document_title: List of Minnesota Twins owners and executives

question_text: who is the general manager of the minnesota twins

root

text: Owners[edit]

text:
Ban Johnson & Fred Postal
Thomas C. Noyes
Clark Griffith
Calvin Griffith
Carl Pohlad
Jim Pohlad

tag: ul

text: General Managers[edit]

text:
Calvin Griffith
Howard Fox
Andy MacPhail (Won WS twice in 1987 and 1991)
Terry Ryan (1995-2007, again from 2012)
Bill Smith (2008-2011)
Terry Ryan (after first stint 1995-2007, 2012 - 2016)
Rob Antony (interim 2016)
Thad Levine (2016-present)

text: Presidents[edit]

text:
Calvin Griffith
Howard Fox
Jerry Bell
Dave St. Peter

text: Derek Falvey- President of Baseball Operations

tag: p

text: Other executives[edit]

text:
Ossie Bluege
George Brophy
Derek Falvey
Bob Gebhard
Joe Haynes
Wayne Krivsky
Kevin Malone
Jim Rantz


document_title: Cigarette pack

question_text: how many cigarettes in a pack in the uk

question_tokens: how many cigarettes in a pack in the uk

text: Cigarette pack

text: Package size[edit]

text: Pack[edit]

text: The size of a pack is often regulated. Government agencies usually set a minimum pack size.

text: In Australia, the most common quantity per pack is 25, although some brands have changed them to 26, second to 20 which by law, is the minimum. 30, 40 and even 50 packs are also sold.

text: In Canada, most packs sold have 25 cigarettes, but packs of 20 are also popular.

text: In many European countries, increases of cigarette tax can cause the quantity of cigarettes in the pack to change, in order to achieve the same end price.

text: In Malaysia, the selling of packs containing fewer than 20 cigarettes is prohibited.

text: In the United States of America, the quantity of cigarettes in a pack must be at least 20. Certain brands, such as Export As, come in a pack of 25. For many years, half-packs of 10 (or even 14) cigarettes were commonly available.

text: In the United Kingdom brands are only sold in packets of 20, following a May, 2017 law prohibiting the sale of 10-stick packs. The legislation also outlawed branded packaging, introducing boxes which are a plain, green color. The packaging has the brand name in a basic typeface, with most of the packet dedicated to textual and photographic health warnings. Vending machines sometimes dispense packets containing 16 or 18 cigarettes, although the dimensions of the packaging are the same as the equivalent packet containing 20.[1]

text: Carton[edit]

text: A carton of cigarettes usually contains 10 packs, totaling 200 cigarettes.[1] Some cartons contain twenty packs, totaling 400 cigarettes.[1]

text: Hard pack and soft pack[edit]

text: A hard pack is the usual style of paperboard packaging for store bought cigarettes, which consists of a relatively stable box. This successfully prevents the crumpling of cigarettes when kept in a person's pocket or handbag. The flip-top hard pack cigarette case was introduced in 1955 by Philip Morris.[2][3]

text: A soft pack is a box packaging made of thin paper, usually containing 20 cigarettes. Soft packs may be considered inconvenient as they rupture easily and cannot be resealed. They offer the immediate convenience of not having to open the package each time the smoker wants a cigarette. They require less physical 'pocket space' when fewer cigarettes remain in the pack. With American brands, cigarettes from a soft pack are usually a few millimeters longer than their hard-boxed counterparts.

text: Collectable pack[edit]

text: To encourage cigarette pack collectors, some cigarette packs were made to present a particular interest for collectors. There are cigarette packs labeled "collectible".

text: Some brands introduce promotional packs to bypass advertising laws. An example would be a limited time promotion where the pack is made from tin with the shape, purpose, and look of a cigarette case to entice potential buyers. They are distinguished by unique décor or are very old or they were removed from manufacturing for some reasons and consequently became rare.

text: Features[edit]

text: Most cigarette packs have no features at all and are just made up of a single container filled with cigarettes. However, some cigarette packs have been proposed that also contain an empty container for disposing the cigarette butts into. This could reduce cigarette butts of being discarded unto the street, where they contaminate the environment.[4][5]

text: Plain tobacco packaging[edit]


document_title: Beauty and the Beast (2017 film)

question_text: who played belle in new beauty and the beast

text: Beauty and the Beast (2017 film)

text: Plot[edit]

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

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

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

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

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

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

text: Cast[edit]

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

Daisy Duczmal portrays an infant Belle.

Dan Stevens as The Prince / Beast, a cold-hearted prince who is transformed into a hideous beast and forced to earn back his humanity by learning to truly love and be loved in return.[9][10]

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

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[11]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[12]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[13]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[14]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[15]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[11]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[16]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[17]
Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[18]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the Enchantress responsible for cursing the Prince.[19] Morahan also narrates the prologue.

Rita Davies portrays the Enchantress in her beggar woman form.

Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[19]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the Prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the Prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the Prince's mother who died of an illness when he was a child.
Dale Branston as Baker, Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' Mother, an unnamed seamstress who is the mother of the Village Lasses.

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[20]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[20]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[21]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[22][23] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[24]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[25] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[26] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[27]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[28] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[29]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[30] Watson was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[29] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[31][32] and Watson confirmed their casting the following day through tweets.[9][33] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[12][11][16][15][17][13][14][34]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[35] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[36]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[37]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, England, on May 18, 2015.[11][38][39] Filming with the principal actors concluded on August 21.[40][41] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[42]

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

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones' character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[20]

text: Music[edit]

text: When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[43]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[44] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[45] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[46] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[47]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion - singer of the original 1991 Beauty and the Beast duet song, with singer Peabo Bryson - that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[48] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way".[18] She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today".[9] Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[49][50][51][52]

text: The 2017 film features a remake of the 1991 original song Beauty and the Beast recorded as a duet by Ariana Grande and John Legend.[53][54] Grande and Legend's updated version of the Beauty and the Beast title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[55]

text: Emma Thompson also performed a rendition of "Beauty and the Beast", which was performed by Angela Lansbury in the original 1991 animated film release.[56]

