document_title: Harry Potter and the Half-Blood Prince (film)

question_text: where was harry potter and the half blood prince filmed

text: Plot[edit]

text: Lord Voldemort is tightening his grip on both the wizarding and Muggle worlds, kidnapping Ollivander from Diagon Alley and destroying the Millennium Bridge. After the Malfoy family is disgraced when Lucius is apprehended and sent to Azkaban for his involvement with the Death Eaters, Voldemort chooses Draco to carry out a secret mission at Hogwarts. Bellatrix Lestrange and Narcissa Malfoy, Draco's mother, seek help from Severus Snape, who claims to have been acting as a mole within the Order of the Phoenix all along. Snape makes an Unbreakable Vow with Narcissa to protect Draco and fulfill the assignment if he fails.

text: Harry accompanies Albus Dumbledore from Surbiton to the village of Budleigh Babberton to visit former Potions professor Horace Slughorn. Professor Slughorn has been in hiding but agrees to return to teach at Hogwarts. Dumbledore then takes Harry to The Burrow, where Harry reunites with his best friends, Ron Weasley and Hermione Granger. When the three go visit Fred and George Weasley's new joke shop at Diagon Alley, they see Draco entering Knockturn Alley with a group of Death Eaters including Fenrir Greyback. Harry believes Voldemort has made Draco a Death Eater, but Ron and Hermione are skeptical. On the Hogwarts Express, Harry hides in the Slytherin carriage using his Invisibility Cloak. Harry is spotted by Malfoy, who petrifies him and breaks his nose. Harry is found and saved by Luna Lovegood.

text: At Hogwarts, Harry and Ron borrow textbooks for Slughorn's Potions class, and Harry is stuck with a copy that turns out to be filled with helpful notes and spells left by the "Half-Blood Prince". Harry uses the book to excel in the class and impresses Slughorn, winning a vial of Liquid Luck. Ron becomes Keeper of the Gryffindor Quidditch team and forms a romantic relationship with Lavender Brown, upsetting Hermione. Harry consoles Hermione and reveals that he now has feelings for Ron's younger sister, Ginny Weasley.

text: Harry spends the Christmas holidays with the Weasleys. On Christmas Eve, Harry discusses his suspicions about Draco to the Order of the Phoenix. Harry's suspicions are dismissed by the Order, but later on Arthur Weasley tells Harry privately that the Malfoys may have been interested in a Vanishing Cabinet. Bellatrix and Greyback attack the Burrow and burn it down, drawing Harry into a battle before the Order arrive and fight them off. At Hogwarts, Dumbledore reveals to Harry that Slughorn possesses a memory of Voldemort that Dumbledore needs desperately. Slughorn gave Dumbledore the memory, but it was an altered version that made it appear that Slughorn didn't know anything. Dumbledore shows Harry the altered memory and asks him to confront Slughorn and retrieve the real one, but when Harry brings it up Slughorn gets angry and refuses to talk any more about it. After Ron accidentally ingests a love potion, Harry brings him to Slughorn for a cure and to smooth over their argument from earlier. After curing Ron, the trio celebrate with mead that Slughorn had intended to gift to Dumbledore. The mead poisons Ron, and Harry is forced to save his life after Slughorn hesitates. Ron murmurs Hermione's name while recovering in the infirmary, causing Lavender to end their relationship. Harry confronts Draco about the poisoned mead and a cursed necklace, and the two duel. Harry uses a curse from the Half-Blood Prince's potion book to severely injure Malfoy, who is rescued and healed by Professor Snape. Fearing the potion book may be filled with more Dark Magic, Ginny and Harry hide it in the Room of Requirement and share their first kiss.

text: Harry decides to use his Liquid Luck potion to convince Slughorn to give up the memory Dumbledore needs. Harry views the memory with Dumbledore and learns that Voldemort wanted information for creating Horcruxes, magical objects that could contain pieces of a wizard's soul and save them from death. Dumbledore concludes that Voldemort successfully created seven Horcruxes, two of which have already been destroyed: Tom Riddle's diary and Marvolo Gaunt's ring. Harry and Dumbledore travel to a seaside cave where Harry aids Dumbledore in drinking a potion that hides another Horcrux, Slytherin's locket. A weakened Dumbledore defends them from Inferi and apparates back to Hogwarts. Bellatrix, Greyback, and more Death Eaters enter Hogwarts with Draco's help through the vanishing cabinet in the Room of Requirement that Draco managed to connect to the one he had been working on in Knockturn Alley.

text: Dumbledore instructs Harry to hide and not to interfere no matter what happens. Draco arrives and disarms Dumbledore revealing that he has been chosen by Voldemort to kill the headmaster. When Draco is unable to bring himself to do it, Snape casts the killing curse instead. An enraged Harry confronts Snape, who reveals that he is the Half-Blood Prince. Harry returns to the school to find the staff and students mourning Dumbledore. Harry later reveals to Ron and Hermione that the locket Horcrux was a fake. The locket contains a message from "R.A.B.", stating that he has stolen the real Horcrux with the intent of destroying it. Rather than returning for final year at Hogwarts, the three decide to finish Dumbledore's plan and hunt down the remaining Horcruxes.

text: Cast[edit]

text:
Daniel Radcliffe as Harry Potter
Rupert Grint as Ron Weasley, one of Harry's two best friends.
Emma Watson as Hermione Granger, one of Harry's two best friends.
Michael Gambon as Albus Dumbledore, the headmaster of Hogwarts.
Helena Bonham Carter as Bellatrix Lestrange, one of Voldemort's principal Death Eaters and Draco Malfoy's aunt.
Jim Broadbent as Horace Slughorn, the newly appointed Potions master who held the position before.
Robbie Coltrane as Rubeus Hagrid, the Hogwarts gamekeeper and Care of Magical Creatures teacher at Hogwarts.
Warwick Davis as Filius Flitwick, the Charms master and head of Ravenclaw.
Tom Felton as Draco Malfoy, Harry's rival and recipient of Voldemort's secret mission.
Alan Rickman as Severus Snape, the former Potions master, current Defence Against the Dark Arts teacher and head of Slytherin.
Maggie Smith as Minerva McGonagall, the Hogwarts Transfiguration teacher, deputy headmistress and head of Gryffindor.
Timothy Spall as Peter Pettigrew, the Death Eater who betrayed Harry's parents to Voldemort. Pettigrew has no lines in this film, but appears as a servant at Snape's house.
David Thewlis as Remus Lupin, a member of the Order of the Phoenix and Harry's ex-Defence Against the Dark Arts teacher.
Julie Walters as Molly Weasley, the Weasley matriarch and a mother figure to Harry.

tag: ul

text: Production[edit]

text: Development[edit]

text: Before David Yates was officially chosen to direct the film, many directors had expressed an interest in taking the helm. Alfonso Cuarón, the director of the third film, stated he "would love to have the opportunity" to return.[13] Goblet of Fire director Mike Newell declined a spot to direct the fifth film, and was not approached for this one.[14] Guillermo del Toro turned down the chance to direct the film in order to direct Hellboy II: The Golden Army.[citation needed] Terry Gilliam was Rowling's personal choice to direct Philosopher's Stone. When asked whether he would consider directing a later film, Gilliam said, "Warner Bros. had their chance the first time around, and they blew it."[15]

text: In an interview with Dark Horizons, Yates said that "I was still working on Order of the Phoenix when they asked me to do Half-Blood Prince. So they were really delighted with the material that they were seeing while we were in post-production, and the conversations happened before the movie was released, because I had to start pre-production on it while Order of the Phoenix was being promoted. It was just something they see in the work that they really liked, and responded to."[16] Yates described Half-Blood Prince as being "a cross between the chills of Prisoner of Azkaban and the fantastical adventure of Goblet of Fire."[17]

text: Emma Watson considered not returning for the film,[18] but eventually decided that, "the pluses outweighed the minuses," and could not bear to see anyone else play Hermione. Composer Nicholas Hooper returned from the last film; he included a reworking of John Williams's Hedwig's Theme, which has recurred in all scores. Also maintained were costume designer Jany Temime, visual effects supervisor Tim Burke, creature and make-up effects designer Nick Dudman, and special effects supervisor John Richardson from the third film.[19]

text: Yates and Heyman have noted that some of the events of Harry Potter and the Deathly Hallows influenced the script of Half-Blood Prince.[20]

text: Casting[edit]

text: Christian Coulson, who played the young Tom Riddle in Chamber of Secrets, expressed an interest in returning in the role for flashback sequences;[21] Yates responded that Coulson was too old, nearing 30, to be playing the role.[22] Jamie Campbell Bower, who appeared in Sweeney Todd: The Demon Barber of Fleet Street, previously noted that he had his "fingers crossed" he would be cast as a young Riddle.[23] (Bower was, however, later cast as the teenage Gellert Grindelwald in Harry Potter and the Deathly Hallows – Part 1.) Thomas James Longley was the original choice to take on the role but Riddle was ultimately played by Hero Fiennes-Tiffin as a child and Frank Dillane as a teenager.[24][25]

text: Helen McCrory appears as Narcissa Malfoy, Draco's mother and younger sister of Bellatrix. McCrory was originally cast as Bellatrix in Order of the Phoenix, but had to drop out due to pregnancy.[26] Naomi Watts was previously reported as having accepted the role,[27] only for it to be denied by her agency.[28]

text: Both Clémence Poésy, who has played Fleur Delacour, and Chris Rankin, who has played Percy Weasley, were interested in returning, but did not appear in the film.[29][30] After Bill Nighy expressed an interest in appearing,[31] Yates confirmed that Nighy would be his first choice for the role of Minister for Magic Rufus Scrimgeour.[32] Scrimgeour's character was ultimately cut from the film, but Nighy appeared in his role in Deathly Hallows.[33]

text: Sets[edit]

text: Stuart Craig, the production designer of the first five films, stayed on to design all the sets in Half-Blood Prince.[34] Several new sets are introduced, including Tom Riddle's Orphanage, Astronomy Tower and the Cave. Craig noted that the film used several CGI sets, noticeably the interior of the Cave where Harry and Dumbledore both go to hunt Horcruxes. The exterior of the cave scene was filmed at the Cliffs of Moher in the west of Ireland, the only location to be filmed outside of the United Kingdom throughout the film series. The interior of the cave is made up of geometric crystal formations. Craig noted "Apart from the point at which Harry and Dumbledore first arrive and the island formation on which everything inside the cave happens, the set is entirely virtual, designed in the computer. We'd had our first totally virtual set on the last film, so we approached this one with a bit more confidence."[35]

text: Filming[edit]

