document_title: Marmion (poem)

question_text: who wrote oh what a tangled web we weave when first we practice to deceive

text: Marmion (poem)

text: History[edit]

text: In November 1806, Scott started writing Marmion, his second major work. When Archibald Constable, the publisher, learnt of this, he offered a thousand guineas for the copyright unseen. William Miller and John Murray each agreed to take a 25% share in the project.[citation needed] Murray observed:

text: "We both view it as honourable, profitable, and glorious to be concerned in the publication of a new poem by Walter Scott."[citation needed]

text: Scott later[when?] said that he thoroughly enjoyed writing the work. He told his son-in-law, Lockhart:

text: "Oh, man, I had many a grand gallop among these braes when I was thinking of Marmion."[citation needed]

text: In 1807, Scott practised manoeuvres with the Light Horse Volunteers (formed to defend against invasion from France) in order to polish his description of Flodden.[citation needed]

text: On 22 January 1808, Marmion was finished, and it was published on 22 February 1808 in a quarto first edition of two thousand copies. This edition, priced at one and a half guineas, sold out in a month. It was followed by twelve octavo editions between 1808 and 1825.[citation needed]

text: Plot[edit]

text: This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (June 2017) (Learn how and when to remove this template message)

text: The poem tells how Lord Marmion, a favourite of Henry VIII of England, lusts for Clara de Clare, a rich woman. He and his mistress, Constance De Beverley, forge a letter implicating Clara's fiancé, Sir Ralph De Wilton, in treason. Constance, a dishonest nun, hopes that her aid will restore her to favour with Marmion. When De Wilton loses the duel he claims in order to defend his honour against Marmion, he is obliged to go into exile. Clara retires to a convent rather than risk Marmion's attentions. Constance's hopes of a reconciliation with Marmion are dashed when he abandons her; she ends up being walled up alive in the Lindisfarne convent for breaking her vows. She takes her revenge by giving the Abbess who is one of her three judges documents that prove De Wilton's innocence. De Wilton, having returned disguised as a pilgrim, follows Marmion to Edinburgh where he meets the Abbess, who gives him the exonerating documents. When Marmion's host, the Earl of Angus is shown the documents, he arms De Wilton and accepts him as a knight again. De Wilton's plans for revenge are overturned by the Battle of Flodden. Marmion dies on the battlefield, while De Wilton displays heroism, regains his honour, retrieves his lands, and marries Clara.[citation needed]

text: Reception[edit]

text: Although the book was a huge and lasting commercial success in both Britain and the United States, it did not find favour with contemporary critics. The introductory letters to Scott's friends, which open each canto, were dismissed as unwarranted intrusions. A hero as flawed as Marmion was also unwelcome at this time and the story was criticised for its obscurity. Francis Jeffrey published a particularly harsh review in the Edinburgh Review. Jeffrey observed that much of the verse was 'flat and tedious'; he accused Scott of simply showing off his historical erudition. He also objected to the anachronism of the chivalric code and opposed the warlike sentiments of the introductory epistles. Ultimately, however, the public enthusiasm for Scott's work was undimmed and the poem remained popular for over a century.[citation needed]

text: The stanzas telling the story of "young Lochinvar", excerpted from Canto V, particularly caught the public imagination and were widely published in anthologies, and learned as a recitation piece.[citation needed]

text: One of the most quoted excerpts from Scottish poetry[citation needed] is derived from Canto VI, XVII:[citation needed]

text:
Oh, what a tangled web we weave
When first we practise to deceive!


document_title: Feudalism

question_text: mention the period indicating downfall of feudalism in europe

root

text: Feudalism

text: Definition[edit]

text: There is no commonly accepted modern definition of feudalism, at least among scholars.[4][7] The adjective feudal was coined in the 17th century, and the noun feudalism, often used in a political and propaganda context, was not coined until the 19th century,[4] from the French féodalité (feudality), itself an 18th-century creation.

tag: p

text: In a classic definition by François-Louis Ganshof (1944),[3] feudalism describes a set of reciprocal legal and military obligations among the warrior nobility, revolving around the three key concepts of lords, vassals and fiefs,[3] though Ganshof himself noted that his treatment related only to the "narrow, technical, legal sense of the word".

text: A broader definition, as described in Marc Bloch's Feudal Society (1939),[10] includes not only the obligations of the warrior nobility but those of all three estates of the realm: the nobility, the clergy, and those living by their labour, most directly the peasantry bound by manorialism; this order is often referred to as "feudal society", echoing Bloch's usage.

text: Since the publication of Elizabeth A. R. Brown's "The Tyranny of a Construct" (1974)[5] and Susan Reynolds's Fiefs and Vassals (1994),[6] there has been ongoing inconclusive discussion among medieval historians as to whether feudalism is a useful construct for understanding medieval society.[4][7][8]

text: Outside a European context, the concept of feudalism is often used only by analogy (called semi-feudal), most often in discussions of feudal Japan under the shōguns, and sometimes medieval and Gondarine Ethiopia.[11] However, some have taken the feudalism analogy further, seeing feudalism (or traces of it) in places as diverse as Spring and Autumn period in China, ancient Egypt, the Parthian empire, the Indian subcontinent and the Antebellum and Jim Crow American South.[11]

text: The term feudalism has also been applied—often inappropriately or pejoratively—to non-Western societies where institutions and attitudes similar to those of medieval Europe are perceived to prevail.[12] Some historians and political theorists believe that the term feudalism has been deprived of specific meaning by the many ways it has been used, leading them to reject it as a useful concept for understanding society.[4][5]

text: Etymology[edit]

text: The term "féodal" was used in 17th-century French legal treatises (1614)[13][14] and translated into English legal treatises as an adjective, such as "feodal government".

text: In the 18th century, Adam Smith, seeking to describe economic systems, effectively coined the forms "feudal government" and "feudal system" in his book Wealth of Nations (1776).[15] In the 19th century the adjective "feudal" evolved into a noun: "feudalism".[15] The term feudalism is recent, first appearing in French in 1823, Italian in 1827, English in 1839, and in German in the second half of the 19th century.[15]

text: The term "feudal" or "feodal" is derived from the medieval Latin word feodum. The etymology of feodum is complex with multiple theories, some suggesting a Germanic origin (the most widely held view) and others suggesting an Arabic origin. Initially in medieval Latin European documents, a land grant in exchange for service was called a beneficium (Latin).[16] Later, the term feudum, or feodum, began to replace beneficium in the documents.[16] The first attested instance of this is from 984, although more primitive forms were seen up to one-hundred years earlier.[16] The origin of the feudum and why it replaced beneficium has not been well established, but there are multiple theories, described below.[16]

text: The most widely held theory was proposed by Johan Hendrik Caspar Kern in 1870,[17][18] being supported by, amongst others, William Stubbs[16][19] and Marc Bloch.[16][20][21] Kern derived the word from a putative Frankish term *fehu-ôd, in which *fehu means "cattle" and -ôd means "goods", implying "a moveable object of value."[20][21] Bloch explains that by the beginning of the 10th century it was common to value land in monetary terms but to pay for it with moveable objects of equivalent value, such as arms, clothing, horses or food. This was known as feos, a term that took on the general meaning of paying for something in lieu of money. This meaning was then applied to land itself, in which land was used to pay for fealty, such as to a vassal. Thus the old word feos meaning movable property changed little by little to feus meaning the exact opposite: landed property.[20][21]

text: Another theory was put forward by Archibald R. Lewis.[16] Lewis said the origin of 'fief' is not feudum (or feodum), but rather foderum, the earliest attested use being in Astronomus's Vita Hludovici (840).[22] In that text is a passage about Louis the Pious that says annona militaris quas vulgo foderum vocant, which can be translated as "Louis forbade that military provender (which they popularly call "fodder") be furnished.."[16]

text: Another theory by Alauddin Samarrai suggests an Arabic origin, from fuyū (the plural of fay, which literally means "the returned", and was used especially for 'land that has been conquered from enemies that did not fight').[16][23] Samarrai's theory is that early forms of 'fief' include feo, feu, feuz, feuum and others, the plurality of forms strongly suggesting origins from a loanword. The first use of these terms is in Languedoc, one of the least Germanic areas of Europe and bordering Muslim Spain. Further, the earliest use of feuum (as a replacement for beneficium) can be dated to 899, the same year a Muslim base at Fraxinetum (La Garde-Freinet) in Provence was established. It is possible, Samarrai says, that French scribes, writing in Latin, attempted to transliterate the Arabic word fuyū (the plural of fay), which was being used by the Muslim invaders and occupiers at the time, resulting in a plurality of forms – feo, feu, feuz, feuum and others – from which eventually feudum derived. Samarrai, however, also advises to handle this theory with care, as Medieval and Early Modern Muslim scribes often used etymologically "fanciful roots" in order to claim the most outlandish things to be of Arabian or Muslim origin.[23]

text: History[edit]

text:
English feudalism

Harold Sacramentum Fecit Willelmo Duci
(Bayeux Tapestry)

Fief

Overlord
Vassal

Enfeoffment

Subinfeudation

Feoffee

Feudal land tenure in England

Fealty
Homage

Feudalism

v
t
e

tag: table

text: Feudalism, in its various forms, usually emerged as a result of the decentralization of an empire: especially in the Carolingian empires, which lacked the bureaucratic infrastructure[clarification needed] necessary to support cavalry without the ability to allocate land to these mounted troops. Mounted soldiers began to secure a system of hereditary rule over their allocated land and their power over the territory came to encompass the social, political, judicial, and economic spheres.[24]

text: These acquired powers significantly diminished unitary power in these empires. Only when the infrastructure existed to maintain unitary power—as with the European monarchies—did feudalism begin to yield to this new power structure and eventually disappear.[24]

text: Classic feudalism[edit]

text: The classic François-Louis Ganshof version of feudalism[4][3] describes a set of reciprocal legal and military obligations among the warrior nobility, revolving around the three key concepts of lords, vassals and fiefs. A lord was in broad terms a noble who held land, a vassal was a person who was granted possession of the land by the lord, and the land was known as a fief. In exchange for the use of the fief and the protection of the lord, the vassal would provide some sort of service to the lord. There were many varieties of feudal land tenure, consisting of military and non-military service. The obligations and corresponding rights between lord and vassal concerning the fief form the basis of the feudal relationship.[3]

text: Vassalage[edit]

text: Before a lord could grant land (a fief) to someone, he had to make that person a vassal. This was done at a formal and symbolic ceremony called a commendation ceremony, which was composed of the two-part act of homage and oath of fealty. During homage, the lord and vassal entered into a contract in which the vassal promised to fight for the lord at his command, whilst the lord agreed to protect the vassal from external forces. Fealty comes from the Latin fidelitas and denotes the fidelity owed by a vassal to his feudal lord. "Fealty" also refers to an oath that more explicitly reinforces the commitments of the vassal made during homage. Such an oath follows homage.[25]

text: Once the commendation ceremony was complete, the lord and vassal were in a feudal relationship with agreed obligations to one another. The vassal's principal obligation to the lord was to "aid", or military service. Using whatever equipment the vassal could obtain by virtue of the revenues from the fief, the vassal was responsible to answer calls to military service on behalf of the lord. This security of military help was the primary reason the lord entered into the feudal relationship. In addition, the vassal could have other obligations to his lord, such as attendance at his court, whether manorial, baronial, both termed court baron, or at the king's court.[26]

text: It could also involve the vassal providing "counsel", so that if the lord faced a major decision he would summon all his vassals and hold a council. At the level of the manor this might be a fairly mundane matter of agricultural policy, but also included sentencing by the lord for criminal offences, including capital punishment in some cases. Concerning the king's feudal court, such deliberation could include the question of declaring war. These are examples; depending on the period of time and location in Europe, feudal customs and practices varied; see examples of feudalism.