text: Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song "Beauty and the Beast" on Freeform television network on March 5, 2017, and it has since attained over 100 million video views on the Vevo video hosting service.[56]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[11] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[57]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, England;[58] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[59] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[60] Following an announcement on May 22, 2016,[61] Disney premiered the first official teaser trailer on Good Morning America the next day.[62] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[63] This record has since been broken by Thor: Ragnarok and It.[64] The first official teaser poster was released on July 7, 2016.[65] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[66][67] One week later, Emma Watson and Disney debuted a new poster for the film.[68] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[69] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[70] This record has since been broken again by The Fate of the Furious.[71] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[72] Disney released the final trailer on January 30, 2017.[73]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[74] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[75] The movie regained the top spot on the national home video sales charts during its third week of release.[76] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $758.6 million in other territories for a worldwide gross of $1.262 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second biggest musical ever overall, behind Disney's Frozen (2013).[78] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[79] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[80] It surpassed the entire lifetime total of the original film in just six days.[81][82]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[83] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[84][85][86][87] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[88][89][90] It is currently the highest-grossing film of 2017,[91] the highest-grossing March release,[92] the highest-grossing remake of all-time,[93] and the fifth biggest Disney film.[94] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[93]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[95][96][97] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[98][99] It earned $16.3 milion from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[100] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest – 59% – came from regular 2D shows which began at 7 p.m.[101] The numbers were considered more impressive given that the film played during a school week.[102]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[103][104] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[105] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell -2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[83] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[106] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[107][108] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[109] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[110] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[110] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[106]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second biggest film of the year, behind Logan ($184 million), and also the second highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[111] 70% of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[83] 70% of the film's opening day demographic was female, dropping to 60% through the weekend.[110] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[112][113] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[112][114]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second biggest March Monday, behind Batman v Superman ($15 million).[115] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a +32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[116] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[117] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[118] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[78] The hold was notable considering how the film was able to fend off three new wide release; Power Rangers, Life, and CHiPs.[119] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[120] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[121] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[122] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[123] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[124] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[125] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[126][127][128]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[129] the biggest musical film (both animated and live-action),[130] as well as the biggest film of 2017.[131]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second biggest for a PG title behind The Jungle Book.[132] In its second weekend, it fell just by -35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[133] It top the international box office for three consecutive weekends[134] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[135][90]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[136][137] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[132][133]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[138] This included the second biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[139] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[140][133] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[141][142][143] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases – Machine, Trapped and Aa Gaya Hero – combined.[144] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[145][146][147] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[148]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time – around two months – to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[149] The original film was however never widely popular in the country.[150] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[151] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[152][153] Either ways, it recorded the second biggest opening for a Disney live-action film,[150] with $3.4 million coming from 386 IMAX screens.[132] Japan – a huge Disney market – served as the film's final market and opened there on April 21[133] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[154][155] The two day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[156] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[157][158][159] and is the biggest film release of the year and overall the eleventh biggest of all time.[160] It topped the box office there for eight consecutive weekends.[161][162]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[132] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[135][163] In the Philippines, it emerged as the most commercial successful film of all time – both local and foreign – with over $13.5 million.[164] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[165] It is currently the eighth biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[154][166] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[161] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past 1 year (behind Rogue One: A Star Wars Story).[167][154][157]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[168][169] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 292 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[170] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[171] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[172][173]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[174] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[175] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[176] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[177] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[178] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[179] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[180]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[181] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)."[182] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[183] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[184] Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[185] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[186]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[187] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[188] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails – the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[189][190]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he sensed that the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[191] Dana Schwartz of The Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[192]

text: Accolades[edit]

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

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[193]

Best Actor in a Movie
Emma Watson

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
[194]

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[195]
[196]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans

Choice Movie Ship
Emma Watson and Dan Stevens

Choice Liplock

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans

Dan Stevens

tag: table

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[197] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you’ve seen the movie—it's such a tiny thing, and it’s been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly-talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that’s what’s exciting about it.”[198] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[199]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[200] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[201] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[202] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[203][204][205] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[206] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[207][208] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[209]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[210] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[211]

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

text: Disney has sought to portray Belle as an empowered young woman,[212] but a debate questioning whether it is possible to fall in love with someone who is holding you prisoner, and whether this is a problematic theme, has resulted.[213] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[214][215] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[216]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[217] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[218][219] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th century France for arranged marriages, and that the power disparity is amplified in the Disney version.[220] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[221]

text: Notes[edit]

text: ^ Jump up to: a b Beauty and the Beast at Box Office Mojo. Retrieved August 14, 2017.

tag: ol


document_title: List of All-Ireland Senior Hurling Championship finals

question_text: last time limerick were in an all ireland final

text: List of finals[edit]