text: Before filming began, there was belief that filming might move from the UK, where all previous films were shot. The crew also scouted around Cape Wrath in Scotland, for use in the cave scene.[36] Filming returned to Glen Coe and Glenfinnan, both which have appeared in the previous films, to preserve the continuity of the landscape.[37]

text: Following a week of rehearsals, principal photography began on 24 September 2007 and ended on 17 May 2008.[38] Though Radcliffe, Gambon and Broadbent started shooting in late September 2007, some other cast members started much later: Grint did not begin until November 2007, Watson did not begin until December 2007, Rickman until January 2008, and Bonham Carter until February 2008.[39][40]

text: On the weekend of 6 October 2007, the crew shot scenes involving the Hogwarts Express in the misty and dewy environment of Fort William, Scotland.[37] A series of night scenes were filmed in the village of Lacock and the cloisters at Lacock Abbey for three nights starting 25 October 2007. Filming took place from 5 pm to 5 am daily, and residents of the street were asked to black out their windows with dark blinds.[41][42][43] On set reports indicated that the main scene filmed was Harry and Dumbledore's visit to Slughorn's house.[43] Further filming took place in Surbiton railway station in October 2007,[44] Gloucester Cathedral, where the first and second films were shot, in February 2008,[45][46] and at the Millennium Bridge in London in March 2008.[47]

text: Cinematography[edit]

text: Due to cinematographer Bruno Delbonnel's use of de-focussing and soft wipes in the digital grade, Warner Bros. asked director David Yates to add more colours to the film. Yates didn't want to lose the "very European look" of the film, but after retouching the picture, he said, "It's not what you wanted, but we're happy with it." After five minutes of watching the film, the studio were pleased with the changes.[48][49] In an interview with Total Film, Yates said that "the choice of angles, the extreme close-ups, [and] the pacing of the scenes" made the film "incredibly rich".[50] The palette and lighting was heavily inspired by the Dutch painter Rembrandt.[51] Half-Blood Prince is the only film in the series to be nominated for the Best Cinematography accolade at the Academy Awards.[8]

text: One of the major challenges for Delbonnel was lighting the film. In an interview with the Academy, he said, "Some of the sets are there since the very first Potter. How could I light them in a different way? This question brought another one based on the series itself... I thought it would be interesting to have those very intimate stories amidst this very dark mood. As if the school was a dark character. That's when I suggested to go for this (again) dark moody variations of greys. Fortunately David Yates, and the producers liked the idea." In reference to the cave scene Delbonnel said, "I wanted to have some kind of 'dynamism' with the light. I thought it could be interesting and more dramatic if the light was floating, circling above the characters faces: sometimes lighting them, sometimes hiding them in a very random and unpredictable way."[52]

text: Visual effects[edit]

text: Tim Burke and Tim Alexander were the visual effects supervisors for the film. Tim Alexander said that completing the Inferi-attack scene took several months. He said, "It's certainly much bolder and scarier than we imagined that they'd ever go in a 'Potter' movie. Director David Yates was cautious of not making this into a zombie movie, so we were constantly trying to figure out how not to make these dead people coming up look like zombies. A lot of it came down to their movement – they don't move fast, but they don't move really slow or groan and moan. We ended up going with a very realistic style." He also noted that Inferi are skinnier than zombies, waterlogged and grey.[53]

text: About Dumbledore's ring of fire, he noted that the effect would look as if someone sprayed propane and then lit it. He added, "We did a lot of research on molten volcanoes, which have a lot of heat going on but no actual flames, and collected a bunch of other references, including flares that burn underwater, and showed them to the Potter folks." The visual effects team emulated these six fire parameters: heat ripples, smoke, buoyancy, viscosity, opacity, and brightness. Since the whole fire scene was very time consuming, computer graphics artist Chris Horvath spent eight months finding a faster way to conjure flames.[54][55]

text: The opening scenes of the Death Eaters' attack on Diagon Alley and London was created by Double Negative, led by VFX Supervisor Paul Franklin. Double Negative spent six months surveying and documenting the environment around the River Thames and Trafalgar Square to create the swooping views of the city. Double Negative also contributed the Pensieve sequences, developing complex directed fluid simulations to realise the swirling world of memory and the past.[56]

text: Music[edit]

text: The film's score was composed by Nicholas Hooper, who also composed the music for Harry Potter and the Order of the Phoenix. The soundtrack was released on an Audio CD format on 14 July 2009, a day before the film was released in cinemas.[57]

text: The album debuted at number twenty-nine on the Billboard 200 chart, thus making it the highest-charting soundtrack among all the six movie soundtracks released.[58] It was nominated for the 2010 Grammy Award for Best Score Soundtrack Album For Motion Picture, Television or Other Visual Media.[59]

text: Differences from the book[edit]

text: While at the middle of the series in length, the film Half-Blood Prince did add or change events in the literary canon. The book begins with a scene involving the Muggle Prime Minister. Yates and his crew debated over this scene, as well as the character Rufus Scrimgeour, but gave up the beginning of the movie to events described but not seen in the book.[60] Yates thought it would give the audience a feel for what the Death Eaters were doing if they showed the collapse of the Millennium Bridge rather than describe it.[61] As with Goblet of Fire, the Dursleys were cut, which Steve Kloves did to "break the pattern".[60] Further background of Tom Riddle was removed, such as the Gaunts because they felt it more important to concentrate on Riddle as a young boy, and an additional action scene at the Burrow was added to keep with the tone of the franchise.[60] Yates felt that they needed "an injection of jeopardy and danger" and that without it there was too much comedy and lightness.[62] A small battle scene at Hogwarts which happened during the end of the book was cut; Heyman commented that it was removed to "[avoid] repetition" with the forthcoming adaptation of the Battle of Hogwarts in Deathly Hallows.[60] Dumbledore's funeral was removed as it was believed it did not fit with the rest of the film.[63]

text: Distribution[edit]

text: Marketing[edit]

text: Warner Bros. has spent an estimated $155 million to market and distribute the film.[64] The special edition two-disc DVD for Harry Potter and the Order of the Phoenix contained two sneak peeks of the film,[65][66] while the US edition included an additional clip.[67] A 15-second teaser for the film was shown alongside the IMAX release of The Dark Knight.[68] The first full-length US teaser trailer was released on 29 July on AOL's Moviefone website.[69] An international teaser was released on 26 October[70] and another teaser trailer was released. The US theatrical trailer was released on 14 November.[71] Another trailer was screened on the Japanese TV station Fuji TV during a screening of Harry Potter and the Goblet of Fire on 18 January 2009.[72][73] Scenes from the film were aired during ABC Family's Harry Potter marathon which took place 5–7 December 2008.[74] On 5 February 2009, the first three promotional teaser posters were released, featuring Dumbledore and Harry.[75] On 5 March and 16 April 2009, new trailers were released by Warner Bros.[76]

text: Warner Bros and MSN ran an online Order of the Phoenix quiz, with the prize being a walk-on part in the Half-Blood Prince.[77] As with the previous films, EA Games produced a video game based on the film.[78] On 10 March 2009, it was announced that there would be a video game soundtrack, which was released on 17 March 2009.[79] On 27 March six character posters were released: Harry, Dumbledore, Ron, Hermione, Draco, and Professor Snape.[80] An English version of the international trailer and a Japanese version of the international trailer were released online 10 April.[81] On 8 May, CW Channel aired 30-second TV Spot, which focused on the romantic side of the film.[82] On 20 May, first clip from the film was released through The Ellen DeGeneres Show's official website, showing love-struck Ron.[83] Another clip of the film, showing Dumbledore visiting Tom Riddle's Orphanage was released on 31 May 2009, at MTV Awards.[84]

text: Theatrical release[edit]

text: The film was released in the United Kingdom, United States, France, Belgium, Germany, Ireland, Italy, Sweden, Canada, Australia, Taiwan, New Zealand, India, Brazil, Spain and Mexico on 15 July 2009.[85] It was originally set to be released on 21 November 2008,[86] but was pushed back by eight months to 17 July, despite being completed. Warner Bros. executive Alan F. Horn noted that the move was meant "to guarantee the studio a major summer blockbuster in 2009," with other films being delayed due to the 2007–2008 Writers Guild of America strike.[87] The box-office success of summer WB films Harry Potter and the Order of the Phoenix and The Dark Knight also motivated the decision.[88] An unnamed rival studio executive told Entertainment Weekly that the move was to "stop next year's profits from looking seriously underwhelming after the phenomenal success of The Dark Knight," as "they don't need the money this year anymore."[89] Dan Fellman, WB head of distribution, said that the studio had considered the date change for three to four weeks prior to the announcement, but gave it serious consideration a week before they came to their final decision.[90] Three months before its release in July, the date was again changed by 2 days from 17 to 15 July, so it could open on a Wednesday like most tentpole summer movies.[91]

text: The date change was met with a heavily negative reaction by Harry Potter fans, as the Los Angeles Times noted: "Petitions were circulating, rumors were flying and angry screeds were being posted on Internet sites within minutes of the Thursday announcement."[88] The move was mocked by Entertainment Weekly which had Half-Blood Prince on the cover on its "Fall Preview Issue". Despite each being owned by Time Warner Inc., EW was unaware of the change until it was publicly announced by WB and noted that readers would now be in possession of a "Dewey Defeats Truman collectible".[89] Several days after the announcement, Horn released a statement in response to the "large amount of disappointment" expressed by fans of the series.[92] Following the date change, Half-Blood Prince's release slot was taken by Summit Entertainment's Twilight[93] and Walt Disney Pictures' Bolt.[94]

text: The sixth film was simultaneously released in regular cinemas and IMAX 3D everywhere but the United States, due to a conflicting agreement in which Transformers: Revenge of the Fallen was given a four-week window by itself in IMAX in that country. Therefore, the IMAX 3D version of the film was released on 29 July 2009 there.[95] The film's opening sequence featuring the destruction of the Millennium Bridge was in 3D.[96] The film had been chosen to be screened at the 2008 Royal Film Performance on 17 November,[97] but was not shown. Cinema and Television Benevolent Fund chief executive Peter Hore noted he was "very disappointed" with Warner Bros' decision.[87]

text: Advance ticket sales on Fandango.com for Half-Blood Prince surpassed advance ticket sales for Transformers 2 at the same point in sale cycles. It is also in MovieTickets.com's top 25 advance sellers of all time.[98]

text: Running 153 minutes (2 hours 33 minutes and 19 seconds) long,[99] Half-Blood Prince is the third longest film in the series, behind Chamber of Secrets (161 minutes)[100] and Goblet of Fire (157 minutes).[101]

text: Home media[edit]

