document_title: Portolá expedition

question_text: who led the first overland expedition to san diego

text: Portolá expedition

text: Background[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2017) (Learn how and when to remove this template message)

text: Although it was already inhabited by Native Americans, the territory that is now California was claimed by the Spanish Empire in 1542 by right of discovery when Juan Rodríguez Cabrillo explored the Pacific Coast of North America. This initial exploration by Cabrillo laid claim to the coastline as far north as forty-two degrees north latitude.[1] This northern limit was later confirmed by the United States in the 1819 Adams–Onís Treaty.

text: A competing claim was established for England by the privateer Francis Drake, who followed the route from the Philippines across the Pacific established by the Manila Galleons, reaching the California coast near Cape Mendocino and sailing south along the coast at least as far as Point Reyes in 1579. In 1596, a Portuguese captain sailing for Spain, Sebastião Rodrigues Soromenho (Spanish: Cermeño) explored some of the same coastline, leaving a description of coastal features. The Portolá expedition carried a copy of Cermeño's writings to guide them along the coast.

text: Cermeño was followed in 1602 by Sebastián Vizcaíno, whose coastal explorations in 1602 surveyed several California locations for future colonization, including San Diego, Santa Barbara and Monterey. Vizcaíno sailed north from Mexico (as Cabrillo had done), a much more difficult undertaking because of the prevailing winds and ocean currents.

text: After Vizcaíno, however, the Spanish Empire did little to protect or settle this region for the next 160 years, and accomplished almost no exploration by land. Affairs in Europe took precedence, keeping all of the maritime powers occupied. The little settlement achieved by Spain was the establishment of several missions on the Baja California peninsula by Jesuit missionaries.

text: Then, in 1767 Carlos III of Spain expelled the Jesuit order from the Spanish kingdom. Gaspar de Portolá was appointed governor of California, sent to dispossess the Jesuits and replace them with Franciscans who would set up their own network of missions in California.[1]

text: Gaspar de Portolá i Rovira[edit]

text: Gaspar came from a military background and immediately before being appointed the new governor of the Californias, he was a captain of the dragoons of the Regiment of Spain. In fact, when he first sailed to Baja California as the new governor he brought with him 25 dragoons and 25 infantrymen in order to help him with his expulsion of the Jesuits and, eventually, the further exploration of the rest of California. His military background would prove to be very helpful during the expedition.[1]

text: Decision to send expedition[edit]

text: By the late 1760s the Spanish king and a handful of other European rulers began to realize the importance the Pacific coast of North America would have in maritime trade and activity. The Russians had been advancing south from their strongholds in present-day Alaska, and the British had been pushing west in Canada and were approaching the Pacific coast. In order to secure Spain’s claims in California, the king wanted to explore and settle the coastline so that he could create a buffer zone to protect Spain's territories from the dangers of invasion.

text: Upon hearing about the king’s desire to explore Alta California, New Spain's visitador (inspector general) José de Gálvez organized the exploratory expedition and placed governor Portolá in overall command. The plan called for a joint land-sea movement up the Pacific coast. The job of the ships was to keep the land contingent supplied with provisions, and to carry communications back and forth. Portola decided to travel by land.

text: The expedition's original assignment was to travel to the "port of Monterey" described by Vizcaino and establish a settlement there.[2] After that, the explorers were to continue north to locate Cermeño's "Bay of San Francisco", chase away any Russians encountered, plant the Spanish flag and determine whether the bay would make a good port.

text: Expedition[edit]

text: Baja California to San Diego[edit]

text: The first leg of the expedition consisted of five groups, all departing from Baja California heading north for San Diego: Three groups traveled by sea, while two other groups traveled by land in mule trains. Three galleons, hastily built in San Blas, set sail for San Diego in early 1769: the San Carlos, captained by Vicente Vila (whose diary survives[3]); the San Antonio, captained by Juan Pérez, a native of Palma de Majorca; and the San José. All three ships, crossing the Gulf of California from San Blas, arrived leaking on the east of coast of Baja, requiring repairs there.[4]

text: Two groups by sea[edit]

text: On the shore of La Paz on January 9, 1769, friar Junípero Serra blessed the flagship San Carlos and its chaplain, friar Fernando Parrón. José de Gálvez, addressing the men waiting to board, declared their final destination as Monterey, their mission to plant the holy cross among the Indians. Then friar Parrón boarded the San Carlos along with captain Vicente Vila, lieutenant of the royal navy — followed by lieutenant Pedro Fages with his 25 Catalan volunteers; cartographer Miguel Costansó, who made maps and drawings to describe the journey; surgeon Pedro Prat; and a crew of 23 sailors, plus two blacksmiths, two boys, four cooks, and mate Jorge Estorace — 62 in all.[5] Weighing anchor, the San Carlos headed south down the Gulf of California, to round Cabo San Lucas and then head north along the Pacific coast.[6]

text: On February 15, Gálvez dispatched the San Antonio, captained by Juan Pérez, from Cabo San Lucas; Franciscan friars Juan Vizcaíno and Francisco Gómez served as chaplains. With sailors plus cooks, carpenters and blacksmiths, the San Antonio carried a total of around 30 men. These ships left ahead of the land groups. The San Carlos and San Antonio were followed by an additional supply ship, the San José. The San José — named after the patron saint of the Portolá expedition, Saint Joseph — never reached San Diego and was presumed lost at sea.

text: Two groups by land[edit]

text: Captain Fernando Rivera, moving north through Baja California, gathered horses and mules from the fragile chain of Catholic missions to supply his overland expedition. José de Gálvez had ordered Rivera to requisition horses and mules from the missions without endangering their survival and give the friars receipts for the number of animals taken; those missions would later get restocked with animals brought over from the Mexican mainland. Friar Juan Crespí, selected as chaplain for the Rivera party and diarist for the Franciscan missionaries, traveled 24 days from Mission La Purísima, 400 miles (640 km) north to Velicatá (near the current town of Ramona), then the northern frontier of Spanish settlement in Baja California. There Crespí met up with the Rivera party, which set out from Velicatá on March 24. Their mule and horse train, tended by three muleteers, carried 25 leather-jacket soldiers and 42 Baja California Christian Indians (all men).[7]