text: The "Feudal Revolution" in France[edit]

text: In its origin, the feudal grant of land had been seen in terms of a personal bond between lord and vassal, but with time and the transformation of fiefs into hereditary holdings, the nature of the system came to be seen as a form of "politics of land" (an expression used by the historian Marc Bloch). The 11th century in France saw what has been called by historians a "feudal revolution" or "mutation" and a "fragmentation of powers" (Bloch) that was unlike the development of feudalism in England or Italy or Germany in the same period or later:[27] Counties and duchies began to break down into smaller holdings as castellans and lesser seigneurs took control of local lands, and (as comital families had done before them) lesser lords usurped/privatized a wide range of prerogatives and rights of the state, most importantly the highly profitable rights of justice, but also travel dues, market dues, fees for using woodlands, obligations to use the lord's mill, etc.[28] (what Georges Duby called collectively the "seigneurie banale"[28]). Power in this period became more personal.[29]

text: This "fragmentation of powers" was not, however, systematic throughout France, and in certain counties (such as Flanders, Normandy, Anjou, Toulouse), counts were able to maintain control of their lands into the 12th century or later.[30] Thus, in some regions (like Normandy and Flanders), the vassal/feudal system was an effective tool for ducal and comital control, linking vassals to their lords; but in other regions, the system led to significant confusion, all the more so as vassals could and frequently did pledge themselves to two or more lords. In response to this, the idea of a "liege lord" was developed (where the obligations to one lord are regarded as superior) in the 12th century.[31]

text: End of European feudalism[edit]

text: Feudalism itself decayed and effectively disappeared in most of Western Europe by about 1500,[32][33] partly since the military power of kings shifted from armies consisting of the nobility to professional fighters (effectively reducing the nobility's power), but also because the Black Death reduced the nobility's hold on the lower classes. The system lingered on in parts of Central and Eastern Europe as late as the 1850s. Russia finally abolished serfdom in 1861.[34][35]

text: However, even when the original feudal relationships had disappeared, there were many institutional remnants of feudalism left in place. Historian Georges Lefebvre explains how at an early stage of the French Revolution, on just one night of August 4, 1789, France abolished the long-lasting remnants of the feudal order. It announced, "The National Assembly abolishes the feudal system entirely." Lefebvre explains:

text: Without debate the Assembly enthusiastically adopted equality of taxation and redemption of all manorial rights except for those involving personal servitude — which were to be abolished without indemnification. Other proposals followed with the same success: the equality of legal punishment, admission of all to public office, abolition of venality in office, conversion of the tithe into payments subject to redemption, freedom of worship, prohibition of plural holding of benefices.... Privileges of provinces and towns were offered as a last sacrifice.[36]

text: Originally the peasants were supposed to pay for the release of seigneurial dues; these dues affected more than a fourth of the farmland in France and provided most of the income of the large landowners.[37] The majority refused to pay and in 1793 the obligation was cancelled. Thus the peasants got their land free, and also no longer paid the tithe to the church.[38]

text: Feudal society[edit]

text: The phrase "feudal society" as defined by Marc Bloch[10] offers a wider definition than Ganshof's and includes within the feudal structure not only the warrior aristocracy bound by vassalage, but also the peasantry bound by manorialism, and the estates of the Church. Thus the feudal order embraces society from top to bottom, though the "powerful and well-differentiated social group of the urban classes" came to occupy a distinct position to some extent outside the classical feudal hierarchy.

text: Historiography[edit]

text: The idea of feudalism was unknown and the system it describes was not conceived of as a formal political system by the people living in the Medieval Period. This section describes the history of the idea of feudalism, how the concept originated among scholars and thinkers, how it changed over time, and modern debates about its use.

text: Evolution of the concept[edit]

text: The concept of a feudal state or period, in the sense of either a regime or a period dominated by lords who possess financial or social power and prestige, became widely held in the middle of the 18th century, as a result of works such as Montesquieu's De L'Esprit des Lois (1748; published in English as The Spirit of the Laws), and Henri de Boulainvilliers’s Histoire des anciens Parlements de France (1737; published in English as An Historical Account of the Ancient Parliaments of France or States-General of the Kingdom, 1739).[15] In the 18th century, writers of the Enlightenment wrote about feudalism to denigrate the antiquated system of the Ancien Régime, or French monarchy. This was the Age of Enlightenment when writers valued reason and the Middle Ages were viewed as the "Dark Ages". Enlightenment authors generally mocked and ridiculed anything from the "Dark Ages" including feudalism, projecting its negative characteristics on the current French monarchy as a means of political gain.[39] For them "feudalism" meant seigneurial privileges and prerogatives. When the French Constituent Assembly abolished the "feudal regime" in August 1789 this is what was meant.

text: Adam Smith used the term "feudal system" to describe a social and economic system defined by inherited social ranks, each of which possessed inherent social and economic privileges and obligations. In such a system wealth derived from agriculture, which was arranged not according to market forces but on the basis of customary labour services owed by serfs to landowning nobles.[40]

text: Karl Marx[edit]

text: Karl Marx also used the term in the 19th century in his analysis of society's economic and political development, describing feudalism (or more usually feudal society or the feudal mode of production) as the order coming before capitalism. For Marx, what defined feudalism was the power of the ruling class (the aristocracy) in their control of arable land, leading to a class society based upon the exploitation of the peasants who farm these lands, typically under serfdom and principally by means of labour, produce and money rents.[41] Marx thus defined feudalism primarily by its economic characteristics.

text: He also took it as a paradigm for understanding the power-relationships between capitalists and wage-labourers in his own time: ‘in pre-capitalist systems it was obvious that most people did not control their own destiny — under feudalism, for instance, serfs had to work for their lords. Capitalism seems different because people are in theory free to work for themselves or for others as they choose. Yet most workers have as little control over their lives as feudal serfs’.[42] Some later Marxist theorists (e.g. Eric Wolf) have applied this label to include non-European societies, grouping feudalism together with Imperial Chinese and pre-Columbian Incan societies as 'tributary'.

text: Later studies[edit]

text: In the late 19th and early 20th centuries, John Horace Round and Frederic William Maitland, both historians of medieval Britain, arrived at different conclusions as to the character of English society before the Norman Conquest in 1066. Round argued that the Normans had brought feudalism with them to England, while Maitland contended that its fundamentals were already in place in Britain before 1066. The debate continues today, but a consensus viewpoint is that England before the Conquest had commendation (which embodied some of the personal elements in feudalism) while William the Conqueror introduced a modified and stricter northern French feudalism to England incorporating (1086) oaths of loyalty to the king by all who held by feudal tenure, even the vassals of his principal vassals (Holding by feudal tenure meant that vassals must provide the quota of knights required by the king or a money payment in substitution).

text: In the 20th century, two outstanding historians offered still more widely differing perspectives. The French historian Marc Bloch, arguably the most influential 20th-century medieval historian.,[41] approached feudalism not so much from a legal and military point of view but from a sociological one, presenting in Feudal Society (1939; English 1961) a feudal order not limited solely to the nobility. It is his radical notion that peasants were part of the feudal relationship that sets Bloch apart from his peers: while the vassal performed military service in exchange for the fief, the peasant performed physical labour in return for protection – both are a form of feudal relationship. According to Bloch, other elements of society can be seen in feudal terms; all the aspects of life were centered on "lordship", and so we can speak usefully of a feudal church structure, a feudal courtly (and anti-courtly) literature, and a feudal economy.[41]

text: In contradistinction to Bloch, the Belgian historian François-Louis Ganshof defined feudalism from a narrow legal and military perspective, arguing that feudal relationships existed only within the medieval nobility itself. Ganshof articulated this concept in Qu'est-ce que la féodalité? ("What is feudalism?", 1944; translated in English as Feudalism). His classic definition of feudalism is widely accepted today among medieval scholars,[41] though questioned both by those who view the concept in wider terms and by those who find insufficient uniformity in noble exchanges to support such a model.

text: Although he was never formally a student in the circle of scholars around Marc Bloch and Lucien Febvre that came to be known as the Annales School, Georges Duby was an exponent of the Annaliste tradition. In a published version of his 1952 doctoral thesis entitled La société aux XIe et XIIe siècles dans la région mâconnaise (Society in the 11th and 12th centuries in the Mâconnais region), and working from the extensive documentary sources surviving from the Burgundian monastery of Cluny, as well as the dioceses of Mâcon and Dijon, Duby excavated the complex social and economic relationships among the individuals and institutions of the Mâconnais region and charted a profound shift in the social structures of medieval society around the year 1000. He argued that in early 11th century, governing institutions—particularly comital courts established under the Carolingian monarchy—that had represented public justice and order in Burgundy during the 9th and 10th centuries receded and gave way to a new feudal order wherein independent aristocratic knights wielded power over peasant communities through strong-arm tactics and threats of violence.

text: Challenges to the feudal model[edit]

text: In 1974, U.S. historian Elizabeth A. R. Brown[5] rejected the label feudalism as an anachronism that imparts a false sense of uniformity to the concept. Having noted the current use of many, often contradictory, definitions of feudalism, she argued that the word is only a construct with no basis in medieval reality, an invention of modern historians read back "tyrannically" into the historical record. Supporters of Brown have suggested that the term should be expunged from history textbooks and lectures on medieval history entirely.[41] In Fiefs and Vassals: The Medieval Evidence Reinterpreted (1994),[6] Susan Reynolds expanded upon Brown's original thesis. Although some contemporaries questioned Reynolds's methodology, other historians have supported it and her argument.[41] Reynolds argues:

text: The term feudal has also been applied to non-Western societies in which institutions and attitudes similar to those of medieval Europe are perceived to have prevailed (See Examples of feudalism). Japan has been extensively studied in this regard.[44] Friday notes that in the 21st century historians of Japan rarely invoke feudalism; instead of looking at similarities, specialists attempting comparative analysis concentrate on fundamental differences.[45] Ultimately, critics say, the many ways the term feudalism has been used have deprived it of specific meaning, leading some historians and political theorists to reject it as a useful concept for understanding society.[41]

text: Richard Abels notes that "Western Civilization and World Civilization textbooks now shy away from the term 'feudalism'."[46]


document_title: Dan Scott

question_text: who started the fire at dan scott motors

text: Dan Scott

text: Fictional character biography[edit]

text: Dan grew up in Tree Hill, NC and attended Tree Hill High, where he was the star of the Ravens basketball team. Towards the end of senior year, Dan got his girlfriend Karen Roe pregnant, but abandoned her to take a basketball scholarship to North Carolina. At college he met Deb Lee, who also became pregnant by him. Dan returned to Tree Hill on the night his and Karen's son Lucas was born but, on seeing Keith with Karen at the hospital, Dan left without Karen seeing him. Dan and Deb married and moved back to Tree Hill with their son Nathan. Dan tried to get joint custody of Lucas, but Karen refused and Dan gave up on trying to be part of Lucas's life. He later became a successful car salesman having set up his own business with Deb's money. Dan is a man with big dreams and expectations, especially regarding his son Nathan, but he doesn't handle it very well when they're not fulfilled.