text: Like the previous films, a 1-Disc and 2-Disc Special Edition for the film was released on Blu-ray Disc with a Digital Copy and DVD on 7 December 2009 in the United Kingdom,[102] and 8 December 2009 in the United States.[103] The Blu-ray and DVD includes an 11-minute 38 second feature on the new Wizarding World of Harry Potter mini theme park[104] which opened on 18 June 2010 at Islands of Adventure in Orlando, Florida. Also included are deleted scenes comprising 8 scenes with a running length of 6 minutes and 31 seconds,[105] and a sneak peek of the next Harry Potter movie, Harry Potter and the Deathly Hallows – Part 1 (2010).[106] The Blu-ray and DVD released in India,[107] the Philippines, South Africa, Czech Republic and Israel on 16 November 2009, making them the first countries to get the Half Blood Prince DVD release before the UK and the US. The release date for Australia and New Zealand was 18 November and for Brazil[108] and Chile, 19 November. The Blu-ray and 2-disc DVD editions in North America includes a digital copy of the film.[103] In the United Kingdom, the DVD release became the fastest selling DVD of the year with an estimated 840,000 copies of the film sold in a few hours.[109] In the US, the DVD made a strong debut at number one in both the DVD and Blu-Ray markets widely beating out any competition with sales of 4,199,622 copies. Worldwide DVD and Blu-ray sales of the film show that it is the fastest selling film of 2009.[110]

text: On 14 June 2011, an Ultimate Edition was released simultaneously with the Ultimate Edition of the Order of the Phoenix film on both Blu-ray and DVD, containing new bonus features, documentaries, and collectables.[111]

text: Reception[edit]

text: Box office[edit]

text: Harry Potter and the Half-Blood Prince broke the then-record for biggest midnight showings, making $22.8 million in 3,000 cinemas; The Twilight Saga: New Moon bested this with $26.3 million. Half-Blood Prince opened in the same Wednesday slot that Harry Potter and the Order of the Phoenix did in 2007, which grossed $12 million in midnight runs, on its way to $139.7 million in its five-day debut in the US.[112] The film's box office run was over on 17 December 2009.[113]

text: The film opened in 4,325 cinemas (rising to 4,455 three weeks later, becoming the largest number of cinemas until The Twilight Saga: Eclipse surpassed it with the 4,468 cinemas)[114] and grossed $58.2 million on its opening day at the top of the United States and Canadian box office, the third-highest Wednesday opening of all time behind Transformers: Revenge of the Fallen and The Twilight Saga: Eclipse. It is also the nineteenth-highest single-day gross of all time and the third-highest for a film in the Harry Potter franchise behind Harry Potter and the Deathly Hallows – Part 2's $91.1 million[115] and Harry Potter and the Deathly Hallows – Part 1, which made $61.1 million.[116] It earned an additional $46 million overseas for a worldwide total of $104 million, breaking the record for highest single-day worldwide gross, previously held by The Dark Knight.[117] By 20 July, the film had taken in $158.7 million in the US and $236 million from 85 other markets, for a worldwide tally of $394.7 million.[118] This broke the record for biggest ever worldwide five-day opening, surpassing Spider-Man 3's $381 million; this makes the film the fastest to reach the $350 million mark in worldwide box office of all time. In the US, it surpassed all of its predecessors by a wide margin, achieving the sixth largest ever five-day opening in that country.[119] The film held this record for two years until it was topped by Deathly Hallows – Part 2 ($483.2 million).[120] In the UK, the film grossed £19.75 million (equivalent to about $38.13 million), the highest opening for both the series and releases of 2009.[121] At the end of the film's US and Canadian box office run the total ticket sales of the film were $301,959,197,[2] making it the third most successful film in the franchise, after Harry Potter and the Deathly Hallows – Part 2 and Harry Potter and the Philosopher's Stone,[122] as well as the third-highest-grossing film of 2009 in these regions behind Avatar and Transformers: Revenge of the Fallen.[123] As with all of the previous films in the franchise, Half-Blood Prince proved to be extremely successful globally with an estimated non-US total gross of $632,457,290, totalling approximately $934,416,487 worldwide,[2] making it the second-highest-grossing film of 2009, behind Avatar, and the 34th-highest-grossing film of all time, unadjusted for inflation. It is the fifth-highest-grossing film in the franchise, behind Philosopher's Stone, both parts of Deathly Hallows, and Order of the Phoenix.[7]

text: In South Africa the film opened with the number one position grossing $789,176,[124] it maintained a number one position during the second week too, with a total of $242,336.[125] In Australia, as in most of the world, the film broke records with a debut of $11,492,142 and opening at number one, maintaining a second week at number one with a total of $5,278,096 (down 54%), and grossed a total of $24,208,243.[126] In France the film debuted at $20,541,239 from 949 cinemas.[127]

text: Critical response[edit]

text: Half-Blood Prince received positive reviews from critics. On review aggregator Rotten Tomatoes the film has an approval rating of 84% based on 268 reviews, with an average rating of 7.2/10. The site's critical consensus reads, "Dark, thrilling, and occasionally quite funny, Harry Potter and the Half-Blood Prince is also visually stunning and emotionally satisfying."[128] On Metacritic, which assigns a normalised rating to reviews, the film has a score of 78 out of 100, based on 36 critics, indicating "generally favourable" reviews.[129] The film scored an 87 from professional critics at the Broadcast Film Critics Association; it is the first Harry Potter film to receive a Critic's Choice certificate.[130] On CinemaScore, audiences gave the film an average grade of "A-" on an A+ to F scale.[131]

text: The first review of the film came three weeks before the official release. Paul Dergarabedian of Hollywood.com ranked the film with The Lord of the Rings film trilogy and called the film a "possible Oscar contender". He highly praised the performance of Sir Michael Gambon, Alan Rickman and Daniel Radcliffe. He commented, "Harry Potter and the Half-Blood Prince is a tour-de-force that combines style and substance, special effects and heart and most importantly great performances from all of the actors young and not-so-young".[132] Another early review came from the UK tabloid The Sun, whose anonymous reviewer called the film "masterful" and "very emotional". The reviewer praised David Yates' directing and called Jim Broadbent's portrayal of Horace Slughorn "perfect".[133] Devin Faraci of Chud.com called the film not only the best Harry Potter film yet, but also one of the best films of the year.[134]

text: Andrew Pulver of The Guardian wrote a positive review, and gave the film 3.5 out of 5 stars rating.[135] Todd McCarthy of the trade magazine Variety said that the film is "dazzlingly well made" and "less fanciful than the previous entries". He praised Alan Rickman's performance and he described Helena Bonham Carter as "mesmerising" and Jim Broadbent as a "grand eccentric old professor".[136] BBC News's Tim Masters praised the film's cinematography, visual effects, production design, improved acting and darker plotline.[137] The Hollywood Reporter's Kirk Honeycutt noted that the film's first half is "jerky and explosive", but in the second half, the film finds better footing. He adds, "Composer Nicholas Hooper, cinematographer Bruno Delbonnel and designer Stuart Craig deliver a singularly muscular and vigorous chapter".[138] Screen Daily called the film "[s]tunningly shot by Bruno Delbonnel in metallic hues leavened by buttery tones and the thumping beats of Nicholas Hooper's score bear little resemblance to the original and the overall effect is much less tween, much more grown-up".[139]

text: Chris Tilly of IGN UK commented on the length of the film, saying "while on occasion it drags, the 153-minute run-time never feels too long, thanks in no small part to the astonishing visuals and (largely) marvellous performances," and goes on to say, "This is by far the best-looking of the Potter films thus far," commending the "beautiful" Quidditch match and the "stunning" finale.[140] However, Dave Golder of SFX magazine found some aspects of the film to be a disappointment, largely due to the large number of opportunities the director and screenwriter had sacrificed to devote "huge swathes of the film to subplots of Harry and his chums' teenage romances," but nevertheless found the film to be a large enjoyment, praising the performances of Jim Broadbent and Alan Rickman.[141]

text: David Stratton, of Margaret and David at the Movies, gave the film a 2.5 out of a possible 5 stars, remarking, "For non-readers [of the Harry Potter series] the films are now borderline incomprehensible", and that the film was "a little tedious" and "generally less interesting visually than its predecessors." He praised the cast, describing them as "consummate", adding Sir Michael Gambon "really makes Dumbledore an imposing character" and Jim Broadbent was "wonderful". Margaret Pomeranz, the co-host of the television show, gave the film 3 out of 5 stars.[142]

text: At the time of its release, Rowling stated that Half-Blood Prince was her "favourite one" of the six film adaptations.[62] Radcliffe, however, was critical of his own performance in the film, stating in an interview in 2014 that he was "just not very good in it", and calling it "hard to watch".[143]

text: Accolades[edit]

text: The film was nominated for BAFTA Awards in Production Design and Visual Effects,[9] and was in the longlists for five other categories, including Best Supporting Actor for Alan Rickman.[144] Bruno Delbonnel was nominated for the Academy Award for Best Cinematography at the 82nd Academy Awards.[8] The film was also one of the final seven contenders for Best Visual Effects.[145]

text:
[show]List of awards and nominations

Award
Category
Result
Recipient
Source

82nd Academy Awards
Best Cinematography
Nominated
Bruno Delbonnel
[8]

Art Directors Guild Award
Excellence in Production Design For a Feature Film
Nominated
Stuart Craig
[146]

63rd BAFTA Awards
Best Production Design
Nominated
Stuart Craig
Stephenie McMillan
[9]

Best Special Visual Effects
Nominated
John Richardson
Tim Burke
Tim Alexander
Nicolas Aithadi

BAFTA Britannia Awards
Artistic Excellence in Directing
Won
David Yates (for Harry Potter films 5–8)
[147]

BAFTA Kids' Vote
Best Film
Nominated
Harry Potter and the Half-Blood Prince
[148]

Digital Spy Movie Award
Best Family Film
Won
Harry Potter and the Half-Blood Prince
[149]

Golden Reel Award
Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in a Foreign Feature Film
Nominated
Harry Potter and the Half-Blood Prince
[150]

Grammy Award
Best Score Soundtrack Album For Motion Picture
Nominated
Nicholas Hooper
[59]

IFTA Award
Best Supporting Actor
Nominated
Michael Gambon
[151]

IGN
Best Fantasy Movie
Won
Harry Potter and the Half-Blood Prince
[152]

MTV Movie Awards
Best Movie
Nominated
Harry Potter and the Half-Blood Prince
[153]

Best Female Performance
Nominated
Emma Watson

Best Male Performance
Nominated
Daniel Radcliffe

Best Villain
Won
Tom Felton

Best Global Superstar
Nominated
Daniel Radcliffe

National Movie Awards
Best Family Movie
Won
Harry Potter and the Half-Blood Prince
[154]