text:
Year

Winner

Score

Runner-up

Score

Venue

Winning captain

Losing captain

2018Details

Limerick

3-16

Galway

2-18

Croke Park, Dublin

Declan Hannon

David Burke

2017Details

Galway

0-26

Waterford

2-17

Croke Park, Dublin

David Burke

Kevin Moran

2016Details

Tipperary

2-29

Kilkenny

2-20

Croke Park, Dublin

Brendan Maher

Shane Prendergast

2015Details

Kilkenny

1-22

Galway

1-18

Croke Park, Dublin

Joey Holden

David Collins

2014Details

Kilkenny

2-17

Tipperary

2-14

Croke Park, Dublin

Lester Ryan

Brendan Maher

Drawn match

Kilkenny

3-22

Tipperary

1-28

Croke Park, Dublin

2013Details

Clare

5-16

Cork

3-16

Croke Park, Dublin

Patrick Donnellan

Pa Cronin

Drawn match

Clare

0-25

Cork

3-16

Croke Park, Dublin

2012Details

Kilkenny

3-22

Galway

3-11

Croke Park, Dublin

Eoin Larkin

Fergal Moore

Drawn match

Kilkenny

0-19

Galway

2-13

Croke Park, Dublin

2011Details

Kilkenny

2-17

Tipperary

1-16

Croke Park, Dublin

Brian Hogan

Eoin Kelly

2010Details

Tipperary

4-17

Kilkenny

1-18

Croke Park, Dublin

Eoin Kelly

T.J. Reid

2009Details

Kilkenny

2-22

Tipperary

0-23

Croke Park, Dublin

Michael Fennelly

Willie Ryan

2008Details

Kilkenny

3-30

Waterford

1-13

Croke Park, Dublin

James Fitzpatrick

Michael Walsh

2007Details

Kilkenny

2-19

Limerick

1-15

Croke Park, Dublin

Henry Shefflin

Damien Reale

2006Details

Kilkenny

1-16

Cork

1-13

Croke Park, Dublin

Jackie Tyrrell

Pat Mulcahy

2005Details

Cork

1-21

Galway

1-16

Croke Park, Dublin

Seán Óg Ó hAilpín

Liam Donoghue

2004Details

Cork

0-17

Kilkenny

0-9

Croke Park, Dublin

Ben O'Connor

Martin Comerford

2003Details

Kilkenny

1-14

Cork

1-11

Croke Park, Dublin

D.J. Carey

Alan Browne

2002Details

Kilkenny

2-20

Clare

0-19

Croke Park, Dublin

Andy Comerford

Brian Lohan

2001Details

Tipperary

2-18

Galway

2-15

Croke Park, Dublin

Tommy Dunne

Liam Hodgins

2000Details

Kilkenny

5-15

Offaly

1-14

Croke Park, Dublin

Willie O'Connor

Johnny Dooley

1999Details

Cork

0-13

Kilkenny

0-12

Croke Park, Dublin

Mark Landers

Denis Byrne

1998Details

Offaly

2-16

Kilkenny

1-13

Croke Park, Dublin

Hubert Rigney

Tom Hickey

1997Details

Clare

0-20

Tipperary

2-13

Croke Park, Dublin

Anthony Daly

Conor Gleeson

1996Details

Wexford

1-13

Limerick

0-14

Croke Park, Dublin

Martin Storey

Ciarán Carey

1995Details

Clare

1-13

Offaly

2-8

Croke Park, Dublin

Anthony Daly

Johnny Pilkington

1994Details

Offaly

3-16

Limerick

2-13

Croke Park, Dublin

Martin Hanamy

Gary Kirby

1993Details

Kilkenny

2-17

Galway

1-15

Croke Park, Dublin

Eddie O'Connor

Michael McGrath

1992Details

Kilkenny

3-10

Cork

1-12

Croke Park, Dublin

Liam Fennelly

Ger FitzGerald

1991Details

Tipperary

1-16

Kilkenny

0-15

Croke Park, Dublin

Declan Carr

Christy Heffernan

1990Details

Cork

5-15

Galway

2-21

Croke Park, Dublin

Tomás Mulcahy

Joe Cooney

1989Details

Tipperary

4-24

Antrim

3-9

Croke Park, Dublin

Bobby Ryan

Ciarán Barr

1988Details

Galway

1-15

Tipperary

0-14

Croke Park, Dublin

Conor Hayes

Nicky English

1987Details

Galway

1-12

Kilkenny

0-9

Croke Park, Dublin

Conor Hayes

Paddy Prendergast

1986Details

Cork

4-13

Galway

2-15

Croke Park, Dublin

Tom Cashman

Noel Lane

1985Details

Offaly

2-11

Galway

1-12

Croke Park, Dublin

Pat Fleury

Michael Connolly

1984Details

Cork

3-16

Offaly

1-12

Semple Stadium, Thurles

John Fenton

Pat Fleury

1983Details

Kilkenny

2-14

Cork

2-12

Croke Park, Dublin

Liam Fennelly

Jimmy Barry-Murphy

1982Details

Kilkenny

3-18

Cork

1-13

Croke Park, Dublin

Brian Cody

Jimmy Barry-Murphy

1981Details

Offaly

2-12

Galway

0-15

Croke Park, Dublin

Pádraig Horan

Seán Silke

1980Details

Galway

2-15

Limerick

3-9

Croke Park, Dublin

Joe Connolly

Seán Foley

1979Details

Kilkenny

2-12

Galway

1-8

Croke Park, Dublin

Ger Fennelly

Joe McDonagh

1978Details

Cork

1-15

Kilkenny

2-8

Croke Park, Dublin

Charlie McCarthy

Ger Henderson

1977Details

Cork

1-17

Wexford

3-8

Croke Park, Dublin

Martin O'Doherty

Tony Doran

1976Details

Cork

2-21

Wexford

4-11

Croke Park, Dublin

Ray Cummins

Tony Doran

19752Details

Kilkenny

2-22

Galway

2-10

Croke Park, Dublin

Billy Fitzpatrick

John Connolly

1974Details

Kilkenny

3-19

Limerick

1-13

Croke Park, Dublin

Nicky Orr

Seán Foley

1973Details

Limerick

1-21

Kilkenny

1-14

Croke Park, Dublin

Éamonn Grimes

Pat Delaney

1972Details

Kilkenny

3-24

Cork

5-11

Croke Park, Dublin

Noel Skehan

Frank Norberg

1971Details

Tipperary

5-17

Kilkenny

5-14

Croke Park, Dublin

Tadhg O'Connor

Pat Henderson

19703Details

Cork

6-21

Wexford

5-10

Croke Park, Dublin

Paddy Barry

Michael Collins

1969Details

Kilkenny

2-15

Cork

2-9

Croke Park, Dublin

Eddie Keher

Denis Murphy

1968Details

Wexford

5-8

Tipperary

3-12

Croke Park, Dublin

Dan Quigley

Mick Roche

1967Details

Kilkenny

