question_text: where was three billboards outside ebbing mo filmed

root

text: Plot[edit]

text: In the town of Ebbing, Missouri, Mildred Hayes is grieving the rape and murder of her teenage daughter, Angela, seven months earlier. Angry over the lack of progress in the investigation, Mildred rents three abandoned billboards near her home, and posts on them: "Raped While Dying", "Still No Arrests?", and "How Come, Chief Willoughby?" The billboards upset the townspeople, including Chief Bill Willoughby and Officer Jason Dixon, the latter being a racist and a violent alcoholic. The open secret that Willoughby suffers from terminal pancreatic cancer adds to everyone's disapproval. Mildred and her son Robbie are harassed and threatened, but to Robbie's chagrin, she stays firm about keeping the billboards up.

tag: p

text: While Willoughby is sympathetic to Mildred's frustration, he finds the billboards an unfair attack on his character. Angered by Mildred's lack of respect for his authority, Dixon threatens businessman Red Welby, who rented Mildred the billboards, and he arrests her friend and coworker, Denise, on trivial marijuana possession charges. Mildred is also visited by her abusive ex-husband Charlie, who blames her for their daughter's death.

text: Willoughby brings Mildred in for questioning after she drills a hole in her dentist's thumb when he threatens her. During the interview, Willoughby coughs up blood. He leaves the hospital against medical advice and spends an idyllic day with his wife Anne and their two daughters, then commits suicide due to his illness. He leaves suicide notes for several people, including Mildred, in which he explains that she was not a factor in his suicide and that he secretly paid to keep the billboards up for another month, amused at the trouble this will bring her and hope that they will keep attention on the murder. Dixon reacts to the news of Willoughby's death by assaulting Welby and throwing him out of a window. This is witnessed by Willoughby's replacement, Abercrombie, who fires Dixon. In the meanwhile, Mildred is threatened by a crop-haired stranger in her store.

text: The billboards are destroyed by arson. Mildred retaliates by tossing Molotov cocktails at the police station, which she believes is unoccupied for the night. However, Dixon is there to read Willoughby's letter to him, which advises him to let go of hate and learn to love, as the only way to realize his wish to become a detective. Dixon escapes with Angela's case file but suffers severe burns. Mildred's acquaintance James witnesses the incident and provides Mildred with an alibi, claiming they were on a date. Dixon is treated for his burns, and he is temporarily confined in the same hospital room as Welby, to whom he apologizes.

text: Discharged from the hospital, Dixon overhears the man who threatened Mildred bragging in a bar of an incident similar to Angela's murder. He notes the Idaho license plate number of the man's vehicle, then provokes a fight by scratching the man's face. At home later, he removes a sample of the man's DNA from under his fingernails. Meanwhile, Mildred goes on a date with James to thank him for the alibi. Charlie enters with his 19-year-old girlfriend Penelope and admits to burning the billboards while intoxicated. After accidentally causing James to leave, Mildred apologetically tells Charlie to treat Penelope well and leaves.

text: Though commending him, Abercrombie informs Dixon that the DNA sample does not match DNA found on Angela's body, and that the man was overseas on military duty at the time of the murder. Dixon concludes that the man must be guilty of some other rape, and joins Mildred on a trip to Idaho in order to kill him. On the way, Mildred confesses to Dixon that she set the police station on fire. He indicates that he knew already. They express reservations about their mission but agree to decide what to do along the way.

text: Cast[edit]

text:
Frances McDormand as Mildred Hayes
Woody Harrelson as William 'Bill' Willoughby
Sam Rockwell as Jason Dixon
John Hawkes as Charlie Hayes
Peter Dinklage as James
Abbie Cornish as Anne Willoughby
Caleb Landry Jones as Red Welby
Kerry Condon as Pamela
Darrell Britt-Gibson as Jerome
Lucas Hedges as Robbie Hayes
Željko Ivanek as Desk Sergeant
Amanda Warren as Denise
Kathryn Newton as Angela Hayes
Samara Weaving as Penelope
Clarke Peters as Chief Abercrombie

tag: ul

text: Production[edit]

text: Development[edit]

text: While traveling through the Southern United States in around 1998, Martin McDonagh came across a couple of accusatory billboards about an unsolved crime, which he described as "raging and painful and tragic [sic]". The billboards highlighted the incompetence of police work and deeply affected McDonagh; he said that the image "stayed in my mind [...] kept gnawing at me" and presumed that they were put up by the victim's mother.[5][a] This incident, combined with his desire to create strong female characters inspired him to write the story for Three Billboards Outside Ebbing, Missouri.[5] McDonagh discussed the creative process, saying that it took him about ten years to "[decide] that it was a mother who had taken these things out. It all became fiction [...] based on a couple of actual billboards".[7][8]

text: Casting and filming[edit]

text: The character of Mildred was written with Frances McDormand in mind, and likewise the character of Dixon was written specifically for Rockwell.[9] McDormand initially felt that she was older than the character as it was written, and suggested that Mildred instead be Angela's grandmother; McDonagh disagreed, feeling that it would change the story too much.[9][10] McDormand's husband Joel Coen persuaded her to take the part regardless.[9] McDormand took inspiration for her character from John Wayne; and Rockwell, wanting to make his character "the exact opposite" of Mildred, took inspiration for his character in part from Wayne's co-star in The Man Who Shot Liberty Valance, Lee Marvin.[9]

text: Principal photography began on May 2, 2016, in Sylva, North Carolina,[11] and ran for 33 days.[12] Allison Outdoor Advertising of Sylva built the actual billboards, which were put in a pasture near Black Mountain, North Carolina because that location was better. Most of the time the billboards were covered because people in the area found them upsetting. David Penix of Arden, North Carolina bought the billboards and used the wood for a roof in Douglas Lake in Tennessee, though the messages are no longer in order.[13] Town Pump Tavern in Black Mountain, which had appeared in The World Made Straight, was used as a set and was closed for three days during filming. A pool table and booths were added. The bar's actual sign appeared in the movie.[14]

text: Music[edit]

text: The musical score was written by Carter Burwell, who had also supplied the score for McDonagh's films In Bruges and Seven Psychopaths. As well as Burwell's score, the film features songs by Joan Baez, Monsters of Folk, Townes Van Zandt, and the Four Tops.

text: Release[edit]

text: Three Billboards Outside Ebbing, Missouri premiered in competition at the 74th Venice International Film Festival on September 4, 2017.[15] It also had screenings at the 2017 Toronto International Film Festival,[16] the 2017 San Sebastián International Film Festival (where it won the Audience Award),[17] the BFI London Film Festival,[18] and the 2017 Zurich Film Festival.[19] It was also screened at the Mar del Plata International Film Festival.[20]

text: In the United States, the film was released, by Fox Searchlight Pictures, on November 10, 2017, beginning with a limited release, before "going wide" on December 1.[4]

text: The film was released on 4K Ultra HD, Blu-ray and DVD on February 27, 2018.[21] Six Shooter, McDonagh's Academy Award-winning short film, is included as a bonus.

text: Reception[edit]

text: Box office[edit]

text: As of March 16, 2018[update], Three Billboards Outside Ebbing, Missouri has grossed $53.6 million in the United States and Canada, and $91 million in other countries, for a worldwide total of $144.7 million.[4]

text: In its limited opening weekend, the film made $322,168 from four theaters for a per-theater average of $80,542, the fourth best of 2017.[22] The film made $1.1 million from 53 theaters in its second weekend and $4.4 million from 614 in its third, finishing a respective 9th and 10th at the box office.[23] In the weekend following its four Golden Globe wins the film was added to 712 theaters (for a total of 1,022) and grossed $2.3 million, and increase of 226% from the previous week's $706,188.[24] The weekend of January 27, 2018, following the announcement of the film's seven Oscar nominations, it made $3.6 million (an increase of 87% over the previous week's $1.9 million), finishing 13th.[25] The weekend of March 9–11, following its two Oscar wins, the film made $705,000, down 45% from the previous week's $1.3 million.[26]

text: Critical response[edit]

text: The film had an approval rating of 92% based on 317 reviews on the review aggregator website, Rotten Tomatoes, and an average rating of 8.5/10. The website's critical consensus reads, "Three Billboards Outside Ebbing, Missouri deftly balances black comedy against searing drama – and draws unforgettable performances from its veteran cast along the way."[27] On Metacritic, which assigns a normalized rating to reviews, the film had a weighted average score of 88 out of 100, based on 50 critics, indicating "universal acclaim."[28] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[29]

text: Owen Gleiberman of Variety praised the film's performances, stating "It's Mildred's glowering refusal to back down that defines her, and McDormand brilliantly spotlights the conflicted humanity beneath the stony façade," and called Rockwell's performance a "revelation."[30] Steve Pond, writing for TheWrap, praised McDonagh's writing, calling it "Very funny, very violent and surprisingly moving."[31]

text: Conversely, others have criticized the film's script. In her review for The New York Times, Manohla Dargis wrote "[McDonagh's] jokes can be uninterestingly glib with tiny, bloodless pricks that are less about challenging the audience than about obscuring the material's clichés and overriding theatricality."[32] In a column for The Daily Beast, blogger Ira Madison III called the film's treatment of Rockwell's character "altogether offensive," arguing that the character's described racism was handled insensitively, and writing "McDonagh's attempts to script the black experience in America are often fumbling and backward and full of outdated tropes."[33] A scathing critique by Tim Parks in The New Yorker asked “what does it [this film] tell us about the U.S.A.?” After praising the “magnificently photographed images”, the plot is ridiculed as containing “a thousand cheap coincidences”. “Caricatures, conflict, and political correctness mesh, with the greatest of ease”. Parks’ theme is that “below the surface of this narrative, a deeper conflict is being waged: the fight of the liberal intelligentsia against the redneck, racist Trump voters of Missouri”.[34]

text: Accolades[edit]

text: At the 75th Golden Globe Awards, Three Billboards Outside Ebbing, Missouri won for Best Motion Picture – Drama, Best Actress – Drama (McDormand), Best Supporting Actor (Rockwell), and Best Screenplay, and was nominated for Best Director and Best Original Score.[35] At the 71st British Academy Film Awards, it received nine nominations, including Best Film, Best Director, and Best Actress in a Leading Role (McDormand), and Best Actor in a Supporting Role for both Rockwell and Harrelson.[36][37] It won five awards, including Best Film and Outstanding British Film (making it the only film along with The King's Speech to win both awards since the latter category was reintroduced in 1992)[38] while both McDormand and Rockwell won the Lead Actress and Supporting Actor awards respectively.[39] It was nominated for four awards at the 24th Screen Actors Guild Awards, winning three, including Outstanding Performance by a Cast in a Motion Picture. At the 90th Academy Awards it received seven nominations, including Best Picture, Best Actress for Frances McDormand, Best Original Screenplay for Martin McDonagh and two Best Supporting Actor nominations for both Sam Rockwell and Woody Harrelson. McDormand and Rockwell took home their respective awards.