Best Performance
Nominated
Rupert Grint

Nominated
Daniel Radcliffe

Nominated
Emma Watson

People's Choice Awards
Favorite Movie
Nominated
Harry Potter and the Half-Blood Prince
[155]

Favourite Franchise
Nominated
Harry Potter

Best On-Screen Team
Nominated
Daniel Radcliffe, Rupert Grint, and Emma Watson

Phoenix Film Critics Society Awards
Best Live Action Family Film
Won
Harry Potter and the Half-Blood Prince
[156]

RAAM Awards
Film of the Year
Won
Harry Potter and the Half-Blood Prince
[157]

RAFA Awards
Alan Titchmarsh Show British Film of the Year Award
Won
Harry Potter and the Half-Blood Prince
[158]

Classic FM Film Music of the Year Award
Won
Harry Potter and the Half-Blood Prince

Best Use of UK Locations in a Film
Won
Harry Potter and the Half-Blood Prince

Film of the Year sponsored by The List
Nominated
Harry Potter and the Half-Blood Prince

Satellite Awards
Best Motion Picture, Animated or Mixed Media
Nominated
Harry Potter and the Half-Blood Prince
[159]

Saturn Awards
Best Fantasy Film
Nominated
Harry Potter and the Half-Blood Prince
[160]

Best Costume
Nominated
Jany Temime

Best Production Design
Nominated
Stuart Craig

Best Special Effects
Nominated
Tim Burke
John Richardson
Nicholas Aithadi
Tim Alexander

Scream Award
Best Fantasy Film
Nominated
Harry Potter and the Half-Blood Prince
[161]

Best Fantasy Actress
Nominated
Emma Watson

Best Fantasy Actor
Nominated
Daniel Radcliffe

Best Supporting Actor
Nominated
Rupert Grint

Best Supporting Actress
Nominated
Evanna Lynch

Best Villain
Nominated
Helena Bonham Carter

Best F/X
Nominated
Harry Potter and the Half-Blood Prince

Best Sequel
Nominated
Harry Potter and the Half-Blood Prince

Holy Shit! Scene of the Year
Won
"Death Eaters Attack London" Scene

Best Ensemble
Won
Harry Potter and the Half-Blood Prince

SFX Awards
Best Film
Won
Harry Potter and the Half-Blood Prince
[162]

Switch Live Award
Favourite Flick
Won
Harry Potter and the Half-Blood Prince
[163]

2009 Teen Choice Awards
Choice Summer Movie: Action Adventure
Won
Harry Potter and the Half-Blood Prince
[164]

2010 Teen Choice Awards
Choice Movie: Fantasy
Nominated
Harry Potter and the Half-Blood Prince
[165]

Choice Movie Actress: Fantasy
Nominated
Emma Watson
[165]

VES Awards
Outstanding Matte Paintings in a Feature Motion Picture
Nominated
David Basalla
Emily Cobb
Tania Richard
[166]

Young Artist Award
Best Supporting Actress
Nominated
Evanna Lynch
[167]

tag: table


document_title: Indiana Jones and the Last Crusade

question_text: who played young indiana jones in last crusade

root

text: Indiana Jones and the Last Crusade

text: Plot[edit]

text: In 1912, thirteen-year-old Indiana "Indy" Jones is horseback riding with his Boy Scout troop at Arches National Park in Utah. While scouting caves, Indy discovers a group of grave robbers who have found a golden crucifix belonging to Coronado and steals it from them, hoping to donate it to a museum. The men give chase through a passing circus train, leaving Indy with a bloody cut across his chin from a bullwhip and a new phobia of snakes. Indy escapes, but the local sheriff makes him return the cross to the robbers, who immediately turn it over to a mysterious benefactor wearing a Panama Hat. Impressed with Indy's bravery, the leader of the robbers gives Indy his fedora, and tells him that he may have lost this battle, but that he does not have to like it.

tag: p

text: In 1938, Indy battles "Panama Hat" and his henchmen on a ship off the coast of Portugal. A violent gale ensues, and Indy escapes overboard just before the ship explodes. He recovers the cross and donates it to Marcus Brody's museum. Later, Indy is introduced to Walter Donovan, who informs him that his father, Henry Jones, Sr., has vanished while searching for the Holy Grail, using an incomplete inscription from a stone tablet as his guide. Indy receives Henry's Grail diary via mail from Venice. Realizing that he would not have sent the diary unless he was in trouble, Indy and Marcus travel to Venice, where they meet Henry's Austrian colleague Dr. Elsa Schneider. Beneath the library where Henry was last seen, Indy and Elsa discover the tomb of a First Crusade knight, which contains a complete version of the inscription that Henry had used, revealing the location of the Grail. They flee when the catacombs are set aflame by the Brotherhood of the Cruciform Sword, a secret society that protects the Grail from evildoers. Indy and Elsa capture one of the Brotherhood, Kazim, and Indy tells him that his goal is only to find his father and that he has no interest in finding the Grail. Kazim tells him that Henry is being held in Castle Brunwald on the Austrian-German border. Marcus reveals a map drawn by Henry of the route to the Grail, which begins in Alexandretta. Indy removes the pages containing the map from the diary, gives it to Marcus for safekeeping and sends Marcus to İskenderun, the city built on the ruins of Alexandretta to rendezvous with their old friend Sallah, and he and Elsa head to Castle Brunwald.

text: At Castle Brunwald, Indy rescues Henry, but learns that Elsa and Donovan are actually working with the Nazis, and are using him to find the Grail for them. Meanwhile, Marcus is captured in Hatay, while waiting with Sallah. The Joneses escape from Castle Brunwald. Henry tells Indy that to reach the Grail, one must face three booby traps and his diary contains the clues to guide them through the challenges safely. They recover the diary from Elsa at a book burning rally in Berlin, briefly coming face-to-face with Hitler. They board a Zeppelin to leave Germany, but the Nazis discover the Joneses are aboard and they escape in a parasite biplane. They crash while engaging in a dogfight with Luftwaffe fighters.

text: The two meet up with Sallah in Hatay, where they learn of Marcus' abduction. The Nazis are already moving toward the Grail's location, using the map possessed by Marcus. In exchange for a Rolls-Royce, the Sultan of Hatay has given the Nazis full access to his equipment for the expedition, including a large tank. Indy, Henry, and Sallah find the Nazi expedition, which is ambushed by the Brotherhood. During the battle, Henry is captured by SS Colonel Ernst Vogel while attempting to rescue Marcus from the tank; Kazim and his comrades are killed. The younger Jones pursues the tank on horseback and, with the aid of Sallah, saves Henry and Marcus. He is caught up in a fight with Vogel, and barely escapes before the tank goes over a cliff, sending Vogel to his death.

text: Indy, Henry, Marcus, and Sallah catch up with the surviving Nazis, led by Donovan and Elsa, who have found the temple where the Grail is kept but are unable to pass through the three protective booby traps. Donovan mortally wounds Henry in order to force Indy to risk his life in the traps to find the Grail and use its healing power to save Henry. Using the information in the diary and followed by Donovan and Elsa, Indy safely overcomes the traps and reaches the Grail's chamber, which is guarded by a knight. He has been kept alive for seven hundred years by the power of the Grail, which is hidden among dozens of false Grails; only the true Grail brings life, while a false one claims it. Elsa purposefully selects the most princely grail, a golden chalice studded with emeralds, for Donovan, who ages into dust after drinking from it, proving it to be false. Indy selects the true Grail, a simple pewter cup, which the knight warns cannot be taken beyond the temple's entrance. Indy fills the Grail with holy water and takes it to Henry, which heals him instantly. Elsa, disregarding the knight's warning, takes the Grail and attempts to leave with it. The temple begins to collapse and Elsa falls to her death trying to recover the Grail after it is dropped down a chasm. Indy nearly suffers the same fate but Henry persuades him to let it go. The Joneses, Marcus, and Sallah escape the temple and ride off into the sunset.

text: Cast[edit]

text:
Harrison Ford as Indiana Jones: The archaeologist adventurer who seeks to rescue his father and find the Holy Grail. Ford said he loved the idea of introducing Indiana's father because it allowed him to explore another side to Indiana's personality: "These are men who have never made any accommodation to each other. Indy behaves differently in his father's presence. Who else would dare call Indy 'junior'?"[4]
River Phoenix as the teenage Jones. Phoenix had portrayed the son of Ford's character in The Mosquito Coast (1986). Ford recommended Phoenix for the part; he said that of the young actors working at the time, Phoenix looked the most like him when he was around that age.[5]
Sean Connery as Professor Henry Jones: Indiana's father, a professor of Medieval literature who cared more about looking for the Grail than raising his son. Spielberg had Connery in mind when he suggested introducing Indiana's father, though he did not tell Lucas at first. Consequently, Lucas wrote the role as "a crazy, eccentric" professor resembling Laurence Olivier, whose relationship with Indiana is "strict schoolmaster and student rather than a father and son".[6] Spielberg had been a fan of Connery's work as James Bond and felt that no one else could perform the role as well.[7] Spielberg biographer Joseph McBride wrote, "Connery was already the father of Indiana Jones since the series had sprung from the desire of Lucas and Spielberg to rival (and outdo) Connery's James Bond movies."[8] Connery initially turned the role down as he is only twelve years older than Ford, but he relented. Connery—a student of history—began to reshape the character, and revisions were made to the script to address his concerns. "I wanted to play Henry Jones as a kind of Sir Richard [Francis] Burton," Connery commented. "I was bound to have fun with the role of a gruff, Victorian Scottish father."[7] Connery believed Henry should be a match for his son, telling Spielberg that "whatever Indy'd done my character has done and my character has done it better".[5] Connery signed to the film on March 25, 1988.[6] He improvised the line, "She talks in her sleep", which was left in because it made everyone laugh;[9] in Boam's scripts, Henry telling Indiana that he slept with Elsa occurs later.[6]
Alex Hyde-White as Young Henry Jones Sr.
Alison Doody as Dr. Elsa Schneider: An Austrian art professor who is in league with the Nazis. She seduces the Joneses to trick them. Doody was 21 when she auditioned and was one of the first actresses who met for the part.[6]
Denholm Elliott as Dr. Marcus Brody: Indiana's bumbling English colleague. Elliott returned after Spielberg sought to recapture the tone of Raiders of the Lost Ark (1981), following the actor's absence in the darker Temple of Doom (1984).[5]
John Rhys-Davies as Sallah: A friend of Indiana and a professional excavator living in Cairo. Like Elliott's, Rhys-Davies' return was an attempt to recapture the spirit of Raiders of the Lost Ark.[5]
Julian Glover as Walter Donovan: An American businessman who sends the Joneses on their quest for the Holy Grail. Donovan works for the Nazis and desires immortality. Glover previously appeared as General Veers in Lucas' The Empire Strikes Back. He originally auditioned for the role of Vogel. Glover, who is English, adopted an American accent for the film,[10] but was dissatisfied with the result.[5]
Michael Byrne as Colonel Ernst Vogel: A brutal SS colonel. Byrne and Ford had previously starred in Force 10 from Navarone (1978), in which they also respectively played a German and an American.[11]
Kevork Malikyan as Kazim: The leader of the Brotherhood of the Cruciform Sword, an organization that protects the Holy Grail. Malikyan had impressed Spielberg with his performance in Midnight Express (1978) and would have auditioned for the role of Sallah in Raiders of the Lost Ark had a traffic jam not delayed his meeting with the director.[11]
Robert Eddison as The Grail Knight: The guardian of the Grail who drank from the cup of Christ during the Crusades and is immortal as long as he stays within the temple. Eddison was a stage and television veteran only appearing once before in film (a supporting role in Peter Ustinov's 1948 comedy Vice Versa). Glover recalled Eddison was excited and nervous for his film debut, often asking if he had performed correctly.[12] Laurence Olivier was originally considered to play the Grail Knight,[13] but he was too ill and died the same year in which the film was released.