text: Portolá himself led the second group, which set out from Loreto on March 9. Junípero Serra, assigned by José de Gálvez to head the Franciscan missionary team into Alta California, joined the Portolá party as chaplain and diarist. But the 55-year-old Serra suffered a chronic infection of his left foot and leg, which Portolá believed had now become cancerous. He tried to dissuade Serra from joining the expedition. But Serra refused to withdraw: He told Portolá to go ahead, saying he would follow and meet up with Portolá on the frontier. Meanwhile, Serra assigned friar Miguel de la Campa from mission San Ignacio to join the Portolá party.[8] The party, driving a supply train and food animals, included 25 leather-jacket soldiers under sergeant José Francisco Ortega; muleteers; artisans; and 44 Christian Indians from Baja California, acting as servants and interpreters to communicate with Indians along the way. This group traveled slower than the Rivera party.[9] Serra, trekking much of the way on a broken-down mule, finally caught up with Portolá, friar De la Campa and other members of their party on May 5, just south of Velicatá. Following the trail blazed by the Rivera party, and less burdened by livestock, the Portolá party moved somewhat faster. Even so, they had an arduous trek over deserts and through ravines.[4]

text: Arrival in San Diego[edit]

text: The ships arrived in San Diego first: the San Antonio on April 11 and the San Carlos on April 29, 1769. Many crew members on both ships had fallen ill — especially from scurvy — during their voyages. On May 1, lieutenant Pedro Fages, engineer Miguel Costansó, and mate Jorge Estorace came ashore from their anchorage in San Diego Bay, along with 25 soldiers and sailors still healthy enough to work. Searching for a source of fresh water and helped by Indians they encountered, they found a suitable river about nine miles northeast. Moving their ships as close as possible, they set up a camp on the beach, surrounding it with an earthen parapet with two cannons mounted. From their ships' sails and awnings they made two large hospital tents, as well as tents for the officers and friars. Then they moved the sick men to shore and settled them into the camp. The number of men engaged in those arduous labors diminished daily due to illness. Nearly all medicines and stored food had been consumed on the long voyages. Doctor Pedro Prat — himself weakened by scurvy — gathered medicinal herbs in the fields and desperately tried to cure the ill men. Heat scorched them by day, cold stung them by night. Two or three men died every day, until the combined sea expedition — which had started with over 90 men — had shrunk to eight soldiers and eight sailors.[10]

text: Captain Rivera's column arrived on May 14, having trekked 300 miles (480 km) in 50 days from Velicatá[11] without losing a single man or having a sick one — although with their food rations drastically reduced. Rivera's men moved the camp slightly inland near the San Diego River, building the new camp on a hill now known as Old Town. They erected a stockade and mounted a cannon on land that later became the Presidio of San Diego.[12]

text: The commanding officers prepared to dispatch the San Antonio back to Mexico, to report to viceroy De Croix and visitador Gálvez about the expedition. On July 1, just as the ship was about to sail, the Portolá/Serra party arrived in San Diego in good health, with 163 mules loaded with supplies. Desiring to push the sea expedition north to Monterey — as Gálvez had instructed — Portolá offered captain Vicente Vila of the San Carlos 16 of his own men to work the ship on its voyage to Monterey. But Vila had lost all his ship's officers, his boatswain, coxswain of the launch and storekeeper — and none of the men offered by Portolá had experience as sailors. Vila refused to sail under such conditions. So Portolá decided to place all available sailors aboard the San Antonio, which set out for San Blas on July 9, with a very small crew.[13] Carrying important letters from Serra, Portolá and others, the San Antonio reached San Blas in just three weeks. On that voyage, several more sailors died.[14]

text: After the four groups had reunited in San Diego, friars Juan Vizcaíno and Fernando Parrón stayed there with Junípero Serra to head the new mission San Diego. Friars Juan Crespí and Francisco Gómez continued north with Portolá. Serra's group aimed to establish Catholic missions to convert the natives of Alta California to Christianity. Crespí was the only one who traveled with the land expedition throughout its travels, so he became the official diarist for the missionaries (Portolá and Costansó also kept diaries). The Franciscans ultimately founded twenty-one missions at or near the Pacific Coast of what is now the state of California, in addition to one mission in Baja California. The string of California missions began at San Diego.

text: San Diego to San Francisco, flummoxed at Monterey (1769)[edit]

text: After two weeks of recuperation, Portolá resumed the northward march to rediscover Vizcaíno's port of Monterey by land, with a party of 74 men: lieutenant Pedro Fages with his Catalan volunteers; leather-jacket soldiers; captain Fernando Rivera; sergeant José Francisco Ortega leading the scouts; engineer and cartographer Miguel Costansó; Baja California Christian Indians; and friars Juan Crespí and Francisco Gómez; the Franciscan missionary college of San Fernando had appointed Crespí official diarist of the expedition. On July 14, 1769, after the friars held a Mass in honor of saint Joseph — patron saint of the Portolá expedition — the Portolá party pulled out of San Diego. Serra stayed behind, as did captain Vicente Vila and the few sailors who remained on the San Carlos.[14] Serra founded mission San Diego in a humble building just two days after the expedition’s departure. While Portolá moved north, more men died in San Diego: Eight soldiers, four sailors, eight Christian Indians, and one servant perished by the time the Portolá party returned six months later.[15]

text: Earthquakes around future Los Angeles[edit]

text: On July 28, the Portolá party reached a major southern California river, which the soldiers called the Santa Ana River. That afternoon they felt a strong earthquake, with aftershocks jolting them over the next few days. On August 2 they traveled west out of San Gabriel Valley, through the hills to a river Crespí named El Río de Nuestra Señora la Reina de los Ángeles de Porciúncula — site of the future pueblo of Los Angeles. They continued moving northwest along a route that would become El Camino Real (royal path or road) in Alta California.

text: Monterey Bay hidden in plain sight[edit]

text: On September 30, as the party camped by a river just south of today's Salinas, scouts ranged west to the coast. They reached Monterey Bay but failed to recognize it as the port described by Vizcaíno 167 years earlier. The rest of the party reached Monterey Bay on October 1 — but still failed to recognize it as their destination, because it did not seem to match the grand scale described by Vizcaíno. Also, Portolá and his hungry men had hoped to find the supply ship San José waiting for them at anchor in their destination harbor of Monterey.[16] They never saw the San José, apparently lost at sea.

text: Its morale waning, the party resumed its march on October 7, reaching the area of Espinosa Lake east of today's Castroville. By then, at least ten of the party were being carried on litters, due to the effects of scurvy.[17]

text: Rounding San Francisco Bay[edit]

text: Portolá and his men continued north along the coast, hoping to find the great port they had now left behind. On October 30, they reached the headlands near today's Moss Beach. Looking into the Pacific Ocean, they could see the Farallon Islands due west — and Drakes Bay curving broadly to Point Reyes across 40 miles (65 km) of open water to the northwest. They mistook Drakes Bay for the bay named by previous naval explorers the "port of San Francisco." The sight convinced some, but not all of them that they had indeed bypassed the port of Monterey.

