13] To that end, the story that emerged was simpler, not one in which the world was at risk, but returning the series to that of a Cold War thriller;[13] Bond would also rely more on his wits than gadgets to survive.[18] Glen decided to symbolically represent it with a scene where Bond's Lotus blows itself up and forces 007 to rely on Melina's more humble Citroën 2CV.[13] Since Ken Adam was busy with Pennies from Heaven, Peter Lamont, who had worked in the art department since Goldfinger, was promoted to production designer. Following a suggestion of Glen, Lamont created realistic scenery, instead of the elaborate set pieces for which the series had been known.[13]

text: Writing[edit]

text: Richard Maibaum was once again the scriptwriter for the story, assisted by Michael G. Wilson.[19] According to Wilson, the ideas from stories could have come from anyone as the outlines were worked out in committee that could include Broccoli, Maibaum, Wilson and stunt coordinators.[20] Much of the inspiration for the stories for the film came from two Ian Fleming short stories from the collection For Your Eyes Only: Risico and For Your Eyes Only.[21] Another set-piece from the novel of Live and Let Die – the keelhauling – which was unused in the film of the same name, was also inserted into the plot.[20] Other ideas from Fleming were also used in For Your Eyes Only, such as the Identigraph which comes from the novel Goldfinger, where it was originally called the "Identicast".[22] These elements from Fleming's stories were mixed with a Cold War story centred on the macguffin of the ATAC.[19] An initial treatment for “For Your Eyes Only” was submitted by Ronald Hardy, an English novelist and screenwriter in 1979. Hardy’s treatment included the involvement of a character named Julia Havelock whose parents were assassinated by a man named Gonzales.[23]

text: For Your Eyes Only is noted for its pre-title sequence, described variously as either "out-of place and disappointing"[19] or "roaringly enjoyable".[24] The scene was shot to introduce a potential new Bond to audiences, thus linking the new actor to elements from previous Bond films[20] (see casting, below).

text: The sequence begins with Bond laying flowers at the grave of his wife Tracy Bond, before a Universal Exports helicopter picks him up for an emergency. Control of the helicopter is taken over by remote control by a bald man in a grey Nehru jacket with a white cat. This character is unnamed in either the film or the credits, although he looks and sounds like Ernst Stavro Blofeld as played by Donald Pleasence or Telly Savalas.[19] Director John Glen referred to the identity of the villain obliquely: "We just let people use their imaginations and draw their own conclusions ... It's a legal thing".[1] The character is deliberately not named due to copyright restrictions with Kevin McClory, who owned the film rights to Thunderball, which supposedly includes the character Ernst Stavro Blofeld, the organisation SPECTRE, and other material associated with the development of Thunderball.[25] Eon disputed McClory's ownership of the Blofeld character, but decided not to use him again: the scene was "a deliberate statement by Broccoli of his lack of need to use the character."[11]

text: Casting[edit]

text: Roger Moore had originally signed a three-film contract with Eon Productions, which covered his first three appearances up to The Spy Who Loved Me. Subsequent to this, the actor negotiated contracts on a film-by-film basis.[20] Uncertainty surrounding his involvement in For Your Eyes Only considering retire by age, led to other actors being considered to take over, including Lewis Collins, known in the UK for his portrayal of Bodie in The Professionals;[26]; Ian Ogilvy, like Moore very known by his role in Return of the Saint [27]; Michael Billington, who previously appeared in The Spy Who Loved Me as Agent XXX's ill-fated lover, (Billington's screen test for For Your Eyes Only was one of the five occasions he auditioned for the role of Bond)[28] and Michael Jayston, who had appeared as the eponymous spy in the British TV series of Quiller[20] (Jayston eventually played Bond in a BBC Radio production of You Only Live Twice in 1985).[20] Timothy Dalton was strongly considered but Dalton declined, as he disliked the direction the series was taking at the time. [29] [30] [31] [32] Eventually, this came to nothing as Moore agreed to play Bond once again.

text: Bernard Lee died in January 1981, after filming had started on For Your Eyes Only, but before he could film his scenes as M, the head of MI6, as he had done in the previous eleven films of the series. Out of respect, no new actor was hired to assume the role and, instead, the script was re-written so that the character is said to be on leave, letting Chief of Staff Bill Tanner take over the role as acting head of MI6 and briefing Bond alongside the Minister of Defence.[33]

text: Chaim Topol was cast following a suggestion by Broccoli's wife Dana, while Julian Glover joined the cast as the producers felt he was stylish – Glover was even considered to play Bond at some point, but Michael G. Wilson stated that "when we first thought of him he was too young, and by the time of For Your Eyes Only he was too old".[13] Carole Bouquet was a suggestion of United Artists publicist Jerry Juroe, and after Glen and Broccoli saw her in That Obscure Object of Desire, they went to Rome to invite Bouquet for the role of Melina.[34]

text: Filming[edit]

text: Production of For Your Eyes Only began on 2 September 1980 in the North Sea, with three days shooting exterior scenes with the St Georges.[13][35] The interiors were shot later in Pinewood Studios, as well as the ship's explosion, which was done with a miniature in Pinewood's tank on the 007 Stage.[36] On 15 September principal photography started on Corfu at the Villa Sylva at Kanoni, above Corfu Town,[17] which acted as the location of the Spanish villa. Many of the local houses were painted white for scenographic reasons.[37] Glen opted to use the local slopes and olive trees for the chase scene between Melina's Citroën 2CV and Gonzales' men driving Peugeot 504s.[34] The scene was shot across twelve days, with stunt driver Rémy Julienne – who would remain in the series up until GoldenEye – driving the Citroën.[38] Four 2CVs were used, with modifications for the stunts – all had more powerful flat-four engines, and one received a special revolving plate on its roof so it could get turned upside down.[39][40][41]

text: In October filming moved to other Greek locations, including Metéora and the Achilleion.[42] In November, the main unit moved to England, which included interior work in Pinewood, while the second unit shot underwater scenes in The Bahamas. On 1 January 1981, production moved to Cortina d'Ampezzo in Italy, where filming wrapped in February.[13] Since it was not snowing in Cortina d'Ampezzo by the time of filming, the producers had to pay for trucks to bring snow from nearby mountains, which was then dumped in the city's streets.[43]

text: Many of the underwater scenes, especially involving close-ups of Bond and Melina, were actually faked on a dry soundstage. A combination of lighting effects, slow-motion photography, wind, and bubbles added in post-production, gave the illusion of the actors being underwater.[17] Actress Carole Bouquet reportedly had a pre-existing health condition that prevented her from performing actual underwater stunt work.[13] Actual aquatic scenes were done by a team led by Al Giddings, who had previously worked on The Deep, and filmed in either Pinewood's tank on the 007 Stage or an underwater set built in the Bahamas. Production designer Peter Lamont and his team developed two working props for the submarine Neptune, as well as a mock-up with a fake bottom.[44]

text: Roger Moore was reluctant to film the scene of Bond kicking a car, with Locque inside, over the edge of a cliff, saying that it "was Bond-like, but not Roger Moore Bond-like."[13] Michael G. Wilson later said that Moore had to be persuaded to be more ruthless than he felt comfortable.[1] Wilson also added that he and Richard Maibaum, along with John Glen, toyed with other ideas surrounding that scene, but ultimately everyone, even Moore, agreed to do the scene as originally written.[13]

text: For the Meteora shoots, a Greek bishop was paid to allow filming in the monasteries, but the uninformed Eastern Orthodox monks were mostly critical of production rolling in their installations. After a trial in the Greek Supreme Court, it was decided that the monks' only property were the interiors – the exteriors and surrounding landscapes were from the local government. In protest, the monks remained shut inside the monasteries during the shooting,[13][37] and tried to sabotage production as much as possible, hanging their washing out of their windows[7] and covering the principal monastery with plastic bunting and flags to spoil the shots, and placing oil drums to prevent the film crew from landing helicopters. The production team solved the problem with back lighting, matte paintings, and building both a similar scenographic monastery on a nearby unoccupied rock, and a monastery set in Pinewood.[35]

text: Roger Moore said he had a great fear of heights, and to do the climbing in Greece, he resorted to moderate drinking to calm his nerves.[13] Later in that same sequence, Rick Sylvester, a stuntman who had previously performed the pre-credits ski jump in The Spy Who Loved Me, undertook the stunt of Bond falling off the side of the cliff.[45] The stunt was dangerous, since the sudden rope jerk at the bottom could be fatal. Special effects supervisor Derek Meddings developed a system that would dampen the stop, but Sylvester recalled that his nerves nearly got the better of him: "From where we were [shooting], you could see the local cemetery; and the box [to stop my fall] looked like a casket. You didn't need to be an English major to connect the dots." The stunt went off without a problem.[13]

text: Bond veteran cameraman and professional skier Willy Bogner, Jr. was promoted to director of a second unit involving ski footage.[43] Bogner designed the ski chase on the bobsleigh track of Cortina d'Ampezzo hoping to surpass his work in both On Her Majesty's Secret Service and The Spy Who Loved Me.[13] To allow better filming, Bogner developed both a system where he was attached to a bobsleigh, allowing to film the vehicle or behind it,[45] and a set of skis that allowed him to ski forwards and backwards to get the best shots.[17] In February 1981, on the final day of filming the bobsleigh chase, one of the stuntmen driving a sleigh, 23-year-old Paolo Rigon, was killed when he became trapped under the bob.[7]

text: The pre-credits sequence used a church in Stoke Poges as a cemetery, while the helicopter scenes were filmed at the abandoned Beckton Gas Works in London.[42] The gas works were also the location for some of Stanley Kubrick's 1987 film, Full Metal Jacket.[46] Director John Glen got the idea for the remote-controlled helicopter after seeing a child playing with an RC car.[13] Since flying a helicopter through a warehouse was thought to be too dangerous, the scene was shot using forced perspective. A smaller mock-up was built by Derek Meddings' team closer to the camera that the stunt pilot Marc Wolff flew behind and this made it seem as if the helicopter was entering the warehouse. The footage inside the building was shot on location, though with a life-sized helicopter model which stood over a rail. Stuntman Martin Grace stood as Bond when the agent is dangling outside the flying helicopter, while Roger Moore himself was used in the scenes inside the model.[34][47]

text: Music[edit]

text: The score of For Your Eyes Only was written by Bill Conti, who retained a number of John Barry-influenced brass elements in the score, but also added elements of dance and funk music.[48] Whilst one reviewer observed that "Bill Conti's score is a constant source of annoyance",[49] another claimed that "In the end, For Your Eyes Only stands as one of the best James Bond film scores of the 1980s."[48]