3-8

Tipperary

2-7

Croke Park, Dublin

Jim Treacy

Mick Roche

1966Details

Cork

3-9

Kilkenny

1-10

Croke Park, Dublin

Gerald McCarthy

Jim Lynch

1965Details

Tipperary

2-16

Wexford

0-10

Croke Park, Dublin

Jimmy Doyle

Tom Neville

1964Details

Tipperary

5-13

Kilkenny

2-8

Croke Park, Dublin

Mick Murphy

Seán Buckley

1963Details

Kilkenny

4-17

Waterford

6-8

Croke Park, Dublin

Séamus Cleere

Joe Condon

1962Details

Tipperary

3-10

Wexford

2-11

Croke Park, Dublin

Jimmy Doyle

Billy Rackard

1961Details

Tipperary

0-16

Dublin

1-12

Croke Park, Dublin

Matt Hassett

Noel Drumgoole

1960Details

Wexford

2-15

Tipperary

0-11

Croke Park, Dublin

Nick O'Donnell

Tony Wall

1959Details

Waterford

3-12

Kilkenny

1-10

Croke Park, Dublin

Frankie Walsh

Seán Clohessey

Drawn match

Waterford

1-17

Kilkenny

5-5

Croke Park, Dublin

1958Details

Tipperary

4-9

Galway

2-5

Croke Park, Dublin

Tony Wall

Seán Cullinane

1957Details

Kilkenny

4-10

Waterford

3-12

Croke Park, Dublin

Mickey Kelly

Phil Grimes

1956Details

Wexford

2-14

Cork

2-8

Croke Park, Dublin

Jim English

Tony O'Shaughnessy

1955Details

Wexford

3-13

Galway

2-8

Croke Park, Dublin

Nick O'Donnell

Jimmy Duggan

1954Details

Cork

1-9

Wexford

1-6

Croke Park, Dublin

Christy Ring

Padge Kehoe

1953Details

Cork

3-3

Galway

0-8

Croke Park, Dublin

Christy Ring

Mick Burke

1952Details

Cork

2-14

Dublin

0-7

Croke Park, Dublin

Paddy Barry

1951Details

Tipperary

7-7

Wexford

3-9

Croke Park, Dublin

Jimmy Finn

Nicky Rackard

1950Details

Tipperary

1-9

Kilkenny

1-8

Croke Park, Dublin

Seán Kenny

Mick Kenny

1949Details

Tipperary

3-11

Laois

0-3

Croke Park, Dublin

Pat Stakelum

Paddy Ruschitzko

1948Details

Waterford

6-7

Dublin

4-2

Croke Park, Dublin

Jim Ware

1947Details

Kilkenny

0-14

Cork

2-7

Croke Park, Dublin

Dan Kennedy

Seán Condon

1946Details

Cork

7-5

Kilkenny

3-8

Croke Park, Dublin

Christy Ring

Jack Mulcahy

1945Details

Tipperary

5-6

Kilkenny

3-6

Croke Park, Dublin

John Maher

Peter Blanchfield

1944Details

Cork

2-13

Dublin

1-2

Croke Park, Dublin

Seán Condon

1943Details

Cork

5-16

Antrim

0-4

Croke Park, Dublin

Mick Kennefick

Jimmy Walsh

1942Details

Cork

2-14

Dublin

3-4

Croke Park, Dublin

Jack Lynch

1941Details

Cork

5-11

Dublin

0-6

Croke Park, Dublin

Connie Buckley

Eddie Wade

1940Details

Limerick

3-7

Kilkenny

1-7

Croke Park, Dublin

Mick Mackey

Jim Langton

1939Details

Kilkenny

2-7

Cork

3-3

Croke Park, Dublin

Jimmy Walsh

Jack Lynch

1938Details

Dublin

2-5

Waterford

1-6

Croke Park, Dublin

Mick Daniels

1937Details

Tipperary

3-11

Kilkenny

0-3

FitzGerald Stadium, Killarney

Jimmy Lanigan

1936Details

Limerick

5-6

Kilkenny

1-5

Croke Park, Dublin

Mick Mackey

Paddy Larkin

1935Details

Kilkenny

2-5

Limerick

2-4

Croke Park, Dublin

Lory Meagher

Timmy Ryan

1934Details

Limerick

3-4

Dublin

2-6

Croke Park, Dublin

Timmy Ryan

Drawn match

Limerick

2-7

Dublin

3-4

Croke Park, Dublin

1933Details

Kilkenny

1-7

Limerick

0-6

Croke Park, Dublin

Ned Doyle

Micky Fitzgibbon

1932Details

Kilkenny

3-3

Clare

2-3

Croke Park, Dublin

Jimmy Walsh

John Joe 'Goggles' Doyle

1931Details

Cork

5-8

Kilkenny

3-4

Croke Park, Dublin

Eudie Coughlan

Lory Meagher

1930Details

Tipperary

2-7

Dublin

1-3

Croke Park, Dublin

John Joe Callinan

1929Details

Cork

4-9

Galway

1-3

Croke Park, Dublin

Dinny Barry-Murphy

1928Details

Cork

6-12

Galway

1-0

Croke Park, Dublin

Seán Óg Murphy

1927Details

Dublin

4-8

Cork

1-3

Croke Park, Dublin

Mick Gill

Seán Óg Murphy

1926Details

Cork

4-6

Kilkenny

2-0

Croke Park, Dublin

Seán Óg Murphy

Richard Grace

1925Details

Tipperary

5-6

Galway

1-5

Croke Park, Dublin

Johnny Leahy

1924Details

Dublin

5-3

Galway

2-6

Croke Park, Dublin

Frank Wall

1923Details

Galway

7-3

Limerick

4-5

Croke Park, Dublin

Mick Kenny

Paddy McInerney

1922Details

Kilkenny

5-3

Tipperary

2-6

Croke Park, Dublin

Wattie Dunphy

Johnny Leahy

1921Details

Limerick

8-5

Dublin

3-2

Croke Park, Dublin

Bob McConkey

1920Details

Dublin

4-9

Cork

4-3

Croke Park, Dublin

Bob Mockler

Dick O'Gorman

1919Details

Cork

6-4

Dublin

2-4

Croke Park, Dublin

Jimmy Kennedy

1918Details

Limerick

9-5

Wexford

1-3

Croke Park, Dublin

Willie Hough

1917Details

Dublin

5-4

Tipperary

4-2

Croke Park, Dublin

John Ryan

Johnny Leahy

1916Details

Tipperary

5-4

Kilkenny

3-2

Croke Park, Dublin

Johnny Leahy

Sim Walton

1915Details

Laois

6-2

Cork

4-1

Croke Park, Dublin

Jack Finlay

Connie Sheehan

1914Details

Clare

5-1

Laois

1-0

Croke Park, Dublin

Amby Power

Jack Carroll

1913Details

Kilkenny

2-4

Tipperary

1-2

Jones' Road, Dublin

Dick Walsh

Patrick 'Wedger' Meagher

1912Details

Kilkenny

2-1

Cork

1-3

Jones' Road, Dublin

Sim Walton

Barry Murphy

1911 [a]Details

Kilkenny

w/o

Limerick

scr.

