document_title: The Godfather

question_text: what word was dropped from the film the godfather

text: The Godfather

text: Plot[edit]

text: In 1945, at his daughter Connie's wedding, Vito Corleone hears requests in his role as the Godfather, the Don of a New York crime family. Vito's youngest son, Michael, who was a Marine during World War II, introduces his girlfriend, Kay Adams, to his family at the reception. Johnny Fontane, a famous singer and Vito's godson, seeks Vito's help in securing a movie role; Vito dispatches his consigliere, Tom Hagen, to Los Angeles to persuade the obnoxious studio head Jack Woltz, into giving Johnny the part. Woltz refuses until he wakes up in bed with the severed head of his prized stallion.

text: Shortly before Christmas, drug baron Virgil "The Turk" Sollozzo, backed by the Tattaglia crime family, asks Vito for investment in his narcotics business and protection through his political connections. Wary of involvement in a dangerous new trade that risks alienating political insiders, Vito declines. Suspicious, Vito sends his enforcer, Luca Brasi, to spy on them. However, a Tattaglia button man garrotes Brasi during Brasi's first meeting with Bruno Tattaglia and Sollozzo. Later Sollozzo has Vito gunned down in the street, then kidnaps Hagen. With Corleone first-born Sonny in command, Sollozzo pressures Hagen to persuade Sonny to accept Sollozzo's deal, then releases him. The family receives fish wrapped in Brasi's bullet-proof vest, indicating that Luca "sleeps with the fishes." Vito survives, and at the hospital Michael thwarts another attempt on his father; Michael's jaw is broken by NYPD Captain Marc McCluskey, Sollozzo's bodyguard. Sonny retaliates with a hit on Bruno Tattaglia. Michael plots to murder Sollozzo and McCluskey: on the pretext of settling the dispute, Michael agrees to meet them in a Bronx restaurant. There, retrieving a planted handgun, he kills both men.

text: Despite a clampdown by the authorities, the Five Families erupt in open warfare and Vito's sons fear for their safety. Michael takes refuge in Sicily and Fredo is sheltered by Moe Greene in Las Vegas. Sonny attacks his brother-in-law Carlo on the street for abusing his sister and threatens to kill him if it happens again. When it does, Sonny speeds to their home, but is ambushed at a highway toll booth and riddled with submachine gun fire. While in Sicily, Michael meets and marries Apollonia Vitelli, but a car bomb intended for him takes her life.

text: Devastated by Sonny's death, Vito moves to end the feuds. Realizing that the Tattaglias are controlled by the now-dominant Don Emilio Barzini, Vito assures the Five Families that he will withdraw his opposition to their heroin business and forgo avenging his son's murder. His safety guaranteed, Michael returns home to enter the family business and marry Kay, who gives birth to two children by the early 1950s.

text: With his father at the end of his career and his brother too weak, Michael takes the family reins, promising his wife the business will be legitimate within five years. To that end, he insists Hagen relocate to Las Vegas and relinquish his role to Vito because Tom is not a "wartime consigliere"; Vito agrees Tom should "have no part in what will happen" in the coming battles with rival families. When Michael travels to Las Vegas to buy out Greene's stake in the family's casinos, their partner derides the Corleones for being run out of New York; Michael is dismayed to see that Fredo has fallen under Greene's sway.

text: Vito suffers a fatal heart attack. At the funeral, Tessio, a Corleone capo, asks Michael to meet with Don Barzini, signalling the betrayal that Vito had forewarned. The meeting is set for the same day as the christening of Connie’s baby. While Michael stands at the altar as the child's godfather, Corleone assassins murder the other New York dons and Moe Greene. Tessio is executed for his treachery and Michael extracts Carlo’s confession to his complicity in setting up Sonny's murder for Barzini. A Corleone capo, Clemenza, garrotes Carlo with a wire. Connie accuses Michael of the murder, telling Kay that Michael ordered all the killings. Kay is relieved when Michael finally denies it, but, when the capos arrive, they address her husband as Don Corleone, and she watches as they close the door on her.

text: Cast[edit]

text:
Marlon Brando, in the title role, is Vito Corleone (born Vito Andolini), the Don of the Corleone crime family. A native Sicilian, he is married to Carmela Corleone and the father of Tom (adoptive), Sonny, Fredo, Michael, and Connie.
Al Pacino as Michael Corleone, the Don's third son, recently returned from World War II. The only college-educated family member, he is initially steered from the family business. His progression from the family's last-born son to its ruthless boss is the main subject matter of the film.
James Caan as Santino "Sonny" Corleone, Don Corleone's hot-headed eldest son. As underboss, he is the heir-apparent to succeed his father as head of the Corleone family.
Robert Duvall as Tom Hagen, Don Corleone's informally adopted son, he is the family lawyer and consigliere. Unlike the Corleones, he is of German-Irish descent, not Sicilian.
Diane Keaton as Kay Adams-Corleone, Michael's non-Italian girlfriend and his second wife and mother of his two children.
John Cazale as Frederico "Fredo" Corleone, the middle son of the Corleone family. Deeply insecure and not very bright, he is considered the weakest Corleone brother.
Talia Shire as Constanzia "Connie" Corleone, the youngest child and only daughter of the Corleone family. Her wedding reception begins the film.
Gianni Russo as Carlo Rizzi, Connie's abusive husband. Introduced to the Corleone family by Sonny, whom he ultimately betrays to the Barzini family.
Richard S. Castellano as Peter Clemenza, a caporegime for the Corleone family. He is an old friend of Vito Corleone and Salvatore Tessio.
Abe Vigoda as Salvatore Tessio, a caporegime for the Corleone family. He is an old friend of Vito Corleone and Peter Clemenza.
Al Lettieri as Virgil "The Turk" Sollozzo, a heroin dealer associated with the Tattaglia family. He seeks both financial investment and the protection of the Tattaglia family's narcotics business through Don Corleone's political connections.
Sterling Hayden as Captain Mark McCluskey, a corrupt NYPD police captain on Sollozzo's payroll.
Lenny Montana as Luca Brasi, Vito Corleone's enforcer.
Richard Conte as Emilio Barzini, Don of the Barzini family.
Al Martino as Johnny Fontane, a world-famous singer and Vito's godson. The character is loosely based on Frank Sinatra.
John Marley as Jack Woltz, a powerful Hollywood producer.
Alex Rocco as Moe Greene, a longtime associate of the Corleone family who owns a Las Vegas hotel. The character is based on Bugsy Siegel.
Morgana King as Carmela Corleone, Vito's wife and mother of Sonny, Fredo, Michael, and Connie, and adoptive mother to Tom Hagen.
Salvatore Corsitto as Amerigo Bonasera, a mortician who, in the opening scene, asks Don Corleone for revenge against two boys who severely beat and attempted to rape his daughter.
Corrado Gaipa as Don Tommasino, an old friend of Vito Corleone, who shelters Michael during his exile in Sicily.
Franco Citti as Calò, Michael's bodyguard in Sicily.
Angelo Infanti as Fabrizio, Michael's bodyguard in Sicily. He helped set up the assassination attempt on Michael that kills Apollonia.
Johnny Martino as Paulie Gatto, a soldier under Peter Clemenza and Vito's driver. He is executed for his part in the assassination attempt on Vito.
Victor Rendina as Philip Tattaglia, Don of the Tattaglia family.
Tony Giorgio as Bruno Tattaglia, Philip Tattaglia's son and underboss of the Tattaglia family. Sonny Corleone has him assassinated in retaliation for the shooting of Vito Corleone.
Simonetta Stefanelli as Apollonia Vitelli-Corleone, a young woman Michael meets and marries while in Sicily. She is killed a few months later in an assassination attempt on Michael.
Rudy Bond as Don Cuneo, head of the New York-based Cuneo family.
Louis Guss as Don Zaluchi, Don of the Zaluchi family of Detroit.
Tom Rosqui as Rocco Lampone, a soldier under Clemenza who eventually becomes a caporegime in the Corleone family.
Joe Spinell as Willi Cicci, a soldier in the Corleone family.
Richard Bright as Al Neri, Michael Corleone's personal bodyguard and hitman who eventually becomes a caporegime.
Julie Gregg as Sandra Corleone, Sonny's wife and later widow, and the mother of their four children.
Jeannie Linero as Lucy Mancini, Sonny's mistress.
Sofia Coppola (uncredited) as infant Michael Francis Rizzi, the nephew and godson of Michael Corleone.

text: Production[edit]

text: Development[edit]

text: The film is based on Mario Puzo's The Godfather; a novel that remained on The New York Times Best Seller list for 67 weeks and sold over nine million copies in two years.[5][6][7] Published in 1969, it became the best selling published work in history for several years.[8] Paramount Pictures originally found out about Puzo's novel in 1967 when a literary scout for the company contacted then Paramount Vice President of Production Peter Bart about Puzo's sixty-page unfinished manuscript.[6] Bart believed the work was "much beyond a Mafia story" and offered Puzo a $12,500 option for the work, with an option for $80,000 if the finished work were made into a film.[6][9] Despite Puzo's agent telling him to turn down the offer, Puzo was desperate for money and accepted the deal.[6][9] Paramount's Robert Evans relates that, when they met in early 1968, it was he who offered Puzo the $12,500 deal for the 60-page manuscript titled Mafia after the author confided in him that he urgently needed $10,000 to pay off gambling debts.[10]

text: In March 1967, Paramount announced that they backed Puzo's upcoming work in the hopes of making a film.[6] In 1969, Paramount confirmed their intentions to make a film out of the novel for the price of $80,000,[N 1][9][11][12][13] with aims to have the film released on Christmas Day in 1971.[14] On March 23, 1970, Albert S. Ruddy was officially announced as the film's producer, in part because studio executives were impressed with his interview and because he was known for bringing his films in under budget.[15][16][17]

text: Direction[edit]

text: Evans wanted the picture to be directed by an Italian American to make the film "ethnic to the core".[18][19] Paramount's latest mafia based movie, The Brotherhood, had been a box office bomb;[7][20] Evans believed that the reason for its failure was its almost complete lack of cast members or creative personnel of Italian descent (the director Martin Ritt and star Kirk Douglas were both Jewish).[10] Sergio Leone was Paramount's first choice to direct the film.[21][22] Leone turned down the option to work on his own gangster film Once Upon a Time in America.[21][22] Peter Bogdanovich was then approached but he also declined the offer because he was not interested in the mafia.[23][24][25] In addition, Peter Yates, Richard Brooks, Arthur Penn, Costa-Gavras, and Otto Preminger were all offered the position and declined.[26][27] Evans' chief assistant Peter Bart suggested Francis Ford Coppola, as a director of Italian ancestry who would work for a low sum and budget after the poor reception of his latest film The Rain People.[28][18] Coppola initially turned down the job because he found Puzo's novel sleazy and sensationalist, describing it as "pretty cheap stuff".[10][29] At the time Coppola's studio, American Zoetrope, owed over $400,000 to Warner Bros. for budget overruns with the film THX 1138 and when coupled with his poor financial standing, along with advice from friends and family, Coppola reversed his initial decision and took the job.[27][30][31] Coppola was officially announced as director of the film on September 28, 1970.[32] Paramount had offered twelve other directors the job with The Godfather before Coppola agreed.[33] Coppola agreed to receive $125,000 and six percent of the gross rentals.[34][35]

