document_title: Miracle on 34th Street

question_text: who played the psychiatrist in miracle on 34th street

root

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.

tag: p

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

tag: ul

text: Uncredited (alphabetically):

text:
Jack Albertson as "Al", the 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)

tag: table

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: South Park (season 1)

question_text: when was the first episode of south park released

text: South Park (season 1)

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date [1]
Prod.
code
U.S. viewers
(millions)

1
1
"Cartman Gets an Anal Probe"
Trey Parker[5]
Trey Parker and Matt Stone
August 13, 1997 (1997-08-13)
101
0.98[6]

Cartman tells his friends Stan, Kyle, and Kenny he had a dream about being abducted by aliens. The boys realize that this did actually happen when Kyle's baby brother, Ike is abducted also. They manage to rescue Ike while the aliens conclude that cows are the most intelligent species on the planet.

2
2
"Volcano"
Trey Parker and Matt Stone
Trey Parker and Matt Stone
August 20, 1997 (1997-08-20)
103
1.0[6]

Stan's uncle Jimbo and his friend Ned take the four boys on a hunting trip in the mountains. Stan's father, a geologist, discovers that the mountain is a volcano about to erupt and convinces the townspeople to dig a trench for diverting the lava.

3
3
"Weight Gain 4000"
Trey Parker and Matt Stone
Trey Parker and Matt Stone
August 27, 1997 (1997-08-27)
102
N/A

The town prepares for an event involving Kathie Lee Gifford presenting an award to Cartman. He tries to lose weight but instead, becomes even more obese from a body gaining supplement called Weight Gain 4000. Meanwhile the boy's teacher, Mr. Garrison, attempts to assassinate Gifford.

4
4
"Big Gay Al's Big Gay Boat Ride"
Trey Parker[7]
Trey Parker and Matt Stone[7]
September 3, 1997 (1997-09-03)
104
N/A

Stan's new, gay dog runs away and finds the town's most flamboyant, gayest man, Big Gay Al. South Park Cows lose a football game against a rival team as Jimbo and Ned fail to sabotage the game.

5
5
"An Elephant Makes Love to a Pig"
(uncredited)
Trey Parker, Matt Stone and Dan Sterling
September 10, 1997 (1997-09-10)
105
N/A

The boys try to breed a pig with an elephant and look for Dr. Alphonse Mephesto's help. Instead, Dr. Mephisto creates a clone of Stan that terrorizes the town.

6
6
"Death"
Matt Stone
Trey Parker and Matt Stone
September 17, 1997 (1997-09-17)
106
1.3[6]

Stan's grandfather attempts suicide and tries to enlist the boy's help. Kyle's mother organizes a boycott against the boys' favorite television series Terrence and Phillip in protest of its toilet humor.

7
7
"Pinkeye"
Trey Parker and Matt Stone
Trey Parker, Matt Stone and Philip Stark
October 29, 1997 (1997-10-29)
107
2.7[8]

Kenny is killed by the Mir space station and becomes a zombie. This goes unnoticed as he is thought to have dressed up for Halloween. The citizens who get bitten become zombies but instead are diagnosed with pinkeye.

8
8
"Starvin' Marvin"
Trey Parker
Trey Parker
November 19, 1997 (1997-11-19)
109
2.2[9]

A starving Ethiopian child is accidentally sent to South Park. Cartman is sent back to Ethiopia instead, while mutant turkeys begin rampaging the town.

9
9
"Mr. Hankey, the Christmas Poo"
Trey Parker and Matt Stone
Trey Parker
December 17, 1997 (1997-12-17)
110
4.5[10]

As a Jew, Kyle feels excluded from the rest of the town during Christmas and is comforted by Mr. Hankey, a talking, singing feces. Kyle's mom protests the school's Christmas play leading to the removal of all religious aspects of Christmas from the entire town.

10
10
"Damien"
Trey Parker
Trey Parker and Matt Stone
February 4, 1998 (1998-02-04)
108
5.1[11][12]

A new student arranges a boxing match between Satan and Jesus. The South Park residents bet on Satan due to his enormous size and muscular physique, but Satan throws the fight and wins everybody's money after having bet on Jesus.

