document_title: The Dark Is Rising Sequence

question_text: where does the dark is rising take place

text: The Dark Is Rising Sequence

text: Characters[edit]

text: Simon, Jane, and Barney Drew: The main characters of the first novel, the Drew siblings, are human children who have known Merriman Lyon as their "Great Uncle Merry" for years. While on holiday in Cornwall, they get caught up in the battle between the Light and the Dark and join the search for the Things of Power. In the first novel, Over Sea, Under Stone, they search for the legendary Grail of King Arthur. They also appear in the third book, Greenwitch, and the last book in the series, Silver on the Tree. In the poem featured prominently throughout The Dark Is Rising, they are the ones referred to as "three from the track". Their last name is linked with Will Stanton's in British paleohistory; see Stanton Drew stone circles.

text:
Simon Drew: Simon is the eldest of the Drews. In Over Sea, Under Stone, Simon and Barney are the two to go into the cave and retrieve the Grail. In Greenwitch, he is jealous of Will because Merriman brought him to Cornwall for "unnecessary" reasons, but eventually warms up to him. He loves sailing and anything to do with ships.
Jane Drew: Jane is the middle Drew. In Greenwitch, Jane is allowed to attend the Greenwitch ceremony, which is traditionally for female locals only, and through her compassion develops a special bond with the entity which constitutes the magical aspect of the Greenwitch. She subsequently receives from the entity the case containing the coded manuscript for deciphering the runes on the Grail. She also develops a special bond with the Lady of the Light in Silver on the Tree.
Barnabas (Barney) Drew: Barney is the youngest of the Drews. He loves King Arthur legends and, although he is quite wary of his talent at first, paints. In Greenwitch, Barney sketches a picture of the bay, which is later stolen by an agent of the Dark, but Merriman recovers it and presents it to Tethys as a gift.

text: Old Ones: Ancient and immortal, the Old Ones are mystical beings who possess great magical power. They are found in all parts of the world and are of many races and cultures. Capable of performing many seemingly impossible feats, including freezing time and controlling the elements, they serve the Light in the war against the Dark. The Great Lords of the Dark have many similar characteristics and abilities but are not Old Ones. The two factions struggle to determine the destiny of mankind; while the Light fights for freedom and free will, the Dark fights for chaos, confusion and the subversion of man's agency.

text: Will Stanton: The main character of the second novel, and a major character in the entire series, he is the seventh son of a seventh son, in a large, close human family. His eleventh birthday[b] marks the beginning of his magical awakening and rise to power as the last of the Old Ones. The Dark Is Rising tells how he came to power, met Merriman Lyon, and accumulated the six "signs" to help fight the Dark. Will is the last of the Old Ones; no others will be born after him. In Greenwitch, he is invited to come to Cornwall by Merriman in order to help recover the Grail and cypher that reveals how to read the runes on the Grail. He later gives Jane a bracelet of gold engraved with the words, "power from the Greenwitch", which she throws into the sea as an offering to the Greenwitch in appreciation for its help. In The Grey King, Will goes to Wales to recover from sickness, where he meets Bran and awakens the Sleepers. In Silver on the Tree, Will travels with Bran to the Lost Land to recover the crystal sword Eirias, and helps to vanquish the Dark. Will is the only Old One to remain on Earth afterward, and the only one of the Light's allies who remembers the struggle against the Dark; in this, he is referred to as "the watchman", staying behind to keep watch for any attempt by the Dark to return.

text: Cooper named Will for William Shakespeare.[5]

text: Merriman Lyon: Merriman is the first Old One. He and Will Stanton have a special bond as each of them is one end of the long line of Old Ones. It is said that with the birth and coming to power of Will Stanton, the circle of Old Ones is complete. A friend of the Drew family for over a generation, he assisted Barney, Jane, and Simon in their quest for the Grail, in addition to protecting them until their task was completed; they occasionally refer to him as "Great Uncle Merry" or "Gumerry". Throughout the series Merriman is portrayed in numerous historical periods, but particularly as King Arthur's chief adviser, the mythical Merlin, as Arthur calls him "Mer Lion", old English for "my lion", in Silver on the Tree.

text: The Lady: The Lady is the most powerful of the Old Ones. Gentle, wise and enigmatic, she is a pivotal figure throughout the series, appearing usually at important moments to turn the tide in the Light's favor. She is an especial friend and mentor to Will and Jane. At one point in The Dark Is Rising, Will Stanton makes a critical mistake during a battle with the Dark and is saved by the Lady. Merriman tells Will that the Lady on her own is the only Old One able to overcome the full power of the Dark, although at a great cost. The sacrifice by the Lady is a critical point in the Story because she is a key element of the battle. At a later high ceremony of Old Ones, the Lady is missing and Merriman tells Will that her depleted power prevents her arrival, and she is beyond their magic to rescue but will return. She represents the Lady of the Lake, or the Lady of Avalon, King Arthur's sister, as they both embark on Arthur's boat Pridwen in Silver on the Tree.[6] The Lady, like King Arthur, is affiliated with The Light and the High Magic. In Silver on the Tree, she initially can only communicate with Jane Drew, the one girl among the Six, telling Jane they share a special bond in being female, and calls her "Jane, Jana, Juno", referring to Jana (in Roman mythology, a variant form of Diana) or Juno, the queen of the gods.

text: The Black Rider: One of the great Lords of the Dark, comparable to Merriman in power and influence. The Rider is the major nemesis of Will during his many trials. He patronises John Wayland Smith's establishment, where he meets Will for the first time and attempts to bring Will over to the Dark. He is given one name by the humans in the story: Mitothin (a name connected with the jötunn Loki, who helps bring about Ragnarok).

text: The White Rider: Another servant and Lord of the Dark, introduced in Silver on the Tree. The White Rider is almost equal in power to the Black Rider, and despite being feminine in her true form, often affects a masculine guise while attacking agents of the Light. She is revealed as disguising herself as Blodwen Rowlands, an "aunt" figure to Bran Davies. She acts kind and caring, to keep an eye on Bran while developing emotional bonds, while controlling events around Cader Idris, which means "chair of Arthur", and the Sleepers. Will Stanton hypothesized that the monochromatic 'color' of the White Rider's robes, like those of the Black Rider, reflected the extremism of their evil—either darkened by their ignorance, or blinded by the brightness of their ideas.

text: The Walker: A human who betrayed the Light and was cursed to carry the Sign of Bronze, one of six Things of Power that repel the Dark, through the centuries until the last Old One claimed it from him. The Walker was once Hawkin, a liege man and foster son of Merriman during the 13th century. His betrayal of the Light stemmed largely from Merriman's acceptance of Hawkin's willingness to sacrifice his life to protect the Book of Gramarye, the secrets of which the human Hawkin can neither possess nor partake of. In The Dark Is Rising his appearance in Will Stanton's town precipitates Will's "awakening" and rise to power. He presents Will with his second sign.

text: The Sleepers: Ancient knights who served during the time of King Arthur. In The Grey King they are awakened from a mystic slumber by the Harp of the Light, to ride against the Dark during the final battle in Silver on the Tree.

text: Pendragon: This is a reference to two characters. First, it is the figurative title referring to status as a leader, of several traditional Kings of the Britons, notably King Arthur. It is also his son in this series, Bran Davies, who is predestined to wield the Crystal Sword of Light that is vital to the final conflict with the Dark. Bran Davies is brought forward in time by Merriman at the request of his mother, Guinevere, who feared that Arthur would reject Bran as a true son because of Guinevere's affair with Lancelot. Bran is an albino, meaning he has very pale skin and white hair, eyebrows, and eyelashes, but his eyes are an unusual tawny color. Will meets him in Wales during The Grey King, where they wake the Sleepers using the Harp. In Silver on the Tree, Bran and Will travel to the Lost Land and recover the sword Eirias.

text: The rooks: The majority of these birds are servants of the Dark and attract their forces wherever they are seen.

text: Farmer Dawson: An Old One who lives near Will Stanton and presents him with his first Sign.

text: John Wayland Smith: Another Old One who lives near Will Stanton; he is also a skilled smith. Though he is affiliated with the Light, he aids all who pass in his smithy. It is suggested that he might be the legendary Saxon smith, Weyland, the Saxon equivalent of the legendary elf smith Volund.

text: Artefacts[edit]

text: Things of Power: The Old Ones have four Things of Power that will be used in the final battle which will allow them to defeat the Dark: the circle of Signs, the Grail, the Harp, and the Sword. They are obtained in The Dark Is Rising, Over Sea, Under Stone, The Grey King, and Silver on the Tree, respectively. Greenwitch is the story of the recovery of the stolen Grail.

text:
The Signs: A set of six circles quartered (divided evenly in four sections) by crosses. The six signs are each made of a different material and represent a different element: wood, bronze, iron, water, fire, and stone. The six Signs represent the Six champions of the Light, referred to in the recurring Poem of the Dark Is Rising series, as "three from the Circle, three from the Track". When used, the signs have the power to repel the Dark.
The Grail: Presumably the source of the King Arthur Holy Grail legend, it is an artefact of power used by the Light. There are markings on it in a writing similar to Ogham, which is long lost. It is eventually translated by the Old Ones, thanks to a coded manuscript inside a metal case held by the Greenwitch.
The Harp (the harp of gold): A golden harp that is obtained by Will Stanton and Bran Davies from a triumvirate of the High Magic by answering three riddles. The Light uses it in The Grey King in order to wake the Sleepers in preparation for the final battle. Whoever plays the harp creates powerful music that negates any magic, through the protection of the High Magic.
The Crystal Sword: A magical sword, commissioned by the Light, crafted in the magical Lost Lands by the Lost King. It is named Eirias; therefore, "blazing", also called sword of the sunrise. In the presence of the Dark, it burns with blue fire. It can cut portals through magical barriers, as seen in Silver on the Tree, and is encased in a magical scabbard of invisibility. It is used by Bran Davies, the Pendragon, heir of King Arthur, to cut the one fully blossomed silver flower on the Midsummer's Tree, which is caught by Merriman.

text: The Book of Gramarye: The ancient Book of the Old Ones, it is an Old One's rite of passage, while also teaching everything about their powers, and through it, they experience the magical spells. Gramarye, or grimoire, from the Old French word grammaire and the Old English word grammar, initially referred to all books, most written in Latin, which almost no one could read, and perceived by the masses as "magical". The Book of Gramarye is protected by an enchanted device of a pendulum in a longcase clock, that if touched, will detonate and destroy any human that attempts to gain access to the book. This powerful book is further protected in that it is written in the Old Speech, which only an Old One can read and understand. It is blasted out of existence by Merriman after Will has read it.