text: Sergeant Ortega, contacting a group of Indians, thought they were trying to notify him of a ship anchored somewhere up north; for weeks, the men of the expedition had sought desperately for a harbor with a ship laden with food supplies. Heading a party of scouts up and over Montara Mountain, Ortega reached the area now known as Devil's Slide. They found their northward advance blocked by the mouth of a vast bay they could not identify — known today as San Francisco Bay.[18] Ortega and his scouts turned back south along the west shore of the bay, around the southern end and back up the east side. However, they only got as far as present-day Hayward before turning back — because their allotted three days were up. When the scouts returned and described what they had seen, Portolá led the entire party up into the hills, to a place where the entire San Francisco Bay was visible. Only friar Crespí seemed to grasp the importance of the bay, describing it in his diary as "a very large and fine harbor, such that not only all the navy of our Most Catholic Majesty but those of all Europe could take shelter in it."

text: Return trip[edit]

text: On November 11, Portolá convened an officers' council, which agreed unanimously that 1) they must have passed Monterey, 2) it was time to turn around and retrace their steps back to San Diego, and 3) no one would be left behind hoping for a supply ship to arrive. The entire party headed back south.

text: On November 28, the party crossed the Monterey Peninsula south to Carmel Bay. A week later, while waiting for two Baja Christian Indians who got separated from Rivera's group, the expedition leaders discussed their next moves. They still did not believe they had found Vizcaíno's port of Monterey. On December 7, they decided to return to San Diego without waiting any longer for the missing men, or for a supply ship. On December 10, Portolá ordered his men to plant a large wooden cross where passing ships could see it, with a letter describing the expedition's travels buried at its foot. Crespí quoted part of the letter: "The cross was planted on a hill on the edge of the beach of the little bay which lies to the south of Point Pinos (pine-covered headland)."

text: Frustrated in their hunting and fishing efforts, men of the expedition had to eat seagulls and pelicans. On November 30, about a dozen Indians from the interior — apparently Rumsen people — visited, bringing pinole and seeds. The next day the party slaughtered a mule, but not everyone would eat it. The weather turned cold, and snow began to cover the hills.[17]

text: The exhausted men reached San Diego on January 24, 1770 "smelling frightfully of mules," but warmly welcomed by their fellow soldiers and friars. Apart from five men who had apparently deserted, every member of the party had survived their six-month journey. They told of large numbers of friendly Indians who lived along the coast, waiting to receive the Catholic gospel.[19] In total they had traveled around 1,200 miles (1,900 km) and become the first Europeans to survey San Francisco Bay and many other important strategic locations.[2] Yet friar Junípero Serra, who welcomed them back to San Diego, felt dismayed and incredulous that they had not found Monterey Bay. "You come from Rome without having seen the pope," Serra told Portolá.[20]

text: Take 2: San Diego to Monterey (1770)[edit]

text: A second expedition to find Monterey Bay and establish a permanent settlement there took place in 1770. Portolá mustered a new overland party in San Diego, consisting of less than half the number of men he had taken on his first trip to find Monterey. The new party included Pedro Fages with twelve Catalan volunteers, seven leather-jacket soldiers, two muleteers, five Baja Christian Indians, Portolá's servant, and friar Crespí. Rivera had traveled back to Baja California to get supplies. On April 17, the Portolá party left San Diego. Following the same route they had taken the year before, they traveled five weeks with only two days of rest, arriving at Monterey Bay on May 24. They did not lose a single man or suffer any illnesses, except for an eye infection that afflicted Fages and Crespí.[21]

text: That afternoon, Portolá, Crespí and a guard walked over the hills to Point Pinos on the northern tip of the Monterey peninsula, then just south to a hill by the beach where their party had planted a large cross the previous December. They found the cross surrounded by feathers and broken arrows driven into the ground, with fresh sardines and meat laid out before the cross. No Indians were in sight. In the bay waters, hundreds of seals and sea otters splashed and basked in the sun. Crespí wrote: "This is the port of Monterey without the slightest doubt." The three men then walked along the rocky coast south to Carmel Bay. Several Indians approached them, and the two groups exchanged gifts.[22]

text: Meanwhile, on April 16, the San Antonio, captained by Juan Pérez, set sail from San Diego to Monterey. On board were friar Junípero Serra, cartographer Miguel Costansó, and doctor Pedro Prat — along with a stock of supplies for the new mission in Monterey. Buffeted by unfavorable winds, the San Antonio retreated back south to Baja California, then swung as far north as the Farallon Islands, 100 miles (160 km) northwest of Monterey. Several sailors fell sick with scurvy. The San Antonio finally sailed into Monterey Bay on May 31, welcomed by the Portolá party which had arrived a week earlier.[23]

text: They returned to the wooden cross left on a hill the year before, and this time (perhaps on a clearer day) realized that the site did indeed overlook the place Vizcaíno had described. Portolá founded the Presidio of Monterey on that hill, and Serra founded the Mission San Carlos Borromeo (moved to Carmel the next year, a little ways to the south).[24] On July 9, 1770, Portolá and Costansó boarded the San Antonio and sailed out of Monterey Bay, headed back to Mexico.

text: Interactions with Native Americans[edit]

text: For the most part, it was reported that interactions with Native American tribes in Alta California were peaceful and not too much conflict arose. Many were described as welcoming and helpful, as they offered guidance and supplies to the Spanish explorers. Friendly encounters with the native people had been a goal from the onset of the expedition. The Spanish brought many items and trinkets with which they traded for supplies and used to create peaceful relations. The fact that they used space to carry so many glass beads and other items, rather than food or more crucial supplies, in order to pacify the Native Americans shows how committed they were to creating peaceful relationships with the native people.[2] The long-term goal was to create settlements, introduce farming, and convert the inhabitants to Christianity, so it was important that they had peaceful coexistence during the expedition.[2]

text: Legacy[edit]

text: The Portolá expedition was the first land-based exploration by Europeans of what is now California. The expedition's most notable discovery was San Francisco Bay, but nearly every stop along the route was a first. It is also important in that it, along with the later de Anza expedition, established the overland route north to San Francisco which became the Camino Real. That route was integral to the settlement of Alta California by the Spanish Empire, and made it possible for the Franciscan friars to establish a string of twenty-one missions, which served as the nuclei of permanent settlements, established a cattle ranching economy and converted thousands of Native Americans to Christianity.[25]

text: Three diaries written by members of the expedition survive, giving unusually complete insight into the daily movements and experiences: One by Portolá himself,[26] a record by Miguel Costansó, and a diary by Juan Crespí which is the most complete and detailed of the three. The website of the Pacifica Historical Society features a day-by-day account of the expedition, with daily entries from all three diaries.[27]

text: When Portolá returned to Mexico in 1770, Pedro Fages (now promoted to Captain) was appointed Lieutenant Governor of Alta California, with headquarters at the Presidio of Monterey. Fages led further exploratory trips to the east side of San Francisco Bay, and left his own diaries.