text: Production[edit]

text: Development[edit]

text: Lucas and Spielberg had intended to make a trilogy of Indiana Jones films since Lucas had first pitched Raiders of the Lost Ark to Spielberg in 1977.[14] After the mixed critical and public reaction to Indiana Jones and the Temple of Doom, Spielberg decided to complete the trilogy to fulfill his promise to Lucas and "to apologize for the second one".[15] The pair had the intention of revitalizing the series by evoking the spirit and tone of Raiders of the Lost Ark.[5] Throughout the film's development and pre-production, Spielberg admitted he was "consciously regressing" in making the film.[8] Due to his commitment to the film, the director had to drop out of directing Big and Rain Man.[14]

text: Lucas initially suggested making the film "a haunted mansion movie", for which Romancing the Stone writer Diane Thomas wrote a script. Spielberg rejected the idea because of the similarity to Poltergeist, which he had co-written and produced.[8] Lucas first introduced the Holy Grail in an idea for the film's prologue, which was to be set in Scotland. He intended the Grail to have a pagan basis, with the rest of the film revolving around a separate Christian artifact in Africa. Spielberg did not care for the Grail idea, which he found too esoteric,[4] even after Lucas suggested giving it healing powers and the ability to grant immortality. In September 1984, Lucas completed an eight-page treatment titled Indiana Jones and the Monkey King, which he soon followed with an 11-page outline. The story saw Indiana battling a ghost in Scotland before finding the Fountain of Youth in Africa.[6]

text: Chris Columbus—who had written the Spielberg-produced Gremlins, The Goonies, and Young Sherlock Holmes—was hired to write the script. His first draft, dated May 3, 1985, changed the main plot device to a Garden of Immortal Peaches. It begins in 1937, with Indiana battling the murderous ghost of Baron Seamus Seagrove III in Scotland. Indiana travels to Mozambique to aid Dr. Clare Clarke (a Katharine Hepburn-type according to Lucas), who has found a 200-year-old pygmy. The pygmy is kidnapped by the Nazis during a boat chase, and Indiana, Clare and Scraggy Brier—an old friend of Indiana—travel up the Zambezi river to rescue him. Indiana is killed in the climactic battle but is resurrected by the Monkey King. Other characters include a cannibalistic African tribe; Nazi Sergeant Gutterbuhg, who has a mechanical arm; Betsy, a stowaway student who is suicidally in love with Indiana; and a pirate leader named Kezure (described as a Toshiro Mifune-type), who dies eating a peach because he is not pure of heart.[6]

text: Columbus' second draft, dated August 6, 1985, removed Betsy and featured Dash—an expatriate bar owner for whom the Nazis work—and the Monkey King as villains. The Monkey King forces Indiana and Dash to play chess with real people and disintegrates each person who is captured. Indiana subsequently battles the undead, destroys the Monkey King's rod, and marries Clare.[6] Location scouting commenced in Africa but Spielberg and Lucas abandoned Monkey King because of its negative depiction of African natives,[16] and because the script was too unrealistic.[6] Spielberg acknowledged that it made him "... feel very old, too old to direct it."[4] Columbus' script was leaked onto the Internet in 1997, and many believed it was an early draft for the fourth film because it was mistakenly dated to 1995.[17]

text: Unsatisfied, Spielberg suggested introducing Indiana's father, Henry Jones, Sr. Lucas was dubious, believing the Grail should be the story's focus, but Spielberg convinced him that the father–son relationship would serve as a great metaphor in Indiana's search for the artifact.[8] Spielberg hired Menno Meyjes, who had worked on Spielberg's The Color Purple and Empire of the Sun, to begin a new script on January 1, 1986. Meyjes completed his script ten months later. It depicted Indiana searching for his father in Montségur, where he meets a nun named Chantal. Indiana travels to Venice, takes the Orient Express to Istanbul, and continues by train to Petra, where he meets Sallah and reunites with his father. Together they find the grail. At the climax, a Nazi villain touches the Grail and explodes; when Henry touches it, he ascends a stairway to Heaven. Chantal chooses to stay on Earth because of her love for Indiana. In a revised draft dated two months later, Indiana finds his father in Krak des Chevaliers, the Nazi leader is a woman named Greta von Grimm, and Indiana battles a demon at the Grail site, which he defeats with a dagger inscribed with "God is King". The prologue in both drafts has Indiana in Mexico battling for possession of Montezuma's death mask with a man who owns gorillas as pets.[6]

text: Spielberg suggested Innerspace writer Jeffrey Boam perform the next rewrite. Boam spent two weeks reworking the story with Lucas, which yielded a treatment that is largely similar to the final film.[6] Boam told Lucas that Indiana should find his father in the middle of the story. "Given the fact that it's the third film in the series, you couldn't just end with them obtaining the object. That's how the first two films ended," he said, "So I thought, let them lose the Grail, and let the father–son relationship be the main point. It's an archaeological search for Indy's own identity and coming to accept his father is more what it's about [than the quest for the Grail]."[8] Boam said he felt there was not enough character development in the previous films.[4] In Boam's first draft, dated September 1987, the film is set in 1939. The prologue has adult Indiana retrieving an Aztec relic for a museum curator in Mexico and features the circus train. Henry and Elsa (who is described as having dark hair) were searching for the Grail on behalf of the Chandler Foundation, before Henry went missing. The character of Kazim is here named Kemal, and is an agent of the Republic of Hatay, which seeks the grail for its own. Kemal shoots Henry and dies drinking from the wrong chalice. The Grail Knight battles Indiana on horseback, while Vogel is crushed by a boulder when stealing the Grail.[6]

text: Boam's February 23, 1988 rewrite utilized many of Connery's comic suggestions. It included the prologue that was eventually filmed; Lucas had to convince Spielberg to show Indiana as a boy because of the mixed response to Empire of the Sun, which was about a young boy.[4] Spielberg—who was later awarded the Distinguished Eagle Scout Award—had the idea of making Indiana a Boy Scout.[14] Indiana's mother, named Margaret in this version, dismisses Indiana when he returns home with the Cross of Coronado, while his father is on a long distance call. Walter Chandler of the Chandler Foundation features, but is not the main villain; he plunges to his death in the tank. Elsa introduces Indiana and Brody to a large Venetian family that knows Henry. Leni Riefenstahl appears at the Nazi rally in Berlin. Vogel is beheaded by the traps guarding the Grail. Kemal tries to blow up the Grail Temple during a comic fight in which gunpowder is repeatedly lit and extinguished. Elsa shoots Henry, then dies drinking from the wrong Grail, and Indiana rescues his father from falling into the chasm while grasping for the Grail. Boam's revision of March 1 showed Henry causing the seagulls to strike the plane, and has Henry saving Indiana at the end.[6][18]

text: Between an undated "Amblin" revision and a rewrite by Tom Stoppard (under the pen name Barry Watson) dated May 8, 1988,[6] further changes were made. Stoppard polished most of the dialogue,[9][19] and created the "Panama Hat" character to link the prologue's segments featuring the young and adult Indianas. The Venetian family is cut. Kemal is renamed Kazim and now wants to protect the grail rather than find it. Chandler is renamed Donovan. The scene of Brody being captured is added. Vogel now dies in the tank, while Donovan shoots Henry and then drinks from the false grail, and Elsa falls into the chasm. The Grail trials are expanded to include the stone-stepping and leap of faith.[6][20]

text: Filming[edit]

text: Principal photography began on May 16, 1988, in the Tabernas Desert in Spain's Almería province. Spielberg originally had planned the chase to be a short sequence shot over two days, but he drew up storyboards to make the scene an action-packed centerpiece.[5] Thinking he would not surpass the truck chase from Raiders of the Lost Ark (because the truck was much faster than the tank), he felt this sequence should be more story-based and needed to show Indiana and Henry helping each other. He later said he had more fun storyboarding the sequence than filming it.[21] The second unit had begun filming two weeks before.[12] After approximately ten days, the production moved to Bellas Artes to film the scenes set in the Sultan of Hatay's palace. Cabo de Gata-Níjar Natural Park was used for the road, tunnel and beach sequence in which birds strike the plane. The shoot's Spanish portion wrapped on June 2, 1988, in Guadix, Granada, with filming of Brody's capture at İskenderun train station.[12] The filmmakers built a mosque near the station for atmosphere, rather than adding it as a visual effect.[21]

text: Filming for the castle interiors took place in the United Kingdom from June 5 to 10, 1988, at Elstree Studios in Borehamwood, England. On June 16 Lawrence Hall, London, was used for the airport interiors. Filming returned to Elstree the next day to capture the motorcycle escape, continuing at the studio for interior scenes until July 18. One day was spent at North Weald Airfield on June 29 to film Indiana leaving for Venice.[12] Ford and Connery acted much of the Zeppelin table conversation without trousers on because of the overheated set.[22] Spielberg, Marshall and Kennedy interrupted the shoot to make a plea to the Parliament of the United Kingdom to support the economically "depressed" British studios. July 20–22 was spent filming the temple interiors. The temple set, which took six weeks to build, was supported on 80 feet of hydraulics and ten gimbals for use during the earthquake scene. Resetting between takes took twenty minutes while the hydraulics were put to their starting positions and the cracks filled with plaster. The shot of the Grail falling to the temple floor—causing the first crack to appear—was attempted on the full-size set, but proved too difficult. Instead, crews built a separate floor section that incorporated a pre-scored crack sealed with plaster. It took several takes to throw the Grail from six feet onto the right part of the crack.[21] July 25–26 was spent on night shoots at Stowe School, Stowe, Buckinghamshire, for the Nazi rally.[12]