text: The Doors: A set of carved oak doors that lead through Time. Old Ones can summon these doors to appear at will to transport themselves through time and space. The doors disappear when the Old Ones pass through them, accompanied by the haunting bell chime music of the Light. Their origin is not explained in the books.

text: Midsummer's Tree: In Chiltern, England, The Tree produces a silver flower, which blooms once every 700 years, and is the final challenge for the Six of the Light. The person who obtains the silver flower gains control of the High Magic, to put out of Time the Dark or the Light forever. Bran Davies, the Pendragon and heir of King Arthur, wields the Crystal Sword to cut the fully blossomed silver flower on the Midsummer's Tree, which is caught by Merriman, making the Light victorious.

text: The Magics[edit]

text: Old Magic: A powerful elemental magic, of which the Light and the Dark are the two opposite extremes.

text: Wild Magic: The magic of nature, first used in The Dark Is Rising to provide strength to the forces of the Light in the book's final battle. In Greenwitch, we learn that the Wild Magic is equal in strength to both the Dark and the Light, but that it stands apart and is unaffected by either.

text: High Magic: The most powerful magic, being of the Cosmos. A spell of this type is used by the Old Ones in Greenwitch to be able to communicate with Tethys, the Queen of the Sea, and plead for her help in obtaining the scroll that will help translate the writing on the Grail. In The Grey King, Will Stanton and Bran Davies obtain the Harp of Gold from a place guarded by the High Magic after being tested by a Lord of the Dark, a Lord of the Light, and a Lord of the High Magic.

text: Miscellaneous[edit]

text: Old Speech: This is the spoken form of the ancient language of the Old Ones. When an Old One comes to power, this language is used instinctively by the Old One when speaking to members of the Light or the Dark. Will Stanton begins to do this without even realizing it. When an Old One speaks the Old Speech in front of a normal human, it will sound like gibberish. Some agents of the Dark, such as the Rider, can also speak Old Speech, but with a distinctive accent which gives them away to the Old Ones.

text: Rhymes[edit]

text: Small rhyming prophecies serve to guide the protagonists throughout the series. Science Fiction author and filker Julia Ecklar has set these rhyming prophecies to music, and the resulting song, also called "The Dark Is Rising", won the 1997 Pegasus Award for Best Sorcery Song.[7]

text: Works in the series[edit]

text: Over Sea, Under Stone[edit]

text: The characters in this book, which was published several years before the others, are younger than those in the rest of the series, and the issues are presented as less cosmic. Overall the book is aimed at younger readers more than the other four books in the series.

text: In this tale, Susan Cooper introduces the audience to Merriman, a pivotal character for the forces of the Light and also ties him with Simon, Jane and Barney Drew, three young mortal children, in a quest by the sea which will lead them over sea and under stone to find a grail of legend to help the Light in its struggle against the Dark.

text: The Dark Is Rising[edit]

text: In this second book, Will Stanton begins to have strange experiences on his 11th[b] birthday, just before Christmas. He soon learns he is one of the Old Ones, a guardian and warrior for the Light. He learns that he must help find the four Things of Power for the Light in order to battle the forces of the Dark. The first of these Things of Power is the Circle of Six Signs. This book is the key book for the main character, Will Stanton. It is in this book that he collects the six signs which become the Circle of Signs, one of the Things of Power, by finding the additional five mandalas (he has been given one earlier) and uses the completed Circle to ward off the forces of the Dark. The book features elements of English folklore that are especially associated with the Thames Valley, with Herne the Hunter making an appearance.

text: The Dark is Rising was one American Library Association Newbery Honor Book in 1974. Based on a 2007 online poll, the U.S. National Education Association named it one of "Teachers' Top 100 Books for Children".[8] In 2012 it was ranked number 22 among all-time children's novels in a survey published by School Library Journal, a monthly with primarily U.S. audience.[9]

text: Greenwitch[edit]

text: This story returns to the characters introduced in Over Sea, Under Stone, uniting them with Will Stanton, and involves a quest for magic from beneath the sea.

text: Jane Drew witnesses the creation of a ritualistic offering known as the 'Greenwitch', and senses both great power and great sadness in it. She wishes that the Greenwitch could be happy, and that wish has important consequences later when it turns out that the Greenwitch possesses something that will unlock the secrets of the Grail.

text: Karen Patricia Smith has written, "Greenwitch, the third book in the series, is quite different in mood from the earlier books. In this dreamlike novel set in Cornwall, magic often occurs during the hours of darkness and yet readers are not left with the feeling that experiences have been merely imagined. The Greenwitch, a figure created by village women, comes into possession of a great secret coveted by the powers of Light and Dark. Young Jane's innocence moves the creature to release the secret. Jane is an interesting figure because at first she appears to be a rather flat character who reacts according to convention. Yet as the story progresses, we learn that even those who are skilled and knowledgeable in fighting the powers of the Dark are powerless in this instance. Ironically it is Jane who is successful, not through dramatic means, but rather through communicating her compassion for the Greenwitch."[10]

text: The Grey King[edit]

text: In this book, Will is sent to Wales to recuperate after an illness. Here he meets Bran, the Pendragon, son of King Arthur, and befriends him. He must also awaken the Sleepers to fight the Dark.

text: The Grey King was awarded the 1976 Newbery Medal.

text: Welsh folklore figures strongly in the book.

text: Silver on the Tree[edit]

text: All of the main characters from the other books in the sequence come together in this book, some meeting for the first time, and the current struggle between the Light and the Dark is resolved. After the Light wins the battle, Bran is offered a chance to rejoin his father, but chooses to give up his immortality to stay with his friends and his mortal adoptive father. All immortal characters except Will Stanton leave the Earth forever. All the mortal characters lose all memory of any dealings with magic and the Old Ones, though the Drews and Bran have snatches of something come back to them in dreams.

text: One reviewer for The Junior Bookshelf offered a mixed review: "One of the difficulties lies in accepting that apparently very ordinary children have a special destiny. This is the major obstacle to the acceptance of Narnia. Four at least of the Six who have the duty of holding back the Dark do not seem up to the task. Time switches too, although handled skilfully enough, are not always easy to swallow. Where Miss Cooper excels is in the management of setting... The writer captures the smell of the countryside... Miss Cooper shows how fine her observation is and her ability to convey its tingling reality. Perhaps, now that the Dark has been put finally to flight, she will pursue this aspect of her art."[11]

text: Fantasy scholar Carole Scott remarks how, in one chapter of this novel, "the power of evil is presented in modern dress through a bigoted Englishman's outburst of racial prejudice directed against an immigrant of color."[12]

text: Locations[edit]

text: Nearly all the locations mentioned in the books are based on real places. Over Sea, Under Stone and Greenwitch are set in Trewissick, which is based on a village in southern Cornwall called Mevagissey. Susan Cooper used to visit Mevagissey as a child. The Dark Is Rising is set in the part of Buckinghamshire where Cooper grew up: Huntercombe is based on the small village of Dorney, and the Great Hall is Dorney Court. The Welsh setting in The Grey King and Silver on the Tree is the area around Aberdyfi, the village where Cooper's grandmother was born and where her parents lived.

text: Critical reception[edit]

text: John Clute wrote in The Encyclopedia of Fantasy, "The overall tale evolves – not without occasional narrative confusion when time paradoxes and puzzles must be confronted – towards a guardedly affirmative climax in which it seems that the various young protagonists plus Bran Davies (King Arthur's son) may succeed in staving off entropy and totalitarianism."[13]

text: Karen Patricia Smith wrote, "Susan Cooper has come to be recognized as a major author of books for children and young adults. Her first work for children, Over Sea, Under Stone came as a response to a contest designed to honor the memory of E. Nesbit. Cooper's major contribution to date has been The Dark Is Rising series, which greatly expands the mythical theme suggested in Over Sea, Under Stone and reveals Cooper's extraordinary prowess as an author of fantasy... The shadowy aspect of the conflict and the inability to 'read' clearly the motivations of some of the characters are areas in which Cooper has been criticized. However, I feel that the ambiguity of protagonists and antagonists is a deliberate literary device. Rather than succumbing to artistic flaw, Cooper goes beyond the conventional expectations of her readers by inviting them to glimpse the complex, the unexplainable, and often the threatening aspects of mankind's nature. By offering the thesis that the human psyche may manifest itself in explicit actions or present itself in a mysterious and often frustrating manner, Cooper exceeds the traditional presentations of good versus evil often found in fantasy literature."[10]

text: Mary Corran has written, "Cooper's scholarly knowledge of legend, and skill in drawing together all the complexities of the five books into a triumphant finale, produce an epic of great power. There are differences in quality in the novels--Greenwitch...is perhaps the weakest, and The Dark Is Rising and The Grey King the strongest; Silver on the Tree, while suitably life-affirming in its conclusion, is slightly preachy, but that is a natural hazard of the subject matter. Cooper deals with the innate antagonism between mortals and immortals impressively, and in The Grey King reaches great heights as she mingles the worlds and peoples of legend and the present day. The sequence is a remarkable achievement, and Cooper's gifts for description and characterization provide additional pleasure to novels already replete with intellectual enjoyment."[14]

text: Joel Chaston writes, "Among Cooper's books for children, the Dark Is Rising series is her masterwork. The five novels in it are rich with symbolism and poetic passages. The Dark Is Rising, perhaps the best single book of the series, certainly rivals and sometimes surpasses the work of the major fantasy writers--with whose work it is frequently compared."[5]

text: Amelia A. Rutledge says that the series "integrates the traditional lore of the British Isles with modern concerns. Her work, although commercially designated for a younger audience, exemplifies sophisticated mythopoeic writing not limited to that age group and is one of the major contributions to Arthurian fantasy of the 1970s."[15]

text: Professor Michael D. C. Drout argues that Cooper makes greater "use of Anglo-Saxon source materials" than other critics have identified: "Cooper's uses of Anglo-Saxon sources are allusions that fit into a schema of history rather than (in the words of one reviewer) being merely tossed "pell-mell" into the mythical pot... It is Cooper's Anglo-Saxonism, I argue, which generates the notions of British national identity explicated in the novels, notions that contradict the author's overt political stance. In addition, Cooper's particular version of Anglo-Saxonism, with its strong focus on teaching and learning, is isomorphic to the ideology of adult/child power relations represented in the novels, an ideology that puts great weight on the value of obedience to authority. Adult/child power relations are both replicated and reinforced by two other sets of opposed terms: British/non-British and supernatural/mundane, and all of these terms are finally subsumed in Cooper's Manichaean binary, Light/Dark, leading to a closed symbolic economy which exalts personal obedience to authority and views Anglo-Saxons and their ideologies—as they were for the Venerable Bede in A.D. 771—as clearly on the side of the angels."[16]

text: The New York Times Book Review wrote of the novel The Dark Is Rising, "This is a muscular fantasy... The writing is robust, but noticeably better out of human time than at the Stanton hearth: as if the author's style, too, had experienced a salutary, magical translation... The fantastic style is virile and, for all its paraphernalia, spare. Susan Cooper's vocabulary is athletic; the complications are dense. Her book seems to have been prepared for a special small age group: those who can read with fluency and attention, but who haven't yet been afflicted by adolescent cynicism."[17]

text: Film adaptation[edit]

text: Following the successful film adaptations of other fantasy classics, it was announced in 2005 that the Dark Is Rising series was being developed as a major motion picture. The Seeker was a joint venture between 20th Century Fox and Walden Media. John Hodge wrote the screenplay and the film was directed by David L. Cunningham and produced by Marc E. Platt. Ian McShane played the role of Merriman Lyon while Alexander Ludwig played the young Will Stanton as an American. Frances Conroy and Christopher Eccleston (as The Rider)[1] also star. Filming began in February 2007 in Bucharest, Romania. The film was released on 5 October 2007, in the United States and the U.K. It was not successful.

