document_title: The King's Speech

question_text: who played mrs logue in the king speech

question_tokens: who played mrs logue in the king speech

text: The King's Speech

text: Plot[edit]

text: At the closing of the British Empire Exhibition at Wembley Stadium, Prince Albert, Duke of York, the second son of King George V, addresses them with a strong stammer. His search for treatment has been discouraging, but his wife Elizabeth persuades him to see the Australian-born Lionel Logue, a non-medically trained Harley Street speech defects therapist. "Bertie," as he is called by his family, believes the first session is not going well although Lionel (he insists that all his patients address him as such) manages to have the potential client recite, on an acetate recording, Hamlet's "To be, or not to be" soliloquy sublimely all the while hearing piped-in classical music on a pair of headphones. Bertie is disappointed and Lionel gives him the recording as a souvenir.

text: Bertie's father, King George V makes his 1934 Christmas wireless address, and he explains to Bertie that the machine will play a significant part in the role of the Royal Family invading the homes of the people and that Bertie's brother's neglect of his responsibilities make training on it necessary. The attempt is a failure. Bertie in frustration plays the recording Lionel gave him. Bertie returns for daily treatments of exercises and practices to overcome the physical and psychological roots of his speaking difficulty.

text: George V dies in 1936, and his eldest son David ascends the throne as King Edward VIII. A constitutional crisis arises with the new king over a prospective marriage with the twice-divorced American socialite Wallis Simpson. Edward, as head of the Church of England, cannot marry her, even if she receives her second divorce, since both her previous husbands are alive.

text: At an unscheduled session, Albert (Bertie) expresses his frustration that while his speech has improved when talking to most people, he still stammers when talking to David and reveals the extent of Edward VIII's folly with Simpson. When Lionel insists that Bertie could be a good king, Bertie accuses Lionel of speaking treason and quits Lionel. Bertie must face the Accession Council without any assistance from Lionel.

text: Bertie and Lionel come together after King Edward decides to abdicate in order to marry Simpson, and Bertie becomes King George VI. The new Royal pair visit the home of Lionel before the Coronation, much to the surprise of Mrs. Logue when she comes upon Queen Elizabeth having tea at her dining room table, and learning that the King is her husband's patient.

text: Bertie and Lionel's relationship comes to be known to the King's advisors when there are preparations for his coronation in Westminster Abbey. It comes to light that George never asked for advice from his advisors about his speech defect treatment and that Lionel never had formal training to be a medical doctor. Lionel explains that at the time he started with speech defects there was no formal training and that the only known help that was available for returning Great War shell-shocked Australian soldiers was from personal experience.

text: Bertie remains unconvinced about his suitability as king until provoked into expressing his voice, angered by Lionel's disrespect for King Edward's Chair and the Stone of Scone. Only after this pivotal moment is Bertie able to rehearse with Lionel, and then complete the coronation ceremony.

text: Now King George VI, Bertie is in a crisis when he must declare over the wireless in 1939 Britain's declaration of war with Nazi Germany. Lionel is summoned to Buckingham Palace to prepare the new king for his wireless address to Britain and the Empire. Knowing the challenge that lies before him, the Archbishop of Canterbury, Winston Churchill, and Prime Minister Neville Chamberlain are present to offer support. The King and Logue are then left in the broadcasting room. He delivers his speech with Logue conducting him, but by the end he is speaking freely. Preparing to leave the room for the congratulations of those present in the palace, Logue mentions to the King that he still had difficulty enunciating 'w' and the King jokes back, "I had to throw in a few so they'd know it was me".

text: The Royal Family step onto the balcony of the palace and are applauded by the crowd, a title card explains that Logue was always present at King George VI's speeches during the war and that they remained friends for the rest of their lives.

text: Cast[edit]

text:
Colin Firth as King George VI
Geoffrey Rush as Lionel Logue
Helena Bonham Carter as Queen consort Elizabeth
Guy Pearce as King Edward VIII
Timothy Spall as Winston Churchill
Derek Jacobi as Cosmo Gordon Lang
Jennifer Ehle as Myrtle Logue
Michael Gambon as King George V
Freya Wilson as Princess Elizabeth
Ramona Marquez as Princess Margaret
Patrick Ryecart as Clive Wigram, 1st Baron Wigram
Simon Chandler as Bertrand Dawson, 1st Viscount Dawson of Penn
Claire Bloom as Queen consort Mary
Orlando Wells as Prince George, Duke of Kent
Eve Best as Wallis Simpson
Anthony Andrews as Stanley Baldwin

text: Production[edit]

text: Development[edit]

text:
Not a great deal was written about His Majesty's speech therapist, Lionel Logue, certainly not in the official biographies. Nor was much published about the Royal stutter; it appeared to be a source of profound embarrassment.[7]
— David Seidler

tag: div

text: As a child, David Seidler developed a stammer, which he believes was caused by the emotional trauma of World War II and the murder of his grandparents during the Holocaust. King George VI's success in overcoming his stammer inspired the young Seidler, "Here was a stutterer who was a king and had to give radio speeches where everyone was listening to every syllable he uttered, and yet did so with passion and intensity." When Seidler became an adult, he resolved to write about King George VI. During the late 1970s and 1980s he voraciously researched the King, but found a dearth of information on Logue. Eventually Seidler contacted Valentine Logue, who agreed to discuss his father and make his notebooks available if the Queen Mother gave her permission. She asked him not to do so in her lifetime, and Seidler halted the project.[7]

text: The Queen Mother died in 2002. Three years later, Seidler returned to the story during a bout of creative work inspired by a recovery from cancer. His research, including a chance encounter with an uncle whom Logue had treated, indicated he used mechanical breathing exercises combined with psychological counselling to probe the underlying causes of the condition. Thus prepared, Seidler imagined the sessions. He showed the finished screenplay to his wife, who liked it, but pronounced it too "seduced by cinematic technique". She suggested he rewrite it as a stage play to focus on the essential relationship between the King and Logue. After he had completed it, he sent it to a few friends who worked in theatre in London and New York for feedback.[7]

text: In 2005, Joan Lane of Wilde Thyme, a production company in London, received the script. Lane started talking with Simon Egan and Gareth Unwin of Bedlam Productions, and they invited Seidler to London to rewrite the play again, this time for the screen. Together, Lane and Bedlam Productions organised a reading of the play in Pleasance Theatre, a small house in north London, to a group of Australian expatriates, among whom was Tom Hooper's mother. She called her son and said, "I've found your next project".[9][10]

text: Instead of trying to contact his agent, Lane asked an Australian staff member to hand-deliver the script to Geoffrey Rush's house, not far away from hers in Melbourne. Unwin reports that he received a four-page e-mail from Rush's manager admonishing them for the breach of etiquette, but ending with an invitation to discuss the project further. Iain Canning from See-Saw Films became involved and, in Gareth Unwin's words: "We worked with ex-chair of BAFTA Richard Price, and started turning this story about two grumpy men sitting in a room into something bigger."[10] Hooper liked the story, but thought that the original ending needed to be changed to reflect events more closely: "Originally, it had a Hollywood ending ... If you hear the real speech, he's clearly coping with his stammer. But it's not a perfect performance. He's managing it."[9]

text: The production team learned—some nine weeks prior to the start of filming—of a diary containing Logue's original notes on his treatment of the Duke.[11] They then went back and re-worked the script to reflect what was in the notes. Hooper said some of the film's most memorable lines, such as at the climax, when Logue smiles, "You still stammered on the W" to the King, who replies, "I had to throw in a few so they would know it was me" were direct quotations from Logue's notes.[12] Changes from the script to reflect the historical record included Michael Gambon improvising the ramblings of George V as he signed away authority, and the decision in the opening scene to dress the Duke in an overcoat rather than regal finery.[13]

text: Seidler thought Paul Bettany would be a good choice to play King George VI, Tom Hooper preferred Hugh Grant, though both actors refused the offer. Once they met with Firth and heard him read for the part, Seidler and Hooper were convinced of his suitability for the role.[6]

text: The UK Film Council awarded the production £1 million in June 2009.[14] Filming began in December 2009, and lasted 39 days. Most was shot in the three weeks before Christmas because Rush would be performing in a play in January. The schedule was further complicated by Bonham Carter's availability: she worked on Harry Potter during the week, so her scenes had to be filmed during the weekend.[10]

text: Location and design[edit]