text: Season 1[edit]

text: Dan is a controlling father to Nathan, who is now the Ravens' star player, but has nothing to do with Lucas. When Lucas joins the Ravens, Dan encourages Nathan to give his half-brother a hard time. Dan puts so much pressure on Nathan that Nathan takes drugs to enhance his basketball performance, leading to him collapsing on the court. When Deb finds out, she asks Dan for a divorce. When Dan's parents come to town for Dan's birthday, it is revealed that Dan's father Royal put similar pressure on Dan and that Dan faked the extent of an injury he suffered in college in order to give up basketball. Dan also has an uneasy relationship with Keith, due to Keith's continuing friendship with Karen. When Keith crashes the car he is driving with Lucas inside, Dan pulls Lucas from the car and saves his life, leading to a temporary truce with Karen. Keith is left in financial difficulty due to Lucas's medical bills and Dan offers to buy Keith's garage from him while Keith continues to run it. However, it soon becomes clear that Dan will be running the garage in his own way and Keith quits. After being rejected by Karen, Keith turns to Deb for comfort and they have a one-night stand. On walking in on them in bed together, Dan tells Keith that he is no longer his brother. Dan is about to sign his divorce papers to Deb when he suffers a heart attack. When Deb finds Dan on the floor, Dan tells her "you'd better hope I die."

text: Season 2[edit]

text: After his heart attack, Dan claims to be a changed person and tries to get closer to Lucas. Dan and Deb are united in their disapproval of Nathan's marriage to Haley. Dan claims to have forgiven Deb and Keith for their fling and a guilty Deb allows Dan to live with her while he recovers. It becomes clear that the new Dan is an act when he lies to Deb after being given a clean bill of health and it is revealed that Keith's new girlfriend Jules was actually hired by Dan to seduce his brother. On discovering that he has the same heart condition as Dan, Lucas agrees to move in with Dan on the conditions that Dan pays for Lucas's medication and keeps this from Karen, and also that Dan leaves Keith and "Jules" alone. Dan keeps his promises but Karen discovers the truth about Jules and threatens to tell Keith, leading to Jules leaving Keith at the altar. Dan is delighted at this result and, after knocking down the groom on the wedding cake, looks at Deb saying "one down, one to go". On discovering what Dan did, Keith confronts Dan at the dealership and attacks him. Before leaving town, Keith tells Dan that he has nothing left to lose, but Dan does. When Nathan and Haley's marriage is in trouble, Dan is quick to pounce, and gets Nathan to sign annulment papers and move back in with him and Deb. However, Deb wants Dan out of their lives for good, especially after learning that Dan told Nathan that it is his fault that Deb is now addicted to pills. Lucas continues to live with Dan in order to bring down his father once and for all. He finds cash and an incriminating ledger in the attic of the dealership and discovers that Dan has been making money illegally by changing the amounts on bills and pocketing the extra cash. However, Dan has made Deb the co-owner of the dealership, meaning that she would be incriminated too. Dan then reveals he left the cash and ledger for Lucas to find as a test of Lucas's loyalty, which Lucas failed, and so Dan severs all ties to Lucas, even cutting off his son's heart medication. Dan also sabotages Karen's relationship with her business lecturer Andy by walking into one of Andy's classes and telling everyone that Andy is sleeping with Karen, which leads to Andy losing his job. Dan then tries to have Andy deported back to New Zealand. When Karen angrily confronts Dan at the dealership, Dan grabs her and forcefully kisses her, saying "isn't that was this is really about?" At the end of the season Dan falls unconscious after drinking a poisoned bottle of whisky that was left for him with a note saying "for everything you've done". The dealership is then set on fire with Dan inside.

text: Season 3[edit]

text: Dan survives the fire, but the dealership is destroyed. Dan at first thinks it was Lucas who tried to kill him when he remembers seeing him in the fire, but it is revealed that Lucas saved him. Wanting access to the fire investigation, Dan runs for mayor of Tree Hill. His family-based campaign includes having Deb pretend to love him in exchange for a final divorce. This ploy works and Dan is elected mayor. As mayor, Dan gains access to CCTV showing Keith buying the whisky used to drug Dan, and when Keith returns to town Dan has him arrested on suspicion of his attempted murder. Although the police release Keith due to lack of evidence, Dan still believes that Keith was the perpetrator, and things become worse when Keith announces that he is going to marry Karen and adopt Lucas. One day at Tree Hill High, Jimmy Edwards takes a gun to school and fires it, causing a lock down. Keith persuades Dan as mayor to let him go into the school to talk to Jimmy, but Jimmy commits suicide by shooting himself in front of Keith. Dan then gets into the school, picks up the gun and shoots Keith, killing him. Jimmy gets the blame for Keith's death as it is assumed that he shot Keith before turning the gun on himself. Dan convinces himself that Keith deserved what he got as he started the war with Dan. Nevertheless, Dan becomes haunted, seeing visions of Keith as a child everywhere, and this has a profound effect on him. Realizing he has to change his ways he tries to get closer to Nathan, telling his son that he is proud of him and that he loves him. Haley then gives Dan a second chance by inviting him to her and Nathan's second wedding. At the ceremony Deb tells Dan that it was her, not Keith, who tried to kill him in the fire. Dan goes to Keith's grave and breaks down. Dan then apologizes to Karen for how he treated her and Lucas and she reveals that she is pregnant with Keith's child. Dan takes her in his arms promising to be there for her this time. He then goes home and discovers that someone has written "MURDERER" on his wall.

text: Season 4[edit]

text: Dan tries to make amends for Keith's death by looking after Karen. However, he still sees messages everywhere calling him a murderer, and wonders if it is all in his head. Meanwhile, Nathan is in deep debt and asks Dan to help him. Dan refuses and Nathan goes to a loan shark, Daunte, instead. Daunte forces Nathan to shave points in a basketball game and then demands that Nathan lose the State Championship. On discovering the trouble that Nathan is in, Dan confronts Daunte and offers to pay him off, but Daunte gets Dan to back down by threatening Nathan, Lucas, the pregnant Haley and Karen. When the Ravens win the State Championship, Daunte runs Haley over and crashes into a construction site. Nathan pulls Daunte out of the car and beats him, before realizing he is dead. Dan takes the fall for Nathan and is arrested. Dan plans to plead guilty to Daunte's murder in order to be punished for Keith's death, but the coroner's report shows that Daunte was already dead when Nathan pulled him out of the car. Dan is released and the experience brings him and Karen closer together, as Karen admires what Dan was willing to do for his son. Dan and Karen begin to come together romantically, attending the school prom together as chaperones, but Dan continues to receive text messages and notes accusing him of killing his brother. Dan discovers that the person sending the messages is Abby Brown, a student who witnessed the shooting. Dan then visits Abby and her mother and tries to explain why he killed Keith, saying "Karen was mine, she was supposed to be mine". Abby leaves Tree Hill for good, but not before telling Lucas what she knows. Lucas walks in on Dan and his mother kissing and attacks Dan, shouting that he killed Keith, but Karen refuses to believe him. Lucas then goes to the police, but Dan has got there first and told them that Lucas is just trying to sabotage Dan's relationship with Karen. On learning from Haley that Deb has a gun, Lucas steals the gun and confronts Dan in front of Karen, causing her to collapse. Lucas fires a warning shot to make Dan leave, before rushing the unconscious Karen to hospital. After learning from Deb that Dan killed Keith, Nathan confronts Dan and tells him that he will never be a part of his grandson's life. After Karen's daughter is born by c-section, Dan visits his new niece in the hospital, before turning himself in to the police.

text: Two weeks later, a recovered Karen visits Dan in his cell and tells him that she has a daughter, Lily, who will never know her father because of Dan, before spitting at him. Dan is so distraught by this encounter that he tries to hang himself in his cell with his bedsheet. The sheet unravels after a few seconds, and Dan falls to the floor, left to agonize over what he has done.

text: Season 5[edit]

text: Four and a half years later, Nathan visits Dan in prison, and tells him that he will never be like him. Nathan then tells Dan that Jamie found a picture of him once and Nathan told him that his grandfather was dead. Later, a prison guard tells Dan that Nathan left behind an envelope, which contains a picture of Jamie. A parole hearing is held for Dan[1] and despite Lucas pleading with the board not to be fooled by Dan, he is released. Soon after, Dan goes to a store to buy a basketball for his grandson and ends up sleeping with the cashier later that night.[2] At Lucas's wedding, Dan sits outside in his car and is confronted by Haley, who tells him to stay away from the family. When Jamie is abducted during the ceremony by his evil nanny, Carrie, Dan saves him and threatens Carrie, telling her that he killed his brother and would have no problem doing the same to her. Dan then returns Jamie to Nathan and Haley's house and is attacked by Lucas and Nathan. On Jamie's 5th birthday Dan goes to drop off a gift and has a confrontation with Deb. After the party Nathan goes and tells Dan to stay away and Dan reveals he only has six months to live due to his HCM. After the man in front of him on the heart transplant list dies he becomes number one.Excited he leaves the hospital and helps an old man retrieve his cane before getting hit by a car. Ironically, seconds later his beeper goes off because a heart has been found for him.[3]

text: Season 6[edit]

text: When he wakes up from the accident, it is revealed that Carrie, Jamie's former nanny, was the one who ran him over, as revenge for interfering with her taking Jamie as her son. He finds himself in a "hospital room" but when he tries to escape (Carrie is torturing him) he discovers that he is not in a hospital room, but in her house, in a room which Carrie designed to confuse him by disguising it as a hospital room by putting medical equipment and painting the room, as well as adding hospital-style curtains. Carrie devises a plan to get Jamie by telling Haley that Dan is dying, so that she'll bring Jamie to see him. Carrie goes after Jamie, then Haley too. Dan shoots Carrie once she attempts to kill Haley and Deb. Carrie wakes up later that night, and reminds Dan that he promised he'd kill her if she came near his family again, prompting him to keep his word and shoot her again, this time killing her. As a result, Nathan and Haley let Dan see Jamie, but Nathan quickly reminds his father that he still hates him for killing his uncle. Unfortunately, Dan still finds himself without a heart transplant and has to wait longer. In the mean time, he tries to be a father to Nathan by advising him on his basketball and has a talk with Lucas about the day of the school shooting to help with the Ravens movie. His relationship with Jamie also grows and he finally has a blowout with Deb about Keith. When his heart transplant does come, the man who delivers it trips over a dog's leash and the dog eats it. Dan ultimately loses all hope and attempts to drown himself at a beach. He then goes to tells Jamie goodbye. Jamie becomes upset and asks him who killed Keith; and Dan admits that he did it. Dan leaves Tree Hill, but not before saying some last words to Lucas and Nathan. At the end of the season we see Dan as a broken man. He hates his life and wants to die. To make amends he goes to visit Coach Durham to whom he confesses that when he looks back on his life it all went wrong when he refused to play at the state championship. He tells Coach Durham that he should be dead but he isn't and that he realizes "this is my hell". He has to see his family experience the happiest moments of their lives but he can't feel them. To this Coach Durham replies "you created that, Danny". Dan then turns a gun on himself but can't bring himself to pull the trigger. He then forces the gun into Coach Durhams hand and begs him to shoot him later, after Dan cries in his arms, adds "there is still time for redemption, son". Nathan shows up and tells Dan that he has made it to the NBA. Later Peyton lets Dan hold his other grandchild Sawyer Scott. At the end of the episode he tells the audience that when he looks in the mirror he sees that he was supposed to be someone else, but fell short of that person.