document_title: Beauty and the Beast (2017 film)

question_text: who played beast in the new beauty and the beast

root

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: In Rococo-era France, an enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a coldhearted prince, a rose for shelter. When he refuses, she transforms him into a beast and his servants into household objects, and erases the castle from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will never lift unless he learns to love another, and earn their love in return, before the last petal falls.

tag: p

text: Some years later, in the small town of Villeneuve, Belle dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. Lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a birthday gift to Belle. Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process. As Belle nurses his wounds, a friendship develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in Paris, where she discovers a plague doctor mask and realizes that she and her father were forced to leave her mother's deathbed when her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the hermit Agathe, but when he tells the townsfolk of Gaston's crime but is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston claims she has been charmed by dark magic, and has her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Maurice and Belle escape, and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He overpowers Gaston, but spares his life before reuniting with Belle. However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast dies as the last petal falls, and the servants become inanimate. When Belle tearfully professes her love to him, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a young benevolent bibliophile woman who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as Beast, a cold-hearted prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return.[11][12]

Adam Mitchell[3] portrays the younger version of the prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[13]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[14]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[15]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[16]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[17]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[18]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[19]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[13]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[20] Morahan also narrates the prologue.

Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies' death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[21]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[20]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the prince's mother who died of an illness when he was a child.
Dale Branston as Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' mother, an unnamed seamstress.

tag: ul

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[22]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[22]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[23]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[24][25] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[26]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[27] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[28] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[29]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[30] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[31]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[32] She was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[31] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[33][34] and Watson confirmed their casting the following day through tweets.[11][35] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[14][13][17][19][18][15][16][36]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[37] Paige O'Hara voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[38]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[39]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[13][40][41] Filming with the principal actors concluded on August 21.[42][43] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[44]

text: The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.[6]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[22]

text: Music[edit]

text: When released in 1991, Beauty and the Beast, marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[45]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[46] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[47] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[48] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[49]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion—singer of the original 1991 "Beauty and the Beast" duet song, with singer Peabo Bryson—that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[50] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way". She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[51][52][53][54]

text: The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend.[55][56] Grande and Legend's updated version of the title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[57] Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.[58]

text: Emma Thompson also performed a rendition of the title song, which was performed by Angela Lansbury in the original 1991 animated film.[58]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[13] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[59]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, United Kingdom;[60] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[61] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: The movie was re-released in New York and Los Angeles starting December 1, 2017, for an one week engagement. The move is an awards push as awards season heats up.[62]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[63] Following an announcement on May 22, 2016,[64] Disney premiered the first official teaser trailer on Good Morning America the next day.[65] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[66] This record has since been broken by Thor: Ragnarok and It.[67] The first official teaser poster was released on July 7, 2016.[68] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[69][70] One week later, Emma Watson and Disney debuted a new poster for the film.[71] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[72] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[73] This record has since been broken again by The Fate of the Furious.[74] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[75] Disney released the final trailer on January 30, 2017.[76]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[77] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[78] The movie regained the top spot on the national home video sales charts during its third week of release.[79] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $759.4 million in other territories for a worldwide gross of $1.263 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[81] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[82] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[83] It surpassed the entire lifetime total of the original film in just six days.[84][85]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[86] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[87][88][89][90] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[91][92][93] It is currently the highest-grossing film of 2017,[94] the highest-grossing March release,[95] the highest-grossing remake of all-time,[96] and the fifth-biggest Disney film.[97] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[96]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[98][99][100] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[101][102] It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[103] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 p.m.[104] The numbers were considered more impressive given that the film played during a school week.[105]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[106][107] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[108] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[86] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[109] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[110][111] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[112] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[113] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[113] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[109]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and also the second-highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[114] Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[86] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[113] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[115][116] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[115][117]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million).[118] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[119] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[120] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[121] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[81] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[122] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[123] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[124] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[125] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[126] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[127] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[128] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[129][130][131]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[132] the biggest musical film (both animated and live-action),[133] as well as the biggest film of 2017.[134]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book.[135] In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[136] It topped the international box office for three consecutive weekends[137] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[138][93]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[139][140] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[135][136]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[141] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[142] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[143][136] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[144][145][146] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[147] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[148][149][150] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[151]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[152] The original film was, however, never widely popular in the country.[153] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[154] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[155][156] Either ways, it recorded the second-biggest opening for a Disney live-action film,[153] with $3.4 million coming from 386 IMAX screens.[135] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[136] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[157][158] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[159] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[160][161][162] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[163] It topped the box office there for eight consecutive weekends.[164][165]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[135] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[138][166] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[167] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[168] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[157][169] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[164] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[157][160][170]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, the cast's performances, visuals, Jacqueline Durran's costume design, production design, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[9][10] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 304 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[171] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[172] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[173][174]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[175] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[176] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[177]

text: Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[178] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[179] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[180] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[181] James Berardinelli of ReelViews described the 2017 version as "enthralling".[182]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[183] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)".[184] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[185] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[186]

text: Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[187] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[188] Stephen Whitty of the New York Daily News called it "this year's best new old musical" and "the most magical thing of all" while describing Watson's performance of Belle as "breakthrough".[189]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[190] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[191] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[192][193]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he said the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[194] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[195]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[196]

Best Actor in a Movie
Emma Watson
Won

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans
Nominated

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
Nominated
[197]

Best Original Score
Nominated

Best Animation/Family TV Spot
Nominated

Best Fantasy Adventure TV Spot
Nominated

International Online Cinema Awards (INOCA)
July 29, 2017
Best Production Design
Nominated
[198]

Best Original Song
"Evermore" – Alan Menken and Tim Rice
Nominated

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Beauty and the Beast
Won
[199]
[200]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans
Won

Choice Movie Ship
Emma Watson and Dan Stevens
Won

Choice Liplock
Won

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans
Nominated

Dan Stevens
Nominated

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran
Won
[201]

Make-Up & Hair Styling Award
Jenny Shircore
Won

Hollywood Post Alliance (HPA)
November 16, 2017
Outstanding Color Grading – Feature Film
Stefan Sonnenfeld
Nominated
[202]
[203]

Outstanding Visual Effects – Feature Film
Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley, and Framestore
Nominated

Hollywood Music in Media Awards
Best Original Song – Animated Film
"How Does a Moment Last Forever" - Alan Menken and Tim Rice
Nominated
[204]
[205]