text: Coppola and Paramount[edit]

text: Before The Godfather was in production, Paramount had been going through an unsuccessful period.[7] In addition to the failure of The Brotherhood, the studio had usurped their budget for their recent films: Darling Lili,[16] Paint Your Wagon, and Waterloo.[7][20] The budget for the film was originally $2.5 million but as the book grew in popularity Coppola argued for and ultimately received a larger budget.[N 2][26][36][38] Paramount executives wanted the movie to be set in then modern-day Kansas City and shot in the studio backlot in order to cut down on costs.[26][16][36] Coppola objected and wanted to set the movie in the same time period as its eponymous novel, the 1940s and 1950s;[26][31][16][32] Coppola's reasons included: Michael Corleone's Marine Corps stint, the emergence of corporate America, and America in the years after World War II.[32] The executives eventually agreed to Coppola's wish as the novel became increasingly successful.[36][16] The studio heads subsequently let Coppola film on location in New York City and Sicily.[41]

text: Gulf & Western executive Charles Bluhdorn was frustrated with Coppola over the number of screen tests he had performed without finding a person to play the various roles.[39] Production quickly fell behind because of Coppola's indecisiveness and conflicts with Paramount, which led to costs being around $40,000 per day.[39] With the rising costs, Paramount had then Vice President Jack Ballard keep a close eye on production costs.[42] While filming, Coppola stated that he felt he could be fired at any point as he knew Paramount executives were not happy with many of the decisions he had made.[26] Coppola was aware that Evans had asked Elia Kazan to take over directing the film, because he feared that Coppola was too inexperienced to cope with the increased size of the production.[43] Coppola was also convinced that the film editor, Aram Avakian, and the assistant director, Steve Kestner, were conspiring to get him fired. Avakian complained to Evans that he could not edit the scenes correctly because Coppola was not shooting enough footage. Evans however was satisfied with the footage being sent to the west coast, and authorized Coppola to fire them both. Coppola later explained: "Like the godfather, I fired people as a preemptory strike. The people who were angling the most to have me fired, I had fired."[44] Brando threatened that he would quit if Coppola were fired.[26][42]

text: Paramount wanted The Godfather to appeal to a wide audience and threatened Coppola with a "violence coach" to make the film more exciting. Coppola added a few more violent scenes to keep the studio happy. The scene in which Connie smashes crockery after finding out Carlo has been cheating was added for this reason.[31]

text: Writing[edit]

text: On April 14, 1970, it was revealed that Puzo was hired by Paramount for $100,000, along with a percentage of the film's profits, to work on the screenplay for the film.[45][46][17] Working from the book, Coppola wanted to have the themes of culture, character, power, and family at the forefront of the film, whereas Puzo wanted to retain aspects from his novel[47] and his initial draft of 150 pages was finished on August 10, 1970.[45][46] After Coppola was hired as director, both Puzo and Coppola worked on the screenplay, but separately.[48] Puzo worked on his draft in Los Angeles, while Coppola wrote his version in San Francisco.[48] Coppola created a book where he tore pages out of Puzo's book and pasted them into the book.[48] There, he made notes about each of the book's fifty scenes, which related to major themes prevalent in the scene, whether the scene should be included in the film, along with ideas and concepts that could be used when filming to make the film true to Italian culture.[48][42] The two remained in contact while they wrote their respective screenplays and made decisions on what to include and what to remove for the final version.[48] A second draft was completed on March 1, 1971, and was 173 pages long.[45][49] The final screenplay was finished on March 29, 1971,[46] wound up being 163 pages long,[48][45] 40 pages over what Paramount had asked for.[50] When filming, Coppola referred to the notebook he had created over the final draft of the screenplay.[48][42] Screenwriter Robert Towne did uncredited work on the script, particularly on the Pacino-Brando garden scene.[51] Despite finishing the third draft, some scenes in the film were still not written yet and were written during production.[52]

text: The Italian-American Civil Rights League wanted all uses of the words "mafia" and "Cosa Nostra" to be removed from the script, in addition to feeling that the film emphasized stereotypes about Italian-Americans.[14][53][54][55] The league also requested that all the money earned from the premiere be donated to the league's fund to build a new hospital.[54][55] Coppola claimed that Puzo's screenplay only contained two instances of the word "mafia" being used, while "Cosa Nostra" was not used at all.[54][55] Those two uses were removed and replaced with other terms, which Coppola felt did not change the story at all.[54][55] The league eventually gave its support for the script.[54][55]

text: Casting[edit]

text: Puzo was first to show interest in having Marlon Brando portray Don Vito Corleone by sending a letter to Brando in which he stated Brando was the "only actor who can play the Godfather."[56] Despite Puzo's wishes, the executives at Paramount were against having Brando play the part due to the poor success of his recent films and his short temper.[57][36] Coppola favored Brando or Laurence Olivier for the role,[58][59] but Olivier's agent refused the role claiming Olivier was sick;[60] however, Olivier went on to star in Sleuth later that year.[59] The studio mainly pushed for Ernest Borgnine to receive the part.[58] Other considerations were George C. Scott, Richard Conte, Anthony Quinn, and Orson Welles.[61][58][62]

text: After months of debate between Coppola and Paramount over Brando, the two finalists for the role were Borgnine and Brando,[63] the latter of which Paramount president Stanley Jaffe required to perform a screen test.[64][65] Coppola did not want to offend Brando and stated that he needed to test equipment in order to set up the screen test at Brando's California residence.[65][66] For make-up, Brando stuck cotton balls in his cheeks,[63] put shoe polish in his hair to darken it, and rolled his collar.[67] Coppola placed Brando's audition tape in the middle of the videos of the audition tapes as the Paramount executives watched them.[68] The executives were impressed with Brando's efforts and allowed Coppola to cast Brando for the role if Brando accepted a lower salary and put up a bond to ensure he would not cause any delays in production.[63][68][69]

text: From the start of production, Coppola wanted Robert Duvall to play the part of Tom Hagen.[14][70][71] After screen testing several other actors, Coppola eventually got his wish and Duvall was awarded the part of Tom Hagen.[70][71] Al Martino, a then famed singer in nightclubs, was notified of the character Johnny Fontane by a friend who read the eponymous novel and felt Martino represented the character of Johnny Fontane.[18] Martino then contacted producer Al Ruddy, who gave him the part.[18] However, Martino was stripped of the part after Coppola became director and then awarded the role to Italian singer Vic Damone.[18] Damone eventually dropped the role because he did not want to play an anti-Italian American character, in addition to being paid too little.[72] According to Martino, after being stripped of the role, he went to his godfather and crime boss Russ Bufalino who then orchestrated the publication of various news articles that talked of how Coppola was unaware of Ruddy giving Martino the part; that, when coupled with pressure from the mafia who felt Martino deserved the role, led Damone to quit as Fontane.[18] Either way, the part of Johnny Fontane ended up with Martino.[18][72]

text: Robert De Niro originally was given the part of Paulie Gatto.[73][63] A spot in The Gang That Couldn't Shoot Straight opened up after Al Pacino quit the project in favor of The Godfather, which led De Niro to audition for the role and leave The Godfather after receiving the part.[73][74] After De Niro quit, Johnny Martino was given the role of Gatto.[18] Coppola cast Diane Keaton for the role of Kay Adams due to her reputation for being eccentric.[75] John Cazale was given the part of Fredo Corleone after Coppola saw him perform in an Off Broadway production.[75] Gianni Russo was given the role of Carlo Rizzi after he was asked to perform a screen test in which he acted out the fight between Rizzi and Connie.[76]

text: Nearing the start of filming on March 29, Michael Corleone had yet to be cast.[77] Paramount executives wanted a popular actor, either Warren Beatty or Robert Redford.[78][63][79] Producer Robert Evans wanted Ryan O'Neal to receive the role in part due to his recent success in Love Story.[79][80] Pacino was Coppola's favorite for the role as he could picture him roaming the Sicilian countryside, and wanted an unknown actor who looked like an Italian-American.[31][79][80] However, Paramount executives found Pacino to be too short to play Michael.[14][18] Dustin Hoffman, Martin Sheen, and James Caan also auditioned.[75] Caan was well received by the Paramount executives and was given the part of Michael initially, while the role of Sonny Corleone was awarded to Carmine Caridi.[18] Coppola still pushed for Pacino to play Michael after the fact and Evans eventually conceded, allowing Pacino to have the role of Michael as long as Caan played Sonny.[81] Evans preferred Caan over Caridi because Caan was seven inches shorter than Caridi, which was much closer to Pacino's height.[18] Despite agreeing to play Michael Corleone, Pacino was contracted to star in MGM's The Gang That Couldn't Shoot Straight, but the two studios agreed on a settlement and Pacino was signed by Paramount three weeks before shooting began.[82]

text: Coppola gave several roles in the film to family members.[18] He gave his sister, Talia Shire, the role of Connie Corleone.[83][84] His daughter Sofia played Michael Francis Rizzi, Connie's and Carlo's newborn son.[18][85] Carmine Coppola, his father, appeared in the film as an extra playing a piano during a scene.[86] Coppola's wife, mother, and two sons all appeared as extras in the picture.[18] Several smaller roles, like Luca Brasi, were cast after the filming had started.[87]

text: Filming[edit]

text: Before the filming began, the cast received a two-week period for rehearsal, which included a dinner where each actor and actress had to assume character for its duration.[88] Filming was scheduled to begin on March 29, 1971, with the scene between Michael Corleone and Kay Adams as they leave Best & Co. in New York City after shopping for Christmas gifts.[89][90] The weather on March 23 predicted snow flurries, which caused Ruddy to move the filming date forward; however snow never materialized and a snow machine was used.[90] Principal filming in New York continued until July 2, 1971.[91][92] Coppola asked for a three-week break before heading overseas to film in Sicily.[91] Following the crew's departure for Sicily, Paramount announced that the release date would be moved from December to spring 1972.[93]

text: Cinematographer Gordon Willis initially turned down the opportunity to film The Godfather because the production seemed "chaotic" to him.[95][81] After Willis later accepted the offer, he and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses.[96] Willis and Coppola chose to use a "tableau format" of filming to make it seem if it was viewed like a painting.[96] He made use of shadows and low light levels throughout the film to showcase psychological developments.[96] Willis and Coppola agreed to interplay light and dark scenes throughout the film.[39] Willis underexposed the film in order to create a "yellow tone."[96] The scenes in Sicily were shot to display the countryside and "display a more romantic land," giving these scenes a "softer, more romantic" feel than the New York scenes.[97]

text: One of the film's most shocking moments involved an actual, severed, horse's head.[31][98] Coppola received some criticism for the scene, although the head was obtained from a dog-food company from a horse that was to be killed regardless of the film.[99] On June 22, the scene where Sonny is killed was shot on a runway at Mitchel Field in Mineola, where three tollbooths were built, along with guard rails, and billboards to set the scene.[100] Sonny's car was a 1941 Lincoln Continental with holes drilled in it to resemble bullet holes.[101][102] The scene took three days to film and cost over $100,000.[103][102]

text: Coppola's request to film on location was observed; approximately 90 percent was shot in New York City and its surrounding suburbs,[104][105] using over 120 unique locations.[106] Several scenes were filmed at the Filmways Studio in East Harlem.[107] The remaining portions were filmed in California, or on-site in Sicily, except for the scenes set in Las Vegas because there were insufficient funds to travel there.[108][104] Savoca and Forza d'Agrò were the Sicilian towns featured in the film.[109] The opening wedding scene was shot in a Staten Island neighborhood using almost 750 locals as extras.[105][110] The house used as the Corleone household and the wedding location was at 110 Longfellow Road in the Todt Hill neighborhood of Staten Island.[110][111] The wall around the Corleone compound was made from styrofoam.[110] Scenes set in and around the Corleone olive oil business were filmed on Mott Street.[106][112]

text: After filming had ended on August 7,[113] post-production efforts were focused on trimming the film to a manageable length.[114] In addition, producers and director were still including and removing different scenes from the end product, along with trimming certain sequences.[115] In September, the first rough cut of the film was viewed.[114] Of the scenes removed from the film, many were centered around Sonny because they did not advance the plot.[116] By November, Coppola and Ruddy finished the semifinal cut.[116] Debates over personnel involved with the final editing remained even 25 years after the release of the film.[117] The film began to be shown to Paramount staff and exhibitors in late December and going into the new year.[118]

text: Music[edit]

text:
Love theme from The Godfather

The famous theme, composed by Larry Kusic and Nino Rota.