text: Season 7[edit]

text: Fourteen months have past since the season six finale, and Dan is now a motivational speaker. He has his own TV show called Scott Free Redemption. He has also written a book with the same title. It is then revealed that he is married to Rachel Gatina. Dan reached out to his son Nathan when he read about him and Renee Richardson who he meets and ask her to speak about it on his show. Dan reveals that Renee Richardson was lying about Nathan Scott alleged affair and exposes her truth on his show. It is also revealed that Dan did in fact have a heart transplant as he quotes Renee Richardson con as "Takes a Con to Know a Con." About a year earlier Dan traveled to Mexico to have a heart transplant. His new wife Rachel Gatina, paid with his money for a family to pull the life support plug on their young son. The heart was then given to Dan. Dan returns to Tree Hill and tries to ask forgiveness from Nathan. Nathan will not forgive Dan, but only "tolerate" him for Jamie's sake. Dan then meets Clay who he shakes up (throws him in the ocean) and basically tells him not to give up on being an agent. On the eve of Nathan and Haley's departure, Rachel gets Dan to do a live broadcast from the school hallway where he killed Keith. Dan then runs into Jimmy's mom who tells him she will never be able to forgive him. So instead of reading his script, Dan talks about his life and tells his audience that there is no forgiveness for him, only what comes next. He gives everything that he has to charity as well as divorce papers to Rachel. As he is preparing to leave Tree Hill, Nathan meets up with him to tell him that he's back with the Bobcats, and says thank you. He then says goodbye to Jamie.

text: Season 8[edit]

text: Dan has moved to a diner, and reappears again when Quinn visits him to help her to kill Katie Ryan, and he convinces her not to do it. In the finale, Nathan visits him and gives him a photo of Lydia and a baseball from Jamie's first game and Dan thinks that there is a chance for forgiveness.

text: Season 9[edit]

text: Dan burns down his diner and returns to Tree Hill and asks Haley for a place to stay, initially resistant, she offers him money, but he says that he doesn't want money. He moves into Nathan and Haley's house to the delight of Jamie who is excited to spend time with him. Nathan tells him that he is going to Europe and that when he comes back he wants him to be gone. When Nathan does not return from Europe, Haley and Jamie blame Dan. He rents out the sound stage from Julian and uses it to find Nathan. Dan, Julian and Chris Keller save Nathan. However, Dan is shot while rescuing Nathan and dies in the hospital surrounded by Nathan, Haley, Deb, Jamie and Lydia. When he dies, he sees a vision of his brother Keith, who brings him to the hallway where Dan shot Keith and he tells him that he forgives him. When Keith goes into the light, Dan asks him "I know where you're going, but what about me?" and Keith says "Don't worry little brother, You're my plus one."


document_title: NBA All-Star Game Most Valuable Player Award

question_text: who won mvp in the nba all star game

question_tokens: who won mvp in the nba all star game

text: Winners[edit]

text:
^
Denotes player who is still active in the NBA

*
Elected to the Naismith Memorial Basketball Hall of Fame

Player (X)
Denotes the number of times the player has been awarded the MVP award

Team (X)
Denotes the number of times a player from this team has won

text:
Season
Player
Position
Nationality
Team

1951
Macauley, EdEd Macauley*
Center/Forward
 United States
Boston Celtics

1952
Arizin, PaulPaul Arizin*
Forward/Guard
 United States
Philadelphia Warriors

1953
Mikan, GeorgeGeorge Mikan*
Center
 United States
Minneapolis Lakers

1954
Cousy, BobBob Cousy*
Guard
 United States
Boston Celtics (2)

1955
Sharman, BillBill Sharman*
Guard
 United States
Boston Celtics (3)

1956
Pettit, BobBob Pettit*
Forward/Center
 United States
St. Louis Hawks

1957
Cousy, BobBob Cousy* (2)
Guard
 United States
Boston Celtics (4)

1958
Pettit, BobBob Pettit* (2)
Forward/Center
 United States
St. Louis Hawks (2)

1959[b]
Baylor, ElginElgin Baylor*
Forward
 United States
Minneapolis Lakers (2)

Pettit, BobBob Pettit* (3)
Forward/Center
 United States
St. Louis Hawks (3)

1960
Chamberlain, WiltWilt Chamberlain*
Center
 United States
Philadelphia Warriors (2)

1961
Robertson, OscarOscar Robertson*
Guard
 United States
Cincinnati Royals

1962
Pettit, BobBob Pettit* (4)
Forward/Center
 United States
St. Louis Hawks (4)

1963
Russell, BillBill Russell*
Center
 United States
Boston Celtics (5)

1964
Robertson, OscarOscar Robertson* (2)
Guard
 United States
Cincinnati Royals (2)

1965
Lucas, JerryJerry Lucas*
Forward/Center
 United States
Cincinnati Royals (3)

1966
Smith, AdrianAdrian Smith
Guard
 United States
Cincinnati Royals (4)

1967
Barry, RickRick Barry*
Forward
 United States
San Francisco Warriors (3)

1968
Greer, HalHal Greer*
Guard/Forward
 United States
Philadelphia 76ers

1969
Robertson, OscarOscar Robertson* (3)
Guard
 United States
Cincinnati Royals (5)

1970
Reed, WillisWillis Reed*
Center/Forward
 United States
New York Knicks

1971
Wilkens, LennyLenny Wilkens*
Guard
 United States
Seattle SuperSonics

1972
West, JerryJerry West*
Guard
 United States
Los Angeles Lakers (3)

1973
Cowens, DaveDave Cowens*
Center/Forward
 United States
Boston Celtics (6)

1974
Lanier, BobBob Lanier*
Center
 United States
Detroit Pistons

1975
Frazier, WaltWalt Frazier*
Guard
 United States
New York Knicks (2)

1976
Bing, DaveDave Bing*
Guard
 United States
Washington Bullets

1977
Erving, JuliusJulius Erving*
Forward
 United States
Philadelphia 76ers (2)

1978
Smith, RandyRandy Smith
Guard/Forward
 United States
Buffalo Braves

1979
Thompson, DavidDavid Thompson*
Guard/Forward
 United States
Denver Nuggets

1980
Gervin, GeorgeGeorge Gervin*
Guard/Forward
 United States
San Antonio Spurs

1981
Archibald, NateNate Archibald*
Guard
 United States
Boston Celtics (7)

1982
Bird, LarryLarry Bird*
Forward
 United States
Boston Celtics (8)

1983
Erving, JuliusJulius Erving* (2)
Forward
 United States
Philadelphia 76ers (3)

1984
Thomas, IsiahIsiah Thomas*
Guard
 United States
Detroit Pistons (2)

1985
Sampson, RalphRalph Sampson*
Center/Forward
 United States
Houston Rockets

1986
Thomas, IsiahIsiah Thomas* (2)
Guard
 United States
Detroit Pistons (3)

1987
Chambers, TomTom Chambers
Forward/Center
 United States
Seattle SuperSonics (2)

1988
Jordan, MichaelMichael Jordan*
Guard
 United States
Chicago Bulls

1989
Malone, KarlKarl Malone*
Forward
 United States
Utah Jazz

1990
Johnson, MagicMagic Johnson*
Guard
 United States
Los Angeles Lakers (4)

1991
Barkley, CharlesCharles Barkley*
Forward
 United States
Philadelphia 76ers (4)

1992
Johnson, MagicMagic Johnson* (2)
Guard
 United States
Los Angeles Lakers (5)

1993[b]
Stockton, JohnJohn Stockton*
Guard
 United States
Utah Jazz (2)

Malone, KarlKarl Malone* (2)
Forward
 United States
Utah Jazz (3)

1994
Pippen, ScottieScottie Pippen*
Forward
 United States
Chicago Bulls (2)

1995
Richmond, MitchMitch Richmond*
Guard
 United States
Sacramento Kings (6)

1996
Jordan, MichaelMichael Jordan* (2)
Guard
 United States
Chicago Bulls (3)

1997
Rice, GlenGlen Rice
Forward
 United States
Charlotte Hornets

1998
Jordan, MichaelMichael Jordan* (3)
Guard
 United States
Chicago Bulls (4)

1999
Not awarded as the game was canceled due to the league's lockout.[3]

2000[b]
O'Neal, ShaquilleShaquille O'Neal*
Center
 United States
Los Angeles Lakers (6)

Duncan, TimTim Duncan
Forward/Center
 United States[c]
San Antonio Spurs (2)

2001
Iverson, AllenAllen Iverson*
Guard
 United States
Philadelphia 76ers (5)

2002
Bryant, KobeKobe Bryant
Guard
 United States
Los Angeles Lakers (7)

2003
Garnett, KevinKevin Garnett
Forward/Center
 United States
Minnesota Timberwolves

2004
O'Neal, ShaquilleShaquille O'Neal* (2)
Center
 United States
Los Angeles Lakers (8)

2005
Iverson, AllenAllen Iverson* (2)
Guard
 United States
Philadelphia 76ers (6)

2006
James, LeBronLeBron James^ [d]
Forward
 United States
Cleveland Cavaliers

2007
Bryant, KobeKobe Bryant (2)
Guard
 United States
Los Angeles Lakers (9)

2008
James, LeBronLeBron James^ (2)
Forward
 United States
Cleveland Cavaliers (2)

2009[b]
Bryant, KobeKobe Bryant (3)
Guard
 United States
Los Angeles Lakers (10)

O'Neal, ShaquilleShaquille O'Neal* (3) [e]
Center
 United States
Phoenix Suns

2010
Wade, DwyaneDwyane Wade^
Guard
 United States
Miami Heat

2011
Bryant, KobeKobe Bryant (4)
Guard
 United States
Los Angeles Lakers (11)

2012
Durant, KevinKevin Durant^
Forward
 United States
Oklahoma City Thunder (3)

2013
Paul, ChrisChris Paul^
Guard
 United States
Los Angeles Clippers (2)

2014
Irving, KyrieKyrie Irving^
Guard
 United States[a]
Cleveland Cavaliers (3)

2015
Westbrook, RussellRussell Westbrook^
Guard
 United States
Oklahoma City Thunder (4)

2016
Westbrook, RussellRussell Westbrook^ (2)
Guard
 United States
Oklahoma City Thunder (5)

2017
Davis, AnthonyAnthony Davis^
Forward/Center
 United States
New Orleans Pelicans

2018
James, LeBronLeBron James^ (3)
Forward
 United States
Cleveland Cavaliers (4)

text: Multi-time winners[edit]

text:
Player
Team
No.
Years

Pettit, BobBob Pettit
St. Louis Hawks
4
1956, 1958, 1959, 1962

Bryant, KobeKobe Bryant
Los Angeles Lakers
2002, 2007, 2009, 2011

Robertson, OscarOscar Robertson
Cincinnati Royals
3
1961, 1964, 1969

Jordan, MichaelMichael Jordan
Chicago Bulls
1988, 1996, 1998

O'Neal, ShaquilleShaquille O'Neal
Los Angeles Lakers
Phoenix Suns
2000, 2004, 2009

James, LeBronLeBron James
Cleveland Cavaliers
2006, 2008, 2018

Cousy, BobBob Cousy
Boston Celtics
2
1954, 1957

Erving, JuliusJulius Erving
Philadelphia 76ers
1977, 1983

Thomas, IsiahIsiah Thomas
Detroit Pistons
1984, 1986

Malone, KarlKarl Malone
Utah Jazz
1989, 1993

Johnson, MagicMagic Johnson
Los Angeles Lakers
1990, 1992

Iverson, AllenAllen Iverson
Philadelphia 76ers
2001, 2005

Westbrook, RussellRussell Westbrook
Oklahoma City Thunder
2015, 2016


document_title: The Jungle Book (2016 film)

question_text: the jungle book movie in hindi voice cast

text: The Jungle Book (2016 film)

text: Plot[edit]

text: Mowgli is a "man cub" raised by the wolf Raksha and her pack, led by Akela, in an Indian jungle ever since he was brought to them as a baby by the black panther Bagheera. Bagheera trains Mowgli to learn the ways of the wolves, but the boy faces certain challenges and falls behind his wolf siblings, while Akela disapproves of him using human tricks like building tools instead of learning the ways of the pack.