text: Screenwriter Hodge made substantial changes to the novel's plot, tone, and characters. For example, to differentiate him from Harry Potter, the film version of Will Stanton is a 13- to 14-year-old[b] American living in Britain. Hodge also felt that the "lyrical, poetic, kaleidoscopic fashion" of the book could not be filmed and felt compelled to add action for Will where "he doesn't actually do very much."[18][19]

text: Cooper was disappointed by changes in the screenplay from the book and requested that some be undone. For example, she considers it crucial that Will is only 11 because that is before puberty.[18] The film portrays, and one of its trailers featured, Will as an adolescent teased for and preoccupied with his shyness and inexperience with girls.[19]


document_title: Les Misérables (2012 film)

question_text: who played marius in les miserables movie 2012

root

text: Les Misérables (2012 film)

text: Plot[edit]

text:
In 1815, French prisoner Jean Valjean is released on parole from the Bagne of Toulon after serving nineteen years for stealing a loaf of bread and trying to escape multiple times. On the outside, Valjean’s anger rises as his paroled status prevents him from getting work or accommodation.
He is offered shelter by the kindly Bishop of Digne, but Valjean steals his silverware. Captured by police and taken to the Bishop, Valjean is shocked when the Bishop answers he offered him the silver, telling him to use it to do something worthwhile with his life. Valjean decides to break his parole and start a new life.

tag: p

text:
Eight years later in 1823, Valjean is now a respected factory owner and mayor of Montreuil, Pas-de-Calais.
He is shocked when Javert, formerly a Toulon prison guard, arrives as his new chief of police. Javert suspects Valjean’s real identity when he rescues an injured worker trapped under a heavy cart.
One of Valjean’s workers, Fantine, is dismissed by the factory foreman upon learning she has an illegitimate daughter Cosette, who she left to live with the greedy innkeepers, the Thénardiers, and sends all her earnings to.
To support her daughter, Fantine sells her hair, her teeth, becomes a prostitute and is arrested by Javert when she attacks an abusive customer. Valjean, learning who she is, rescues her and takes her to the hospital.

text:
Valjean later learns that a man has been wrongly identified as him, and decides to reveal his true identity to the court - before returning to the dying Fantine, promising to care for Cosette.
Javert arrives to arrest Valjean but he escapes, finds Cosette and pays Fantine’s debts to the Thénardiers. Valjean and Cosette flee from Javert, hiding in a convent, aided by the worker Valjean rescued before.

text:
Nine years later, Valjean has become a philanthropist and helps the poor in Paris. General Lamarque, the only government official sympathetic to the poor, dies, and a group of revolutionists called the Friends of the ABC plot to rebel against the monarchy.
Marius Pontmercy, a member of the Friends, encounters Cosette and they fall in love. He asks Éponine, the Thénardiers’ daughter, to help find her. They finally meet and confess their love, leaving Éponine sad as she's also in love with Marius.

text: Thénardier plans on robbing Valjean's house, but they are stopped by Éponine. Valjean, afraid Javert could be near, makes plans to flee to England with Cosette. Cosette leaves a letter for Marius, but Éponine finds it and hides it from him.

text:
During Lamarque’s funeral procession, the revolt begins and barricades are built across Paris. Javert pretends to be an ally to spy on the rebels but the street urchin Gavroche exposes him as a policeman. During the first skirmish against the soldiers, Éponine takes a bullet for Marius and dies in his arms, giving him Cosette’s letter and confessing her love.
Marius' answer to Cosette is intercepted by Valjean, who joins the revolution to guard Marius.

text: Valjean offers to execute Javert but actually releases him, faking his death. By dawn, the soldiers are close to ending the revolution, storming the students’ barricade and execute everyone save Marius and Valjean, who escape into the sewers. Thénardier comes across Valjean and the unconscious Marius, stealing the latter’s ring, before pointing a way out. Valjean finds Javert waiting for him, ignoring his nemesis’ threats. Javert, morally confused by the mercy of Valjean, commits suicide by throwing himself in the Seine. Marius recovers but is traumatised by the death of his friends.

text:
Marius and Cosette are reunited but Valjean, concerned his presence would threaten their happiness, makes plans to leave and reveals his story to Marius, who promises to remain silent.
Cosette and Marius marry but the Thénardiers crash the wedding reception to try and blackmail Marius with Thénardier saying that he witnessed Valjean carrying a murdered corpse and shows the stolen ring. Marius recognizes it as his own and understands that Valjean saved him that night. Marius forces Thénardier to reveal where Valjean is before leaving with Cosette, with the Thenardiers thrown out of the wedding afterwards.

text: Cosette and Marius reunite with the dying Valjean at the convent. Valjean gives them letters of confession before dying peacefully, and his spirit is guided away by the spirits of Fantine and the Bishop to join the spirits of Eponine, Gavroche and the Friends of the ABC in the afterlife.

text: Cast[edit]

text:
Hugh Jackman as Jean Valjean, a Frenchman released from Toulon prison after 19 years of imprisonment for stealing bread and failed attempts at escaping from the prison.[13] Around June 2011, Jackman met with producer Cameron Mackintosh to audition in New York.[14] To prepare for the role, Jackman lost 15 pounds (6.8 kg) and later regained 30 pounds (14 kg) to mirror his character's success.[14] He avoided drinking coffee, warmed up at least 15 minutes every day, kept Ricola lozenges, drank as much as seven litres of water per day, sat in steam three times a day, took cold baths and used a wet washcloth over his face while flying, citing the musical's original co-director Trevor Nunn for his training.[15] He worked extensively with vocal coach Joan Lader, and managed to extend his vocal range, which he originally categorised a high baritone, up to tenor.[16]
Russell Crowe as Javert, a police inspector dedicating his life to imprisoning Valjean once again.[13] Before being cast as Javert, Crowe was initially dissatisfied with the character. On his way to Europe for a friend's wedding, Crowe came to London and met with producer Cameron Mackintosh. On meeting with Tom Hooper, he told the director about his concerns about playing Javert, and after meeting with him, Crowe was "determined to be involved in the project and play Javert. I think it had something to do with Tom's passion for what he was about to undertake, and he clearly understood the problems and he clearly understood the challenge."[17] On visiting Victor Hugo's home in Paris, Crowe said, "[The house's curator] told me about [19th century detective Eugene Francois] Vidocq, a man who had been both a prisoner and a policeman, the man credited with inventing undercover police work when he established the Brigade de Surete."[14]
Anne Hathaway as Fantine, the mother of Cosette and a struggling factory worker, who resorts to prostitution.[18][19][20] Fantine is  When Hathaway was cast, she stated, "There was resistance because I was between their ideal ages for the parts—maybe not mature enough for Fantine but past the point where I could believably play Cosette."[14]
Amanda Seyfried as Cosette, the illegitimate daughter of Fantine, who is kept by the Thénardiers until Valjean buys her from them. On developing Cosette, Seyfried said, "In the little time that I  had to explain Cosette and give the audience a reason [to see her] a symbol of love and strength and light in this tragedy, I needed to be able to convey things you may not have connected with in the show."[21] A vocal coach was enlisted to help her with the songs.[22] Isabelle Allen plays Cosette, as a child.[23] On working with her fellow actors, Allen said, "They gave us lots of tips and mostly [made] sure we were all OK. They were really nice."[24]
Eddie Redmayne as Marius Pontmercy, a student revolutionary who is friends with the Thenardiers' daughter, Éponine, but falls in love with Cosette.[25][26][27] He found director Hooper's vision "incredibly helpful". On collaborating with Hooper, Redmayne said, "He was incredibly collaborative. Certainly during the rehearsal process, we sat with Tom and the Victor Hugo book adding things."[28] It was Redmayne who suggested to Hooper that his character's song, "Empty Chairs at Empty Tables", should begin a cappella in order to better express Marius' guilt and pain.
Helena Bonham Carter and Sacha Baron Cohen as the Thénardiers, a pair of swindling innkeepers.[29][30][31] Hooper previously collaborated with Bonham Carter in The King's Speech, in which she portrayed Queen Elizabeth, King George VI's wife.[32] Baron Cohen and Bonham Carter previously co-starred in the film adaptation of the musical Sweeney Todd: The Demon Barber of Fleet Street. When Baron Cohen accepted the role of Thénardier, he had to abandon Django Unchained.[33]
Samantha Barks as Éponine, the Thénardiers' daughter.[34] Having previously played the role at the 25th Anniversary concert and in the West End production, Barks said "there was similarities in playing the role—they're the same character—but Eponine in the novel and Eponine in the musical are two kind of different girls, so to me it was the thrill of merging those two together, to get something that still had that heart and soul that we all connect to in the musical, but also the awkward, self-loathing teenager that we see in the novel, trying to merge those two together." She found Jackman "fascinating to learn from, and I feel like that's the way it should be done".[35]
Aaron Tveit as Enjolras, the leader of Les Amis de l'ABC. Hoping to play Marius, Tveit submitted an audition tape in which he sang  "Empty Chairs at Empty Tables" and "In My Life". He had never performed any role in the musical. He also said of Enjolras that "once I got more and more familiar with the material and when I read the novel, I was like, 'Wow this is a really, really great role,' and I felt very much better suited for it." Tveit said the shooting of the film was "almost as grueling as a marathon".[36]
Daniel Huttlestone as Gavroche, the wise and heroic street boy, who displays a fresh, lucid and ironical look over the French society. He had performed the same role at the Queen's Theatre in London, where he stayed with the show for 1 year, before being casted for reprising it in the present film. His performance was praised both by public and critics, some of whom see him as a real scene-stealer.