Best Original Song – Sci-Fi, Fantasy, Horror Film
Won

"Evermore" – Alan Menken and Tim Rice
Nominated

Best Soundtrack Album
Beauty and the Beast
Nominated

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Dan Stevens
Nominated
[206]

Best Production Design
Sarah Greenwood and Katie Spencer
Nominated

San Diego Film Critics Society
December 11, 2017
Nominated
[207]
[208]

Best Visual Effects
Beauty and the Beast
Runner-up[b]

Best Costume Design
Jacqueline Durran
Won[c]

Best Use of Music
Beauty and the Beast
Nominated

Chicago Film Critics Association
December 12, 2017
Best Art Direction
Sarah Greenwood
Nominated
[209]
[210]

St. Louis Film Critics Association
December 17, 2017
Best Production Design
Nominated
[211]
[212]

Best Visual Effects
Beauty and the Beast
Nominated

Seattle Film Critics Society
December 18, 2017
Best Costume Design
Jacqueline Durran
Pending
[213]

Phoenix Film Critics Society
December 19, 2017
Best Original Song
"Evermore"
Pending
[214]

Best Cinematography
Beauty and the Beast
Pending

Best Production Design
Pending

Best Costume Design
Pending

Los Angeles Online Film Critics Society
January 3, 2018
Best Animated / Visual Effect Performance
Dan Stevens
Pending
[215]

Best Blockbuster
Beauty and the Beast
Pending

Houston Film Critics Society
January 6, 2018
Best Original Song
"Evermore" – Alan Menken and Tim Rice
Pending
[216]

Critics' Choice Movie Awards
January 11, 2018
Best Art Direction
Sarah Greenwood and Katie Spencer
Pending
[217]

Best Costume Design
Jacqueline Durran
Pending

Best Hair & Makeup
Beauty and the Beast
Pending

Best Song
"Evermore"
Pending

NAACP Image Awards
January 15, 2018
Outstanding Supporting Actress in a Motion Picture
Audra McDonald
Pending
[218]

Satellite Awards
February 10, 2018
Best Costume Design
Jacqueline Durran
Pending
[219]

Women Film Critics Circle Awards
TBA
Best Family Film
Beauty and the Beast
Pending
[220]

tag: table

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[221] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you've seen the movie—it's such a tiny thing, and it's been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that's what’s exciting about it.”[222] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[223]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[224] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[225] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[226] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[227][228][229] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[230] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[231][232] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[233]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[234] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[235]

text: The film also received criticsm over its portrayal of LeFou, as many felt that it relied on stereotypes[236] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[237] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[238] Furthermore, the only gay interaction LeFou has is a three second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences.[239]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[240] but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted.[241] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[242][243] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[244]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[245] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[246][247] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version.[248] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[249]

text: Notes[edit]

text:
^ Jump up to: a b Beauty and the Beast at Box Office Mojo. Retrieved August 14, 2017.
Jump up ^ Tied with Dunkirk.
Jump up ^ Tied with Mark Bridges for Phantom Thread.

tag: ol


document_title: Venues of the 2018 Commonwealth Games

question_text: where is the hockey being played at the commonwealth

text: Venues of the 2018 Commonwealth Games

text: Commonwealth Games Athlete’s Village[edit]

text: The 2018 Commonwealth Games Athletes Village provides accommodation and services to 6600 athletes and officials in a purpose built 1252 permanent dwellings: 1170 one and two bedroom apartments and 82 three bedroom townhouses at Southport, Gold Coast.[2][3][4][5][6][7]

text: The 2018 Commonwealth Games Athletes Village was located on 59 hectares at Southport, Gold Coast.[8] which provided accommodation and services to 6,600 athletes and officials in 1252 permanent dwellings. There are 1170 one and two bedroom apartments and 82 three bedroom townhouses which will serve as student accommodation to the nearby Griffith University. It offered services like laundry, refreshments and television and computer spaces and four residential pools. The village consisted a gym which was designed with guidance from the Australian Institute of Sport and equipment and the equipment were sponsored by Technogym. Adjoining the gym was the Athlete Recovery Area which provided services like plunge baths, including accessible baths, saunas, massage and consults from the Sports Medical personnel. The Main Dining served over 18,000 meals per day to the athletes during the games. The village also consisted of retail shops, Optus phone store, salon, bar and a games room which featured a number of arcade games, pool tables and game consoles.[9]

text: Venues[edit]

text:
Venue
Sports
Gross capacity
Type

Carrara Stadium
Athletics, Opening Ceremony, Closing Ceremony[1]
40,000
Upgrade

Robina Stadium
Rugby 7s[1]
27,500
Existing

Gold Coast Aquatic Centre
Swimming, Diving[1]
10,000/2,500
Upgrade

Coomera Sport and Leisure Centre
Gymnastics, Netball (finals)[1]
7,500
New

Gold Coast Convention and Exhibition Centre
Basketball (finals), Netball (preliminaries)[1]
5,000
Existing

Gold Coast Hockey Centre
Hockey[1]
5,000
Upgrade

Carrara Sports and Leisure Centre
Badminton, Powerlifting, Weightlifting, Wrestling[1][10]
5,000
New

Oxenford Studios
Boxing, Table Tennis, Squash[1]
2,500/2,750/3,000
Temporary

Broadbeach Bowls Club
Lawn bowling[1]
2,500
Upgrade

Carrara Indoor Stadium
Weightlifting[1]
2,500
Upgrade

Southport Broadwater Parklands
Marathon, Racewalking, Triathlon[1]
2,500
Temporary

Elanora/Currumbin Valley
Road cycling[1]
N/A
Temporary

Nerang National Park
Mountain Biking[1]
2,000
Upgrade

Queen Elizabeth Park[11]
Beach Volleyball[12]
4,000
Temporary

Venues outside the Gold Coast

Cairns Convention Centre
Basketball (preliminaries)[1]
5,000
Existing

Townsville Entertainment and Convention Centre
Basketball (preliminaries)[1]
5,000
Existing

Anna Meares Velodrome
Track cycling[1]
4,000
New

Belmont, Queensland
Shooting[1]
3,000
Upgrade

text: Main Stadium[edit]

text: Carrara Stadium, located in the suburb of Carrara, is the main venue for Athletics, the Opening Ceremony and the Closing Ceremony.

text: Central Gold Coast City[edit]

text: The Gold Coast City Convention and Exhibition Centre, located in the suburb of Broadbeach, hosts Basketball, Netball and Weightlifting events. The Broadbeach Bowls Club plays host to the Bowls competition. Carrara Stadium hosts the Opening and Closing Ceremonies of the games while also hosting the Athletics events. A new indoor sports venue called the Gold Coast Sports and Leisure Centre (replacing the existing Carrara Indoor Stadium) was constructed close to the athletics warm up track.

