document_title: List of African countries by population

question_text: top 10 african countries with the shortest name

text: List of African countries by population

text: This is a list of African countries and dependent territories sorted by population, which is sorted by the 2015 mid-year normalized demographic projections.

text: Table[edit]

text:
Rank

Country(or dependent territory)

July 1, 2015projection[1]

% ofpop.

Averagerelativeannualgrowth(%)[2]

Averageabsoluteannualgrowth[3]

Estimateddoublingtime(Years)[4]

Officialfigure(whereavailable)

Date oflast figure

Source

1
 Nigeria
181,563,000
15.98
2.91
4,731,000
24
173,000,000
2013
Official estimate

2
 Ethiopia
103,764,000
7.81
2.41
2,424,000
29
99,391,000
2015
Official estimate

3
 Egypt
89,125,000
7.68
2.29
2,028,000
31
94,408,000
October 12, 2018
Official population clock

4
 Democratic Republic of the Congo
77,267,000
6.70
3.13
2,390,000
22
86,026,000
July 1, 2015
Official estimate

5
 South Africa
54,957,000
4.77
1.61
873,000
43
54,956,900
July 1, 2015
Official estimate

6
 Tanzania
51,046,000
4.23
2.97
1,414,000
24
51,046,000
2015
Official estimate

7
 Kenya
45,533,000
3.84
2.87
1,196,000
24
45,533,000
2015
Official estimate

8
 Sudan
40,235,000
3.33
3.07
912,000
23
40,235,000
2015
Official estimate

9
 Algeria
39,670,000
3.46
2.07
768,000
34
40,100,000
January 1, 2016
Official estimate

10
 Uganda
37,102,000
3.10
3.09
1,201,000
23
34,856,813
August 28, 2014
Preliminary 2014 census result

11
 Morocco[5]
34,380,000
3.33
1.24
412,000
56
33,337,529
September 1, 2014
Preliminary 2014 census result

12
 Mozambique
28,013,000
2.23
2.74
702,000
26
28,013,000
2015
Official estimate

13
 Ghana
27,414,000
2.40
2.48
621,000
28
27,043,093
2014
Official estimate

14
 Angola
25,326,000
2.20
3.43
839,000
21
24,383,301
May 16, 2014
Preliminary 2014 census result

15
 Ivory Coast
23,126,000
2.02
2.55
451,000
27
22,671,331
May 15, 2014
Preliminary 2014 census result

16
 Madagascar
23,043,000
2.00
2.71
609,000
26
22,434,363
2014
Official estimate

17
 Cameroon
21,918,000
1.90
2.65
565,000
27
21,917,602
2015
Official estimate

18
 Niger
18,880,000
1.64
3.86
701,000
18
17,138,707
December 10, 2012
Final 2012 census result

19
 Burkina Faso
18,450,000
1.60
3.26
582,000
22
18,450,494
2015
Official estimate

20
 Mali
17,796,000
1.54
3.30
568,000
21
14,528,662
April 1, 2009
Final 2009 census result

21
 Malawi
16,307,000
1.41
3.18
502,000
22
16,832,900
July 1, 2016
Official estimate

22
 Zambia
15,474,000
1.34
3.00
451,000
23
15,473,905
2015
Official estimate

23
 Somalia
14,317,996
0.95
1.54
166,000
45
12,316,895
January 1, 2016
Official estimate

24
 Senegal
14,150,000
1.23
2.92
401,000
24
14,354,690
2015
Official estimate

25
 Chad
13,675,000
1.19
3.57
471,000
20
11,039,873
May 20, 2009
Final 2009 census result

26
 Zimbabwe
13,503,000
1.17
1.17
156,000
60
13,061,239
August 17, 2012
Final 2012 census result

27
 South Sudan
12,519,000
1.09
5.95
703,000
12
8,260,490
April 22, 2008
2008 census result

28
 Rwanda
11,324,000
0.98
2.61
288,000
27
10,515,973
August 15, 2012
Final 2012 census result

29
 Tunisia
11,118,000
0.96
1.04
114,000
67
10,982,754
April 23, 2014
Preliminary 2014 census result

30
 Guinea
10,935,000
0.95
2.30
246,000
30
10,628,972
April 2, 2014
Preliminary 2014 census result

31
 Benin
10,782,000
0.93
3.54
369,000
20
10,008,749
May 11, 2013
Final 2013 census result

32
 Burundi
9,824,000
0.85
2.93
280,000
24
9,823,828
2015
Official estimate

33
 Togo
7,065,000
0.61
2.87
197,000
25
6,191,155
November 6, 2010
Final 2010 census result

34
 Eritrea
6,895,000
0.60
5.49
359,000
13
6,536,000
July 1, 2014
Official estimate

35
 Sierra Leone
6,513,000
0.56
2.57
163,000
27
6,348,350
2014
Official estimate

36
 Libya
6,278,000
0.54
1.13
70,000
62
5,298,152
April 15, 2006
2006 census result

37
 Republic of the Congo
4,706,000
0.41
2.98
136,000
24
3,697,490
April 28, 2007
2007 census result

38
 Central African Republic
4,659,080
0.42
2.00
96,000
35
3,859,139
2017
[1]

39
 Liberia
4,046,000
0.35
2.09
83,000
33
3,476,608
March 21, 2008
Final 2008 census result

40
 Mauritania
3,632,000
0.31
2.43
86,000
29
3,718,678
2016
Official estimate

41
 Namibia
2,281,000
0.20
2.01
45,000
35
2,280,700
July 1, 2015
Official estimate

42
 Botswana
2,176,000
0.19
1.92
41,000
36
2,024,904
August 22, 2011
Final 2011 census result

43
 Gambia
2,022,000
0.18
3.27
64,000
22
1,882,450
April 15, 2013
Preliminary 2013 census result[permanent dead link]

44
 Equatorial Guinea
1,996,000
0.17
4.23
81,000
17
1,222,442
July 4, 2015
Preliminary 2015 census result

45
 Lesotho
1,908,000
0.17
0.21
4,000
330
1,894,194
2011
Official estimate

46
 Gabon
1,873,000
0.16
1.85
34,000
38
1,802,278
October 5, 2013
Preliminary 2013 census result

47
 Guinea-Bissau
1,788,000
0.16
2.58
45,000
27
1,530,673
2015
Official estimate

48
 Mauritius
1,263,000
0.11
0.16
2,000
437
1,261,208
July 1, 2014
Official estimate

49
 eSwatini (Swaziland)
1,119,000
0.10
1.18
13,000
59
1,119,375
2015
Official estimate

50
 Djibouti
961,000
0.08
2.67
25,000
26
864,618
July 1, 2011
Official estimate

51
 Réunion (France)
853,000
0.07
0.71
6,000
98
840,974
January 1, 2013
Official estimate

52
 Comoros
783,000
0.07
2.62
20,000
27
806,200
July 1, 2016
Official estimate

53
 Cape Verde
525,000
0.05
1.35
7,000
52
491,875
June 16, 2010
Final 2010 census result[permanent dead link]

54
Western Sahara[6]
509,000
0.04
1.80
9,000
39
510,713
September 2, 2014
Preliminary 2014 census result

55
 Mayotte (France)
229,000
0.02
2.69
6,000
26
212,600
August 21, 2012
2012 census result

56
 São Tomé and Príncipe
194,000
0.02
2.65
5,000
27
179,200
May 13, 2012
Final 2012 census result

57
 Seychelles
97,000
0.01
1.04
1,000
67
90,945
August 26, 2010
Final 2010 census result

58
 Saint Helena, Ascension and Tristan da Cunha (UK)
4,000
<0.01
0.0
0
-
5,633
June 2016
2016 census result

Total
1,153,308,000
100.00
2.68
30,155,000
26

text: African population by country (top 8).


document_title: For a Few Dollars More

question_text: where was for a few dollars more filmed

question_tokens: where was for a few dollars more filmed

root

text: For a Few Dollars More

text: Opening[edit]

text: The film opens with a lone rider being shot dead by an unseen assailant before the credits. The event is explained by an on-screen caption which reads: "Where life had no value, death, sometimes, had its price. That is why the bounty killers appeared".[9] Newman, who asserts the new heroic status that the film awards to bounty hunters, uses the caption as the sub-heading for the section on bounty hunters in his "Law and Order" chapter.[9] According to Newman, being a bounty hunter was traditionally "something to be ashamed of" and "(ranking) lower than a card sharp on the Western scale of worthwhile citizens".[11]

tag: p

text: Plot[edit]

text: Colonel Douglas Mortimer (Van Cleef) and Manco (Eastwood) are separately introduced as two bounty killers who hunt down and kill wanted outlaws to collect bounty. Meanwhile, a gang of outlaws breaks into a prison to free their leader — the clever, ruthless and psychotic "El Indio" (Volonte) — killing the warden and most of the guards. When news of the escape is released, Mortimer and Manco are interested in the large reward announced.

text: Indio has a musical pocketwatch that he plays before engaging in gun duels: "When the chimes finish, begin," he says. Flashbacks reveal that he took the watch from a young woman (Rosemary Dexter) whom he found in bed with her husband. He killed the husband and raped her, but she shot herself while he was doing it. Her photograph is inside the watch cover. Indio is haunted by the incident and smokes an addictive drug to cloud his memory. Mortimer states that Indio is "a complete madman" but later qualifies it by admitting that "he's no idiot".

text: Indio plans to rob the Bank of El Paso which has a disguised safe containing "almost a million dollars". Manco arrives in the town and becomes aware of Mortimer, who arrived earlier. He sees Mortimer deliberately insult the hunchback Wild (Kinski), who is reconnoitring the bank. Manco confronts Mortimer and, as neither will give way, they decide to work together. Mortimer persuades Manco to join Indio's gang and "get him between two fires". Manco frees a friend of Indio from prison and, despite Indio's suspicions, is accepted into the gang.

text: Indio sends Manco and three others to rob the bank in nearby Santa Cruz. Manco guns down the three bandits and sends a false telegraphic alarm to rouse the El Paso sheriff and his posse, who ride to Santa Cruz. The gang blast the wall at the rear of the El Paso bank and steal the safe but are unable to open it. Groggy (Luigi Pistilli) is angry when Manco is the only one to return from Santa Cruz, but Indio accepts Manco's version of events. The gang ride to the small border town of Agua Caliente. Mortimer, who has anticipated Indio's movements, is already there. Wild recognises Mortimer, forcing a showdown. Mortimer kills him and then cracks open the safe without using explosives. Indio locks the money in a strongbox and says the loot will be divided after a month.