text: Period dramas rely to an extent on the quality of production, so combining regal opulence with scruffy, depression-era London on the relatively limited £8 million budget presented a challenge.[15] On 25 November 2009 the crew took over the Pullens buildings in Southwark. To emphasise Logue's humble background, the entire street was transformed into one from 1930s London. Large advertisements for (among other things) Bovril and fascism were added to walls, grit and grime to streets and buildings. To reproduce London smog of the time – thick enough that cars might need guidance from someone walking ahead – so much artificial smoke was used that fire alarms were triggered.[13]

text: On 26 November, a week's filming with Firth, Rush, and Jacobi began at Ely Cathedral, the location used for Westminster Abbey. The production had asked for permission to film in the Abbey but were denied due to the demands of tourism.[13] Though Lincoln Cathedral is architecturally a closer match to the Abbey, they preferred Ely, a favoured filming location. Its size allowed them to build sets showing not just the coronation, but the preparations before it.[16][17][18]

text: Lancaster House, an opulent government-owned period house in London, was rented (at £20,000 per day) for interior scenes of Buckingham Palace.[15] The 1936 Accession Council at St. James's Palace, where George VI swore an oath, was filmed in the Livery Hall of Drapers' Hall. The room, ornate and vast, met the occasion: the daunting nature of the new King's responsibilities was shown by surrounding him with rich detail, flags and royal portraiture.[19][20][21]

text: The crew investigated Logue's former consultation rooms, but they were too small to film in. Instead, they found a high, vaulted room not far away in 33 Portland Place. Eve Stewart, the production designer, liked the mottled, peeling wallpaper there so much that she recreated the effect throughout the entire room.[15] In his DVD commentary, Hooper said he liked Portland Place as a set because it felt "lived-in", unlike other period houses in London. The scenes of the Duke of York at home with his family were also filmed here; showing the Prince living in a townhouse "subverted" expectations of a royal drama.[13]

text: The opening scene, set at the closing ceremony of the 1925 British Empire Exhibition at Wembley Stadium, was filmed on location at Elland Road, home of Leeds United, and Odsal Stadium, home of Bradford RLFC. Elland Road was used for the speech elements of the prince stammering his way through his first public address, and Odsal Stadium was selected because of the resemblance of its curved ends to Wembley Stadium in 1925.[22] The crew had access to the stadium only at 10 pm, after a football game. They filled the terraces with inflatable dummies and over 250 extras dressed in period costumes. Live actors were interspersed to give the impression of a crowd. Additional people, as well as more ranks of soldiers on the pitch, were added in post-production with visual effects.[15][23]

text: Other locations include Cumberland Lodge,  Harley Street, Knebworth, Hatfield House, the Old Royal Naval College in Greenwich, Queen Street Mill Textile Museum in Burnley, and Battersea Power Station, which doubled as a BBC wireless control room.[24] The final cut of the film was completed on 31 August 2010.[25]

text: Dialogue[edit]

text:
In developing his portrayal of George VI's stammer, Firth worked with Neil Swain, the voice coach for the film. His sister, Kate Firth, also a professional voice coach to actors, proposed exercises the King might have done with Logue, and made suggestions on how to imagine Logue's mix of physical and psychological coaching for the film.[26]
In addition, Firth watched archive footage of the King speaking. In an interview with Allan Tyrer published by the British Stammering Association, Swain said: "[It] was very interesting while we were working on the film just to think tonally how far we could go and should go with the strength of George's stammer. I think a less courageous director than Tom [Hooper] – and indeed a less courageous actor than Colin [Firth] – might have felt the need to slightly sanitise the degree and authenticity of that stammer, and I'm really really pleased that neither of them did."[27] In May 2011 Firth said he was finding traces of the stammer difficult to eliminate: "You can probably hear even from this interview, there are moments when it’s quite infectious," he said. "You find yourself doing it and if I start thinking about it the worse it gets. If nothing else it’s an insight into what it feels like."[28]

text: Soundtrack[edit]

text:
The King's Speech (Original Motion Picture Soundtrack)Film score by Alexandre DesplatReleased
22 November 2010 (2010-11-22)Genre
Film scoreClassicalLength
41:00Label
Decca

text:
The film's original score was composed by Alexandre Desplat. In a film about a man struggling to articulate himself, Desplat was wary of overshadowing the dramaturgy: "This is a film about the sound of the voice. Music has to deal with that. Music has to deal with silence. Music has to deal with time."[29]
The score is a sparse arrangement of strings and piano (with the addition of oboe and harp in one cut), intended to convey the sadness of the King's muteness, and then the growing warmth of friendship between him and Logue. The minimalist approach emphasises the protagonist's struggle for control.[30] Desplat used the repetition of a single note to represent the stickiness of the King's speech.[29] As the film progresses, growing banks of warm strings swaddle the deepening friendship between the two leads. The music rises to a climax in the coronation scene. Hooper originally wanted to film the scene without music, but Desplat argued that it was the real climax of the story—the point when the friendship was ratified by their decision to trust each other. "That is really rare", said Desplat, "mostly you have love stories".[29]

text:
To create a dated sound, the score was recorded on old microphones extracted from the EMI archives which had been specially made for the royal family.[29]
The music played during the broadcast of the 1939 radio speech at the climax of the film is from the 2nd movement (Larghetto) of Beethoven's 7th Symphony; it was added by Tariq Anwar, the editor. When Desplat later joined the team to write the music, he praised and defended Anwar's suggestion. Hooper further remarked that the stature of the piece helps elevate the status of the speech to a public event.[31]

text: The score was nominated for several awards, including Best Original Score at the Oscars, Golden Globes, and BAFTAs, winning the latter award. The score also won a Grammy at the 54th Grammy Awards.

text: Track listing[edit]

text: All tracks written by Alexandre Desplat, except where noted.

text: No.TitleLength1."Lionel and Bertie"2:102."The King's Speech"3:543."My Kingdom, My Rules"2:514."The King Is Dead"2:065."Memories of Childhood"3:366."King George VI"3:057."The Royal Household"1:438."Queen Elizabeth"3:359."Fear and Suspicion"3:2410."The Rehearsal"1:4211."The Threat of War"3:5612."Speaking Unto Nations (Beethoven Symphony No. 7 - II)" (Terry Davies conducting the London Symphony Orchestra[32])5:0213."Epilogue (Beethoven Piano Concerto No. 5 "Emperor" - II)" (Terry Davies conducting the London Symphony Orchestra)3:56

text: Visual style[edit]

text: Hooper employed a number of cinematic techniques to evoke the King's feelings of constriction. He and cinematographer Danny Cohen used wider than normal lenses to photograph the film, typically 14mm, 18mm, 21mm, 25mm and 27mm, where the subtle distortion of the picture helps to convey the King's discomfort.[33][34] For instance, the subjective point of view shot during the Empire exhibition speech used a close up of the microphone with a wider lens, similar to the filming technique used for one of the Duke's early consultations with a physician.[13] In The New York Times, Manohla Dargis wrote that the feeling of entrapment inside the King's head was rendered overly literal with what she believed to be a fisheye lens, though in these scenes the wider lenses were used.[33][35] Hooper also discussed using the 18mm lens, one he likes "because it puts human beings in their context".[13]

text: Roger Ebert noted that the majority of the film was shot indoors, where oblong sets, corridors, and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas.[36] Hooper used wide shots to capture the actors' body language, particularly that of Geoffrey Rush, who trained at L'École Internationale de Théâtre Jacques Lecoq in Paris and "is consequently brilliant in the way he carries his body". Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes. The approach carried over to Firth as well. In the first consultation scene, the Duke is squeezed against the end of a long couch framed against a large wall, "as if to use the arm of the sofa as a kind of friend, as a security blanket?"[33] Martin Filler praised the "low-wattage" cinematography of Danny Cohen's, as making everything look like it has been "steeped in strong tea".[37]

text: At other times, the camera was positioned very close to the actors to catch the emotion in their faces: "If you put a lens 6 inches from somebody's face, you get more emotion than if you're on a long lens 20 feet away," Cohen said in an interview.[38] Hooper sought a second subtlety while filming the first consultation room scene between the two men, having placed the camera 18 inches from Colin Firth's face: "I wanted the nervousness of the first day to percolate into his performances," he said.[33]

text: Historical dramas traditionally tend to use "soft light", but Hooper wanted to use a harsher glare, which gives a more contemporary feel, and thus a greater emotional resonance. To achieve the effect, the lighting team erected huge blackout tents over the Georgian buildings and used large lights filtered through Egyptian cotton.[34]

text: Historical accuracy[edit]

text: Relationship with Lionel Logue[edit]