text: One day, during the dry season, the jungle animals gather to drink the water that remains as part of a truce during a drought that enables the jungle's wildlife to drink without fear of being eaten by their predators. The truce is disrupted when a scarred tiger named Shere Khan arrives, detecting Mowgli's scent in the large crowd. Resentful against man for scarring him, he issues a warning that he will kill Mowgli at the end of the drought. After the drought ends, the wolves debate whether they should keep Mowgli or not. Mowgli decides to leave the jungle for the safety of his pack. Bagheera agrees with the decision and volunteers to guide him to the nearby man village.

text: En route, Shere Khan ambushes them and injures Bagheera, but Mowgli manages to escape. Later, Mowgli meets an enormous python named Kaa who hypnotizes him. While under her influence, Mowgli sees a vision of his father being mauled while protecting him from Shere Khan. The vision also warns of the destructive power of the "red flower" (fire). Kaa attempts to devour Mowgli, but she is attacked by a large brown sloth bear named Baloo, rescuing an unconscious Mowgli. Baloo and Mowgli bond while retrieving some difficult-to-access honey for Baloo, and the boy agrees to stay with Baloo until the winter season arrives. Upon learning that Mowgli has left the jungle, Shere Khan kills Akela and threatens the pack to lure Mowgli out.

text: Bagheera eventually finds Mowgli and Baloo and is angered that Mowgli has not joined the humans as agreed, but Baloo calms him down and persuades both of them to sleep on it. During the night, Mowgli finds a herd of Indian elephants gathered around a ditch and uses his vines to save a baby elephant from the ditch. Although Baloo and Bagheera are both impressed, Baloo realizes that he cannot guarantee Mowgli's safety after learning that he is being hunted by Shere Khan. Baloo agrees to push Mowgli away to get him to continue onward to the man village.

text: Mowgli is kidnapped by the "Bandar-log" (monkeys) who present him to their leader, a giant ape named King Louie. Assuming that all humans can make fire, King Louie offers Mowgli protection from Shere Khan in exchange for it. Baloo distracts King Louie while Bagheera tries to sneak him out, but their plan is discovered. As King Louie chases Mowgli through his temple, he informs Mowgli of Akela's death. King Louie's rampage eventually causes his temple to collapse on top of him. Furious that Baloo and Bagheera never told him about Akela's death, Mowgli goes to confront Shere Khan alone.

text: Mowgli steals a lit torch at the village to use as a weapon and heads back to the jungle, accidentally starting a wildfire in the process. He confronts Shere Khan, who argues that Mowgli has made himself the enemy of the jungle by causing the wildfire. Mowgli throws the torch into the water, giving Shere Khan the advantage. Baloo, Bagheera, and the wolf pack intervene and hold Shere Khan off, giving Mowgli enough time to set a trap. He lures Shere Khan up a dead tree and onto a branch, which breaks under the tiger's weight and Shere Khan falls into the fire to his death. Mowgli then directs the elephants to divert the river and put out the fire.

text: In the aftermath, Raksha becomes the new leader of the wolf pack. Mowgli decides to utilize his equipment and tricks for his own use, having found his true home and calling with his wolf family, Baloo, and Bagheera.

text: Cast[edit]

text:
Neel Sethi as Mowgli, a young boy who was raised by wolves.
Kendrick Reyes as toddler Mowgli
Ritesh Rajan as Mowgli's father

tag: ul

text: Voice cast[edit]

text:
Bill Murray as Baloo, a sloth bear who befriends Mowgli.
Ben Kingsley as Bagheera, a black panther who is Mowgli's mentor and protector.
Idris Elba as Shere Khan, a fearsome, scar-faced tiger with a grudge against humans.
Lupita Nyong'o as Raksha, a female wolf who is Mowgli's adoptive mother.
Scarlett Johansson as Kaa, an enormous python.
Giancarlo Esposito as Akela, a male wolf who leads the pack.
Christopher Walken as King Louie, a giant ape who rules the Bandar-log.
Garry Shandling as Ikki, a porcupine that observes the Water Truce.[1]
Brighton Rose as Grey Brother,  a wolf cub that is Mowgli's adoptive brother.[1]
Jon Favreau as Fred, a Pygmy Hog.[1]
Sam Raimi as a giant squirrel.[1]
Russell Peters as Rocky, a rhinoceros.[1]
Madeleine Favreau as Raquel, a rhinoceros.[1]
Sara Arrington as an antelope.[1]

text: Emjay Anthony, Max Favreau, Chloe Hechter, Asher Blinkoff, Knox Gagnon, Sasha Schrieber, and Kai Schrieber voice the Young Wolves.[1]

text: Dee Bradley Baker, Artie Esposito, Sean Johnson, and Allan Trautman provide additional animal voices.[1]

text: Production[edit]

text: Development and casting[edit]

text:
"The idea of going out to the jungle and shooting this, it just felt like it wouldn't have the magic that the 1967 film had had. There was a dreamlike quality to it. There was a surreal quality to it. It was a high-water mark for character animation and to me, that's what I remember about it. And so I wanted to make sure we preserved that...But what [Alan] Horn said was: Look at the technology. Look at Life of Pi, Avatar. Why not use the technology to create a whole world that transports you? Let's really embrace this new technology and see what we can do if we push its limit."

— Jon Favreau on approaching the film's technical intent.[9]

tag: div

text: On July 9, 2013, Walt Disney Pictures announced that a live-action adaptation of Rudyard Kipling's short story collection The Jungle Book was in development, with Justin Marks set to write the script.[10] The film would be Disney's second live-action adaptation of Kipling's works, following the 1994 film and the 1998 direct-to-video film Mowgli's Story; and the studio's fourth overall after the 1967 animated film.[11] Jon Favreau was confirmed as director on November 5, 2013.[12] Favreau as a child used to watch Disney's 1967 animated film.[13] He felt the need to strike a balance between the two films by retaining the buoyant spirit of the 1967 film, including some of its memorable songs, while crafting a film with more realism and peril. He also stressed the importance of nature and realized how things have shifted during Kipling's time and now, "In Kipling's time, nature was something to be overcome. Now nature is something to be protected."[13] He was encouraged by Walt Disney Studios chairman Alan Horn to take advantage of the film's setting and story as an opportunity to use the latest advancements in photorealistic rendering, computer-generated imagery, and motion capture technologies.[14] The story of the film is not independently taken from Kipling's works, but also borrows cinematic inspirations from other films, including the child-mentor relationship in Shane (1953), the establishment of rules in a dangerous world from Goodfellas (1990) and the use of a shadowy jungle figure in Apocalypse Now (1979).[13]

text: The cast was announced between March and August 2014, with Idris Elba being announced to voice Shere Khan during early stages and Bill Murray eventually confirmed as the voice of Baloo in August 2014. Between then, Scarlett Johansson, Ben Kingsley, and Christopher Walken were confirmed to play Kaa, Bagheera, and King Louie.[15][16][17][18] Favreau decided to cast Johansson to play Kaa, originally a male character, as he felt the original film was "a little too male-oriented."[19] Favreau and Marks noticed the lack of female characters in the 1967 film version and wanted to address that by featuring Raksha's character more prominently, as in Kipling's tales.[13] Lupita Nyong'o was cast as Raksha as Favreau believed her voice imbued the emotion required for the role, "Lupita has tremendous depth of emotion in her performance. There's an emotional underpinning she brings, and a strength, and we wanted that for this surrogate mother. Much of that comes from her voice."[20] Favreau also decided to change King Louie from an orangutan to a gigantopithecus due to the fact that orangutans are not native to India, where the story takes place.[6] His character was given a slight alteration from the 1967 film and was partly inspired by Marlon Brando's character Colonel Kurtz in Apocalypse Now,[13] as well as incorporating Walken's own physical mannerisms.[21] In regards to Louie's changes, Favreau stated, "We created this looming figure that was trying to extract the secret of fire from Mowgli. And also this gave Mowgli the idea that if he had fire, he could have power over Shere Khan, whether it was good or bad. So there was a Lord of the Rings aspect to that; the fire was almost like the ring in that was going to give someone ultimate power, but corrupt them as well as create destruction."[22] The film is dedicated to Garry Shandling, who voiced a porcupine in the film and died of a heart attack before the film's release.

text: The search for casting Mowgli was extensive, with thousands of children auditioning from the United States, the United Kingdom, New Zealand, and Canada. Eventually, newcomer Neel Sethi was confirmed for the role, with casting director Rebecca Williams describing him as embodying "the heart, humor, and daring of the character. He's warm and accessible, yet also has an intelligence well beyond his years and impressed us all with his ability to hold his own in any situation."[23] Sethi underwent parkour training in preparation for the role.[7] Pixar Animation Studios assisted in the development of the story, as well as providing suggestions for the film's end credits sequence.[24]

text: Filming and visual effects[edit]

text: Principal photography took place entirely on sound stages at L.A. Center Studios[22] in downtown Los Angeles.[20][25] The animal characters were created entirely in computer animation, with the assistance of footage of real animal movement, the actors recording their lines, and performance capture for reference.[6] The production team underwent a thorough process to realistically convey the animals' speaking, while still making them perceptually believable to the audience. Favreau researched earlier films featuring anthropomorphic animals—including Walt Disney's animated features, such as Snow White and the Seven Dwarfs and Bambi, as well as modern films such as Babe—and adopted certain techniques from those films into The Jungle Book.[22] Nearly 70 separate species of animals native to India are featured in the film, with several species being portrayed as "150% larger" than their actual counterparts.[22]

text: Jim Henson's Creature Shop was brought in to provide animal puppet figures for Sethi to act against, although none appear in the finished film.[26] The animal puppets were performed by Artie Esposito, Sean Johnson, Allan Trautman, and April Warren.[1] Favreau utilized motion capture with certain actors, expressing a desire to avoid overusing the technology in order to prevent evoking an uncanny valley effect.[6][19]

text: Moving Picture Company (MPC) and Weta Digital created the film's visual effects.[14] MPC developed new software for animating muscular structure in the animals.[22] Around 1,000 remote jungle locations in India were photographed and used as reference in post-production.[27] Weta was responsible for animating the King Louie sequence, with visual effects supervisor Keith Miller adding that, "It was important for Jon to see Christopher Walken in the creature. So we took some of the distinctive Walken facial features—iconic lines, wrinkles and folds—and integrated them into the animated character."[28] Favreau expressed desire in wanting the film's 3D shots to imbue the abilities of the multiplane camera system utilized in Disney's earlier animated films.[24] At Favreau's behest, the idea was extended into the film's version of the Walt Disney Pictures opening production logo, which was recreated as "a hand-painted, cel-animated multi-plane logo" in homage to the animated films of that era, also incorporating the word "Presents" in the same style as the 1967 film's opening credits.[24] The film's ending also features the original physical book that opened the 1967 film.[24]

text: Sound[edit]

text: Director Jon Favreau and composer John Debney sought to recreate the Fantasound experience Walt Disney, himself, had in mind. When mixing the soundtrack in Dolby Atmos, as Favreau said, "we isolated instruments when we could. And in the sound mix, we created a Fantasound mix. If you see the film in Atmos, you will feel that there are instruments that move around the theater."[29] A mention for Fantasound appears in the film's closing credits.