11
11
"Tom's Rhinoplasty"
(uncredited)
Trey Parker
February 11, 1998 (1998-02-11)
111
4.1[13]

Mr. Garrison gets a rhinoplasty and quits teaching to become a model. Stan develops a crush on the substitute teacher, but she is discovered to be an Iraqi fugitive and is kidnapped by insurgents.

12
12
"Mecha-Streisand"
Trey Parker
Trey Parker, Philip Stark and Matt Stone
February 18, 1998 (1998-02-18)
112
5.4[14]

Mr. Garrison takes his class on an archaeological dig where Cartman finds a mysterious triangle. Barbra Streisand steals this triangle and becomes Mecha-Streisand, a giant robot that wreaks havoc upon the town.

13
13
"Cartman's Mom Is a Dirty Slut"
Trey Parker
Trey Parker and David R. Goodman
February 25, 1998 (1998-02-25)
113
6.4[15]

Cartman attempts to find his real father only to find that his mother slept with just about every man in town. Aided by Stan and Kyle, he manages to raise the money for a paternity DNA test after sending a video to America's Stupidest Home Videos.

text: Development[edit]

text: The idea for South Park originated in 1992 when creators Trey Parker and Matt Stone met in a film class as students at the University of Colorado. They discussed filming a three-minute short film involving a boy who befriended a talking piece of feces named Mr. Hankey. Although such a short was never made,[16] Parker and Stone created a Christmas-related animated short commonly known as "Jesus vs. Frosty". The crude, low-budget animation featured prototypes for the main characters of South Park, including Cartman, Stan and Kyle. Fox Broadcasting Company executive Brian Graden saw the film and in 1995 commissioned Parker and Stone for $1,200 to create a second short film that he could send to his friends as a Christmas video-card. Titled The Spirit of Christmas, but also known as "Jesus vs. Santa", the short resembled the style of the later series more closely.[17] In 1997, The Spirit of Christmas won the Los Angeles Films Critics Association award for "Best Animation", thus further bringing the two filmmakers to the attention of industry representatives.[18]

text: The "Jesus vs. Santa" video was widely copied and shared over the Internet. George Clooney was reported to have made 300 copies for his friends, and the short was subsequently regarded as likely the first viral video.[2] When the shorts began to generate interest for a possible television series, Parker and Stone conceived the idea of a South Park-like show with four child characters but planned to call it The Mr. Hankey Show by featuring a talking stool named Mr. Hankey as the main protagonist. They pitched the idea, but Brian Graden rejected it and said, according to Stone, "I'm not putting poo on my network."[19] Parker and Stone adapted their original idea into a show revolving around four children in the South Park town, dropping Mr. Hankey as a protagonist but planning to use the character in the future in a minor supporting role.[19]

text: Later, Doug Herzog from Comedy Central saw the Jesus vs. Santa short and considered it to be "literally the funniest thing [he]'d ever seen," and requested Parker and Stone to develop a show for his network.[2] During the negotiations, Parker and Stone brought up the idea of a Mr. Hankey episode, with Parker claiming to have asked "one thing we have to know before we really go any further: how do you feel about talking poo?"[16] The network's executives were receptive to the idea,[20] which would be one of the main reasons Parker and Stone decided to sign on with the channel. The first episode of the series, "Cartman Gets an Anal Probe", debuted on Comedy Central on August 13, 1997, while Mr. Hankey debuted a few months later in the ninth episode, "Mr. Hankey, the Christmas Poo".[16]

text: The pilot episode received poor results from test audiences.[19] Parker later conceded that regarding the language, he and Stone felt pressure to live up to their previous two shorts and "tried to push things ... maybe further than we should [have]."[21] In contrast, they allowed subsequent episodes to "be more natural",[22] focusing more on making fun of topics considered taboo "without just throwing a bunch of dirty words in there."[21] After the poor results from the test audience, Comedy Central executives were unsure whether they wanted to order additional episodes after "Cartman Gets an Anal Probe". However, when buzz began to generate on the Internet about the two original shorts, the network commissioned Parker and Stone to write one more episode without committing to a full series until they had seen the script. While working on the 1997 film Orgazmo, Parker and Stone wrote the script for what would later become the episode "Weight Gain 4000". The duo sought to give Comedy Central executives an idea of how the series would be and how each episode could differ from the others. The network liked the script, and when Parker and Stone refused to write another script before signing off on at least six episodes, the executives agreed to commit to a series.[19]