text: The filmmakers not only tightened the chronology of the events to just a few years but even shifted the timeline of treatment. The Duke of York actually began working with Logue in October 1926, ten years before the abdication crisis, and the improvement in his speech was apparent in months rather than years as suggested by the film.[39] When he was dispatched to Australia to open their new parliament in 1927, the Duke gave numerous speeches during the journey and performed well despite Logue not accompanying him on the trip.[40]  He wrote to Logue from the Caribbean, "You remember my fear of ‘The King’. I give it every evening at dinner on board. This does not worry me any more."[40] And of his speech opening Parliament it was observed that he spoke "resonantly and without stuttering".[41]

text: Robert Logue, a grandson of Lionel, doubted the film's depiction of the speech therapist, stating "I don't think he ever swore in front of the King and he certainly never called him 'Bertie'".[42] Andrew Roberts, an English historian, states that the severity of the King's stammer was exaggerated and the characters of Edward VIII, Wallis Simpson, and George V made more antagonistic than they really were, to increase the dramatic effect.[43]

text: Politics[edit]

text: Christopher Hitchens and Isaac Chotiner have criticised the film for failing to indict the appeasement of the era or to portray Edward VIII’s sympathetic attitude to Nazi Germany.[44] The Guardian also corrected the portrayal of Stanley Baldwin as having resigned due to his refusal to order Britain's re-armament, when he in fact stepped down as "a national hero, exhausted by more than a decade at the top".[45]

text: Hugo Vickers, an adviser on the film, agreed that the alteration of historical details to preserve the essence of the dramatic story was sometimes necessary. The high-ranking officials, for instance, would not have been present when the King made his speech, nor would Churchill have been involved at any level, "but the average viewer knows who Churchill is; he doesn't know who Lord Halifax and Sir Samuel Hoare (later Lord Templewood) are."[46]

text: Hitchens and Chotiner also challenged the film's portrayal of Winston Churchill's role in the abdication crisis.[47][48] It is well established that Churchill encouraged Edward VIII to resist pressure to abdicate, whereas he is portrayed in the film as supportive of the Duke of York and not opposed to the abdication.[49] Hitchens attributes this treatment to the "cult" surrounding Churchill's legacy. In a smart, well-made film "would the true story not have been fractionally more interesting for the audience?", he wondered.[44]

text: Realism[edit]

text: Martin Filler acknowledged that the film legitimately used artistic licence to make valid dramatic points, such as in the probably imagined scene when George V lectures his son on the importance of broadcasting. Filler cautions that George VI would never have tolerated Logue addressing him casually, nor swearing, and the King almost certainly would have understood a newsreel of Hitler speaking in German. Filler makes the larger point that both the King and his wife were, in reality, lukewarm towards Churchill because of the latter's support for his brother during the abdication crisis.[37]

text: Commenting on the film's final scene on the balcony of Buckingham Palace, Andrew Roberts has written, "The scene is fairly absurd from a historical point of view – Neville Chamberlain and Winston Churchill were not present and there were no cheering crowds outside Buckingham Palace."[43] But Roberts praises the film overall as a sympathetic portrayal of the King's "quiet, unassuming heroism [...] The portrayals by Firth and Bonham Carter are sympathetic and acute, and the movie’s occasional factual bêtises should not detract from that."[43]

text: Release[edit]

text: Cinema release[edit]

text: The film had its world première on 6 September 2010 at the Telluride Film Festival in the United States.[25] It was screened at the 2010 Toronto International Film Festival, on Firth's 50th birthday, where it received a standing ovation and won the People's Choice Award.[50] The cinema release poster was re-designed to show an extreme close-up of Firth's jaw and a microphone after Hooper criticised the first design as a "train smash".[51] Tim Appelo called the original, air-brushed effort, which showed the three leads, "shockingly awful" though the new one "really is worthwhile".[52]

text: The film was distributed by Transmission Films in Australia and by Momentum Pictures in the United Kingdom. The Weinstein Company distributed it in North America, Germany, Benelux, Scandinavia, China, Hong Kong, and Latin America.[53] The film was released in France on 2 February 2011, under the title Le discours d'un roi. It was distributed by Wild Bunch Distribution.[54]

text: Ratings controversy[edit]

text: The film was initially given a 15 certificate by the British Board of Film Classification, due to a minute-long scene where Logue encourages the King to shout profanities, which he could do without stuttering. At the London Film Festival, Hooper criticised the decision, questioning how the board could certify the film "15" for bad language but allow films such as Salt (2010) and Casino Royale (2006) to have "12A" ratings, despite their graphic torture scenes. Following Hooper's criticism, the board lowered the rating to "12A", allowing children under 12 years of age to see the film if they are accompanied by an adult.[55][56] Hooper levelled the same criticism at the Motion Picture Association of America, which gave the film an "R" rating, preventing anyone under the age of 17 from seeing the film without an adult.[57] In his review, Roger Ebert criticised the "R" rating, calling it "utterly inexplicable", and wrote, "This is an excellent film for teenagers."[36]

text: In January 2011 Harvey Weinstein, the executive producer and distributor, said he was considering having the film re-edited to remove some profanity, so that it would receive a lower classification and reach a larger audience.[58] Hooper, however, refused to cut the film, though he considered covering the swear words with bleeps. Helena Bonham Carter also defended the film, saying, "[The film] is not violent. It's full of humanity and wit. [It's] for people not with just a speech impediment, but who have got confidence [doubts]."[59] After receiving his Academy Award, Colin Firth noted that he does not support re-editing the film; while he does not condone the use of profanity, he maintains that its use was not offensive in this context. "The scene serves a purpose", Firth states.[60] An alternate version, with some of the profanities muted out, was classified as "PG-13" in the United States; this version was released to cinemas on 1 April 2011, replacing the R-rated one.[61][62] The PG-13 version of this film is not available on DVD and Blu-ray.

text: Reception[edit]

text: Box office[edit]

text: In Great Britain and Ireland, the film was the highest earning film on its opening weekend. It took in £3,510,000 from 395 cinemas. The Guardian said that it was one of the biggest takes in recent memory, and compared it to Slumdog Millionaire (2008), which, two years earlier, earned £1.5 million less.[63] The King's Speech continued a "stunning three weeks" atop the UK Box office, and earned over £3 million for four consecutive weekends, the first film to do so since Toy Story 3 (2010).[64] After five weeks on UK release, it was hailed as the most successful independent British film ever.[3]

text: In the United States The King's Speech opened with $355,450 (£220,000) in four cinemas. It holds the record for the highest per-cinema gross of 2010.[65] It was widened to 700 screens on Christmas Day and 1,543 screens on 14 January 2011. It eventually made $138 million in North America overall.[4]

text: In Australia The King's Speech made more than A$6,281,686 (£4 million) in the first two weeks, according to figures collected by the Motion Picture Distributors Association of Australia. The executive director of Palace Cinemas, Benjamin Zeccola, said customer feedback on the film was spectacular. "It's our No.1 for all the period, all throughout the country. ... I think this is more successful than Slumdog Millionaire and a more uplifting film. It's a good example of a film that started out in the independent cinemas and then spread to the mainstream cinemas."[66]

text: Of the film's net profit, estimated to amount to $30–40 million (£20–25 million) from the cinema release alone, roughly 20% was to be split between Geoffrey Rush (as executive producer), Tom Hooper and Colin Firth, who were to receive their bonuses before the other stakeholders. The remaining profit was to be split equally between the producers and the equity investors.[67] The UK Film Council invested £1 million of public funds from the United Kingdom lottery into the film. In March 2011 Variety estimated that the return could be between fifteen and twenty times that. The Council's merger into the British Film Institute means that the profits were to be returned to that body.[68]

text: Critical response[edit]

text:
As the actor of the year in the film of the year, I can't think of enough adjectives to praise Firth properly. The King's Speech has left me speechless.[69]
—Rex Reed, New York Observer

text:
The King's Speech has received widespread critical acclaim, with Firth's performance receiving universal praise. Bonham Carter and Rush were also widely praised with both going on to win BAFTA's and receiving Academy Award nominations[70][71] Review aggregator Rotten Tomatoes gives the film a score of 95% based on reviews from 285 critics; the film's average rating was calculated as 8.6/10. The website's critical consensus reads: "Colin Firth gives a masterful performance in The King's Speech, a predictable but stylishly produced and rousing period drama."[72] Metacritic gave the film a weighted score of 88/100, based on 41 critical reviews, which indicates "universal acclaim".[73] CinemaScore reported that audiences gave the film a rare "A+" grade.[74]
Empire gave the film five stars out of five, commenting, "You'll be lost for words."[75] Lisa Kennedy of the Denver Post gave the film full marks for its humane qualities and craftsmanship: "It is an intelligent, winning drama fit for a king – and the rest of us", she said.[76] Roger Ebert of the Chicago Sun-Times awarded the film a full four stars, commenting that "what we have here is a superior historical drama and a powerful personal one."[36] Peter Bradshaw of The Guardian gave four stars out of five, stating, "Tom Hooper's richly enjoyable and handsomely produced movie ... is a massively confident crowd-pleaser."[77]