tag: ul

text: Colm Wilkinson and Frances Ruffelle, two of the original cast members involved in the Broadway and West End productions of the English version (as Jean Valjean and Éponine, respectively), make appearances. Wilkinson plays the Bishop of Digne, while Ruffelle plays a prostitute.[37] Hadley Fraser, who previously played Grantaire in the 25th Anniversary Concert and Javert at West End, appears as the Army General. Another West End actor, Gina Beck, appears as one of the "Turning Women". Michael Jibson plays the foreman of the factory in which Fantine works and is fired from.[31]

text: Several actors in the West End production of the musical appear as members of the student society, including George Blagden as Grantaire;[38] Killian Donnelly as Combeferre; Fra Fee as Courfeyrac; Alistair Brammer as Jean Prouvaire; Hugh Skinner as Joly;[39] Gabriel Vick as Feuilly;[40] Iwan Lewis as Bahorel; and Stuart Neal as Bossuet. Blagden was cast in January 2012.[41] Other stage actors including Hannah Waddingham, Daniel Evans and Kerry Ellis have small parts in the film along with actors who previously starred in various productions of Les Misérables.[31][42]

text: Musical numbers[edit]

text: A highlights soundtrack album was released via Universal Republic 21 December 2012.[43]  Republic Records confirmed 25 January 2013, via Twitter that a 2-disc deluxe soundtrack was in production alongside the DVD and Blu-ray; it was released 19 March 2013.[44]

text: The film contains every song from the original stage musical with the exception of "I Saw Him Once" and "Dog Eats Dog", although many songs have been partially or extensively cut. "The Attack on Rue Plumet" and "Little People" were especially shortened. In addition, the Bishop sings with Fantine during "Valjean's Death" instead of Eponine, as was in the stage musical. "Stars" was also moved to before "Look Down", which echoes the original 1985 London production. The lyrics of some songs were also changed to suit the changes in setting or narrative to the stage musical. In addition to the cuts, a new song, "Suddenly" was added, new music was composed for the battle scenes, and the order of several songs changed from the stage musical. Several major pieces, primarily as "Who Am I?", "Stars", and the two "Soliloquy" pieces are performed in a different key than most recordings.

text:
"Look Down" – Convicts, Javert, Valjean†§
"The Bishop" – Bishop of Digne†§
"Valjean's Soliloquy" – Valjean†§
"At the End of the Day" – Poor, Foreman, Workers, Factory Women, Fantine, Valjean†§
"The Runaway Cart" – Valjean, Javert
"The Docks (Lovely Ladies)" – Sailors, Old Woman, Fantine, Crone, Whores, Pimp, Toothman§
"I Dreamed a Dream" – Fantine†§
"Fantine's Arrest" – Bamatabois, Fantine, Javert, Valjean§
"Who Am I?" – Valjean§
"Fantine's Death" – Fantine, Valjean§
"The Confrontation" – Javert, Valjean†§
"Castle on a Cloud" – Young Cosette, Mme. Thénardier†§
"Master of the House" – Thénardier, Mme. Thénardier, Inn Patrons†§
"The Well Scene" – Valjean, Young Cosette§
"The Bargain" – Valjean, Thénardier, Mme. Thénardier§
"The Thénardier Waltz of Treachery" – Thénardier, Valjean, Mme. Thénardier, Young Cosette§
"Suddenly" – Valjean†§
"The Convent" – Valjean§
"Stars" – Javert§
"Paris/Look Down" – Gavroche, Beggars, Enjolras, Marius, Students§
"The Robbery" – Thénardier, Mme. Thénardier, Éponine, Valjean§
"Javert's Intervention" – Javert, Thénardier§
"Éponine's Errand" - Éponine, Marius
"ABC Café/Red and Black" – Students, Enjolras, Marius, Grantaire, Gavroche†§
"In My Life" – Cosette, Valjean, Marius, Éponine§
"A Heart Full of Love" – Marius, Cosette, Éponine†§
"The Attack on Rue Plumet" – Thénardier, Thieves, Éponine, Valjean
"On My Own" – Éponine†§
"One Day More" – Valjean, Marius, Cosette, Éponine, Enjolras, Javert, Thénardier, Mme. Thénardier, Cast of Les Misérables†§
"Do You Hear the People Sing?" – Enjolras, Marius, Students, Beggars§
"Building the Barricade (Upon These Stones)" – Enjolras, Javert, Gavroche, Students§
"Javert's Arrival" – Javert, Enjolras§
"Little People" – Gavroche, Students, Enjolras, Javert§
"A Little Fall of Rain" – Éponine, Marius§
"Night of Anguish" – Enjolras, Marius, Valjean, Javert, Students
"Drink With Me" – Grantaire, Marius, Gavroche, Students†§
"Bring Him Home" – Valjean†§
"Dawn of Anguish" – Enjolras, Marius, Gavroche, Students§
"The Second Attack (Death of Gavroche)" – Gavroche, Enjolras, Students, Army Officer§
"The Sewers" – Valjean, Javert§
"Javert's Suicide" – Javert†§
"Turning" – Parisian women§
"Empty Chairs at Empty Tables" – Marius†§
"A Heart Full of Love [Reprise]" – Marius, Cosette, Valjean, Gillenormand§
"Valjean's Confession" – Valjean, Marius§
"Suddenly [Reprise]" – Marius, Cosette§
"Wedding Chorale" – Chorus, Marius, Thérnardier, Mme. Thérnardier§
"Beggars at the Feast" – Thénardier, Mme. Thénardier§
"Valjean's Death" – Valjean, Fantine, Cosette, Marius, Bishop of Digne†§
"Do You Hear the People Sing? [Reprise] / Epilogue" – The Cast of Les Misérables†§

tag: ol

text:
† Included on the highlights edition soundtrack
§ Included on the deluxe edition soundtrack

text: Production[edit]

text: Development[edit]

text: Following the release of Les Misérables (1980), a French sung-through concept album by Alain Boublil and Claude-Michel Schönberg based on the novel of the same name by Victor Hugo, the musical premiered at the Palais des Sports in Paris in 1980. The English-language West End theatre production opened at the Barbican Arts Centre on 8 October 1985. The subsequent Broadway production opened at the Broadway Theatre on 12 March 1987 and closed at the Imperial Theatre on 18 May 2003 after 6,680 performances.[45] In 1988, Alan Parker was considered to direct a film adaptation of the Les Misérables musical.  In 1991, Bruce Beresford signed on to be the film's director.[46]

text: In 1992, producer Cameron Mackintosh announced that the film would be co-produced by TriStar Pictures.[47] However, the film was abandoned. In 2005, Mackintosh later confirmed that interest in turning the musical into a film adaptation had resumed during the early months of that year. Mackintosh said that he wanted the film to be directed by "someone who has a vision for the show that will put the show's original team, including [Mackintosh], back to work." He also said that he wanted the film audiences to make it "fresh as the actual show".[48]

text: In 2009, producer Eric Fellner began negotiations with Mackintosh to acquire the film's rights and concluded it near the end of 2011.  Fellner, Tim Bevan, and Debra Hayward engaged William Nicholson to write a screenplay for the film.[14] Nicholson wrote the draft within six weeks time.[14]

text: The DVD/Blu-ray release of Les Misérables: 25th Anniversary Concert confirmed an announcement of the musical's film adaptation.[49]

text: Pre-production[edit]

text: In March 2011, director Tom Hooper began negotiations to direct Les Misérables from the screenplay by William Nicholson.[50] Production on the film officially began in June that year, with Cameron Mackintosh and Working Title Films co-producing. Having already approached Hooper prior to production with the desire of playing Jean Valjean, Hugh Jackman began negotiations to star in the film alongside Paul Bettany as Javert.[51][52] Other stars who became attached to the project included Hathaway and Helena Bonham Carter.[53]

text: In September 2011, Jackman was officially cast as Jean Valjean and Russell Crowe was cast as Javert.[54] The following month, Mackintosh confirmed that Fantine would be played by Hathaway. Before Hathaway was cast, Amy Adams, Jessica Biel, Tammy Blanchard, Kristin Kreuk, Marion Cotillard, Kate Winslet and Rebecca Hall were also considered for the part.[55] For the role, Hathaway allowed her hair to be cut short on camera for a scene in which her character sells her hair, stating that the lengths she goes to for her roles "don't feel like sacrifices. Getting to transform is one of the best parts of [acting]."[56] The role also required her to lose 25 pounds (11 kg).[14]

text: In addition to Hathaway’s weight loss, Hugh Jackman also lost an extreme amount of weight for the opening scene as Jean Valjean when he is imprisoned in a labor camp. To achieve an emaciated look, Jackman committed to a minimalistic diet and intense work outs. In an interview with Epix, Jackman revealed that he went on 45 minute morning runs on an empty stomach which Hathaway later used as a weight loss tactic with Jackman's help, and he went on a 36-hour liquid fast. This allowed him to rapidly lose ten pounds and caused his eyes and cheeks to sink severely.[57] With these efforts, Jackman was able to successfully look unrecognizable as Jean Valjean in the opening scene.