1910Details

Wexford

7-0

Limerick

6-2

Jones' Road, Dublin

Dick Doyle

John "Tyler" Mackey

1909Details

Kilkenny

4-6

Tipperary

0-12

Cork Athletic Grounds

Dick Walsh

Tom Semple

1908Details

Tipperary

2-5

Dublin

1-8

Croke Park, Dublin

Tipperary

3-15

Dublin

1-5

Geraldine Park, Athy

Tom Semple

1907Details

Kilkenny

3-12

Cork

4-8

Fraher Field, Dungarvan

Dick Walsh

Jamesy Kelleher

1906Details

Tipperary

3-16

Dublin

3-8

Kilkenny

Tom Semple

1905[b]Details

Cork

5-10

Kilkenny

3-12

Fraher Field, Dungarvan

D.J. Stapleton

Christy Young

Kilkenny

7-7

Cork

2-9

Tipperary

1904Details

Kilkenny

1-9

Cork

1-8

Carrick-on-Suir

Jer Doheny

Dan Harrington

1903Details

Cork

3-16

London

1-1

Fraher Field, Dungarvan

Steva Riordan

1902Details

Cork

3-13

London

0-0

Cork Athletic Grounds, Cork

Jamesy Kelleher

1901Details

London

1-5

Cork

0-4

Jones' Road

Jack Coughlan

1900Details

Tipperary

3-13

London

0-6

Jones' Road

Ned Hayes

Dan Horgan

1899[c]Details

Tipperary

3-12

Wexford

1-4

Jones' Road

Tom Condon

James Furlong

1898Details

Tipperary

7-13

Kilkenny

3-10

Jones' Road

Mikey Maher

1897Details

Limerick

3-4

Kilkenny

2-4

Jones' Road

Denis Grimes

1896Details

Tipperary

8-14

Dublin

0-4

Jones' Road

Mikey Maher

1895Details

Tipperary

6-8

Kilkenny

1-0

Jones' Road

Mikey Maher

1894Details

Cork

5-20

Dublin

2-0

Clonturk Park, Drumcondra

Stephen Hayes

1893Details

Cork

6-8

Kilkenny

0-2

Phoenix Park

John 'Curtis' Murphy

1892[d]Details

Cork

2-4

Dublin

1-1

Clonturk Park, Drumcondra

Bill O'Callaghan

1891Details

Kerry(Ballyduff)

2-3

Wexford(Crossabeg)

1-5

Clonturk Park, Drumcondra

John Mahony

Nick Daly

1890[e]Details

Cork(Aughabullogue)

1-6

Wexford(Castlebridge)

2-2

Clonturk Park, Drumcondra

Dan Lane

Nick Daly

1889Details

Dublin(Kickhams)

5-4[2]

Clare(Tulla)

1-6

Pond Field, Inchicore

Nicholas O'Shea

John Considine

1888[f]

Not Played

1887Details

Tipperary(Thurles)

1-1 (1)

Galway(Meelick)

0-0 (0)

Birr Sportsfield, Birr

Jim Stapleton

text: Footnotes[edit]

text: a. ^ Limerick refused to play in Thurles after the original fixture on 18 February 1911 in Cork was postponed owing to the state of pitch. Kilkenny were awarded the All-Ireland title. Tipperary were nominated to play in the All-Ireland final in their absence.b. ^  A refixture of the All-Ireland Final was needed following an objection and a counter-objection.c. ^  The 1899 final was left unfinished with Tipperary being awarded the title.d. ^  Dublin withdrew from the field with ten minutes remaining. after Cork were awarded a disputed goal. Cork were awarded the title.e. ^  Cork withdrew from the field in protest at rough play by the Wexford team. Cork were awarded the title.f. ^  The 1888 Championship was unfinished owing to a tour of the United States by hurlers, footballers and athletes.

text:
1997 was the first All-Ireland Hurling Final where the two competing teams came from the same province.
1975 was the first 70-minute All-Ireland Hurling Final.
1970 was the first 80-minute All-Ireland Hurling Final.
A refixture of the All-Ireland Final was needed following an objection and a counter objection.
The 1892 final was left unfinished with Cork being awarded the title.
The 1890 final was left unfinished with Cork being awarded the title.


document_title: Pinocchio (1940 film)

question_text: who voiced pinocchio in disney's 1940 movie of the same name

question_tokens: who voiced pinocchio in disney 's 1940 movie of the same name

text: Pinocchio (1940 film)

text: Plot[edit]

text: Jiminy Cricket explains that he is going to tell a story of a wish coming true. His story begins in the workshop of a woodworker named Geppetto. Jiminy watches as Geppetto finishes work on a wooden marionette whom he names Pinocchio. Before falling asleep, Geppetto makes a wish on a star that Pinocchio be a real boy. During the night, a Blue Fairy visits the workshop and brings Pinocchio to life, although he still remains a puppet. She informs him that if he proves himself brave, truthful, and unselfish, he will become a real boy, and assigns Jiminy to be his conscience.

text: Geppetto discovers that his wish has come true, and is filled with joy. However, on his way to school, Pinocchio is led astray by Honest John the Fox and his companion, Gideon the Cat, who convince him to join Stromboli's puppet show, despite Jiminy's objections. Pinocchio becomes Stromboli's star attraction as a marionette who can sing and dance without strings. However, when Pinocchio wants to go home for the night, Stromboli locks him in a birdcage. Jiminy arrives to see Pinocchio, and is unable to free him. The Blue Fairy appears, and asks Pinocchio why he was not at school. Jiminy urges Pinocchio to tell the truth, but instead he starts telling lies, which causes his nose to grow longer and longer. Pinocchio vows to be good from now on, and the Blue Fairy returns his nose to its original form and sets him free, while warning him that this will be the last time she can help him.

text: Meanwhile, across town, Honest John and Gideon meet a coachman who promises to pay them money if they can find naughty little boys for him to take to Pleasure Island. Encountering Pinocchio on his way home, they convince him that he needs to take a vacation there. On the way to Pleasure Island, he befriends Lampwick, a delinquent boy. Without rules or authority to enforce their activity, Pinocchio and the other boys soon engage in smoking tobacco, gambling, vandalism, and getting drunk, much to Jiminy's dismay. Later, while trying to get home, Jiminy discovers that the island hides a horrible curse: the boys brought to Pleasure Island are transformed into donkeys and sold into slave labor. Jiminy runs back to warn Pinocchio, only to discover that Lampwick has transformed into a donkey; Pinocchio manages to escape, only partially transformed.

text: Upon returning home, Pinocchio and Jiminy find the workshop vacant. They soon get a letter from the blue fairy as a dove, stating that Geppetto had ventured out in search of Pinocchio, but was swallowed by a giant sperm whale named Monstro, and is now living in his belly. Determined to rescue his father, Pinocchio jumps into the sea accompanied by Jiminy. Pinocchio is soon swallowed by Monstro as well, where he is reunited with Geppetto. Pinocchio devises a scheme to make Monstro sneeze, giving them a chance to escape. The scheme works, but the enraged whale chases them, and smashes their raft. Pinocchio pulls Geppetto to safety in a cave before Monstro crashes into it. They are all washed up on a beach on the other side. Geppetto and Jiminy survive, but Pinocchio lies motionless face down in a tide pool nearby. Back home, the group mourns him. The Blue Fairy, however, decides that Pinocchio has proven himself brave, truthful, and unselfish, that he is reborn as a real human boy (his donkey ears and tail also gone), and everyone celebrates. Jiminy steps outside to thank the Fairy, and is rewarded with a solid gold badge that certifies him as an official conscience.

text: Cast[edit]

text:
Dickie Jones as Pinocchio, a wooden puppet carved by Geppetto, and turned into a living puppet by the Blue Fairy.