text: Manohla Dargis, whilst generally ambivalent towards the film, called the lead performances one of its principal attractions. "With their volume turned up, the appealing, impeccably professional Mr. Firth and Mr. Rush rise to the acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title," she wrote.[35] The Daily Telegraph called Guy Pearce's performance as Edward VIII "formidable ... with glamour, charisma and utter self-absorption".[78] Empire said he played the role well as "a flash harry flinty enough to shed a nation for a wife."[75] The New York Times thought he was able to create "a thorny tangle of complications in only a few abbreviated scenes".[35] Hooper praised the actor in the DVD commentary, saying he "nailed" the 1930s royal accent.[13] Richard Corliss of Time magazine named Colin Firth's performance one of the Top 10 Movie Performances of 2010.[79]

text: The British Stammering Association welcomed the release of The King's Speech, congratulating the film makers on their "realistic depiction of the frustration and the fear of speaking faced by people who stammer on a daily basis." It said that "Colin Firth's portrayal of the King's stammer in particular strikes us as very authentic and accurate."[80] The Royal College of Speech and Language Therapists welcomed the film, and launched their "Giving Voice" campaign around the time of its commercial release.[81]

text: Allociné, a French cinema website, gave the film an average of four out of five stars, based on a survey of 21 reviews.[82] Le Monde, which characterised the film as the "latest manifestation of British narcissism" and summarised it as "We are ugly and boring, but, By Jove!, we are right!", nevertheless admired the performances of Firth, Rush, and Bonham Carter. It said that, though the film swept British appeasement under the carpet, it was still enjoyable.[83]

text: Slovenian Marxist philosopher and cultural critic Slavoj Žižek has incorporated the film into his critique of ideology by describing it as "reactionary," interpreting the king's stutter as evidence that he "displays a minimum of common sense, experiencing the stupidity of seriously accepting that one is king by divine will" and claiming that "the task of the Australian voice-coach is to render him stupid enough to accept his being a king as his natural property." Žižek thus interprets the king's stutter as a case of what is referred to in Lacanian psychoanalysis as "symbolic castration."[84]

text: Queen Elizabeth II, the daughter and successor of King George VI, was sent two copies of the film before Christmas 2010. The Sun newspaper reported she had watched the film in a private screening at Sandringham House. A palace source described her reaction as being "touched by a moving portrayal of her father".[85][86] Seidler called the reports "the highest honour" the film could receive.[87]

text: Awards and nominations[edit]

text: At the 83rd Academy Awards, The King's Speech won the Academy Award for Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler). The film had received 12 Oscar nominations, more than any other film in that year. Besides the four categories it won, the film received nominations for Best Cinematography (Danny Cohen) and two for the supporting actors (Bonham Carter and Rush), as well as two for its mise-en-scène: Art Direction and Costumes.[88]

text: At the 64th British Academy Film Awards, it won seven awards, including Best Film, Outstanding British Film, Best Actor for Firth, Best Supporting Actor for Rush, Best Supporting Actress for Bonham Carter, Best Original Screenplay for Seidler, and Best Music for Alexandre Desplat. The film had been nominated for 14 BAFTAs, more than any other film.[89] At the 68th Golden Globe Awards, Firth won for Best Actor.  The film won no other Golden Globes, despite earning seven nominations, more than any other film.[90]

text: At the 17th Screen Actors Guild Awards, Firth won the Best Actor award and the entire cast won Best Ensemble, meaning Firth went home with two acting awards in one evening.[91]  Hooper won the Directors Guild of America Awards 2010 for Best Director.[92]  The film won the Darryl F. Zanuck Award for Best Theatrical Motion Picture at the Producers Guild of America Awards 2010.[93]

text: The King's Speech won the People's Choice Award at the 2010 Toronto International Film Festival,[94] Best British Independent Film at the 2010 British Independent Film Awards,[95] and the 2011 Goya Award for Best European Film from the Academia de las Artes y las Ciencias Cinematográficas de España (Spanish Academy of Cinematic Art and Science).[96]


document_title: Yellowstone (U.S. TV series)

question_text: who plays a young john dutton on yellowstone

root

text: Yellowstone (U.S. TV series)

text: Premise[edit]

text: Yellowstone follows "the Dutton family, led by John Dutton, who controls the largest contiguous ranch in the United States, under constant attack by those it borders — land developers, an Indian reservation, and America’s first National Park. It is an intense study of a violent world far from media scrutiny — where land grabs make developers billions, and politicians are bought and sold by the world’s largest oil and lumber corporations. Where drinking water poisoned by fracking wells and unsolved murders are not news: they are a consequence of living in the new frontier. It is the best and worst of America seen through the eyes of a family that represents both."[1]

tag: p

text: Cast and characters[edit]

text: Main[edit]

text:
Kevin Costner as John Dutton, the 6th generation patriarch of the Dutton family which controls the largest contiguous ranch in the United States. He is confronted with challenge of defending his land from those who would seek to take it from him while also overcoming the recent death of his son and a recent diagnosis of colon cancer. Josh Lucas portrays a young John Dutton in a recurring role.
Luke Grimes as Kayce Dutton, a former US Navy SEAL and one of John and Evelyn's sons. He lives on the local Indian reservation with his wife and son. Rhys Alterman portrays a young Kayce in a recurring role.
Kelly Reilly as Beth Dutton, a financier and the daughter of John and Evelyn. She is educated, highly intelligent, and a master manipulator. She is also, however, very unstable and suffers from a substance abuse problem. Kylie Rogers portrays a young Beth in a recurring role.
Wes Bentley as Jamie Dutton, an attorney, aspiring politician, and one of John and Evelyn's sons. Although completely loyal to his father and family, he is constantly frustrated at the current state of his family. He also has an intense love/hate relationship with his sister Beth. Dalton Baker portrays a young Jamie in a recurring role.
Cole Hauser as Rip Wheeler, the ranch foreman at Yellowstone and John's right-hand man and enforcer. Rip has worked on the ranch for many years and is fiercely loyal to John. He has an on-again, off-again relationship with Beth. Kyle Red Silverstein portrays a young Rip Wheeler in a guest appearance in the episode "The Unraveling: Pt. 1".
Kelsey Asbille as Monica Dutton, Kayce's Native American wife with whom he lives on the local reservation. She is a teacher at the school on the local Indian reservation.
Brecken Merrill as Tate Dutton, the son of Kayce and Monica and John's only grandchild.
Jefferson White as Jimmy Hurdstrom, a ranch hand at Yellowstone.
Danny Huston as Dan Jenkins, a land developer with aspirations of building on parts of Yellowstone.
Gil Birmingham as Chief Thomas Rainwater, the chief of the nearby Indian reservation.

tag: ul

text: Recurring[edit]

text:
Moses Brings Plenty as Rainwater's driver
Ian Bohen as Ryan, a cowboy wrangler
Denim Richards as Colby, a cowboy wrangler
Forrie J. Smith as Lloyd
Wendy Moniz as Governor Lynelle Perry, the Governor of Montana.
Atticus Todd as Ben Waters
Timothy Carhart as A.G. Stewart
Rudy Ramos as Felix Long
Tokala Black Elk as Sam Stands Alone
Michaela Conlin as Sarah Nguyen
Ryan Bingham as Walker
Luke Peckinpah as Fred Meyers
Walter C. Taylor III as Emmett Walsh
Fredric Lehne as Carl Reynolds
Savonna Spracklin as Alice Wahl
Robert Mirabal as Principle Littlefield
Heather Hemmens as Melody Prescott
Katherine Cunningham as Christina
John Aylward as Father Bob
Morningstar Angeline as Samantha Long
Bill Tangradi as Alan Keene
Michael Nouri as Bob Schwartz
Gretchen Mol as Evelyn Dutton, the late wife of John Dutton, mother to Jaime, Beth, Kayce, and stepmother to John’s eldest son, Lee.
Barret Swatek as Victoria Jenkins, the wife of Dan Jenkins.
Hugh Dillon as Sheriff Donnie Haskell

text: Guest[edit]