text: Filming resumed two days later at Elstree, where Spielberg swiftly filmed the library, Portuguese freighter, and catacombs sequences.[12] The steamship fight in the prologue's 1938 portion was filmed in three days on a sixty-by-forty-feet deck built on gimbals at Elstree. A dozen dump tanks—each holding three hundred imperial gallons (360 U.S. gallons; 3000 lb.) of water—were used in the scene.[21] Henry's house was filmed at Mill Hill, London. Indiana and Kazim's fight in Venice in front of a ship's propeller was filmed in a water tank at Elstree. Spielberg used a long focus lens to make it appear the actors were closer to the propeller than they really were.[12] Two days later, on August 4, another portion of the boat chase using Hacker Craft sport boats, was filmed at Tilbury Docks in Essex.[12] The shot of the boats passing between two ships was achieved by first cabling the ships off so they would be safe. The ships were moved together while the boats passed between, close enough that one of the boats scraped the sides of the ships. An empty speedboat containing dummies was launched from a floating platform between the ships amid fire and smoke that helped obscure the platform. The stunt was performed twice because the boat landed too short of the camera in the first attempt.[21] The following day, filming in England wrapped at the Royal Masonic School in Rickmansworth, which doubled for Indiana's college (as it had in Raiders of the Lost Ark).[12]

text: Shooting in Venice took place on August 8.[12] For scenes such as Indiana and Brody greeting Elsa, shots of the boat chase, and Kazim telling Indiana where his father is,[21] Robert Watts gained control of the Grand Canal from 7 am to 1 pm, sealing off tourists for as long as possible. Cinematographer Douglas Slocombe positioned the camera to ensure no satellite dishes would be visible.[12] San Barnaba di Venezia served as the library's exterior.[5] The next day, filming moved to the ancient city of Petra, Jordan, where Al Khazneh (The Treasury) stood in for the temple housing the Grail. The cast and crew became guests of King Hussein and Queen Noor. The Treasury had previously appeared in Sinbad and the Eye of the Tiger. The main cast completed their scenes that week, after 63 days of filming.[12]

text: The second unit filmed part of the prologue's 1912 segment from August 29 to September 3. The main unit began two days later with the circus train sequence at Alamosa, Colorado, on the Cumbres and Toltec Scenic Railroad. They filmed at Pagosa Springs on September 7, and then at Cortez on September 10. From September 14 to 16, filming of Indiana falling into the train carriages took place in Los Angeles. The production then moved to Utah's Arches National Park to shoot more of the opening. A house in Antonito, Colorado was used for the Jones family home.[23] The production had intended to film at Mesa Verde National Park, but Native American representatives had religious objections to its use.[21] When Spielberg and editor Michael Kahn viewed a rough cut of the film in late 1988, they felt it suffered from a lack of action. The motorcycle chase was shot during post-production at Mount Tamalpais and Fairfax near Skywalker Ranch. The closing shot of Indiana, Henry, Sallah and Brody riding into the sunset was filmed in Amarillo, Texas in early 1989.[12][10]

text: Design[edit]

text: Mechanical effects supervisor George Gibbs said the film was the most difficult one of his career.[21] He visited a museum to negotiate renting a small French World War I tank, but decided he wanted to make one.[12] The tank was based on the Tank Mark VIII, which was 36 feet (11 m) long and weighed 28 short tons (25 t). Gibbs built the tank over the framework of a 28-short-ton (25 t) excavator and added 7-short-ton (6.4 t) tracks that were driven by two automatic hydraulic pumps, each connected to a Range Rover V8 engine. Gibbs built the tank from steel rather than aluminum or fiberglass because it would allow the realistically suspensionless vehicle to endure the rocky surfaces. Unlike its historical counterpart, which had only the two side guns, the tank had a turret gun added as well. It took four months to build and was transported to Almería on a Short Belfast plane and then a low loader truck.[21]

text: The tank broke down twice. The distributor's rotor arm broke and a replacement had to be sourced from Madrid. Then two of the device's valves used to cool the oil exploded, due to solder melting and mixing with the oil. It was very hot in the tank, despite the installation of ten fans, and the lack of suspension meant the driver was unable to stop shaking during filming breaks.[21] The tank only moved at 10 to 12 miles per hour (16 to 19 km/h), which Vic Armstrong said made it difficult to film Indiana riding a horse against the tank while making it appear faster.[12] A smaller section of the tank's top made from aluminum and which used rubber tracks was used for close-ups. It was built from a searchlight trailer, weighed eight tons, and was towed by a four-wheel drive truck. It had safety nets on each end to prevent injury to those falling off.[21] A quarter-scale model by Gibbs was driven over a 50-foot (15 m) cliff on location; Industrial Light & Magic created further shots of the tank's destruction with models and miniatures.[24]

text: Michael Lantieri, mechanical effects supervisor for the 1912 scenes, noted the difficulty in shooting the train sequence. "You can't just stop a train," he said, "If it misses its mark, it takes blocks and blocks to stop it and back up." Lantieri hid handles for the actors and stuntmen to grab onto when leaping from carriage to carriage. The carriage interiors shot at Universal Studios Hollywood were built on tubes that inflated and deflated to create a rocking motion.[21] For the close-up of the rhinoceros that strikes at (and misses) Indiana, a foam and fiberglass animatronic was made in London. When Spielberg decided he wanted it to move, the prop was sent to John Carl Buechler in Los Angeles, who resculpted it over three days to blink, snarl, snort and wiggle its ears. The giraffes were also created in London. Because steam locomotives are very loud, Lantieri's crew would respond to first assistant director David Tomblin's radioed directions by making the giraffes nod or shake their heads to his questions, which amused the crew.[24] For the villains' cars, Lantieri selected a 1914 Ford Model T, a 1919 Ford Model T truck and a 1916 Saxon Model 14, fitting each with a Ford Pinto V6 engine. Sacks of dust were hung under the cars to create a dustier environment.[21]

text: Spielberg used doves for the seagulls that Henry scares into striking the German plane because the real gulls used in the first take did not fly.[5] In December 1988, Lucasfilm ordered 1,000 disease-free gray rats for the catacombs scenes from the company that supplied the snakes and bugs for the previous films. Within five months, 5,000 rats had been bred for the sequence;[5] 1,000 mechanical rats stood in for those that were set on fire. Several thousand snakes of five breeds—including a boa constrictor—were used for the train scene, in addition to rubber ones onto which Phoenix could fall. The snakes would slither from their crates, requiring the crew to dig through sawdust after filming to find and return them. Two lions were used, which became nervous because of the rocking motion and flickering lights.[21]

text:
Costume designer Anthony Powell found it a challenge to create Connery's costume because the script required the character to wear the same clothes throughout. Powell thought about his own grandfather and incorporated tweed suits and fishing hats. Powell felt it necessary for Henry to wear glasses, but did not want to hide Connery's eyes, so chose rimless ones. He could not find any suitable, so he had them specially made. The Nazi costumes were genuine and were found in Eastern Europe by Powell's co-designer Joanna Johnston, to whom he gave research pictures and drawings for reference.[12]
The motorcycles used in the chase from the castle were a mixed bag: the scout model with sidecar in which Indy and Henry escape was an original Dnepr, complete with machine gun pintle on the sidecar, while the pursuing vehicles were more modern machines dressed up with equipment and logos to make them resemble German army models.
Gibbs used Swiss Pilatus P-2 army training planes standing in for Messerschmitt Bf 109s. He built a device based on an internal combustion engine to simulate gunfire, which was safer and less expensive than firing blanks.[24] Baking soda was applied to Connery to create Henry's bullet wound. Vinegar was applied to create the foaming effect as the water from the Grail washes it away.[24]
At least one reproduction Kubelwagen was used during filming despite the film being set two years prior to manufacture of said vehicles.[citation needed]

text: Effects[edit]

text: Industrial Light & Magic (ILM) built an eight-foot foam model of the Zeppelin to complement shots of Ford and Connery climbing into the biplane. A biplane model with a two-foot wingspan was used for the shot of the biplane detaching. Stop motion animation was used for the shot of the German fighter's wings breaking off as it crashes through the tunnel. The tunnel was a 210 feet model that occupied 14 of ILM's parking spaces for two months. It was built in eight-foot sections, with hinges allowing each section to be opened to film through. Ford and Connery were filmed against bluescreen; the sequence required their car to have a dirty windscreen, but to make the integration easier this was removed and later composited into the shot. Dust and shadows were animated onto shots of the plane miniature to make it appear as if it disturbed rocks and dirt before it exploded. Several hundred tim-birds were used in the background shots of the seagulls striking the other plane; for the closer shots, ILM dropped feather-coated crosses onto the camera. These only looked convincing because the scene's quick cuts merely required shapes that suggested gulls.[24] ILM's Wes Takahashi supervised the film's effects sequences.[25]

text: Spielberg devised the three trials that guard the Grail.[4] For the first, the blades under which Indiana ducks like a penitent man were a mix of practical and miniature blades created by Gibbs and ILM. For the second trial, in which Indiana spells "Iehova" on stable stepping stones, it was intended to have a tarantula crawl up Indiana after he mistakenly steps on "J". This was filmed and deemed unsatisfactory, so ILM filmed a stuntman hanging through a hole that appears in the floor, 30 feet above a cavern. As this was dark, it did not matter that the matte painting and models were rushed late in production. The third trial, the leap of faith that Indiana makes over an apparently impassable ravine after discovering a bridge hidden by forced perspective, was created with a model bridge and painted backgrounds. This was cheaper than building a full-size set. A puppet of Ford was used to create a shadow on the 9-foot-tall (2.7 m) by 13-foot-wide (4.0 m) model because Ford had filmed the scene against bluescreen, which did not incorporate the shaft of light from the entrance.[24]

text: Spielberg wanted Donovan's death shown in one shot, so it would not look like an actor having makeup applied between takes. Inflatable pads were applied to Julian Glover's forehead and cheeks by Nick Dudman that made his eyes seem to recede during the character's initial decomposition, as well as a mechanical wig that grew his hair. The shot of Donovan's death was created over three months by morphing together three puppets of Donovan created by Stephan Dupuis in separate stages of decay, a technique ILM mastered on Willow (1988).[22] A fourth puppet was used for the decaying clothes, because the puppet's torso mechanics had been exposed. Complications arose because Alison Doody's double had not been filmed for the scene's latter two elements, so the background and hair from the first shot had to be used throughout, with the other faces mapped over it. Donovan's skeleton was hung on wires like a marionette; it required several takes to film it crashing against the wall because not all the pieces released upon impact.[24]