Jones also provided the voice of Alexander, a boy transformed into a donkey.

Cliff Edwards as Jiminy Cricket, a cheerful and wise cricket, who acts as Pinocchio's "conscience", and the partial narrator of the story.
Christian Rub as Mister Geppetto, a kind and elderly woodcarver, who creates Pinocchio, and wishes for him to become a real boy.

Figaro the cat and Cleo the goldfish are Geppetto's pets. Figaro is a spoiled cat who is prone to jealousy. Cleo is a flirty little goldfish with a habit of being Figaro's counselor.

Walter Catlett as "Honest" John Worthington Foulfellow, a sly anthropomorphic red fox, and the main antagonist of the film, who tricks Pinocchio twice in the film.

Gideon the Cat, Honest John's mute, crafty, and anthropomorphic feline sidekick. He was originally intended to be voiced by Mel Blanc of Looney Tunes fame (in his second work for Disney until his final work in Who Framed Roger Rabbit), but the filmmakers removed his dialogue from the script in favor of a mute performance (e.g. Harpo Marx) just like Dopey in Snow White and the Seven Dwarfs.[4] However, Gideon's hiccups were provided by Blanc.[4]

Charles Judels as Stromboli, a large, sinister, bearded Italian puppet-maker, who forces Pinocchio to perform onstage in order to make money. He speaks with an Italian accent, and curses in Italian when he gets angry, though he is identified as a gypsy. He is the only antagonist of the film to be part of the official Disney Villains line-up.

Judels also voiced the devious and sadistic Coachman, owner and operator of Pleasure Island, who enjoys turning unruly boys into donkeys.

Evelyn Venable as The Blue Fairy, who brings Pinocchio to life, and turns him into a real boy at the end of the film.
Frankie Darro as Lampwick, a naughty boy that Pinocchio befriends on his way to Pleasure Island. He is turned into a donkey on Pleasure Island.

text: Production[edit]

text: Development[edit]

text: In September 1937, during the production of Snow White and the Seven Dwarfs, animator Norman Ferguson brought a translated version of Carlo Collodi's 1883 Italian children's novel, The Adventures of Pinocchio to the attention of Walt Disney. After reading the book "Walt was busting his guts with enthusiasm" as Ferguson later recalled.[5] Pinocchio was intended to be the studio's third film, after Bambi. However, due to difficulties with Bambi (adapting the story and animating the animals realistically), it was put on hold and Pinocchio was moved ahead in production.[6]

text: Writing and design[edit]

text: Unlike Snow White, which was a short story that the writers could expand and experiment with, Pinocchio was based on a novel with a very fixed story. Therefore, the story went through drastic changes before reaching its final incarnation.[4][6] In the original novel, Pinocchio is a cold, rude, ungrateful, inhuman creature that often repels sympathy and only learns his lessons by means of brutal torture.[6] The writers decided to modernize the character and depict him similar to Edgar Bergen's dummy Charlie McCarthy, but equally as rambunctious as the puppet in the book.[4] The story was still being developed in the early stages of animation.[6]

text: Early scenes animated by Frank Thomas and Ollie Johnston show that Pinocchio's design was exactly like that of a real wooden puppet with a long pointed nose, a peaked cap and bare wooden hands.[6] Walt Disney, however, was not pleased with the work that was being done on the film. He felt that no one could really sympathize with such a character and called for an immediate halt in production.[4][6] Fred Moore redesigned the character slightly to make him more appealing but the design still retained a wooden feel.[6] Young and upcoming animator Milt Kahl felt that Thomas, Johnston and Moore were "rather obsessed with the idea of this boy being a wooden puppet" and felt that they should "forget that he was a puppet and get a cute little boy; you can always draw the wooden joints and make him a wooden puppet afterwards".[6] Hamilton Luske suggested to Kahl that he should demonstrate his beliefs by animating a test sequence.[6] Kahl showed Disney a test scene in which Pinocchio is underwater looking for his father.[6] From this scene Kahl re-envisioned the character by making him look more like a real boy, with a child's Tyrolean hat and standard cartoon character four-fingered (or three and a thumb) hands with Mickey Mouse-type gloves on them. The only parts of Pinocchio that still looked more or less like a puppet were his arms, legs and his little button wooden nose. Disney embraced Kahl's scene and immediately urged the writers to evolve Pinocchio into a more innocent, naïve, somewhat coy personality that reflected Kahl's design.[4]

text: However, Disney found that the new Pinocchio was too helpless and was far too often led astray by deceiving characters. Therefore, in the summer of 1938 Disney and his story team established the character of the cricket.[6] Originally the cricket was only a minor character that Pinocchio killed by squashing him with a mallet and that later returned as a ghost.[4] Disney dubbed the cricket Jiminy, and made him into a character that would try to guide Pinocchio into the right decisions. Once the character was expanded, he was depicted as a realistic cricket with toothed legs and waving antennae, but Disney wanted something more likable.[6] Ward Kimball had spent several months animating a "Soup Eating Sequence" in Snow White, which was cut from the film due to pacing reasons. Kimball was about to quit until Disney rewarded him for his work by promoting him to the supervising animator of Jiminy Cricket.[4] Kimball conjured up the design for Jiminy Cricket, whom he described as a little man with an egg head and no ears.[6] "The only thing that makes him a cricket is because we call him one," Kimball later joked.[7]

text: Casting[edit]