text: In November 2011, Eddie Redmayne joined the cast as Marius Pontmercy.[25] It was reported that the shortlist of actresses for the role of Éponine included Scarlett Johansson (who also auditioned for the role of Fantine), Lea Michele, Tamsin Egerton, Taylor Swift, and Evan Rachel Wood.[58][59]

text: In January 2012, the press reported that the role of Éponine had officially been offered to Taylor Swift, but Swift later stated that those reports were not entirely accurate.[60][61][62][63] At the end of the month, Mackintosh made a special appearance during the curtain call of the Oliver! UK tour at the Palace Theatre, Manchester, announcing that the tour's Nancy, Samantha Barks, who had played Éponine in the West End production and in the 25th Anniversary concert, would reprise the role in the film.[34] Barks had been auditioning for 15 weeks by that point.[64]

text: Originally, an unknown was sought for the role of Cosette, with an open casting call in New York City in December 2011.[65] In January 2012, reports surfaced that Amanda Seyfried had been offered the role instead.[66] Eddie Redmayne confirmed both Seyfried's casting and that of Bonham Carter as Madame Thénardier in an interview on 12 January.[18] Hooper confirmed that he would stick to the musical's essentially sung-through form and would thus introduce very little additional dialogue.[27] Hooper confirmed that the film would not be shot in 3D, expressing his opinion that it would not enhance the emotional narrative of the film and would distract audiences from the storytelling.[67]

text: Following this announcement, reports surfaced in the press that Sacha Baron Cohen had begun talks to join the cast as Thénardier and that Aaron Tveit had been cast as Enjolras.[68][69] Later that month, the press officially confirmed Tveit's casting as Enjolras.[19][20] Colm Wilkinson and Frances Ruffelle (the original Valjean and Éponine, respectively, in the West End and Broadway productions) appeared in the film. Wilkinson played the Bishop of Digne, and Ruffelle had a cameo as a prostitute.[37] George Blagden was cast as Grantaire.[38] In an interview with BBC Radio 4's Front Row, Tom Hooper revealed that Claude-Michel Schönberg will be composing one new song and additional music. The director also expanded on the performers singing live on set, which he felt would eliminate the need to recapture "locked" performances and allow more creative freedom. More details of this were confirmed by Eddie Redmayne in an interview. He stated that the cast would sing to piano tracks (via earpiece) and that the orchestra would be added in post-production.[70]

text: In February 2012, casting auditions involving extras for the film took place at the University of Portsmouth and Chatham Maritime in Chatham.[71] Several days later, Mackintosh officially confirmed that Bonham Carter would play Madame Thénardier.[30] He also announced that the title of the newly created song for the film is "Suddenly" and that it "beautifully explains what happens when Valjean takes Cosette from the inn and looks after her."[72] At the end of the month, The Sun reported that the long-rumoured Baron Cohen had been cast in the role of Monsieur Thénardier.[73]

text: The cast began rehearsals in January 2012, with principal photography due to begin in March.[74] The press officially confirmed Baron Cohen's casting during the latter month.[31] No table read took place before filming.[22]

text: Filming[edit]

text: With a production budget of $61 million,[7] principal photography of the film began 8 March 2012 in Gourdon. Filming locations in England included Boughton House, Winchester College, Winchester Cathedral Close, Her Majesty's Naval Base Portsmouth, Chatham Dockyard,[75] St Mary the Virgin Church, Ewelme, South Oxfordshire[76] and Pinewood Studios.[9][77][78][79] In April 2012, crews built a replica of the Elephant of the Bastille in Greenwich.[80][81] In the novel, Gavroche lives in the decaying monument.

text: On-location filming also took place at Gourdon, Alpes-Maritimes in France. Footage of Hathaway singing "I Dreamed a Dream", a song from the musical, was shown at CinemaCon 26 April 2012.  Russell Crowe confirmed 5 June 2012, on Twitter that he had finished filming. He was later followed by Samantha Barks, confirming that all of her scenes had too been completed. Jackman stated that all filming had been completed 23 June 2012.[82] Some late filming occurred in Bath, Somerset, in October 2012 where stunt shots for Javert's suicide scene had to be reshot due to an error found with this footage during post-production. Bath was not the original filming location for this scene, but the late footage was captured at Pulteney Weir.[83]

text: Post-production[edit]

text: The film's vocals were recorded live on set using live piano accompaniments played through earpieces as a guide, with the orchestral accompaniment recorded in post-production, rather than the traditional method where the film's musical soundtracks are usually pre-recorded and played back on set to which actors lip-sync. Production sound mixer Simon Hayes used 50 DPA 4071 lavalier microphones to record the vocals.[84] Hooper explained his choice:

text:
“

I just felt ultimately, it was a more natural way of doing it. You know, when actors do dialogue, they have freedom in time, they have freedom in pacing. They can stop for a moment, they can speed up. I simply wanted to give the actors the normal freedoms that they would have. If they need a bit for an emotion or a feeling to form in the eyes before they sing, I can take that time. If they cry, they can cry through a song. When you're doing it to playback, to the millisecond you have to copy what you do. You have no freedom in the moment – and acting is the illusion of being free in the moment.[85]

”

tag: table

text: Although this unique live recording method has been stated as "a world's first" by the creative team, several film musicals have used this method before, including early talkies, as lip-syncing wasn't perfected, the 1975 20th Century Fox film At Long Last Love, the adaptation of The Magic Flute that same year, and more recently in the 1995 adaptation of The Fantasticks, portions of the 1996 adaptation of Andrew Lloyd Webber's Evita, in the 2001 film version of Hedwig and the Angry Inch, and in the 2007 film Across the Universe with songs by The Beatles.

text: Producers announced 27 August 2012, that recording sessions for Les Misérables would begin in London 10 October and featured a 70-piece orchestra. They also announced that composer Claude-Michel Schönberg was composing additional music to underscore the film.[86]  Universal Studios executives were granted a viewing of the rough cut of the film 9 September 2012, without the orchestra tracks. They greeted the cut with "extreme excitement".

text: Distribution[edit]

text: Marketing[edit]

text: The film's first teaser trailer debuted online 30 May 2012, and later in theatres with Snow White and the Huntsman, The Bourne Legacy and Argo.[87]

text: Producers released an extended first look on the film's official Facebook page 20 September 2012. This short introduces and explains Hooper's method of recording vocals live on set, comparing it to the traditional method of pre-recording the vocals in a studio months in advance. Hugh Jackman stated that filming in this way allows him more creative freedom with the material and that he "only has to worry about acting it." Both Hooper and the actors believe that this choice of production method will make the film feel much more emotional, raw, and real. The actors praised Hooper for his method and provide brief interviews throughout the video. Hooper mentions, "I thought it was an amazing opportunity to do something genuinely groundbreaking."[88]

text: Clips of Jackman, Hathaway, Seyfried, Redmayne and Barks singing were received very positively, especially the teaser trailer's presentation of "I Dreamed a Dream" by Hathaway. Producers released a new poster, featuring young Cosette (in what is essentially a real-life version of the musical's emblem), played by Isabelle Allen, 24 September 2012, on the film's official Facebook page.[89] They released posters featuring Jean Valjean, Javert, Fantine, and Cosette 12 October,[90] with additional posters of Thénardiers and Marius released 1 November 2012.

text: Release[edit]

text: Les Misérables was originally to be released 7 December 2012 before the studio moved it to 14 December in the United States; however, 18 September 2012, they delayed the film's release date to 25 December, so as not to conflict with the opening of The Hobbit: An Unexpected Journey, which opened 14 December. Because of this, it opened alongside Django Unchained.[10] Release date for the United Kingdom was 11 January 2013.[91]

text: Les Misérables was screened for the first time at Lincoln Center in New York City, 23 November 2012, and received a standing ovation from the crowd.[92][93] This was followed by a screening the next day in Los Angeles, which also received positive reviews.[94]

text: Les Misérables premiered 5 December 2012, at the Empire, Leicester Square in London.[2] Red carpet footage was screened live online in an event hosted by Michael Ball, the original Marius of the West End. The film was released in select IMAX theatres in New York, Los Angeles, Toronto, and Montreal the same day as its domestic theatrical release, 25 December 2012.[95] Les Misérables was released internationally by IMAX theatres on 10 January 2013.[95] The film was distributed by Universal Pictures in North America, Latin America and most of Europe, and Toho (through Toho-Towa) in Japan.

text: Home media[edit]

text: The film was confirmed for home release 13 May 2013 on DVD, Blu-ray, and VOD in the United Kingdom; it was released in the United States 22 March 2013. The DVD contains three featurettes: The Stars of Les Misérables, Creating the Perfect Paris, and The Original Masterwork: Victor Hugo's Les Misérables, along with an audio commentary from director Tom Hooper. The Blu-ray has all DVD features including four additional featurettes: Les Misérables Singing Live, Battle at the Barricade, The West End Connection, and Les Misérables On Location.[96]

text: Reception[edit]

text: Box office[edit]

text: Les Misérables earned $148,809,770 in North America and $293,000,000 in other territories for a worldwide total of $441,809,770.[8] In North America, Les Misérables opened 25 December 2012 in 2,808 theatres, placing first at the box office with $18.1 million.[97] This amount broke the record for the highest opening day gross for a musical film, previously held by High School Musical 3: Senior Year, and was also the second highest opening day gross for a film released on Christmas Day.[98] It earned $27.3 million in its opening weekend, placing third behind Django Unchained and The Hobbit: An Unexpected Journey.[99]

text: The film was released in the United Kingdom 11 January 2013 and earned £8.1 ($13.1) million in its opening weekend, making it the largest opening weekend for a musical film, as well as for Working Title.[100]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 69% approval rating with an average rating of 6.9/10, based on an aggregation of 238 reviews. The site's consensus reads: "Impeccably mounted but occasionally bombastic, Les Misérables largely succeeds thanks to bravura performances from its distinguished cast."[101] On Metacritic, the film achieved an average score of 63 out of 100 based on 41 reviews, signifying "generally favorable reviews".[102] The film was generally praised for its acting and ensemble cast, with Jackman, Hathaway, Bonham Carter and Barks being singled out for praise. The live singing, which was heavily promoted in marketing for the film, received a more divided response.