text: Ben Burtt designed the sound effects. He recorded chickens for the sounds of the rats,[12] and digitally manipulated the noise made by a Styrofoam cup for the castle fire. He rode in a biplane to record the sounds for the dogfight sequence, and visited the demolition of a wind turbine for the plane crashes.[24] Burtt wanted an echoing gunshot for Donovan wounding Henry, so he fired a .357 Magnum in Skywalker Ranch's underground car park, just as Lucas drove in.[12] A rubber balloon was used for the earthquake tremors at the temple.[26] The film was released in selected theaters in the 70 mm Full-Field Sound format, which allowed sounds to not only move from side to side, but also from the theater's front to its rear.[24]

text: Matte paintings of the Austrian castle and German airport were based on real buildings; the Austrian castle was a small West German castle that was made to look larger. Rain was created by filming granulated Borax soap against black at high speed. It was only lightly double exposed into the shots so it would not resemble snow. The lightning was animated. The airport used was at San Francisco's Treasure Island, which already had appropriate art deco architecture. ILM added a control tower, Nazi banners, vintage automobiles and a sign stating "Berlin Flughafen". The establishing shot of the Hatayan city at dusk was created by filming silhouetted cutouts that were backlit and obscured by smoke. Matte paintings were used for the sky and to give the appearance of fill light in the shadows and rim light on the edges of the buildings.[24]

text: Themes[edit]

text: A son's relationship with his estranged father is a common theme in Spielberg's films, including E.T. the Extra-Terrestrial and Hook.[8]

text: The film's exploration of fathers and sons coupled with its use of religious imagery is comparable to two other 1989 films, Star Trek V: The Final Frontier and Field of Dreams. Writing for The New York Times, Caryn James felt the combination in these films reflected New Age concerns, where the worship of God was equated to searching for fathers. James felt that neither Indiana or his father is preoccupied with finding the Grail or defeating the evil Nazis, but that, rather, both seek professional respect for one another in their boys' own adventure. James contrasted the temple's biblically epic destruction with the more effective and quiet conversation between the Joneses at the film's end. James noted that Indiana's mother does not appear in the prologue, being portrayed as already having died before the film's events began.[27]

text: Cultural references[edit]

text: The 1912 prologue refers to events in the lives of Indiana's creators. When Indiana cracks the bullwhip to defend himself against a lion, he accidentally lashes and scars his chin. Ford gained this scar in a car accident as a young man.[5] Indiana taking his nickname from his pet Alaskan Malamute is a reference to the character being named after Lucas' dog.[22] The train carriage Indiana enters is named "Doctor Fantasy's Magic Caboose", which was the name producer Frank Marshall used when performing magic tricks. Spielberg suggested the idea, Marshall came up with the false-bottomed box through which Indiana escapes,[28] and production designer Elliott Scott suggested the trick be done in a single, uninterrupted shot.[21] Spielberg intended the shot of Henry with his umbrella—after he causes the bird strike on the German plane—to evoke Ryan's Daughter.[22]

text: Release[edit]

text: Marketing[edit]

text: The film's teaser trailer debuted in November 1988 with Scrooged and The Naked Gun.[29] Rob MacGregor wrote the tie-in novelization that was released in June 1989;[30] it sold enough copies to be included on the New York Times Best Seller list.[31] MacGregor went on to write the first six Indiana Jones prequel novels during the 1990s. Following the film's release, Ford donated Indiana's fedora and jacket to the Smithsonian Institution's National Museum of American History.[32]

text: No toys were made to promote the film; Indiana Jones "never happened on the toy level", said Larry Carlat, senior editor of the journal Children's Business. Rather, Lucasfilm promoted Indiana as a lifestyle symbol, selling tie-in fedoras, shirts, jackets and watches.[33] Two video games based on the film were released by LucasArts in 1989: Indiana Jones and the Last Crusade: The Graphic Adventure and Indiana Jones and the Last Crusade: The Action Game. A third game was produced by Taito and released in 1991 for the Nintendo Entertainment System. Ryder Windham wrote another novelization, released in April 2008 by Scholastic, to coincide with the release of Indiana Jones and the Kingdom of the Crystal Skull. Hasbro released toys based on The Last Crusade in July 2008.[34]

text: Box office[edit]

text: The film was released in North America on Wednesday, May 24, 1989, in 2,327 theaters, earning a record $37,031,573 over the 4-day Memorial Day weekend.[35]  Its 3-day opening weekend figure of $29,355,021[36] was surpassed later that year by Ghostbusters II and Batman, which grossed more in its opening 3 days than The Last Crusade in 4.[37] Its Saturday gross of $11,181,429 was the first time a film had made over $10 million. It broke the record for the best seven-day performance, with $50.2 million,[38] added another record with $77 million after twelve days, and earned a $100 million in a record nineteen days.[39] In France, the film broke a record by selling a million admissions within two and a half weeks.[32]

text: The film eventually grossed $197,171,806 in North America and $277 million internationally, for a worldwide total of $474,171,806.[36] At the time of its release, the film was the 11th highest-grossing film of all time.[36] Despite competition from Batman, The Last Crusade became the highest-grossing film worldwide in 1989.[40] In North America, Batman took top position.[37] Behind Kingdom of the Crystal Skull and Raiders, The Last Crusade is the third-highest grossing Indiana Jones film in North America, though it is also behind Temple of Doom when adjusting for inflation.[41] Box Office Mojo estimates that the film sold over 49 million tickets in North America.[42]

text: Critical response[edit]

text: The film opened to mostly positive reviews. It was panned by Andrew Sarris in The New York Observer, David Denby in New York magazine, Stanley Kauffmann in The New Republic and Georgia Brown in The Village Voice.[12] Jonathan Rosenbaum of the Chicago Reader called the film "soulless".[43] The Washington Post reviewed the film twice; Hal Hinson's review on the day of the film's release was negative, describing it as "nearly all chases and dull exposition". Although he praised Ford and Connery, he felt the film's exploration of Indiana's character took away his mystery and that Spielberg should not have tried to mature his storytelling.[44] Two days later, Desson Thomson published a positive review praising the film's adventure and action, as well as the father–son relationship's thematic depth.[45] Joseph McBride of Variety observed the "Cartoonlike Nazi villains of Raiders have been replaced by more genuinely frightening Nazis led by Julian Glover and Michael Byrne," and found the moment where Indiana meets Hitler "chilling".[46] In his biography of Spielberg, McBride added the film was less "racist" than its predecessors.[8]

text: Peter Travers of Rolling Stone said the film was "the wildest and wittiest Indy of them all". Richard Corliss of Time and David Ansen of Newsweek praised it, as did Vincent Canby of The New York Times.[12] "Though it seems to have the manner of some magically reconstituted B-movie of an earlier era, The Last Crusade is an endearing original," Canby wrote, deeming the revelation Indiana had a father who was not proud of him to be a "comic surprise". Canby believed that while the film did not match the previous two in its pacing, it still had "hilariously off-the-wall sequences" such as the circus train chase. He also said that Spielberg was maturing by focusing on the father–son relationship,[47] a call echoed by McBride in Variety.[46] Roger Ebert praised the scene depicting Indiana as a Boy Scout with the Cross of Coronado; he compared it to the "style of illustration that appeared in the boys' adventure magazines of the 1940s", saying that Spielberg "must have been paging through his old issues of Boys' Life magazine... the feeling that you can stumble over astounding adventures just by going on a hike with your Scout troop. Spielberg lights the scene in the strong, basic colors of old pulp magazines."[48] The Hollywood Reporter felt Connery and Ford deserved Academy Award nominations.[12]

text: The film was evaluated positively after its release. Internet reviewer James Berardinelli wrote that while the film did not reach the heights of Raiders of the Lost Ark, it "[avoided] the lows of The Temple of Doom. A fitting end to the original trilogy, Indiana Jones and the Last Crusade captures some of the sense of fun that infused the first movie while using the addition of Sean Connery to up the comedic ante and provide a father/son dynamic."[49] Neil Smith of the BBC praised the action, but said the drama and comedy between the Joneses was more memorable. He noted, "The emphasis on the Jones boys means Julian Glover's venal villain and Alison Doody's treacherous beauty are sidelined, while the climax [becomes] one booby-trapped tomb too many."[50] Based on 55 reviews listed by Rotten Tomatoes, 88% of critics praised the film, giving it an average score of 7.9/10. This is based on 68 reviews—60 fresh and 8 rotten.[51] Metacritic calculated an average rating of 65/100, based on 14 reviews.[52]

text: Influence[edit]

text: The film won the Academy Award for Best Sound Editing; it also received nominations for Best Original Score and Best Sound (Ben Burtt, Gary Summers, Shawn Murphy and Tony Dawe), but lost to The Little Mermaid and Glory respectively.[53] Sean Connery received a Golden Globe Award nomination for Best Supporting Actor.[54] Connery and the visual and sound effects teams were also nominated at the 43rd British Academy Film Awards.[55] The film won the 1990 Hugo Award for Best Dramatic Presentation,[56] and was nominated for Best Motion Picture Drama at the Young Artist Awards.[57] John Williams' score won a BMI Award, and was nominated for a Grammy Award.[58]

text: The prologue depicting Indiana in his youth inspired Lucas to create The Young Indiana Jones Chronicles television series, which featured Sean Patrick Flanery as the young adult Indiana and Corey Carrier as the 8- to 10-year-old Indiana.[10] The 13-year-old incarnation played by Phoenix in the film was the focus of a Young Indiana Jones series of young adult novels that began in 1990;[59] by the ninth novel, the series had become a tie-in to the television show.[60] German author Wolfgang Hohlbein revisited the 1912 prologue in one of his novels, in which Indiana encounters the lead grave robber—whom Hohlbein christens Jake—in 1943.[61] The film's ending begins the 1995 comic series Indiana Jones and the Spear of Destiny, which moves forward to depict Indiana and his father searching for the Holy Lance in Ireland in 1945.[62] Spielberg intended to have Connery cameo as Henry in Kingdom of the Crystal Skull (2008), but Connery turned it down as he had retired.[63]

text: Petra's use for the movie's climactic scenes greatly contributed to its popularity as an international tourist destination. Before the film's release, only a few thousand visitors per year made the trip; since then it has grown to almost a million annually.[64] Shops and hotels near the site play up the connection, and it is mentioned prominently in itineraries of locations used in the film series.[65] Jordan's tourism board mentions the connection on its website.[66] In 2012 the satirical news site The Pan-Arabia Enquirer ran a mock story claiming that the board had officially renamed Petra "That Place from Indiana Jones" to reflect how the world more commonly refers to it.[67]


document_title: Former Presidents Act

question_text: who rejected secret service protection after leaving the presidency

text: Former Presidents Act

text: History[edit]

text: Before 1958, the U.S. federal government provided no pension or other retirement benefits to former United States presidents. Andrew Carnegie offered to endow a US$25,000 annual pension for former Chief Executives in 1912, but congressmen questioned the propriety of such a private pension. That prompted legislation to provide benefits to former presidents.[1]

text: When the Former Presidents Act took effect, there were two living former presidents: Herbert Hoover and Harry S. Truman. Dwight D. Eisenhower was the first president to fall under the act upon leaving office.