text: Due to the huge success of Snow White, Walt Disney wanted more famous voices for Pinocchio, which marked the first time an animated film had used celebrities as voice actors.[5] He cast popular singer Cliff Edwards, also known as "Ukelele Ike", as Jiminy Cricket. Edwards was a popular entertainer who had made the first million-selling record.[8] Disney rejected the idea of having an adult play Pinocchio and insisted that the character be voiced by a real child.[4] He cast 12-year-old child actor Dickie Jones, who had previously been in Frank Capra's Mr. Smith Goes to Washington.[9] He also cast Frankie Darro as Lampwick, Walter Catlett as Foulfellow the Fox, Evelyn Venable as the Blue Fairy, Charles Judels as both the villainous Stromboli and the Coachman, and Christian Rub as Geppetto, whose design was even a caricature of Rub.[4]

text: Another voice actor recruited was Mel Blanc, best remembered for voicing many of the characters in Warner Bros. cartoon shorts. Blanc was hired to perform the voice of Gideon the Cat. However, it was eventually decided that Gideon would be mute, so all of Blanc's recorded dialogue was subsequently deleted except for a solitary hiccup, which was heard three times in the finished film.[4]

text: Animation[edit]

text: Animation began in September 1938.[6] During the production of the film, the character model department was headed by Joe Grant,[4] whose department was responsible for the building of three-dimensional clay models of the characters in the film, known as maquettes. These models were then given to the staff to observe how a character should be drawn from any given angle desired by the artists.[4] The model makers also built working models of Geppetto's cuckoo clocks, as well as Stromboli's gypsy wagon and the Coachman's carriage. However, owing to the difficulty animating a realistic moving vehicle, the artists filmed the carriage maquettes on a miniature set using stop motion animation. Then each frame of the animation was transferred onto animation cels using an early version of a Xerox. The cels were then painted on the back and overlaid on top of background images with the cels of the characters to create the completed shot on the rostrum camera.[4][10] Like Snow White, live-action footage was shot for Pinocchio with the actors playing the scenes in pantomime, supervised by Hamilton Luske.[4][10] Rather than tracing, which would result in stiff unnatural movement, the animators used the footage as a guide for animation by studying human movement and then incorporating some poses into the animation (though slightly exaggerated).[4]

text: Pinocchio was a groundbreaking achievement in the area of effects animation. In contrast to the character animators who concentrate on the acting of the characters, effects animators create everything that moves other than the characters. This includes vehicles, machinery and natural effects such as rain, lightning, snow, smoke, shadows and water, as well as the fantasy or science-fiction type effects like Fairy Dust.[4] The influential abstract animator Oskar Fischinger, who mainly worked on Fantasia contributed to the effects animation of the Blue Fairy's wand.[11] Effects animator Sandy Strother kept a diary about his year-long animation of the water effects, which included splashes, ripples, bubbles, waves and the illusion of being underwater. To help give depth to the ocean, the animators put more detail into the waves on the water surface in the foreground, and put in less detail as the surface moved further back. After the animation was traced onto cels, the animators would trace it once more with blue and black pencil leads to give the waves a sculptured look.[4] To save time and money, the splashes were kept impressionistic. These techniques enabled Pinocchio to be one of the first animated films to have highly realistic effects animation. Ollie Johnston remarked "I think that's one of the finest things the studio's ever done, as Frank [Thomas] said, 'The water looks so real a person can drown in it, and they do.'"[4]

text: Soundtrack[edit]

text: The songs in Pinocchio were composed by Leigh Harline with lyrics by Ned Washington. Leigh Harline and Paul J. Smith composed the incidental music score.[12] The soundtrack was first released on February 9, 1940.[12] Jiminy Cricket's song, "When You Wish Upon A Star", became a major hit and is still identified with the film, and later as the theme song of The Walt Disney Company itself.[13] The soundtrack won an Academy Award for Best Original Score.[13]

text: Themes[edit]

text: M. Keith Booker considers the film to be the most-down-to-earth of the classic Disney animated films despite its theme song and magic, and notes that the film's protagonist has to work to prove his worth, which he remarked seemed "more in line with the ethos of capitalism" than most of the Disney films.[14] Claudia Mitchell and Jacqueline Reid-Walsh believe that the male protagonists of films like Pinocchio and Bambi (1942) were purposefully constructed by Disney to appeal to both boys and girls.[15] Mark I. Pinksy said that it is "a simple morality tale — cautionary and schematic — ideal for moral instruction, save for some of its darker moments", and noted that the film is a favorite of parents of young children.[16]

text: Nicolas Sammond argues that the film is "an apt metaphor for the metaphysics of midcentury American child-rearing" and that the film is "ultimately an assimilationist fable".[17] He considered it to be the central Disney film and the most strongly middle class, intended to relay the message that indulging in "the pleasures of the working class, of vaudeville, or of pool halls and amusement parks, led to a life as a beast of burden". For Sammond, the purpose of Pinocchio is to help convey to children the "middle-class virtues of deferred gratification, self-denial, thrift, and perseverance, naturalized as the experience of the most average American".[18]

text: Reception[edit]

text: Initial release[edit]

text: Pinocchio went into release accompanied by generally positive reviews. Frank S. Nugent of The New York Times gave the film five out of five stars, saying "Pinocchio is here at last, is every bit as fine as we had prayed it would be—if not finer—and that it is as gay and clever and delightful a fantasy as any well-behaved youngster or jaded oldster could hope to see."[19] Time gave the film a positive review, saying "In craftsmanship and delicacy of drawing and coloring, in the articulation of its dozens of characters, in the greater variety and depth of its photographic effects, it tops the high standard Snow White set. The charm, humor and loving care with which it treats its inanimate characters puts it in a class by itself."[20] The film won the Academy Awards for Best Original Song and Best Original Score, the first Disney film to win either.[13]

text: Initially, Pinocchio was not a box-office success.[2] The box office returns from the film's initial release were both below Snow White's unprecedented success and below studio expectations.[21] Of the film's $2.289 million negative cost – twice the cost of Snow White – Disney only recouped $1 million by late 1940, with studio reports of the film's final original box office take varying between $1.4 million and $1.9 million.[22] Animation historian Michael Barrier notes that Pinocchio returned rentals of less than one million by September 1940, and in its first public annual report, Walt Disney Productions charged off a $1 million loss to the film. Barrier relays that a 1947 Pinocchio balance sheet listed total receipts to the studio of $1,423,046.78. This was primarily due to the fact that World War II and its aftermath had cut off the European and Asian markets overseas, and hindered the international success of Pinocchio and other Disney releases during the early and mid-1940s.[23] Joe Grant recalled Walt Disney being "very, very depressed" about Pinocchio's initial returns at the box office.[21] RKO recorded a loss of $94,000 for the film.[24]