Problems playing this file? See media help.

text: Coppola hired Italian composer Nino Rota to create the underscore for the film, including the main theme, "Speak Softly Love".[119][120] For the score, Rota was to relate to the situations and characters in the film.[119][120] Rota synthesized new music for the film and took some parts from his Fortunella score, in order to create an Italian feel and evoke the tragic film's themes.[121] Paramount executive Evans found the score to be too "highbrow" and did not want to use it; however, it was used after Coppola managed to get Evans to agree.[119][120] Coppola believed that Rota's musical piece gave the film even more of an Italian feel.[120] Coppola's father, Carmine, created some additional music for the film,[122] particularly the music played by the band during the opening wedding scene.[120][121] There are a total of nine instances within the film where incidental music can be heard.[121]

text: There was a soundtrack released for the film in 1972 in vinyl form by Paramount Records, on CD in 1991 by Geffen Records, and digitally by Geffen on August 18, 2005.[123] The album contains over 31 minutes of music coming from the movie, with most being composed by Rota, along with a song from Coppola and one by Johnny Farrow and Marty Symes.[124][125][126] Allmusic gave the album five out of five stars, with editor Zach Curd saying it is a "dark, looming, and elegant soundtrack."[124] An editor for Filmtracks believed that Rota did a great job of relating the music to the core aspects of the film, which the editor believed to be "tradition, love, and fear."[126]

text: Release[edit]

text: The world premiere for The Godfather took place in New York City on March 14, 1972, almost three months after the planned release date of Christmas Day in 1971,[127][128] with profits from the premiere donated to The Boys Club of New York.[129] Before the film premiered, the film had already made $15 million from rentals from over 400 theaters.[36] The following day, the film opened in New York at five theaters.[130][18][128] Next was Los Angeles at two theaters on March 22.[131] The Godfather was commercially released on March 24, 1972, throughout the rest of the United States.[130][128] The film reached 316 theaters around the country five days later.[132]

text: Box office[edit]

text: The Godfather was a blockbuster, breaking many box office records to become the highest grossing film of 1972. It earned $81.5 million in theatrical rentals in the USA & Canada during its initial release,[133] increasing its earnings to $85.7 million through a reissue in 1973,[134] and including a limited re-release in 1997 it ultimately earned an equivalent exhibition gross of $135 million.[130] It displaced Gone with the Wind to claim the record as the top rentals earner, a position it would retain until the release of Jaws in 1975.[131][135] News articles at the time proclaimed it was the first film to gross $100 million in North America,[131] but such accounts are erroneous since this record in fact belongs to The Sound of Music, released in 1965.[136] The film repeated its native success overseas, earning in total an unprecedented $142 million in worldwide theatrical rentals, to become the highest net earner.[137] Profits were so high for The Godfather that earnings for Gulf & Western Industries, Inc., which owned Paramount, jumped from 77 cents per share to $3.30 a share for the year, according to a Los Angeles Times article, dated December 13, 1972.[131] To date, it has grossed between $245 million and $286 million in worldwide box office receipts,[138] and adjusted for ticket price inflation in North America, ranks among the top 25 highest-grossing films.[139]

text: Critical response[edit]

text: The Godfather has received critical acclaim and is seen as one of the most influential films of all time, particularly in the gangster genre.[140][141] On Rotten Tomatoes, the film has a 99% rating based on 85 reviews with an average rating of 9.2/10 and the site's critical consensus reads, " One of Hollywood's greatest critical and commercial successes, The Godfather gets everything right; not only did the movie transcend expectations, it established new benchmarks for American cinema".[142] Metacritic assigned the film an average score of 100% based on 14 reviews from mainstream critics, considered to be "universal acclaim".[141] The film is ranked at the top of Metacritic's top 100 list,[143] and is ranked 7th on Rotten Tomatoes' all-time best list (100% "Certified Fresh").[144]

text: Roger Ebert of the Chicago Sun Times praised Coppola's efforts to follow the storyline of the eponymous novel, the choice to set the film in the same time as the novel, and the film's ability to "absorb" the viewer over its three-hour run time.[145] While Ebert was mainly positive, he criticized Brando's performance, saying his movements lacked "precision" and his voice was "wheezy."[145] The Chicago Tribune's Gene Siskel gave the film four out of four stars, commenting that it was "very good."[146] The Village Voice's Andrew Sarris believed Brando portrayed Vito Corleone well and that his character dominated each scene it appeared in, but felt Puzo and Coppola had the character of Michael Corleone too focused on revenge.[147] In addition, Sarris stated that Richard Castellano, Robert Duvall, and James Caan were good in their respective roles.[147]

text: Desson Howe of The Washington Post called the film a "jewel" and wrote that Coppola deserves most of the credit for the film.[148] Writing for The New York Times, Vincent Canby felt that Coppola had created one of the "most brutal and moving chronicles of American life" and went on to say that it "transcends its immediate milieu and genre."[149] Director Stanley Kubrick thought the film had the best cast ever and could be the best movie ever made.[150] Stanley Kauffmann of The New Republic wrote negatively of the film in a contemporary review, claiming that Pacino "rattles around in a part too demanding for him," while also criticizing Brando's make-up and Rota's score.[151]

text: Previous mafia films had looked at the gangs from the perspective of an outraged outsider.[152] In contrast, The Godfather presents the gangster's perspective of the Mafia as a response to corrupt society.[152] Although the Corleone family is presented as immensely rich and powerful, no scenes depict prostitution, gambling, loan sharking or other forms of racketeering.[153] Some critics argue that the setting of a criminal counterculture allows for unapologetic gender stereotyping, and is an important part of the film's appeal ("You can act like a man!", Don Vito tells a weepy Johnny Fontane).[154]

text: Remarking on the fortieth anniversary of the film's release, film critic John Podhoretz praised The Godfather as "arguably the great American work of popular art" and "the summa of all great moviemaking before it".[155] Two years before, Roger Ebert wrote in his journal that it "comes closest to being a film everyone agrees... is unquestionably great."[156]

text: Accolades[edit]

text: The Godfather was nominated for seven awards at the 30th Golden Globe Awards: Best Picture – Drama, James Caan for Best Supporting Actor, Al Pacino and Marlon Brando for Best Actor – Drama, Best Score, Best Director, and Best Screenplay.[157] When the winners were announced on January 28, 1973, the film had won the categories for: Best Screenplay, Best Director, Best Actor - Drama, Best Original Score, and Best Picture – Drama.[158][159] The Godfather won a record five Golden Globes, which was not surpassed until 2017.[160]

text: Rota's score was also nominated for Grammy Award for Best Original Score for a Motion Picture or TV Special at the 15th Grammy Awards.[161][162] Rota was announced the winner of the category on March 3 at the Grammys' ceremony in Nashville, Tennessee.[161][162]

text: When the nominations for the 45th Academy Awards were revealed on February 12, 1973, The Godfather was nominated for eleven awards.[163][164] The nominations were for: Best Picture, Best Costume Design, Marlon Brando for Best Actor, Mario Puzo and Francis Ford Coppola for Best Adapted Screenplay, Pacino, Caan, and Robert Duvall for Best Supporting Actor, Best Film Editing, Nino Rota for Best Original Score, Coppola for Best Director, and Best Sound.[163][164][165] Upon further review of Rota's love theme from The Godfather, the Academy found that Rota had used a similar score in Eduardo De Filippo's 1958 comedy Fortunella.[166][167][168] This led to re-balloting, where members of the music branch chose from six films: The Godfather and the five films that had been on the shortlist for best original dramatic score but did not get nominated. John Addison's score for Sleuth won this new vote, and thus replaced Rota's score on the official list of nominees.[169] Going into the awards ceremony, The Godfather was seen as the favorite to take home the most awards.[158] From the nominations that The Godfather had remaining, it only won three of the Academy Awards: Best Actor, Best Adapted Screenplay, and Best Picture.[165][170]

text: Brando, who had also not attended the Golden Globes ceremony two months earlier,[168][171] boycotted the Academy Awards ceremony and refused to accept the Oscar, becoming the second actor to refuse a Best Actor award after George C. Scott in 1970.[172][173] Brando sent American Indian Rights activist Sacheen Littlefeather in his place, to announce at the awards podium Brando's reasons for declining the award which were based on his objection to the depiction of American Indians by Hollywood and television.[172][173][174] In addition, Pacino boycotted the ceremony. He was insulted at being nominated for the Academy Award for Best Supporting Actor award, noting that he had more screen time than his co-star and Best Actor winner Brando and thus he should have received an Academy Award nomination for Best Actor.[175]

text: The Godfather had five nominations for awards at the 26th British Academy Film Awards.[176] The nominees were: Pacino for Most Promising Newcomer, Rota for the Anthony Asquith Award for Film Music, Duvall for Best Supporting Actor, and Brando for Best Actor, the film's costume designer Anna Hill Johnstone for Best Costume Design.[176] All of The Godfather's nominations failed to win except for Rota.[176]

text:
Awards and nominations received by The Godfather

Award
Category
Nominee
Result

45th Academy Awards
Best Picture
Albert S. Ruddy
Won

Best Director
Francis Ford Coppola
Nominated

Best Actor (refused)
Marlon Brando
Won

Best Supporting Actor
James Caan
Nominated

Robert Duvall
Nominated

Al Pacino
Nominated

Best Adapted Screenplay
Mario Puzo, Francis Ford Coppola
Won

Best Costume Design
Anna Hill Johnstone
Nominated

Best Film Editing
William Reynolds, Peter Zinner
Nominated

Best Sound
Bud Grenzbach, Richard Portman, Christopher Newman
Nominated

Best Original Dramatic Score
Nino Rota
Revoked

26th British Academy Film Awards
Best Actor
Marlon Brando (Also for The Nightcomers)
Nominated

Best Supporting Actor
Robert Duvall
Nominated

Most Promising Newcomer to Leading Film Roles
Al Pacino
Nominated

Best Film Music
Nino Rota
Won

Best Costume Design
Anna Hill Johnstone
Nominated

25th Directors Guild of America Awards
Outstanding Directorial Achievement in Motion Pictures
Francis Ford Coppola
Won