text: It was named one of the top 10 films of the year by the American Film Institute.[40] At the 2017 Toronto International Film Festival,[16] the film won its top prize, the People's Choice Award.[41] At the 2017 San Sebastián International Film Festival, it won the Audience Award.[17]

text: Impact[edit]

text: On February 15, 2018, Justice4Grenfell, an advocacy group created in response to the Grenfell Tower fire, hired three vans with electronic screens in a protest against perceived inaction in response to the fire.[42] The vans were driven around London, and displayed messages in the style of the billboards in the film: '71 Dead', 'And Still No Arrests?', 'How Come?'[43]

text: In response to the Stoneman Douglas High School shooting that took place on February 14, 2018, in Parkland, Florida, activist group Avaaz had three vans circle Florida senator Marco Rubio's offices displaying 'Slaughtered in School', 'And Still No Gun Control?', 'How Come, Marco Rubio?'[44][45]

text: On the night of February 15, 2018, the movement #OccupyJustice set up three billboards and a number of banners in Malta, marking the four-month anniversary of the murder of the journalist Daphne Caruana Galizia. The billboards bore the text 'A Journalist Killed. No Justice.', 'A Country Robbed. No Justice.', and 'No Resignations. No Justice.'[46][47] The authorities removed the billboards the following day,[48] stating that they were illegal.[49] The government was criticized for this move,[50][51] and a day after their removal, activists laid down banners with similar text near Auberge de Castille, the Office of the Prime Minister.[49]

text: Outside the Bristol city centre on February 3, 2018, a mural was erected depicting three billboards reading 'Our NHS is dying', 'And still no more funding', and 'How come, Mrs May'. It was installed by the groups People’s Republic of Stokes Croft and Protect Our NHS in response to the alleged privatization of the National Health Service (NHS) and the death of a 15-year-old girl attributed by some to a purported lack of resources by the NHS.[52]

text: On February 22, 2018, the Union of Medical Care and Relief Organizations, protesting the inaction of the UN's role within the Syrian Civil War, set up three billboards outside the United Nations building in New York that read '500,000 Dead in Syria', 'And still no action?', and 'How come, Security Council'.[53][54]

text: On March 8, on International Women's Day, three billboards were put in downtown Prishtina, Kosovo, to protest the death of two women as a result of domestic violence.[55]

text: Both McDormand and McDonagh have responded positively to the protests, with McDonagh saying "You couldn't ask for anything more than for an angry film to be adopted by protests,"[56][57] and McDormand saying she is “thrilled that activists all over the world have been inspired by the set decoration of the three billboards in Martin’s film.”[58]

text: On March 24, 2018, signs inspired by Three Billboards appeared at March for Our Lives gun safety rallies across the US and around the world.[59][60]

text: Explanatory notes[edit]

text: Jump up ^ The billboards were later found along the Interstate 10, and had been put by James Fulton, whose daughter Kathy Page was assaulted and killed in 1991.[6]

tag: ol


document_title: Call Me by Your Name (film)

question_text: when did call me by your name start filming

text: Call Me by Your Name (film)

text: Plot[edit]

text: It is the summer of 1983. Elio, a 17-year-old Jewish-American youth, lives with his parents in rural Northern Italy. Elio's father, a professor of archaeology, invites a 24-year-old Jewish-American graduate student, Oliver, to live with the family over the summer and help with his academic paperwork. Elio, an introspective bibliophile and a talented musician, initially finds little in common with Oliver, who has a contrastingly carefree and exuberant personality. Elio resents having to give up his bedroom for Oliver for the duration of his stay. Elio spends much of the summer reading, playing piano, and hanging out with his girlfriend, Marzia. Meanwhile, Oliver expresses attraction for one of the local girls, much to Elio's annoyance.

text: Elio and Oliver swim together, go for long walks into town, and accompany Elio's father on an archaeological trip. Elio begins a sexual relationship with Marzia and brags about it in front of Oliver to gauge his reaction, but nonetheless finds himself increasingly attracted to Oliver. He sneaks into Oliver's room to smell his bathing suit, and thinks about him while masturbating. During a trip to the post office, Elio indirectly confesses his feelings to Oliver, who tells him he should not act on them. Later that day, Elio and Oliver kiss, but Oliver is reluctant to go any further. The two grow distant.

text: In response to a note from Elio, Oliver leaves a message on Elio's desk suggesting they meet at midnight. Elio spends the day with Marzia but longs to see Oliver. At midnight, he approaches Oliver and they have sex. They become more physically and emotionally intimate over the next few days, having sex frequently while keeping their relationship secret. In bed, Oliver tells Elio, "Call me by your name and I'll call you by mine". Now smitten with Oliver, Elio starts avoiding Marzia.

text: As the end of Oliver's stay approaches, the couple find themselves overcome by uncertainty and longing. Elio's parents—who are privately aware of the bond between the two, but do not address it openly—recommend they visit Bergamo together before Oliver returns to the United States. After spending three romantic days together, Elio, heartbroken after Oliver leaves, calls his mother and asks her to pick him up and take him home. Marzia, who still wants to be friends with Elio, is sympathetic. His father, seeing Elio's sadness, tells him he was aware of their relationship, confesses to almost having had a similar relationship in his own youth, and urges Elio to learn and grow from his grief, instead of quickly moving on.

text: During Hanukkah, Oliver telephones Elio's family to tell them he is engaged to be married. Oliver tells Elio he "remembers everything" very clearly. After the call, Elio sits by the fireplace, distraught, as his parents and the house staff prepare a holiday dinner.

text: Cast[edit]

text: Cast list adapted from Fandango.[4]

text:
Timothée Chalamet as Elio Perlman
Armie Hammer as Oliver
Michael Stuhlbarg as Mr. Perlman[a]
Amira Casar as Annella Perlman
Esther Garrel as Marzia
Victoire Du Bois as Chiara
Vanda Capriolo as Mafalda
Antonio Rimoldi as Anchise
André Aciman as Mounir
Peter Spears as Isaac

text: Styles and themes[edit]

text:
Call Me by Your Name is the final installment in Luca Guadagnino's thematic "Desire" trilogy, following I Am Love (2009) and A Bigger Splash (2015).[6][7] Guadagnino described his approach in the film as "lighthearted and simple";[8][9] it is a departure from his "highly stylised [and] dazzling" previous work, according to Jordan Hoffman of The Guardian.[10] Guadagnino considers Call Me by Your Name a "homage to the fathers of my life: my own father, and
my cinematic ones", referring to filmmakers Jean Renoir, Jacques Rivette, Éric Rohmer, and Bernardo Bertolucci, who inspired him.[11]

text: Guadagnino has described Call Me by Your Name as a family-oriented film for the purpose of "transmission of knowledge and hope that people of different generations come to see the film together."[12] He saw it not as a "gay" movie but as a film about the "beauty of the newborn idea of desire, unbiased and uncynical", reflecting his motto of living "with a sense of joie de vivre"[8][9] whereby "we should always be very earnest with one's feelings, instead of hiding them or shielding ourselves."[6] He considered it an "uplifting film" about "being who you want to be and finding yourself into the gaze of the other in his or her otherness."[13]

text: The director tried to avoid the flaws he had seen in most coming-of-age films, in which growth is often portrayed as being a result of resolving preconceived dilemmas such as an enforced choice between two lovers.[14] He also wanted the story to follow two people in the moment, rather than focus on an antagonist or a tragedy[9]—an approach inspired by À nos amours (1983), directed by Maurice Pialat.[14][15] As someone who considers sex in film a representation of the characters' behavior and identity,[16] Guadagnino was not interested in including explicit sex scenes in the film.[17] He explained his intention: "I wanted the audience to completely rely on the emotional travel of these people and feel first love... It was important to me to create this powerful universality, because the whole idea of the movie is that the other person makes you beautiful—enlightens you, elevates you."[17]

text: Production[edit]

text: Development[edit]

text: Two of the film's producers—Peter Spears and Howard Rosenman, both American—saw an early proof of André Aciman's debut novel Call Me by Your Name in 2007 and bought the screen rights before its publication.[18] Rosenman first heard about the book through a friend after acting in Milk (2008) and described it as "divine".[19] Spears, moved by the novel and believing it deserved a cinematic adaptation, received his first credit as a producer from his work on the film.[20] They invited their friend James Ivory to work as an executive producer on the film adaptation.[21] Spears and Rosenman began production in 2008,[22] but the project was soon in "development hell".[23] The producers met with three sets of directors and writers—among them Gabriele Muccino, Ferzan Özpetek, and Sam Taylor-Johnson[24]—but could not find anyone who would commit to the project.[18][25] Scheduling filming in Italy during the summer also proved difficult.[18][25]

text: The producers contacted Guadagnino, their first choice to direct, but he declined, citing a busy schedule.[7][22] However, as Guadagnino lived in northern Italy, he was initially hired as a location consultant instead,[14][26] to help "put the movie together from the Italian side."[8] Guadagnino later suggested that he co-direct the film with Ivory but no contractual agreement was put in place.[8][23] Ivory accepted the offer to co-direct on the condition that he also write the film,[23] and so he spent between six and nine months in 2014 working on the screenplay.[21][27] During the process, Ivory put together more than 100 pages of notes on Aciman's book.[28] Guadagnino, who has described the novel as "a Proustian book about remembering the past and indulging in the melancholy of lost things,"[15] collaborated on the adaptation with Ivory and Walter Fasano.[8][12] Screenwriting took place at Ivory's house, Guadagnino's kitchen table in Crema, and sometimes in New York City.[29] Ivory hardly met Guadagnino during the process, for the latter was preoccupied making A Bigger Splash (2015).[27]