text: Robbie Collin of The Daily Telegraph gave the film five stars: "Les Misérables is a blockbuster, and the special effects are emotional: explosions of grief; fireballs of romance; million-buck conflagrations of heartbreak. Accordingly, you should see it in its opening week, on a gigantic screen, with a fanatical crowd."[103]

text: The Guardian's Peter Bradshaw concurred: "Even as a non-believer in this kind of "sung-through" musical, I was battered into submission by this mesmeric and sometimes compelling film ...".[104] Kenneth Turan of Los Angeles Times gave a positive review, saying that the film "is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir."[105] Peter Travers of Rolling Stone said, "Besides being a feast for the eyes and ears, Les Misérables overflows with humor, heartbreak, rousing action and ravishing romance. Damn the imperfections, it's perfectly marvelous."[106]

text: Todd McCarthy of The Hollywood Reporter said, "As the enduring success of this property has shown, there are large, emotionally susceptible segments of the population ready to swallow this sort of thing, but that doesn't mean it's good."[107]

text: Manohla Dargis of The New York Times wrote: "[Director Tom] Hooper can be very good with actors. But his inability to leave any lily ungilded—to direct a scene without tilting or hurtling or throwing the camera around—is bludgeoning and deadly. By the grand finale, when tout le monde is waving the French tricolor in victory, you may instead be raising the white flag in exhausted defeat."[108]

text: Justin Chang of Variety wrote that the film "will more than satisfy the show's legions of fans." Chang praised the performances of Jackman, Hathaway, Barks, Tveit and Seyfried (i.e., every leading cast member except Crowe and Redmayne) but said that the film's editing "seems reluctant to slow down and let the viewer simply take in the performances."[109]

text: Callum Marsh of Slant Magazine gave the film 1 star, and wrote: "Flaws—and there are a great many that would have never made the cut were this a perfectible studio recording—are conveniently swept under the rug of candid expression ... the worst quality of Les Misérables's live singing is simply that it puts too much pressure on a handful of performers who frankly cannot sing.... Fisheye lenses and poorly framed close-ups abound in Les Misérables, nearly every frame a revelation of one man's bad taste ... One would be hard-pressed to describe this, despite the wealth of beauty on display, as anything but an ugly film, shot and cut ineptly. Everything in the film, songs included, is cranked to 11, the melodrama of it all soaring. So it's odd that this kind of showboating maximalism should be ultimately reduced to a few fisheye'd faces, mugging for their close-up, as the people sing off-key and broken."[110] Chicago Tribune critic Michael Philips gave the film only one and a half stars, writing: "The camera bobs and weaves like a drunk, frantically. So you have hammering close-ups, combined with woozy insecurity each time more than two people are in the frame. ...too little in this frenzied mess of a film registers because Hooper is trying to make everything register at the same nutty pitch."[111]

text: Some specific performances were reviewed very positively. Anne Hathaway's performance of ballad "I Dreamed a Dream" was met with praise, with many comparing its showstopper-like quality to Jennifer Hudson's performance of "And I Am Telling You I'm Not Going" from Dreamgirls.[112] Christopher Orr of The Atlantic wrote that "Hathaway gives it everything she has, beginning in quiet sorrow before building to a woebegone climax: she gasps, she weeps, she coughs. If you are blown away by the scene—as many will be; it will almost certainly earn Hathaway her first Oscar—this may be the film for you."[113] Ann Hornaday of The Washington Post writes that "The centerpiece of a movie composed entirely of centerpieces belongs to Anne Hathaway, who as the tragic heroine Fantine sings another of the memorable numbers".[114] Joy Tipping of The Dallas Morning News described Hathaway's performance as "angelic".[115]

text: Claudia Puig of USA Today describes her as "superb as the tragic Fantine".[116] Travers felt that "A dynamite Hathaway shatters every heart when she sings how 'life has killed the dream I dreamed.' Her volcanic performance has Oscar written all over it."[106] Lou Lumenick, critic for New York Post, wrote that the film is "worth seeing for Hathaway alone".[117] She was widely considered to be the frontrunner for the Academy Award for Best Supporting Actress,[118] ultimately winning it.

text: Eddie Redmayne also received considerable praise for his performance with Bloomberg News saying that "Eddie Redmayne—most recently seen as the eager young production assistant in My Week with Marilyn—delivers by far the most moving and memorable performance in the film as the young firebrand Marius, who, along with his fellow students, is caught up in France's political upheavals in the 19th century."[119]

text: Samantha Barks earned praise for her portrayal of Éponine, with Digital Journal saying: "Samantha Barks plays Éponine with such grace, sweetness, and sadness that it is hard to imagine anyone else in the role",[120] while Claudia Puig of USA Today calls her "heartbreakingly soulful",[116] Richard Roeper of Chicago Sun-Times describes her performance as "star-making",[121] and Roger Friedman of Showbiz411.com says she "just about steals the film".[122]

text: Crowe's performance was less well received and even Crowe agreed that the film suffered from poor vocal performances. Emma Gosnell, writing for The Daily Telegraph, stated that she walked out of the showing due to the poor singing, specifically citing Crowe and Jackman as the cause. Playback singer Marni Nixon said "[Crowe] was nothing. It wasn't that he was choosing to sing like that, he just couldn't do anything else" and that Jackman acted well but "could have done with a nobler voice".[123] American Idol runner-up Adam Lambert tweeted several disparaging messages, including "why not cast actors who could actually sound good?" and "the singing was so distracting at times it pulled me out", to which Crowe replied via Twitter: "I don't disagree with Adam, sure it could have been sweetened, Hooper wanted it raw and real, that's how it is".[124] Nixon rebutted this: "We're talking about a musical. Is that real? People don't go around singing 'La la la la' to each other all day!"[123]

text: In 2013, the film was nominated for eight Academy Awards, including the Best Picture, Best Actor in a Leading Role for Hugh Jackman,[125] and went on to win in three categories: Best Supporting Actress for Anne Hathaway, Best Makeup and Hairstyling, and Best Sound Mixing.

text: Accolades[edit]

text:
Award

Date of ceremony

Category

Nominee

Result

Ref

Academy Awards

24 February 2013

Best Picture

Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh

Nominated

[125]

Best Actor

Hugh Jackman

Nominated

Best Supporting Actress

Anne Hathaway

Won

Best Original Song

"Suddenly" by Claude-Michel Schönberg, Herbert Kretzmer, and Alain Boublil

Nominated

Best Costume Design

Paco Delgado

Nominated

Best Makeup and Hairstyling

Lisa Westcott and Julie Dartnell

Won

Best Sound Mixing

Andy Nelson, Mark Paterson, and Simon Hayes

Won

Best Production Design

Production Design: Eve Stewart; Set Decoration: Anna Lynch-Robinson

Nominated

American Film Institute

11 January 2013

Movies of the Year

Won

[126]

Australian Academy of Cinema and Television Arts Award

28 January 2013

Best International Film

Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh

Nominated

[127]

Best International Actor

Hugh Jackman

Nominated

British Academy Film Award

10 February 2013

Best Film

Nominated

[128]

Best British Film

Nominated

Best Actor in a Leading Role

Hugh Jackman

Nominated

Best Actress in a Supporting Role

Anne Hathaway

Won

Best Cinematography

Danny Cohen

Nominated

Best Costume Design

Paco Delgado

Nominated

Best Makeup and Hair

Lisa Westcott

Won

Best Sound

Simon Hayes, Andy Nelson, Mark Paterson, Jonathan Allen, Lee Walpole, and John Warhurst

Won

Best Production Design

Eve Stewart and Anna Lynch-Robinson

Won

Broadcast Film Critics Association Awards

10 January 2013

Best Film

Nominated

[129]

Best Acting Ensemble

The Cast of Les Misérables

Nominated

Best Actor

Hugh Jackman

Nominated

Best Supporting Actress

Anne Hathaway

Won

Best Director

Tom Hooper

Nominated

Best Song

"Suddenly"

Nominated

Best Cinematography

Danny Cohen

Nominated

Best Art Direction

Eve Stewart and Anna Lynch-Robinson

Nominated

Best Editing

Chris Dickens and Melanie Oliver

Nominated

Best Costume Design

Paco Delgado

Nominated

Best Makeup

Lisa Westcott

Nominated

Chicago Film Critics Association

17 December 2012

Best Supporting Actress

Anne Hathaway

Nominated

[130]

Best Art Direction

Eve Stewart and Anna Lynch-Robinson

Nominated

Most Promising Performer

Samantha Barks

Nominated

Directors Guild of America Award

2 February 2013

Outstanding Directorial Achievement in Motion Pictures

Tom Hooper

Nominated

Dorian Awards

17 January 2013

Film of the Year

Nominated

[131][132]

Film Performance of the Year - Actor

Hugh Jackman

Nominated

Film Performance of the Year - Actress

Anne Hathaway

Won

Visually Striking Film of the Year

Nominated

Golden Globe Award

13 January 2013

Best Motion Picture – Musical or Comedy

Won

[133]

Best Actor – Motion Picture Musical or Comedy

Hugh Jackman

Won

Best Supporting Actress – Motion Picture

Anne Hathaway

Won

Best Original Song

"Suddenly"

Nominated

Grammy Awards

26 January 2014

Best Compilation Soundtrack for Visual Media

Cameron Mackintosh, Lee McCutcheon, and Stephan Metcalfe

Nominated

[134]

Hollywood Film Festival

23 October 2012

Best Trailer

Erin Wyatt

Won

[135]

Producer of the Year

Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh

Won

Spotlight Award

Samantha Barks

Won

Houston Film Critics Society

5 January 2013

Best Picture

Nominated

Best Director

Tom Hooper

Nominated

Best Actor

Hugh Jackman

Nominated

Best Supporting Actress

Anne Hathaway

Won

Best Cinematography

Danny Cohen

Nominated

Best Original Song

"Suddenly"

Won

5th Annual Lancashire Film Critics Awards

30 March 2013

Best Film

Won

[136]

Best Director

Tom Hooper

Won

London Film Critics Circle

20 January 2013

British Film of the Year

Nominated

Actor of the Year

Hugh Jackman

Nominated

Supporting Actress of the Year

Anne Hathaway

Won

Young British Performer of the Year

Samantha Barks

Nominated

Los Angeles Film Critics Association

9 December 2012

Best Supporting Actress

Anne Hathaway(also for The Dark Knight Rises)

Nominated

MTV Movie Awards

14 April  2013

Best Female Performance

Anne Hathaway

Nominated

[137]

Best Breakthrough Performance

Eddie Redmayne

Nominated

Best Musical Moment

Anne Hathaway

Nominated

New York Film Critics Circle Award

3 December 2012

Best Supporting Actress

Anne Hathaway(also for The Dark Knight Rises)

Nominated

New York Film Critics Online

3 December 2012

Movies of the Year

Won

Best Supporting Actress

Anne Hathaway

Won

Producers Guild of America Award

26 January 2013

Best Theatrical Motion Picture

Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh

Nominated

[138]

Satellite Award

16 December 2012

Best Film

Nominated

[139]

Best Cast – Motion Picture

The Cast of Les Misérables

Won

Best Actor – Motion Picture

Hugh Jackman

Nominated

Best Supporting Actor – Motion Picture

Eddie Redmayne

Nominated

Best Supporting Actress – Motion Picture

Anne Hathaway

Won

Samantha Barks

Nominated

Best Art Direction and Production Design

Eve Stewart and Anna Lynch-Robinson

Nominated

Best Costume Design

Paco Delgado

Nominated

Best Editing

Chris Dickens and Melanie Oliver

Nominated

Best Original Song

"Suddenly"