text: The title song, written by Conti and Michael Leeson, was sung by Sheena Easton, who holds the distinction of being the first title song artist to appear on screen in a Bond film,[22] as designer Maurice Binder liked Easton's appearance and decided to add her to the opening credits.[50] The producers of the film wanted Blondie to perform the title song: the band wrote a song titled "For Your Eyes Only", but decided to decline the offer when they discovered the producers wanted a recording of Conti's song instead. Blondie's song can be found on their 1982 album, The Hunter.[51]

text: Release and reception[edit]

text: For Your Eyes Only was premiered at the Odeon Leicester Square in London on 24 June 1981,[52] setting an all-time opening-day record for any film at any cinema in the UK with a gross of £14,998[53] (£51,844 in 2015 pounds[54]).[53] The film went on general release in the UK the same day. For Your Eyes Only had its North American premiere in Canada and the US on Friday 26 June, at approximately 1,100 cinemas.[53]

text: The film grossed $54.8 million in the United States,[55] (equivalent to $101.5 million at 2011 ticket prices[56] or $144 million in 2016 dollars,[57] adjusted for general inflation) and $195.3 million worldwide,[58] becoming the second highest grossing Bond film after its predecessor, Moonraker.[55] This was the last James Bond film to be solely released by United Artists. Following the MGM and United Artists merger, the films were released by "MGM/UA Distribution Co".[59]

text: The promotional cinema poster for the film featured a woman holding a crossbow; she was photographed from behind, and her outfit left the bottom half of her buttocks exposed. The effect was achieved by having the model wear a pair of bikini bottoms backwards, so that the part seen on her backside is actually the front of the suit.[60] The poster caused some furore—largely in the US—with The Boston Globe and the Los Angeles Times considering the poster so unsuitable they edited out everything above the knee,[61] whilst the Pittsburgh Press editors painted a pair of shorts over the legs.[62] There was significant speculation as to the identity of the model before photographer Morgan Kane identified her as Joyce Bartle.[61]

text: A number of items of merchandising were issued to coincide with the film, including a 007 digital watch and a copy of Melina's Citroën 2CV by Corgi Toys.[60] Citroën itself produced a special "007" edition of the 2CV, which even had decorative bullet holes on the door.[63] Marvel Comics also did a comic book adaptation (see section below).[60]

text: Contemporary reviews[edit]

text: Derek Malcolm in The Guardian disliked the film, saying it was "too long ... and pretty boring between the stunts", although he admitted that the stunts were of a high quality.[64] According to Malcolm, Bond "inhabits a fantasy-land of more or less bloodless violence, groinless sex and naivety masked as superior sophistication", with Moore playing him as if in a "nicely lubricated daze".[64] Although Malcolm tipped the film for international box office success, he observed that he "can't quite see why the series has lasted so long and so strong in people's affections."[64] Writing in The Observer, Philip French commented that "not for the first time the pre-credits sequence is the best thing about the film."[65] French was dismissive of Moore's Bond, saying that Bond was "impersonated by Moore" and referred to Moore's advancing years.[65]

text: Ian Christie, writing in the Daily Express, said that it was not "much of a plot, but it has a touch of credibility which is a welcome change from some of its predecessors."[66] Overall, Christie thought, For Your Eyes Only was "one of the better Bonds, with a nice balance between humour and excitement and the usual bevy of beautiful girls."[66] Christie's colleague in the Sunday Express, Richard Barkley praised the film, saying that For Your Eyes Only "is one of the most exciting yet". Barkley describes Moore's Bond as having an "accustomed debonair calm and quiet authority". All told, Barkley thought "this Bond movie is smashing entertainment."[67]

text: David Robinson, writing in The Times bemoaned the fact that the "dramatic bits between the set pieces don't count for much." Like other critics at the time his praise was more directed towards the stunt crews; they were "better than ever in this one."[68] The film critic for the magazine Time Out was brief and pithy: "no plot and poor dialogue, and Moore really is old enough to be the uncle of those girls."[69]

text: For the US press, Gary Arnold in The Washington Post thought the film was "undeniably easy on the eyes", and further added "maybe too easy to prevent the mind from wandering and the lids from drooping."[70] Arnold was also critical of the large set pieces, calling them "more ponderous than sensational" and that there was "no equivalent of the classic action highlights that can be recalled readily from "From Russia, With Love" or "You Only Live Twice" or "The Spy Who Loved Me" or "Moonraker." This is a Bond waiting for something inspired to push it over the top."[70] The New York Times critic Vincent Canby said that "For Your Eyes Only is not the best of the series by a long shot" although he did say that the film is "slick entertainment" with a tone that is "consistently comic even when the material is not."[71]

text: Jack Kroll in Newsweek dismissed the film, saying it was "an anthology of action episodes held together by the thinnest of plot lines", although he did concede that these set pieces are "terrific in their exhilaratingly absurd energy."[72] For Time magazine, Richard Corliss concentrated on the stunts, saying the team "have devised some splendid optional features for For Your Eyes Only" whilst also commenting on Roger Moore, saying that his "mannequin good looks and waxed-fruit insouciance" show him to be "the best-oiled cog in this perpetual motion machine."[73] Jay Scott of The Globe and Mail included it on his list of the year's worst films,[74] calling it "repellant"[75] and "ambitiously bad".[74]

text: French filmmaker Robert Bresson admired the film. "It filled me with wonder because of its cinematographic writing ... if I could have seen it twice in a row and again the next day, I would have done."[76][77] Elsewhere Bresson said he also loved the film's ski chase.[78]

text: Reflective reviews[edit]

text: Opinion on For Your Eyes Only has not changed with the passing of time and the reviews are still mixed: as of October 2015, the film holds a 74% 'fresh' rating from Rotten Tomatoes,[79] being ranked twelfth among the 22 Bond films.[80] Ian Nathan of Empire gives the film only two of a possible five stars, observing that the film "still ranks as one of the most forgettable Bonds on record."[81] In 2006, IGN chose For Your Eyes Only as the sixth best Bond film, claiming it is "a good old-fashioned espionage tale",[82] a placement shared by Norman Wilner of MSN, who considered it "the one Moore film that seems to reach back to Connery's heyday",[83] and Entertainment Weekly chose it as the tenth best in 2008, saying it was a "return to low-tech, low-key Bond [with] ... some of the best stunts since the early days".[84] In October 2008 Time Out re-issued a review of For Your Eyes Only and observed that the film is "admirable in intent" but that it "feels a little spare", largely because the plot has been "divested of the bells and whistles that hallmark the franchise".[49]

text: James Berardinelli wrote that the film was "a solid adventure, although it could have been better",[85] while Danny Peary thought "There are exciting moments, but most of it is standard Bond fare," going on to describe For Your Eyes Only as "an attempt to mix spectacle with [the] tough, believable storylines of early Bond films ... [it] is enjoyable while you're watching it. Afterward, it's one of the most forgettable of the Bond series."[86] Raymond Benson, the author of nine Bond novels, thought For Your Eyes Only was Roger Moore's best Bond film.[87]

text: Although Chris Nashawaty of Entertainment Weekly ranks Carole Bouquet playing Melina as the "worst babe" of the seven Roger Moore James Bond films,[88] his colleague, Joshua Rich disagreed, putting her tenth in the overall 10 Best Bond Girls listing from the 21 films released up to that point.[89] Entertainment Weekly also ranked Lynn-Holly Johnson as Bibi Dahl as ninth on their list of the 10 worst Bond girls from the 21 films that had been released.[90] After 20 films had been released, IGN ranked Bouquet as fifth in their 'top 10 Bond Babes' list,[91] and The Times thought she was sixth on their list of the Top 10 most fashionable Bond girls after 21 films had been released.[92]

text: Accolades[edit]

text: The song "For Your Eyes Only" was nominated for a Best Original Song at the 39th Golden Globe Awards[93] and Best Original Song at the 1981 Academy Awards, losing out at both ceremonies to "Arthur's Theme" from the film Arthur.[94] However, the 1981 Academy Awards ceremony did see the presenting of the Irving G. Thalberg Memorial Award to producer Albert R. Broccoli.[95] The Writers Guild of America nominated the script by Michael G. Wilson and Richard Maibaum for Best Adapted Screenplay – Comedy or Musical Picture.[96] In 2004 the American Film Institute nominated the song "For Your Eyes Only" from the film for AFI's 100 Years...100 Songs.[97]

text: Comic book adaptation[edit]

text: As part of the merchandising of For Your Eyes Only, Marvel Comics published an adaptation of the movie as issue 19 of Marvel Comics Super Special; this was also repackaged as a two-issue comic book adaptation of the film.[60][98] The first issue was released in October 1981 and was soon followed by the second issue in November of the same year. The adaptation was written by Larry Hama, pencilled by Howard Chaykin, inked by Vincent Colletta, and edited by Dennis O'Neil.[99]

text: It was the second film in the series to have a comic book tie-in, following a Dr. No comic in 1962. Marvel Comics would go on to publish an Octopussy comic book adaptation in 1983.


document_title: Cocaethylene

question_text: cocaethylene is produced as an active metabolite of

root

text: Cocaethylene

text: Metabolic production from cocaine[edit]

text: Cocaethylene is the byproduct of concurrent consumption of alcohol and cocaine as metabolized by the liver. Normally, metabolism of cocaine produces two primarily biologically inactive metabolites—benzoylecgonine and ecgonine methyl ester. The hepatic enzyme carboxylesterase is an important part of cocaine's metabolism because it acts as a catalyst for the hydrolysis of cocaine in the liver, which produces these inactive metabolites. If ethanol is present during the metabolism of cocaine, a portion of the cocaine undergoes transesterification with ethanol, rather than undergoing hydrolysis with water, which results in the production of cocaethylene.[1]

tag: p

text: Physiological effects[edit]

text: Cocaethylene is largely considered a recreational drug in and of itself, with stimulant, euphoriant, anorectic, sympathomimetic, and local anesthetic properties. The monoamine neurotransmitters serotonin, norepinephrine, and dopamine play important roles in cocaethylene's action in the brain. Cocaethylene increases the levels of serotonergic, noradrenergic, and dopaminergic neurotransmission in the brain by inhibiting the action of the serotonin transporter, norepinephrine transporter, and dopamine transporter. These pharmacological properties make cocaethylene a serotonin-norepinephrine-dopamine reuptake inhibitor (SNDRI; also known as a "triple reuptake inhibitor").[citation needed]

text: In most users, cocaethylene produces euphoria and has a longer duration of action than cocaine. Some studies[4] suggest that it may be more cardiotoxic than cocaine and "it also carries an 18- to 25-fold increase over cocaine alone in risk of immediate death".[5] Cocaethylene has a higher affinity for the dopamine transporter than does cocaine, but has a lower affinity for the serotonin and norepinephrine transporters.[6][7]


document_title: Indian states ranking by literacy rate

question_text: which state in india has highest literacy rate in census 2011

text: Indian states ranking by literacy rate

text:
States and union
territories of India
ordered by

Area
Population

Abbreviations
Capitals
Child Nutrition
Crime rate
Economic Freedom
Electricity penetration
Fertility rate
Forest cover
GDP (per capita)
Highest point
HIV awareness
HDI
Home ownership
Household size
Human Trafficking
Institutional delivery
Life expectancy at birth
Literacy rate
Media exposure
Number of Vehicles
Number of voters
Obesity
Open defecation
Origin of name
Places of worship
Poverty
Power capacity
Riots rate
Safe Drinking Water
Safety of Women
School Enrollment Rate
Sex ratio
Suicides
Tax revenues
Ease of Doing Business
TV ownership
Toilet availability
Transport network
Underweight people
Unemployment
Vaccination coverage

v
t
e

tag: table

text: Literacy rate in India is uneven and as such, different States and Union Territories of India have differences in their literacy rates. The following table shows the 2011 and 2001 census data on total literacy rate, male literacy rate, female literacy rate and decadal difference in percentage.[2][3] According to Census 2011, Kerala has the highest total literacy rate and female literacy rate whereas Lakshadweep had the highest male literacy rate. Bihar has the lowest total literacy rate and male literacy rates while Rajasthan has the lowest female literacy rate.[2]

text:
Rank
India/State/Union Territory
Literacy Rate (%) - 2011 Census
Male Literacy Rate (%) - 2011 Census[2]
Female Literacy Rate (%) - 2011 Census[2]
Literacy Rate (%) - 2001 Census
Decadal Difference (pp)