30th Golden Globe Awards
Best Motion Picture - Drama

Won

Best Director - Motion Picture
Francis Ford Coppola
Won

Best Motion Picture Actor - Drama
Marlon Brando
Won

Al Pacino
Nominated

Best Supporting Actor - Motion Picture
James Caan
Nominated

Best Screenplay
Mario Puzo and Francis Ford Coppola
Won

Best Original Score
Nino Rota
Won

15th Grammy Awards
Best Original Score Written for a Motion Picture or TV Special
Nino Rota
Won

25th Writers Guild of America Awards
Best Drama Adapted from Another Medium
Mario Puzo and Francis Ford Coppola
Won

text:
1990 Selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[177]
1998 Time Out conducted a poll and The Godfather was voted the best film of all time.[178]
1999 Entertainment Weekly named it the greatest film ever made.[179][180][181]
2002 Sight & Sound polled film directors voted the film and its sequel as the second best film ever;[182] the critics poll separately voted it fourth.[183]
2002 The Godfather was ranked the second best film of all time by Film4, after Star Wars Episode V: The Empire Strikes Back.[184]
2005 Named one of the 100 greatest films of the last 80 years by Time magazine (the selected films were not ranked).[185][186]
2006 The Writers Guild of America, West agreed, voting it the number two in its list of the 101 greatest screenplays, after Casablanca.[187]
2008 Voted in at No. 1 on Empire magazine's list of The 500 Greatest Movies of All Time.[188]
2012 The Motion Picture Editors Guild listed The Godfather as the sixth best-edited film of all time based on a survey of its membership.[189]

text: American Film Institute recognition[edit]

text:
1998 AFI's 100 Years...100 Movies – #3[190]
2001 AFI's 100 Years...100 Thrills – #11[191]
2005 AFI's 100 Years...100 Movie Quotes:

"I'm going to make him an offer he can't refuse." – #2[192]

2006 AFI's 100 Years of Film Scores – #5[193]
2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) – #2[194]
2008 AFI's 10 Top 10 – #1 Gangster Film[195]

text: Cinematic influence[edit]

text: Although many films about gangsters preceded The Godfather, Coppola's heavy infusion of Italian culture and stereotypes, and his portrayal of mobsters as characters of considerable psychological depth and complexity was unprecedented.[196] Coppola took it further with The Godfather Part II, and the success of those two films, critically, artistically and financially, opened the doors for numerous other depictions of Italian Americans as mobsters, including films such as Martin Scorsese's Goodfellas and TV series such as David Chase's The Sopranos. A comprehensive study of Italian American culture on film, conducted from 1996 to 2001 by the Italic Institute of America,[197] showed that close to 300 movies featuring Italian Americans as mobsters (mostly fictitious) have been produced since The Godfather, an average of nine per year.[198]

text: Popular culture and legacy[edit]

text: The Godfather epic, encompassing the original trilogy and the additional footage Coppola incorporated later, is by now thoroughly integrated into American life and, together with a succession of mob-theme imitators, has led to a highly stereotyped concept of Italian American culture. The first film had the largest impact and, unlike any film before it, its depiction of Italians who immigrated to the United States in the early decades of the 20th century is perhaps attributable to the Italian American director, presenting his own understanding of their experience. The films explain through their action the integration of fictional Italian American criminals into American society. Though the story is set in the period of mass immigration to the U.S., it is rooted in the specific circumstances of the Corleones, a family that lives outside of the law. Although some critics have refashioned the Corleone story into one of universality of immigration, other critics have posited that it leads the viewer to identify organized crime with Italian American culture. Released in a period of intense national cynicism and self-criticism, the American film struck a chord about the dual identities inherent in a nation of immigrants.[199] The Godfather increased Hollywood's negative portrayals of immigrant Italians in the aftermath of the film and was a recruiting tool for organized crime.[200]

text: The concept of a mafia "Godfather" was an invention of Mario Puzo's and the film's effect was to add the fictional nomenclature to the language. Similarly, Don Vito Corleone's unforgettable "I'm gonna make him an offer he can't refuse"—voted the second-most memorable line in cinema history in AFI's 100 Years... 100 Movie Quotes by the American Film Institute—was adopted by actual gangsters.[201] In the French novel Le Père Goriot, Honoré de Balzac wrote of Vautrin telling Eugene: "In that case I will make you an offer that no one would decline."[202]

text: Real-life gangsters responded enthusiastically to the film, with many of them feeling it was a portrayal of how they were supposed to act.[203] Salvatore "Sammy the Bull" Gravano, the former underboss in the Gambino crime family,[204] stated: "I left the movie stunned ... I mean I floated out of the theater. Maybe it was fiction, but for me, then, that was our life. It was incredible. I remember talking to a multitude of guys, made guys, who felt exactly the same way." According to Anthony Fiato after seeing the film, Patriarca crime family members Paulie Intiso and Nicky Giso altered their speech patterns closer to that of Vito Corleone's.[205] Intiso would frequently swear and use poor grammar; but after the movie came out, he started to articulate and philosophize more.[205]

text: Television[edit]

text: John Belushi appeared in a Saturday Night Live sketch as Vito Corleone in a therapy session trying to express his inner feelings towards the Tattaglia Family, who, in addition to muscling in on his territory, "also, they shot my son Santino 56 times".[206]

text: In the television show The Sopranos, Tony Soprano's topless bar is named Bada Bing, echoing the line in The Godfather when Sonny Corleone says, "You've gotta get up close like this and bada-bing! You blow their brains all over your nice Ivy League suit."[207]

text: The film has been parodied several times on the animated television series The Simpsons. In the season three episode "Lisa's Pony" Lisa wakes up to find a horse in her bed and starts screaming. The music and the scene itself resemble the famous "horse's head" scene in The Godfather. In the season four episode "Mr. Plow", the scene in which Sonny Corleone is shot at the tollbooth is mimicked when Bart Simpson is pelted with snowballs.[208][209] The scene is again parodied in the season sixteen episode "All's Fair in Oven War", which includes James Caan as himself in a guest voice role. In the season eighteen episode "The Mook, the Chef, the Wife and Her Homer", the film's final scene is mimicked with a door being closed on Lisa Simpson.[210]

text: Home media[edit]

text: The theatrical version of The Godfather debuted on American network television on November 16, 1974, on NBC, and again two days later, with only minor edits.[211] The television airings attracted a large audience and helped generate anticipation for the upcoming sequel.[211] The next year, Coppola created The Godfather Saga expressly for American television in a release that combined The Godfather and The Godfather Part II with unused footage from those two films in a chronological telling that toned down the violent, sexual, and profane material for its NBC debut on November 18, 1977.[212] In 1981, Paramount released the Godfather Epic boxed set, which also told the story of the first two films in chronological order, again with additional scenes, but not redacted for broadcast sensibilities.[212] The Godfather Trilogy was released in 1992, in which the films are fundamentally in a chronological order.[213]

text: The Godfather Family: A Look Inside was a 73-minute documentary released in 1991.[214] Directed by Jeff Warner, the film featured some behind the scenes content from all three films, interviews with the actors, and screen tests.[214] The Godfather DVD Collection was released on October 9, 2001, in a package that contained all three films—each with a commentary track by Coppola—and a bonus disc containing The Godfather Family: A Look Inside.[215] The DVD also held a Corleone family tree, a "Godfather" timeline, and footage of the Academy Award acceptance speeches.[215]

text: The Godfather: The Coppola Restoration[edit]

text: During the film's original theatrical release, the original negatives were worn down due to the reel being printed so much to meet demand.[216][217] In addition, the duplicate negative was lost in Paramount archives.[217] In 2006 Coppola contacted Steven Spielberg—whose studio DreamWorks had recently been bought out by Paramount—about restoring The Godfather.[216][217] Robert A. Harris was hired to oversee the restoration of The Godfather and its two sequels, with the film's cinematographer Willis participating in the restoration.[218][219] Work began in November 2006 by repairing the negatives so they could go through a digital scanner to produce high resolution 4K files.[216][217] If a negative were damaged and discolored, work was done digitally to restore it to its original look.[216][217] After a year and a half of working on the restoration, the project was complete.[217] Paramount called the finished product The Godfather: The Coppola Restoration and released it to the public on September 23, 2008, on both DVD and Blu-ray Disc.[218][219] Dave Kehr of The New York Times believed the restoration brought back the "golden glow of their original theatrical screenings".[218] As a whole, the restoration of the film was well received by critics and Coppola.[216][217][218][219][220] The Godfather: The Coppola Restoration contains several new special features that play in high definition, along with additional scenes.[220]

text: Video game[edit]

text: A video game based on the film was developed by Electronic Arts and first released in 2006.[221][222] Duvall, Caan, and Brando supplied voiceovers and their likenesses,[223] but Pacino did not.[223] Francis Ford Coppola openly voiced his disapproval of the game.[224]


document_title: Honda CR-V

question_text: when did the honda crv change body style

root

text: Honda CR-V

text: First generation (1995–2001)[edit]

text:
First generation (RD1–RD3)

Overview

Production
1995–2001

Model years
1997–2001

Assembly
Swindon, United Kingdom (HUKM)
Sayama, Japan
Hsinchu, Taiwan
Santa Rosa, Laguna, Philippines (Honda Santa Rosa, Laguna Plant)
Ayutthaya, Thailand (Honda Ayutthaya Plant)
Karawang, Indonesia (Honda Karawang Plant)

Designer
Hiroyuki Kawase (1993)

Body and chassis

Related
Honda Civic (sixth generation)
Honda Integra

Powertrain

Engine

2.0 L B20B I4
2.0 L B20Z I4

Transmission
5-speed manual
MDMA 4-speed automatic
MDLA 4-speed automatic

Dimensions

Wheelbase
2,620 mm (103 in)
2,625.1 mm (103.35 in) (post-facelift)

Length
4,510 mm (178 in)

Width
1,780 mm (70 in)

Height
1,678 mm (66.1 in)1997–1998 (2WD version)
1,700 mm (67 in) 1997–1998(4WD LX)
1,725 mm (67.9 in) 1997–1998 (2WD EX 126 BHP)
1,745 mm (68.7 in) 1999–2001 (2WD EX 146 BHP 2.0 Engine)
1,755 mm (69.1 in) 1999–2001 (4WD EX 146 BHP 2.0 Engine)
1,770 mm (70 in) 1999–2001 (4WD EX-L With Navigation)

tag: table

text: Introduced in Japan in 1995 as a concept[citation needed], the CR-V (Chassis Code RD1-RD3) was Honda's first in-house designed sport utility vehicle by Hiroyuki Kawase. The CR-V was introduced in Japan at Honda Verno dealerships only and was regarded as a luxury vehicle in Japan due to the exterior width dimensions exceeding Japanese Government dimension regulations. For North American market, it was displayed at the 1996 Chicago Auto Show and went on sale in February 1997.