Won

Best Sound

John Warhurst, Lee Walpole, and Simon Hayes

Won

Saturn Awards

26 June 2013

Best Action / Adventure

Nominated

[140]

Best Actor

Hugh Jackman

Nominated

Best Supporting Actress

Anne Hathaway

Nominated

Best Performance by a Younger Actor

Daniel Huttlestone

Nominated

Best Costume

Paco Delgado

Won

Best Production Design

Eve Stewart

Nominated

Screen Actors Guild Award

27 January 2013

Outstanding Performance by a Cast in a Motion Picture

The Cast of Les Misérables

Nominated

[141]

Outstanding Performance by a Male Actor in a Leading Role

Hugh Jackman

Nominated

Outstanding Performance by a Female Actor in a Supporting Role

Anne Hathaway

Won

Outstanding Performance by a Stunt Ensemble in a Motion Picture

Nominated

Washington D.C. Area Film Critics Association

10 December 2012

Best Film

Nominated

[142]

Best Acting Ensemble

The Cast of Les Misérables

Won

Best Actor

Hugh Jackman

Nominated

Best Supporting Actress

Samantha Barks

Nominated

Anne Hathaway

Won

Best Director

Tom Hooper

Nominated

Best Art Direction

Eve Stewart and Anna Lynch-Robinson

Nominated

Best Cinematography

Danny Cohen

Nominated

Young Artist Award

5 May 2013

Best Performance in a Feature Film - Supporting Young Actor

Daniel Huttlestone

Nominated

[143]

Best Performance in a Feature Film - Supporting Young Actress Ten and Under

Isabelle Allen

Won


document_title: Tema Metropolis District

question_text: how many communities do we have in tema

question_tokens: how many communities do we have in tema

text: Tema Metropolis District

text:
Tema Metropolis District

Region

Greater Accra Region

District type

Metropolitan

District Chief Executive

Sheike I.C Quaye

Capital

Tema

Area

565 km²

Population

—

ISO 3166

GH-AA-TE

text: The Tema Metropolis Assemy made up of four districts  (Tema East, Tema South, Tema West and Tema North) is one of the ten (10) districts in the Greater Accra Region of Ghana. Its capital is Tema. This metropolis is grouped into twenty-six communities. The most popular and busiest communities are Communities 1, 2, 4, 7, 8, 9, 13 (Sakumono), 18,19 and 20.


document_title: Boundary (cricket)

question_text: who hit 6 sixes in 6 balls in cricket

question_tokens: who hit 6 sixes in 6 balls in cricket

text: Boundary (cricket)

text: Edge of the field[edit]

text: The boundary is the edge of the playing field, or the physical object marking the edge of the field, such as a rope or fence. In low-level matches, a series of plastic cones are often used. Since the early 2000s the boundaries at professional matches are often a series of padded cushions carrying sponsors' logos strung along a rope. If it is moved during play (such as by a fielder sliding into the rope) the boundary is considered to remain at the point where that object first stood.

text: When the cricket ball is inside the boundary, it is live. When the ball is touching the boundary, grounded beyond the boundary, or being touched by a fielder who is himself either touching the boundary or grounded beyond it, it is dead and the batting side usually scores 4 or 6 runs for hitting the ball over the boundary. Because of this rule, fielders near the boundary attempting to intercept the ball while running or diving, often flick the ball back in to the field of play rather than pick it up directly, because their momentum could carry them beyond the rope while holding the ball. They then return to the field to pick the ball up and throw it back to the bowler.

text: A law change in 2010 declared that a fielder could not jump from behind the boundary and, while airborne, parry the ball back on to the field.[1][2]

text: Scoring runs[edit]

text: A boundary is the scoring of four or six runs from a single delivery with the ball reaching or crossing the boundary of the playing field. Occasionally there is an erroneous use of the term boundary as a synonym for a "four". For example, sometimes commentators say such as "There were seven boundaries and three sixes in the innings." The correct terminology would be "There were ten boundaries in the innings of which seven were fours and three were sixes".

text: Four runs are scored if the ball bounces before touching or going over the edge of the field and six runs if it does not bounce before passing over the boundary in the air. These events are known as a four or a six respectively.  When this happens the runs are automatically added to the batsman's and his team's score and the ball becomes dead. If the ball did not touch the bat or a hand holding the bat, four runs are scored as the relevant type of extra instead; six runs cannot be scored as extras, even if the ball clears the boundary, which is in any case extremely unlikely. Prior to 1910, six runs were only awarded for hits out of the ground.[3]

text: Four runs (or more) can also be scored by hitting the ball into the outfield and running between the wickets.  Four runs scored in this way is referred to as an 'all run four' and is not counted as a boundary.

text: Four runs are scored as overthrows if a fielder gathers the ball and then throws it so that no other fielder can gather it before it reaches the boundary. In this case, the batsman who hit the ball scores however many runs the batsmen had run up to that time, plus four additional runs, and it is counted as a boundary. If the ball has not come off the bat or hand holding the bat, then the runs are classified as 'extras' and are added to the team's score but not to the score of any individual batsman.

text: The scoring of a four or six by a good aggressive shot displays a certain amount of mastery by the batsman over the bowler, and is usually greeted by applause from the spectators.  Fours resulting from an edged stroke, or from a shot that did not come off as the batsman intended, are considered bad luck to the bowler.  As a batsman plays himself in and becomes more confident as his innings progresses, the proportion of his runs scored in boundaries often rises.

text: An average first-class match usually sees between 50 and 150 boundary fours.[citation needed]  Sixes are less common, and usually fewer than 10 (and sometimes none) will be scored in the course of a match (especially a Test match).

text: Records[edit]

text: Sixes[edit]

text: The record for most sixes in a Test match innings is 12, which was achieved by Pakistani all-rounder Wasim Akram during an innings of 257 not out against Zimbabwe in October 1996 at Sheikhupura. The One Day International record for most sixes hit in an innings is held by Rohit Sharma who hit 16 sixes against Australia in Bengaluru on 2 November 2013 in his innings of 209 off 158 balls.

text: Brendon McCullum currently holds the record for most sixes in a Test career with 107.[4] Shahid Afridi holds the record for most sixes in an ODI career (351 in 398 matches, 369 innings, on his retirement).[5]

text: Shahid Afridi holds world record for most sixes in ODIs.

text: The record for the most sixes in a Test match is 27, which occurred during a 2006 Test match between Pakistan and India at the Iqbal Stadium in Faisalabad. In their first innings, Pakistan hit eleven sixes. India hit nine in their first innings. Pakistan hit seven more sixes in their second innings.

text: The record for most sixes in a One Day International is 38, which was achieved in a match between India and Australia at M Chinnaswamy Stadium on 2 November 2013. India and Australia hit 19 sixes each. The equivalent record in Twenty20 Internationals was set on the AMI Stadium, 24 sixes were hit during the Twenty20 International match between India and New Zealand on 25 February 2009.

text: In 2012, during the First Test against Bangladesh in Dhaka, West Indies cricketer Chris Gayle became the first player to hit a six off the first ball in a Test cricket match.[6]

text: 6 sixes in an over[edit]

text: On 31 August 1968, Garfield Sobers became the first man to hit six sixes off a single six-ball over in first-class cricket.[7] The over was bowled by Malcolm Nash in Nottinghamshire's first innings against Glamorgan at St Helen's in Swansea. Nash was a seam bowler but decided to try his arm at spin bowling. This achievement was caught on film.[8]

text: The feat was repeated by Ravi Shastri in January 1985. Playing for Bombay against Baroda at the Wankhede Stadium in Bombay, Shastri hit left-arm spinner Tilak Raj for six sixes in a single over.

text: On 16 March 2007, in a match between South Africa and the Netherlands at the 2007 Cricket World Cup, Herschelle Gibbs became the first person to hit six sixes off an over in a One Day International match. The over was bowled by Dutch leg-spinner Daan van Bunge.[9]

text: On 19 September 2007, in the inaugural 2007 ICC World Twenty20, Indian cricketer Yuvraj Singh hit six sixes off a single six-ball over bowled by Stuart Broad in a match between India and England at Kingsmead Cricket Ground in Durban.

text: On 24 April 2013, in a second XI game for Lancashire against Yorkshire at Scarborough, Jordan Clark hit six sixes off left-arm spinner Gurham Randhawa.[10]

text: On 8 July 2015,  Victorian all-rounder Marcus Stoinis hit part-time medium-pacer Brendan Smith for six sixes in an over on his way to 121 from 73 balls while playing for the National Performance Squad in a 50-over match against a National Indigenous Squad. Smith, captain of the New South Wales under-17s, also sent down a wide meaning his one over of the match went for 37 runs. The game was a non-sanctioned practice match.[11]

text: On 23 July 2017, Worcestershire Rapid's Ross Whiteley hit 6 sixes off six legal deliveries plus one wide to take the total number of runs in that over to 37 off bowler Karl Carver at Headingley. That achievement did not help Worcestershire Rapids beat the Yorkshire Vikings as the Yorkshire Vikings won by 37 runs after David Willey smashed 118.[12]


document_title: List of first black Major League Baseball players

question_text: who was the first black to play major league baseball

text: Overall[edit]

text:
Player
Team
League
Date

Robinson, JackieJackie Robinson †
Brooklyn Dodgers
NL
000000001947-04-15-0000April 15, 1947

Doby, LarryLarry Doby †
Cleveland Indians
AL
000000001947-07-05-0000July 5, 1947

Thompson, HankHank Thompson
St. Louis Browns
AL
000000001947-07-17-0000July 17, 1947

Brown, WillardWillard Brown †
St. Louis Browns
AL
000000001947-07-19-0000July 19, 1947

Bankhead, DanDan Bankhead
Brooklyn Dodgers
NL
000000001947-08-26-0000August 26, 1947

Campanella, RoyRoy Campanella †
Brooklyn Dodgers
NL
000000001948-04-20-0000April 20, 1948

Paige, SatchelSatchel Paige †
Cleveland Indians
AL
000000001948-07-09-0000July 9, 1948

Miñoso, MinnieMinnie Miñoso
Cleveland Indians
AL
000000001949-04-19-0000April 19, 1949

Newcombe, DonDon Newcombe
Brooklyn Dodgers
NL
000000001949-05-20-0000May 20, 1949

Irvin, MonteMonte Irvin †
New York Giants
NL
000000001949-07-08-0000July 8, 1949

Easter, LukeLuke Easter
Cleveland Indians
AL
000000001949-08-11-0000August 11, 1949