text: Music[edit]

text: The musical score for The Jungle Book was composed and conducted by frequent Favreau collaborator John Debney,[30] mostly drawing from George Bruns' original music. Though Favreau decided not to make the film a musical, nevertheless, he and Debney incorporated several songs from the 1967 animated film.[31] "The Bare Necessities," written by Terry Gilkyson, is performed by Murray and Sethi,[13] and a cover version by Dr. John is featured in the end credits. "I Wan'na Be Like You" and "Trust in Me"—written by the Sherman Brothers—are performed by Walken and Johansson, respectively; Richard M. Sherman wrote revised lyrics for Walken's version of "I Wan'na Be Like You."[13] Johansson's rendition of "Trust in Me" was produced by Mark Ronson and appears in the end credits only.[13]

text: Soundtrack[edit]

text:
The Jungle Book (Original Motion Picture Soundtrack)Film score by John DebneyReleased
April 15, 2016Recorded
2015–16Studio
Sony Pictures Studios (score)Esplanade Studios, New Orleans Chalice Recording StudiosMusic Shed Studios, New OrleansGenre
Orchestral, swing jazzLength
74:17Label
Walt DisneyProducer
John Debney
John Debney chronology

The Young Messiah(2016) The Young Messiah2016

The Jungle Book(2016) The Jungle Book2016

Mother's Day(2016) Mother's Day2016

text: Walt Disney Records released the film's soundtrack on April 15, 2016.[32]

text: Track listing[edit]

text: No.TitleWriter(s)Performer(s)Length1."The Bare Necessities"Terry GilkysonDr. John and The Nite Trippers3:362."Trust in Me"Richard M. Sherman, Robert B. ShermanScarlett Johansson2:553."Main Titles[Note 1] / Jungle Run"John Debney & George Bruns 2:274."Wolves / Law of the Jungle"John Debney 2:165."Water Truce"John Debney 3:406."Rains Return"John Debney 1:467."Mowgli's Leaving / Elephant Theme"John Debney 3:288."Shere Khan Attacks / Stampede"John Debney 2:069."Kaa / Baloo to the Rescue"  5:2110."Honeycomb Climb"  3:3111."Man Village"  2:5912."Mowgli and the Pit"  3:2613."Monkeys Kidnap Mowgli"  1:5214."Arriving at King Louie's Temple"  4:3515."Cold Lair Chase"  4:0316."Red Flower"  3:1517."To the River"  3:0518."Shere Khan's War Theme"  2:3719."Shere Khan and the Fire"  4:5220."Elephant Waterfall"  3:2721."Mowgli Wins the Race"  0:4122."Jungle Book Closes"  2:1623."I Wan'na Be Like You"Richard M. Sherman, Robert B. ShermanChristopher Walken3:0224."The Bare Necessities"Terry GilkysonBill Murray, Kermit Ruffins3:01Total length:74:17

text: Note 1. ^ Original "When You Wish Upon a Star" melody composed by Leigh Harline; Walt Disney Pictures logo melody composed by Mark Mancina.

text: Release[edit]

text: The film was originally scheduled for October 9, 2015, but the film's release date was later postponed by Walt Disney Studios Motion Pictures to April 15, 2016.[33][34] The film was released in the Dolby Vision format in Dolby Cinema in the United States,[35] and is the first film to be released in Dolby Vision 3D (in a few select theaters in New York City and Chicago).[36] The Jungle Book held its world premiere at the El Capitan Theatre on April 4, 2016.[37] It was released in 15 countries, a week ahead of its U.S. debut on April 15, in countries like Argentina, Australia, Russia, Malaysia, and most notably in India on April 8.[38] The release date in India was strategic for the film as it coincided with the Indian New Year and was a holiday in most parts of the country.[39] The film had a special Hindi version with famous actors giving their voices to the main characters, including Irrfan Khan as Baloo, Om Puri as Bagheera, Priyanka Chopra as Ka, Nana Patekar as Sher Khan and Shefali Shah as Raksha, for its Indian audiences as the book and the Disney series based on it had been immensely popular in India in 1990s. Disney India also commissioned a contemporary recording of "Jungle Jungle Baat Chali Hai" (originally used for the popular Indian version of Japanese anime series Jungle Book Shōnen Mowgli), overseen by the original Hindi song's composers Vishal Bhardwaj and Gulzar, and released it as part of the film's promotional campaign in India.[40][41]

text: Home media[edit]

text: The film was released digitally on August 23, 2016, and on DVD and Blu-ray on August 30 (August 22 in the UK[42]). A 3D Blu-ray was said to be coming by the end of the year.[43] The film topped the NPD VideoScan overall disc sales chart for two consecutive weeks.[44][45]

text: Reception[edit]

text: Box office[edit]

text: The film became a huge financial success and a sleeper hit.[46] It briefly held the record for the biggest remake of all time until the studio's own Beauty and the Beast surpassed it the following year.[47] It grossed $364 million in the United States and Canada and $602.5 million in other countries for a worldwide total of $966.6 million, against a budget of $175 million.[4] Worldwide, the film was released across 28,000 RealD 3D screens[36] and had an IMAX worldwide opening of $20.4 million from 901 IMAX screens, a new record for a PG film.[48] It grossed a total of $39 million in IMAX screens worldwide.[49] On May 13, it became the second film of 2016 (after the studio's own Zootopia) to pass the $800 million mark.[50][51] On June 10, it became the third film of 2016 after Zootopia and Captain America: Civil War to pass the $900 million mark.[52] Deadline Hollywood calculated the net profit of the film to be $258 million, when factoring together all expenses and revenues for the film, making it the sixth-most profitable release of 2016.[53]

text: United States and Canada[edit]

text: Projections for its opening weekend in the United States and Canada were continuously revised upwards, starting from $60 million to as high as $88 million, with female and older male quadrants being the prime draw.[54][36][55][56] The Jungle Book was shown across 4,028 theaters of which 3,100 theaters (75%) were in 3D, including 376 IMAX screens, 463 premium large format screens, and 145 D-Box locations.[54][57][58] It opened Friday, April 15, 2016, on around 9,500 screens across 4,028 theaters, and earned $32.4 million, the fourth-biggest April Friday.[36][59] This includes $4.2 million from Thursday previews, the biggest preview number for a Disney live-adaptation film (tied with Maleficent),[60] an almost unheard-of for a PG title which rarely attracts many ticketbuyers later in the night.[61] In total, it earned $103.3 million in its opening weekend, exceeding expectations by 40% and recorded the biggest PG-rated April opening (breaking Hop's record), the second-biggest Disney live-action adaptation opening (behind Alice in Wonderland), and the second-biggest April opening (behind Furious 7).[36][62][63] It also performed exceptionally well in both 3D and IMAX formats, where they both generated an income of $44 million and $10.4 million of the film's opening-weekend gross, respectively, the later broke the record for the biggest April Disney release IMAX opening.[36][48] Notably, it also became the only second PG-rated release to ever open above $100 million (following Alice in Wonderland) and the third film of 2016 overall to open above $100 million (following Deadpool and Batman v Superman: Dawn of Justice).[36][64] It earned $130.7 million in its first full week, the second-biggest for a Disney live-action adaptation, behind only Alice in Wonderland's $146.6 million seven-day gross.[65]

text: Buoyed by excellent word of mouth and benefiting from spring break, it fell only by 40% in its second weekend earning $61.5 million, still maintaining the top position and far surpassing newcomer The Huntsman: Winter's War.[66] That puts The Jungle Book in the top fifteen second weekends of all time and in terms of films that opened above $100 million, it scored the fourth-smallest drop behind Shrek 2 (−33%), Spider-Man (−39%), and Star Wars: The Force Awakens (−39%).[67][68] Of those numbers, $5.6 million came from IMAX shows for a two weekend cumulative total of $18.4 million which represents about 10% of its entire North American box office gross.[66] It crossed $200 million on its twelfth day of release[69] and managed to hold the top spot for the third consecutive weekend with $43.7 million from 4,041 theaters (an addition of 13 more theaters), a fall of only 29%, outgrossing the next six pictures combined (including the openings of three newcomers)[70] and recorded the sixth-biggest third weekend of all time.[71] Moreover, the 29% drop is the smallest third-weekend drop (from its second weekend) for a $100 million opener ever.[71] Disney added an additional 103 theaters for the film's fourth weekend of release which propelled its theater count to 4,144 theaters,[72] but nevertheless, it was overtaken by Disney's own Captain America: Civil War after experiencing a 50% decline.[73][74] It passed $300 million on its thirtieth day of release, on May 14, as it continued to witness marginal declines in the wake of several new releases weekend after weekend.[75] It made 3.53 times its opening weekend numbers, which is one of the biggest of all time for a film opening above $100 million. It became one of the few surprise hits and one of the highest-grossing films of the year, alongside Finding Dory, The Secret Life of Pets, and Zootopia, centered around talking animals to dominate the year-end chart.[46]

text: Other countries[edit]

text: The film was released in approximately 70 countries.[76] Outside the US and Canada, it opened across 15 markets and 69 IMAX screens a week ahead of its US debut, and faced notable competition from newcomer The Huntsman: Winter's War and holdover Batman v Superman: Dawn of Justice, the latter of which was entering its third weekend. The reason behind the divided release pattern was because Disney wanted to get some space before Captain America: Civil War releases in early May, as well as availing school holidays and avoiding local competitors.[77] It eventually grossed $31.7 million, debuting at first place in all markets and second overall at the international box office, behind Dawn of Justice, which was playing across 67 markets.[77] In its second weekend, it expanded to an additional 49 countries (88% of its total marketplace) and grossed $138.6 million from 64 countries, easily topping the international box office, a bulk of it came from China.[78] Approximately 63% or $85 million of that came from 3D screenings, with the largest 3D opening haul represented by China (98%), Germany (83%), Brazil (73%), Russia (60%), Mexico (47%), and the UK (39%).[78] $10 million alone came from 525 IMAX screens, a record for a PG and April release.[48] It further continued to hold the top spot in its third weekend after adding another $98.9 million from 53 territories, falling only by a marginal 32%. IMAX generated another $6.1 million from 484 IMAX theaters for a three-weekend total of $20.6 million.[49] After three straight No. 1 runs, it was finally dethroned by the studio's Captain America: Civil War in its fourth weekend.[79]

text: In India, it scored the second-biggest opening day for a Hollywood film, earning $1.51 million (behind Avengers: Age of Ultron) from around 1,500 screens[80] and went on to score the second-biggest Hollywood opening weekend of all time, with $8.4 million from 1,600 screens, behind only Furious 7 in terms of local as well as U.S. currency,[81][82] performing better than expected and its initial $5–6 million opening projection.[80] Its opening weekend in India alone surpassed the entire lifetime total of Disney's other live-fantasy adaptations—Cinderella, Maleficent, Oz the Great and Powerful, and Alice in Wonderland—in the country.[77] It then went on to score the biggest opening and single week for a Hollywood film with $15.1 million.[76][83] In its second weekend, it dropped just by a mere 40% to $4.97 million.[84] In just ten days, it became the fourth-highest-grossing Hollywood film there with $21.2 million.[62] On Wednesday, April 19—its twelfth day of release—it surpassed Furious 7 to become the highest-grossing Hollywood/foreign release of all time there.[85][86] By the end of its theatrical run, the film made an estimated $38.8 million with half of its revenue—58%—coming from local dubbed versions, compared to Avengers: Age of Ultron, which saw 45% of its revenue from dubbed versions.[87]