text: Manco and Mortimer break into the strongbox and hide the money but are caught immediately afterwards and are beaten up. Mortimer has secured the strongbox lock, however, and Indio believes the money is still there. At night, Indio's lieutenant Niño (Mario Brega) kills their guard and releases Manco and Mortimer. Indio frames Cuchillo (Aldo Sambrell) and shoots him, telling the gang that Cuchillo released Manco and Mortimer. He orders the gang to pursue the bounty hunters, hoping all will kill each other while he and Niño take the loot. Groggy realises what Indio intends and kills Niño. He forces Indio to open the strongbox, but the money is no longer there.

text: Next morning, still in Agua Caliente, Mortimer asks Manco to "leave Indio to me". Indio's men are killed one by one. Apparently alone, Mortimer shoots Groggy as he runs for cover, but then his gun is shot out of his hand by Indio. Now knowing Mortimer's identity, Indio plays the pocketwatch music and challenges the unarmed Mortimer to try and kill him when it ends. As it ends, an identical pocketwatch tune begins. Manco, holding this watch, has a rifle trained on Indio. Mortimer realises that Manco has taken his watch. Manco gives his own gunbelt and pistol to Mortimer and says: "Now we start". The music plays to completion and Mortimer shoots first, killing Indio.

text: Mortimer takes Indio's watch and Manco remarks on the resemblance in the two photographs. "Naturally", Mortimer replies, "between brother and sister". His revenge complete, Mortimer declines his share of the bounty and leaves. Manco tosses the bodies of Indio and his men into a wagon and, after recovering the stolen money from its hiding place, rides away.

text: Cast[edit]

text: Leads[edit]

text:
Clint Eastwood as Manco (the "Man with No Name")
Lee Van Cleef as Colonel Douglas Mortimer
Gian Maria Volontè as El Indio

tag: ul

text: Indio's gang[edit]

text:
Mario Brega as Niño
Luigi Pistilli as Groggy
Aldo Sambrell as Cuchillo
Klaus Kinski as Wild, the hunchback
Benito Stefanelli as Hughie (aka Luke)[12]
Luis Rodríguez as Manuel
Panos Papadopulos as Sancho Perez
Werner Abrolat as Slim (uncredited)
Eduardo García as Fausto (uncredited)
Enrique Santiago as Miguel (uncredited)
Antonio Molino Rojo as Frisco (uncredited)
Frank Braña as Blackie (uncredited)
José Canalejas as Chico (uncredited)
Nazzareno Natale as Paco (uncredited)

text: Other characters[edit]

text:
Carlo Simi as El Paso's bank manager (uncredited)
Dante Maggio as Carpenter in cell with Indio
Joseph Egger as "Old Prophet"
Lorenzo Robledo as Tomaso, Indio's traitor
Peter Lee Lawrence as Mortimer's brother-in-Law (uncredited)
Rosemary Dexter as Mortimer's sister (uncredited)
Sergio Mendizábal as Tucumcari's bank manager
Tomás Blanco as Tucumcari's sheriff
Antonio Palombi as El Paso bartender (uncredited)
Antoñito Ruiz as Fernando, Manco's El Paso informant (uncredited)
Diana Faenza as Tomaso's wife (uncredited)
Diana Rabito as Calloway's girl in tub
Francesca Leone as Tomaso's baby son (uncredited)
Giovanni Tarallo as Santa Cruz telegraphist
Guillermo Méndez as Sheriff of White Rocks (uncredited)
Jesús Guzmán as Carpetbagger on train (uncredited)
José Marco as Red "Baby" Cavanagh (uncredited)
José Terrón as Guy Calloway (uncredited)
Kurt Zips as Hotel manager (uncredited)
Mara Krupp as Mary, hotel manager's wife
Mario Meniconi as Train conductor
Roberto Camardiel as Station clerk
Román Ariznavarreta as Half-shaved bounty hunter (uncredited)
Sergio Leone as Whistling bounty hunter (voice only; uncredited)[13]

text: Production[edit]

text: Development[edit]

text: After the box-office success of A Fistful of Dollars in Italy, director Sergio Leone and his new producer, Alberto Grimaldi, wanted to begin production of a sequel, but they needed to get Clint Eastwood to agree to star in it. Eastwood was not ready to commit to a second film when he had not even seen the first. Quickly, the filmmakers rushed an Italian-language print (a U.S. version did not yet exist) of Per un pugno di dollari to him. The star then gathered a group of friends for a debut screening at CBS Production Center and, not knowing what to expect, tried to keep expectations low by downplaying the film. As the reels unspooled, however, Eastwood's concerns proved to be unfounded. The audience may not have understood Italian, but in terms of style and action, the film spoke volumes. "Everybody enjoyed it just as much as if it had been in English", Eastwood recalled. Soon, he was on the phone with the filmmakers' representative: "Yeah, I'll work for that director again", he said. Charles Bronson was again approached for a starring role but he passed, citing that the sequel's script was like the first film.[14] Instead, Lee Van Cleef accepted the role. Eastwood received $50,000 for returning in the sequel, while Van Cleef received $17,000.[2]

text: Screenwriter Luciano Vincenzoni wrote the film in nine days.[15] However, Leone was dissatisfied with some of the script's dialogue, and hired Sergio Donati to work as an uncredited script doctor.[16]

text: Production[edit]

text: The film was shot in Almería, Spain, with interiors done at Rome's Cinecittà Studios.[2] The production designer Carlo Simi built the town of "El Paso" in the Almería desert:[17] it still exists, as a tourist attraction Mini Hollywood.[18] The town of Agua Caliente, where Indio and his gang flee after the bank robbery, is Albaricoques, a small "pueblo blanco" on the Níjar plain.

text: Post-production[edit]

text: As all of the film's footage was shot MOS (i.e. without recording sound at time of shooting), Eastwood and Van Cleef returned to Italy where they dubbed over their dialogue, and sound effects were added.[19] Although it is explicitly stated in the movie that the Colonel Mortimer character is originally from the Carolinas, Van Cleef opted to perform his dialogue using his native New Jersey accent rather than a Southern accent.[20]

text: Music[edit]

text: The musical score was composed by Ennio Morricone, who previously collaborated with director Leone on A Fistful of Dollars. Under Leone's explicit direction, Morricone began writing the score before production had started, as Leone often shot to the music on set.[21] The music is notable for its blend of diegetic and non-diegetic moments through a recurring motif that originates from the identical pocket watches belonging to El Indio and Colonel Mortimer.[22] "The music that the watch makes transfers your thought to a different place," said Morricone. "The character itself comes out through the watch but in a different situation every time it appears."[23]

text:
For a Few Dollars More

Soundtrack album by Ennio Morricone

Released
1965 (Original album)

Genre
Soundtrack

Label
RCA Italiana

Ennio Morricone chronology

Se non avessi più te
(1965)Se non avessi più te1965
For a Few Dollars More
(1965)
Idoli controluce
(1966)Idoli controluce1966

tag: table

text: A soundtrack album was originally released in Italy by RCA Italiana.[24] In the United States, Hugo Montenegro released a cover version as did Billy Strange and Leroy Holmes who released a cover version of the soundtrack album with the original American poster art. Maurizio Graf sang a vocal "Occhio Per Occhio"/"Eye For An Eye" to the music of the cue "Sixty Seconds to What" track that did not appear in the film but was released as a tie-in 45rpm record.

text: All tracks written by Ennio Morricone.

text:
Track listing

No.
Title
Length

1.
"La Resa Dei Conti"
3:06

2.
"Osservatori Osservati"
2:01

3.
"Il Vizio Di Uccidere"
2:24

4.
"Il Colpo"
2:21

5.
"Addio Colonnello"
1:44

6.
"Per Qualche Dollaro In Più"
2:50

7.
"Poker D'Assi"
1:15

8.
"Carillon"
1:10

text: Release and reception[edit]

text: Box office[edit]

text: For a Few Dollars More was released in Italy in December 1965 as Per Qualche Dollaro in Più.[25] In the United States, the film debuted on 10 May 1967, four months after the release of A Fistful of Dollars, grossing $5 million.[25]

text: At the time of its Italian release, the film proved to be even more commercially successful than its predecessor.[26] By 1967, the film became the highest-grossing film of any nationality in the history of Italian cinema.[27]

text: It was the seventh most popular movie at the French box office in 1966, after La Grande Vadrouille, Dr Zhivago, Is Paris Burning?, A Fistful of Dollars and Lost Command and A Man and a Woman.[28]

text: Critical reception[edit]

text: It initially received mediocre reviews from critics. Bosley Crowther of The New York Times said, "The fact that this film is constructed to endorse the exercise of murderers, to emphasize killer bravado and generate glee in frantic manifestations of death is, to my mind, a sharp indictment of it as so-called entertainment in this day."[29] Roger Ebert of the Chicago Sun-Times described the film as "one great old Western cliché after another" and that the film "is composed of situations and not plots."[30]

text: The film has since grown in popularity, while also gaining more positive feedback from contemporary critics. The review aggregator website Rotten Tomatoes reports a 94% approval rating with an average rating of 7.8/10 based on 33 reviews. The website's consensus reads, "With Clint Eastwood in the lead, Ennio Morricone on the score, and Sergio Leone's stylish direction, For a Few Dollars More earns its recognition as a genre classic."[31]

text: In a retrospective review of the Dollars Trilogy, Paul Martinovic of Den of Geek said, "For A Few Dollars More is often overlooked in the trilogy, awkwardly sandwiched between both the original film and the best-known, but it's a stunning film in its own right."[32] Paolo Sardinas of MovieWeb said, "Eastwood gives it his all and turns in another iconic performance along with scene stealer Lee Van Cleef, who helps make For a Few Dollars More twice as good as its predecessor."[33]

text: In popular culture[edit]

text: Lando Buzzanca parodied the film in For a Few Dollars Less (1966).[25]


document_title: Twenty-second Amendment to the United States Constitution

question_text: who was president when the 22nd amendment was ratified

text: Text[edit]

text: Section 1. No person shall be elected to the office of the President more than twice, and no person who has held the office of President, or acted as President, for more than two years of a term to which some other person was elected President shall be elected to the office of the President more than once. But this Article shall not apply to any person holding the office of President when this Article was proposed by the Congress, and shall not prevent any person who may be holding the office of President, or acting as President, during the term within which this article becomes operative from holding the office of President or acting as President during the remainder of such term.