text: The screenplay was completed in late 2015.[27] Aciman approved it and commended the adaptation as "direct ... real and persuasive". He added, "as the writer I found myself saying, 'Wow, they've done better than the book.'"[18] The completed screenplay was vital in securing funding for the film.[21][23] Among the financiers were the production companies La Cinéfacture (France), Frenesy Film Company (Italy, owned by Guadagnino), M.Y.R.A. Entertainment (United States), RT Features (Brazil), and Water's End Productions (United States). The project was also supported by the Italian Ministry of Cultural Heritage and Activities and Tourism.[12][30][31] The backers deemed the production's initial estimates "too expensive",[32] so the production budget was reduced from $12 million to $3.4 million and the filming schedule was cut from 12 to 5 weeks.[31][33]

text: Ivory stepped down from a directorial role in 2016, leaving Guadagnino to helm the film alone.[7][8] According to Ivory, financiers from Memento Films International did not want two directors to be involved with the project because they "thought it would be awkward ... It might take longer, it would look terrible if we got in fights on the set, and so on."[21][27] Guadagnino said Ivory's version would have likely been "a much more costly [and] different film" that could not have been made because of "market realities".[14][26] Ivory became the sole-credited screenwriter[34] and later sold the rights to the screenplay to Guadagnino's company.[21][27] Call Me by Your Name was Ivory's first produced screenplay since Le Divorce (2003) and the only narrative feature he has written without also directing,[34] although he remained involved with other aspects of the production.[34] Guadagnino dedicated the film to his late friend Bill Paxton, who came to visit the set in Crema before his death in February 2017.[35]

text: Adaptation[edit]

text: The film differs from its source material in several ways. The novel serves as a memory-piece from Elio's perspective, but the filmmakers set the movie entirely in the present timeline, a "much more efficient" solution to help the audience understand the characters and "reflect the essence of the book", according to Guadagnino.[22][15] The setting was changed from Bordighera to the countryside of Crema, Lombardy, where Guadagnino lives.[b] Aciman felt that the town square selected for filming differed from the one he had pictured in his novel, which in his vision was "far smaller and stood high on a hill overlooking a windswept Mediterranean".[38] The arid climate and "spookily deserted" landscape in Crema suggested to him that the film would not correspond to the novel.[38] The director also changed the year of the events from 1987 to 1983. In his words, Guadagnino chose "the year—in Italy at least—where the '70s are killed, when everything that was great about the '70s is definitely shut down," but also a time when the characters could be "in a way untouched by the corruption of the '80s—in the U.S., [Ronald] Reagan, and in the UK, [Margaret] Thatcher".[29][36]

text: Guadagnino was tempted to remove the scene in which Elio masturbates into a pitted peach, finding it too explicit.[18][39] Timothée Chalamet was also nervous about the scene,[40] describing it as "a metamorphosis of some of the strongest ideas in the movie" and the key to illuminating the character's "overabundant sexual energy".[22][41] Both Guadagnino and Chalamet also believed it was implausible to masturbate with a peach, but each independently tested the method and found to their surprise that it worked, and so Guadagnino shot the scene and ultimately included it in the film.[42] A scene featuring Elio and Oliver dancing enthusiastically to The Psychedelic Furs song "Love My Way" in a small bar is not drawn from the book, but was inspired by Jonathan Demme's Something Wild (1986) and Guadagnino's experience of dancing by himself when he was young.[18][43] Ivory altered Mr. Perlman's profession from a classics scholar to "an art historian/archeologist type",[22][37] a decision that Aciman described as "perfect" and "more visual, [...] more exciting, as opposed to what a scholar does at his desk".[37]

text: When he was revising Ivory's draft of the script, Guadagnino removed the voice-over narration and much of the nudity[15][26]—he said that explicit nudity was "absolutely irrelevant" to his vision for the film,[44] and that he did not like the idea of having the main character tell the story retrospectively, stating that "it kills the surprise".[15] Towards the end of the novel, the two protagonists visit Rome together, a trip lasts an entire chapter and introduces new characters in multiple locations.[27][34] Because of the film's limited budget, Ivory and the producers wrote several variations, introducing an idea to leave the lead characters alone in the family's house.[27] Ultimately, the filmmakers settled on another trip—to Bergamo, rather than Rome—in which the characters spend much of their time alone together in a hotel room.[27] In his original script, Ivory depicted Elio's parents discussing HIV/AIDS in two scenes,[45] and Elio decorating a Christmas tree in his family's home in the final scene.[28][34] Ivory had to reduce the length of Mr. Perlman's speech but was committed to keeping it in the script.[46] He described the scene in which Elio conveys his feelings to Oliver as one of the moments that captures the "euphoric passion and nervousness" of their first love.[47] Aciman was surprised by Guadagnino's final scene where Elio is seen crying by the fireplace;[38] he wrote of the film adaptation:

text: Cinema can be an entirely magical medium. What I do as a writer, and what Guadagnino does as a film director, is more than speak two different languages. What I do is chisel a statue down to its finest, most elusive details. What a film director does is make the statue move.[38]

text: Many of the changes to Ivory's screenplay were made during the filming; the screenwriter was not present at the shooting set, as is typical in filmmaking.[28] In May 2018, Ivory said that he and Guadagnino discussed how to film the scenes involving nudity, but the director later dropped it.[45] In Ivory's view, some of the director's statements to the press had misrepresented the film's omission of nudity as a "conscious aesthetic decision", even though they had never discussed removing nudity from the screenplay.[45] Ivory said, "When people are wandering around before or after making love, and they're decorously covered with sheets, it’s always seemed phoney to me."[45] By contrast, Ivory cited scenes from his earlier film Maurice (1987)—a gay romantic drama that includes male nudity—as "a more natural way of doing things than to hide them, or to do what Luca did, which is to pan the camera out of the window toward some trees."[45] Speaking about this disagreement with Ivory, Guadagnino had said: "I understand that for James [explicit nudity] would have been relevant but that is his vision, what is clear is that we had no limitations on what we wanted to do."[44]

text: Casting[edit]

text: In 2015, Shia LaBeouf and Greta Scacchi were reportedly set to be cast in the film.[48] In September 2016, Ivory confirmed they were no longer involved in the project. Ivory said he got along with LaBeouf, who had read for the film in New York City, but the production company later felt the actor was unsuitable after his personal "troubles".[49] Ivory thought Scacchi and LeBeouf "had good scenes together" and could have made it into the film, but the company disagreed.[49]

text: Guadagnino paid attention to Armie Hammer upon seeing his performance in The Social Network (2010).[8][42] The director found him to be a "sophisticated actor, with a great range" and considered him for the role of Oliver.[8] Hammer met with Guadagnino seven years before the film went into production, when the director was promoting I Am Love.[43] Hammer almost turned down the role after reading the draft script because it contained nudity. He said, "I did want to pass; it scared me"[50] and "There's a lot of stuff here that I've never done on film before. But there's no way I can't do this [film], mostly because it scares me so much."[51] According to Guadagnino, Hammer was going to pass on the role through his agent, but then changed his mind at the end of their conversation.[8][52] Call Me by Your Name became the third film in which Hammer played an LGBT character, following his roles in J. Edgar (2011) and Final Portrait (2017).[39][53]

text: In 2013, Swardstrom—Spears's husband and agent—introduced Chalamet to Guadagnino,[8][16] who immediately felt the actor had "the ambition, the intelligence, the sensitivity, the naivety, and the artistry" to play Elio.[15] Chalamet read Aciman's novel by the time he was 17 and described it as "a window into a young person".[40] Chalamet, who had played piano and guitar for years, arrived in Italy five weeks early to prepare for his part by working with composer Roberto Solci.[22][31] His character, 17-year-old Elio, is fluent in three languages: English, French and Italian.[31] Upon his arrival in Italy, Chalamet—who already spoke French fluently[54]—prepared for his role with a schedule of daily lessons in Italian, piano and guitar, and gym workouts three times a week.[22]

text: Michael Stuhlbarg was cast as Mr. Perlman, Elio's father.[51][55] Stuhlbarg did not start reading the book until he had already joined the production.[56] He was moved by the "many beautiful sentiments expressed" in the script, including Mr. Perlman's "sense of generosity and love and understanding".[57] Esther Garrel was contacted by Guadagnino when he was in Paris for the promotion of A Bigger Splash.[58] Garrel was cast as Marzia without any formal audition, and she chose not to read the book before shooting.[58] Towards the end of the film, Marzia asks Elio, "Friend for life?"—a line taken from J'entends plus la guitare (1991), directed by the actress's father, Philippe Garrel.[32] "I like the idea of talking virtually with Philippe Garrel through her", Guadagnino said.[32] During shooting, Garrel spoke French with Chalamet on set and watched the American sitcom Friends with English subtitles to improve her English.[58]

text: Guadagnino chose Amira Casar, whom he had known for twenty years, for the role of Elio's mother Annella.[32][55] In an interview with French magazine Télérama, Guadagnino expressed his admiration of Casar's "sense of transgression" and called her "the most audacious" in European art cinema (in the original French, "le cinéma d'art d'essai européen," a term encompassing independent and arthouse films).[32] Casting director Stella Savino met Vanda Capriolo when Capriolo was bicycling in the countryside. Capriolo, who was not an actor, was chosen to play Mafalda, the Perlmans' maid.[43][59] Aciman and Spears also appear briefly in cameo roles as Mounir and Isaac, an openly gay couple who attend a dinner party.[22][37] Aciman was asked to be in the movie after actors became unavailable. "It was a last-minute decision", Spears recalled, "Andrė turns out to be a phenomenal actor! So comfortable, not nervous at all. His wife was sitting there and said, 'I had no idea!'"[60] In dialogue, the characters switch between English, French, Italian,[61] and in one scene Annella reads a German translation of 16th-century French literature.[62]

text: Hammer and Chalamet both signed contracts prohibiting the film from showing them with full-frontal nudity. Ivory, whose original screenplay contained nudity, was dismayed by the decision, criticizing what he saw as an "American" attitude and saying, "Nobody seems to care that much or be shocked about a totally naked woman. It's the men."[23][26] Guadagnino, who remained involved in the casting,[51] picked actors based on their performances and chemistry rather than choosing to "investigate or label" their sexuality.[17] He said, "The idea that you have to cast only someone who has a certain set of skills, and worse, a certain gender identity in any role: that's oppressive to me."[7]

text: Production design and costume[edit]

text: The main location set for the Perlmans' residence was Villa Albergoni, an uninhabited 17th-century mansion in Moscazzano.[22][63] Guadagnino wanted to buy the house but could not afford it, so he made a film there instead.[31][64] A landscape designer was hired to construct an orchard in the mansion's garden.[59] A pergola was built on the patio, and apricot and peach trees were placed in the garden.[63][65]