text: In China, where the film was locally known as Fantasy Forest, expectations were high, with projections going as high $154–200 million or more.[88][89][90][91] Ultimately, it was unable to hit these marks.[75] Before the release of the film in the state, Disney had a very successful run at the box office with Zootopia the previous month, in which anthropomorphic animals were the central figure.[92] Forbes noted that The Jungle Book was precisely the sort of film that Chinese audiences love with its 3D visuals, heartwarming story, and talking animal cast.[89] It earned around $12 million on its opening day, including $300,000 worth of previews from 65,000 screenings.[89] Buoyed by good word of mouth and positive reception (albeit mostly from audiences with polarized reception from Chinese critics),[93] it rose 72% on its second day to $20 million.[91] Through its opening weekend it grossed $48.5 million, including $5.1 million from 279 IMAX screens, a new record for April release.[62][94] Its opening marked the biggest Walt Disney Pictures film opening ever,[95] the second-biggest for a family film (behind Kung Fu Panda 3), the second-biggest April debut (behind Furious 7), and the fourth-biggest Disney opening (behind Avengers: Age of Ultron, Iron Man 3, and Star Wars: The Force Awakens).[96] It topped the daily box office through the whole opening week and went on to remain at the top of the box office for a second weekend, after dropping by a mere 20% to $29.8 million, despite facing some competitions.[97] It ended its run there with a total of $150.1 million after thirty days of playing in theaters, adding $1.2 million on its last day. Albeit falling just below expectations, it nevertheless emerged as a huge financial success and becoming the fourth-biggest Disney release there.[75][98]

text: In the United Kingdom and Ireland, it had an opening weekend total of £9.9 million ($14.1 million) from 594 theaters[99] and in France with $8.1 million.[78] Elsewhere, the highest openings were recorded in Russia and the CIS ($7.4 million), Germany ($5.1 million), Spain ($3.9 million), Australia ($2.8 million), Argentina ($2.3 million), and in Malaysia, where it scored the biggest opening weekend for a live-action Disney film with $2.3 million.[77][78] In the UK, it became the first film of 2016 to earn over £5 million in three straight weekends and the first film since Jurassic World, Spectre, and Star Wars: The Force Awakens (all 2015 films) to achieve such an accomplishment,[100] and the first film of 2016 to earn above £40 million ($58 million).[101] In South Korea, it faced competition with Warcraft, but ended up debuting atop the charts with $6.2 million.[102] It has so far grossed a total of $18 million there.[103]

text: It opened in Japan on August 11, alongside the superhero film X-Men: Apocalypse[95][104] and delivered a four-day opening of $6.2 million from 676 screens ($3 million in two days), debuting at second place behind The Secret Life of Pets. Although the opening figure was considered mediocre, Deadline Hollywood noted that Japan is a market that can see big multiples.[105][106] It fell just 30% in its second weekend earning $2.1 million for an eleven-day total of $13.7 million.[107][108]

text: In total earnings, its biggest markets outside of the US and Canada were China ($150.1 million), the United Kingdom ($66.2 million) and India ($38.8 million).[98] It was the highest-grossing film of 2016 in Europe with a total of $209 million,[109] the United Kingdom and Ireland,[110] and in India (although it was later surpassed by Sultan, in terms of Hollywood/imported films, it is still the biggest).[111]

text: Critical response[edit]

text: The film received praise for its visual effects, vocal performances, direction, musical score, and its faithfulness to the animated film.[116][117][118] On review aggregator Rotten Tomatoes, the film has an approval rating of 95% based on 296 reviews, with an average rating of 7.7/10. The site's critical consensus reads, "As lovely to behold as it is engrossing to watch, The Jungle Book is the rare remake that actually improves upon its predecessors—all while setting a new standard for CGI."[119] On Metacritic, the film has a weighted average score of 77 out of 100, based on 49 critics, indicating "generally favorable reviews."[120] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave it an overall positive score of 92%. Ninety-seven percent of the audience gave the film an A or a B, and it got A's from both the under- and over-25 crowd and A+ among those under 18 years of age and also for the over-50 audience.[36]

text: Todd McCarthy of The Hollywood Reporter wrote, "Exceptionally beautiful to behold and bolstered by a stellar vocal cast, this umpteenth film rendition of Rudyard Kipling's tales of young Mowgli's adventures amongst the creatures of the Indian jungle proves entirely engaging, even if it's ultimately lacking in subtext and thematic heft."[121] Andrew Barker of Variety felt that this version "can't rival the woolly looseness of Disney's 1967 animated classic, of course, but it succeeds on its own so well that such comparisons are barely necessary."[122] Robbie Collin of The Telegraph gave the film four stars out of five, and deemed it "a sincere and full-hearted adaptation that returns to Kipling for fresh inspiration."[123] Alonso Duralde of The Wrap says "This 'Book' might lack the post-vaudeville razzamatazz of its predecessor, but director Jon Favreau and a team of effects wizards plunge us into one of the big screen's most engrossing artificial worlds since Avatar."[124] Peter Bradshaw, writing for The Guardian, gave the film four out of five stars and felt that the film had a touch of Apocalypto in it, finding the plot elements to be similar to those in The Lion King. He wrote that the film was "spectacular, exciting, funny and fun" and that it "handsomely revives the spirit of Disney's original film."[125] Pete Hammond of Deadline Hollywood wrote that the film had laughs, excitement, an exceptional voice cast and, most importantly, a lot of heart, calling it a cinematic achievement like no other. He particularly praised Murray's performance and the visual effects, deeming it "simply astonishing."[126] Chris Nashawaty of Entertainment Weekly graded the film an "A–," calling it one of the biggest surprises of 2016. He, however, felt the two songs were rather unnecessary and distracting, and believed the film to be a little too frightening for children.[127]

text: Richard Roeper of Chicago Sun-Times awarded the film three-and-a-half stars, pointing out the CGI as the apex achievement of the film. He labelled it "a beautifully rendered, visually arresting take on Rudyard Kipling's oft-filmed tales" but found the musical numbers to be trivial, saying that without the musical numbers, the film might have been a more exhilarating streamlined adventure.[128] Los Angeles Times' Kenneth Turan remarked that "The Jungle Book is the kind of family film calculated to make even those without families wish they had one to take along."[129] Peter Travers of Rolling Stone awarded the film three-and-a-half stars out of four, labeling it scary and thrilling, yet unique and unforgettable, and adding that it "fills us with something rare in movies today—a sense of wonder."[130] The Village Voice's Bilge Ebiri hailed the film as fast and light and that it "manages to be just scary enough to make us feel the danger of solitude in the middle of a massive jungle, but never indulgent or gratuitous."[131] The New York Times' Manohla Dargis was less enthusiastic.[132] Cath Clarke of Time Out compared Elba's character of Shere Khan to Scar from The Lion King, calling him "baddie of the year."[133] Matt Zoller Seitz of RogerEbert.com also had high praise for Elba's portrayal of Shere Khan stating: "His loping menace is envisioned so powerfully that he'd be scary no matter what, but the character becomes a great villain through imaginative empathy. We understand and appreciate his point-of-view, even though carrying it out would mean the death of Mowgli."[114]

text: The film's visual effects and 3D photography were compared to those of Avatar, Gravity, Hugo, and Life of Pi.[116][124][134] Sarah Ward of Screen International wrote that the level of detail on display in the film "is likely to evoke the same jaw-dropping reaction as James Cameron's box office topper."[135] Entertainment Weekly called it "one of the few 3D movies that actually benefits from being in 3D."[127] The film also had a positive reception from Indian contemporary critics and publications,[136] such as The Times of India,[137] The Hindu,[138] India Today,[139] The Indian Express,[140] and The Economic Times.[141]

text: The film also had its share of negative reviews with most reviewers criticizing the inconsistent tone of the film and the director's indecision to stick to one vision. Sam C. Mac of Slant Magazine wrote, "Jon Favreau draws heavily on his film's animated predecessor for plot, characterizations, songs, and set pieces, but doesn't know how to fit these familiar elements into his own coherent vision".[142] Josh Spiegel of Movie Mezzanine also echoed these feelings, saying that the film "stumbles because the people involved aren't willing to fully commit to either making a near-shot-for-shot remake or going in a completely different direction".[143] Rene Rodriguez of the Miami Herald felt that the movie was soulless, writing that "The better these talking beasts look, the more the film resembles a gorgeous screen saver. You admire The Jungle Book, but you can't lose yourself in it".[144]

text: Accolades[edit]

text: Sequel[edit]

text: Following the film's early financial and critical success, the studio has begun working on a sequel. Jon Favreau is reported to return as director and Neel Sethi is reported to reprise his role as Mowgli, while screenwriter Justin Marks is also in negotiations to return.[145] It was announced on April 25, 2016 that Favreau and Marks will return to direct and write, and the sequel could potentially have a release sometime in 2019 and will be shot back-to-back with a remake of The Lion King.[146][147][148] However, it was reported in March 2017 that the sequel was put on hold in order for Favreau to instead focus mainly on The Lion King.[149]


document_title: Take the High Road characters

question_text: who played margo in take the high road

question_tokens: who played margo in take the high road

text: Take the High Road characters

text: First Episode

text:
Elizabeth Cunningham - Edith MacArthur
Alan McIntyre - Martin Cochrane
Kay Grant - Vivien Heilbron
Max Langemann - Frederick Jaeger
Dougal Lachlan - Alec Monteath
Grace Lachlan - Marjorie Thomson
Amy Lachlan - Julie Ann Fullarton
Isabel Blair - Eileen McCallum
Jimmy Blair - Jimmy Chisholm
Ken Calder - Bill Henderson
Maggie Ferguson - Irene Sunters
Lorna Seton - Joan Alcorn
Fiona Cunningham - Caroline Ashley

text: Other debut appearances in 1980[edit]

text:
"Mrs Archie" (Anne Downie)
Brian Blair (Kenneth Watson)
David Blair (Derek Anders)
George Carradine (Leon Sinden)
Ian Duff (Gregor Fisher)
Donald Lachlan (Master Alan Dunbar)
Leslie Maxwell (Andrew Robertson)
Alice McEwan (Muriel Romanes)
Archie Menzies (Paul Kermack)
Andy Semple (Alexander Morton)
Jane Steedman (Ingrid Haffner)
Bob Taylor (Iain Agnew)
Dr Wallace (Michael Elder)
'Sorry' Watson (Ron Paterson)

text: Departing characters[edit]

text:
"Mrs Archie"
Kay Grant
Amy Lachlan
Leslie Maxwell
Alan McIntyre

text: Debut appearances[edit]

text:
Helen Blair (Bridget Biagi)
Tom Clifton (Jonathan Battersby)
Peter Craig (Jay Smith)
Douglas Dunbar (Clive Graham)
Kirsty Forsyth (Anna Davidson)
Robert Forsyth (Ian Wallace)
Sojer Johnny (Chic Murray)
Alison Lambert (Carol Ann Crawford)
Hamish McNeil (William Armour)
Klaus Meier
Morag Stewart (Jeannie Fisher)
Lady Strathmorris (Ellen McIntosh)
Lord Andrew Strathmorris (Bernard Gallagher)

text: Debut appearances[edit]

text:
Kate Blair (Lucy Durham-Matthews)
Bruno Rheinhardt (Tony Caunter)
Alec Geddes (James Cosmo)
Graeme B Hogg (Jim Byars)
Tom Kerr AKA "Inverdarroch" (John Stahl)
Mrs Mary Mack (Gwyneth Guthrie)
Rev Iain McPherson (John Young)
Mr Obidiah Arthur Murdoch (Robert Trotter)
Sergeant Murray (James McDonald)
Eddie Ramsay (Robin Cameron)
Jean Semple (Jeni Giffen)
Jamie Stewart (James Copeland)

text: Departing characters who make return appearances[edit]

text: Maggie Ferguson

text: Debut appearances:

text:
Jock Campbell (Iain Stewart)
Marion Cochrane (Lizzie Radford)
Dan Lamont (Ray Jeffries)
Irene Lamont (Trudy Bryce)
Sheila Lamont (Lesley Fitz-Simons)
Effie Macinnes (Mary Riggans)
Carol McKay (Terri Lally)
John Morrison (Adrian Reynolds)
Mr Thomson (John Shedden)
Miss Richardson (Sheila Grier)

text: Characters making return guest appearances[edit]

text: Maggie Watson

text: Final appearances[edit]