text: Section 2. This Article shall be inoperative unless it shall have been ratified as an amendment to the Constitution by the legislatures of three-fourths of the several states within seven years from the date of its submission to the states by the Congress.[2]

text: Background[edit]

text: Notwithstanding that the Twenty-second Amendment was clearly a reaction to Franklin D. Roosevelt's election to an unprecedented four terms as president, the notion of presidential term limits has deep roots in American politics. Delegates to the Constitutional Convention of 1787 considered the issue (alongside broader questions, such as who would elect the president, and the President's role) extensively. Many—including Alexander Hamilton and James Madison—supported a lifetime appointment for presidents, while others favored fixed terms appointments. Virginia's George Mason denounced the life-tenure proposal as tantamount to establishment of an elective monarchy.[3] Ultimately, the Framers approved four-year terms with no restriction on the amount of time a person could serve as president.

text: Though dismissed by the Constitutional Convention, the concept of term limits for U.S. presidents took hold during the presidencies of George Washington and Thomas Jefferson. As his second term entered its final year in 1796, George Washington was exhausted from years of public service, and his health had begun to decline. He was also bothered by the unrelenting attacks from his political opponents, which had escalated after the signing of the Jay Treaty, and believed that he had accomplished his major goals as president. For these reasons, he decided not to stand for reelection to a third term, a decision he announced to the nation through a Farewell Address in September 1796.[4] Eleven years later, as Thomas Jefferson neared the half-way point of his second term, he wrote,

text: If some termination to the services of the chief magistrate be not fixed by the Constitution, or supplied by practice, his office, nominally for years, will in fact, become for life; and history shows how easily that degenerates into an inheritance.[5]

text: Since Washington made his historic announcement, numerous academics and public figures have looked at his decision to retire after two terms, and have, according political scientist Bruce Peabody, "argued he had established a two-term tradition that served as a vital check against any one person, or the presidency as a whole, accumulating too much power".[6] Numerous amendments aimed toward changing informal precedent into constitutional law were proposed in Congress during the early to mid-19th century, but none passed.[3][7] Three of the next four presidents after Jefferson—James Madison, James Monroe, and Andrew Jackson—served two terms, and each one adhered to the two-term principle;[1] Martin Van Buren was the only president between Jackson and Abraham Lincoln to be nominated for a second term, although he lost the 1840 election, and so only served one term.[7]

text: In spite of the strong two-term tradition, a few presidents prior to Franklin Roosevelt did attempt to secure a third term. Following Ulysses S. Grant's reelection victory in 1872, there were serious discussions within Republican political circles about the possibility of his running again in 1876. Interest in a third term for Grant evaporated however, in the light of negative public opinion and opposition from members of Congress, and Grant left the presidency in 1877, after two terms. Even so, as the 1880 election approached, he sought nomination for a (non-consecutive) third term at the 1880 Republican National Convention, but narrowly lost to James Garfield, who would go on to win the 1880 election.[7]

text: Theodore Roosevelt succeeded to the presidency on September 14, 1901, following William McKinley's assassination (194 days into his second term), and was subsequently elected to a full term in 1904. While he declined to seek a third (second full) term in 1908, Roosevelt did seek one four years later, in the election of 1912, where he lost to Woodrow Wilson. Wilson himself, despite his ill health following a serious stroke, aspired to a third term. Many of Wilson's advisers tried to convince him that his health precluded another campaign, but Wilson nonetheless asked that his name be placed in nomination for the presidency at the 1920 Democratic National Convention.[8] Democratic Party leaders were unwilling to support Wilson, however, and the nomination eventually went to James M. Cox. Wilson again contemplated running for a (nonconsecutive) third term in 1924, devising a strategy for his comeback, but again lacked any support; he died in February of that year.[9]

text: Franklin D. Roosevelt spent the months leading up to the 1940 Democratic National Convention refusing to state whether he would seek a third term. His Vice President, John Nance Garner, along with Postmaster General James Farley, announced their candidacies for the Democratic nomination. When the convention came, Roosevelt sent a message to the convention, saying he would run only if drafted, saying delegates were free to vote for whomever they pleased. This message was interpreted to mean he was willing to be drafted, and he subsequently was renominated on the convention's first ballot.[7][10] Later, during the 1940 general election, Roosevelt won a decisive victory over Republican Wendell Willkie, becoming the first, and to date only, person to exceed eight years in office. Roosevelt's decision to seek a third term dominated the election campaign.[11] Willkie ran against the open-ended presidential tenure, while Democrats cited the war in Europe as a reason for breaking with precedent.[7]

text: Four years later, Roosevelt faced Republican Thomas E. Dewey in the 1944 election. Near the end of the campaign, Thomas Dewey announced his support of a constitutional amendment that would limit future presidents to two terms. According to Dewey, "four terms, or sixteen years (a direct reference to the president's tenure in office four years hence), is the most dangerous threat to our freedom ever proposed."[12] He also discreetly raised the issue of the president's age. Roosevelt, however, was able to exude enough energy and charisma to retain the confidence of the American public, who reelected him to a fourth term.[13]

text: While he effectively quelled rumors of his poor health during the campaign, Roosevelt's health was in reality deteriorating. On April 12, 1945, only 82 days after his fourth inauguration, he suffered a cerebral hemorrhage and died. He was succeeded by Vice President Harry Truman.[14] In the 1946 midterm elections 18 months later, Republicans took control of both the House and the Senate. As many of them had campaigned on the issue of presidential tenure, declaring their support for a constitutional amendment that would limit how long a person could serve as president, the issue was given top priority in the 80th Congress when it convened in January 1947.[6]

text: Proposal and ratification[edit]

text: Proposal in Congress[edit]

text: The House of Representatives took quick action, approving a proposed constitutional amendment (House Joint Resolution 27) setting a limit of two four-year terms for future presidents. Introduced by Earl C. Michener, the measure passed 285–121, with support from 47 Democrats, on February 6, 1947. Meanwhile, the Senate developed its own proposed amendment, which initially differed from the House proposal by requiring that the amendment be submitted to state ratifying conventions for ratification, rather than to the state legislatures, and by prohibiting any person who had served more than 365 days in each of two terms from further presidential service. Both these provisions were removed when the full Senate took up the bill, but a new provision was, however, added. Put forward by Robert A. Taft, it clarified procedures governing the number of times a vice president who succeeded to the presidency might be elected to the office. The amended proposal was passed 59–23, with 16 Democrats in favor, on March 12.[1][15]

text: Several days later, the House agreed to the Senate's revisions, and on March 24, 1947, the constitutional amendment imposing term limitations on future Presidents was submitted to the states for ratification.[2] The ratification process for the 22nd Amendment was completed on February 27, 1951, 3 years, 343 days after it was sent to the states.[11][16]

text: Ratification by the states[edit]

text: Once submitted to the states, the 22nd Amendment was ratified by:[2]

text:
Maine (March 31, 1947)
Michigan (March 31, 1947)
Iowa (April 1, 1947)
Kansas (April 1, 1947)
New Hampshire (April 1, 1947)
Delaware (April 2, 1947)
Illinois (April 3, 1947)
Oregon (April 3, 1947)
Colorado (April 12, 1947)
California (April 15, 1947)
New Jersey (April 15, 1947)
Vermont (April 15, 1947)
Ohio (April 16, 1947)
Wisconsin (April 16, 1947)
Pennsylvania (April 29, 1947)
Connecticut (May 21, 1947)
Missouri (May 22, 1947)
Nebraska (May 23, 1947)
Virginia (January 28, 1948)
Mississippi (February 12, 1948)
New York (March 9, 1948)
South Dakota (January 21, 1949)
North Dakota (February 25, 1949)
Louisiana (May 17, 1950)
Montana (January 25, 1951)
Indiana (January 29, 1951)
Idaho (January 30, 1951)
New Mexico (February 12, 1951)
Wyoming (February 12, 1951)
Arkansas (February 15, 1951)
Georgia (February 17, 1951)
Tennessee (February 20, 1951)
Texas (February 22, 1951)
Utah (February 26, 1951)
Nevada (February 26, 1951)
Minnesota (February 27, 1951)
Ratification was completed when the Minnesota Legislature ratified the amendment. On March 1, 1951, the Administrator of General Services, Jess Larson, issued a certificate proclaiming the 22nd Amendment duly ratified and part of the Constitution. The amendment was subsequently ratified by:[2]
North Carolina (February 28, 1951)
South Carolina (March 13, 1951)
Maryland (March 14, 1951)
Florida (April 16, 1951)
Alabama (May 4, 1951)

tag: ol

text: Conversely, two states—Oklahoma and Massachusetts—rejected the amendment, while five (Arizona, Kentucky, Rhode Island, Washington, and West Virginia) took no action.[15]

text: Affected individuals[edit]

text: The 22nd Amendment's two-term limit did not apply (due to the grandfather clause in Section 1) to Harry S. Truman, because he was the incumbent president at the time it was proposed by Congress. Truman, who had served nearly all of Franklin D. Roosevelt's unexpired fourth term and who was elected to a full term in 1948, was thus eligible to seek re-election in 1952.[11] However, with his job approval rating floundering at around 27%,[17][18] and after a poor performance in the 1952 New Hampshire primary, Truman chose not to seek his party's nomination. He theoretically also would have been eligible in later elections.

text: Since coming into force in 1951, the amendment has applied to six presidents who have been elected twice: Dwight D. Eisenhower, Richard M. Nixon, Ronald Reagan, Bill Clinton, George W. Bush, and Barack Obama. It has also applied to two who entered office intra-term due to their predecessor's death or resignation: Lyndon B. Johnson and Gerald Ford.[1] Johnson became president in November 1963, following the assassination of John F. Kennedy, served out the final 1 year, 59 days of Kennedy's term, and was elected to a full four-year term in 1964. Four years later, he briefly ran for a second full term, but withdrew from the race during the party primaries.[19][20] Had he not done so, and, had he won and then served a full term (through January 20, 1973), the total length of his presidency would have been 9 years, 59 days. Gerald Ford, who became president in August 1974 following the resignation of Richard Nixon, served the final 2 years, 164 days of Nixon's term, and attempted to win a full four-year term in 1976, but was defeated by Jimmy Carter. Johnson was eligible to be elected to two full terms in his own right, as he had served less than two years of Kennedy's unexpired term, whereas Ford was eligible to be elected to only one full term, as he had served more than two years of Nixon's unexpired term.[1]

text: Interaction with the Twelfth Amendment[edit]

text: As worded, the primary focus of the 22nd Amendment is on limiting individuals twice elected to the presidency from being elected again. Due to this, several issues could be raised regarding the amendment's meaning and application, especially in relation to the 12th Amendment, ratified in 1804, which states, "But no person constitutionally ineligible to the office of President shall be eligible to that of Vice-President of the United States".[21] While it is clear that under the 12th Amendment the original constitutional qualifications of age, citizenship, and residency apply to both the president and vice president, it is unclear whether someone who is ineligible to be elected president could be elected vice president. Because of this apparent ambiguity, there may be a loophole in the 22nd Amendment whereby a two-term former-president could be elected vice president and then succeed to the presidency as a result of the incumbent's death, resignation, or removal from office (or even succeed to the presidency from some other stated office in the presidential line of succession).[7][22]