tag: p

text: Upon introduction, the model had only one trim level, which would later be known as the LX model trim; it was powered by the 2.0 L straight-four B20B producing 126 hp (94 kW) at 5400 rpm and 133 lb⋅ft (180 N⋅m) of torque at 4800 rpm. Outer dimensions for this engine would be identical to the Integra's 1.8 L engine, but internally the engine had a larger 84 mm (3.3 in) bore to add the extra displacement needed to produce more torque. The engine utilized a one-piece cylinder sleeve construction unique from any other B-series engine. The chassis was a unibody design with a four-wheel double wishbone suspension. Inside, the rear seats were able to fold down, and a picnic table was stowed in the rear floor area. A common external trait that was visible with this generation was plastic cladding covering the front bumper, rear bumper, and fender wells. In most countries, CR-Vs had a chrome grille; however, in the United States, the grille was made out of the same black plastic as the bumpers. A major difference between the LX and EX trims was that the EX had anti-lock brakes and 15 inch alloy wheels while the LX did not. Drivetrain options were front-wheel drive or Honda's Real Time AWD.

text: Facelift[edit]

text: Although the body style remained the same as the first generation, an update was made from 1999 to 2001 in response to criticism that the original engine lacked enough power for a vehicle of its weight – 3,200 lb (1,500 kg). The engine was changed to the 2.0 L B20Z engine, producing 147 hp (110 kW) at 6200 rpm and 133 lb⋅ft (180 N⋅m) of torque at 4500 rpm. Fuel economy of 23 mpg‑US (10 L/100 km; 28 mpg‑imp) city/28 mpg‑US (8.4 L/100 km; 34 mpg‑imp) highway (US) and price were not affected by the increase in power, which was the result of a higher compression ratio (9.6:1 compared to the B20B's 8.8:1), a new intake manifold, and slightly higher lift on the intake valves.

text: Safety[edit]

text: The 1997–2001 model tested by the Insurance Institute for Highway Safety (IIHS) was the LX model with standard driver and passenger airbags. Even though the car's structure received an acceptable rating, the overall car received a marginal rating as the dummy's left leg would have been broken. Its head went through the airbag which would have caused a minor concussion. The chest was well protected.

text: Models equipped with an automatic transmission now had an overdrive cancel button that allowed the driver to lock the transmission in the first three gears to provide power for passing and climbing grades. The pattern of the cloth on the seats was also redesigned, and the head restraints earned an acceptable rating from the IIHS for whiplash protection.

text: The 1999 European, Australian, and Asian CR-V models featured more drastic changes. Exterior alterations included a new front bumper, smoothed off rear bumper, and a smaller plastic radio antenna on the rear of the roof. "Nighthawk Black" was added to the list of paint choices, while "Passion Orange" disappeared. New dark blue pearl and red pearl shades replaced the former solid red and metallic blue hues. European models received an enlarged Honda emblem on the front grille, and a new metallic yellow paint in certain markets.

text: In 2000, a Special Edition model was introduced in North America. The SE featured body-colored bumpers and side moldings, a body-colored hard spare tire cover, leather upholstery, CD/cassette audio deck, rear privacy glass, a Navtech navigation system, and chrome grille accent. Until 2001, the CR-V sold more than any other vehicle in its class. The North American models also received new exterior colors including Naples Gold Metallic and Taffeta White. Electron Blue was introduced in 2000 to replace Submarine Blue Pearl, while Satin Silver Metallic replaced Sebring Silver Metallic in 2001. However, that year, sales of the Ford Escape and its clone, the Mazda Tribute, surpassed those of the CR-V.

text: The Australian higher specification model was called the "Sport". It was added at the time of the first facelift and included body-colored bumpers, mirrors, door handles, and hard rear spare wheel cover. It also included alloy wheels, roof rails, and a large glass sunroof. The CR-V became the country's best-selling SUV in 2000, outselling the Toyota Landcruiser for the first time.

text: Second generation (2002–2006)[edit]

text:
Second generation (RD4–RD9)

Overview

Production
2001–2006

Model years
2002–2006

Assembly
Swindon, England, United Kingdom
Ayutthaya, Thailand
Sayama, Japan
Ping-Tung, Taiwan
Santa Rosa, Laguna, Philippines
India
Karawang, Indonesia
Wuhan, China (Dongfeng Honda)

Designer
Mitsuhiro Honda (1999)[5]

Body and chassis

Related
Honda Civic (seventh generation)
Honda Element
Honda Integra DC5

Powertrain

Engine
2.0 L K20A1 I4
2.0 L K20A4 I4
2.2 L N22A2 turbodiesel I4
2.4 L K24A1 I4

Transmission
5-speed manual
6-speed manual
4-speed automatic
5-speed automatic

Dimensions

Wheelbase
2,620 mm (103 in)
2,625 mm (103.3 in) (post-facelift)

Length
4,535 mm (178.5 in)
4,600 mm (180 in) (post-facelift)

Width
1,785 mm (70.3 in)

Height
1,680 mm (66 in) 2002–2004
1,700 mm (67 in) 2002–2004 2WD
1,750 mm (69 in) 2002–2004 4WD
1,759 mm (69.3 in) 2005–2006 2WD
1,780 mm (70 in) 2005–2006 4WD
1,800 mm (71 in) 2005–2006 2WD/4WD

text: The bigger and heavier[6] second generation CR-V (Chassis Code RD4-RD8) was a full redesign, based on the seventh generation Civic, and powered by the K24A1 engine. North American versions of the new engine produced 160 hp (120 kW) and 162 lb⋅ft (220 N⋅m) of torque. Per new SAE regulations, the same engine is now rated at 156 hp (116 kW) and 160 lb⋅ft (220 N⋅m). Despite the power increase, the new CR-V retained the fuel economy of the previous model, thanks in part to the engine's i-VTEC system. The newly developed chassis had increased torsional and bending rigidity, while the new suspension possessed front toe control link MacPherson struts and a rear reactive-link double wishbone; the compact rear suspension increased cargo space to 72 cu ft (2,000 l). The second generation CR-V was Car and Driver magazine's Best Small SUV for 2002 and 2003. Second generation CR-Vs in countries outside of North America were again offered in both "low specification" and "high specification" variants, with the latter featuring body-colored bumpers and fittings. It also now did not require the glass hatch to be opened before the swinging door. Changes between model years 2002, 2003, and 2004 were minor, involving an enlargement of the center compartment bin and the addition of a front passenger door power lock in the latter two years respectively. The success of the CR-V prompted Honda to introduce an entry-level SUV, the Element.

text: It is reported that in late 2003, Honda took legal action against Shuanghuan of China accusing its Laibao SRV of copying the CR-V's exterior design.[7] Another manufacturer from China made a copy called the Tianqi Meiya TM6480A.

text: Facelift[edit]

text: In 2005, the CR-V received a mid-cycle refresh. The 2005 CR-V was now equipped with 16 inch wheels, the earlier models had 15 inch wheels. Visual changes included new taillights and headlights with clear indicators. The new headlights now have two separate H1 bulbs for low beams and high beams, the previous setup used H4 single bulb for both low and high beams. The taillights now used clear lenses instead of amber for the turning indicators. The grille was also changed; it had two horizontal bars instead of one. The front bumper design was slightly changed, it now has round fog lights compared to the previous rectangle fog lights and in addition to the lower grill there are two horizontal bars instead of one. The rear bumper reflectors were longer and narrower.

text: On the inside of the car, the EX trim received upgrades which included steering wheel-mounted audio controls and an outside temperature monitor. The stereo system was also XM Satellite Radio ready (USA but not Canada). All CR-V models also had revised rear seat headrests, which had been redesigned to reduce rear view blockage.

text: Mechanically, the 2005 model was also changed. A major change included a drive-by-wire throttle for all CR-Vs. The all-wheel drive system was improved; it had been tuned to activate faster in low traction situations. US market models were equipped with a five-speed automatic, as opposed to the previous four-speed automatic.

text: In the United States and Canada, all 2005 MY and later CR-Vs have anti-lock brakes, electronic brake force distribution, traction control and Vehicle Stability Assist, front seat-mounted side airbags, and side-curtain airbags with rollover sensors for all occupants.

text: In Australia, the MY05 facelift went on sale in late 2004. Base models made do with only dual airbags and ABS as standard equipment, while the Sport came equipped with side airbags for the first time. Curtain airbags were unavailable on any model, until the next generation.

text: Following the tradition of adding a trim level above the EX during the refresh like the first generation CR-V, Honda added the SE trim level for the 2005 CR-V. The CR-V SE featured painted bumpers, body side molding, and hard, body-colored spare tire cover. For a more luxurious experience, Honda added a leather interior, leather-wrapped steering wheel, and heated side mirrors and front seats.

text: Third generation (2007–2011)[edit]

text:
Third generation (RE1–RE5, RE7)

Overview

Production
Sept 2006–2011

Model years
2007–2011

Assembly
East Liberty, Ohio, United States
El Salto, Mexico
Ping-Tung, Taiwan
Sayama, Saitama, Japan
Swindon, England
Vĩnh Phúc, Vietnam
Wuhan, China
Ayutthaya, Thailand
Karawang, Indonesia

Body and chassis

Related
Acura RDX
Honda Civic

Dimensions

Wheelbase
2,620 mm (103.1 in)

Length
4,518 mm (177.9 in)

Width
2007–09: 1,820 mm (71.7 in)
2010–2011: 1,819 mm (71.6 in)

Height
1,704 mm (67.1 in)

text: The third generation CR-V went on sale in the US in late September 2006, as the 2007 model year. The third generation CR-V was launched for the 2007 model year. Unlike preceding models it features a rear liftgate rather than a side-opening rear door and no longer has the spare tire mounted on the rear door.

text: The third generation CR-V is powered by the latest version of Honda's standard K-series 2.4 L inline-four engine, similar variants of which can also be found in the current-generation Honda Accord and Honda Element. In North American markets, this engine's power is rated at 166 hp (124 kW) at 5,800 rpm and 161 lb⋅ft (218 N⋅m) at 4,200 rpm.[8] A 2.2 L i-CTDI diesel engine is offered in the European and Asian markets. The European market CR-V offers a new R20A 2.0 L petrol engine, based on the Honda R-series i-VTEC SOHC engine found in the Honda Civic, as opposed to the previous CR-V offering the K20A.

text: Facelift[edit]

text: For the 2010 model year, the CR-V received style, powertrain, and equipment changes. The exterior changes included a redesigned front fascia with a new horizontal-slat chrome grille and honeycomb-designed lower front grille, new front bumper, and revised taillights. The rear bumper was redesigned, as well as new five split-spoke 17-inch alloy wheels for EX and EX-L models. The interior received minor changes, including seat fabrics, as well as wider driver and front-passenger armrests. The audio head unit controls were altered and the information display backlighting in the gauges was changed to blue, instead of the previous black. A USB audio input became standard in the EX-L trim while hands-free Bluetooth connectivity was exclusive to the EX-L trim equipped with navigation system. In 2011, a mid-level SE trim debuted with a 6-disc CD changer and 17-inch 7-spoke alloy wheels that came from the pre-facelift EX and EX-L trims.

text: Fourth generation (2012–2016)[edit]

text:
Fourth generation (RM1, RM3, RM4)

Overview

Production
Nov 2011–2016

Model years
2012–2016

Body and chassis

Related
Acura RDX
Honda Civic (ninth generation)

Dimensions

Wheelbase
103.1 in (2,619 mm)

Length
178.3 in (4,529 mm)

Width
71.6 in (1,819 mm)