text: The Hinze Dam, located in the suburb of Advancetown, is the location for the Mountain Bike competition. A new course was constructed to meet international competition requirements and temporary spectator seating for 2,000 spectators.

text: North Gold Coast City[edit]

text: A new indoor facility in the suburb of Coomera has been built to host Gymnastics and Netball. The existing sound stages of the Village Roadshow Studios complex in the suburb of Oxenford plays host to the sports of Boxing, Table Tennis and Squash. During Games mode the venue has been enhanced to provide for the International Sporting Federation technical venue requirements and provide spectator seating of 3,000 (boxing) and 3,200 (table tennis).

text: The Gold Coast Hockey Centre plays host to the men's and women's Hockey events during the games. The Southport Broadwater Parklands hosts Swimming and Marathon events.

text: South Gold Coast City[edit]

text: Robina Stadium plays host to the Rugby 7s competition and required an upgrade to meet World Rugby standards. The Elanora/Currumbin Valley area hosts the road racing elements of the cycling programme. Both the road race and time trial events start and finish within this area. Queen Elizabeth Park in Coolangatta hosts the beach volleyball event.

text: Outside venues[edit]

text: Brisbane[edit]

text: Brisbane, along with the Gold Coast, forms part of the South East Queensland conurbation. Track Cycling is being held at the Sleeman Sports Complex in the suburb of Chandler, where a new indoor cycling velodrome (Anna Meares Velodrome) was built. The Velodrome seats 4,000 spectators in Games mode and remains as a permanent legacy with reduced seating capacity for the sport of cycling post the Games.

text: The Shooting disciplines are being held at the Belmont Shooting Centre; this incorporates clay target, pistol, small and full bore disciplines.

text: North Queensland[edit]

text: In Tropical North Queensland, the Cairns Convention Centre and Townsville Entertainment Centre plays host to the preliminary rounds of both the men's and women's basketball competitions.


document_title: Eunice (Bible)

question_text: where is the word grandmother used in the bible

text: Eunice (Bible)

text: According to the New Testament, Eunice was the mother of Timothy. Born into the Jewish faith, she and her mother Lois accepted Christianity.

text: She is mentioned only in 2 Timothy 1:5, where the author writes to Timothy, "I am reminded of your sincere faith, a faith that dwelt first in your grandmother Lois and your mother Eunice and now, I am sure, dwells in you as well."(ESV) Many commentators have also connected Eunice to 2 Tim. 3:15, where Timothy is reminded "how from childhood you have been acquainted with the sacred writings".(ESV) Albert Barnes, for example, says, "The mother of Timothy was a pious Hebrewess, and regarded it as one of the duties of her religion to train her son in the careful knowledge of the word of God."[1]


document_title: List of All-Ireland Senior Hurling Championship winners

question_text: when did galway last win the hurling all ireland

text: Winners[edit]

text: Finals[edit]

text:
Season

Province

Winners

Score

Runners-up

Province

Venue

Attendance

Notes

1887

Munster

Tipperary

1-1 : 0-1

Galway

Connacht

Birr Sportsfield, Birr

5,000

1888

n/a

n/a

[nb 1]

1889

Leinster

Dublin

5-1 : 1-6

Clare

Munster

St. Patrick's GAA Field, Dublin

1,500

1890

Munster

Cork

1-6 : 2-2

Wexford

Leinster

Clonturk Park, Dublin

1,000

[nb 2]

1891

Munster

Kerry

2-3 : 1-5

Wexford

Leinster

Clonturk Park, Dublin

2,000

1892

Munster

Cork

2-3 : 1-5

Dublin

Leinster

Clonturk Park, Dublin

5,000

[nb 3]

1893

Munster

Cork

6-8 : 0-2

Kilkenny

Leinster

Phoenix Park, Dublin

1,000

1894

Munster

Cork

5-20 : 2-0

Dublin

Leinster

Clonturk Park, Dublin

2,000

1895

Munster

Tipperary

6-8 : 1-10

Kilkenny

Leinster

Jones' Road, Dublin

8,000

1896

Munster

Tipperary

8-14 : 0-4

Dublin

Leinster

Jones' Road, Dublin

3,500

1897

Munster

Limerick

3-4 : 2-4

Kilkenny

Leinster

Tipperary GAA Field, Tipperary

5,000

1898

Munster

Tipperary

7-13 : 3-10

Kilkenny

Leinster

Jones' Road, Dublin

2,500

1899

Munster

Tipperary

3-12 : 1-4

Wexford

Leinster

Jones' Road, Dublin

3,500

1900

Munster

Tipperary

2-5 : 0-6

London

Britain

Jones' Road, Dublin

8,000

1901

Britain

London

1-5 : 0-4

Cork

Munster

Jones' Road, Dublin

1902

Munster

Cork

3-13 : 0-0

London

Britain

Cork Athletic Grounds, Cork

8,000

1903

Munster

Cork

3-16 : 1-1

London

Britain

Jones' Road, Dublin

1904

Leinster

Kilkenny

1-9 : 1-8

Cork

Munster

Maurice Davin's land, Carrick-on-Suir

1905(R)

Leinster

Kilkenny

3-12 : 5-107-7 : 2-9

Cork

Munster

Fraher Field, Dungarvan

[nb 4]