text: Some argue that the 22nd Amendment and 12th Amendment bar any two-term president from later serving as vice president as well as from succeeding to the presidency from any point in the presidential line of succession.[23] Others contend that the original intent of the 12th Amendment concerns qualification for service (age, residence, and citizenship), while the 22nd Amendment, concerns qualifications for election, and thus (strictly applying the text) a former two-term president is still eligible to serve as vice president (neither amendment restricts the number of times an individual can be elected to the vice presidency), and then succeed to the presidency to serve out the balance of the term (though prohibited from running for election to an additional term).[24][25]

text: The practical applicability of this distinction has not been tested, as no former president has ever sought the vice presidency, although in 1980, former president Gerald Ford was mentioned as a possible running mate for Republican presidential nominee Ronald Reagan, and there were some negotiations between the two camps. Nothing ever became of the idea;[26] During Hillary Clinton's 2016 presidential campaign, she jokingly said that she had considered naming Bill Clinton as her vice president, but had been advised it would be unconstitutional.[27] Most likely, the constitutional question raised will remain unanswered until the as-yet hypothetical situation actually occurs.[1]

text: Attempts at repeal[edit]

text: Over the years, several presidents have voiced their antipathy toward the amendment. After leaving office, Harry Truman variously described it as: "bad", "stupid", and "one of the worst that has been put into the Constitution, except for the Prohibition Amendment".[28] In January 1989, during an interview with Tom Brokaw a few days prior to leaving office, Ronald Reagan stated his intention to push for a repeal of the 22nd Amendment, calling it "an infringement on the democratic rights of the people."[29] In a November 2000 interview with Rolling Stone, out-going president Bill Clinton suggested that, given longer life expectancy, perhaps the 22nd Amendment should be altered so as to limit presidents to two "consecutive" terms.[30]

text: The first efforts in Congress to repeal the 22nd Amendment were undertaken in 1956, only five years after the amendment's ratification. According to the Congressional Research Service, over the ensuing half-century (through 2008) 54 joint resolutions seeking to repeal the two-term presidential election limit were been introduced (primarily in the House); none were given serious consideration.[1] Between 1997 and 2013, José E. Serrano introduced nine resolutions (one per Congress, all unsuccessful) to repeal the amendment.[31]


document_title: Loose lips sink ships

question_text: where does loose lips sink ships come from

text: Loose lips sink ships

text: Loose lips sink ships is an American English idiom meaning "beware of unguarded talk".

text: The phrase originated on propaganda posters during World War II.[2] The phrase was created by the War Advertising Council[3] and used on posters by the United States Office of War Information.[2]

text: The most famous poster that helped popularize the phrase (pictured at right) was created for the Seagram Distillers Corporation by the designer Seymour R. Goff (also known by the pseudonym "Ess-ar-gee" or Essargee).[4] This type of poster was part of a general campaign of American propaganda during World War II to advise servicemen and other citizens to avoid careless talk concerning secure information that might be of use to the enemy.[5] The British equivalent used "Careless Talk Costs Lives", and variations on the phrase "Keep mum",[6] while in neutral Sweden the State Information Board promoted the wordplay "en svensk tiger" (the Swedish word "tiger" means both "tiger" and "keeping silent"), and Germany used "Schäm Dich, Schwätzer!" (English: "Shame on you, blabbermouth!").[7]

text: The gist of this particular slogan was that one should avoid speaking of ship movements, as this talk (if directed at or overheard by covert enemy agents) might allow the enemy to intercept and destroy the ships.[8]

text: There were many similar such slogans, but "Loose lips sink ships" remained in the American idiom for the remainder of the century and into the next, usually as an admonition to avoid careless talk in general.[8][9][10]

text: Some examples of use the phrase outside the World War II propaganda context are:

text:
A pop band,[11] a pop album (by Des Ark), and pop songs by various artists, including Camper Van Beethoven, A Change of Pace, Hit the Lights, and others.[12]
A musical play produced by the American Folklore Theatre.
An episode of the American-animated television program, Fish Hooks.
A Variation Poster "Round Hips Sink Ships" on the American-animated television program Futurama
The title an episode of the American television program Survivor: Heroes vs. Villains, and a variation, "Loose Lips Sink Relationships", is an episode of the American television program Will & Grace.
The title of a paper exploring labiaplasty by Simone Weil Davis of the University of Toronto.[13]
A line in "Deus Ex: Human Revolution" video game at the end of the letter (about evacuation of Federal Emergency Management Agency station MICH.355.sos.7 at Highland Park (Detroit) sent by Joseph Manderley*A slogan on one of the many shirts of Billy Talent's lead singer, Ben Kowalewicz
A mention in the alehouses in the game Tradewinds.
An achievement in a video game called Curve Fever 2.
A lyric from the song "I Know Places" by Taylor Swift.
A lyric in the song "I Get Around" by Tupac Shakur.
A lyric at the beginning of the song Let's Get It Up by AC/DC.
A repeated lyric in the song "XO", from Fall Out Boy's second studio album, From Under the Cork Tree.
A lyric in the song "Swallow my Pride" by Ramones.
A lyric at the beginning of the song "Ben Threw" by Of Mice and Men.
A lyric at the beginning of the song "Sweetwater Kill (The Ocean Song)" by the cello rock band Rapustina.
A repeated lyric in the song "Cherry Tree" by The National.[14]
A lyric repeated throughout the song "Snitches Get Stitches", from The Amity Affliction's first studio album, Severed Ties.
A lyric in the song "Nobody's Safe Chump" by EPMD.
A lyric in the song "Covered in Cowardice" by Billy Talent
A lyric in Travie McCoy's "Rough Water" ft. Jason Mraz.
A lyric in the song "Beneath the Waves" by Young Guns.
A lyric in the song "Slip of the Lip" by Ratt.
A lyric in the song "Loose Lips" by Kimya Dawson.
A lyric in the song "Icebergs" by Madison Bloodbath.
The final line in the song "Seaward" by The Acacia Strain.


document_title: Ecomark

question_text: eco mark is given to the india product data

text: Ecomark

text:
Ecomark

The Ecomark logo.

Certifying agency
Bureau of Indian Standards

Effective region
India

Effective since
1991

Product category
Various

Legal status
Advisory

text: Ecomark[1] or Eco mark[2] is a certification mark issued by the Bureau of Indian Standards[3] (the national standards organization of India) to products conforming to a set of standards aimed at the least impact on the ecosystem.[1][2][4][5][6] The marking scheme was started in 1991. One of the purposes of the mark is increasing awareness among the consumers towards reducing environment impact. The mark is issued to various product categories and the development of standards for more products is in progress.


document_title: Super Bowl LIII

question_text: who is broadcasting the super bowl in 2019

text: Super Bowl LIII

text: Background[edit]

text: Host-selection process[edit]

text: On May 19, 2015, the league announced the four finalists that will compete to host Super Bowl LIII in 2019, LIV in 2020, and LV in 2021. NFL owners voted on these cities on May 24, 2016, with the first round of voting determining the host for Super Bowl LIII, the second round deciding a different site for Super Bowl LIV, and the third round deciding the site for Super Bowl LV. The four finalists for Super Bowl LIII, all in the Southeastern United States, were:[1][2]

text:
Mercedes-Benz Stadium, Atlanta, Georgia: This will be the first Super Bowl played at Mercedes-Benz Stadium after it opened in 2017. The city has previously hosted two Super Bowls at the Georgia Dome, with the last being Super Bowl XXXIV in 2000.
Hard Rock Stadium, Miami Gardens, Florida: South Florida has previously hosted 10 Super Bowls, with the last being Super Bowl XLIV in 2010.
Mercedes-Benz Superdome, New Orleans, Louisiana: New Orleans has previously hosted 10 Super Bowls, with the last being Super Bowl XLVII in 2013.
Raymond James Stadium, Tampa, Florida: Tampa has hosted four Super Bowls, with the last being Super Bowl XLIII in 2009.

text: After three votes, Atlanta was awarded Super Bowl LIII at the NFL owners' meeting on May 24, 2016. The losing candidates, except for New Orleans which removed itself from the voting for all games except Super Bowl LIII due to event conflicts in 2020 and 2021, were then pitted against Los Angeles Stadium at Hollywood Park in Inglewood, California for Super Bowl LIV and Super Bowl LV hosting rights. Miami eventually won the rights to host Super Bowl LIV, and Los Angeles won the rights to host Super Bowl LV.[3][4]  However, on May 23, 2017, NFL owners opted to award Super Bowl LV to Tampa and give Super Bowl LVI to Los Angeles after it was announced that Los Angeles Stadium at Hollywood Park would open in 2020 due to construction delays. New Orleans would be awarded Super Bowl LVIII.

text: The NFL unveiled the official logo for Super Bowl LIII in February 2018; it is a navy blue-tinted version of the design introduced at Super Bowl LI, and the overall branding of the game will feature use of blue and red. The host committee logo features a stylized overhead rendition of Mercedes-Benz Stadium's roof.[5]

text: Broadcasting[edit]

text: United States[edit]

text: CBS will broadcast Super Bowl LIII, as part of an annual cycle between the three main broadcast television partners of the NFL.[6]

text: Entertainment[edit]

text: Halftime show[edit]

text: On September 19, 2018, it was reported that the American pop rock band, Maroon 5, will headline the game's halftime show, though neither the NFL nor Maroon 5 have confirmed the reports.[7][8]


document_title: Miracle on 34th Street

question_text: who played susie in miracle on 34th street

text: Miracle on 34th Street

text: Plot[edit]

text: Kris Kringle (Edmund Gwenn) is indignant to find that the man (Percy Helton) assigned to play Santa in the annual Macy's Thanksgiving Day Parade is intoxicated. When he complains to event director Doris Walker (Maureen O'Hara), she persuades Kris to take his place. He does so well, he is hired to play Santa at Macy's flagship New York City store on 34th Street.

text: Ignoring instructions to steer parents to buy from Macy's, Kris directs one shopper (Thelma Ritter) to a competitor. Impressed, she tells Julian Shellhammer (Philip Tonge), head of the toy department, that she will become a loyal customer.

text: Attorney Fred Gailey (John Payne), Doris's neighbor, takes the young divorcée's daughter Susan (Natalie Wood) to see Santa. Doris has raised her to not believe in fairy tales, but Susan is shaken after seeing Kris speak Dutch with a girl who does not know English. Doris asks Kringle to tell Susan that he is not Santa, but he insists that he is.