1
Kerala
93.91
96.02
91.98
90.86
3.05

2
Lakshadweep
92.28
96.11
88.25
86.66
5.62

3
Mizoram
91.58
93.72
89.40
88.80
2.78

4
Tripura
87.75[a]
92.18
83.15
73.19
14.56

5
Goa
87.40
92.81
81.84
82.01
5.39

6
Daman & Diu
87.07
91.48
79.59
78.18
8.89

7
Puducherry
86.55
92.12
81.22
81.24
5.31

8
Chandigarh
86.43
90.54
81.38
81.94
4.49

9
Delhi
86.34
91.03
80.93
81.67
4.67

10
Andaman & Nicobar
86.27
90.11
81.84
81.30
4.97

11
Himachal Pradesh
83.78
90.83
76.60
76.48
7.30

12
Maharashtra
82.91
89.82
75.48
76.88
6.03

13
Sikkim
82.20
87.29
76.43
68.81
13.39

14
Tamil Nadu
80.33
86.81
73.86
73.45
6.88

15
Nagaland
80.11
83.29
76.89
66.59
13.52

16
Manipur
79.85
86.49
73.17
69.93
9.92

17
Uttarakhand
79.63
88.33
70.70
71.62
8.01

18
Gujarat
79.31
87.23
70.73
69.14
10.17

19
Dadra & Nagar Haveli
77.65
86.46
65.93
57.63
20.02

20
West Bengal
77.08
82.67
71.16
68.64
8.44

21
Punjab
76.68
81.48
71.34
69.65
7.03

22
Haryana
76.64
85.38
66.77
67.91
8.73

23
Karnataka
75.60
82.85
68.13
66.64
8.96

24
Meghalaya
75.48
77.17
73.78
62.56
12.92

India
74.04
82.14
65.46
64.83
9.21

25
Odisha
73.45
82.40
64.36
63.08
10.37

26
Assam
73.18
78.81
67.27
63.25
9.93

27
Chhattisgarh
71.04
81.45
60.59
64.66
6.38

28
Madhya Pradesh
70.63
80.53
60.02
63.74
6.89

29
Uttar Pradesh
69.72
79.24
59.26
56.27
13.45

30
Jammu & Kashmir
68.74
78.26
58.01
55.52
13.22

31
Jharkhand
67.63
78.45
56.21
53.56
14.07

32
Andhra Pradesh
67.4[b]
75.56
59.74
--
--

33
Rajasthan
67.06
80.51
52.66
60.41
6.65

34
Arunachal Pradesh
66.95
73.69
59.57
54.34
12.61

35
Telangana
66.5[c]
--
--
--
--

36
Bihar
63.82
73.39
53.33
47.00
16.82

text: Notes[edit]

text:
Jump up ^ In September 2013, the State Government of Tripura claimed that the state has surpassed Kerala as the most literate state in India, with a literacy rate of 94.65%.[4][5]
Jump up ^ As per a government report dated May 2014 (based on the 2011 census data), literacy rate of Andhra Pradesh is 67.4%.[6]
Jump up ^ Census 2011 data was calculated for unified Andhra Pradesh. As per Times of India report which quoted the literacy rates of Telangana as 66.5%.[7]

tag: ol


document_title: Sam Winchester

question_text: how did sam get out of lucifer's cage

question_tokens: how did sam get out of lucifer 's cage

text: Sam Winchester

text: Background

text: Sam was born on May 2, 1983 to John and Mary Winchester in Lawrence, Kansas. He is one of two focal characters of the series. He is the couple's second child, four years younger than his older brother Dean.[2] He is named after his maternal grandfather, Samuel Campbell.[3]

text: When Sam was only six months old, his mother Mary was killed by the demon Azazel, whom his mother walked in on while he was feeding Sam demon blood. Sam is saved from the ensuing fire by his father, who then gives him to a four-year-old Dean to carry outside.[2] Since that moment, Dean has felt responsible for Sam and became Sam's protector, partially due to pressure from their father to keep his brother safe.

text: Sam and Dean spent their childhood moving from town to town every few weeks while their father hunted supernatural beings and their mother's unknown killer. Until the age of 8, Sam believed that his mother had died in a car accident and his father was a traveling salesman, until Dean revealed to him the existence of the paranormal.[4] Sam apparently started hunting alongside his brother and father around the age of twelve,[5] however, he began wanting a normal life without monsters; years later, a teacher encouraged him to carve out a life away from the "family business" after reading Sam's story about a werewolf hunt.[6] At nineteen, after a heated argument with John, Sam leaves for Stanford University, thus leaving his family and their hunting crusade behind him.[2]

text: Storylines

text: Season 1

text: At the start of the series, 22-year-old Sam is seen as a senior at Stanford, applying for law school. Sam also has a girlfriend, Jessica, with whom he lives and secretly plans to marry. One night, Dean comes to Sam's apartment seeking his help after their father John goes missing. Sam eventually accompanies his brother. After defeating a woman in white and discovering a trail to lead them to their father, Sam returns to Stanford where he witnesses Jessica's death at the hands of a demon – exactly the same way his mother was killed. This incites him to go with Dean to find their father and to kill the demon in order to avenge the deaths of his mother and his lover.[2] In the consequent episodes, the brothers deal with dangerous mythical creatures and urban legends such as the wendigo,[7] Bloody Mary,[8] and shapeshifters.[9] During this time, Sam begins experiencing episodes of precognitive dreams[8] and once displays telekinesis.[10]

text: As the search for John continues, Sam argues with Dean constantly – mostly about the way Dean obeys his father's orders without question, while Sam questions them and resents his father's treatment of them as "loyal little soldiers". The brothers eventually split up, with Dean going to investigate a mystery his father has assigned him while Sam decides to search for their father elsewhere. The two are eventually reunited after Dean apologizes.[11]

text: Later in the season, John is captured by demons, and the brothers manage to rescue him. However, they soon learn that the demon who killed their mother is in possession of their father's body. Though John begs Sam to kill him, Sam instead shoots John in the leg using the Colt, and the demon escapes. As Sam drives his father and a badly wounded Dean to a hospital, a truck driven by a demon-possessed man crashes into them, totaling Dean's Impala and gravely injuring the Winchesters.[12]

text: Season 2

text: At the beginning of the second season, the Winchesters are at the Nashville hospital, with Sam and John escaping with minor injuries, while Dean is on the brink of death. In a deal with Azazel, John sacrifices his soul and the Colt in exchange for Dean's life.[13] While the boys mourn their father's death, Sam expresses much guilt about never having a chance to reconcile with John, leading him to believe that his father died thinking his own son hated him.[14]

text:
As the boys start to take a more active role in hunting, Sam begins to search for psychic children like him to find out Azazel's plan.[15] Eventually Sam learns from Dean that, before their father's death, John told Dean that Azazel is planning to turn Sam evil, and that Dean must either save him or kill him.[16] Although angered at his father and brother upon learning this revelation, Sam decides to save as many people as possible so that he can change his destiny.[17]
In the season finale, Sam is transported to an abandoned town along with Azazel's other chosen children. There he learns Azazel's plans: he and the other children must kill one another until there is one survivor – who will lead a demon army (as the Antichrist). Sam also discovers that Jessica was killed because her death would lead Sam back into hunting and Mary interrupted Azazel during the process of feeding Sam demon blood, and thus was killed. It is also revealed that Mary somehow knew Azazel. Although Sam tries to protect the other children, various fights ensue, and the children are killed off one by one. Eventually, only Jake Talley and Sam are left, at which point Sam is stabbed by Jake.[18] Sam dies in Dean's arms.

text: In the aftermath, a desperate and depressed Dean sells his soul to the Crossroads Demon for Sam's resurrection. With the help of fellow hunters Bobby Singer and Ellen Harvelle, Sam and Dean track down Jake, but are unable to stop him from opening a gateway to Hell on Azazel's orders. However, Sam subdues Jake and kills him in cold blood. Eventually Bobby and Ellen manage to close the gateway while Sam and Dean battle Azazel. With the help of John's spirit, Dean finally kills Azazel and John shares an emotional moment with his sons before finally moving on. Afterwards, Sam learns that he was dead and Dean sold his soul to bring him back. He then promises Dean that he will save him no matter what it takes.[19]

text: Season 3

text: Sam continues to do whatever he can to save Dean from going to Hell; he begins to become more ruthless and is willing to kill anything demonic even if his prey is part human (i.e.,  demonically-possessed humans),[20][21] human witches,[22] and even Gordon Walker, who became a vampire.[23] Sam later reveals that he's trying to become more like Dean so that, if he fails to save Dean's soul, he's ready to face a world full of demons on his own.[22]

text: Season three also sees the introduction of the demon Ruby,[24] who tries to gain Sam's trust by helping the brothers in fixing The Colt,[20] saving them numerous times, and telling Sam she can save Dean from Hell,[24] even though in reality she can't.[22] Ruby also reveals that because Sam refuses to lead the demon army, another demon named Lilith has filled the power vacuum and is leading the army while carrying intentions to kill Sam;[25] she is also revealed to hold Dean's contract for his soul.[26]

text: In the season finale, Sam and Dean, armed with Ruby's demon-killing knife, confront Lilith in a last-ditch effort to save Dean's soul. Sam is incapacitated by Lilith and forced to watch as his brother is killed by a hellhound. Lilith then tries to kill Sam; however, her powers have no effect on him and she flees, leaving a crying Sam with Dean's mutilated corpse.[27]