text: Comedy Central originally ordered only these six episodes, but when the show proved successful, they requested an additional seven, which Parker and Stone had to produce quickly. "Pinkeye", the first of these new episodes, would air on October 29, 1997, only two and a half months after the show's premiere.[23][24] There were three holiday episodes—"Pinkeye", "Starvin' Marvin" and "Mr. Hankey, the Christmas Poo"—which aired at intervals of three weeks, while the remaining four aired later in February 1998.[25]

text: "Cartman Gets an Anal Probe" was the only episode animated almost completely with traditional cut paper, stop-motion animation techniques.[26] All subsequent episodes would be fully computer-animated using Power Animator or Maya.[27] By the eighth episode, "Damien", much of the drawing and animation responsibilities handled by Parker and Stone were now being delegated to a team of animators.[28] This would be the only episode aside from "Cartman Gets an Anal Probe" to receive a TV-14 (unsuitable for children under the age of 14) rating instead of the show's customary TV-MA (unsuitable for under the age of 17).[29] Parker and Stone credit the fourth episode, "Big Gay Al's Big Gay Boat Ride", with helping to raise the ratings during the early part of the season. They felt that the show's first official Christmas special, "Mr. Hankey, the Christmas Poo", brought South Park to a new level of popularity, and Parker said this episode "just vaulted everything."[16]

text: Reception[edit]

text: Ratings[edit]

text: South Park's first season was a ratings success for Comedy Central.[6] "Cartman Gets an Anal Probe" earned a Nielsen rating of 1.3, translating to 980,000 viewers, which was considered high for a cable program in the United States at the time.[6] It increased slightly by the third episode, "Volcano", and by the sixth episode, "Death", the show had reached a rating of 1.7.[6] The ratings continued to rise rapidly from then on, to 3.8 ("Pinkeye"), 4.8 ("Starvin' Marvin'"), 5.4 ("Mr. Hankey, the Christmas Poo"), 6.4 ("Damien"), and 6.9 ("Mecha-Streisand") respectively.[6] This corresponded to an increase to 5.4 million viewers in 3.2 million households.[11][12] The season finale, "Cartman's Mom is a Dirty Slut", received a Nielsen rating in the 8.0 range[30] and gained over 300,000 viewers when first aired in Canada in August 1998.[31][32]

text: South Park became one of the first television series to be bootlegged via the Internet, just as The Spirit of Christmas had been before it. College students digitized many episodes from the first season and streamed them online for friends who were unable to receive Comedy Central.[33]

text: Critics[edit]

text: Despite high ratings, reviews from television critics for the season were mixed. Both The Washington Post and The New York Times had three articles mentioning the show, usually in terms of "class-based taste arguments."[18] "Cartman Gets an Anal Probe", the first episode of the series, received generally negative reviews after airing. Brent Bozell, founder and then-president of the Parents Television Council, gave an unfavorable review to the episode, stating that the show "is so offensive that it shouldn't have been made. It doesn't just push the envelope; it knocks it off the table."[3] Bruce Fretts of Entertainment Weekly thought poorly of the writing and characters, lampooning that "if only the kids' jokes were as fresh as their mouths" and that "it might help if the South Park kids had personalities, but they're as one-dimensional as the show's cut-and-paste animation."[34] Calling the series "sophomoric, gross, and unfunny," Hal Boedeker of the Orlando Sentinel reckoned that the episode made "such a bad impression that it's hard to get on the show's strange wavelength."[35] Tom Shales of The Washington Post considered that "most of the alleged humor on the premiere is self-conscious and self-congratulatory in its vulgarity: flatulence jokes, repeated use of the word 'dildo' (in the literal as well as pejorative sense), and a general air of malicious unpleasantness."[2]