text: Worried, Doris decides to fire him. However, Kris has generated so much positive publicity and goodwill for Macy's that Macy (Harry Antrim) promises Doris and Julian bonuses. To alleviate Doris's misgivings, Julian has Granville Sawyer (Porter Hall) administer a "psychological evaluation". Kris passes, and questions Sawyer's own mental health.

text: The store expands on the concept. To avoid looking greedy, competitor Gimbels implements the same policy, forcing Macy's and others to escalate. Eventually, Kris does the impossible: he reconciles bitter rivals Macy and Gimbel (Herbert Heyes).

text: Pierce (James Seay), the doctor at Kris' nursing home, assures Doris that Kris is harmless. Kris makes a pact with Fred – he will work on Susan's cynicism while Fred does the same with Doris, disillusioned by her failed marriage. When Susan reveals she wants a house, Kris reluctantly promises to do his best.

text: Kris learns that Sawyer has convinced young employee Alfred that he is unstable simply because he is kind-hearted. Finding Sawyer unwilling to budge, Kris hits him on the head with Sawyer's umbrella, which was on the desk. Sawyer exaggerates his pain in order to have Kris confined to Bellevue Hospital. Tricked into cooperating, and believing Doris to be in on the deception, Kris deliberately fails his examination and is recommended for permanent commitment. However, Fred persuades Kris not to give up.

text: At a hearing before Judge Henry X. Harper (Gene Lockhart), District Attorney Thomas Mara (Jerome Cowan) gets Kris to assert that he is Santa Claus and rests his case. Fred argues that Kris is not insane because he actually is Santa. Mara requests Harper rule that Santa does not exist. In private, Harper's political adviser, Charlie Halloran (William Frawley), warns him that doing so would be disastrous for his upcoming reelection bid. The judge buys time by hearing evidence.

text: Doris quarrels with Fred when he quits his job at a prestigious law firm to defend Kris. Fred calls Macy as a witness. When Mara asks if he believes Kris to be Santa, Macy starts to equivocate, but when pressed, he remembers the good Kris has done and states, "I do!" Afterward, Macy fires Sawyer. Fred then calls Mara's own young son (Bobby Hyatt), who testifies that his father told him that Santa was real. Mara concedes the point.

text: Mara then demands that Fred prove that Kris is "the one and only" Santa Claus on the basis of some competent authority. While Fred searches frantically, Susan writes Kris a letter to cheer him up, which Doris also signs. When a mail sorter (Jack Albertson) sees Susan's letter, he suggests delivering the many letters to Santa taking up space in the dead letter office too. Fred presents Judge Harper with three of them (from 21 full mailbags), addressed simply to "Santa Claus" and delivered to Kris, asserting the Post Office has acknowledged that he is the Santa Claus. Harper dismisses the case.

text: On Christmas morning, Susan is disappointed that Kris could not get her what she wanted. Kris gives Fred and Doris a route home that avoids traffic. Along the way, Susan sees her dream house with a "For Sale" sign in the front yard. Fred learns that Doris had encouraged Susan to have faith and suggests they get married and purchase the house. He then boasts that he must be a great lawyer since he proved Kris was Santa. However, when they spot a cane inside that looks just like Kris's, he is not so sure.

text: Cast[edit]

text:
Maureen O'Hara as Doris Walker
John Payne as Frederick M. "Fred" Gailey
Edmund Gwenn as Kris Kringle
Gene Lockhart as The Hon. Henry X. Harper
Natalie Wood as Susan Walker
Porter Hall as Granville Sawyer
William Frawley as Charlie Halloran
Jerome Cowan as District Attorney Thomas Mara
Philip Tonge as Julian Shellhammer

text: Uncredited (alphabetically):

text:
Jack Albertson as Post Office Mail Sorter
Harry Antrim as R. H. Macy
Lela Bliss as Mrs. Shellhammer
Jeff Corey as Reporter
Mary Field as Dutch Girl's Adopted Mother
William Forrest as Dr. Rogers at Bellevue
Alvin Greenman as Alfred
Theresa Harris as Cleo, the Walkers' maid/housekeeper
Percy Helton as Drunken Santa Claus
Herbert Heyes as Mr. Gimbel
Robert Karnes as 2nd Bellevue Intern
Snub Pollard as Mail-Bearing Court Officer
Thelma Ritter as Peter's Mother
James Seay as Dr. Pierce, physician at the Brooks Memorial Home for the Aged

text: Production[edit]

text: Although the film is set during the Christmas season, studio head Darryl F. Zanuck insisted that it be released in May, arguing that more people go to the movies in warmer weather. The studio rushed to promote it while keeping its Christmas setting a secret. Fox's promotional trailer depicted a fictional producer roaming the studio backlot and encountering such stars as Rex Harrison, Anne Baxter, Peggy Ann Garner, and Dick Haymes extolling the virtues of the film. In addition, the movie posters prominently featured O'Hara and Payne, with Gwenn's character kept in the background. The film opened in New York City at the Roxy Theatre on June 4, 1947.[6] By contrast, modern home video packaging has Gwenn and Wood dominating the imagery, with the DVD release having Kringle in his Santa Claus costume.

text: O'Hara was initially reluctant to take the role, having recently moved back to Ireland. She immediately changed her mind after reading the script[7] and came back to the United States for the film.

text: The Christmas window displays seen in the film were originally made by Steiff for Macy's. Macy's later sold the window displays to FAO Schwarz in New York. FAO Schwarz then sold the windows to the Marshall & Ilsley Bank of Milwaukee, Wisconsin, where they are on display every December in the bank's lobby on North Water Street.

text: The house shown at the end of the film is a 1703 square foot single family home built in 1943 at 24 Derby Road, Port Washington, New York. The home looks practically the same as it did in 1947, except that the roof line has been altered by the addition of a window.

text: Rowland Hussey Macy, called R. H. Macy in the film, died 70 years prior to the film (in 1877).[8]

text: Legal inaccuracies[edit]

text: In the book Reel Justice, the authors claim that Judge Harper could have dismissed the case early without the political repercussions he feared. In their theory, once the prosecutor rested his case immediately after Kris Kringle admitted in court simply that he believed he was Santa Claus, Judge Harper could have ruled that prosecution had forfeited its opportunity to prove that Kringle was dangerous (the basic point of such hearings; Kringle's actual mental state itself being irrelevant), and ordered him immediately released. However, this high standard for involuntary commitment was not instituted until 1975 with the U.S. Supreme Court's decision O'Connor v. Donaldson.

text: When demonstrating that he has taken several mental examinations in the past, Kris Kringle answers his own question about who was the Vice President under John Quincy Adams as Daniel D. Tompkins. Tompkins actually served under James Monroe. John C. Calhoun is the correct answer to Kringle's question. Tompkins was the 6th vice-president and Quincy Adams was the 6th president, leading to confusion in the script.[9]

text: Release[edit]

text: The film was re-released in theatres on December 20 and 23, 2015, as part of the "TCM Presents" series by Turner Classic Movies and Fathom Events.[10]

text: Reaction[edit]

text: Critical reception[edit]

text: This section needs expansion. You can help by adding to it. (November 2014)

text: Miracle on 34th Street received mostly positive reviews from critics. Bosley Crowther of The New York Times said: "For all those blasé skeptics who do not believe in Santa Claus—and likewise for all those natives who have grown cynical about New York—but most especially for all those patrons who have grown weary of the monotonies of the screen, let us heartily recommend the Roxy's new picture, Miracle on 34th Street. As a matter of fact, let's go further: let's catch its spirit and heartily proclaim that it is the freshest little picture in a long time, and maybe even the best comedy of this year."[11] Today, it is considered by many as one of the best films of 1947.[12][13] The film currently holds a 96% "Fresh" rating on the review aggregate website Rotten Tomatoes.[14]

text: The Catholic Legion of Decency gave the movie a "B", "morally objectionable in part" rating. This was mainly due to the fact that O'Hara was portraying a divorcée in the film.[15]

text: Awards and honors[edit]

text: The film won Academy Awards for Best Actor in a Supporting Role (Edmund Gwenn), Best Writing, Original Story (Valentine Davies) and Best Writing, Screenplay. It was also nominated for Best Picture, losing to Gentleman's Agreement.

text: It was ranked ninth by the American Film Institute on 100 Years... 100 Cheers, a list of America's most inspiring films.[16] Miracle on 34th Street was listed as the fifth best film in the fantasy genre in the American Film Institute's "Ten top Ten" lists in 2008.[17][18]

text: In 2005, Miracle on 34th Street was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[19][20]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Movies – Nominated[21]
AFI's 100 Years of Film Scores – Nominated[22]
AFI's 100 Years...100 Cheers – #9
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated[23]
AFI's 10 Top 10 – #5 Fantasy Film

text: Home media and colorization[edit]

text: Miracle on 34th Street was first released on VHS and laserdisc in 1987.

text: In 1985, it became one of the first full-length black and white films to be colorized.[24] The 4½-month process was carried out by Color Systems Technology, Inc.[25] In 1993, this version was released on laserdisc and VHS and was followed four years later by a "50th Anniversary Edition", remastered by THX.

text: The first DVD release was in October 1999, featuring the B&W version alongside the original theatrical trailer and a TV spot. In November 2006, it was re-released as a two-disc "Special Edition" DVD, with disc one containing an "all new colorized version" carried out by Legend Films. The second disc had the original black-and-white version and numerous extras, including The 20th Century Fox Hour's 1955 TV remake. Both discs also included a full-length audio commentary by Maureen O'Hara. The B&W disc has since been re-released several times, including in a pairing with the 1994 remake.

text: In October 2009, 20th Century Fox released the B&W version on Blu-ray with all previous extras, bar the TV remake.[26]

text: Remake[edit]

text: A 1994 feature film starred Richard Attenborough, Elizabeth Perkins, Dylan McDermott, J. T. Walsh, Timothy Shea, James Remar, Jane Leeves, Simon Jones, William Windom and Mara Wilson. It was adapted by John Hughes from the Seaton script, and directed by Les Mayfield. Due to Macy's refusal to give permission to use its name, it was replaced by the fictitious "Cole's". Gimbels no longer existed by 1994 and was replaced with the fictional "Shopper's Express". Alvin Greenman (Alfred in the original version) played a doorman. This version had a more serious tone than the original and a large portion was rewritten, although the majority of the plot and characters remained intact. The film also added a subtext concerning religious faith.

text: In other media[edit]

text: There are four remakes of the movie and a Broadway musical.