Height
65.1 in (1,654 mm)

text: The CR-V Concept debuted at the Orange County International Auto Show in September 2011,[9] the production 2012 CR-V debuted at the 2011 Los Angeles Auto Show.[10] The CR-V went on sale in the U.S. on December 15, 2011.[11]

text: It is powered with a 2.4-liter i-VTEC inline-four engine puts out 185 hp and 163 pound-feet (220Nm ) of torque at 4,400 rpm along with an all-new Real-Time all-wheel-drive (AWD) with intelligent control system. All North American Honda CR-Vs come equipped with a 5-speed automatic transmission.[12]

text: Facelift[edit]

text: The facelifted 2015 model year CR-V went on sale during October 2014.[13] The CR-V uses the direct injected "Earth Dreams" engine and continuously variable transmission (CVT) transmission combination first introduced on the ninth generation Accord, EPA estimated fuel economy is improved +4/+3/+3 mpg (city/highway/combined). The structure has been modified to improve crash performance, particularly in the IIHS's small offset crash test. The suspension shock absorbers, springs, anti-roll bars and lower control arms are also revised to improve ride performance, while a reduced 15.6:1 steering gear ratio and larger brake booster gives it a sportier feel.

text: Fifth generation (2017–present)[edit]

text:
Fifth generation (RW1–RW6)

Overview

Production
Nov 2016–present

Model years
2017–present

Assembly
East Liberty, Ohio, United States (ELAP)
Greensburg, Indiana, United States (HMIN)
El Salto, Jalisco, Mexico (Honda Mexico)
Sayama, Saitama, Japan
Ping-Tung, Taiwan
Ayutthaya, Thailand (Honda Ayutthaya Plant)
Alliston, Ontario, Canada (HCM)
Alor Gajah, Melaka Malaysia
Swindon, England (HUKM)
Wuhan, China (Dongfeng Honda)
India (Honda India)
Karawang, Indonesia (Honda Prospect Motor)

Body and chassis

Related
Acura CDX
Honda Civic (tenth generation)

Powertrain

Engine
2.4 L K24W I4
1.5 L L15B7 I4 (turbo)
2.0 L R20A I4
1.6 L I4 (turbo-diesel)

Transmission
Continuously Variable Transmission (CVT)
9-speed ZF automatic (diesel)

Dimensions

Wheelbase
104.7 in (2,659 mm)[14]

Length
180.6 in (4,587 mm)

Width
73.0 in (1,854 mm)

Height
66.1 in (1,679 mm) (FWD)
66.5 in (1,689 mm) (AWD)

Curb weight
3307–3397 lbs (FWD)
3421–3512 lbs (AWD)

text: The fifth generation CR-V was unveiled in October 2016 in Detroit. Sales began on December 21, 2016 as a 2017 model year. It utilizes the same Honda compact global platform introduced on the 10th generation Civic.[15]

text: The base (LX) trim is powered by an Earth Dreams 2.4-liter I-4 engine with 184 hp (137 kW), premium trims are equipped with a 1.5-liter turbocharged I-4 with 190 hp (140 kW). Despite the similar power outputs, the turbocharged engine delivers peak torque at 2,000rpm-5,000rpm[16] whereas the naturally-aspirated engine delivers its peak torque at 3,900rpm.[17]

text: The body utilizes 56.5% high strength steel, a total of 37.2% are either of 780, 980 or 1,500 MPa yield strength types.[citation needed]

text: The "Honda Sensing" package, which includes features like Adaptive Cruise Control with Low-Speed Follow (ACC), Collision Mitigation Braking (CMBS) and Lane Keeping Assist (LKAS), are standard on EX and above trims; the package was formerly reserved to the Touring trim prior to the 5th gen release. New safety features include Blind Spot Information (BSI) with Rear Cross Traffic Monitor (CTM), replacing the LaneWatch system from the previous generation CR-V, and Auto High Beam (HSS) headlights.[18]

text: LED daytime-running lights, 18" Alloy Wheels, and electronic parking brake with a new auto-hold feature, are now standard on EX and up trim levels. Additional, new features include a power lift-gate, active grille shutter system to reduce aerodynamic drag, Android Auto/Apple CarPlay on an updated 7-inch touch screen display with volume knob, 7-inch TFT instrument display and LED headlights.[19]

text: Honda began producing the CR-V at Greensburg, Indiana (HMIN) during February 2017.[20]

text: The fifth generation CR-V was also launched in Thailand on March 24, 2017, and in Indonesia on April 27, 2017 at the 2017 Indonesia International Motor Show. Indonesian models went on sale on June 17, 2017. The ASEAN models (excluding Indonesia and Malaysia)[21] are available with a 1.6-liter Honda i-DTEC turbodiesel option (producing 160 horsepower and 350Nm of torque) paired to a ZF 9HP transversely-mounted 9-speed automatic transmission. The i-DTEC turbodiesel engine has been revised from having a single variable-nozzle turbocharger in the earlier version to having two turbochargers - one for low RPMs and the other for high RPMs - to minimize turbo lag. It uses an aluminum cylinder head paired to an open-deck cylinder block, with shorter and thinner piston skirts to reduce mechanical friction to levels comparable to a petrol engine. [22]

text: The CR-V Hybrid was unveiled at the 2017 Auto Shanghai in China during April 2017.

text: Engines[edit]

text:
Engine
Horsepower
Torque

2.4L I4
184 hp (137 kW) @ 6,400 rpm
180 lb⋅ft (240 N⋅m) @ 3,900 rpm

1.5L I4 Turbo
190 hp (140 kW) @ 5,600 rpm
179 lb⋅ft (243 N⋅m) @ 2,200 rpm

2.0L I4
152 hp (113 kW) @ 6,500 rpm
139 lb⋅ft (188 N⋅m) @ 4,300 rpm

1.6L I4 Turbo Diesel
160 hp (120 kW) @ 4,000 rpm
258 lb⋅ft (350 N⋅m) @ 2,000 rpm.

text: Safety[edit]

text:
NHTSA 2017 CR-V:[23][24]

Overall:

Frontal Driver:

Frontal Passenger:

Side Driver:

Side Passenger:

Side Pole Driver:

Rollover FWD:
 / 16.3%

Rollover AWD:
 / 16.2%

text: Sales[edit]

text:
US Sales of Honda CR-V

Calendar year
Sales

1997[25]

66,752

1998

100,582

1999[26]

120,754

2000

118,260

2001[27]

118,313

2002

146,266

2003[28]

143,909

2004

149,281

2005[29]

150,219

2006

170,028

2007[30]

219,160

2008

197,279

2009[31]

191,214

2010

203,714

2011[32]

218,373

2012

281,652

2013[33]

303,904

2014[34]

335,019

2015[35]

345,647

2016

357,335

2017

377,895


document_title: Essay of Dramatick Poesie

question_text: who favours greek drama in dryden's essay of dramatic poesy

question_tokens: who favours greek drama in dryden 's essay of dramatic poesy

text: Essay of Dramatick Poesie

text: Essay of Dramatic Poesy by John Dryden was published in 1668. It was probably written during the plague year of 1666. Dryden takes up the subject that Philip Sidney had set forth in his Defence of Poesie (1580) and attempts to justify drama as a legitimate form of "poetry" comparable to the epic, as well as defend English drama against that of the ancients and the French.

text: The treatise is a dialogue between four speakers: Eugenius, Crites, Lisideius, and Neander. The four speakers represented, respectively Charles Sackville ( Lord Buchhurst and later sixth Earl of Dorset), Sir Robert Howard [playwright and Dryden's brother-in-law], Sir Charles Sedley ( Edward Malone identified him as Lisideius) and Dryden himself (neander means "new man" and implies that Dryden, as a respected member of the gentry class, is entitled to join in this dialogue on an equal footing with the three older men who are his social superiors). On the day that the English fleet encounters the Dutch at sea near the mouth of the Thames, the four friends take a barge downriver towards the noise from the battle. Rightly concluding, as the noise subsides, that the English have triumphed, they order the bargeman to row them back upriver as they begin a dialogue on the advances made by modern civilization. They agree to measure progress by comparing ancient arts with modern, focusing specifically on the art of drama (or "dramatic poesy"). The four men debate a series of three topics: (1) the relative merit of classical drama (upheld by Crites) vs. modern drama (championed by Eugenius); (2) whether French drama, as Lisideius maintains, is better than English drama (supported by Neander, who famously calls Shakespeare "the greatest soul, ancient or modern"); and (3) whether plays in rhyme are an improvement upon blank verse drama--a proposition that Neander, despite having defended the Elizabethans, now advances against the skeptical Crites (who also switches from his original position and defends the blank verse tradition of Elizabethan drama). Invoking the so-called unities from Aristotle's Poetics (as interpreted by Italian and refined by French scholars over the last century), the four speakers discuss what makes a play "a just and lively imitation" of human nature in action. This definition of a play, supplied by Lisideius/Orrery (whose rhymed plays had dazzled the court and were a model for the new drama), gives the debaters a versatile and richly ambiguous touchstone. To Crites' argument that the plots of classical drama are more "just," Eugenius can retort that modern plots are more "lively" thanks to their variety. Lisideius shows that the French plots carefully preserve Aristotle's unities of action, place, and time; Neander replies that English dramatists like Ben Jonson also kept the unities when they wanted to, but that they preferred to develop character and motive. Even Neander's final argument with Crites over whether rhyme is suitable in drama depends on Aristotle's Poetics: Neander says that Aristotle demands a verbally artful ("lively") imitation of nature, while Crites thinks that dramatic imitation ceases to be "just" when it departs from ordinary speech--i.e. prose or blank verse. A year later, the two brothers-in-law quarreled publicly over this third topic. See Dryden's "Defense of An Essay of Dramatic Poesy" (1669), where Dryden tries to persuade the rather literal-minded Howard that audiences expect a play to be an imitation of nature, not a surrogate for nature itself.


document_title: Secondary growth

question_text: an example of monocot showing secondary growth in stem is

text: Secondary growth

text: Lateral meristems[edit]

text: In many vascular plants, secondary growth is the result of the activity of the two lateral meristems, the cork cambium and vascular cambium. Arising from lateral meristems, secondary growth increases the girth of the plant root or stem, rather than its length.  As long as the lateral meristems continue to produce new cells, the stem or root will continue to grow in diameter. In woody plants, this process produces wood, and shapes the plant into a tree with a thickened trunk.

text: Because this growth usually ruptures the epidermis of the stem or roots, plants with secondary growth usually also develop a cork cambium. The cork cambium gives rise to thickened cork cells to protect the surface of the plant and reduce water loss. If this is kept up over many years, this process may produce a layer of cork. In the case of the cork oak it will yield harvestable cork.