Jethroe, SamSam Jethroe
Boston Braves
NL
000000001950-04-18-0000April 18, 1950

Márquez, LuisLuis Márquez
Boston Braves
NL
000000001951-04-18-0000April 18, 1951

Noble, RayRay Noble
New York Giants
NL

Wilson, ArtieArtie Wilson
New York Giants
NL

Simpson, HarryHarry Simpson
Cleveland Indians
AL
000000001951-04-21-0000April 21, 1951

Mays, WillieWillie Mays †
New York Giants
NL
000000001951-05-25-0000May 25, 1951

Hairston, SamSam Hairston
Chicago White Sox
AL
000000001951-07-21-0000July 21, 1951

Boyd, BobBob Boyd
Chicago White Sox
AL
000000001951-09-08-0000September 8, 1951

Jones, SamSam Jones
Cleveland Indians
AL
000000001951-09-22-0000September 22, 1951

text: Johnny Wright was the second black player signed to a contract by the Dodgers, and was on the roster of the 1946 Montreal Royals at the same time as Jackie Robinson.[1]

text: By team[edit]

text:
Teams are listed by franchise; i.e., teams that relocated to a new city after already breaking the color line are not listed a second time.
Expansion teams that joined the National and American Leagues after 1961 have been integrated from their first game and are not listed.

text:
Player
Team
League
Date[2]

Robinson, JackieJackie Robinson †
Brooklyn Dodgers
NL
000000001947-04-15-0000April 15, 1947

Doby, LarryLarry Doby †
Cleveland Indians
AL
000000001947-07-05-0000July 5, 1947

Thompson, HankHank Thompson
St. Louis Browns
AL
000000001947-07-17-0000July 17, 1947

Thompson, HankHank Thompson
New York Giants
NL
000000001949-07-08-0000July 8, 1949‡

Irvin, MonteMonte Irvin †

Jethroe, SamSam Jethroe
Boston Braves
NL
000000001950-04-18-0000April 18, 1950

Miñoso, MinnieMinnie Miñoso
Chicago White Sox
AL
000000001951-05-01-0000May 1, 1951

Trice, BobBob Trice
Philadelphia Athletics
AL
000000001953-09-13-0000September 13, 1953

Banks, ErnieErnie Banks †
Chicago Cubs
NL
000000001953-09-17-0000September 17, 1953

Roberts, CurtCurt Roberts*
Pittsburgh Pirates
NL
000000001954-04-13-0000April 13, 1954

Alston, TomTom Alston
St. Louis Cardinals
NL
000000001954-04-13-0000April 13, 1954

Escalera, NinoNino Escalera
Cincinnati Reds
NL
000000001954-04-17-0000April 17, 1954

Harmon, ChuckChuck Harmon[3]

Paula, CarlosCarlos Paula
Washington Senators
AL
000000001954-09-06-0000September 6, 1954

Howard, ElstonElston Howard
New York Yankees
AL
000000001955-04-14-0000April 14, 1955

Kennedy, JohnJohn Kennedy
Philadelphia Phillies
NL
000000001957-04-22-0000April 22, 1957

Virgil, Sr., OzzieOzzie Virgil, Sr.[4]
Detroit Tigers
AL
000000001958-06-06-0000June 6, 1958

Green, PumpsiePumpsie Green
Boston Red Sox
AL
000000001959-07-21-0000July 21, 1959

text:
* Major League Baseball recognizes Curt Roberts as the Pirates' first black player, however Carlos Bernier of Puerto Rico, also a black man, debuted on April 22, 1953.[5]
‡ Thompson and Irvin broke in with the Giants during the same game on July 8, 1949. Hank was the starting third baseman, and Monte pinch hit in the eighth.[1]


document_title: List of National Football League annual passing yards leaders

question_text: who led the nfl in passing yards this year

text: Passing yards leaders[edit]

text: Set record*

text:
Year
Player
Yards
Team

1932
Arnie Herber
639*
Green Bay Packers

1933
Harry Newman
973*
New York Giants

1934
Arnie Herber
799
Green Bay Packers

1935
Ed Danowski
794
New York Giants

1936
Arnie Herber
1,239*
Green Bay Packers

1937
Sammy Baugh
1,127
Washington Redskins

1938
Ace Parker
865
Brooklyn Dodgers

1939
Davey O'Brien
1,324*
Philadelphia Eagles

1940
Sammy Baugh
1,367*
Washington Redskins

1941
Cecil Isbell
1,479*
Green Bay Packers

1942
Cecil Isbell
2,021*
Green Bay Packers

1943
Sid Luckman
2,194*
Chicago Bears

1944
Irv Comp
1,159
Green Bay Packers

1945
Sid Luckman
1,727
Chicago Bears

1946
Sid Luckman
1,826
Chicago Bears

1947
Sammy Baugh
2,938*
Washington Redskins

1948
Sammy Baugh
2,599
Washington Redskins

1949
Johnny Lujack
2,658
Chicago Bears

1950
Bobby Layne
2,323
Detroit Lions

1951
Bobby Layne
2,403
Detroit Lions

1952
Otto Graham
2,816
Cleveland Browns

1953
Otto Graham
2,722
Cleveland Browns

1954
Norm Van Brocklin
2,637
Los Angeles Rams

1955
Jim Finks
2,270
Pittsburgh Steelers

1956
Tobin Rote
2,203
Green Bay Packers

1957
Johnny Unitas
2,550
Baltimore Colts

1958
Bill Wade
2,875
Los Angeles Rams

1959
Johnny Unitas
2,899
Baltimore Colts

1960
Johnny Unitas
3,099*
Baltimore Colts

1961
Sonny Jurgensen
3,723*
Philadelphia Eagles

1962
Sonny Jurgensen
3,261
Philadelphia Eagles

1963
Johnny Unitas
3,481
Baltimore Colts

1964
Charley Johnson
3,045
St. Louis Cardinals

1965
John Brodie
3,112
San Francisco 49ers

1966
Sonny Jurgensen
3,209
Washington Redskins

1967
Sonny Jurgensen
3,747*
Washington Redskins

1968
John Brodie
3,020
San Francisco 49ers

1969
Sonny Jurgensen
3,102
Washington Redskins

1970
John Brodie
2,941
San Francisco 49ers

1971
John Hadl
3,075
San Diego Chargers

1972
Joe Namath
2,816
New York Jets

1973
Roman Gabriel
3,219
Philadelphia Eagles

1974
Ken Anderson
2,667
Cincinnati Bengals

1975
Ken Anderson
3,169
Cincinnati Bengals

1976
Bert Jones
3,104
Baltimore Colts

1977
Joe Ferguson
2,803
Buffalo Bills

1978
Fran Tarkenton
3,468
Minnesota Vikings

1979
Dan Fouts
4,082*
San Diego Chargers

1980
Dan Fouts
4,715*
San Diego Chargers

1981
Dan Fouts
4,802*
San Diego Chargers

1982
Dan Fouts
2,883
San Diego Chargers

1983
Lynn Dickey
4,458
Green Bay Packers

1984
Dan Marino
5,084*
Miami Dolphins

1985
Dan Marino
4,137
Miami Dolphins

1986
Dan Marino
4,746
Miami Dolphins

1987
Neil Lomax
3,387
St. Louis Cardinals

1988
Dan Marino
4,434
Miami Dolphins

1989
Don Majkowski
4,318
Green Bay Packers

1990
Warren Moon
4,689
Houston Oilers

1991
Warren Moon
4,690
Houston Oilers

1992
Dan Marino
4,116
Miami Dolphins

1993
John Elway
4,030
Denver Broncos

1994
Drew Bledsoe
4,555
New England Patriots

1995
Brett Favre
4,413
Green Bay Packers

1996
Mark Brunell
4,367
Jacksonville Jaguars

1997
Jeff George
3,917
Oakland Raiders

1998
Brett Favre
4,212
Green Bay Packers

1999
Steve Beuerlein
4,436
Carolina Panthers

2000
Peyton Manning
4,413
Indianapolis Colts

2001
Kurt Warner
4,830
St. Louis Rams

2002
Rich Gannon
4,689
Oakland Raiders

2003
Peyton Manning
4,267
Indianapolis Colts

2004
Daunte Culpepper
4,717
Minnesota Vikings

2005
Tom Brady
4,110
New England Patriots

2006
Drew Brees
4,418
New Orleans Saints

2007
Tom Brady
4,806
New England Patriots

2008
Drew Brees
5,069
New Orleans Saints

2009
Matt Schaub
4,770
Houston Texans

2010
Philip Rivers
4,710
San Diego Chargers

2011
Drew Brees
5,476*
New Orleans Saints

2012
Drew Brees
5,177
New Orleans Saints

2013
Peyton Manning
5,477*
Denver Broncos

2014
Drew Brees
Ben Roethlisberger
4,952
New Orleans Saints
Pittsburgh Steelers

2015
Drew Brees
4,870
New Orleans Saints

2016
Drew Brees
5,208
New Orleans Saints

text: Other leagues[edit]

text: All-America Football Conference (AAFC)[edit]

text:
Year
Player
Yards
Team

1946
Glenn Dobbs
1,886
Brooklyn Dodgers

1947
Otto Graham
2,753
Cleveland Browns

1948
Otto Graham
2,713
Cleveland Browns

1949
Otto Graham
2,785
Cleveland Browns

text: American Football League (AFL)[edit]

text:
Year
Player
Yards
Team

1960
Frank Tripucka
3,038
Denver Broncos

1961
George Blanda
3,330
Houston Oilers

1962
Frank Tripucka
2,917
Denver Broncos

1963
George Blanda
3,003
Houston Oilers

1964
Babe Parilli
3,465
Boston Patriots

1965
John Hadl
2,798
San Diego Chargers

1966
Joe Namath
3,379
New York Jets

1967
Joe Namath
4,007
New York Jets

1968
John Hadl
3,473
San Diego Chargers

1969
Daryle Lamonica
3,302
Oakland Raiders

text: Most Titles[edit]

text:
Titles
Player
Years
Team

7
Drew Brees
2006, 2008, 2011-2012, 2014-2016
New Orleans Saints

5
Sonny Jurgensen
1961-1962, 1966-1967, 1969
Philadelphia Eagles, Washington Redskins

Dan Marino
1984-1986, 1988, 1992
Miami Dolphins

4
Sammy Baugh
1937, 1940, 1947-1948
Washington Redskins

Johnny Unitas
1957, 1959-1960, 1963
Baltimore Colts

Dan Fouts
1979-1982
San Diego Chargers