text: Radio[edit]

text: Lux Radio Theater broadcast an adaptation in 1947 which starred the original cast including Natalie Wood. In 1948 it was done again on Lux, without Natalie Wood's participation, and it was adapted as a half-hour radio play on two broadcasts of Screen Director's Playhouse, all featuring Edmund Gwenn in his screen role. In these production Kris correctly cites James Monroe as the President for whom Daniel D. Tompkins was the Vice-President.

text: Theatre[edit]

text: A 1963 Broadway musical version, entitled Here's Love, was written by Meredith Willson.

text: The novella was adapted into a stage play by Will Severin, Patricia Di Benedetto Snyder and John Vreeke in 2000. It is a favorite in many community and regional theaters during the Christmas season.[27] The characters' names are those used in the novella, and the stage setting is distinctly late 1940s. Production rights are held by Samuel French, Inc.[28]

text: Television[edit]

text: A 1955 one-hour television adaptation of the movie starred Thomas Mitchell as Kris, Macdonald Carey as Fred, Teresa Wright as Doris, and Sandy Descher as Susan. This version did not show the drunken Santa at all. Titled "The Miracle on 34th Street", it originally aired as an episode of The 20th Century Fox Hour. It was later re-run as "Meet Mr. Kringle".

text: Ed Wynn played Kris in a 1959 television adaptation of the movie. Also featured was Orson Bean. It was broadcast live and in color on NBC the day after Thanksgiving. NBC made a kinescope of the program, probably for broadcasting opening night on the West Coast. The copy was in a large collection of kinescopes donated by NBC to the Library of Congress and recently unearthed by Richard Finegan, who reported his experiences in the December 2005 issue of Classic Images.

text: A 1973 television version featured Jane Alexander, David Hartman, Roddy McDowall, Sebastian Cabot as Kris (without his natural beard; he was forced to shave and wear a false beard for the role), Suzanne Davidson, Jim Backus, David Doyle and Tom Bosley. It was adapted by Jeb Rosebrook from the George Seaton screenplay, and directed by Fielder Cook. Mrs. Walker's first name is changed to Karen in this version. This would prove to be the final version in which the department store was actually Macy's. David Doyle, who played R. H. Macy in this version had played Mr. Sawyer in the original Broadway cast of Here's Love 10 years earlier.

text: Puppets[edit]

text: The flagship Macy's Department Store at Herald Square in New York features a 30-minute puppet version of the story within its Santaland display, featuring the voice talents of Broadway stars Brian Stokes Mitchell and Victoria Clark.

text: Changing character names[edit]

text:
1947
1955
1959
1963 Broadway musical
1973
1994

Doris Walker
Karen Walker
Dorey Walker

Frederick M. Gailey
Bill Schaffner
Bryan Bedford

Kris Kringle

Susan Walker

Cleo

[eliminated]

Drunk Santa

[no name given]

[no name given]
Tony Falacchi

Julian Shellhammer
Mr. Shellhammer
Marvin Shellhammer
Horace Shellhammer
Donald Shellhammer

Mrs. Shellhammer
[eliminated]

Alfred

Alfred
[eliminated]

Granville Sawyer
Dr. Albert Sawyer
Dr. William Sawyer
Dr. Bartholomew Sawyer
Dr. Henry Sawyer
[eliminated]

R. H. Macy
Mr. Macy
R. H. Macy
C. F. Cole

Mr. Gimbel
Victor Landbergh

Dr. Pierce
[eliminated]
Dr. Pierce
[eliminated]

Hon. Henry X. Harper
Hon. Harper
Hon. Martin Group
Hon. Harper
Hon. Henry Harper

Charlie Halloran

Tammany O'Halloran

[eliminated]

Thomas Mara
Mr. Mara
Thomas Mara
Ed Collins

Mrs. Mara
[eliminated]

[eliminated]
Rebecca Collins

Macy's Department Store
Cole's Department Store

Gimbels Department Store
Shopper's Express


document_title: E.T. the Extra-Terrestrial

question_text: actress in the movie e.t. the extra-terrestrial

question_tokens: actress in the movie e.t . the extra-terrestrial

text: E.T. the Extra-Terrestrial

text: Plot[edit]

text: A group of alien botanists secretly visit Earth under cover of night to gather plant specimens in a California forest. When government agents appear on the scene, the aliens flee in their spaceship, but in their haste, one of them is left behind. In a suburban neighborhood in the San Fernando Valley, a ten-year-old boy named Elliott is spending time with his brother, Michael, and his friends. As he returns from picking up a pizza, he discovers that something is hiding in their tool shed. The alien promptly flees upon being discovered. Despite his family's disbelief, Elliott leaves Reese's Pieces candy to lure the alien to his house. Before going to sleep, Elliott realizes it is imitating his movements. He feigns illness the next morning to stay home from school and play with it. Later that day, Michael and their five-year-old sister, Gertie, meet it. They decide to keep it hidden from their mother, Mary. When they ask it about its origin, it levitates several balls to represent its planetary system and then demonstrates its powers by reviving dead chrysanthemums.

text: At school the next day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication (because it is at his home, drinking beer), and he begins freeing all the frogs in his biology class. As the alien watches John Wayne kiss Maureen O'Hara in The Quiet Man on television, Elliott then kisses a girl he likes in the same manner and he is sent to the principal's office.

text: The alien learns to speak English by repeating what Gertie says as she watches Sesame Street and, at Elliott's urging, dubs itself "E.T." E.T. reads a comic strip where Buck Rogers, stranded, calls for help by building a makeshift communication device and is inspired to try it himself. E.T. receives Elliott's help in building a device to "phone home" by using a Speak & Spell toy. Michael notices that E.T.'s health is declining and that Elliott is referring to himself as "we".

text: On Halloween, Michael and Elliott dress E.T. as a ghost so they can sneak him out of the house. That night, Elliott and E.T. head through the forest, where they make a successful call home. The next day, Elliott wakes up in the field, only to find E.T. gone. Elliott returns home to his distressed family. Michael searches for and finds E.T. dying next to a culvert, being investigated by a raccoon. Michael takes E.T. home to Elliott, who is also dying. Mary becomes frightened when she discovers her son's illness and the dying alien, just as government agents invade the house. Scientists set up a hospital at the house, questioning Michael, Mary and Gertie while treating Elliott and E.T. Their connection disappears and E.T. then appears to die while Elliott recovers. A grief-stricken Elliott is left alone with the motionless E.T. when he notices a dead chrysanthemum, the plant E.T. had previously revived, coming back to life. E.T. reanimates and reveals that his people are returning. Elliott and Michael steal a van that E.T. had been loaded into and a chase ensues, with Michael's friends joining them as they attempt to evade the authorities by bicycles. Suddenly facing a police roadblock, they escape as E.T. uses telekinesis to lift them into the air and toward the forest, like he had done for Elliott before.

text: Standing near the spaceship, E.T.'s heart glows as he prepares to return home. Mary, Gertie, and "Keys", a friendly government agent, show up. E.T. says goodbye to Michael and Gertie, as she presents him with the chrysanthemum that he had revived. Before boarding the spaceship, he embraces Elliott and tells him "I'll be right here", pointing his glowing finger to Elliott's forehead. He then picks up the chrysanthemum, boards the spaceship, and it takes off, leaving a rainbow in the sky as everyone watches it leave.

text: Cast[edit]

text:
Dee Wallace as Mary
Henry Thomas as Elliott
Peter Coyote as "Keys"
Robert MacNaughton as Michael
Drew Barrymore as Gertie
Pat Welsh as the voice of E.T.
K. C. Martel as Greg
Sean Frye as Steve
C. Thomas Howell as Tyler
Erika Eleniak as the girl Elliott kisses

text: Production[edit]

text: Development[edit]

text: After his parents' divorce in 1960, Spielberg filled the void with an imaginary alien companion. He said that the imaginary alien was "a friend who could be the brother [he] never had and a father that [he] didn't feel [he] had anymore".[7] During 1978, he announced he would shoot a film entitled Growing Up, which he would film in 28 days. The project was set aside because of delays on 1941, but the concept of making a small autobiographical film about childhood would stay with him.[8] He also thought about a follow-up to Close Encounters of the Third Kind, and began to develop a darker project he had planned with John Sayles called Night Skies in which malevolent aliens terrorize a family.[8]

text: Filming Raiders of the Lost Ark in Tunisia left Spielberg bored, and memories of his childhood creation resurfaced.[9] He told screenwriter Melissa Mathison about Night Skies, and developed a subplot from the failed project, in which Buddy, the only friendly alien, befriends an autistic child. His abandonment on Earth in the script's final scene inspired the E.T. concept.[9] She wrote a first draft titled E.T. and Me in eight weeks,[9] which he considered perfect.[10] The script went through two more drafts, which deleted an "Eddie Haskell"–esque friend of Elliott. The chase sequence was also created, and he also suggested having the scene where E.T. got drunk.[8]

text: In early summer 1981, while Raiders of the Lost Ark was being promoted, Columbia Pictures met with Spielberg to discuss the script, after having to develop Night Skies with the director as the intended sequel to Close Encounters of the Third Kind. However, the head of Columbia Pictures' marketing and research development, Marvin Atonowsky, concluded that it had a limited commercial potential, believing that it would appeal to mostly young kids.[11] The President of Columbia's worldwide productions, John Veitch, also felt that the script was not good or scary enough to draw enough crowd. On the advice of Atonowsky and Veitch, Columbia Pictures CEO Frank Price passed on the project, calling it "a wimpy Walt Disney movie" and thus putting it in a turnaround, so Spielberg approached the more receptive Sid Sheinberg, president of MCA, the then-parent company of Universal Studios.[12][11] Spielberg told Sheinberg to acquire the E.T. script from Columbia Pictures, which he did for $1 million and struck a deal with Price in which Columbia would retain 5% of the film's net profits. Veitch later recalled that "I think [in 1982] we made more on that picture than we did on any of our films."[11]

text: Pre-production[edit]