text:
Dave Annable as Lee Dutton ("Daybreak")
Jill Hennessy as Senator Huntington ("Daybreak"), an ally of Chief Rainwater.
Jeremiah Bitsui as Robert Long ("Daybreak")
Geno Segers as Danny Trudeau ("No Good Horses")
Taylor Sheridan as Travis Wheatley ("Coming Home")
Tinsel Korey as Emily Sessions ("A Monster Is Among Us")
Mike Faiola as Dr. Fielding ("A Monster Is Among Us")
Brian Unger as Dr. Stafford ("A Monster Is Among Us")
Hugh Dillon as Sheriff Donnie Haskell ("The Unravelling: Pt. 1")
Tanaya Beatty as Avery ("The Unravelling: Pt. 2")
James Pickens Jr. as Old Cowboy ("The Unravelling: Pt. 2")

text: Episodes[edit]

text:
No.TitleDirected byWritten byOriginal air dateU.S. viewers(millions)1"Daybreak"Taylor SheridanStory by : Taylor Sheridan & John Linson Teleplay by : Taylor SheridanJune 20, 2018 (2018-06-20)2.83[2]
2"Kill the Messenger"Taylor SheridanStory by : Taylor Sheridan & John Linson Teleplay by : Taylor SheridanJune 27, 2018 (2018-06-27)2.07[3]
3"No Good Horses"Taylor SheridanTaylor SheridanJuly 11, 2018 (2018-07-11)2.17[4]
4"The Long Black Train"Taylor SheridanTaylor SheridanJuly 18, 2018 (2018-07-18)1.89[5]
5"Coming Home"Taylor SheridanTaylor SheridanJuly 25, 2018 (2018-07-25)1.95[6]
6"The Remembering"Taylor SheridanTaylor SheridanAugust 1, 2018 (2018-08-01)2.10[7]
7"A Monster Is Among Us"Taylor SheridanTaylor SheridanAugust 8, 2018 (2018-08-08)2.08[8]
8"The Unravelling, Pt. 1"Taylor SheridanTaylor SheridanAugust 15, 2018 (2018-08-15)2.13[9]
9"The Unravelling, Pt. 2"Taylor SheridanTaylor SheridanAugust 22, 2018 (2018-08-22)2.37[10]

tag: table

text: Production[edit]

text: Development[edit]

text: In 2013, Taylor Sheridan began work on the series, having recently grown tired of acting and begun writing screenplays. Having lived in the rural parts of states such as Texas and Wyoming, Sheridan purposely set the series in Montana and went about writing the first scripts in Livingston.[11]

text: On May 3, 2017, it was announced that the Paramount Network had greenlit its first scripted series, Yellowstone. Paramount issued a series order for a first season consisting of ten episodes. The series was set to be written, directed, and executive-produced by Sheridan. Other executive producers were to include John Linson, Art Linson, Harvey Weinstein, and David Glasser. Production companies involved with the series were set to consist of Linson Entertainment and The Weinstein Company.[1]

text: On October 12, 2017, it was announced that following reports of sexual abuse allegations against producer Harvey Weinstein, his name would be removed from the series' credits as would The Weinstein Company as well.[12] On January 15, 2018, Kevin Kay, president of Paramount Network, clarified during the annual Television Critics Association's winter press tour that Yellowstone will not have The Weinstein Company's credits or logo on them, even though that company was involved in production. Furthermore, he stated that their intent is to replace Weinstein Television with the company’s new name in the show's credits when available.[13] That same day, it was also announced that the series would premiere on June 20, 2018.[14]

text: On July 24, 2018, it was announced that Paramount Network had renewed the series for a second season that was expected to premiere in 2019.[15]

text: Casting[edit]

text: On May 15, 2017, it was announced that Kevin Costner had been cast in the series lead role of John Dutton.[16] In June 2017, it was reported that Luke Grimes, Cole Hauser, Wes Bentley, and Kelly Reilly had joined the cast as series regulars.[17][18] On July 13, 2017, it was announced that Kelsey Asbille had been cast in a main role.[19] In August 2017, it was reported that Dave Annable, Gil Birmingham, and Jefferson White had been added to the main cast while Wendy Moniz, Gretchen Mol, Jill Hennessy, Patrick St. Esprit, Ian Bohen, Denim Richards, and Golden Brooks were joining the cast in a recurring capacity.[20][21][22][23] In November 2017, it was announced that Michaela Conlin and Josh Lucas had been added to the cast in recurring roles.[24][25] On December 19, 2017, it was reported that Heather Hemmens was joining the cast in a recurring capacity.[26] On June 13, 2018, it was announced that Barret Swatek had been cast in a recurring role.[27]

text: Filming[edit]

text: Principal photography for the series began in August 2017 at the Chief Joseph Ranch in Darby, Montana, which stands in as the home of John Dutton. Filming also took place that month near Park City, Utah. The production used all three soundstages at the Utah Film Studio in Park City, which is a total of 45,000 square feet. The building also houses offices, editing, a huge wardrobe department and construction shops. By November 2017, the series had filmed in more than twenty locations in Utah, including the Salt Flats and Spanish Fork. Additionally, filming also took place at various locations in Montana. Production was reportedly set to last until December 2017.[28][29]

text: Music[edit]

text: The series' score was composed by Brian Tyler who worked with musicians from the London Philharmonia Orchestra and viola, cello, and violin soloists. On August 17, 2018, the soundtrack for the first season was released by Sony Music.[30]

text: Release[edit]

text: Marketing[edit]

text: On February 28, 2018, a teaser trailer for the series was released.[31] On April 26, 2018, the first full trailer was released.[32]

text: Premiere[edit]

text: On June 25, 2018, the series held a screening at Seriesfest, an annual international television festival, at the Red Rocks Amphitheatre in Denver, Colorado.[33][34]

text: Reception[edit]

text: Critical response[edit]

text: The series has been met with a mixed response from critics upon its premiere. On the review aggregation website Rotten Tomatoes, the first season holds a 51% approval rating, with an average rating of 5.86 out of 10 based on 35 reviews. The website's critical consensus reads, "Yellowstone proves too melodramatic to be taken seriously, diminishing the effects of the talented cast and beautiful backdrops."[35] Metacritic, which uses a weighted average, assigned the season a score of 53 out of 100 based on 26 critics, indicating "mixed or average reviews."[36]

text: Ratings[edit]

text: The two-hour series premiere of Yellowstone averaged 2.8 million viewers in live + same day and became the most-watched original scripted series telecast ever on Paramount Network (or its predecessor Spike). The premiere audience grows to nearly 4 million when the two encore airings of the premiere are factored in. The premiere audience more than doubled that of Paramount Network’s first scripted drama series, Waco and more than tripled the debut viewership of Paramount Network's new comedy series, American Woman.[37] It was later reported that the premiere's Live+3 Nielsen ratings revealed that 4.8 million viewers ultimately watched the premiere after delayed viewing was factored in.[38] By the series' third episode, it was reported that the show had become the second most watched television series on ad-supported cable to air in 2018, only behind AMC's The Walking Dead.[39]

text:
No.

Title

Air date
Rating(18–49)
Viewers(millions)
DVR(18–49)
DVR viewers(millions)
Total(18–49)
Total viewers(millions)

1

"Daybreak"

June 20, 2018
0.4
2.83[2]
0.5
2.48
0.9
5.31[40]

2

"Kill the Messenger"

June 27, 2018
0.3
2.07[3]
0.4
2.22
0.7
4.29[41][a]

3

"No Good Horses"

July 11, 2018
0.4
2.17[4]
0.5
3.05
0.9
5.22[42]

4

"The Long Black Train"

July 18, 2018
0.3
1.89[5]
0.5
2.75
0.8
4.64[43]

5

"Coming Home"

July 25, 2018
0.3
1.95[6]
0.6
3.03
0.9
4.98[44]

6

"The Remembering"

August 1, 2018
0.4
2.10[7]
0.4
2.20
0.8
4.31[45][a]

7

"A Monster Is Among Us"

August 8, 2018
0.4
2.08[8]
0.4
2.35
0.8
4.43[46][a]

8

"The Unravelling, Pt. 1"

August 15, 2018
0.4
2.13[9]
0.4
2.14
0.8
4.27[47][a]

9

"The Unravelling, Pt. 2"

August 22, 2018
0.4
2.37[10]
TBD
TBD
TBD
TBD

text: Notes[edit]

text: ^ Jump up to: a b c d Live +7 ratings were not available, so Live +3 ratings have been used instead.