text: Season 4

text: Four months after the season three finale, Dean has returned from Hell. He and Bobby meet up with Sam at a motel, where an overwhelmed Sam joyously reunites with Dean. While trying to figure out how Dean returned from Hell, Dean and Bobby confront the being who revived him, Castiel, an angel who was ordered by the Archangel Michael to resurrect Dean.[28] They discover that this happened because the angels need Dean and Sam's help to stop Lilith, who is breaking the 66 Seals. Once the seals are all broken, Lucifer, the first fallen angel, will be freed from Hell, bringing the Apocalypse upon the Earth.[29]

text: It is revealed that in the months without Dean, Sam – depressed, drinking heavily, and carrying a death wish – tries to bargain with various Crossroads Demons in order to exchange his soul for Dean's. None of them accept the offer. Realizing he can't save Dean, Sam plans to kill Lilith in revenge. He makes contact with Ruby – now in a different host – who teaches him how to use his powers to exorcise demons. In time, he and Ruby become lovers and he appears to be moving on from Dean's death – to an extent, at least.[30] When Dean finds out about Sam's powers and all the secrets Sam has been keeping from him, Sam responds by saying that he does this because Dean looks and treats him like a freak.[31] Sam then promises Dean that he won't use his powers anymore but breaks the promise when it becomes apparent that his powers may be needed to prevent the Apocalypse.[32]

text: Sam's powers become an important part of the fourth season as they are shown to fluctuate – at times so weak that he can barely exorcise a demon,[33] whereas at other times they are strong enough to kill a demon.[34] It is revealed that drinking demon blood makes Sam's powers grow stronger[34] while at the same time making him "cold" and "arrogant". Sam eventually becomes addicted to demon blood, a fact that Dean soon discovers. With Bobby's help they lock Sam in a protected panic room[33] so that he can detox, but the withdrawal symptoms are painful and he begins experiencing hallucinations. Just as the process becomes easier for Sam, Castiel appears and frees Sam. He meets up with Ruby and learns that he will need to drink more demon blood than he has ever done in order to have the strength to kill Lilith. Dean finds and confronts them and tries to kill Ruby, but Sam intervenes. He and Dean argue about how to stop the Apocalypse, whereupon Dean tells Sam he's changing into a monster, leading to a vicious fight between the brothers. Sam is the victor and as he leaves, Dean tells him not to return – just as their father John, years ago, told Sam not to return when he left for college.[35]

text: As Sam begins to feel the guilt over abandoning his brother, he and Ruby capture a demon that knows Lilith's location. Using his powers to torture the demon, she gives the location, but as Sam is about to drink her blood, the demon gives control to her human host, inciting immense guilt in Sam. A message from Dean, altered by the angel Zachariah, manipulates Sam, pushing him to continue his original mission to kill Lilith; he then drains the woman of her blood anyway. Ruby and Sam go to St. Mary's Convent in Ilchester, Maryland, where they find Lilith. As Sam attempts to kill Lilith, Ruby holds the doors shut to keep Dean, who has just arrived, from interfering. Sam hesitates when he hears his brother yelling for him, but when Lilith mocks him for his inability to do the job – even after becoming a monster to do so – he finishes her off, fulfilling his true destiny as the "special child." Lilith's death breaks the final seal and begins forming a portal for Lucifer. At this point, Ruby reveals that she was leading Sam along the entire time so he would break the seal. Dean finally enters the room and kills Ruby with her own knife, while Sam holds her in place. Sam apologizes to his brother as a white light shows a portal beginning to open.[36]

text: Season 5

text: As the portal for Lucifer opens, Sam and Dean are teleported onto an airplane by an unknown force (God). Sam loses his demon powers, claiming that the force that transported him and Dean onto the plane cleaned him up. He feels tremendous guilt for starting Armageddon and is told by Dean that he doesn't think he can trust Sam anymore due to Sam choosing a demon over his own brother.[37] Over time, Sam realizes that he is too dangerous to be involved in hunting, and he and Dean go their separate ways.[38] During this time, Sam tries to start living a normal life, but is approached by Lucifer in his dreams in the form of Jessica, who tells him that Sam is his true vessel in conjunction with Dean being the true vessel for Michael.[37][39] Sam decides to start hunting again with Dean as he is tired of demons controlling his life and seeks redemption for starting the Judgment Day; although Dean refuses at first, after he is sent to a nightmarish future in which he sees how awful things got with him and Sam not being together, he decides to join up with Sam once more.[40]

text: On their search to find a way to defeat Lucifer, the brothers attempt to use the Colt and look for God, but it is revealed that the Colt cannot kill Lucifer and God does not care about the Apocalypse.[41][42] These actions make Dean decide to become Michael's vessel even if the end result is the deaths of millions of people,[37] however, Sam's faith in Dean pulls him back into finding another solution.[43] Upon the death of the Archangel Gabriel, the brothers discover that by using the rings from the Four Horsemen of the Apocalypse, they can reopen and trap Lucifer back into Hell.[44] As Dean and Sam already have War and Famine's rings, they search for Pestilence and Death's location, leading Sam to meet his old college friend Brady: the guy who introduced Sam to Jessica and the demon ordered by Azazel to kill Jessica. Although tempted to kill Brady immediately, Sam realizes that Brady is needed to find Pestilence's location and with the help of the demon Crowley they discover the horseman's location – after which Dean allows Sam to kill Brady.[45]

text: After Castiel captures Pestilence's ring and Death hands his ring to Dean,[5] both Bobby and Dean reluctantly decide to go with Sam's plan – that is, for Sam to agree to being Lucifer's vessel, then jump into the cage trapping them both in Hell.[45] Upon arriving in Detroit, Sam begs Dean to go live a normal life with his old flame Lisa Braeden and says his goodbyes to Bobby and Castiel. He then proceeds to confront Lucifer, who reveals that he knows about their plan. Seeing no other options left, Sam says yes anyway. A bright light shines and Dean looks upon an unconscious Sam as he opens the portal to Lucifer's prison. Although "Sam" says that he has Lucifer under control, it is shown that Lucifer was just taunting Dean. Lucifer closes the portal and takes the rings before disappearing. At an unknown location, Sam continues to fight Lucifer internally for control over his body. While talking through a mirror, Lucifer tries to persuade Sam to embrace their union by slaughtering demons that were watching Sam throughout his entire life.[46]

text: During Lucifer's confrontation at Stull Cemetery with Michael (using Adam as his vessel), he beats Dean, slamming him against the door of the Impala. As Lucifer is about to deliver a fatal blow, he catches a glimpse of a toy soldier stuck in the car's ash tray triggering Sam's memory of jamming the soldier in there as a boy. The sudden arousal of Sam's childhood memories and those of the bond of brotherhood he shares with Dean allows him to overpower Lucifer and regain control of his body. Sam takes out the rings, reopens the portal, and prepares to throw himself in. Having been temporarily banished by Castiel, Michael returns and attempts to stop him, but Sam jumps in, pulling Michael also with him – trapping both Lucifer and Michael in Lucifer's cage. The ground closes up with a stunned, devastated Dean watching. Later, it is shown that Dean fulfills his promise to Sam and has gone back to find Lisa. As he sits down with her and Ben for dinner, a street light outside goes out, and underneath it inexplicably is Sam secretly watching the three with a blank look on his face.[46]

text: Season 6

text: Almost a year has passed since Sam went to Hell, and he reappears to Dean after saving him from Djinn poisoning. Upon their reunion, Sam reveals that he has been back this whole time searching for whatever force brought him back and hunting with his mother's side of the family, the Campbells, led by their grandfather Samuel who was also resurrected.[47] While hunting with Sam again, Dean quickly notices how different he acts. These include using a baby as bait, allowing a child to go through a torturous treatment to gain information, and allowing Dean to become a vampire.[48][49][50] After facing the goddess Veritas, Dean and Castiel question Sam's behavior. Castiel then reveals that Sam's soul is not with him and is still trapped in Lucifer's Cage.[51][52] It is revealed that Crowley brought back Samuel so that they could help him find Purgatory, the afterlife of monsters, and that Samuel has been working for him. Crowley then states that if Sam and Dean help him he will return Sam's soul, but if they do not help him he will send Sam back to Hell.[52][53] Although Sam still retains his memories, likes, dislikes, and is capable of making rational decisions, he is completely without emotion and appears almost inhuman.[51][53]

text: Upon Dean's request, Death retrieves Sam's soul from the Cage and returns it to him at the end of the sixth season's mid-season finale "Appointment in Samarra". He gives Sam's mind a "protective wall" to prevent any negative effects it might have on him otherwise, but Death also warns him not to scratch at the wall he has built, or his memories from Hell will destroy him.[54] However, Castiel, in an attempt to distract Dean and Bobby while he attempts to enter Purgatory, brings down the wall, ultimately causing Sam to remember his time in Hell. In the season finale, Sam spends much of the episode attempting to recoup his shattered soul, including the memories of his soulless self and tortured self. Once complete, he reawakens, though still struggling with the visions of the Cage that his soul endured.

text: Season 7

text: After Castiel's actions result in the release of the Leviathans – God's first creations – Sam is left struggling with the restoration of his memories of his time in Hell, even if he remains dedicated to helping Dean and others stop the Leviathans. During this time, he has a reunion with his old Kitsune friend, Amy Pond, who has become a mortician feeding on the dead to sustain her, although Dean nevertheless kills her when he discovers that she has been killing to help her sick son. As Sam experiences hallucinations of Lucifer taunting him with the idea that he is still in Hell, he initially tries to control them by focusing on wounds he sustains in the real world, but matters become worse when he is forced to rely on information from the hallucination to save Dean. As his mental state becomes worse, Sam foregoes sleep to stop his visions, but is sent to an asylum when he is hit by a car while running away from Lucifer. While trying to find a healer who may be able to repair Sam, Dean encounters an amnesiac Castiel, who, when restored to his full powers, sacrifices himself by taking Sam's mental damage. Sam is shown to possess great guilt about this and rejects hope that Bobby's ghost may be helping them out after an attempt to communicate with him fails. Sam is initially happy when it is shown that Bobby's ghost is there helping them, but changes his mind after Bobby shows more and more signs of becoming a vengeful spirit. During the final battle at Sucrocorp, Sam rescues Kevin Tran – a Prophet who can read the Word of God – and is horrified to hear of Dick Roman's plan to kill all the skinny people in the world through poison in their coffee creamers. He and Kevin head to the lab where they find Dick Roman being killed by Dean and Castiel. After Dick explodes, Dean and Castiel disappear and Crowley appears and takes Kevin, leaving Sam completely on his own, not knowing Dean and Castiel are now trapped in Purgatory.