text: Douglas Dunbar

text: Debut appearances[edit]

text:
Sally Shaw (Judith Sweeney)
Davie Sneddon (Derek Lord)
Willie Stewart (Walter Carr)
Lily Taylor (Thelma Rogers)

text: Return guest appearances[edit]

text: Maggie Watson

text:
Jimmy Blair
Sally Shaw

text: Debut appearances[edit]

text:
Sandra Blair (Johanna Hargreaves)
Florence Crossan (Gwyneth Guthrie)
Ruari Galbraith (Charles Jamieson)
Rev Parker (Paul Young)

text: Return appearances[edit]

text: Lily Taylor

text: Departing characters who make return appearances in later years[edit]

text:
Sandra Blair
Florence Crossan
Lily Taylor

text: Final appearances[edit]

text: Ken Calder

text: Debut appearances[edit]

text:
Joyce Cameron (Georgine Anderson)
Willie Gillespie (Joe Mullaney)
Mr Hendry (Gerry Slevin)
Jim Hunter (Alan Cumming)
Fergus Jamieson (Frank Wylie)
Jockie McDonald (Jackie Farrell)
Heather McNeil (Bridget McCann)
Constable Graham McPhee (Stuart Bishop)
Mrs Jean McTaggart (Jean Faulds)
Harry Shaw (Lawrie McNicol)
Oggie Wilson (Sean Scanlon)

text: Characters making return appearances[edit]

text:
Jimmy Blair
Sally Shaw

text: Departing characters who will make return appearances[edit]

text:
Jim Hunter
Eddie Ramsay
Harry Shaw
Sally Shaw

text: Final appearances

text:
Jimmy Blair
Joyce Cameron
Elizabeth Cunningham
Mr Hendry

text: Debut appearances[edit]

text:
Susan Duncan (Jacqueline Gilbride)
Lynne McNeil (Gillian McNeil)
Mairi McNeil (Anne Myatt)
Mark Ritchie (Peter Raffan)
Eric Ross-Gifford (Richard Greenwood)
Joanna Ross-Gifford (Tamara Kennedy)
Sir John Ross-Gifford (Michael Browning)
Lady Margaret Ross-Gifford (Jan Waters)

text: Return appearances[edit]

text:
Harry Shaw
Sally Shaw

text: Character re-casting[edit]

text:
Willie Gillespie (Ewen Emery replaces Joe Mullaney)
Donald Lachlan (Steven Brown takes over the role.)

text: Final appearances[edit]

text:
Jamie Stewart (James Copeland)
Mrs Mctavish

text: Debut appearances[edit]

text:
Gladys Aitken (Ginni Barlow)
Mrs Galbraith (Diana Ollson)
Claire Kerr (Julie Miller)
Scott Logan (Micky MacPherson)
Tam Logan (John Murtagh)
Joe Reilly (Ian Bleasdale)
Moira Reilly (Anne Kidd)
Lady William (Madeline Christie)

text: Returning characters[edit]

text: Jim Hunter

text: Final appearances[edit]

text:
Jim Hunter
Tam Logan
Lady Margaret Ross Gifford

text: Debut appearances[edit]

text:
Emma Aitken (Amanda Whitehead)
Colin Begg (Kern Falconer)
Michael Ross (Gordon MacArthur)

text: Character re-casting[edit]

text: Alice Taylor (Barbara Rafferty replaces Muriel Romanes)

text: Return appearances[edit]

text:
Susan Duncan
David Blair
Jockie McDonald
Harry Shaw
Eddie Ramsay
Jock Campbell

text: Departing characters who will return[edit]

text:
Jockie McDonald
Mr Murdoch
Davie Sneddon

text: Final appearances[edit]

text:
Brian Blair
Calsang
Scott Logan
Hamish McNeil
Rev Parker
Mark Ritchie
Sir John Ross Gifford
Lorna Seton
Harry Shaw
Lord Strathmorris
Alice Taylor
Bob Taylor
Lady William
Jock Campbell

text: Debut appearances[edit]

text:
Sam Hagen (Briony McRoberts)
Paul Martin (Peter Bruce)
Gary McDonald (Joseph McFadden)
Sadie McDonald (Doreen Cameron)
Trish McDonald (Natalie J. Robb)
Jessie McKay (Wilma Duncan)
Alun Morgan (Mike Hayward)
Greg Ryder (Alan Hunter)
Kenny Tosh (Alistair Galbraith)
Tee Jay Wilson (Andrew Gillan)
Shona (Eilidh Fraser/Alicia Devine)

text: Returning characters[edit]

text:
Mr Murdoch
Davie Sneddon

text: Departing characters who will return later[edit]

text:
Claire Kerr
Tom Kerr AKA Inverdarroch
Eddie Ramsay

text:
Sandra Blair
Andy Semple
Maggie Watson
Lily Wentworth

text: Final appearances[edit]

text:
Sandra Blair
Archie Menzies
Maggie Watson
Lily Wentworth

text: Debut appearances[edit]

text:
Mr Crawford (James Bryce)
PC Douglas Kirk (Graeme Robertson)
Margo McGeogh (Mandy Matthews)
Gordon Sinclair (Paul Hickey)
Matt Sinclair (Jake D'Arcy)
Peggy Sinclair (Donalda Samuel)
Andrew Wilson (Bill Murdoch)
Cathy Wilson (Jo Cameron Brown)

text:
Florence Crossan (Gwyneth Guthrie)
Andy Semple

text: Final appearances[edit]

text:
Florence Crossan
Paul Martin
Mr McPherson
Kenny Tosh

text: Debut appearances[edit]

text:
Joe Breslin (Kenneth Glenaan)
DI Busby (Laurie Ventry)
Leonard Carter (Robert Robertson)
John Clark (Alan McHugh)
Jennifer Goudie (Victoria Burton)
Cecelia Hunter (Eiledh Fraser)
Celia Maxwell (Annette Staines)
Catriona McNeil (Lynsey Jane Thompson)
Sandy McNeil (Rainer Ross)
Menna Morgan (Manon Jones)
Nick Stapleton (Stephen Hogan)
Duncan Strachan (Ron Donachie)
Mark Torrance (Gary Bakewell)

text: Tom Kerr

text:
DI Busby
Jennifer Goudie
Mr Murdoch

text: Final appearances[edit]

text:
John Clark
Donald Lachlan
Dougal Lachlan
Gladys Lachlan
Jessie McKay
Gordon Sinclair
Mark Torrance

text: Debut appearances[edit]

text:
Judith Crombie (Anne Marie Timoney)
Iain Strathmorris (James Coombes)

text:
DI Busby
Jennifer Goudie

text:
Sam Hagen
Tom Kerr

text: Characters making their last regular appearances[edit]

text:
Grace Lachlan
Jean McTaggart

text: Final appearances[edit]

text:
Emma Aitken
DI Busby
Leonard Carter
Jennifer Goudie
Fergus Jamieson
Sadie McDonald
Lynne McNeil
Fiona Ryder
Greg Ryder
Nick Stapleton
Duncan Strachan

text: Debut appearances[edit]

text:
Tiffany Bowles (Rachel Ogilvy)
Callum Gilchrist (Jim Webster)
Sarah Gilchrist (Shonagh Price)
Phineas North (William Tapley)

text: Returning characters[edit]

text: Sam Hagen

text: Tee Jay Wilson

text: Debut appearances[edit]

text:
Chic Cherry (Andy Cameron)
Jaffa Cherry (Rab Christie)
Dominic Dunbar (Gary Hollywood)
Peter Odell (Ross Davidson)
Ewan Patterson (David McGowan)
Cheryl Thom (Kerry Lyn Hamilton)

text: Return guest appearances[edit]

text:
Grace Lachlan
Jean McTaggart

text: Final appearances[edit]

text:
Judith Crombie
Grace Lachlan
Jean McTaggart
Tee jay Wilson

text: Debut appearances[edit]

text:
Kelly Marie Cherry (Catherine Keating)
Senga Cherry (Libby McArthur)
Stella Greg (Anne Downie)
Victor Kemp (Iain Andrew)
Paul Lafferty (Simon Weir)

text: Returning characters[edit]

text:
Alun Morgan
Menna Morgan

text: Final appearances[edit]

text:
Alun Morgan
Michael Ross
Susan Ross

text: Debut appearances[edit]

text:
Dylan Geddes (Stephen Callaghan)
Martin Geddes (Alex Harvey)
Kitty McIvor (Sarah Gudgeon)
Lachie McIvor (Alec Heggie)
PC Tony Piacentini (Alan McHugh)
Dr Andy Sharp (Richard Conlon)
Sally McGann (Catriona Evans)

text: Return guest appearances[edit]

text: Menna Morgan

text: Final appearances[edit]

text:
Tiffany Bowles
Dylan Geddes
Martin Geddes
Gary McDonald
Menna Morgan
Peter O'Dell
Carol Wilson

text: Debut appearances[edit]

text:
Jude Burnett (Deborah McCallum)
Maureen Gilchrist (Lesley Mackie)
Tina Harrigan (Amanda Beveridge)

text: Character re-casting[edit]

text: Sandy McNeil (Joel Strachan replaces Rainer Ross)

text: Returning characters[edit]

text: Sandy McNeil

text: Final appearances[edit]

text: Trish McDonald

text: Debut appearances[edit]

text:
Ewan Logan (Gordon Brown)
Dan Sutherland (John Havlin)

text: Returning characters[edit]

text: Tina Harrigan

text: Final appearances[edit]

text:
Jude Burnett
Tina Harrigan
Sandy McNeil

text: Debut appearances[edit]

text:
Siobhan Devlin (Chrissie Jo Hyde)
Nigel Jenkins (Keith Warwick)
Liam Peters (Garry Sweeney)

text: Return appearances[edit]

text: Claire Miller

text:
Joanna Ross-Gifford
Kitty McIvor

text: Departing characters[edit]

text: Eric Ross-Gifford

text: Return guest appearances[edit]

text: Claire Kerr

text: Returning characters[edit]

text: Joanna Ross-Gifford

text: Departing characters[edit]

text: Eddie Ramsay

text: Characters who depart until final episode[edit]

text: Isabel Blair

text: Characters who return for the final episode[edit]

text:
Isabel Blair
Kitty McIvor
Lynne McNeil

text: Cast list from the final episode[edit]

text:
Isabel Blair - Eileen McCallum
Sheila Ramsay - Lesley Fitz-Simons
Effie McDonald - Mary Riggans
Jockie McDonald - Jackie Farrell
Mairi McIvor - Anne Myatt
Lachie MacIvor - Alec Heggie
Morag Kerr - Jeannie Fisher
Tom Kerr - John Stahl
Mrs Mack - Gwyneth Guthrie
Victor Kemp - Iain Andrew
Nigel Jenkins - Keith Warwick
Davie Sneddon - Derek Lord
Niall Cassidy - Barry Lord
Alec MacGlashan - Stewart McMinn
Sally McGann - Catriona Evans
Sarah McDonald - Shonagh Price
Baby Sadie McDonald - Courtney Jane McWatt
PC Tony Piacentini - Alan McHugh
Chic Cherry - Andy Cameron
Paul Lafferty - Simon Weir
Ewan Logan - Gordon Brown
Mr Spinetti - Terry Wale
Kitty McIvor - Sarah Gudgeon
Lynne McNeil - Gillian McNeil
Surveyor - Ronnie Simon

text:
Additional Cast
Lucy Ross-Gifford was played by Tiffany Walker. Coincidentally a character called Tiffany Walker appeared as a massage parlour owner in later years. Tiffany Walker was born at Vale of Leven Hospital, daughter of Caroline Walker. (TV TIMES page 29, July 1992)