text: When "Weight Gain 4000" aired, many writers in the mainstream media were still debating the longevity and the overall quality of South Park. With the series still in its earliest stages, the episode continued to shock many due to the characters frequent use of profanities.[36] Nevertheless, several reviewers felt "Weight Gain 4000" was a significant improvement over "Cartman Gets an Anal Probe" and felt that it went in a much more satirical direction.[37][38] Several media outlets described the fifth episode of the season, "An Elephant Makes Love to a Pig", as one of the most popular early episodes.[39][40][41] Tom Carson of Newsday said it was the most outrageous South Park episode until "Mr. Hankey, the Christmas Poo" aired three months later.[42] Many reviewers also said this mere title demonstrated the crudeness and originality of South Park.[43][44]

text: Due to its impact, South Park made the cover of Rolling Stone in February 1998,[45] and of Newsweek in March 1998.[46] It was discussed in five different New York Times articles in 1998.[18] Franck Rich of The New York Times mentions the show's "ability to engage political topics with far more success than other (more obviously political) shows" and considered that the show "is hilariously candid about faith, family and death as well" and "is neither politically correct nor incorrect; it's on a different, post-ideological comic map altogether."[47] In 2002, Jeremy Conrad of IGN wrote in a DVD review that it is rare when a television season is "perfect", but "the first season of South Park comes pretty damn close" and that "almost every single episode in this three-disc set is a classic and each is still funny as hell even after so many viewings over the years."[4]

text: In 2008, scholar Stephen Groening argued that the show appeared as part of a reaction to the culture wars of the 1980s and 1990s in the United States, in which issues such as Murphy Brown's motherhood, Tinky Winky's sexuality, and The Simpsons' family values were extensively debated. The culture wars, and political correctness in particular, were driven by the belief that relativism was becoming more relevant to daily life. Groening explained that South Park "made a name for itself as rude, crude, vulgar, offensive, and potentially dangerous". Its critics argued that the Stan, Kyle, Cartman and Kenny were poor role models for children while its supporters celebrated the show's defense of free speech.[48]

text: Impact on Comedy Central[edit]

text: In 2006, Devin Leonard of Fortune regarded that the launch of South Park transformed Comedy Central from a "not-so-funny" network to "a cable industry power almost overnight."[2] The impact the show had ended up surprising everybody involved.[2] At the time, the cable network had a low distribution of just 21 million subscribers.[18] Comedy Central marketed the show aggressively before its launch, billing it as "that's why they invented the V-chip." The resulting buzz led to the network earning an estimated $30 million in T-shirts sales alone before the first episode was even aired.[18]

text: South Park became immediately one of the most popular shows on cable television, averaging consistently between 3.5 and 5.5 million viewers.[18] The Denver-based Tele-Communications Inc., the largest cable operator in the U.S. at the time, had just dropped Comedy Central, but when South Park debuted, Denver newspapers and radio stations heavily criticized the operator for not carrying the hit show of the two local filmmakers—Parker and Stone.[2] Doug Herzog, Comedy Central's president at the time, said that the public "went nuts" as the network received about ten million new subscriptions through Tele-Communications Inc. alone, "which at that time was unheard of."[2]

text: An affiliate of the MTV Network until then, Comedy Central decided, in part due to the success of South Park, to have its own independent sales department.[49] By the end of 1998, Comedy Central had sold more than $150 million worth of merchandise for the show, including T-shirts and dolls.[12] Over the next few years, Comedy Central's viewership spiked largely due to South Park, adding 3 million new subscribers in the first half of 1998 alone and allowed the network to sign international deals with networks in several countries.[18]

text: Awards[edit]

text: Some episodes of the first season received nominations for several entertainment awards. The season's fourth episode "Big Gay Al's Big Gay Boat Ride" was nominated for an Emmy Award in 1998 in the "Outstanding Animated Program (for Programming Less Than One Hour)" category[7] but lost to The Simpsons episode "Trash of the Titans".[50] The same episode was also nominated for a GLAAD Award in the "Outstanding TV – Individual Episode" category[51] but lost to another The Simpsons episode, "Homer's Phobia".[52] "Volcano", the season's third episode, was nominated for an Environmental Media Award in the "TV Episodic Comedy" category[53] but ended up losing to another The Simpsons episode, "The Old Man & the Lisa".[54][55]