text: Guadagnino said he did not want the film to "look like a reflection on the 80s, the way cinema usually does when it becomes [a period piece]," as he believes it is "very difficult to resist the temptation of thinking of a period from our perspective, our idea of the 80s."[14] Six weeks before production, the crew—including production designer Samuel Dehors and first-time set decorator Violante Visconti di Modrone—gradually decorated the house with furniture and objects inspired by the characters.[22][64] Much of the furniture, including the dishes and glassware from the 1950s, belonged to Guadagnino and di Modrone's parents. Di Modrone said, "That made it cozy and personal ... I wanted to give it the sense of time passing by".[66] Many paintings, maps, and mirrors influenced by Asian art came from an antiques shop in Milan.[65][66] Books seen in the background were all published before 1982.[59] The swimming pool used in the film was recreated from a watering trough common in the area.[22][66]

text: The filmmakers set up faded political billboards in public places to reflect the Italian general election in 1983[59] and re-created a newsstand full of magazines of that time.[59] His team researched extensively with help from the residents of Crema, entering people's houses and collecting pictures of the 1980s.[14][67] Chen Li, the film's graphic designer, created a handwritten typeface for the opening credits, which were shown over the director's title sequence of photocopied images of statues alongside Mr. Perlman's personal items.[59]

text: Costume designer Giulia Piersanti avoided using period costumes; instead, he wanted to provide "a sense of insouciant adolescent sensuality, summer heat and sexual awakening" to the characters.[66] Several costume pieces were made from scratch.[59] The costumes were influenced by the French films Pauline at the Beach (1983), A Tale of Springtime (1990) and A Summer's Tale (1996).[66] For the Perlmans' wardrobe, Piersanti took inspiration from her parents' photograph albums. For Oliver's "sexy, healthy American" image, Piersanti referred to "some of Bruce Weber's earliest photographs".[66] Oliver's clothes change throughout the film as "he's more able to free himself".[59] Aiming to emphasize Elio's confident style, she chose several Lacoste costumes and a distinctive, New Romantic-looking shirt in the final scene.[14][66] For Elio's other costumes, Piersanti picked some items from her husband's closet, including the polo shirt and Fido Dido T-shirt.[66]

text: Principal photography[edit]

text:
CremaPandinoMoscazzanoGrottoes of CatullusCascate del SerioBergamoPizzighettone
Filming locations for Call Me by Your Name, mapped within Lombardy and Italy

text: Principal photography on Call Me by Your Name began on May 9, 2016, and wrapped in June 2016,[49][68][69] lasting around 33 days.[59][70] Reports on the filming only appeared after the process had already been underway for two weeks.[71][72][73] The film was shot primarily in Crema and the surrounding province of Cremona.[8][11][74][75] Photography took place during an unexpected, heavy rainstorm in Italy that was described by Spears as "the coldest, wettest, stormiest time in 200 years in Europe".[20][70] Scenes set in the nearby villages Pandino and Moscazzano were filmed between May 17 and 19 before moving to Crema on June 1.[76][77][78] Additional outdoor scenes were shot on December 4, 2016.[79][80] The City of Crema invested €18,000 for the film, including a publicity campaign costing €7,500.[81][82]

text: The arch of Torrazzo at Crema Cathedral and several historical locations in the streets of Crema and Pandino were chosen during production.[63][76] Businesses requested compensation for financial losses caused by the closure, which was scheduled for May 30 and 31.[83] Two days' filming at the cathedral were postponed due to rainy weather.[84] Filming also took place in the Lodigiano area near Crespiatica and in two small towns near Crema, Montodine and Ripalta.[63][22][79] The archaeological discovery scene was filmed at the Grottoes of Catullus in Sirmione on the Brescian shores of Lake Garda.[63] The trip to Bergamo was filmed at the exterior of multiple historical buildings, including Bergamo Cathedral, the Santa Maria Maggiore, the courtyard of Liceo Classico Paolo Sarpi in Piazza Rosate and the University of Sciences, Letters and Arts.[63] The train station scenes were filmed at Pizzighettone.[85] Because of security concerns, the production team was only granted permission to film at the Cascate del Serio in Valbondione for half an hour.[63][74][86]

text: Before and during filming, the actors lived in Crema and were able to experience small-town life.[22] Guadagnino engaged with the cast and filmmakers, and often cooked and showed films for them in his house.[18] Hammer and Chalamet, who did not have to do a screen test together,[15][87] met for the first time during production in Crema.[22][69] Before filming began, they spent a month together, watching Mike Tyson documentaries and going to local restaurants to build character development.[6][52][69] "We'd hang out with each other all the time, because we were pretty much the only Americans there, and we were able to defend one another and really get to know one another", Chalamet said.[54] During the first two days of production, Guadagnino read the script with the cast.[29] Hammer and Chalamet went to the kissing scene during the first rehearsal.[19][87] The actors rehearsed their scenes every night before filming and spent several days filming nude.[88] "I've never been so intimately involved with a director before. Luca was able to look at me and completely undress me", Hammer said.[42]

text:
Photos of selected filming locations

The Villa Albergoni

The arch of Torrazzo at the Crema Cathedral

The Grottoes of Catullus, on the Brescian shore of Lake Garda

The Bergamo Cathedral

The Piazza Vittorio Emanuele in Pandino

Cascate del Serio

The South portal of Santa Maria Maggiore, Bergamo

The Station of Pizzighettone

text: Guadagnino shot the film in chronological order,[29][89] which allowed the filmmakers to "witness the onscreen maturity of both protagonist and actor".[90] The scene in which Mr. Perlman delivers an emotional speech to Elio was filmed on the penultimate day of filming.[6][29] Stuhlbarg spent months preparing for the scene,[6][57] which Guadagnino wanted to make "as simple as possible" by shooting fewer takes and "let[ting] the actors be."[13] According to Fasano, the scene took three takes to film and Stuhlbarg was "on three different levels of getting emotional".[90] Garrel said she enjoyed filming her sex scene with Chalamett, which she described as filled with "joy and simplicity".[58] Chalamet was listening to "Visions of Gideon", one of the original songs written by Sufjan Stevens for the film, in an earpiece while filming the final sequence;[91][92] the director asked him to perform three variations of the scene, one per take.[93] The camera was set in the fireplace with nobody behind it. "It was bit of an acting experiment", Chalamet said.[43]

text: At the Piazza Vittorio Emanuele,[85] a memorial to the victims of the battle of the Piave located in Pandino,[38] the filmmakers laid a long camera dolly track to film the scene in which Elio tells Oliver of his feelings for him in a single long take, providing the flexibility and "flow of emotion" a cut scene could not.[94] The scene was observed by Aciman in his first day on set.[38] During the dancing sequence, Hammer had to perform to a click track in front of 50 off-camera extras with the music turned down so the dialogue could be recorded.[43][52] In preparation for the scene, Guadagnino arranged for Hammer to practice with a dance coach.[43] Hammer said that it was "the worst scene" he had ever filmed.[95] Choreographer Paolo Rocchi, who was contacted by the Frenesy Film Company in June 2016, described the routine as "awkward and realistic".[96] Rosenman considered the scene one of the most emotional moments; he said "It embodied and encapsulated, for me, what teenage love is all about, what desire is all about."[19]

text: Sayombhu Mukdeeprom, who had previously collaborated with Guadagnino on Ferdinando Cito Filomarino's Antonia (2015), served as the director of photography.[16][73] He had read Aciman's novel before receiving the script and walked around filming locations to "get a feeling for everything ... to see the color, to see how the light changed during the day, and input it into my data".[97] Mukdeeprom had to use artificial lighting to capture the Northern Italian summer atmosphere for Call Me by Your Name,[8] compensating for heavy rains that lasted throughout the shoot.[16][70] While filming of the confrontation scene between Oliver and Elio, Mukdeeprom cried in a corner of the room after they finished the first take, overwhelmed by a feeling of profound empathy for the actors.[8] The film was made using 35 mm celluloid film and a single lens,[98] a decision influenced by the work of David Cronenberg to "solidif[y] the point of view"[9] and make "the tension of the performance come off the screen"—even if it meant increasing the production budget above the cost of shooting in digital.[98] Guadagnino praised Jean-Pierre Laforce, the film's sound designer and mixer, for his "wonderful" and "pivotal" contributions. Guadagnino, who had previously worked with Laforce on A Bigger Splash, said he was "able to create a sort of Cathedral of sound without overwhelming the movie."[13]

text: Post-production[edit]

text: Fasano collaborated with Guadagnino during the post-production.[99][31] They had worked together for 25 years since Guadagnino's debut feature The Protagonists (1999).[31] Fasano described working with Guadagnino as "atypical [and] very demanding, but it's a great experience."[99] Post-production took only a month, between June and July[8]—the fastest they had edited.[69] Fasano cited the films of Bernardo Bertolucci and the "fast and unexplained" storytelling in Pialat's À nos amours as inspiration.[99]

text: Guadagnino and Fasano's first cut of the film ran three hours and 20 minutes long,[99][100] Fasano described the first cut as his favorite and said it made him "lose [him]self in the story and the images."[99] The final cut lasts two hours and 10 minutes with a shooting ratio of 1:25.[99]

text: Several notable changes were made, or almost made, near the end of post-production. The monologue sequence with Elio's father once had piano playing underneath. The scene where the two protagonists bike to a courtyard almost failed to make the final cut after one of the producers said it was inconsequential.[90] Hammer revealed that some scenes were digitally altered to fix wardrobe malfunctions caused by his short shorts.[101][102] Guadagnino has discussed several scenes that did not make the final cut. There was a "well-acted" scene where Elio and Oliver were "teasing one another" under a lime tree, which the director felt was "too precious".[39] A scene where Elio's parents make love in the bedroom while Elio and Oliver are kissing under the moonlight in the garden was also cut.[39] The latter scene was shown in a screening in Castiglioncello in June 2018, which also revealed a deleted scene of Elio inviting Oliver to tour the village.[103]

text: Music[edit]

text: Guadagnino selected the music for Call Me by Your Name himself.[22] He wanted to find an "emotional narrator to the film" through music, in a "less heavy, less present, and more enveloping" way than voice and text.[29] He was inspired by the films Barry Lyndon (1975), The Magnificent Ambersons (1942), and The Age of Innocence (1993).[29] Guadagnino wanted the film's music to be connected to Elio, a young pianist who enjoys transcribing and adapting piano pieces and uses music to deepen his relationship with Oliver.[15] Music is used in the film to reflect the period setting, the characters' family life and their level of education, and "the kind of canon they would be a part of".[15] Guadagnino also researched which pop songs had been frequently played on local radio stations that summer.[15][104]