text: Modern acclaim[edit]

text: Many film historians consider this to be the film that most closely approaches technical perfection of all the Disney animated features.[25] Film critic Leonard Maltin said, "with Pinocchio, Disney reached not only the height of his powers, but the apex of what many critics consider to be the realm of the animated cartoon."[26] Despite its initial struggles at the box office, a series of reissues in the years after World War II proved more successful, and allowed the film to turn a profit. By 1973, the film had earned $13 million from the initial 1940 release and four reissues;[27] further reissues in subsequent years have brought Pinocchio's lifetime gross to $84,254,167 at the box office.[28]

text: In 1994, Pinocchio was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[29] Filmmaker Terry Gilliam selected it as one of the ten best animated films of all time in a 2001 article written for The Guardian[30] and in 2005, Time named it one of the 100 best films of the last 80 years, and then in June 2011 named it the best animated movie of "The 25 All-TIME Best Animated Films".[31]

text: In June 2008, the American Film Institute revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Pinocchio was acknowledged as the second best film in the animation genre, after Snow White.[32] It was nominated for the AFI's 100 Years...100 Movies,[33] and received further nominations for their Thrills[34] and Heroes and Villains (Stromboli) lists.[35] The song "When You Wish Upon A Star" ranked number 7 on their 100 Songs list,[36] and the film ranked 38th in the 100 Cheers list.[37] The quote "A lie keeps growing and growing until it's as plain as the nose on your face" was nominated for the Movie Quotes list,[38] and the film received further nomination in the AFI's Greatest Movie Musicals list.[39]

text: On Rotten Tomatoes, a website which aggregates film reviews, the film has the website's highest rating of 100%, meaning every single one of the 45 reviews of the film, from contemporaneous reviews to modern re-appraisals, on the site are positive with an average rating of 9.1 out of 10.[40] The general consensus of the film on the site is "Ambitious, adventurous, and sometimes frightening, Pinocchio arguably represents the pinnacle of Disney's collected works - it's beautifully crafted and emotionally resonant."[40]

text: Reissues and home media[edit]

text: With the re-release of Snow White and the Seven Dwarfs in 1944 came the tradition of re-releasing Disney films every seven to ten years.[41] Pinocchio was theatrically re-released in 1945, 1954, 1962, 1971, 1978, 1984, and 1992. RKO handled the first two reissues in 1945 and 1954, while Disney itself reissued the film from 1962 on through its Buena Vista Distribution division.

text: In 1985, it was released on VHS in North America for the first time and on UK VHS in 1988 for the first time.[42] The 1992 re-issue was digitally restored by cleaning and removing scratches from the original negatives one frame at a time, eliminating soundtrack distortions, and revitalizing the color.[43]

text: The more comprehensive digital restoration that was done for the 1992 re-issue was released on VHS in 1993, followed by its fourth VHS release and first release on Disney DVD in 1999.[44] The second Disney DVD release and final issue in the VHS format premiered as part of the Walt Disney Gold Classics Collection VHS/DVD line on March 7, 2000.[45] A special edition VHS and DVD of the film was released in the United Kingdom on March 3, 2003.[46] The fourth DVD release and first Blu-ray Disc release (the second Blu-ray in the Walt Disney Platinum Editions series) was released on March 10, 2009.[47] Like the 2008 Sleeping Beauty Blu-ray release, the Pinocchio Blu-ray package featured a new restoration by Lowry Digital in a two-disc Blu-ray set, with a bonus DVD version of the film also included.[48] This set returned to the Disney Vault on April 30, 2011.[49] A Signature Edition was released on Digital HD on January 10, 2017 and was followed by a Blu-ray/DVD combo pack on January 31, 2017.[50][51]

text: Legacy[edit]

text: In 1987, Filmation released a "thinly-veiled" animated sequel to Pinocchio, entitled Pinocchio and the Emperor of the Night. Set a year after Pinocchio became a real boy, the movie received mainly negative reviews from critics and was a commercial failure. Disney sued Filmation for copyright infringement, but Filmation won the lawsuit on the grounds that Collodi's work is in the public domain.[52]

text: Many of Pinocchio's characters are meetable characters at Disney parks.[53] Pinocchio's Daring Journey is a popular ride at the original Disneyland,[53] Tokyo Disneyland,[54] and Disneyland Park in Paris.[55] Pinocchio Village Haus is a quick service restaurant at Walt Disney World that serves pizza and macaroni and cheese.[56] There are similar quick-service restaurants at the Disneyland parks in Anaheim and Paris as well, with almost identical names.[56]

text: Disney on Ice starring Pinocchio, toured internationally from 1987 to 1992.[57] A shorter version of the story is also presented in the current Disney on Ice production "One Hundred Years Of Magic".[57]

text: Aside from the Sega Genesis/Mega Drive, Game Boy, and SNES games based on the animated film, Geppetto and Pinocchio also appear as characters in the game Kingdom Hearts.[58] The inside of Monstro is also featured as one of the worlds.[59] Jiminy Cricket appears as well, acting as a recorder, keeping a journal of the game's progress in Kingdom Hearts, Kingdom Hearts: Chain of Memories, and, Kingdom Hearts II.[59] Pinocchio's home world was slated to appear in Kingdom Hearts 358/2 Days, but was omitted due to time restrictions, although talk-sprites of Pinocchio, Geppetto, Honest John and Gideon have been revealed.[60] As compensation, this world appears in Kingdom Hearts 3D: Dream Drop Distance, under the name "Prankster's Paradise", with Dream world versions of Pinocchio, Jiminy Cricket, Geppetto, Cleo, Monstro and the Blue Fairy appearing.[60]

text: Cancelled sequel[edit]

text: In the mid-2000s, DisneyToon Studios began development on a sequel to Pinocchio. Robert Reece co-wrote the film's screenplay, which saw Pinocchio on a "strange journey" for the sake of something dear to him. "It's a story that leads Pinocchio to question why life appears unfair sometimes," said Reece.[61] John Lasseter cancelled Pinocchio II soon after being named Chief Creative Officer of Walt Disney Animation Studios in 2006.[62]

text: Live-action film[edit]

text: On April 8, 2015, Deadline reported that Disney is developing a live action film based on the animated Pinocchio, with Peter Hedges penning the script.[63] As of May 2017, Sam Mendes is in talks to direct the movie from Chris Weitz's script.[64]