text: During the series first season, South Park won a CableACE Award for "Best Animated Program or Series"[56] and was nominated for an Annie Award in the "Outstanding Achievement in an Animated Primetime or Late Night Television Program" category.[57] In 1998, the two creators of the show Matt Stone and Trey Parker won the "Nova Award" given by the Producers Guild of America for the most promising producers in television.[58][59]

text: Media release[edit]

text:
South Park – The Complete First Season[60][61]

DVD Set Details

13 Episodes
3-disc Set
1.33:1 Aspect Ratio
Subtitles: English, French, Spanish
English (Dolby Digital 2.0)

Special Features[62]

Episode introductions by Trey Parker and Matt Stone
Cartman "O Holy Night" video
Ned "O Little Town Of Bethlehem" video
Four original television promos
"A South Park Thanksgiving" featured exclusively on The Tonight Show with Jay Leno
The four boys presenting at the 1997 CableACE Awards

Release Dates[63][64][65]

Region 1
Region 2
Region 4

November 12, 2002
October 22, 2005
October 4, 2005

text: Six episodes—"Cartman Gets an Anal Probe", "Volcano", "Weight Gain 4000", "Big Gay Al's Big Gay Boat Ride", "An Elephant Makes Love to a Pig" and "Death"—were released in a three-VHS set on May 5, 1998, marking the first time South Park was made available on video.[66] The first DVD releases came later that year, when the first Thirteen episodes were released by Warner Home Video on October 27 on the compilation collections South Park, Volume 1,[67] Volume 2[68] and Volume 3.[69] The last episode of the season "Cartman's Mom Is a Dirty Slut" was released on the South Park, Volume 4 on December 14, 1999.[70]

text: South Park – The Complete First Season was originally released by Warner Home Video as a three-disc region 1 DVD box set in the U.S. on November 12, 2002 and received an MA rating.[63][71] The season was re-released on June 29, 2005 by Paramount Home Entertainment. The DVD releases featured bonus material such as introductions for each episode, two Christmas carols by Eric Cartman and Ned, a short clip featuring Jay Leno and another clip in which the four boys present at the 1997 CableACE Awards. Trey Parker and Matt Stone produced commentaries for each episode but requested they be pulled off altogether when they found out the commentaries would be edited. Instead, the commentaries were released unedited by Comedy Central on a set of five CDs.[62] In October 2005, South Park: Complete Series 1 was released in Australia[65] and with a 15 rating in region 2.[64] "Mr. Hankey, the Christmas Poo" was released again on November 13, 2005 on the compilation DVD Christmas Time in South Park.[72]

text: The distribution licenses for six episodes of the South Park's first season ("Volcano", "An Elephant Makes Love to a Pig", "Pinkeye", "Damien", "Starvin' Marvin" and "Mecha-Streisand") were purchased in 2000 by the Pittsburgh, Pennsylvania-based company and website SightSound.com. The site made the episodes available for download for $2.50 for a two-day copy and for $4.95 for a permanent copy. It was one of the first experiments with downloadable television videos, thus making South Park one of the first shows legally obtainable on the Internet.[73][74] In March 2008, Comedy Central made the first season's episodes as well as almost all other South Park episodes available for legal streaming on the South Park Studios website from within U.S.,[75] and later from within Canada[76] and the United Kingdom.[77]


document_title: Pakistani passport

question_text: where is the passport number located on a pakistani passport

text: Pakistani passport

text: History[edit]

text: Under British Raj[edit]