text: Season 8

text: The year Sam spends while Dean and Castiel are trapped in Purgatory is revealed through various flashbacks in the first half of the season. Now left on his own, Sam believes that Dean had been killed when Dick exploded, and gives up hunting. After several months, he accidentally runs over a stray dog and, panicked, takes it to an animal hospital. The veterinarian who saves the dog's life – Amelia Richardson – convinces Sam to take responsibility for the stray by adopting it.[55] Despite a rocky start, Sam and Amelia fall in love and even buy a house together in Kermit, Texas.[56] They later find out that her husband Don, who she had believed was killed in action,[57] was actually still alive.[56] Sam wants to stay with Amelia, but ultimately decides to leave and give her the opportunity to reconnect with Don.[58]

text: In the season premiere "We Need to Talk About Kevin", Sam runs into Dean and learns that Dean had just escaped from Purgatory; upon learning about what Sam had been doing the past year, Dean is upset that Sam had not even tried to save him or continued hunting. They find out that Kevin had managed to escape from Crowley six months ago and left Sam a string of desperate voice messages, begging for help. Sam feels guilty and joins Dean in tracking down Kevin, who reveals that he has discovered a passage in the Word of God that would banish all demons from Earth forever.[55] The spell requires three trials be performed by one person. Although Dean tries to do it himself in order to protect Sam from any possible consequence of the trials, Sam ends up completing the first trial (killing a hellhound and bathing in its blood) in "Trial and Error" to protect Dean; he persuades his brother to let him finish the rest by reasoning that Dean would be all-too-willing to sacrifice himself for the trials whereas Sam would fight so that both of them could live. However, taking on the trials quickly begins "damaging" Sam, which worries Dean.[59][60]

text: After meeting Benny – the vampire who helped Dean escape from Purgatory in exchange for Dean resurrecting him[55] – at the end of "Blood Brother", Sam immediately distrusts him, and asks Martin (a friend of their father's who had previously appeared in Season 5's "Sam, Interrupted") to monitor Benny. Martin contacts Sam in "Citizen Fang" to tell him that he believes Benny killed somebody, bringing the Winchesters to Carencro, Louisiana to help investigate. However, upon receiving an emergency text from Amelia and being unable to get a hold of her, Sam tears back to Kermit. He finds Amelia happily reunited with Don, and realizes that the text had been a trick by Dean to divert him from Benny. Enraged, Sam initially refuses to continue hunting with Dean in the following episode. Castiel – who has been mysteriously rescued from Purgatory – enlists his help in saving the angel Samandriel from being tortured by Crowley, forcing the brothers to reluctantly work together again. When forced by both Dean and Amelia to choose, Sam decides to rejoin his brother and fully commit himself to sealing Hell over returning to his normal life with Amelia.[61] Around this time, Sam and Dean encounter their time-traveling paternal grandfather Henry Winchester and discover that through him, they are the legacies to an extinct secret society of compilers of supernatural information and artifacts known as the Men of Letters. Although they manage to subdue the demonic Abaddon, who has pursued Henry into the present, their grandfather is killed, leaving Sam and Dean the last link to the Men of Letters.[62] They then inherit the bunker of the Men of Letters as their first real home.[63]

text: Sam completes the second trial – saving an innocent soul (in this case, Bobby) from Hell and sending it to Heaven – in "Taxi Driver" with the help of Benny, who sacrifices himself in the process of guiding Sam and Bobby out of Hell and thus finally causes Sam to admit to Dean that he had been wrong about Benny.[64] Unfortunately, Sam's illness from the trials worsens to the point that Dean temporarily restricts him from hunting out of worry for his condition.[65] Nevertheless, Sam remains determined to finish the trials and seal Hell because, viewing all the times he has failed Dean in the past (such as not looking for him when he was in Purgatory) as his worst sins, he has become obsessed with not letting Dean down anymore.[66] He and Dean attempt to use Abaddon for the third trial, that of restoring a demon's humanity, but she escapes while they are distracted by a call from Crowley, who has begun murdering everyone they've ever saved to force them to call off the trials.[67] After Crowley kills Sam's love interest, Sarah Blake from Season 1's "Provenance",[67] Sam is devastated and briefly contemplates giving in to Crowley's demands, but he and Dean ultimately feign surrender to lure Crowley to them and take him prisoner in the season finale "Sacrifice" so that they can use him for the third trial instead. Sam is on the verge of fully restoring Crowley's humanity when Dean finds out that completing the trials will kill Sam. Although Sam, having fallen into deep guilt and despair due to constant reminders from Dean of how he'd failed him, wants to finish the trials anyway, Dean convinces him to let it go. The effects of the trials remain, however, leaving Sam in dire condition in the final moments of the finale.[66]

text: Season 9

text: Sam is close to death in the premiere, "I Think I'm Gonna Like It Here"; it is revealed that the trials have severely burned his internal organs as well as cut off oxygen-flow to his brain, and that he has virtually no chance of survival. Having slipped into a coma, Sam has a dream in which he realizes that he is dying and struggles between whether or not he should even try to fight, eventually electing to let himself die with the guarantee that this time he cannot be revived and cause anymore damage. However, the angel Gadreel is called in by Dean to save Sam through any means necessary. Disguised as Dean, Gadreel convinces Sam to let him save him and Sam agrees, unwittingly providing permission to Gadreel so that the angel can possess him due to Gadreel's ambiguously-worded question. Gadreel spends the next eight episodes healing Sam from within without Sam realizing it. In fact, Sam is completely unaware of Gadreel's presence, as the angel spends most of this time laying dormant in Sam's subconscious and he and Dean go to some lengths to prevent him finding out about it because Sam could prematurely expel Gadreel if he found out.

text: Sam is alerted to Gadreel's possession of him by Crowley in the later episode "Road Trip", at which point he revokes his permission and forcibly expels Gadreel from his body by ordering the angel out. To his horror, he also finds out that Gadreel has killed Kevin using his body to prove his loyalty to Metatron. Sam is appalled and angry at how far Dean will go to keep him alive, feeling betrayed that Dean not only helped Gadreel possess him and hid the truth from him but also for persuaded him not to finish the trials and thus kept the gates of Hell open and allowed demons to continue wreaking havoc, all to keep Sam alive. Sam lets a guilt-ridden Dean leave at the end of the episode. In the following episode "First Born", Sam works with Castiel to extract a lingering piece of Gadreel's grace (angelic energy) so that they can track him. Feeling guilty over the deaths he could have stopped, especially Kevin's, Sam urges Castiel to extract all of the grace still inside him, even though it may kill Sam because the grace is keeping him from reverting to his deathly state prior his possession. However, Castiel refuses to risk Sam's life. As a result, the amount of grace they gather is insufficient to track Gadreel.

text: Sam runs into Dean on the same case in "Sharp Teeth". Although Dean tries to divert Sam from the case so that they won't have to work together again, Sam reveals that he is willing to work with Dean again so long as it is on a strictly professional basis, telling him that they cannot work on a brotherly basis anymore because Dean has lost his trust. At the end of "The Purge", Sam responds to Dean's attempts to justify his decisions by saying that Dean's choices are not as selfless as Dean paints them and that he would not have done what Dean did given the same situation, which stuns Dean into silence.

text: The two eventually begin to come back together as Sam learns more about Abaddon's history and plans after he learns that she has been taking souls while leaving the victims 'alive', much like he was after his escape from Hell. They eventually manage to determine the location of a portal to Heaven that allows Castiel to trap Metatron while Dean kills Abaddon with the First Blade – acquired from Cain himself and the only weapon capable of killing a Knight of Hell – but Castiel is left dying of the grace he stole to regain his powers while Dean is transformed into a demon due to the First Blade's influence.

text: Season 10

text: After spending six weeks tracking the transformed Dean – along with a brief confrontation with a man named Cole whose father was killed by Dean on a prior hunt – Sam manages to capture Dean while he is distracted, taking him back to the bunker to treat him with the demon cure. Despite demon-Dean's attempts to undermine his and Sam's relationship through his demonically-warped perspective, Sam is eventually able to cure Dean and restore him to humanity, although he continues to be concerned about Dean's emotional state after his time as a demon and the possibility that the Mark of Cain could transform him again.

text: Powers and abilities

text: Sam's supernatural abilities are the result of him being fed Azazel's demon blood while he was an infant. Sam exhibits signs of precognition throughout the first season, manifesting as dreams of others' deaths and later as visions.[8][10] Sam has also shown signs of sensing spirits, once displayed telekinesis, and immunity to certain demonic powers.[10][13][27][68] Sam states that his abilities are connected to Azazel and anything related to his actions, such as the other special children.[69] This argument was further proven after Azazel's death, as Sam stopped having visions of both the demon and the other psychics,[24] however, according to Ruby his powers were simply dormant.[27] After training with Ruby, Sam develops new abilities, such as exorcising demons with his mind, and his telekinesis becomes more potent.[28] By drinking demon blood Sam's power become stronger, to the point where he can outright kill demons and even torture them while in their human hosts; by drinking at least three gallons of demon blood, he can kill demons just by concentrating and willing it to happen.[36][46] After being affected by the Horseman Famine, Sam uses his powers to defeat him by attacking the demon spirits that Famine had recently consumed, although Dean and Bobby were subsequently forced to lock Sam in the panic room to detox.

text: In addition, with the training given to him by his father, Sam is a skilled fighter, proficient with firearms, shotguns and melee weapons. Like his brother Dean, he possesses many abilities that are frowned upon by law, including but not limited to: lock picking, computer hacking, disguised conning, and carjacking. Throughout the series, Sam has been shown to be highly intelligent with reading and recalling Latin incantations, which can be used to summon, exorcise, and vanquish demons;[25] typically, when the two brothers are working together, Dean is the superior physical fighter while Sam's expertise lies in carrying out research and recalling information to determine the nature of the threat that they are currently facing. Through Ruby, he knows how to make hex bags to cloak himself from demons and angels.[37] Sam also displays the ability to read one's "poker face" and has a great sense of direction and time, at one point being able to find a vampire's nest while blindfolded by keeping track of the time and the turns of the car.[70]


document_title: Hilton (surname)

question_text: where does the last name hilton come from

text: Hilton (surname)

text: The word Hilton or Hylton is a place name of English origin, which is also the source of a toponymic surname . At the time of the British Census of 1881,[1] the frequency of the surname Hilton was highest in Lancashire (5.3 times the British average), followed by Sussex, Lincolnshire, Westmorland, Cheshire, Norfolk and Bedfordshire. Its frequency was below national average in all the other British counties. Sometimes Hilton is found as a given name.