tag: ol


document_title: First Battle of Panipat

question_text: who was defeated in first battle of panipat

text: First Battle of Panipat

text: Background[edit]

text: After losing Samarkand for the third time, Babur gave attention to conquer India as he reached the banks of the Chenab in 1519.[4] Until 1524, his aim was to only expand his rule to Punjab, mainly to fulfil his ancestor Timur's legacy, since it used to be part of his empire.[5] At the time parts of north India were under the rule of Ibrahim Lodi of the Lodi dynasty, but the empire was crumbling and there were many defectors. He received invitations from Daulat Khan Lodi, Governor of Punjab and Ala-ud-Din, uncle of Ibrahim.[6] He sent an ambassador to Ibrahim, claiming himself the rightful heir to the throne of the country, however the ambassador was detained at Lahore and released months later.[7]

text: Babur started for Lahore, Punjab, in 1524 but found that Daulat Khan Lodi had been driven out by forces sent by Ibrahim Lodi.[8] When Babur arrived at Lahore, the Lodi army marched out and his army was routed.[8] In response, Babur burned Lahore for two days, then marched to Dipalpur, placing Alam Khan, another rebel uncle of Lodi's, as governor.[8] Alam Khan was quickly overthrown and fled to Kabul. In response, Babur supplied Alam Khan with troops who later joined up with Daulat Khan Lodi and together with about 30,000 troops, they besieged Ibrahim Lodi at Delhi.[9] He defeated them and drove off Alam's army and Babur realised Lodhi would not allow him to occupy the Punjab.[9]

text: Battle[edit]

text: Hearing of the size of Ibrahim's army, Babur secured his right flank against the city of Panipat, while digging a trench covered with tree branches to secure his left flank. In the center, he placed 700 carts tied together with ropes. Between every two carts there were breastworks for his matchlockmen. Babur also ensured there was enough space for his cavalry to charge between these carts.[3]

text: When Ibrahim's army arrived, he found the approach to Babur's army too narrow to attack. While Ibrahim redeployed his forces to allow for the narrower front, Babur quickly took advantage of the situation to flank (tulghuma) the Lodi army.[3] Many of Ibrahim's troops were unable to get into action, and fled when the battle turned against Ibrahim.[10] Faced with musket fire, cannon fire and cavalry attacks from all sides, Ibrahim Lodi fought and died with 6,000 of his remaining troops.[3]

text: Advantage of cannons in the battle[edit]

text: Babur's guns proved decisive in battle, firstly because Ibrahim lacked any field artillery, but also because the sound of the cannon frightened Ibrahim's elephants, causing them to trample his own men.[10]

text: Tactics[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2014) (Learn how and when to remove this template message)

text: New tactics introduced by Babur were the tulghuma and the araba. Tulghuma meant dividing the whole army into various units, viz. the Left, the Right and the Centre. The Left and Right divisions were further subdivided into Forward and Rear divisions. Through this a small army could be used to surround the enemy from all sides. The Centre Forward division was then provided with carts (araba) which were placed in rows facing the enemy and tied to each other with animal hide ropes. Behind them were placed cannons protected and supported by mantlets which could be used to easily maneuver the cannons. These two tactics made Babur's artillery lethal. The cannons could be fired without any fear of being hit, as they were shielded by the bullock carts held in place by hide ropes. The heavy cannons could also be easily traversed onto new targets, as they could be maneuvered by the mantlets which were on wheels.

text: Aftermath[edit]

text: Ibrahim Lodi died on the field of battle along with 15,000 of his troops. Vikramajit, ruler of Gwaliyar, was killed as well. The battle of Panipat was militarily a decisive victory. Politically it gained Babur little, and initiated a new phase of his establishment of the Mughal empire.[3]


document_title: Rita, Sue and Bob Too

question_text: where is rita sue and bob too filmed

question_tokens: where is rita sue and bob too filmed

text: Rita, Sue and Bob Too

text: Plot[edit]

text: Rita and Sue are two teenaged girls in their final year of school who live on a run down council estate in Bradford. To earn some money, they babysit for Bob and Michelle (Lesley Sharp), a better-off couple who live in a detached house in a nicer part of town. When the couple return later, Michelle pays the girls and tells Bob to give them a lift home. Bob, however, drives them to an out of the way place to have sex with each of them in the back of his car. They nonchalantly agree, and he and the girls plan to make it a regular thing. By the time they're finished, it's 2 a.m.

text: Sue sneaks into her house hoping that everyone is in bed. However, her drunken father is waiting for her in the living room, holding a half a snooker cue, threatening to "wrap it round [her] neck". Sue and her parents proceed to argue about why she's home so late, with her mother taking Sue's side. After her father gives up and goes to bed, Sue's mother asks for the truth, but Sue repeats the lie, to her mother's disappointment.

text: Sue gets a part-time job at a local taxi firm, and meets Aslam (Kulvinder Ghir), a Pakistani boy who drives for the firm. He and another driver make a bet on who can get her into bed first. Sue rebuffs them. At school, Bob shows up at Rita and Sue's P.E. tennis class to take them for a "jump" (sex). Rita manages to get permission from the teacher to use the toilet (a ruse to see Bob); but Sue is denied and told to get back to the class. She takes her anger out on another student. Bob takes Rita to a furnished showhome on a new housing development, where they have sex.

text: Later on, Michelle finds a package of condoms in Bob's trousers whilst ironing them. Bob tells her that he and his mates were blowing them up like balloons at the pub for fun, but Michelle doesn't believe him and they argue. During the argument, it is revealed that Michelle is reluctant to have sex, which frustrates Bob. It also turns out that Bob previously had an affair, discovered when Michelle found his mistress's bracelet in their bed; the mistress had also been their babysitter. Michelle goes upstairs to get ready for their planned night out, for which Rita and Sue are again babysitting. Bob warns the girls that Michelle is suspicious and will ask them questions and try to trick them. They convince Michelle that Bob isn't sleeping with either of them.

text: After their night out, Bob and Michelle start arguing again, this time in front of Rita and Sue who desperately try not to laugh. Michelle takes her anger out on them and tells them to stop laughing. She then storms off to bed. Grumpily, Rita and Sue make their own way home, unhappy that Bob can't take them in his car and have sex with them again. That night, Michelle decides to let Bob have sex with her to stop him going off with other women, but it goes badly.

text: The next day, on a school trip, Sue gets into a fight with a classmate who calls her a "slag" (British slang for a promiscuous woman) because she is rumoured to be seeing a married man. Later, Rita and Sue skip school to go and meet Bob, hoping to make up for the previous night, but Bob can't get an erection, embarrassing himself and leaving Rita and Sue unsatisfied. He takes them out to a club instead, where Michelle's best friend Mavis happens to be, and spots Bob with the girls. Bob warns the girls that Mavis will surely tell Michelle she saw them together.

text: The next morning, Mavis rushes around to tell Michelle what she saw, and Michelle storms over to Rita's house in Mavis's car. Michelle drags Rita out of her house and into Mavis's car, and takes her to Sue's flat to confront them both, with Bob now in tow. Michelle, Bob, Rita, Sue, and Sue's parents have a big argument in front of all the neighbours, who are all having a good laugh over the spectacle. Michelle blames the girls for being slutty, but Sue retorts that the reason Bob cheats on her is because she doesn't have enough sex with him. Michelle turns on Bob, goes home, ransacks the house, and she and their children leave in a taxi, never to return.

text: The next day, Sue goes to Rita's house to walk to school together. Rita tells her that she is no longer going to school, because they are due to leave school soon and Bob has asked her to move in with him. She also reveals that she is pregnant with Bob's child. When Bob arrives to take her away, Sue is enraged and tells them both to get lost.

text: Sue dates Aslam as a rebound to get over Bob and Rita. They go to the cinema, and then off to a grassy hillside spot where they start kissing. Afterwards they go to Sue's flat where Aslam meets her parents. Her father comes home from the pub drunk and shouts racist comments at Aslam, causing Sue to leave home and move in with Aslam and his sister.

text: Months later, Sue finds out that Rita has miscarried, and visits her in the hospital. On the way out, Bob approaches Sue and invites her for another escapade. Sue refuses, saying she's staying faithful to Aslam, whom she's now living with. After Bob drops Sue off at her house, Aslam attacks Sue, thinking that she was out having sex with Bob.

text: Later at Bob's house, he and Rita are about to have sex, when Bob accidentally says Sue's name. Angry, Rita leaves to confront Sue. When she gets there, she finds Aslam attacking Sue. Defending her, Rita kicks him in the knees, and then Sue kicks him in his groin, disabling him enough for Sue and Rita to escape. They go back to Bob's house, where Rita tends to Sue's wounds, and Aslam shows up at Bob's door. They refuse to let him in, but Aslam tries to find a way to break in, all the while trying to convince Sue to come back to him. He almost gets in through the patio doors, but Rita runs and locks them. He tries to plead with Sue, threatening suicide if she doesn't come back. The situation is interrupted by the arrival of the police, having been called by a neighbour. Aslam then runs off with the police in pursuit.