text: In nonwoody plants[edit]

text: Secondary growth also occurs in many nonwoody plants, e.g. tomato,[1] potato tuber, carrot taproot and sweet potato tuberous root. A few long-lived leaves also have secondary growth.[2]

text: Abnormal secondary growth[edit]

text: Abnormal secondary growth does not follow the pattern of a single vascular cambium producing xylem to the inside and phloem to the outside as in ancestral lignophytes. Some dicots have anomalous secondary growth, e.g. in Bougainvillea a series of cambia arise outside the oldest phloem.[4]

text: Ancestral monocots lost their secondary growth and their stele has changed in a way it could not be recovered without major changes that are very unlikely to occur. Monocots either have no secondary growth, as is the ancestral case, or they have an "anomalous secondary growth" of some type, or, in the case of palms, they enlarge their diameter in what is called a sort of secondary growth or not depending on the definition given to the term. Palm trees increase their trunk diameter due to division and enlargement of parenchyma cells, which is termed "primary gigantism"[3] because there is no production of secondary xylem and phloem tissues,[3][5] or sometimes "diffuse secondary growth".[6] In some other monocot stems as in Yucca and Dracena with anomalous secondary growth, a cambium forms, but it produces vascular bundles and parenchyma internally and just parenchyma externally. Some monocot stems increase in diameter due to the activity of a primary thickening meristem, which is derived from the apical meristem.[7]


document_title: Food spoilage

question_text: visual signs of spoilage for fruits and vegetables

text: Food spoilage

text: Reasons[edit]

text: Harvested foods decompose from the moment they are harvested due to attacks from enzymes, oxidation and microorganisms. These include bacteria, mold, yeast, moisture, temperature and chemical reaction.

text: Bacteria[edit]

text: Bacteria can be responsible for the spoilage of food. When bacteria breaks down the food, acids and other waste products are created in the process.[1] While the bacteria itself may or may not be harmful, the waste products may be unpleasant to taste or may even be harmful to one's health.[2]

text: Yeasts[edit]

text: Yeasts can be responsible for the decomposition of food with a high sugar content. The same effect is useful in the production of various types of food and beverages, such as bread, yogurt, cider, and alcoholic beverages.[3]

text: Signs[edit]

text: Signs of food spoilage may include an appearance different from the food in its fresh form, such as a change in color, a change in texture, an unpleasant odor, or an undesirable taste. The item may become softer than normal. If mold occurs, it is often visible externally on the item.

text: Consequences[edit]

text: Spoilage bacteria do not normally cause "food poisoning"; typically, the microorganisms that cause foodborne illnesses are odorless and flavourless, and otherwise undetectable outside the lab "."[4] [5]

text: Prevention[edit]

text: A number of methods of prevention can be used that can either totally prevent, delay, or otherwise reduce food spoilage.

text: Food rotation system uses the first in first out method (FIFO), which ensures that the first item purchased is the first item consumed.

text: Preservatives can expand the shelf life of food and can lengthen the time long enough for it to be harvested, processed, sold, and kept in the consumer's home for a reasonable length of time.

text: Refrigeration can increase the shelf life of certain foods and beverages, though with most items, it does not indefinitely expand it. Freezing can preserve food even longer, though even freezing has limitations.

text: A high-quality vacuum flask (thermos) will keep coffee, soup, and other boiling-hot foods above the danger zone (140F/58C) for over 24 hours.

text: Canning of food can preserve food for a particularly long period of time, whether canned at home or commercially. Canned food is vacuum packed in order to keep oxygen out of the can that is needed to allow bacteria to break it down. Canning does have limitations, and does not preserve the food indefinitely.[6]

text: Lactic acid fermentation also preserves food and prevents spoilage.


document_title: Abundance of the chemical elements

question_text: what is the most abundant element found on earth

text: Abundance of the chemical elements

text: Universe[edit]

text:
Ten most common elements in the Milky Way Galaxy estimated spectroscopically[3]

Z
Element
Mass fraction (ppm)

1
Hydrogen
739,000

2
Helium
240,000

8
Oxygen
10,400

6
Carbon
4,600

10
Neon
1,340

26
Iron
1,090

7
Nitrogen
960

14
Silicon
650

12
Magnesium
580

16
Sulfur
440

text: The elements – that is, ordinary (baryonic) matter made of protons, neutrons, and electrons, are only a small part of the content of the Universe. Cosmological observations suggest that only 4.6% of the universe's energy (including the mass contributed by energy, E = mc² ↔ m = E / c²) comprises the visible baryonic matter that constitutes stars, planets, and living beings. The rest is thought to be made up of dark energy (68%) and dark matter (27%).[4] These are forms of matter and energy believed to exist on the basis of scientific theory and observational deductions, but they have not been directly observed and their nature is not well understood.

text: Most standard (baryonic) matter is found in intergalactic gas, stars, and interstellar clouds, in the form of atoms or ions (plasma), although it can be found in degenerate forms in extreme astrophysical settings, such as the high densities inside white dwarfs and neutron stars.

text: Hydrogen is the most abundant element in the Universe; helium is second.  However, after this, the rank of abundance does not continue to correspond to the atomic number; oxygen has abundance rank 3, but atomic number 8. All others are substantially less common.

text: The abundance of the lightest elements is well predicted by the standard cosmological model, since they were mostly produced shortly (i.e., within a few hundred seconds) after the Big Bang, in a process known as Big Bang nucleosynthesis. Heavier elements were mostly produced much later, inside of stars.

text: Hydrogen and helium are estimated to make up roughly 74% and 24% of all baryonic matter in the universe respectively. Despite comprising only a very small fraction of the universe, the remaining "heavy elements" can greatly influence astronomical phenomena. Only about 2% (by mass) of the Milky Way galaxy's disk is composed of heavy elements.

text: These other elements are generated by stellar processes.[5][6][7] In astronomy, a "metal" is any element other than hydrogen or helium. This distinction is significant because hydrogen and helium are the only elements that were produced in significant quantities in the Big Bang.  Thus, the metallicity of a galaxy or other object is an indication of stellar activity, after the Big Bang.

text: In general, elements up to iron are made in large stars in the process of becoming supernovae. Iron-56 is particularly common, since it is the most stable element that can easily be made from alpha particles (being a product of decay of radioactive nickel-56, ultimately made from 14 helium nuclei). Elements heavier than iron are made in energy-absorbing processes in large stars, and their abundance in the universe (and on Earth) generally decreases with increasing atomic number.

text: Solar system[edit]

text:
Most abundant nuclides in the Solar System[8]

Nuclide

A

Mass fraction in parts per million

Atom fraction in parts per million

Hydrogen-1
1
705,700
909,964

Helium-4
4
275,200
88,714

Oxygen-16
16
9,592
477

Carbon-12
12
3,032
326

Nitrogen-14
14
1,105
102

Neon-20
20
1,548
100

Other nuclides:
3,879
149

Silicon-28
28
653
30

Magnesium-24
24
513
28

Iron-56
56
1,169
27

Sulfur-32
32
396
16

Helium-3
3
35
15

Hydrogen-2
2
23
15

Neon-22
22
208
12

Magnesium-26
26
79
4

Carbon-13
13
37
4

Magnesium-25
25
69
4

Aluminium-27
27
58
3

Argon-36
36
77
3

Calcium-40
40
60
2

Sodium-23
23
33
2

Iron-54
54
72
2

Silicon-29
29
34
2

Nickel-58
58
49
1

Silicon-30
30
23
1

Iron-57
57
28
1

text:
The following graph (note log scale) shows abundance of elements in the Solar System. The table shows the twelve most common elements in our galaxy (estimated spectroscopically), as measured in parts per million, by mass.[3]
Nearby galaxies that have evolved along similar lines have a corresponding enrichment of elements heavier than hydrogen and helium. The more distant galaxies are being viewed as they appeared in the past, so their abundances of elements appear closer to the primordial mixture. Since physical laws and processes are uniform throughout the universe, however, it is expected that these galaxies will likewise have evolved similar abundances of elements.

text: The abundance of elements is in keeping with their origin from the Big Bang and nucleosynthesis in a number of progenitor supernova stars. Very abundant hydrogen and helium are products of the Big Bang, while the next three elements are rare since they had little time to form in the Big Bang and are not made in stars (they are, however, produced in small quantities by breakup of heavier elements in interstellar dust, as a result of impact by cosmic rays).

text: Beginning with carbon, elements have been produced in stars by buildup from alpha particles (helium nuclei), resulting in an alternatingly larger abundance of elements with even atomic numbers (these are also more stable). The effect of odd-numbered chemical elements generally being more rare in the universe was empirically noticed in 1914, and is known as the Oddo-Harkins rule.

text: Relation to nuclear binding energy[edit]

text:
Loose correlations have been observed between estimated elemental abundances in the universe and the nuclear binding energy curve.  Roughly speaking, the relative stability of various atomic nuclides has exerted a strong influence on the relative abundance of elements formed in the Big Bang, and during the development of the universe thereafter.
[9]
See the article about nucleosynthesis for the explanation on how certain nuclear fusion processes in stars (such as carbon burning, etc.) create the elements heavier than hydrogen and helium.

text:
A further observed peculiarity is the jagged alternation between relative abundance and scarcity of adjacent atomic numbers in the elemental abundance curve, and a similar pattern of energy levels in the nuclear binding energy curve. This alternation is caused by the higher relative binding energy (corresponding to relative stability) of even atomic numbers compared with odd atomic numbers and is explained by the Pauli Exclusion Principle.[10]
The semi-empirical mass formula (SEMF), also called Weizsäcker's formula or the Bethe-Weizsäcker mass formula, gives a theoretical explanation of the overall shape of the curve of nuclear binding energy.[11]

text: Earth[edit]

text: The Earth formed from the same cloud of matter that formed the Sun, but the planets acquired different compositions during the formation and evolution of the solar system. In turn, the natural history of the Earth caused parts of this planet to have differing concentrations of the elements.

text: The mass of the Earth is approximately 5.98×1024 kg. In bulk, by mass, it is composed mostly of iron (32.1%), oxygen (30.1%), silicon (15.1%), magnesium (13.9%), sulfur (2.9%), nickel (1.8%), calcium (1.5%), and aluminium (1.4%); with the remaining 1.2% consisting of trace amounts of other elements.[12]

text: The bulk composition of the Earth by elemental-mass is roughly similar to the gross composition of the solar system, with the major differences being that Earth is missing a great deal of the volatile elements hydrogen, helium, neon, and nitrogen, as well as carbon which has been lost as volatile hydrocarbons. The remaining elemental composition is roughly typical of the "rocky" inner planets, which formed in the thermal zone where solar heat drove volatile compounds into space. The Earth retains oxygen as the second-largest component of its mass (and largest atomic-fraction), mainly from this element being retained in silicate minerals which have a very high melting point and low vapor pressure.

text:
Estimated abundances of chemical elements in the Earth.[13] The right two columns give the fraction of the mass in parts per million (ppm) and the fraction by number of atoms in parts per billion (ppb).
show

Atomic Number

Name

Symbol

Mass fraction (ppm)

Atomic fraction (ppb)[13]