text: Hilton Hotel dynasty[edit]

text: Members of the Hilton family associated with Conrad Hilton who founded Hilton hotels

text: Conrad Nicholson Hilton, Sr (1887-1979)

tag: ul

text: Conrad Nicholson "Nicky" Hilton, Jr. (1926-1969)

text:
Conrad Nicholson Hilton III, born 1960
Michael Otis Hilton, born 1961

text: William Barron Hilton, born 1927

text:
William Barron Hilton Jr, born 1948
Hawley Anne Hilton, born 1949
Steven Michael Hilton, born 1950

text: Nicholas Conrad Hilton, born 1984

text:
David Alan Hilton, born 1952
Sharon Constance Hilton, born 1953
Richard Howard Hilton, born 1955, married to Kathy Hilton

text:
Paris Whitney Hilton, born 1981
Nicholai "Nicky" Olivia Hilton, born 1983
Barron Nicholas Hilton, born 1989
Conrad Hughes Hilton, born 1994

text:
Daniel Kevin Hilton, born 1962
Ronald Jeffrey Hilton, born 1963

text:
Eric Michael Hilton, born 1932
Constance Francesca Hilton, (1947-2015)

text: Other people[edit]

text: Other people named Hilton or Hylton

text:
Alfred B. Hilton, American Civil War soldier and Medal of Honor recipient
Clifford L. Hilton, American jurist
Daisy and Violet Hilton - conjoined twins
Dave Hilton, Sr. and Dave Hilton, Jr. - boxing champions
Dave Hilton (rugby union), former rugby union player for Scotland
Donna Hylton, Jamaican-American kidnapper and murderer
Doug Hilton, Australian scientist
Edward Hilton, survivor of the siege of Lucknow
Elliot Hilton, British figure skater
Geoff Hilton, Australian politician
Harold Hilton, English golfer
Henry Hilton, American Businessman and judge
Herman Hilton, English rugby league footballer
Isabel Hilton, Scottish journalist
James Hilton, English novelist
Jennifer Hilton, Baroness Hilton of Eggardon, Labour peer, former metropolitan police commander.
Jim Hilton, Canadian businessman, advertiser and singer
Joe Hilton, English footballer
John Hilton (disambiguation), one of several people, including:
John Buxton Hilton (1921–1986), British crime writer
John Hilton (American football) (born 1942), former American football tight end
John Hilton (composer) (1599–1657), British composer
John Hilton (industrial relations) (1880–1943), British professor of industrial relations
John Hilton (surgeon) (1804–1878), British surgeon
Karen Hilton, British ballroom dancer
Keith Hylton, American lawyer
Malcolm Hilton, Lancashire left arm spin bowler
Marcus Hilton, British ballroom dancer
Orrin N. Hilton, Colorado attorney and judge
Paul Hilton (disambiguation), Superhero and own's "Tape Productions"
Perez Hilton, professional name of American blogger and media personality Mario Lavandeira (born 1978)
Peter J. Hilton - mathematician
Seals "Low Note" Hilton [1], American Gospel Singer
Sir Peter Hilton - former Lord Lieutenant of Derbyshire
Robyn Hilton, American actress
Roger Hilton, British painter
Ronnie Hilton - British singer and radio presenter
Rose Hilton, British painter
Scott Hilton (American football) (born 1954), American football linebacker
Scott Hilton (politician), member of the Georgia House of Representatives
Simon Hilton - English music film director and editor
Tyler Hilton - American singer-songwriter and actor
Vitorino Hilton - Brazilian footballer
William Hilton (1786-1839), English portrait and history painter
Baron Hylton, a British peerage
Brigitte Foster-Hylton, Jamaican hurdler
Donna Hylton (born 1964), American murderer and activist
Jack Hylton, British bandleader and impresario
James Hylton, NASCAR racer
Javine Hylton, British singer also known as simply Javine
Leslie Hylton, West Indian cricketer
Ripton Joseph Hylton, the reggae singer Eek-A-Mouse


document_title: List of National Basketball Association single-game assists leaders

question_text: who had the most assists in nba history

question_tokens: who had the most assists in nba history

text: This is a complete listing of National Basketball Association players who have recorded 23 or more assists in a game.

text: 22 different players have recorded 23 or more assists in a game. It has occurred 39 times in the regular season and five times in the playoffs.

text: John Stockton has performed the feat the most times (10), followed by Earvin "Magic" Johnson and Kevin Porter (6).

text:
^
Active NBA player

*
Inducted into the Naismith Memorial Basketball Hall of Fame

Occurred in playoff competition

Player's team lost the game

Min
Minutes played
Pts
Points
Reb
Rebounds

Stl
Steals
Blk
Blocks
Tov
Turnovers

Team FG%
Rest of team's field goal percentage (subtracting player's own shooting)

text:
Assists
Player
Team
Score
Opponent
Date
Min
Pts
Reb
Stl
Blk
Tov
Team FG%
Led the league in assists
Notes

30
Skiles, ScottScott Skiles
Orlando Magic
155–116
Denver Nuggets
000000001990-12-30-0000December 30, 1990
44
22
6
2
0
4
.574 (54–94)
No
[a]

29
Porter, KevinKevin Porter
New Jersey Nets
126–112
Houston Rockets
000000001978-02-24-0000February 24, 1978
48
14
5

.557 (44–79)
Yes
[b]

28
Cousy, BobBob Cousy*
Boston Celtics
173–139
Minneapolis Lakers
000000001959-02-27-0000February 27, 1959
45
31
5
–
–
–
.496 (62–125)
Yes
[c]

28
Rodgers, GuyGuy Rodgers*
San Francisco Warriors
109–114
St. Louis Hawks
000000001963-03-14-0000March 14, 1963
48
14
5
–
–
–
.588 (40–68)
Yes
[d]

28
Stockton, JohnJohn Stockton*
Utah Jazz
124–102
San Antonio Spurs
000000001991-01-15-0000January 15, 1991
39
20
3
8
0
5
.543 (44–81)
Yes
[e]

27
Huston, GeoffGeoff Huston
Cleveland Cavaliers
110–106
Golden State Warriors
000000001982-01-27-0000January 27, 1982
46
24
1

No

27
Stockton, JohnJohn Stockton* (2)
Utah Jazz
107–115
New York Knicks
000000001989-12-19-0000December 19, 1989
36
18
3
2
0
2
.582 (39–67)
Yes
[f]

26
Stockton, JohnJohn Stockton* (3)
Utah Jazz
123–128
Portland Trail Blazers
000000001988-04-14-0000April 14, 1988
45
17
3
2
0
2
.566 (47–83)
Yes

25
DiGregorio, ErnieErnie DiGregorio
Buffalo Braves
120–119
Portland Trail Blazers
000000001974-01-01-0000January 1, 1974
48
20
9

–

Yes
[g]

25
Porter, KevinKevin Porter (2)
Detroit Pistons
160–119
Boston Celtics
000000001979-03-09-0000March 9, 1979
37
30
3

Yes

25
Porter, KevinKevin Porter (3)
Detroit Pistons
105–116
Phoenix Suns
000000001979-04-01-0000April 1, 1979
46
13
3

Yes

25
Thomas, IsiahIsiah Thomas*
Detroit Pistons
124–119
Dallas Mavericks
000000001985-02-13-0000February 13, 1985
41
23
5
2
0
5
.533 (48–90)
Yes
[h]

25
McMillan, NateNate McMillan
Seattle SuperSonics
124–112
Los Angeles Clippers
000000001987-02-23-0000February 23, 1987
41
8
8
1
4
3
.449 (44–98)
No
[i]

25
Johnson, KevinKevin Johnson
Phoenix Suns
107–95
San Antonio Spurs
000000001994-04-06-0000April 6, 1994
41
16
3
0
0
4
.535 (38–71)
No

25
Kidd, JasonJason Kidd
Dallas Mavericks
136–133
Utah Jazz
000000001996-02-08-0000February 8, 1996
49
20
4
4
0
5
.591 (39–66)
No
[j]

24
Rodgers, GuyGuy Rodgers* (2)
Chicago Bulls
110–107
New York Knicks
000000001966-12-21-0000December 21, 1966

18

–
–
–

Yes

24
Porter, KevinKevin Porter (4)
Washington Bullets
119–114
Detroit Pistons
000000001980-03-23-0000March 23, 1980
44
12
1

.562 (50–89)
No

24
Lucas, JohnJohn Lucas
San Antonio Spurs
157–154
Denver Nuggets
000000001984-04-15-0000April 15, 1984
28
0
0
2
0
2
.641 (66–103)
No
[k]

24
Johnson, Earvin "Magic"Earvin "Magic" Johnson*
Los Angeles Lakers
118–102
Phoenix Suns
000000001984-05-15-0000May 15, 1984
38
6
7
5
2
4
.586 (51–87)
–
[l]

24
Thomas, IsiahIsiah Thomas* (2)
Detroit Pistons
126–128
Washington Bullets
000000001985-02-07-0000February 7, 1985
50
25
10
2
1
2
.495 (48–97)
Yes
[m]

24
Stockton, JohnJohn Stockton* (4)
Utah Jazz
109–111
Los Angeles Lakers
000000001988-05-17-0000May 17, 1988
48
23
3
5
0
3
.515 (34–66)
–
[n]

24
Stockton, JohnJohn Stockton* (5)
Utah Jazz
102–104
Houston Rockets
000000001989-01-03-0000January 3, 1989
45
26
1
6
0
1
.508 (31–61)
Yes
[o]

24
Johnson, Earvin "Magic"Earvin "Magic" Johnson* (2)
Los Angeles Lakers
119–105
Denver Nuggets
000000001989-11-17-0000November 17, 1989
40
24
8
6
1
3
.533 (40–75)
No
[p]

24
Johnson, Earvin "Magic"Earvin "Magic" Johnson* (3)
Los Angeles Lakers
118–121
Phoenix Suns
000000001990-01-09-0000January 9, 1990
45
24
6
2
2
4
.452 (38–84)
No
[q]

24
Sessions, RamonRamon Sessions^
Milwaukee Bucks
135–151
Chicago Bulls
000000002008-04-14-0000April 14, 2008
44:27
20
8
1
1
2
.573 (43–75)
No
[r]

24
Rondo, RajonRajon Rondo^
Boston Celtics
105–101
New York Knicks
000000002010-10-29-0000October 29, 2010
45:20
10
10
1
0
7
.506 (40–79)
No
[s]

23
West, JerryJerry West*
Los Angeles Lakers
143–133
Philadelphia 76ers
000000001967-02-01-0000February 1, 1967

24
6
–
–
–
.567 (51–90)
No
[t]

23
Porter, KevinKevin Porter (5)
Detroit Pistons
131–119
Houston Rockets
000000001978-12-27-0000December 27, 1978
41
20
3

Yes

23
Porter, KevinKevin Porter (6)
Detroit Pistons
113–124
Los Angeles Lakers
000000001979-03-30-0000March 30, 1979
43
15
3