text: Impressed by the lyricism of American songwriter Sufjan Stevens,[16] Guadagnino asked Stevens to record an original song for Call Me by Your Name and to narrate the film from the perspective of Elio at an older age.[16][91] Stevens declined the voiceover role[91] but contributed three songs to the soundtrack: "Mystery of Love", "Visions of Gideon", and a re-recording of his song "Futile Devices" from The Age of Adz (2010).[15] Stevens was inspired by the film's script, the novel and conversations with Guadagnino about the characters.[16] He submitted the songs a few days before filming began. Surprised by the result, Guadagnino listened to them on-set with the actors and editor Walter Fasano.[22][69] The project marks the first time Stevens had written songs explicitly for a feature-film soundtrack.[105][106]

text: A soundtrack album was released in digital formats by Madison Gate Records and Sony Classical on November 3, 2017,[107] and in physical formats on November 17, 2017.[108] It features songs by Stevens, The Psychedelic Furs, Franco Battiato, Loredana Bertè, Bandolero, Giorgio Moroder, Joe Esposito, and F. R. David, as well as music by John Adams, Erik Satie, Ryuichi Sakamoto, Johann Sebastian Bach, and Maurice Ravel.[109] As of  February 1, 2018[update], the soundtrack has sold 9,000 copies and garnered 29 million on-demand audio streams for its tracks in the United States, according to Nielsen SoundScan.[110]

text: Release[edit]

text: Call Me by Your Name had its world premiere on January 22, 2017, at the Sundance Film Festival.[111][112] Sony Pictures Classics had acquired U.S. distribution rights for $6 million.[113] The deal was negotiated by WME Global and UTA Independent Film Group.[114] International distribution rights were purchased by Memento Films International, a French company that showed the promo reel at the American Film Market in November 2016.[30][115] The film was screened at the Berlin International Film Festival on February 13, 2017;[55] Toronto International Film Festival on September 7, 2017;[8][69][116] and New York Film Festival on October 3, 2017.[117] At the Beijing International Film Festival, it was originally scheduled for April 2018, but was removed from the official program with no explanation; Patrick Brzeski of The Hollywood Reporter wrote that the decision reflected the government's "consistent stance of intolerance toward gay content".[118][119] That year, the film was tributed at the Crema Film Festival: Aciman met with the public on June 23 and Garrel joined the screening at the Crema Cathedral on June 30.[120]

text: Call Me by Your Name opened in limited release in the United Kingdom on October 27, 2017,[11] and the United States on November 24, 2017.[3] It expanded from four to thirty locations in the U.S. on December 15, 2017,[121] then to 114 theaters on December 22.[122] It screened in 174 theaters in January 2018[123] before going into wide release in 815 theaters a few days before the Oscar nomination announcement ceremony on January 19, 2018.[124][125] On Oscars weekend, the film screened in 914 theaters, its widest release in the U.S.[126]

text: Warner Bros. Entertainment released the film in Italy on January 25, 2018.[127][128][129] Special screenings and a public meet-and-greet with Guadagnino, Hammer and Chalamet took place in Crema between January 27 and 30.[129][130][131] The film opened in Brazil on January 18[132] and in France on February 28.[133] In March 2018, a distributor in Tunisia reported that the Ministry of Culture had banned the film as an "attack on liberties" because of its subject matter.[134][135] In Ireland, it became the longest-running film shown at the Light House Cinema in early June 2018, after a 30-week run.[136] In the Philippines, the film will be screened accompanied by a live performance of its soundtrack as performed by the Manila Symphony Orchestra on October 28.[137]

text: Marketing[edit]

text: Sony Pictures Classics released an official poster for Call Me by Your Name on July 27, 2017.[138] The first theatrical trailer was released on August 1, 2017.[139][140] On October 11, 2017, Sony Pictures Classics released a teaser titled "Dance Party" to celebrate National Coming Out Day.[141] The 42-second clip, consisting of a single take of Hammer and Chalamet dancing to "Love My Way" in a bar, became a meme on Twitter.[142][143][144]  Because of its use in the clip, "Love My Way" gained popularity on music-streaming websites and rose 13% on on-demand streams during the two months before the film's release. In the week ending November 30, 2017, the song collected 177,000 on-demand streams, its biggest streaming week in the U.S.[145]

text: Reaction to the advertisement on social media was somewhat negative, largely because of Sony Pictures' misleading use of an image of Chalamet and Garrel instead of a focus on the protagonists' relationship.[146] Daniel Megarry of Gay Times described it as "an attempt to 'straight-wash' the movie's predominant same-sex romance".[147] Benjamin Lee of The Guardian called the ad a "disastrous attempt to push Oscar-buzzed Call Me by Your Name as a straight love story", and said the advert "belies an industry awkwardly denying queerness".[148] Sony Pictures Classics later aired several commercial spots to promote the film during its U.S.-wide expansion on January 19, 2018.[124] To promote the film in South Korea, Sony Pictures released several never-before-seen set photos and pastel promotional posters illustrated by Son Eunkyoung in March 2018.[149][150]

text: Home media[edit]

text: A pirated copy of an awards-screener DVD of Call Me by Your Name, along with copies of Last Flag Flying and fellow Oscar nominees I, Tonya and Lady Bird, were leaked onto file-sharing websites by the hacker group Hive-CM8 on December 24, 2017.[151][152][153] The film was officially released for digital download on February 27, 2018.[154] It was released on Blu-ray and DVD on March 13, 2018, with two bonus featurettes ("In Conversation with Armie Hammer, Timothée Chalamet, Michael Stuhlbarg & Luca Guadagnino" and "Snapshots of Italy: The Making of Call Me by Your Name"), an audio commentary track by Chalamet and Stuhlbarg, and the music video for "Mystery of Love".[95][154][155] The film made $1,336,207 in DVD sales and $1,713,563 in Blu-ray sales in the United States, for a total of $3,049,770 in home media sales.[156] In the United Kingdom, the DVD charted at number 7 and the Blu-ray at number 4 on Top 100 sales for both formats.[157][158]

text: Reception[edit]

text: Box office[edit]

text: Call Me by Your Name grossed $18.1 million in the United States and Canada, and $23.8 million in other territories, for a worldwide total of $41.9 million against a production budget of $3.4 million.[3] The film was Sony Pictures Classics' third-highest-grossing release of 2017.[159]

text: In the United States, Call Me by Your Name began its limited run on November 24, 2017, at The Paris Theater and Union Square Theatre in New York City, and the ArcLight Hollywood and Landmark Theater in Los Angeles.[160] The film made $404,874 in its opening weekend—a per-theater average of $101,219.[161][162] It was the highest average of 2017—the biggest since the opening of La La Land the previous December[163]—and had the best per-screen opening for a gay romance film since Brokeback Mountain (2005).[161][164] In its second weekend, the film grossed $281,288,[165][166] with an "excellent" per-screen average of $70,320.[167][168] The film expanded to nine theaters in its third weekend, grossing $291,101 for a "solid" $32,345 per-theater average.[169] It earned $491,933 from 30 theaters in its fourth weekend, averaging $16,398.[121] The film expanded to 114 theaters in its fifth week and grossed $850,736, averaging $7,463 per screen.[122] It crossed $6 million in its seventh weekend, earning $758,726 from 115 locations.[170] It grossed $715,559 from 174 theaters in its eighth weekend, averaging $4,185 per screen.[123]

text: In the film's nationwide release week—its ninth weekend overall—the film grossed $1.4 million from 815 theaters, an under-performance compared to "some of its competition with similar theater counts," according to Deadline Hollywood.[124][125] The following weekend, after the announcement of its four Oscar nominations, the film's revenues dropped 6 percent to $1.3 million.[171][172] With a total gross revenue of $9,370,359 by the week of January 23, 2018, Call Me by Your Name was the second-lowest-grossing film among that year's Best Picture nominees.[173] However, the online ticketing company Fandango reported that the film had experienced a 56 percent increase in ticket sales through its service since its Best Picture nomination was announced.[2] Regarding the film's "lagging" box-office performance, Tom Brueggemann of IndieWire commented that Sony Picture Classic "has done an able job so far", and said "at some point the film and the reaction to it is something no distributor can overcome".[174] It grossed $919,926, averaging $1,006, from 914 theaters during the Oscar weekend,[126] and went on to earn $304,228 from 309 theaters in its sixteenth weekend.[175]

text: Call Me by Your Name opened at number 7 in Italy with €781,000 and obtained the best per-theater average of the week.[176] It made €49,170 on February 6 and reached €2 million by the end of the week.[177] It re-entered at number 10 on March 13 by making another €13.731 at the box office.[178] As of  July 6, 2018[update], the film had grossed $3,925,137 in Italy.[156] It attracted 17,152 viewers in France on its first day of screening, with an "excellent" per-theater average of 184 entries.[179] It went on to attract 108,500 viewers in the opening weekend, earning 1,167 viewings—the second-best average that week[180]—and 238,124 viewers in its third weekend.[181] As of  April 17, 2018[update], the film had grossed $2,652,781 in France.[156] In the United Kingdom, the film earned £231,995 ($306,000) from 112 screens in its opening weekend,[182] including £4,000 from previews.[183] After ten days, it had made £568,000 ($745,000),[184] before reaching the $1 million mark (£767,000) in its third weekend.[185][186] As of  May 21, 2018[update], the film had grossed $2,372,382 in the United Kingdom.[156]

text: Critical response[edit]

text: At its premiere at the Sundance Film Festival, Call Me by Your Name received a standing ovation.[187] When it screened at Alice Tully Hall as part of the New York Film Festival, it received a ten-minute ovation, the longest in the festival's history.[36][188] On review aggregator Rotten Tomatoes, the film has an approval rating of 95% based on 302 reviews, with an average rating of 8.7/10. The website's critical consensus reads, "Call Me by Your Name offers a melancholy, powerfully affecting portrait of first love, empathetically acted by Timothée Chalamet and Armie Hammer."[189] It was the best-reviewed limited release and the second-best-reviewed romance film of 2017 on the site.[190][191] On Metacritic, the film has an average weighted score of 93 out of 100, based on 51 critics, indicating "universal acclaim".[192] It was the year's fifth-best rated film on Metacritic.[193]