8
oxygen
O
297000
482,000,000

12
magnesium
Mg
154000
164,000,000

14
silicon
Si
161000
150,000,000

26
iron
Fe
319000
148,000,000

13
aluminum
Al
15900
15,300,000

20
calcium
Ca
17100
11,100,000

28
nickel
Ni
18220
8,010,000

1
hydrogen
H
260
6,700,000

16
sulfur
S
6350
5,150,000

24
chromium
Cr
4700
2,300,000

11
sodium
Na
1800
2,000,000

6
carbon
C
730
1,600,000

15
phosphorus
P
1210
1,020,000

25
manganese
Mn
1700
800,000

22
titanium
Ti
810
440,000

27
cobalt
Co
880
390,000

19
potassium
K
160
110,000

17
chlorine
Cl
76
56,000

23
vanadium
V
105
53,600

7
nitrogen
N
25
46,000

29
copper
Cu
60
25,000

30
zinc
Zn
40
16,000

9
fluorine
F
10
14,000

21
scandium
Sc
11
6,300

3
lithium
Li
1.10
4,100

38
strontium
Sr
13
3,900

32
germanium
Ge
7.00
2,500

40
zirconium
Zr
7.10
2,000

31
gallium
Ga
3.00
1,000

34
selenium
Se
2.70
890

56
barium
Ba
4.50
850

39
yttrium
Y
2.90
850

33
arsenic
As
1.70
590

5
boron
B
0.20
480

42
molybdenum
Mo
1.70
460

44
ruthenium
Ru
1.30
330

78
platinum
Pt
1.90
250

46
palladium
Pd
1.00
240

58
cerium
Ce
1.13
210

60
neodymium
Nd
0.84
150

4
beryllium
Be
0.05
140

41
niobium
Nb
0.44
120

76
osmium
Os
0.90
120

77
iridium
Ir
0.90
120

37
rubidium
Rb
0.40
120

35
bromine
Br
0.30
97

57
lanthanum
La
0.44
82

66
dysprosium
Dy
0.46
74

64
gadolinium
Gd
0.37
61

52
tellurium
Te
0.30
61

45
rhodium
Rh
0.24
61

50
tin
Sn
0.25
55

62
samarium
Sm
0.27
47

68
erbium
Er
0.30
47

70
ytterbium
Yb
0.30
45

59
praseodymium
Pr
0.17
31

82
lead
Pb
0.23
29

72
hafnium
Hf
0.19
28

74
tungsten
W
0.17
24

79
gold
Au
0.16
21

48
cadmium
Cd
0.08
18

63
europium
Eu
0.10
17

67
holmium
Ho
0.10
16

47
silver
Ag
0.05
12

65
terbium
Tb
0.07
11

51
antimony
Sb
0.05
11

75
rhenium
Re
0.08
10

53
iodine
I
0.05
10

69
thulium
Tm
0.05
7

55
cesium
Cs
0.04
7

71
lutetium
Lu
0.05
7

90
thorium
Th
0.06
6

73
tantalum
Ta
0.03
4

80
mercury
Hg
0.02
3

92
uranium
U
0.02
2

49
indium
In
0.01
2

81
thallium
Tl
0.01
2

83
bismuth
Bi
0.01
1

text: Crust[edit]

text: The mass-abundance of the nine most abundant elements in the Earth's crust is approximately: oxygen 46%, silicon 28%, aluminum 8.2%, iron 5.6%, calcium 4.2%, sodium 2.5%, magnesium 2.4%, potassium 2.0%, and titanium 0.61%. Other elements occur at less than 0.15%. For a complete list, see abundance of elements in Earth's crust.

text: The graph at right illustrates the relative atomic-abundance of the chemical elements in Earth's upper continental crust— the part that is relatively accessible for measurements and estimation.

text: Many of the elements shown in the graph are classified into (partially overlapping) categories:

text:
rock-forming elements (major elements in green field, and minor elements in light green field);
rare earth elements (lanthanides, La-Lu, and Y; labeled in blue);
major industrial metals (global production >~3×107 kg/year; labeled in red);
precious metals (labeled in purple);
the nine rarest "metals" — the six platinum group elements plus Au, Re, and Te (a metalloid) — in the yellow field. These are rare in the crust from being soluble in iron and thus concentrated in the Earth's core.

tag: ol

text: Note that there are two breaks where the unstable (radioactive) elements technetium (atomic number: 43) and promethium (atomic number: 61) would be. These elements are surrounded by stable elements, yet both have relatively short half lives (~ 4 million years and ~ 18 years respectively). These are thus extremely rare, since any primordial initial fractions of these in pre-Solar System materials have long since decayed and disappeared. These two elements are now only produced naturally through the spontaneous fission of very heavy radioactive elements (for example, uranium, thorium, or the trace amounts of plutonium that exist in uranium ores), or by the interaction of certain other elements with cosmic rays. Both technetium and promethium have been identified spectroscopically in the atmospheres of stars, where they are produced by ongoing nucleosynthetic processes.

text: There are also breaks in the abundance graph where the six noble gases would be, since they are not chemically bound in the Earth's crust, and they are only generated by decay chains from radioactive elements in the crust, and are therefore extremely rare there.

text: The eight naturally occurring very rare, highly radioactive elements (polonium, astatine, francium, radium, actinium, protactinium, neptunium, and plutonium) are not included, since any of these elements that were present at the formation of the Earth have decayed away eons ago, and their quantity today is negligible and is only produced from the radioactive decay of uranium and thorium.

text: Oxygen and silicon are notably the most common elements in the crust. On Earth and in rocky planets in general, silicon and oxygen are far more common than their cosmic abundance. The reason is that they combine with each other to form silicate minerals. In this way, they are the lightest of all of the two-percent "astronomical metals" (i.e., non-hydrogen and helium elements) to form a solid that is refractory to the Sun's heat, and thus cannot boil away into space. All elements lighter than oxygen have been removed from the crust in this way.

text: Rare-earth elements[edit]

text: "Rare" earth elements is a historical misnomer. The persistence of the term reflects unfamiliarity rather than true rarity. The more abundant rare earth elements are similarly concentrated in the crust compared to commonplace industrial metals such as chromium, nickel, copper, zinc, molybdenum, tin, tungsten, or lead. The two least abundant rare earth elements (thulium and lutetium) are nearly 200 times more common than gold. However, in contrast to the ordinary base and precious metals, rare earth elements have very little tendency to become concentrated in exploitable ore deposits. Consequently, most of the world's supply of rare earth elements comes from only a handful of sources. Furthermore, the rare earth metals are all quite chemically similar to each other, and they are thus quite difficult to separate into quantities of the pure elements.

text: Differences in abundances of individual rare earth elements in the upper continental crust of the Earth represent the superposition of two effects, one nuclear and one geochemical. First, the rare earth elements with even atomic numbers (58Ce, 60Nd, ...) have greater cosmic and terrestrial abundances than the adjacent rare earth elements with odd atomic numbers (57La, 59Pr, ...). Second, the lighter rare earth elements are more incompatible (because they have larger ionic radii) and therefore more strongly concentrated in the continental crust than the heavier rare earth elements. In most rare earth ore deposits, the first four rare earth elements – lanthanum, cerium, praseodymium, and neodymium – constitute 80% to 99% of the total amount of rare earth metal that can be found in the ore.

text: Mantle[edit]

text: The mass-abundance of the eight most abundant elements in the Earth's mantle (see main article above) is approximately: oxygen 45%, magnesium 23%, silicon 22%, iron 5.8%, calcium 2.3%, aluminum 2.2%, sodium 0.3%, potassium 0.3%.

text: The mantle differs in elemental composition from the crust in having a great deal more magnesium and significantly more iron, while having much less aluminum and sodium.

text: Core[edit]

text: Due to mass segregation, the core of the Earth is believed to be primarily composed of iron (88.8%), with smaller amounts of nickel (5.8%), sulfur (4.5%), and less than 1% trace elements.[12]

text: Ocean[edit]

text: The most abundant elements in the ocean by proportion of mass in percent are oxygen (85.84), hydrogen (10.82), chlorine (1.94), sodium (1.08), magnesium (0.1292), sulfur (0.091), calcium (0.04), potassium (0.04), bromine (0.0067), carbon (0.0028), and boron  (0.00043).

text: Atmosphere[edit]

text: The order of elements by volume-fraction (which is approximately molecular mole-fraction) in the atmosphere is nitrogen (78.1%), oxygen (20.9%),[14] argon (0.96%), followed by (in uncertain order) carbon and hydrogen because water vapor and carbon dioxide, which represent most of these two elements in the air, are variable components.   Sulfur, phosphorus, and all other elements are present in significantly lower proportions.

text: According to the abundance curve graph (above right), argon, a significant if not major component of the atmosphere, does not appear in the crust at all. This is because the atmosphere has a far smaller mass than the crust, so argon remaining in the crust contributes little to mass-fraction there, while at the same time buildup of argon in the atmosphere has become large enough to be significant.

text: Urban soils[edit]

text: For a complete list of the abundance of elements in urban soils, see Abundances of the elements (data page)#Urban soils.

text: Human body[edit]

text:
Elemental abundance in the human body
show

Element
Proportion (by mass)

Oxygen
65

Carbon
18

Hydrogen
10

Nitrogen
3

Calcium
1.5

Phosphorus
1.2

Potassium
0.2

Sulfur
0.2

Chlorine
0.2

Sodium
0.1

Magnesium
0.05

Iron
< 0.05

Cobalt
< 0.05

Copper
< 0.05

Zinc
< 0.05

Iodine
< 0.05

Selenium
< 0.01

text: By mass, human cells consist of 65–90% water (H2O), and a significant portion of the remainder is composed of carbon-containing organic molecules. Oxygen therefore contributes a majority of a human body's mass, followed by carbon. Almost 99% of the mass of the human body is made up of six elements: oxygen, carbon, hydrogen, nitrogen, calcium, and phosphorus. The next 0.75% is made up of the next five elements: potassium, sulfur, chlorine, sodium, and magnesium. Only 17 elements are known for certain to be necessary to human life, with one additional element (fluorine) thought to be helpful for tooth enamel strength. A few more trace elements may play some role in the health of mammals. Boron and silicon are notably necessary for plants but have uncertain roles in animals. The elements aluminium and silicon, although very common in the earth's crust, are conspicuously rare in the human body.[15]

text: Below is a periodic table highlighting nutritional elements.[16]

text:
Nutritional elements in the periodic table

H

He

Li
Be

B
C
N
O
F
Ne

Na
Mg

Al
Si
P
S
Cl
Ar

K
Ca
Sc

Ti
V
Cr
Mn
Fe
Co
Ni
Cu
Zn
Ga
Ge
As
Se
Br
Kr

Rb
Sr
Y

Zr
Nb
Mo
Tc
Ru
Rh
Pd
Ag
Cd
In
Sn
Sb
Te
I
Xe

Cs
Ba
La
*
Hf
Ta
W
Re
Os
Ir
Pt
Au
Hg
Tl
Pb
Bi
Po
At
Rn

Fr
Ra
Ac
**
Rf
Db
Sg
Bh
Hs
Mt
Ds
Rg
Cn
Nh
Fl
Mc
Lv
Ts
Og

*
Ce
Pr
Nd
Pm
Sm
Eu
Gd
Tb
Dy
Ho
Er
Tm
Yb
Lu

**
Th
Pa
U
Np
Pu
Am
Cm
Bk
Cf
Es
Fm
Md
No
Lr

text:
The four basic organic elements

  Quantity elements

  Essential trace elements

  Deemed essential trace element by U.S., not by European Union

  Suggested function from deprivation effects or active metabolic handling, but no clearly-identified biochemical function in humans

  Limited circumstantial evidence for trace benefits or biological action in mammals

  No evidence for biological action in mammals, but essential in some lower organisms.(In the case of lanthanum, the definition of an essential nutrient as being indispensable and irreplaceable is not completely applicable due to the extreme similarity of the lanthanides. Thus Ce, Pr, and Nd may be substituted for La without ill effects for organisms using La, and the smaller Sm, Eu, and Gd may also be similarly substituted but cause slower growth.)