Yes

23
Archibald, Nate "Tiny"Nate "Tiny" Archibald*
Boston Celtics
145–144
Denver Nuggets
000000001982-02-05-0000February 5, 1982
38
15
4

No
[u]

23
Johnson, Earvin "Magic"Earvin "Magic" Johnson* (4)
Los Angeles Lakers
128–112
Seattle SuperSonics
000000001984-02-21-0000February 21, 1984
36
9
5
2
0
3
.628 (54–86)
Yes
[v]

23
Johnson, Earvin "Magic"Earvin "Magic" Johnson* (5)
Los Angeles Lakers
130–126
Portland Trail Blazers
000000001985-05-03-0000May 3, 1985
41
13
7
1
0
6
.566 (43–76)
–
[w]

23
Johnson, Earvin "Magic"Earvin "Magic" Johnson* (6)
Los Angeles Lakers
114–107
Dallas Mavericks
000000001988-04-20-0000April 20, 1988
42
8
10
0
1
8
.632 (43–68)
No
[x]

23
Lever, Lafayette "Fat"Lafayette "Fat" Lever
Denver Nuggets
139–121
Golden State Warriors
000000001989-04-21-0000April 21, 1989
42
15
13
5
0
1
.579 (55–95)
No
[y]

23
Stockton, JohnJohn Stockton* (6)
Utah Jazz
107–104
Los Angeles Lakers
000000001990-04-12-0000April 12, 1990
44
15
4
3
0
3
.521 (37–71)
Yes
[z]

23
Stockton, JohnJohn Stockton* (7)
Utah Jazz
105–95
Los Angeles Clippers
000000001990-12-08-0000December 8, 1990
41
27
3
4
0
1
.492 (31–63)
Yes
[aa]

23
Stockton, JohnJohn Stockton* (8)
Utah Jazz
135–108
Golden State Warriors
000000001991-11-29-0000November 29, 1991
36
21
2
2
1
4
.608 (48–79)
Yes

23
Stockton, JohnJohn Stockton* (9)
Utah Jazz
120–106
Minnesota Timberwolves
000000001992-04-17-0000April 17, 1992
36
9
2
5
0
4
.569 (41–72)
Yes

23
Blaylock, Daron "Mookie"Daron "Mookie" Blaylock
Atlanta Hawks
139–118
Utah Jazz
000000001993-03-06-0000March 6, 1993
37
11
0
4
0
2
.545 (48–88)
No

23
Stockton, JohnJohn Stockton* 10 !(10)
Utah Jazz
110–102
Portland Trail Blazers
000000001996-04-25-0000April 25, 1996
41
11
2
0
0
1
.581 (36–62)
–
[ab]

23
Van Exel, NickNick Van Exel
Los Angeles Lakers
95–82
Vancouver Grizzlies
000000001997-01-05-0000January 5, 1997
44
8
8
1
0
2
.500 (34–68)
No
[ac]

23
Tinsley, JamaalJamaal Tinsley
Indiana Pacers
110–103
Washington Wizards
000000002001-11-22-0000November 22, 2001
45
19
11
1
1
5
.541 (40–74)
No
[ad]

23
Nash, SteveSteve Nash^
Phoenix Suns
113–100
Los Angeles Lakers
000000002007-04-29-0000April 29, 2007
39:05
17
1
2
1
3
.493 (35–71)
–
[ae]

23
Rondo, RajonRajon Rondo^ (2)
Boston Celtics
105–103
San Antonio Spurs
000000002011-01-05-0000January 5, 2011
43:30
12
10
6
1
5
.615 (40–65)
No
[af]


document_title: Amadeus (film)

question_text: how does mozart die in the movie amadeus

text: Amadeus (film)

text: Plot[edit]

text: An elderly Antonio Salieri (F. Murray Abraham) confesses to the murder of his former colleague, Wolfgang Amadeus Mozart (Tom Hulce) and attempts to kill himself by slitting his throat. Two servants take him to a mental asylum where a priest, Father Vogler (Richard Frank), implores him to confess.

text: Salieri recounts how, even in his youth, he desired to be a composer, much to the chagrin of his father. He prays to God that, if he will make Salieri a famous composer, he will in return promise his faithfulness. Soon after, his father dies, which Salieri takes as a sign that God has accepted his vow. He is educated in Vienna and becomes court composer to Emperor Joseph II (Jeffrey Jones).

text: Mozart arrives in Vienna to perform at the request of his employer, the Prince-Archbishop of Salzburg (Nicholas Kepros). Salieri attends the performance to meet Mozart, discovers that Mozart is obscene and immature, and yet Salieri finds Mozart's talent to be transcendent.

text: The Emperor desires to commission Mozart to write an opera and, despite the reservations of his advisers, summons him to the palace. Mozart happily accepts the job, much to the annoyance of Salieri. Mozart premieres Die Entführung aus dem Serail to mixed reviews from the Emperor. Salieri suspects that Mozart has slept with the star, Caterina Cavalieri (Christine Ebersole), despite his engagement to Constanze Weber (Elizabeth Berridge).

text: The Emperor desires that Mozart instruct his niece, Princess Elisabeth, in music, but Salieri discourages him from doing so. Constanze visits Salieri to persuade him to make the Emperor reconsider, but she is unsuccessful.

text: Salieri is enraged that God has bestowed upon Mozart the talent he has so desperately desired and vows to destroy Mozart. Mozart, meanwhile, struggles to find work and begins drinking. His father, Leopold Mozart (Roy Dotrice), comes to visit him in Vienna. Constanze and Mozart take Leopold to a masked party (which Salieri also attends), where Mozart entertains the guests with musical antics. Leopold disapproves of his son's hedonism and the family argues until Leopold leaves town.

text: Salieri hires a young girl (Cynthia Nixon) to pose as the Mozarts' maid while spying for him. She takes him to the Mozart residence, where he discovers that Mozart is working on an opera based on the play The Marriage of Figaro, which the Emperor has forbidden. When Mozart is summoned to court to explain, he manages to convince the Emperor to allow his opera to premiere, despite Salieri and the advisers' attempts at sabotage.

text: Messengers arrive in Vienna with news of Leopold's death, and in response a grief-stricken Mozart pens Don Giovanni. Salieri recognizes the dead commander as symbolic of Leopold and hatches a plan. Wearing Leopold's party mask, Salieri visits Mozart and commissions a Requiem Mass. Salieri plots to kill Mozart once the piece is finished, then premiere it at Mozart's funeral, claiming the work as his own.

text: At a parody of one of Mozart's own operas, Emanuel Schikaneder (Simon Callow) asks Mozart to write an opera for his theater. Mozart, desperate for money, obliges, despite Constanze's insistence that he finish the Requiem Mass. The couple fight and Constanze leaves with their young son, Karl.

text: Mozart collapses during a performance of his finished work, The Magic Flute. Salieri takes him home and offers his assistance on the Requiem. Salieri transcribes Mozart's verbal commands, and they work through the night. The next morning, a gravely ill Mozart apologizes to Salieri for his previous behavior. A guilty Constanze returns home and locks the unfinished Requiem away, only to find that Mozart has died from overwork. Mozart is taken out of the city and unceremoniously buried in a mass grave.

text: Having finished his tale, Salieri asks how a merciful God could destroy his own beloved just to keep a mediocrity like Salieri from sharing in his glory. As he is pushed down the hall in a wheelchair, Salieri declares himself “the patron saint of mediocrities” and mockingly absolves the other patients of their own inadequacies. Mozart's high-pitched laugh is heard as the screen fades to black.

text: Cast[edit]

text:
F. Murray Abraham as Antonio Salieri
Tom Hulce as Wolfgang Amadeus Mozart
Elizabeth Berridge as Constanze Mozart
Roy Dotrice as Leopold Mozart
Jeffrey Jones as Emperor Joseph II
Charles Kay as Count Orsini-Rosenberg
Simon Callow as Emanuel Schikaneder
Jonathan Moore as Baron van Swieten
Kenneth McMillan as Michael Schlumberg
Roderick Cook as Count von Strack
Patrick Hines as Kapellmeister Giuseppe Bonno
Richard Frank as Father Vogler
Christine Ebersole as Caterina Cavalieri
Cynthia Nixon as Lorl, Mozart's maid
Nicholas Kepros as Count Hieronymus von Colloredo, Prince-Archbishop of Salzburg
Vincent Schiavelli as Salieri's Valet
Douglas Seale as Count Arco
Kenny Baker as parody commendatore
Lisabeth Bartlett as Papagena
Barbara Bryne as Frau Weber
Martin Cavani as young Salieri
Milan Demjanenko as Karl Mozart
Peter Digesu as Franceso Salieri
Michele Esposito as Salieri's student
Philip Lenkowsky as Salieri's servant
Herman Meckler as priest
Brian Pettifer as hospital attendant
Miroslav Sekera as young Mozart
Cassie Stewart as Gertrude Schlumberg
John Strauss as conductor

text: Production[edit]

text: In his autobiography Beginning, Kenneth Branagh says that he was one of the finalists for the role of Mozart, but was dropped from consideration when Forman decided to make the film with an American cast.[3] Hulce reportedly used John McEnroe's mood swings as a source of inspiration for his portrayal of Mozart's unpredictable genius.[4]

text: Meg Tilly was cast as Mozart's wife Constanze, but she tore a ligament in her leg the day before shooting started.[4] She was replaced by Elizabeth Berridge. Simon Callow, who played Mozart in the original London stage production of Amadeus, was cast as Emanuel Schikaneder, the librettist of The Magic Flute.

text: The film was shot on location in Prague[5] and Kroměříž.[6] Notably, Forman was able to shoot scenes in the Count Nostitz Theatre in Prague, where Don Giovanni and La clemenza di Tito debuted two centuries before.[7] Several other scenes were shot at the Barrandov Studios.[8]

text: Forman collaborated with American choreographer Twyla Tharp.[9]

text: Reception[edit]

text: In 1985, the film was nominated for eleven Academy Awards, including the double nomination for Best Actor with Hulce and Abraham each being nominated for their portrayals of Mozart and Salieri, respectively. The film won eight Oscars, including Best Picture, Best Actor (Abraham), Best Director (Forman), Costume Design (Theodor Pištěk), Adapted Screenplay (Shaffer), Art Direction (Karel Černý, Patrizia von Brandenstein), Best Makeup, and Best Sound. The film was nominated for but did not win Oscars for Best Cinematography and Best Editing. Amadeus, The English Patient, The Hurt Locker, The Artist, and Birdman are the only Best Picture winners never to enter the weekend box office top 5 after rankings began being recorded in 1982.[10][11][12][13] Amadeus peaked at #6 during its 8th weekend in theaters. Saul Zaentz produced both Amadeus and The English Patient.