1906

Munster

Tipperary

3-16 : 3-8

Dublin

Leinster

Nowlan Park, Kilkenny

5,000

1907

Leinster

Kilkenny

3-12 : 4-8

Cork

Munster

Fraher Field, Dungarvan

15,000

1908

Munster

Tipperary

3-15 : 1-5

Dublin

Leinster

Geraldine Park, Athy

1909

Leinster

Kilkenny

4-6 : 0-12

Tipperary

Munster

Cork Athletic Grounds, Cork

11,000

1910

Leinster

Wexford

7-0 : 6-2

Limerick

Munster

Jones' Road, Dublin

1911

Leinster

Kilkenny

3-3 : 1-1

Tipperary

Munster

Fraher Field, Dungarvan

1912

Leinster

Kilkenny

2-1 : 1-3

Cork

Munster

Jones' Road, Dublin

18,000

1913

Leinster

Kilkenny

2-4 : 1-2

Tipperary

Munster

Croke Park, Dublin

12,000

1914

Munster

Clare

5-1 : 1-0

Laois

Leinster

Croke Park, Dublin

1915

Leinster

Laois

6-2 : 4-1

Cork

Munster

Croke Park, Dublin

1916

Munster

Tipperary

5-4 : 3-2

Kilkenny

Leinster

Croke Park, Dublin

5,000

1917

Leinster

Dublin

5-4 : 4-2

Tipperary

Munster

Croke Park, Dublin

1918

Munster

Limerick

9-5 : 1-3

Wexford

Leinster

Croke Park, Dublin

1919

Munster

Cork

6-4 : 2-4

Dublin

Leinster

Croke Park, Dublin

14,300

1920

Leinster

Dublin

4-9 : 4-3

Cork

Munster

Croke Park, Dublin

22,000

1921

Munster

Limerick

8-5 : 3-2

Dublin

Leinster

Croke Park, Dublin

19,000

1922

Leinster

Kilkenny

4-2 : 2-6

Tipperary

Munster

Croke Park, Dublin

26,119

1923

Connacht

Galway

7-3 : 4-5

Limerick

Munster

Croke Park, Dublin

7,000

1924

Leinster

Dublin

5-3 : 2-6

Galway

Connacht

Croke Park, Dublin

9,000

1925

Munster

Tipperary

5-6 : 1-5

Galway

Connacht

Croke Park, Dublin

20,000

1926

Munster

Cork

4-6 : 2-0

Kilkenny

Leinster

Croke Park, Dublin

26,829

1927

Leinster

Dublin

4-8 : 1-3

Cork

Munster

Croke Park, Dublin

23,824

1928

Munster

Cork

6-12 : 1-0

Galway

Connacht

Croke Park, Dublin

15,259

1929

Munster

Cork

4-9 : 1-3

Galway

Connacht

Croke Park, Dublin

14,000

1930

Munster

Tipperary

2-7 : 1-3

Dublin

Leinster

Croke Park, Dublin

21,730

1931(R)(R)

Munster

Cork

1-6 : 1-62-5 : 2-55-8 : 3-4

Kilkenny

Leinster

Croke Park, Dublin

26,46033,12431,935

1932

Leinster

Kilkenny

3-3 : 2-3

Clare

Munster

Croke Park, Dublin

34,392

1933

Leinster

Kilkenny

1-7 : 0-6

Limerick

Munster

Croke Park, Dublin

45,176

1934(R)

Munster

Limerick

2-7 : 3-43-4 : 2-6

Dublin

Leinster

Croke Park, Dublin

34,86730,250

1935

Leinster

Kilkenny

2-5 : 2-4

Limerick

Munster

Croke Park, Dublin

46,591

1936

Munster

Limerick

5-6 : 1-5

Kilkenny

Leinster

Croke Park, Dublin

51,235

1937

Munster

Tipperary

3-11 : 0-3

Kilkenny

Leinster

FitzGerald Stadium, Killarney

67,629

[nb 5]

1938

Leinster

Dublin

2-7 : 3-3

Waterford

Munster

Croke Park, Dublin

37,129

1939

Leinster

Kilkenny

2-7 : 3-3

Cork

Munster

Croke Park, Dublin

39,302

1940

Munster

Limerick

3-7 : 1-7

Kilkenny

Leinster

Croke Park, Dublin

49,260

1941

Munster

Cork

5-11 : 0-6

Dublin

Leinster

Croke Park, Dublin

26,150

1942

Munster

Cork

2-14 : 3-4

Dublin

Leinster

Croke Park, Dublin

27,313

1943

Munster

Cork

5-16 : 0-4

Antrim

Ulster

Croke Park, Dublin

48,843

1944

Munster

Cork

2-13 : 1-2

Dublin

Leinster

Croke Park, Dublin

26,896

1945

Munster

Tipperary

5-6 : 3-6

Kilkenny

Leinster

Croke Park, Dublin

69,459

1946

Munster

Cork

7-5 : 3-8

Kilkenny

Leinster

Croke Park, Dublin

64,415

1947

Leinster

Kilkenny

0-14 : 2-7

Cork

Munster

Croke Park, Dublin

61,510

1948

Munster

Waterford

6-7 : 4-2

Dublin

Leinster

Croke Park, Dublin

61,742

1949

Munster

Tipperary

3-11 : 0-3

Laois

Leinster

Croke Park, Dublin

67,168

1950

Munster

Tipperary

1-9 : 1-8

Kilkenny

Leinster

Croke Park, Dublin

67,629

1951

Munster

Tipperary

7-7 : 3-9

Wexford

Leinster

Croke Park, Dublin

68,515

1952

Munster

Cork

2-14 : 0-7

Dublin

Leinster

Croke Park, Dublin

71,195

1953

Munster

Cork

3-3 : 0-8

Galway

Connacht

Croke Park, Dublin

71,195

1954

Munster

Cork

1-9 : 1-6

Wexford

Leinster

Croke Park, Dublin

84,856

1955

Leinster

Wexford

3-13 : 2-8

Galway

Connacht

Croke Park, Dublin

72,854

1956

Leinster

Wexford

2-14 : 2-8

Cork

Munster

Croke Park, Dublin

83,096

1957

Leinster

Kilkenny

4-10 : 3-12

Waterford

Munster

Croke Park, Dublin

70,594

1958

Munster

Tipperary

4-9 : 2-5

Galway

Connacht

Croke Park, Dublin

47,276

1959(R)