text: Writing for The Hollywood Reporter, Boyd van Hoeij described Call Me by Your Name as an "extremely sensual ... intimate and piercingly honest" adaptation of Aciman's novel, and called Chalamet's performance "the true breakout of the film".[194] Peter Debruge of Variety believed the film "advances the canon of gay cinema" by portraying "a story of first love ... that transcends the same-sex dynamic of its central couple". He compared Guadagnino's "sensual" direction with the films of Pedro Almodóvar and François Ozon, and put Call Me by Your Name "on par with the best of their work".[112] David Ehrlich of IndieWire also praised Guadagnino's directing, which he said helped the film "match the artistry and empathy" of Carol (2015) and Moonlight (2016).[195] Sam Adams of BBC stated that Stuhlbarg's performance "puts a frame around the movie's painting and opens up avenues we may not have thought to explore", and called it "one of his finest" to date. He extolled the film as one of "many movies that have so successfully appealed to both the intellectual and the erotic since the heydays of Patrice Chéreau and André Téchiné".[196]

text: Ty Burr of The Boston Globe gave the film three-and-a-half stars, commended the director for "broaden[ing] his embrace of humanity while hitting new heights of cinematic bliss" and said that the film "may be a fantasy but it's one that's lovely and wise."[197] David Morgan of CBS praised the cinematography, production design and costuming for "making a summer in the 1980s palpably alive again." He found Stuhlbarg's character "the most forward-thinking parent in movie history".[198] Richard Lawson wrote that Guadagnino's adaptation "was made with real love, with good intentions, with a clarity of heart and purposeful, unpretentious intellect" and hailed it as a "modern gay classic" in his Vanity Fair review.[199] Chicago Tribune's Michael Phillips was pleased by the "wonderfully paradoxical" visual interests from the director and said Stevens's songs "work like magic on your sympathies regarding Elio's emotional awakening." He praised Hammer's performance as "some of the most easy-breathing and relaxed best work of his career."[200]

text: The Economist noted the tension "between pain and pleasure" in the film and praised Chalamet, stating that he "evokes so many shades of humanity, portraying a path of youthful self-discovery that is more raw, unhinged, and ultimately honest than many actors could manage".[201] Kate Taylor of The Globe and Mail, who gave the film two-and-a-half stars, also enjoyed Chalamet's effort in capturing "first love and its inevitable heartbreak" and said the "multilingual, almost-pre-AIDS idyll does not stretch credulity ... but it can try the patience".[202] Ken Eisner of The Georgia Straight said that "Guadagnino's lyrical excesses ... can alternate wildly between the poetically incisive and the indulgently preposterous."[203] In a negative review, Kyle Turner of Paste wrote, "The details of the film are too small for anyone, perhaps particularly a queer person, to see," a visual distance that "suggests that the film, in the beginning, is as terrified as Elio initially is. It never gets over that hesitation."[204] Armond White of Out called the movie "craven commercialism" and a "super-bourgeois fantasy" that "exploit[s] the queer audience's romantic needs by packaging them and falsifying them."[205] Luke Y. Thompson of Forbes criticized its length and called it an "excruciatingly boring travelogue".[206]

text: Accolades[edit]

text: Call Me by Your Name was selected by the National Board of Review and the American Film Institute as one of the top 10 films of the year.[207][208] At the 90th Academy Awards, it was nominated for Best Picture, Best Actor (Chalamet), Best Original Song ("Mystery of Love"), and Best Adapted Screenplay, winning the latter.[209][210] Chalamet became the youngest Best Actor nominee since 1939, and Ivory became the oldest winner in any competitive category.[211]  The film received four nominations at the 71st British Academy Film Awards, including Best Film and Best Direction, and won Best Adapted Screenplay for Ivory.[212][213] At the 75th Golden Globe Awards, it was nominated for Best Motion Picture – Drama, Best Actor – Motion Picture Drama for Chalamet, and Best Supporting Actor for Hammer.[214]

text: The film received eight nominations at the 23rd Critics' Choice Awards; Ivory won Best Adapted Screenplay.[215] The film led the 33rd Independent Spirit Awards with six nominations, winning Best Male Lead for Chalamet and Best Cinematography for Mukdeeprom.[216][217] At the 24th Screen Actors Guild Awards, Chalamet received a nomination for Outstanding Performance by a Male Actor in a Leading Role.[218] The film won the GLAAD Media Award for Outstanding Film – Wide Release at its 29th ceremony.[219] In Italy, Fasano won Best Editing at the 73rd Nastro d'Argento Awards and 33rd Golden Ciak Awards.[220][221] The National Board of Review, the Gotham Independent Film Awards and the Hollywood Film Awards each awarded Chalamet with their Breakout Actor Awards.[222][223]

text: Sequel[edit]

text: Guadagnino has deliberated over the idea of a sequel since the film's premiere at Sundance, when he said he realized the characters "could go beyond the boundaries of the film."[39] In October 2017, he said he hoped to make a sequel to the film in 2020 that might be in the style of François Truffaut's The Adventures of Antoine Doinel series, telling the story of Oliver and Elio as they age. "If I paired the age of Elio in the film with the age of Timothée, in three years' time, Timothée will be 25, as would Elio by the time the second story was set", he said.[224][225] In the novel, Elio and Oliver reunite 15 years later when Oliver is married. Guadagnino said that in the sequel, "I don't think Elio is necessarily going to become a gay man. He hasn't found his place yet ... I believe that he would start an intense relationship with Marzia again."[226] Guadagnino has expressed interest in the politics of the 1990s, saying, "It is the time of the fall of Communism and the start of the new world order and so-called 'end of history' that Francis Fukuyama established then ... the beginning of the [Silvio] Berlusconi era in Italy and it would mean dealing with the [first Gulf War] of Iraq."[226][227] In November 2017, Guadagnino shared his intention to make a series of five films, in which the audience could "see those actors grow older, embodying those characters."[39] A month later, he was reported to have begun writing a script for a sequel that would reveal more about Oliver and resemble Michael Apted's Up series.[228][229] Hammer and Chalamet have expressed interest in appearing in a sequel,[230] but Ivory has no interest in the material, saying "that's fine, good. But I don't know how they're going to get a 40-year-old [Chalamet]!"[34]

text: In January 2018, Guadagnino revealed the sequel will be set "right after the fall of Berlin Wall and that great shift that was the end of ... the USSR",[13] and that the first scene in the film could depict Elio watching Paul Vecchiali's Once More (1988)—the first French film to deal with AIDS—in a movie theater.[231] In March 2018, Guadagnino confirmed he will work with Aciman on the sequel, which will take place "five or six years afterwards" with "a different tone" than the first film.[232] He also said that Hammer and Chalamet will reprise their roles with a different backdrop, where they "go around the world".[232] Hammer said he was pitched the script by Guadagnino, saying: "it's not a finished script, but he's got all the ideas for it".[233] In April 2018, Aciman said in an interview for The Sydney Morning Herald that he and Guadagnino were "not sure" about the sequel, saying "[Guadagnino] has quite a few projects in line and so do I. So we are flirting with each other about the sequel but I don't know if we are very serious."[234] In July 2018, Stuhlbarg said that Guadagnino and Aciman were excited the project, and that the director was "serious" about it. He expressed enthusiasm to reprise his role in the sequel, saying "I think it would have to be some kind of unique thing from what it was, but I would absolutely be game for trying."[235] Two months later, Hammer said of the sequel in an interview for Variety: "It will happen because there are already people working on it and trying to make it happen."[236]

text: In an interview for Time in October 2018, Chalamet compared the sequel to Richard Linklater's Boyhood (2014) and said that Hammer, Aciman and Guadagnino were all intended to return for the next film.[237] That same month, Guadagnino revealed that he has asked frequent collaborator Dakota Johnson to play Oliver's wife in the sequel. He described her character as "a New England kind of hoochie woman" who might also have children with Oliver. The director said the film's title is "the only problem" because "It cannot be Call Me by Your Name Two".[238]

text: Notes[edit]

text:
Jump up ^ Mr. Perlman's full name is mentioned in the film as Samuel "Sammy" Perlman.[5]

Jump up ^ Liguria and Sanremo were once depicted as the main setting in the book.[22][36] Aciman, however, declared that the novel takes place in Bordighera, saying "I didn't want to name it in the book, but it's known. I go back to Bordighera all the time".[37] During his time as a location consultant, Guadagnino suggested Liguria as the main setting to the producers.[32]


document_title: Eye for an eye

question_text: where does it say an eye for an eye

question_tokens: where does it say an eye for an eye

text: Eye for an eye

text: Definition and methods[edit]

text: The term lex talionis does not always and only refer to literal eye-for-an-eye codes of justice (see rather mirror punishment) but applies to the broader class of legal systems that specify formulate penalties for specific crimes, which are thought to be fitting in their severity. Some propose that this was at least in part intended to prevent excessive punishment at the hands of either an avenging private party or the state.[4]  The most common expression of lex talionis is "an eye for an eye", but other interpretations have been given as well. Legal codes following the principle of lex talionis have one thing in common: prescribed 'fitting' counter punishment for a felony. In the famous legal code written by Hammurabi, the principle of exact reciprocity is very clearly used. For example, if a person caused the death of another person, the killer would be put to death.[5]

text: The simplest example is the "eye for an eye" principle.  In that case, the rule was that punishment must be exactly equal to the crime. Conversely, the twelve tables of Rome merely prescribed particular penalties for particular crimes. The Anglo-Saxon legal code substituted payment of wergild for direct retribution: a particular person's life had a fixed value, derived from his social position; any homicide was compensated by paying the appropriate wergild, regardless of intent. Under the British Common Law, successful plaintiffs were entitled to repayment equal to their loss (in monetary terms). In the modern tort law system, this has been extended to translate non-economic losses into money as well.  The meaning of the principle Eye for an Eye is that a person who has been injured by another person returns the offending action to the originator in compensation, or that an authority does so on behalf of the injured person. The exact Latin (lex talionis) to English translation of this phrase is "The law of retaliation." The root principle of this law is to provide equitable retribution.

text: Antecedents[edit]

text: Various ideas regarding the origins of lex talionis exist, but a common one is that it developed as early civilizations grew and a less well-established system for retribution of wrongs, feuds and vendettas, threatened the social fabric. Despite having been replaced with newer modes of legal theory, lex talionis systems served a critical purpose in the development of social systems—the establishment of a body whose purpose was to enact the retaliation and ensure that this was the only punishment. This body was the state in one of its earliest forms.