text: When Bob returns home, Rita tells him that she is letting Sue move in with them. They go upstairs and Bob goes to get a bath. When he goes into the bedroom he finds both girls semi-naked in his bed and the film ends with him diving onto the bed.

text: Cast[edit]

text:
Siobhan Finneran as Rita
Michelle Holmes as Sue
George Costigan as Bob
Lesley Sharp as Michelle
Kulvinder Ghir as Aslam
Willie Ross as Sue's father, Kevin
Danny O'Dea as Paddy
Maureen Long as Rita's mother
Patti Nichols as Sue's mother
David Britton as Rita's brother
Mark Crompton as Rita's brother
Stuart Googwin as Rita's brother
Max Jackman as Rita's brother
Andrew Krauz as Rita's brother
Simon Waring as Rita's brother
Joyce Pembroke as Lawnmower Lil
Jane Atkinson as Helen
Bryan Heeley as Michael
Paul Oldham as Lee
Bernard Wrigley as Teacher
Dennis Conlon as Taxi Driver
Black Lace as themselves
Nancy Pute as Mavis
Paul Hedges as Hosepipe Harry
Kailash Patel as Aslam's Sister

text: Filming locations[edit]

text: Some of the filming locations around West Yorkshire include:[3]

text:
Buttershaw – Rita's house; Sue's flat; the school - All of these have now been demolished.  The Beacon pub from the very first scene is still on Reevy Road West.
Baildon – Bob's house (Bramham Drive); Moorland scenes.
Bradford – Aslam's house (Alexandra Street); Luna Radio Kars (Leeds Road).
Haworth – The school trip to the Bronte Parsonage.

text: Reception[edit]

text: The film gained a mostly positive reception from critics.[4][5][6][7][8][9]


document_title: Margaret Hamilton (actress)

question_text: who is the mean lady in the wizard of oz

text: Margaret Hamilton (actress)

text: Early life[edit]

text: Hamilton was born to Walter J. Hamilton, and his wife, Mary Jane (née Adams; known by her nickname, Jennie), in Cleveland, Ohio, and was the youngest of four children. She later attended Hathaway Brown School, while the school was located at 1945 East 93rd Street in Cleveland. Drawn to the theater at an early age, Hamilton made her stage debut in 1923. Hamilton also practiced her craft doing children's theater while she was a Junior League of Cleveland member. She later moved to Painesville, Ohio. Before she turned to acting exclusively, her parents insisted that she attend Wheelock College in Boston, which she did, later becoming a kindergarten teacher.[citation needed]

text: Film career[edit]

text: Hamilton's career as a film actress was driven by the very qualities that placed her in stark contrast to the stereotypical Hollywood glamour girl. Her image was that of a New England spinster, extremely pragmatic and impatient with all manner of "tomfoolery". Hamilton's looks helped to bring steady work as a character actor. She made her screen debut in 1933 in Another Language. She went on to appear in These Three (1936), Saratoga, You Only Live Once, When's Your Birthday?, Nothing Sacred (all 1937), The Adventures of Tom Sawyer (1938), My Little Chickadee (with W. C. Fields) (1940), and The Sin of Harold Diddlebock (1947 film) with Harold Lloyd. She strove to work as much as possible to support herself and her son; she never put herself under contract to any one studio and priced her services at $1,000 ($16,700 with inflation[2]) a week.[3]

text: Hamilton costarred opposite Buster Keaton and Richard Cromwell in a 1940s spoof of the long-running local melodrama The Drunkard, titled The Villain Still Pursued Her. Later in the decade, she was in a little-known film noir, titled Bungalow 13 (1948), in which she again costarred opposite Cromwell. Her crisp voice with rapid but clear enunciation was another trademark. She appeared regularly in supporting roles in films until the early 1950s, and sporadically thereafter. Opposite Bud Abbott and Lou Costello, she played a heavily made-up witch in Comin' Round the Mountain, where her character and Costello go toe-to-toe with voodoo dolls made of each other. She appeared, uncredited, in Joseph L. Mankiewicz's People Will Talk (1951) as Sarah Pickett. In 1960, producer/director William Castle cast Hamilton as a maid in his 13 Ghosts horror film, in which 12-year-old lead Charles Herbert taunts her about being a witch, including one scene in which she is holding a broom in her hand.[citation needed]

text: The Wizard of Oz[edit]

text: In 1939, Hamilton played the role of the Wicked Witch, opposite Judy Garland's Dorothy Gale in The Wizard of Oz, creating not only her most famous role, but also one of the screen's most memorable villains. Hamilton was cast after Gale Sondergaard, who was first considered for the role, albeit as a more glamorous witch with a musical scene, declined the role when the decision was made that the witch should appear ugly.[4]

text: She suffered a second-degree burn on her face and a third-degree burn on her hand during a second take of her fiery exit from Munchkinland, in which the trap door's drop was delayed to eliminate the brief glimpse of it seen in the final edit. Hamilton had to recuperate in a hospital and at home for six weeks after the accident before returning to the set to complete her work on the film, and refused to have anything further to do with fire for the rest of the filming. After she recuperated, she said, "I won't sue, because I know how this business works, and I would never work again. I will return to work on one condition — no more fireworks!" Garland visited Hamilton while the latter recuperated at home looking after her son.[5] Studio executives cut some of Hamilton's more frightening scenes, worrying that they would frighten children too much. Later on in life, she would comment on the role of the witch in a light-hearted fashion. For an interview, she joked:

text: "I was in need of money at the time, I had done about six pictures for MGM at the time and my agent called. I said, 'Yes?' and he said 'Maggie, they want you to play a part on the Wizard.' I said to myself, 'Oh, boy, The Wizard of Oz! That has been my favorite book since I was four.' And I asked him what part, and he said, 'The Witch,' and I said, 'The Witch?!' and he said, 'What else?'"[6]

text: Hamilton's stand-in and stunt double for the Witch, Betty Danko, also suffered an on-set accident on February 11, 1939. Danko made the fiery entrance to Munchkinland, not Hamilton. She was severely burned during the "Surrender Dorothy!" skywriting sequence at the Emerald City. Danko sat on a smoking pipe configured to look like the Witch's broomstick. The pipe exploded on the third take of the scene. She spent 11 days in the hospital and her legs were permanently scarred. A new stunt double, Aline Goodwin, was hired to finish the broomstick-riding scene for Danko.[citation needed]

text: When asked about her experiences on the set of The Wizard of Oz, Hamilton said that her biggest fear was that her monstrous film role would give children the wrong idea of who she really was. In reality, she cared deeply about children, frequently giving to charitable organizations. She often remarked about children coming up to her and asking her why she had been so mean to Dorothy. She appeared on an episode of Mister Rogers' Neighborhood in 1975, where she explained to children that she was only playing a role and showed how putting on a costume "transformed" her into the witch. She also made personal appearances, and Hamilton described the children's usual reaction to her portrayal of the Witch:

text: "Almost always they want me to laugh like the Witch. And sometimes when I go to schools, if we're in an auditorium, I'll do it. And there's always a funny reaction, like 'Ye gods, they wish they hadn't asked.' They're scared. They're really scared for a second. Even adolescents. I guess for a minute they get the feeling they got when they watched the picture. They like to hear it but they 'don't' like to hear it. And then they go, 'Ohhhhhhhhhh...!' The picture made a terrible impression of some kind on them, sometimes a ghastly impression, but most of them got over it, I guess...because when I talk like the Witch, and when I laugh, there is a hesitation and then they clap. They're clapping at hearing the sound again."[7]

text: Hamilton played two credited roles in the famous film: Almira Gulch and the Wicked Witch of the West. Hamilton also appears as an unidentified flying witch during the tornado scene. Some argue this is actually intended to be the Wicked Witch of the East rather than her sister, and Hamilton's credited role, the Wicked Witch of the West; if so, this would be a third, uncredited role. Only costar Frank Morgan played more roles in the film (five roles). Hamilton and Morgan never share any scenes in Oz. However, in By Your Leave (1934), she plays his housekeeper, and in Saratoga (1937), she has a colloquy with Morgan regarding a cosmetic product he invented (with side glances and eye rolls by Morgan as to its effect on her "beauty"). Hamilton's line from The Wizard of Oz — "I'll get you, my pretty, and your little dog, too!" — was ranked 99th in the 2005 American Film Institute survey of the most memorable movie quotes. Her son, interviewed for the 2005 DVD edition of the film, commented that Hamilton enjoyed the line so much, she sometimes used it in her real life. A few months after filming Oz, she appeared in Babes in Arms as Jeff Steele's mother, Martha, a society do-gooder who made it her goal to send the gang of child actors, led by Mickey Rooney and Judy Garland, to a work farm. In 1945, she played the domineering sister of Oz costar Jack Haley in George White's Scandals, comically trying to prevent him from marrying actress Joan Davis, even going so far as to throw a hatchet at her. Hamilton and Ray Bolger were cast members in the 1966 fantasy film The Daydreamer, a collection of stories by Hans Christian Andersen. A few years later, they were reunited on Broadway for the short-lived musical Come Summer.