text: Carlo Rambaldi, who designed the aliens for Close Encounters of the Third Kind, was hired to design the animatronics of E.T. Rambaldi's own painting Women of Delta led him to give the creature a unique, extendable neck.[10] Its face was inspired by those of Carl Sandburg, Albert Einstein and Ernest Hemingway.[13] Producer Kathleen Kennedy visited the Jules Stein Eye Institute to study real and glass eyes. She hired Institute staffers to create E.T.'s eyes, which she felt were particularly important in engaging the audience.[14] Four heads were created for filming, one as the main animatronic and the others for facial expressions, as well as a costume.[13] Two dwarfs, Tamara De Treaux and Pat Bilon,[8] as well as 12-year-old Matthew DeMeritt, who was born without legs,[15] took turns wearing the costume, depending on what scene was being filmed. DeMeritt actually walked on his hands and played all scenes where he walked awkwardly or fell over. The head was placed above that of the actors, and the actors could see through slits in its chest.[10] Caprice Roth, a professional mime, filled prosthetics to play E.T.'s hands.[14] The puppet was created in three months at the cost of $1.5 million.[16] Spielberg declared it was "something that only a mother could love".[10] Mars, Incorporated refused to allow M&M's to be used in the film, believing E.T. would frighten children. After Mars said "No", The Hershey Company was asked if Reese's Pieces could be used, and it agreed; this product placement resulted in a large increase in Reese's Pieces sales.[17] Science and technology educator Henry Feinberg created E.T.'s communicator device.[18][19]

text: Casting[edit]

text: Having worked with Cary Guffey on Close Encounters of the Third Kind, Spielberg felt confident in working with a cast composed mostly of child actors.[14] For the role of Elliott, he auditioned hundreds of boys[20] before Jack Fisk suggested Henry Thomas for the role because Henry had played the part of Harry in the film Raggedy Man which Jack Fisk had directed.[21] Thomas, who auditioned in an Indiana Jones costume, did not perform well in the formal testing, but got the filmmakers' attention in an improvised scene.[14] Thoughts of his dead dog inspired his convincing tears.[22] Robert MacNaughton auditioned eight times to play Michael, sometimes with boys auditioning for Elliott. Spielberg felt Drew Barrymore had the right imagination for mischievous Gertie after she impressed him with a story that she led a punk rock band.[10] He enjoyed working with the children, and he later said that the experience made him feel ready to be a father.[23]

text: The major voice work of E.T. for the film was performed by Pat Welsh. She smoked two packs of cigarettes a day, which gave her voice a quality that sound effects creator Ben Burtt liked. She spent nine-and-a-half hours recording her part, and was paid $380 by Burtt for her services.[8] He also recorded 16 other people and various animals to create E.T.'s "voice". These included Spielberg, Debra Winger, his sleeping wife, who had a cold, a burp from his USC film professor, raccoons, otters, and horses.[24][25]

text: Doctors working at the USC Medical Center were recruited to play the ones who try to save E.T. after government agents take over Elliott's house. Spielberg felt that actors in the roles, performing lines of technical medical dialogue, would come across as unnatural.[23] During post-production, he decided to cut a scene featuring Harrison Ford as the principal at Elliott's school. It featured his character reprimanding Elliott for his behavior in biology class and warning of the dangers of underage drinking. He is then taken aback as Elliott's chair rises from the floor, while E.T. is levitating his "phone" equipment up the stairs with Gertie.[10]

text: Filming[edit]

text: The film began shooting in September 1981.[26] The project was filmed under the cover name A Boy's Life, as Spielberg did not want anyone to discover and plagiarize the plot. The actors had to read the script behind closed doors, and everyone on set had to wear an ID card.[14] The shoot began with two days at a high school in Culver City, and the crew spent the next 11 days moving between locations at Northridge and Tujunga.[8] The next 42 days were spent at Culver City's Laird International Studios, for the interiors of Elliott's home. The crew shot at a redwood forest near Crescent City for the production's last six days.[8][9] The exterior Halloween scene and the "flying bicycle" chase scenes were filmed in Porter Ranch.[27] Spielberg shot the film in roughly chronological order to achieve convincingly emotional performances from his cast. In the scene in which Michael first encounters E.T., his appearance caused MacNaughton to jump back and knock down the shelves behind him. The chronological shoot gave the young actors an emotional experience as they bonded with E.T., making the quarantine sequences more moving.[23] Spielberg ensured the puppeteers were kept away from the set to maintain the illusion of a real alien. For the first time in his career, he did not storyboard most of the film, in order to facilitate spontaneity in the performances.[26] The film was shot so adults, except for Dee Wallace, are never seen from the waist up in its first half, as a tribute to Tex Avery's cartoons.[10] The shoot was completed in 61 days, four days ahead of schedule.[9] According to Spielberg, the memorable scene where E.T. disguises himself as a stuffed toy in Elliott's closet was suggested by colleague Robert Zemeckis, after he read a draft of the screenplay that Spielberg had sent him.[28]

text: Music[edit]

text: Longtime Spielberg collaborator John Williams, who composed the film's musical score, described the challenge of creating one that would generate sympathy for such an odd-looking creature. As with their previous collaborations, Spielberg liked every theme Williams composed and had it included. Spielberg loved the music for the final chase so much that he edited the sequence to suit it.[29] Williams took a modernist approach, especially with his use of polytonality, which refers to the sound of two different keys played simultaneously. The Lydian mode can also be used in a polytonal way. Williams combined polytonality and the Lydian mode to express a mystic, dreamlike and heroic quality. His theme—emphasizing coloristic instruments such as the harp, piano, celesta, and other keyboards, as well as percussion—suggests E.T.'s childlike nature and his "machine".[30]

text: Allegations of plagiarism[edit]

text: There were allegations that the film was plagiarized from a 1967 script, The Alien, by Indian Bengali director Satyajit Ray. He stated, "E.T. would not have been possible without my script of The Alien being available throughout the United States in mimeographed copies." Spielberg denied this claim, stating, "I was a kid in high school when his script was circulating in Hollywood."[31] Director and Spielberg's friend, Martin Scorsese, has also alleged the film was influenced by Ray's script.[32] No legal action was taken, as Ray did not want to show himself as having a "vindictive" mindset against Spielberg and acknowledged that he "has made good films and he is a good director."[33]

text: In 1984, a federal appeals court ruled against playwright Lisa Litchfield, who sued Steven Spielberg in a $750 million lawsuit claiming he used her one-act musical play 'Lokey from Maldemar' as the basis for the movie E.T. She lost the case, with the court panel stating "No reasonable jury could conclude that Lokey and E.T. were substantially similar in their ideas and expression." "Any similarities in plot exist only at the general level for which (Ms. Litchfield) cannot claim copyright protection."[34]

text: Themes[edit]

text: Spielberg drew the story of the film from his parents' divorce;[36] Gary Arnold of The Washington Post called it "essentially a spiritual autobiography, a portrait of the filmmaker as a typical suburban kid set apart by an uncommonly fervent, mystical imagination".[37] References to his childhood occur throughout: Elliott fakes illness by holding a thermometer to the bulb in his lamp while covering his face with a heating pad, a trick frequently employed by the young Spielberg.[38] Michael picking on Elliott echoes Spielberg's teasing of his younger sisters,[10] and Michael's evolution from tormentor to protector reflects how Spielberg had to take care of his sisters after their father left.[23]

text: Critics have focused on the parallels between E.T.'s life and Elliott, who is "alienated" by the loss of his father.[39][40] A.O. Scott of The New York Times wrote that while E.T. "is the more obvious and desperate foundling", Elliott "suffers in his own way from the want of a home".[41] E.T. is the first and last letter of Elliott's name.[42] At the film's heart is the theme of growing up. Critic Henry Sheehan described the film as a retelling of Peter Pan from the perspective of a Lost Boy (Elliott): E.T. cannot survive physically on Earth, as Pan could not survive emotionally in Neverland; government scientists take the place of Neverland's pirates.[43] Vincent Canby of The New York Times similarly observed that the film "freely recycles elements from [...] Peter Pan and The Wizard of Oz".[44] Some critics have suggested that Spielberg's portrayal of suburbia is very dark, contrary to popular belief. According to A.O. Scott, "The suburban milieu, with its unsupervised children and unhappy parents, its broken toys and brand-name junk food, could have come out of a Raymond Carver story."[41] Charles Taylor of Salon.com wrote, "Spielberg's movies, despite the way they're often characterized, are not Hollywood idealizations of families and the suburbs. The homes here bear what the cultural critic Karal Ann Marling called 'the marks of hard use'."[36]

text: Other critics found religious parallels between E.T. and Jesus.[45][46] Andrew Nigels described E.T.'s story as "crucifixion by military science" and "resurrection by love and faith".[47] According to Spielberg biographer Joseph McBride, Universal Pictures appealed directly to the Christian market, with a poster reminiscent of Michelangelo's The Creation of Adam and a logo reading "Peace".[9] Spielberg answered that he did not intend the film to be a religious parable, joking, "If I ever went to my mother and said, 'Mom, I've made this movie that's a Christian parable,' what do you think she'd say? She has a Kosher restaurant on Pico and Doheny in Los Angeles."[35]

text: As a substantial body of film criticism has built up around the film, numerous writers have analyzed it in other ways as well. It has been interpreted as a modern fairy tale[48] and in psychoanalytic terms.[40][48] Producer Kathleen Kennedy noted that an important theme of E.T. is tolerance, which would be central to future Spielberg films such as Schindler's List.[10] Having been a loner as a teenager, Spielberg described it as "a minority story".[49] Spielberg's characteristic theme of communication is partnered with the ideal of mutual understanding: he has suggested that the story's central alien-human friendship is an analogy for how real-world adversaries can learn to overcome their differences.[50]

text: Reception[edit]

text: Release and sales[edit]

text: The film was previewed in Houston, Texas, where it received high marks from viewers.[9] It premiered at the 1982 Cannes Film Festival's closing gala,[51][52] and was released in the United States on June 11, 1982. It opened at number one with a gross of $11 million, and stayed at the top of the box office for six weeks; it then fluctuated between the first and second positions until October, before returning to the top spot for the final time in December.[53]

text: In 1983, E.T. surpassed Star Wars as the highest-grossing film of all-time,[54] and by the end of its theatrical run it had grossed $359 million in North America and $619 million worldwide.[3][55] Box Office Mojo estimates that the film sold more than 120 million tickets in the US in its initial theatrical run.[56] Spielberg earned $500,000 a day from his share of the profits,[57][58] while The Hershey Company's profits rose 65% due to its prominent use of Reese's Pieces.[17] The "Official E.T. Fan Club" offered photographs, a newsletter that let readers "relive the film's unforgettable moments [and] favorite scenes", and a phonographic record with "phone home" and other sound clips.[59]