text: The principle is found in Babylonian Law.[6][7] If it is surmised that in societies not bound by the rule of law, if a person was hurt, then the injured person (or their relative) would take vengeful retribution on the person who caused the injury. The retribution might be worse than the crime, perhaps even death. Babylonian law put a limit on such actions, restricting the retribution to be no worse than the crime, as long as victim and offender occupied the same status in society.  As with blasphemy or lèse-majesté (crimes against a god or a monarch), crimes against one's social betters were punished more severely.

text: Roman law moved toward monetary compensation as a substitute for vengeance.  In cases of assault, fixed penalties were set for various injuries, although talio was still permitted if one person broke another's limb.[8]

text: In religion[edit]

text: The principle was first referenced in the Code of Hammurabi, which predates the Hebrew bible.  In the Hebrew Law, the "eye for eye" was to restrict compensation to the value of the loss. Thus, it might be better read 'only one eye for one eye'.[3]  The idiomatic biblical phrase "an eye for an eye" in Exodus and Leviticus (עין תחת עין, ayin tachat ayin) literally means 'an eye under/(in place of) an eye' while a slightly different phrase (עַיִן בְּעַיִן שֵׁן בְּשֵׁן, literally  "eye for an eye; tooth for a tooth") is used in another passage (Deuteronomy) in the context of possible reciprocal court sentences for failed false witnesses.[9][10][11] The passage in Leviticus states, "And a man who injures his countryman – as he has done, so it shall be done to him [namely,] fracture under/for fracture, eye under/for eye, tooth under/for tooth. Just as another person has received injury from him, so it will be given to him." (Lev. 24:19–21)[9]. For an example of תחת being used in its regular sense of under, see Lev. 22:27 "A bull, sheep or goat, when it is born shall remain under its mother, and from the eighth day..."

text: Judaism[edit]

text: Isaac Kalimi explains that the "lex talionis was humanized by the Rabbis who interpreted "an eye for an eye" to mean reasonable pecuniary compensation. As in the case of the Babylonian 'lex talionis', ethical Judaism and humane Jewish jurisprudence replaces the peshat (literal meaning) of the written Torah.[12] Pasachoff and Littman point to the reinterpretation of the lex talionis as an example of the ability of Pharisaic Judaism to "adapt to changing social and intellectual ideas."[13]

text: Talmud[edit]

text: The Talmud[14] interprets the verses referring to "an eye for an eye" and similar expressions as mandating monetary compensation in tort cases and argues against the interpretations by Sadducees that the Bible verses refer to physical retaliation in kind, using the argument that such an interpretation would be inapplicable to blind or eyeless offenders. Since the Torah requires that penalties be universally applicable, the phrase cannot be interpreted in this manner.

text: The Oral Law explains, based upon the biblical verses, that the Bible mandates a sophisticated five-part monetary form of compensation, consisting of payment for "Damages, Pain, Medical Expenses, Incapacitation, and Mental Anguish" — which underlies many modern legal codes. Some rabbinic literature explains, moreover, that the expression, "An eye for an eye, etc." suggests that the perpetrator deserves to lose his own eye, but that biblical law treats him leniently. − Paraphrased from the Union of Orthodox Congregations.[15]

text: However, the Torah also discusses a form of direct reciprocal justice, where the phrase ayin tachat ayin makes another appearance.[16] Here, the Torah discusses false witnesses who conspire to testify against another person. The Torah requires the court to "do to him as he had conspired to do to his brother".[17] Assuming the fulfillment of certain technical criteria (such as the sentencing of the accused whose punishment was not yet executed), wherever it is possible to punish the conspirators with exactly the same punishment through which they had planned to harm their fellow, the court carries out this direct reciprocal justice (including when the punishment constitutes the death penalty). Otherwise, the offenders receive lashes.[18][19]

text: Since there is no form of punishment in the Torah that calls for the maiming of an offender (punitary amputation) there is no case where a conspiratorial false witness could possibly be punished by the court injuring to his eye, tooth, hand, or foot.  There is one case where the Torah states "…and you shall cut off her hand…"[20]  The sages of the Talmud understood the literal meaning of this verse as referring to a case where the woman is attacking a man in potentially lethal manner.  This verse teaches that, although one must intervene to save the victim, one may not kill a lethal attacker if it is possible to neutralize that attacker through non-lethal injury.[21][22][23] Regardless, there is no verse that even appears to mandate injury to the eye, tooth, or foot.

text: Numbers 35:9–30 discusses the only form of remotely reciprocal justice not carried out directly by the court, where, under very limited circumstances, someone found guilty of negligent manslaughter may be killed by a relative of the deceased who takes on the role of "redeemer of blood". In such cases, the court requires the guilty party to flee to a designated city of refuge. While the guilty party is there, the "redeemer of blood" may not kill him.  If, however, the guilty party illegally forgoes his exile, the "redeemer of blood", as an accessory of the court, may kill the guilty party. Nevertheless, the provision of the "redeemer of blood" does not serve as true reciprocal justice, because the redeemer only acts to penalize a negligent killer who forgoes his exile. Furthermore, intentional killing does not parallel negligent killing and thus cannot serve directly as a reciprocal punishment for manslaughter, but as a penalty for escaping punishment.[24]  According to traditional Jewish Law, application of these laws requires the presence and maintenance of the biblically designated cities of refuge, as well as a conviction in an eligible court of 23 judges as delineated by the Torah and Talmud.  The latter condition is also applicable for any capital punishment. These circumstances have not existed for approximately 2,000 years.

text: Objective of reciprocal justice in Judaism[edit]

text: The Talmud discusses the concept of justice as measure-for-measure retribution (middah k'neged middah) in the context of divinely implemented justice. Regarding reciprocal justice by court, however, the Torah states that punishments serve to remove dangerous elements from society ("…and you shall eliminate the evil from your midst"[17]) and to deter potential criminals from violating the law ("And the rest shall hear and be daunted, and they shall no longer commit anything like this evil deed in your midst"[25]). Additionally, reciprocal justice in tort cases serves to compensate the victim (see above).

text: The ideal of vengeance for the sake of assuaging the distress of the victim plays no role in the Torah's conception of court justice, as victims are cautioned against even hating or bearing a grudge against those who have harmed them. The Torah makes no distinction between whether the potential object of hatred or a grudge has been brought to justice, and all people are taught to love their fellow Israelites.[26]

text: Social hierarchy and reciprocal justice[edit]

text: In Exodus 21, as in the Code of Hammurabi, the concept of reciprocal justice seemingly applies to social equals; the statement of reciprocal justice "life for life, eye for eye, tooth for tooth, hand for hand, foot for foot, burn for burn, wound for wound, stripe for stripe"[27] is followed by an example of a different law: if a slave-owner blinds the eye or knocks out the tooth of a slave, the slave is freed but the owner pays no other consequence. On the other hand, the slave would probably be put to death for the injury of the eye of the slave-owner.[28]

text: However the reciprocal justice applies across social boundaries: the "eye for eye" principle is directly followed by the proclamation "You are to have one law for the alien and the citizen."[29]  This shows a much more meaningful principle for social justice, in that the marginalized in society were given the same rights under the social structure. In this context, the reciprocal justice in an ideal functioning setting, according to Michael Coogan,[who?] "to prevent people from taking the law into their own hands and exacting disproportionate vengeance for offenses committed against them."[28]

text: Christianity[edit]

text: In the Sermon on the Mount, Jesus urges his followers to turn the other cheek:

text: You have heard that it was said, "An eye for an eye and a tooth for a tooth." But I say to you, Do not resist the one who is evil. But if anyone slaps you on the right cheek, turn to him the other also.

text: Some interpret this as an admonition not to seek legal steps for any compensation that corresponds in kind and degree to the injury.[2] Others interpret it as Jesus simply teaching his followers not to take personal vengeance, rather than commenting on any legal practice.[30][better source needed]

text: Christian interpretation of the Biblical passage has been heavily influenced by the Church father Augustine of Hippo. He already discussed in his Contra Faustum, Book XIX, the points of 'fulfilment or destruction' of the Jewish law.[31] George Robinson characterizes the passage of Exodus ("an eye for an eye") as one of the "most controversial in the Bible". According to Robinson, some have pointed to this passage as evidence of the vengeful nature of justice in the Hebrew Bible.[32] Similarly, Abraham Bloch speculates that the "lex talionis has been singled out as a classical example of biblical harshness."[33]  Harry S. Lewis points to Lamech, Gideon and Samson as Biblical heroes who were renowned for "their prowess in executing blood revenge upon their public and private enemies." Lewis asserts that this "right of 'wild' justice was gradually limited."[34]  Stephen Wylen asserts that the lex talionis is "proof of the unique value of each individual" and that it teaches "equality of all human beings for law."[35]

text: Islam[edit]

text: The Qur'an mentions the "eye for an eye" concept as being ordained for the Children of Israel.[36] The principle of Lex talionis in Islam is Qiṣāṣ (Arabic: قصاص) as mentioned in Qur'an, 2:178 : "O you who have believed, prescribed for you is legal retribution (Qisas) for those murdered – the free for the free, the slave for the slave, and the female for the female.  But whoever overlooks from his brother anything, then there should be a suitable follow-up and payment to him with good conduct. This is an alleviation from your Lord and a mercy.  But whoever transgresses after that will have a painful punishment." Muslim countries that use Islamic Sharia law, such as Iran or Saudi Arabia, apply the "eye for an eye" rule literally.[37][38]

text: In the Torah We prescribed for them a life for a life, an eye for an eye, a nose for a nose, an ear for an ear, a tooth for a tooth, an equal wound for a wound: if anyone forgoes this out of charity, it will serve as atonement for his bad deeds. Those who do not judge according to what God has revealed are doing grave wrong. (Qurʾān, 5:45 )

text: Notable criticism[edit]

text: Martin Luther King, Jr. later used this phrase in the context of racial violence: "The old law of an eye for an eye leaves everyone blind."[39]


document_title: Original Six

question_text: when did the original 6 nhl teams start

question_tokens: when did the original 6 nhl teams start

text: Original Six

text: Teams[edit]

text:
Team name
Location
Joined the NHL

Montreal Canadiens
Montreal, Quebec
1917 (founded in 1909)