Munster

Waterford

1-17 : 5-53-12 : 1-10

Kilkenny

Leinster

Croke Park, Dublin

73,70777,285

1960

Leinster

Wexford

2-15 : 0-11

Tipperary

Munster

Croke Park, Dublin

77,154

1961

Munster

Tipperary

0-16 : 1-12

Dublin

Leinster

Croke Park, Dublin

67,866

1962

Munster

Tipperary

3-10 : 2-11

Wexford

Leinster

Croke Park, Dublin

75,039

1963

Leinster

Kilkenny

4-17 : 6-8

Waterford

Munster

Croke Park, Dublin

73,123

1964

Munster

Tipperary

5-13 : 2-8

Kilkenny

Leinster

Croke Park, Dublin

71,282

1965

Munster

Tipperary

2-16 : 0-10

Wexford

Leinster

Croke Park, Dublin

67,498

1966

Munster

Cork

3-9 : 1-10

Kilkenny

Leinster

Croke Park, Dublin

68,249

1967

Leinster

Kilkenny

3-8 : 2-7

Tipperary

Munster

Croke Park, Dublin

64,241

1968

Leinster

Wexford

5-8 : 3-12

Tipperary

Munster

Croke Park, Dublin

63,461

1969

Leinster

Kilkenny

2-15 : 2-9

Cork

Munster

Croke Park, Dublin

66,844

1970

Munster

Cork

6-21 : 5-10

Wexford

Leinster

Croke Park, Dublin

65,062

1971

Munster

Tipperary

5-17 : 5-14

Kilkenny

Leinster

Croke Park, Dublin

61,393

1972

Leinster

Kilkenny

3-24 : 5-11

Cork

Munster

Croke Park, Dublin

66,137

1973

Munster

Limerick

1-21 : 1-14

Kilkenny

Leinster

Croke Park, Dublin

59,009

1974

Leinster

Kilkenny

3-19 : 1-13

Limerick

Munster

Croke Park, Dublin

62,071

1975

Leinster

Kilkenny

2-22 : 2-10

Galway

Connacht

Croke Park, Dublin

63,711

1976

Munster

Cork

2-21 : 4-11

Wexford

Leinster

Croke Park, Dublin

62,684

1977

Munster

Cork

1-17 : 3-8

Wexford

Leinster

Croke Park, Dublin

63,198

1978

Munster

Cork

1-15 : 2-8

Kilkenny

Leinster

Croke Park, Dublin

64,155

1979

Leinster

Kilkenny

2-12 : 1-8

Galway

Connacht

Croke Park, Dublin

53,535

1980

Connacht

Galway

2-15 : 3-9

Limerick

Munster

Croke Park, Dublin

64,895

1981

Leinster

Offaly

2-12 : 0-15

Galway

Connacht

Croke Park, Dublin

71,348

1982

Leinster

Kilkenny

3-18 : 1-13

Cork

Munster

Croke Park, Dublin

59,550

1983

Leinster

Kilkenny

2-14 : 2-12

Cork

Munster

Croke Park, Dublin

58,381

1984

Munster

Cork

3-16 : 1-12

Offaly

Leinster

Semple Stadium, Thurles

59,814

[nb 6]

1985

Leinster

Offaly

2-11 : 1-12

Galway

Connacht

Croke Park, Dublin

61,451

1986

Munster

Cork

4-13 : 2-15

Galway

Connacht

Croke Park, Dublin

63,451

1987

Connacht

Galway

1-12 : 0-9

Kilkenny

Leinster

Croke Park, Dublin

63,596

1988

Connacht

Galway

1-15 : 0-14

Tipperary

Munster

Croke Park, Dublin

63,545

1989

Munster

Tipperary

4-24 : 3-9

Antrim

Ulster

Croke Park, Dublin

65,496

1990

Munster

Cork

5-15 : 2-21

Galway

Connacht

Croke Park, Dublin

63,954

1991

Munster

Tipperary

1-16 : 1-15

Kilkenny

Leinster

Croke Park, Dublin

64,500

1992

Leinster

Kilkenny

3-10 : 1-12

Cork

Munster

Croke Park, Dublin

64,534

1993

Leinster

Kilkenny

2-17 : 1-15

Galway

Connact

Croke Park, Dublin

63,460

1994

Leinster

Offaly

3-16 : 2-13

Limerick

Munster

Croke Park, Dublin

54,458

1995

Munster

Clare

1-13 : 2-8

Offaly

Leinster

Croke Park, Dublin

65,092

1996

Leinster

Wexford

1-13 : 0-14

Limerick

Munster

Croke Park, Dublin

65,849

1997

Munster

Clare

0-20 : 2-13

Tipperary

Munster

Croke Park, Dublin

65,575

1998

Leinster

Offaly

2-16 : 1-13

Kilkenny

Leinster

Croke Park, Dublin

65,491

1999

Munster

Cork

0-13 : 0-12

Kilkenny

Leinster

Croke Park, Dublin

62,989

2000

Leintser

Kilkenny

5-15 : 1-14

Offaly

Leinster

Croke Park, Dublin

61,493

2001

Munster

Tipperary

2-18 : 2-15

Galway

Connacht

Croke Park, Dublin

68,515

2002

Leinster

Kilkenny

2-20 : 0-19

Clare

Munster

Croke Park, Dublin

76,254

2003

Leinster

Kilkenny

1-14 : 1-11

Cork

Munster

Croke Park, Dublin

79,383

2004

Munster

Cork

0-17 : 0-9

Kilkenny

Leinster

Croke Park, Dublin

78,212

2005

Munster

Cork

1-21 : 1-16

Galway

Connacht

Croke Park, Dublin

82,275

2006

Leinster

Kilkenny

1-16 : 1-13

Cork

Munster

Croke Park, Dublin

82,275

2007

Leinster

Kilkenny

2-19 : 1-15

Limerick

Munster

Croke Park, Dublin

82,127

2008

Leinster

Kilkenny

3-30 : 1-13

Waterford

Munster

Croke Park, Dublin

82,186

2009

Leinster

Kilkenny

2-22 : 0-23

Tipperary

Munster

Croke Park, Dublin

82,106

2010

Munster

Tipperary

4-17 : 1-18

Kilkenny

Leinster

Croke Park, Dublin

81,765

2011

Leinster

Kilkenny

2-17 : 1-16

Tipperary

Munster

Croke Park, Dublin

81,214

2012(R)

Leinster

Kilkenny

0-19 : 2:133-22 : 3-11

Galway

Connacht

Croke Park, Dublin

81,93282,274

2013(R)

Munster

Clare

0-25 : 3-165-16 : 3-16

Cork

Munster

Croke Park, Dublin

81,65182,276

2014(R)

Leinster

Kilkenny

3-22 : 1-282-17 : 2-14

Tipperary

Munster

Croke Park, Dublin

82,17981,753

2015

Leinster

Kilkenny

1-22 : 1-18

Galway

Connacht

Croke Park, Dublin

82,300

2016

Munster

Tipperary

2-29 : 2-20

Kilkenny

Leinster

Croke Park, Dublin

82,300

2017

Connacht

Galway

0-26 : 2-17

Waterford

Munster

Croke Park, Dublin

82,300

2018

Munster

Limerick

3-16 : 2-18

Galway

Connacht

Croke Park, Dublin

82,300

text: Notes[edit]

text:
Jump up ^ The Championship was left unfinished due to many of the players travelling to the United States in an attempt to raise money for a revival of the Tailteann Games[3]

Jump up ^ The match was abandoned by the Cork team due to rough play by their opponents, with Wexford leading 2-2 to 1-6 (at the time, one goal equalled five points, so Wexford led 12 to 11). Cork were later awarded the title

Jump up ^ Cork led by 2-3 to 1-5 when the Dublin side left the field in protest at a disputed goal, leaving the match unfinished. As a result, Cork were awarded the title

Jump up ^ Cork won the initial game, but after an objection was raised about Cork keeper Daniel McCarthy being a reservist for the British Army, a replay was ordered, won by Kilkenny

Jump up ^ Newly built FitzGerald Stadium in Killarney hosted the All-Ireland final due to a builders' strike at Croke Park[4]

Jump up ^ The centenary-year All-Ireland final was played in Semple Stadium as a gesture to the town where the GAA was founded[5]