text: Radio, television, and stage career[edit]

text: In the 1940s and 1950s, Hamilton had a long-running role on the radio series Ethel and Albert (or The Couple Next Door) in which she played the lovable, scattered Aunt Eva (name later changed to Aunt Effie). During the 1960s and 1970s, Hamilton appeared regularly on television. She did a stint as a What's My Line? mystery guest on the popular Sunday night CBS-TV program. She played Morticia Addams' mother, Hester Frump, in three episodes of The Addams Family. (1965–66; Hamilton had been offered the role of Grandmama, but turned it down.)

text: In 1962, Hamilton played Leora Scofield, a suffragette who arrives in Laramie, Wyoming, to bolster feminist causes in a territory where women had already obtained the right to vote, in the episode "Beyond Justice" of NBC's Laramie. In the story line, she is depicted as a long-lost friend of series character Daisy Cooper, played by Spring Byington. Series lead character Slim Sherman (John Smith) is skeptical of the suffragettes, and Sheriff Mort Corey and he concoct a tale that the women should head to Cheyenne, where their services are more needed than in Laramie.[8]

text: Having started on the stage in the early 1930s, she began to work extensively in the theater after leaving Los Angeles, and appeared on Broadway in the musical Goldilocks opposite Don Ameche and Elaine Stritch, gave a lighter touch to the domineering Parthy Anne Hawks in the 1966 revival of Show Boat (dancing with David Wayne), and was the tender Aunt Eller in the 1968 Lincoln Center revival of Oklahoma!. Hamilton also toured in many plays and musicals, even repeating her role of the Wicked Witch in specially written stage productions of The Wizard of Oz. For her last stage role, she was cast as Madame Armfeldt in the Stephen Sondheim musical A Little Night Music, singing the song "Liaisons" for the national tour costarring with Jean Simmons as her daughter Desiree.

text: Even with her extensive film career, Hamilton took roles in whatever medium she could get if she was free, making her soap-opera debut as the nasty Mrs. Sayre on Valiant Lady, who schemed to prevent her daughter from marrying the heroine's son. In the 1960s, Hamilton was a regular on another CBS soap opera, The Secret Storm, playing the role of Grace Tyrell's housekeeper, Katie. In the early 1970s, she joined the cast of another CBS soap opera, As the World Turns, on which she played Miss Peterson, Simon Gilbey's assistant. She had a small role in the made-for-TV film The Night Strangler (1973), and appeared as a befuddled neighbor on Sigmund and the Sea Monsters, who is a friend of the very similar Mary Wickes. In The Paul Lynde Halloween Special (1976), she portrayed Lynde's housekeeper, reprising the Wicked Witch role, as well as introducing Lynde to the rock group Kiss. She reprised her role as the Wicked Witch in an episode of Sesame Street, but as a result of complaints from parents of terrified children, the episode has not been seen since 1976. She appeared as herself in an episode of Mister Rogers' Neighborhood and continued acting regularly until 1982. Her last roles were two guest appearances as veteran journalist Thea Taft (in 1979 and 1982) on Lou Grant.

text: Throughout the 1970s, Hamilton lived in New York City's Gramercy Park neighborhood and appeared on local (and some national) public-service announcements for organizations promoting the welfare of pets. Her most visible appearances during this period were as general store owner Cora, in a national series of television commercials for Maxwell House coffee.[9][10][11]

text: Hamilton produced the stage productions An Evening with the Bourgeoisie, The Three Sisters, and House Party.[where?][when?][12]

text: Personal life[edit]

text: Hamilton remained a lifelong friend of The Wizard of Oz castmate Ray Bolger. She married Paul Boynton Meserve on June 13, 1931, and made her debut on the New York City stage the following year. While her acting career developed, her marriage began failing; the couple divorced in 1938. They had one son, Hamilton Wadsworth Meserve (born 1936), whom she raised on her own. She had three grandchildren, Christopher, Scott, and Margaret. Hamilton never remarried.[13]

text: Final years and death[edit]

text: Hamilton's early experience as a teacher fueled a lifelong interest in educational issues. Hamilton served on the Beverly Hills Board of Education from 1948 to 1951, and was a Sunday school teacher during the 1950s. She lived in Manhattan for most of her adult life. In 1979, she was a guest speaker at a UCONN Children's Literature class.[citation needed] She later moved to Millbrook, New York. She subsequently developed Alzheimer's disease, and died in her sleep following a heart attack on May 16, 1985, in Salisbury, Connecticut. She was 82 years old.[1] She was cremated at Poughkeepsie Rural Cemetery. Her ashes were scattered in Amenia, New York.[citation needed]

text: Filmography[edit]

text:
Another Language (1933)
Hat, Coat, and Glove (1934)
There's Always Tomorrow (1934)
By Your Leave (1934)
Broadway Bill (1934)
The Farmer Takes a Wife (1935)
Way Down East (1935)
Chatterbox (1936)
These Three (1936)
The Moon's Our Home (1936)
The Witness Chair (1936)
Laughing at Trouble (1936)
You Only Live Once (1937)
When's Your Birthday? (1937)
The Good Old Soak (1937)
Mountain Justice (1937)
Saratoga (1937)
I'll Take Romance (1937)
Nothing Sacred (1937)
The Adventures of Tom Sawyer (1938)
A Slight Case of Murder (1938)
Mother Carey's Chickens (1938)
Four's a Crowd (1938)
Breaking the Ice (1938)
Stablemates (1938)
The Wizard of Oz (1939)
The Angels Wash Their Faces (1939)
Babes in Arms (1939)
Main Street Lawyer (1939)
My Little Chickadee (1940)
The Villain Still Pursued Her (1940)
I'm Nobody's Sweetheart Now (1940)
The Invisible Woman (1940)
Play Girl (1941)
The Gay Vagabond (1941)
Babes on Broadway (1941)
Twin Beds (1942)
Meet the Stewarts (1942)
The Affairs of Martha (1942)
Journey for Margaret (1942)
City Without Men (1943)
The Ox-Bow Incident (1943)
Johnny Come Lately (1943)
Guest in the House (1944)
George White's Scandals (1945)
Janie Gets Married (1946)
Faithful in My Fashion (1946)
The Sin of Harold Diddlebock (1947)
Dishonored Lady (1947)
Pet peeve (1947)—short subject
Driftwood (1947)
Reaching from Heaven (1948)
State of the Union (1948)
Texas, Brooklyn and Heaven (1948)
Bungalow 13 (1948)
The Sun Comes Up (1949)
The Red Pony (1949)
Lust for Gold (1949) Uncredited
The Beautiful Blonde from Bashful Bend (1949)
The Great Plane Robbery (1950)
Wabash Avenue (1950)
Riding High (1950)
Comin' Round the Mountain (1951)
People Will Talk (1951)
13 Ghosts (1960)
Paradise Alley (1962)
The Daydreamer (1966)
Rosie! (1967)
Angel in My Pocket (1969)
Brewster McCloud (1970)
The Anderson Tapes (1971)
Journey Back to Oz (1974) — voice recorded in 1962

text: Select television appearances[edit]

text:
The Paul Winchell and Jerry Mahoney Show (cast member, 1953–54)
Valiant Lady (cast member, 1955)
Dow Hour of Great Mysteries (1960) as Lizzie Allen in The Bat by Mary Roberts Rinehart
Car 54, Where Are You? (1963), as Miss Pownthleroy
The Patty Duke Show (1963), as The Lane Family housekeeper
The Addams Family (1965–66), as Hester Frump
The Secret Storm (cast member, 1964–67)
As the World Turns (cast member, 1971)
Sesame Street (1970s)
The Night Stalker (1973)
Sigmund and the Sea Monsters (1973)
The Partridge Family (1974)
Mister Rogers' Neighborhood (4 episodes, 1975–76)
The Paul Lynde Halloween Special (1976)
Lou Grant (2 guest appearances in 1979 and 1982), as Thea Taft
Laramie (Beyond Justice, November 27, 1962)