text: The original act provided for lifetime Secret Service protection for former presidents. In 1997, it was reduced to 10 years for presidents taking office after 1997. The 1997 amendment was reverted by the Former Presidents Protection Act of 2012 (Pub.L. 112–257).[2] All living former presidents and their spouses are now entitled to receive lifetime Secret Service protection.[3]

text: Current status[edit]

text: By law, former presidents are entitled to a pension, staff and office expenses, medical care or health insurance, and Secret Service protection.

text: Pension[edit]

text: The Secretary of the Treasury pays a taxable pension to the president. Former presidents receive a pension equal to the pay that the head of an executive department (Executive Level I) would be paid, as of 2017[update] $207,800 per year.[4] The pension begins immediately after a president's departure from office.[5] A former president's spouse may also be paid a lifetime annual pension of $20,000 if they relinquish any other statutory pension.[1]

text: Transition[edit]

text: Washington Transition funding for the expenses of leaving office is available for seven months. It covers office space, staff compensation, communications services, and printing and postage associated with the transition.[1]

text: Staff and office[edit]

text: Private office staff and related funding is provided by the Administrator of the General Services Administration. Persons employed under this subsection are selected by and responsible only to the former president for the performance of their duties. Each former president fixes basic rates of compensation for persons employed for him, not exceeding an annualized total of $150,000 for the first 30 months and $96,000 thereafter.[1]

text: Medical insurance[edit]

text: Former presidents are entitled to medical treatment in military hospitals; they pay for this at interagency rates set by the Office of Management and Budget. Two-term presidents may buy health insurance under the Federal Employees Health Benefits Program; a GSA legal opinion ruled Jimmy Carter and George H. W. Bush ineligible.[1][6]

text: Secret Service protection[edit]

text: Former presidents were entitled from 1965 to 1996 to lifetime Secret Service protection, for themselves, spouses, and children under 16. A 1994 statute, (Pub.L. 103–329), limited post-presidential protection to ten years for presidents inaugurated after January 1, 1997.[7] Under this statute, Bill Clinton would still be entitled to lifetime protection, and all subsequent presidents would have been entitled to ten years' protection.[8] On January 10, 2013, President Barack Obama signed the Former Presidents Protection Act of 2012, reinstating lifetime Secret Service protection for his predecessor George W. Bush, himself, and all subsequent presidents.[9]

text: Richard Nixon relinquished his Secret Service protection in 1985, the only president to do so.[10]


document_title: Factory system

question_text: where did most unskilled laborers work in the industrial revolution

text: Factory system

text: Characteristics[edit]

text: The defining characteristics of the factory system are:

text:
The factory system is considered a capitalist form of production. The operative labor generally does not own a significant share of the enterprise. The capitalist owners provide all machinery, buildings, management and administration, raw or semi-finished materials and are responsible for the sale of all production, as well as any resulting losses.
Use of Unskilled labor – Before the factory some systems had many products such as shoes and muskets were made by skilled craftsmen who usually custom-made an entire article. In contrast, factories practiced division of labor, in which most workers were either low skilled laborers who tended or operated machinery, or unskilled laborers who moved materials, semi-finished and finished goods. There were a few skilled mechanics. Division of labor was also practiced by the putting out system in which, for example, pieces of leather were cut off-site and brought to a central shop to be made into shoes or other articles.[2]
Economies of scale – Factories produced products on a much larger scale than the putting out or crafts systems. Because factories could oversupply local markets, access to transportation was important so that goods could be widely distributed. Factories used far less manpower per unit of production and therefore lowered product cost.
Location – Before the widespread use of steam engines and railroads, most factories were located at water power sites and near water transportation.[3] Railroads became widespread (itself a consequence of steam power becoming more efficient and affordable), so factories could be located away from water power sites but nearer railroads.[4]
Centralization – The cost and complexity of machinery, especially that powered by water or steam, was more than cottage industry workers could afford or had the skills to maintain. The exception was the sewing machine, which allowed putting out of sewing to continue for decades after the rise of factories. Home spinning and weaving were displaced in the years following the introduction of factory production, especially as distribution became easier.[2]

text:
Standardization and uniformity – Components were made to standard specifications, such as soles, heels and uppers for shoes themselves made to uniform sizes. Uniformity was mainly due to the precision possible from machinery, but also, quality was overseen by management. The quality of many machine operations such as sewing was superior to hand methods.[2] Near the end of the 19th century metal interchangeable parts became widely used.[6]
Guarantee of supply. Factories were able to produce and distribute a steady supply of goods.

text: Workers were paid either daily wages or for piece work, either in the form of money or some combination of money, housing, meals and goods from a company store (the truck system). Piece work presented accounting difficulties, especially as volumes increased and workers did a narrower scope of work on each piece. Piece work went out of favor with the advent of the production line, which was designed on standard times for each operation in the sequence, and workers had to keep up with the work flow.

text: History[edit]

text: One of the earliest factories was John Lombe's water-powered silk mill at Derby, operational by 1721. By 1746, an integrated brass mill was working at Warmley near Bristol. Raw material went in at one end, was smelted into brass and was turned into pans, pins, wire, and other goods. Housing was provided for workers on site. Josiah Wedgwood in Staffordshire and Matthew Boulton at his Soho Manufactory were other prominent early industrialists, who employed the factory system.

text: The factory system began widespread use somewhat later when cotton spinning was mechanized.

text: The first use of an integrated system, where cotton came in and was spun, bleached dyed and woven into finished cloth, was at mills in Waltham and Lowell, Massachusetts. These became known as Lowell Mills and the Waltham-Lowell system.

text: The Nasmyth, Gaskell and Company's Bridgewater Foundry, which began operation in 1836, was one of the earliest factories to use modern materials handling such as cranes and rail tracks through the buildings for handling heavy items.[7]

text: Arkwright[edit]

text: Richard Arkwright is the person credited with being the brains behind the growth of factories and the Derwent Valley Mills. After he patented his water frame in 1769, he established Cromford Mill, in Derbyshire, England. The factory system was a new way of organizing labour made necessary by the development of machines which were too large to house in a worker's cottage. Working hours were as long as they had been for the farmer, that is, from dawn to dusk, six days per week. Overall, this practice essentially reduced skilled and unskilled workers to replaceable commodities.

text: Interchangeable parts[edit]

text: Mass production using interchangeable parts was first achieved in 1803 by Marc Isambard Brunel in cooperation with Henry Maudslay, and Simon Goodrich, under the management of (with contributions by) Brigadier-General Sir Samuel Bentham, the Inspector General of Naval Works at Portsmouth Block Mills at Portsmouth Dockyard, for the British Royal Navy during the Napoleonic War. By 1808 annual production had reached 130,000 sailing blocks.[8][9][10][11][page needed][12][page needed][13][page needed][14][page needed][15][page needed][16][17] This method of working did not catch on in general manufacturing in Britain for many decades, and when it did it was imported from America, becoming known as the American system of manufacturing, even though it originated in England.

text: Societal effects[edit]

text: Much manufacturing in the 18th century was carried out in homes under the domestic or putting-out system, especially the weaving of cloth and spinning of thread and yarn, often with just a single loom or spinning wheel. As these devices were mechanized, machine made goods were able to underprice the cottagers, leaving them unable to earn enough to make their effort worthwhile. Other products such as nails had long been produced in factory workshops, increasingly diversified using the division of labour to increase the efficiency of the system.

text: Factory workers typically lived within walking distance to work until the introduction of bicycles and electric street railways in the 1890s. Thus the factory system was partly responsible for the rise of urban living, as large numbers of workers migrated into the towns in search of employment in the factories. Many mills had to provide dormitories for workers, especially for girls and women.

text: The transition to industrialisation was not without difficulty. For example, a group of English workers known as Luddites formed to protest against industrialisation and sometimes sabotaged factories. They continued an already established tradition of workers opposing labor saving machinery. Numerous inventors in the textile industry such as John Kay and Samuel Crompton, suffered harassment when developing their machines or devices.

text: In other industries the transition to factory production was not so divisive.

text: Until the late 19th century it was common to work 12 hours a day, six days a week in most factories; however long hours were also common outside factories.

text: Debate arose concerning the morality of the system, as workers complained about unfair working conditions prior to the passage of labour laws. One of the problems concerned women's labour, which in many cases women were paid almost a quarter of what men made. Child labour was also a major part of the system, and was vehemently argued by those who deemed it immoral. However, in the early 19th century, education was not compulsory and in many families having children work was necessary due to low incomes (Samuel Slater employed children but was required to provide basic education). Children commonly did farm labor and produced goods for the household. Besides working in factories children worked in mines. Automation in the late 19th century is credited with displacing child labor, with the automatic glass bottle blowing machine (ca. 1890) cited as an example, having been said to do more to end child labor than child labor laws. Years of schooling began to increase sharply from the end of the 19th century.

text: Some industrialists themselves tried to improve factory and living conditions for their workers. One of the earliest such reformers was Robert Owen, known for his pioneering efforts in improving conditions for workers at the New Lanark mills, and often regarded as one of the key thinkers of the early socialist movement.

text: Karl Marx worried that the capitalist system would eventually lead to wages only sufficient for subsistence due to the tendency of the rate of profit to fall. Subsistence wages were indeed the case in parts of England. The British Agricultural Revolution had been reducing the need for labor on farms for over a century and these workers were forced to sell their labor wherever they could. Conditions were particularly bad during the depression years of the late 1830s to early 1840s. The depression was immediately followed by the Irish famine of 1845–50 which brought large numbers of Irish immigrants to seek work in the English and American factories.

text: One of the best known accounts of factory worker's living conditions during the Industrial Revolution is Friedrich Engels' The Condition of the Working Class in England in 1844. By the late 1880s Engels noted that the extreme poverty and lack of sanitation he wrote about in 1844 had largely disappeared.[18]