text: The film was nominated for six Golden Globes (Hulce and Abraham were nominated together) and won four, including awards to Forman, Abraham, Shaffer, and Golden Globe Award for Best Picture – Drama. Jeffrey Jones was nominated for Golden Globe for Best Supporting Actor – Motion Picture Drama. Forman also received the Directors Guild of America Award for his work.

text: At the end of the Oscar ceremony, Laurence Olivier came on stage to present the Oscar for Best Picture. As Olivier thanked the Academy for inviting him, he was already opening the envelope. Instead of announcing the nominees, he simply read, "The winner for this is Amadeus." An AMPAS official quickly went onstage to confirm the winner and signaled that all was well, before Olivier then presented the award to producer Saul Zaentz. Olivier (in his 78th year) had been ill for many years, and it was because of mild dementia that he forgot to read the nominees.[14] Zaentz then thanked Olivier, saying it was an honour to receive the award from him,[15] before mentioning the other nominees in his acceptance speech: The Killing Fields, A Passage to India, Places in the Heart and A Soldier's Story. Maurice Jarre won the Oscar for Best Original Music Score for his scoring of A Passage to India. In his acceptance speech for the award, Jarre remarked "I was lucky Mozart was not eligible this year".[16]

text: Alternative versions[edit]

text: Amadeus premiered in 1984 as a PG-rated movie with a running time of 161 minutes. In 2002, director Miloš Forman introduced an R-rated version with nearly 20 minutes of restored footage. This version was released by the studios as a Director's Cut. Forman justified why those scenes were cut in the first place in the 1995 supplemental material for Pioneer's deluxe LaserDisc. However, he explains why the scenes were eventually restored in a subsequent 2002 interview with The A.V. Club:

text: When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office. And in the '80s, with MTV on the scene, we are having a three-hour film about classical music, with long names and wigs and costumes. Don't forget that no major studio wanted to finance the film, for these reasons. So we said, "Well, we don't want to be pushing the audience's patience too far". Whatever was not directly connected to the plot, I just cut out. But it was a mutual decision [to limit the running time]. I wanted the best life for the film myself... Well, once we are re-releasing it on DVD, it doesn't matter if it is two hours and 40 minutes long, or three hours long. So why don't we do the version as it was written in the script?[17]

text: Music[edit]

text: Film credits[edit]

text:
Music conducted and supervised by Neville Marriner
Music coordinator: John Strauss
Orchestra: Academy of St Martin in the Fields, conducted by Sir Neville Marriner
Choruses

Academy Chorus of St Martin in the Fields, conducted by Laszlo Heltay
Ambrosian Opera Chorus, conducted by John McCarthy
The Choristers of Westminster Abbey, conducted by Simon Preston

Instrumental soloists

Piano Concerto No. 22 in E-flat major, K. 482: Ivan Moravec
Piano Concerto No. 20 in D minor, K. 466: Imogen Cooper
Adagio in C minor for Glass Harmonica, K. 617: Thomas Bloch with The Brussels Virtuosi, conducted by Marc Grauwels

Parody backgrounds: San Francisco Symphony Chorus
"Caro mio ben" by Giuseppe Giordani: Michele Esposito, soprano

text: Original soundtrack recording[edit]

text: The soundtrack album[18] reached #1 in the Billboard Classical Albums Chart, #56 in the Billboard Popular Albums Chart, has sold over 6.5 million copies and received thirteen gold discs, making it one of the most popular classical music recordings of all time.[19] It won the Grammy Award for Best Classical Album in 1984.[20]

text: Disc 1

text:
Mozart: Symphony No. 25 in G minor, K. 183, 1st movement
Giovanni Battista Pergolesi: Stabat Mater: "Quando corpus morietur" and "Amen"
Early 18th Century Gypsy Music: Bubak and Hungaricus
Mozart: Serenade for Winds in B-flat major, K. 361, 3rd movement
Mozart: The Abduction from the Seraglio, K. 384, Turkish Finale
Mozart: Symphony No. 29 in A major, K. 201, 1st movement
Mozart: Concerto for Two Pianos in E-flat major, K. 365, 3rd movement
Mozart: Great Mass in C minor, K. 427, Kyrie
Mozart: Symphonie Concertante in E-flat major, K. 364, 1st movement

text: Disc 2

text:
Mozart: Piano Concerto No. 22 in E-flat major, K. 482, 3rd movement
Mozart: The Marriage of Figaro, K. 492, Act III, "Ecco la marcia"
Mozart: The Marriage of Figaro, K. 492, Act IV, "Ah, tutti contenti"
Mozart: Don Giovanni, K. 527, Act II, Commendatore scene
Mozart: Zaide, K. 344, Aria, "Ruhe sanft"
Mozart: Requiem, K. 626, Introitus (orchestral introduction)
Mozart: Requiem, K. 626, Dies irae
Mozart: Requiem, K. 626, Rex tremendae majestatis
Mozart: Requiem, K. 626, Confutatis
Mozart: Requiem, K. 626, Lacrimosa
Mozart: Piano Concerto No. 20 in D minor, K. 466, 2nd movement

text: All tracks on the album were performed specifically for the film. According to the film commentary by Forman and Schaffer, Marriner agreed to score the film if Mozart's music was completely unchanged from the original scores. Marriner did add some notes to Salieri's music that are noticeable in the beginning of the film, as Salieri begins his confession.

text: The aria "Ruhe sanft" from the opera Zaide does not appear in the film.

text: More Music from the Original Soundtrack[edit]

text: In 1985 an additional album with the title More Music from the Original Soundtrack of the Film Amadeus was issued containing further selections of music that were not included on the original soundtrack release.[21]

text:
Mozart: The Magic Flute, K. 620, Overture
Mozart: The Magic Flute, K. 620, Act II, The Queen of the Night aria ("Der Hölle Rache kocht in meinem Herzen")
Mozart: Masonic Funeral Music, K. 477
Mozart: Piano Concerto No. 20 in D minor, K. 466, 1st movement
Antonio Salieri: Axur, re d'Ormus, Finale
Mozart: Eine kleine Nachtmusik (Serenade No. 13 for Strings in G major), K. 525, 1st movement, arranged for woodwind octet by Graham Sheen
Mozart: Concerto for Flute and Harp in C major, K. 299, 2nd movement
Mozart: Six German Dances (Nos. 1–3), K. 509
Giuseppe Giordani: "Caro mio ben"
Mozart: The Abduction from the Seraglio, K. 384, Chorus of the Janissaries (Arr.) and "Ich möchte wohl der Kaiser sein" ("Ein deutsches Kriegslied"), K. 539 (Arr.)

text: The Masonic Funeral Music was originally intended to play over the closing credits, but was replaced in the film by the second movement of the Piano Concerto No. 20 in D minor[22] (included on the Original Soundtrack Recording).

text: Director's Cut soundtrack[edit]

text: In 2002, to coincide with the release of the Director's Cut of the film, the soundtrack was remastered with 24-bit encoding and reissued with the title Special Edition: The Director's Cut – Newly Remastered Original Soundtrack Recording on two 24-karat gold CDs.[23] It contains most of the music from the previous two releases, but with the following differences.

text: The following pieces were added for this release:

text:
Salieri's March of Welcome turned into "Non più andrai" from The Marriage of Figaro (includes dialogue from the film)
Adagio in C minor for Glass Harmonica, K. 617 (from a new 2001 recording)

text: The following pieces, previously released on More Music from the Original Soundtrack of the Film Amadeus, were not included:

text:
Masonic Funeral Music, K. 477
Six German Dances (Nos. 1–3), K. 509

text: Awards and nominations[edit]

text: United States[edit]

text: Academy Awards 1985:

text:
Won (8)[24][25]

Best Actor in a Leading Role (F. Murray Abraham)
Best Adapted Screenplay (Peter Shaffer)
Best Art Direction (Art Direction: Patrizia von Brandenstein; Set Decoration: Karel Černý)
Best Costume Design (Theodor Pištěk)
Best Picture (Saul Zaentz)
Best Director (Miloš Forman)
Best Makeup (Dick Smith and Paul LeBlanc)
Best Sound (Mark Berger, Tom Scott, Todd Boekelheide and Christopher Newman)

Nominated

Best Actor in a Leading Role (Tom Hulce)
Best Cinematography (Miroslav Ondříček)
Best Film Editing (Nena Danevic and Michael Chandler)

text: Golden Globe Awards 1985:

text:
Won (4)

Best Actor – Motion Picture Drama (F. Murray Abraham)
Best Director (Miloš Forman)
Best Motion Picture – Drama (producer, Saul Zaentz)
Best Screenplay (Peter Shaffer)

Nominated

Best Actor – Motion Picture Drama (Tom Hulce)
Best Supporting Actor – Motion Picture (Jeffrey Jones)

text: 1984 Los Angeles Film Critics Association Awards:

text:
Won (4)

Best Actor (F. Murray Abraham tied with Albert Finney for Under the Volcano)
Best Director (Miloš Forman)
Best Picture (producer, Saul Zaentz)
Best Screenplay (Peter Shaffer)

text: American Cinema Editors:

text:
Won (1)

Best Edited Feature Film (Nena Danevic and Michael Chandler)

text: Casting Society of America:

text:
Won (1)

Best Casting for Feature Film (Mary Goldberg)

text: Directors Guild of America:

text:
Won (1)

Outstanding Directorial Achievement in Motion Pictures (Miloš Forman)

text: Kansas City Film Critics Circle Award:

text:
Won (1)

Best Actor (F. Murray Abraham)

text: American Film Institute:

text:
Won (1)

AFI's 100 Years...100 Movies – #53

text: United Kingdom[edit]

text: BAFTA:

text:
Won (4)

Best Cinematography (Miroslav Ondříček)
Best Editing (Nena Danevic and Michael Chandler)
Best Make Up Artist (Dick Smith and Paul LeBlanc)
Best Sound (Mark Berger, Thomas Scott and Christopher Newman)

Nominated

Best Actor (F. Murray Abraham)
Best Costume Design (Theodor Pištěk)
Best Film (Miloš Forman and Saul Zaentz)
Best Production Design (Patrizia von Brandstein)
Best Screenplay – Adapted (Peter Shaffer)

text: Italy[edit]

text: David di Donatello:

text:
Won (3)

Best Director – Foreign Film (Miloš Forman)
Best Foreign Actor (Tom Hulce)
Best Foreign Film

text: Nastro d'Argento:

text:
Won (2)

Best Actor – Foreign Film (Tom Hulce)
Best Director – Foreign Film (Miloš Forman)

text: France[edit]

text: César Award:

text:
Won (1)

Best Foreign Film

text: Japan[edit]

text: Japan Academy Prize:

text:
Won (1)

Best Foreign Language Film

text: Norway[edit]

text: Amanda Award:

text:
Won (1)

Best Foreign Feature Film