text: The film was re-released in 1985 and 2002, earning another $60 million and $68 million respectively,[60][61] for a worldwide total of $792 million with North America accounting for $435 million.[3] It held the global record until it was surpassed by Jurassic Park—another Spielberg-directed film—in 1993,[62] although it managed to hold on to the domestic record for a further four years, where a Star Wars reissue reclaimed it.[63] It was eventually released on VHS and laserdisc on October 27, 1988; to combat piracy, the tapeguards and tape hubs on the videocassettes were colored green, the tape itself was affixed with a small, holographic sticker of the 1963 Universal logo (much like the holograms on a credit card), and encoded with Macrovision.[22] In North America alone, VHS sales came to $75 million.[64] In 1991, Sears began selling E.T. videocassettes exclusively at their stores as part of a holiday promotion.[65] It was reissued on VHS and Laserdisc again in 1996. The Laserdisc included a 90-minute documentary. Produced and directed by Laurent Bouzereau, it included interviews with Spielberg, producer Kathleen Kennedy, composer John Williams and other cast and crew members. It also included two theatrical trailers, an isolated music score, deleted scenes, and still galleries. The VHS included a 10-minute version of the same documentary from the Laserdisc.[66]

text: The film sold over 15 million VHS units in the United States,[67] and grossed more than $250 million in video sales revenue.[68] The VHS cassette was also rented over 6 million times during its first two weeks in 1988, a record that E.T. held up until the VHS release of Batman the following year.[69] The 2012 release of E.T. on DVD and Blu-ray grossed $24.4 million in sales revenue as of  2017[update] in the United States.[70] E.T. also generated more than $1 billion in merchandise sales, as of 1998.[71]

text: Critical response[edit]

text: The film received universal acclaim. Roger Ebert gave the film four stars and wrote, "This is not simply a good movie. It is one of those movies that brush away our cautions and win our hearts."[51] He later added it to his Great Movies list, structuring the essay as a letter to his grandchildren about the first time they watched it.[74] Michael Sragow of Rolling Stone called Spielberg "a space age Jean Renoir.... for the first time, [he] has put his breathtaking technical skills at the service of his deepest feelings".[75] Derek Malcolm of The Guardian wrote that "E.T. is a superlative piece of popular cinema ... a dream of childhood, brilliantly orchestrated to involve not only children but anyone able to remember being one".[76] Leonard Maltin would include it in his list of "100 Must-See Films of the 20th Century" as one of only two movies from the 1980s.[77] George Will was one of the few to pan the film, feeling it spread subversive notions about childhood and science.[78]

text: The film holds a 98% approval rating on Rotten Tomatoes, based on 120 reviews, and an average rating of 9.2/10. The website's critical consensus reads: "Playing as both an exciting sci-fi adventure and a remarkable portrait of childhood, Steven Spielberg's touching tale of a homesick alien remains a piece of movie magic for young and old."[79] On Metacritic, it has a weighted average score of 91/100, based on 30 reviews, indicating "universal acclaim".[80] In addition to the many impressed critics, President Ronald Reagan and First Lady Nancy Reagan were moved by it after a screening at the White House on June 27, 1982.[58] Princess Diana was in tears after watching it.[10] On September 17, 1982, it was screened at the United Nations, and Spielberg received a UN Peace Medal.[81] CinemaScore reported that audiences gave the film a rare "A+" grade.[82]

text: Accolades[edit]

text: The film was nominated for nine Oscars at the 55th Academy Awards, including Best Picture. Gandhi won that award, but its director, Richard Attenborough, declared, "I was certain that not only would E.T. win, but that it should win. It was inventive, powerful, [and] wonderful. I make more mundane movies."[83] It won four Academy Awards: Best Original Score, Best Sound (Robert Knudson, Robert Glass, Don Digirolamo and Gene Cantamessa), Best Sound Effects Editing (Charles L. Campbell and Ben Burtt), and Best Visual Effects (Carlo Rambaldi, Dennis Muren and Kenneth F. Smith).[84]

text: At the 40th Golden Globe Awards, the film won Best Picture in the Drama category and Best Score; it was also nominated for Best Director, Best Screenplay, and Best New Male Star for Henry Thomas. The Los Angeles Film Critics Association awarded the film Best Picture, Best Director, and a "New Generation Award" for Melissa Mathison.[85]

text: The film won Saturn Awards for Best Science Fiction Film, Best Writing, Best Special Effects, Best Music, and Best Poster Art, while Henry Thomas, Robert McNaughton, and Drew Barrymore won Young Artist Awards. In addition to his Golden Globe and Saturn, composer John Williams won two Grammy Awards and a BAFTA for the score. It was also honored abroad: it won the Best Foreign Language Film award at the Blue Ribbon Awards in Japan, Cinema Writers Circle Awards in Spain, César Awards in France, and David di Donatello in Italy.[86]

text: In American Film Institute polls, the film has been voted the 24th greatest film of all time,[87] the 44th most heart-pounding,[88] and the sixth most inspiring.[89] Other AFI polls rated it as having the 14th greatest music score[90] and as the third greatest science-fiction one.[91] The line "E.T. phone home" was ranked 15th on AFI's 100 Years...100 Movie Quotes list,[92] and 48th on Premiere's top movie quote list.[93]

text: In 2005, it topped a Channel 4 poll of the 100 greatest family films,[94] and was also listed by Time as one of the 100 best movies ever made.[95]

text: In 2003, Entertainment Weekly called the film the eighth most "tear-jerking";[96] in 2007, in a survey of both films and television series, the magazine declared it the seventh greatest work of science-fiction media in the past 25 years.[97] The Times also named it as their ninth favorite alien in a film, calling it "one of the best-loved non-humans in popular culture".[98] It is among the top ten in the BFI list of the 50 films you should see by the age of 14. In 1994, it was selected for preservation in the U.S. National Film Registry as being "culturally, historically, or aesthetically significant".[99]

text: In 2011, ABC aired Best in Film: The Greatest Movies of Our Time, revealing the results of a poll of fans conducted by ABC and People magazine: it was selected as the fifth best film of all time and the second best science fiction film.[100]

text: On October 22, 2012, Madame Tussauds unveiled wax likenesses of E.T. at six of its international locations.[101]

text: 20th anniversary version[edit]

text: An extended version of the film, including altered special effects, premiered at the Shrine Auditorium in Los Angeles on March 16, 2002; it was released on home media six days later. Certain shots of E.T. had bothered Spielberg since 1982, as he did not have enough time to perfect the animatronics. Computer-generated imagery (CGI), provided by Industrial Light & Magic (ILM), was used to modify several shots, including ones of E.T. running in the opening sequence and being spotted in the cornfield. The spaceship's design was also altered to include more lights. Scenes shot for but not included in the original version were introduced. These included E.T. taking a bath, and Gertie telling Mary that Elliott went to the forest on Halloween. Spielberg did not add the scene featuring Harrison Ford, feeling that would reshape the film too drastically. He became more sensitive about the scene where gun-wielding federal agents confront Elliott and his escaping friends and had them digitally replaced with walkie-talkies.[10]

text: At the premiere, John Williams conducted a live performance of the score.[102] The new release grossed $68 million in total, with $35 million coming from Canada and the United States.[61] The changes to it, particularly the escape scene, were criticized as political correctness. Peter Travers of Rolling Stone wondered, "Remember those guns the feds carried? Thanks to the miracle of digital, they're now brandishing walkie-talkies.... Is this what two decades have done to free speech?"[103] Chris Hewitt of Empire wrote, "The changes are surprisingly low-key...while ILM's CGI E.T. is used sparingly as a complement to Carlo Rambaldi's extraordinary puppet."[104] South Park ridiculed many of the changes in the 2002 episode "Free Hat".[105]

text: The two-disc DVD release which followed in October 22, 2002, contained the original theatrical and 20th Anniversary extended versions of the film. Spielberg personally demanded the release feature both versions.[106] The features on disc one included an introduction with Steven Spielberg, a 20th Anniversary premiere featurette, John Williams' performance at the 2002 premiere and a Space Exploration game. Disc two included a 24-minute documentary about the 20th Anniversary edition changes, a "Reunion" featurette, a trailer, cast and filmmaker bios, production notes, and the still galleries ported from the 1996 LaserDisc set. The two-disc edition, as well as a three-disc collector's edition containing a "making of" book, a certificate of authenticity, a film cell, and special features that were unavailable on the two-disc edition,[107] were placed in moratorium on December 31, 2002. Later, it was re-released on DVD as a single-disc re-issue in 2005, featuring only the 20th Anniversary version.

text: In a June 2011, interview, Spielberg said that in the future

text: There's going to be no more digital enhancements or digital additions to anything based on any film I direct.... When people ask me which E.T. they should look at, I always tell them to look at the original 1982 E.T. If you notice, when we did put out E.T. we put out two E.T.s. We put out the digitally enhanced version with the additional scenes and for no extra money, in the same package, we put out the original '82 version. I always tell people to go back to the '82 version.[108]

text: For the film's 30th anniversary release on Blu-ray in 2012, and for its 35th anniversary release on Ultra HD Blu-ray in 2017, as well as its corresponding digital releases, only the original theatrical edition was released, with the 20th anniversary edition now out of circulation.

text: Other portrayals[edit]

text: Atari, Inc. made a video game based on the film for the Atari 2600. Released in 1982, it was widely considered to be one of the worst video games ever made.[109]

text: William Kotzwinkle, author of the film's novelization, wrote a sequel, E.T.: The Book of the Green Planet, which was published in 1985. In the novel, E.T. returns home to the planet Brodo Asogi, but is subsequently demoted and sent into exile. He then attempts to return to Earth by effectively breaking all of Brodo Asogi's laws.[110]

text: E.T. Adventure, a theme park ride, debuted at Universal Studios Florida in June 7, 1990. The $40 million attraction features the title character saying goodbye to visitors by name.[9]

text: In 1998, E.T. was licensed to appear in television public service announcements produced by the Progressive Corporation. The announcements featured his voice reminding drivers to "buckle up" their seat belts. Traffic signs depicting a stylized E.T. wearing one were installed on selected roads around the United States.[111] The following year, British Telecommunications launched the "Stay in Touch" campaign, with him as the star of various advertisements. The campaign's slogan was "B.T. has E.T.", with "E.T." also taken to mean "extra technology".[112]

text: At Spielberg's suggestion, George Lucas included members of E.T.'s species as background characters in Star Wars: Episode I – The Phantom Menace.[113]

text: E.T. was one of the franchises featured in the 2016 crossover games Lego Dimensions. E.T. appears as one of the playable characters, and a world based on the movie where players can receive side quests from the characters is available.[114][115]

text: Cancelled sequel[edit]

text: In July 1982, during the film's first theatrical run, Steven Spielberg and Melissa Mathison wrote a treatment for a sequel to be titled E.T. II: Nocturnal Fears.[116] It would have shown Elliott and his friends getting kidnapped by evil aliens and follow their attempts to contact E.T. for help. Spielberg decided against pursuing it, feeling it "would do nothing but rob the original of its virginity".[117][118]