Toronto Maple Leafs
Toronto, Ontario
1917

Boston Bruins
Boston, Massachusetts
1924

Chicago Black Hawks
Chicago, Illinois
1926

Detroit Red Wings
Detroit, Michigan
1926

New York Rangers
New York City, New York
1926

tag: table

text: Background[edit]

text:
Part of a series on the

History of the NHL

National Hockey League

Founding (1917–1942)
Original Six (1942–1967)
Expansion era (1967–1992)
Modern era (1992–present)

 Ice hockey portal

v
t
e

text: The NHL consisted of ten teams during the 1920s, but the league experienced a period of retrenchment during the Great Depression, losing the Pittsburgh Pirates/Philadelphia Quakers, Ottawa Senators/St. Louis Eagles, and Montreal Maroons in succession to financial pressures. The New York/Brooklyn Americans – one of the league's original expansion franchises, along with the Bruins and Maroons – lasted longer, but played as wards of the league from 1936 onward. World War II and its own economic strains severely depleted the league's Canadian player base, since Canada entered the war in September 1939 and many players left for military service. The Americans suspended operations in the fall of 1942, leaving the NHL with just six teams.

text: Despite various outside efforts to initiate expansion after the war, including attempted revivals of the Maroons and Americans franchises, the league's membership would remain at six teams for the next twenty-five seasons.

text: Criticisms[edit]

text: The Original Six era has been criticized for having a playoff system that was too easy (the top four teams in the regular season advanced to the playoffs) and for featuring too many dominant teams.[2] The standings were also very static; Montreal never missed the playoffs between 1949 and 1967 and Detroit and Toronto only missed three times each, leaving the other three teams to compete for the one remaining berth.

text: The league also had a rule that gave each team exclusive rights to negotiate contracts with promising local players within 50 miles of its home ice. If a player was not within the 50-mile limit, that player was free to field offers from any team.[3] Once a player agreed to an NHL sponsorship-level contract, the NHL club could assign him to its sponsored junior squad – its "sponsorship list".

text: Since Toronto and Montreal's metropolitan areas contained abundant hockey prospects, this put them at a major recruiting advantage over Boston, New York, and Chicago, which had very few such prospects in their territories (Detroit had Southwestern Ontario as part of its territory; it thus did not have the major advantage of the Canadian teams but were better positioned than the other American ones).[4]

text: This phenomenon had the impact of limiting player movement, and as a result the Original Six rosters were very static.[5] Until the lengthening of careers in the 1980s, only one twenty-year player in NHL history, Larry Robinson, started his career after 1964, and it is generally accepted that the weakest Calder Trophy winners (Rookies of the Year) of all time were selected in the 1950s and 1960s.[6]

text: In practice, all six teams recruited players from Canada by sponsoring minor league, junior and amateur teams.[7] Therefore, the league was almost entirely composed of Canadians who had come up through the junior and minor pro leagues. While the league boasted a handful of good American players during the 1940s (including All-Star goalkeepers Frank Brimsek and Mike Karakas, defenseman John Mariucci, and forward Cully Dahlstrom), these were mostly products of the American Hockey Association, which folded in 1942. Almost all Americans played for the Chicago Black Hawks, whose owner, Major Frederic McLaughlin, was a fiercely patriotic man who tried to stock his roster with as many American players as possible.

text: Very few all American-developed NHL players emerged in the 1950s and 1960s, when Tommy Williams was the only American to play regularly. Both Williams and Mariucci complained about anti-American bias, and U.S. Olympic team stars John Mayasich[8] and Bill Cleary[9] turned down offers from NHL teams. The only European-born and trained player of the era was Sweden's Ulf Sterner, who briefly played for the Rangers in 1965.[10]

text: After World War II, all six NHL owners consistently rejected any bids for expansion, and in the eyes of many observers changed the criteria for entry every time with a bent to defeating any such bid.[11] They also reneged on promises to allow the still-extant but dormant Maroons and Americans franchises to re-activate.[12]

text: Corruption[edit]

text: The league tolerated monopolistic practices by the owners. At one point, for instance, Red Wings owner James E. Norris effectively owned the Black Hawks as well and was also the largest stockholder in the Rangers.[13] He also had significant influence over the Bruins by way of mortgages extended to the team to help keep it afloat during the Depression. This led some critics to joke that NHL stood for "Norris House League."[13]

text: The control of owners over their teams was absolute. Players who got on the wrong side of their team owner were often harshly punished, either by being traded out of town or sent to the minors.[citation needed] An example of this is the case of bruising Red Wings forward Ted Lindsay who, after agitating for a players' union, was sent to the last-place Black Hawks. Norris' conglomerate did not invest in Boston, Chicago, and New York; these teams mostly just filled dates for the Norris arenas.[citation needed] A measure of the dominance of Detroit, Montreal, and Toronto in the era can be seen in that between the Bruins' Stanley Cup wins in 1941 and 1970, every single Cup (save for Chicago in 1961) was won by the Red Wings, the Canadiens, or the Maple Leafs, and those three teams failed to make the playoffs only eight times combined in the era.

text: Labour conditions for the players were also poor.[7] Players' medical bills were paid for only two months after an injury.[citation needed] Moreover, whenever players were sent to the minors, they not only had their salaries cut, but their relocation costs were not covered.[7] The players were also not paid for off-season promotions, and did not share in the funds of promotions such as trading cards as was done in baseball.[citation needed] In the earlier era, players were allowed to play other sports, such as lacrosse, for money in the off-season, but this was disallowed in the standard Original Six-era contract.[citation needed] Players were signed as early as 16, binding them to one of the teams, who then directed their development.

text: The pension plan, formed in 1946, while ostensibly for the players' benefit, was kept secret, hiding large amounts of money under the control of the owners.[citation needed] The pension plan was only exposed in 1989 when it was found that a $25 million surplus existed. The stark labor conditions led to several players' disputes, including a 1957 anti-trust action and attempted union formation, and subsequent actions in the early 1960s by Toronto players Bob Baun and Carl Brewer, leading to the 1967 formation of the NHL Players Association.

text: End of the Original Six era[edit]

text: As more conservative owners left the NHL, a younger guard that was more receptive to expansion came into the league. By 1963, when Rangers governor William M. Jennings first introduced to his peers the idea of expanding the NHL, other major sports leagues were growing: Major League Baseball and the National Football League were adding teams, while the American Football League was becoming an attractive alternative to the NFL. Jennings proposed that the NHL add two new teams on the American West Coast for the 1964-65 season, basing his argument on concerns that the Western Hockey League intended to operate as a major league in the near future and possibly compete against the NHL for talent; he also hoped that a West Coast presence would make the NHL truly national and improve the league's chances of returning to national television in the United States (its broadcast deal with CBS expired in 1960). While the governors did not agree to Jennings' proposal, the topic of expansion came up every time the owners met from then on out. In 1965, it was decided to expand by six teams, doubling the size of the NHL. In February 1966, expansion franchises were awarded to Los Angeles, Minnesota, Philadelphia, Pittsburgh, St. Louis, and the San Francisco-Oakland area; those six new franchises would begin play in the 1967-68 NHL season, a year after Toronto's six-game defeat of Montreal in the 1967 Stanley Cup Finals drew the Original Six era to a close.

text: The first dozen seasons (1967–68 through 1978–79) of the Expansion Era saw domination by Original Six teams, including the Bobby Orr-led Bruins of the early 1970s and the Canadiens dynasty at the end of that decade. Expansion teams, by comparison, were not as dominant during that same time period, which can be partly attributed to expansion teams in general being weaker than existing clubs when first starting out. During those dozen seasons, only one expansion team hoisted the Cup (the Broad Street Bullies of the Philadelphia Flyers, in 1974 and 1975), and only one Stanley Cup Final featured two expansion teams (the Flyers' 1975 win over Buffalo). By the early 1980s (after further expansion, a merger with the WHA, and changes in conference/division alignment and playoff structure), expansion teams began reaching clear parity with the Original Six; indeed, the 1979 Stanley Cup Finals between the Canadiens and Rangers would be the last Final featuring any Original Six team until 1986 (when the Canadiens claimed the Cup) as well as the last all-Original Six Final until Chicago's win over Boston in 2013, the same year that all Original Six teams made the playoffs, the first time that had happened since 1996.[14] Since the dawn of the Expansion Era, every Original Six team has won the Cup at least once except for Toronto, which has the longest active Cup drought in the NHL.

text: Since the Expansion, the Montreal Canadiens twice won the Cup beating only fellow Original Six teams, in 1978 (Detroit, Toronto and Boston), and 1979 (Toronto, Boston and New York), and the 1992 Pittsburgh Penguins are the only ones to also win the Cup after beating three of the Six (New York and Boston in the Eastern playoffs, Chicago in the finals). Twice the Eastern champion beat two Original Six teams before being defeated by one in the Western Conference, the 2002 Carolina Hurricanes (beat Montreal and Toronto, lost to Detroit) and 2010 Philadelphia Flyers (beat Boston and Montreal, lost to Chicago). In 2013, the League moved the Red Wings to the Eastern Conference, leaving Chicago as the only Original Six team in the West. In 2015, the Tampa Bay Lightning became the first team to face only Original Six franchises in the four-round playoff era, beating Detroit, Montreal and New York in the Eastern playoffs before the finals against Chicago, which Tampa Bay wound up losing.[15]

text: The last active player from the Original Six era was Wayne Cashman who retired with the Boston Bruins in 1983.

text: According to Forbes in 2015, five of the Original Six teams are the top five most valuable NHL clubs: the Rangers at approximately $1.2 billion, the Canadiens at $1.18 billion, the Maple Leafs at $1.15 billion, the Blackhawks at $925 million, and the Bruins at $750 million. The Red Wings rank eighth at $600 million.[16][17]

text: Original Six head-to-head records[edit]

text: Records current as of April 16, 2016[update].

text:
Team
GP
W
L
T
OL
GF
GA
Pts
Ref

Montreal Canadiens
3,227
1,623
1,098
484
22
10,165
8,467
3,752
[18]

Toronto Maple Leafs
3,301
1,411
1,385
470
35
9,718
9,650
3,327
[19]

Detroit Red Wings
3,144
1,372
1,274
471
27
9,165
9,045
3,242
[20]

Boston Bruins
3,212
1,366
1,338
472
36
9,527
9,587
3,240
[21]

Chicago Blackhawks
3,106
1,187
1,440
460
19
8,749
9,558
2,853
[22]

New York Rangers
3,034
1,131
1,398
487
18
8,477
9,494
2,767
[23]