text: The British Indian passport was issued to the British subjects of British Indian Empire, British subjects from other parts of the British Empire, and the subjects of the British protected states in India (i. e. the British Protected Persons of the 'princely states').[8] The use of passports was introduced to British India after the First World War.[9] The Indian Passport Act of 1920 required the use of passports, established controls on the foreign travel of Indians, foreigners travelling to and within India.[10] The passport was based on the format agreed upon by 1920 League of Nations International Conference on Passports.[11] However, the British Indian passport had very limited usage, being valid for travel only within the British Empire, Italy, Switzerland, Austria, Czechoslovakia, Germany, France, Spain, Norway, Sweden and Holland.[12]

text: The use of the passport was discontinued after the independence of India and Pakistan in 1947, and its bearers were entitled to opt for Indian, Pakistani or British nationality.Passport regime only started between the two countries from 1952. Citizens of both India and Pakistan did not need a visa or were issued one on arrival till the Second Kashmir War. Before the war, citizens of both countries could freely travel to each other's countries, despite the fact that both had gone to war in 1947 over the princely state of Kashmir.[13]

text: Issued in late 1947, the cover of Pakistan’s first passport was largely beige in colour and only partially green. It had 'Pakistan Passport' written in three languages: English, Bengali, and Urdu. It had two Pakistan flags, one symbolising West Pakistan and the other East Pakistan. Inside, there was the holder's name, address, profession, photo, and marital status. Pakistanis did not require pre-arrival visas and could get visas-on-arrival in any country they wished to travel, including India.[14]

text: By 1954, the colour green had ousted the beige. The two flags were still there, but the holder's name now appeared on the cover. Due to tensions between the state and the Bengali majority of East Pakistan, the government had introduced the One Unit scheme, which treated the ethnically diverse West Pakistan as a single province and the Bengali-dominated East Pakistan as the other province. Consequently, West Pakistani passports (like the one in the picture) had 'Pakistan Passport' written only in English and Urdu, whereas East Pakistani passports had the same written in English and Bengali. This was soon changed, but the rest of the contents remained the same: holder's name, photo, address, profession, and marital status. Pakistanis could still get on-arrival-visas in most countries, except Israel, the Soviet Union and Afghanistan – countries that Pakistan had developed strained relations with. However, India and Pakistan were still issuing on-arrival-visas to one another despite the fact that both had gone to war in 1948.[14]

text: The dark green passport lasted till 1960. In 1956, when the Constituent Assembly authored and passed the country's first constitution, it declared Pakistan an Islamic republic. It was also decided that the term 'Islamic Republic of Pakistan' was to appear on Pakistani passports by 1958. However, this never happened because in 1958, the country's powerful president, Iskander Mirza, and its army chief, Ayub Khan, imposed martial law for the first time in Pakistani history. Mirza suspended the constitution, terming it “the peddling of Islam for political gains.” Within the first 20 days of the coup, Ayub ousted Mirza as well and became president in 1959. He changed the name of the country to the Republic of Pakistan.[14]

text: The first passport issued by the Ayub regime was in 1960. It was light green in colour, symbolising the regime's modernist and moderate view of Islam. It just had 'Pakistan Passport' written on it in English and Urdu. The flags were removed and so was the Bengali translation (which had reappeared in the late 1950s). The contents inside remained the same. Pakistanis could receive on-arrival-visas in all countries, except the Soviet Union, communist countries in eastern Europe, and Israel. Afghanistan had begun to give on-arrival visas. The only communist country that gave on-arrival visas to Pakistanis was China. India and Pakistan still had on-arrival-visa policies between them.[14]

text: In 1967, the colour of the passport was changed back to dark green. The Ayub regime had begun to face harsh criticism from opponents, especially after the 1965 Indo-Pakistani war had ended in stalemate and the once-booming economy had begun to retract. Trouble began to brew on the country's streets and campuses, and Bengali nationalists in East Pakistan became more hostile. The passport turned dark green again and, once more, the words 'Pakistan Passport' began appearing in Bengali. The inside contents remained the same. Pakistanis still enjoyed on-arrival-visa facilities in all the countries, except in communist countries, barring China. However, from 1965 onward, India and Pakistan abolished their long-standing on-arrival-visa policies.[14]

text: In 1974, the passport became bluish green in colour and the Bengali text disappeared after Pakistan recognised Bangladesh. This was due to the fact that in December 1971, East Pakistan had seceded to become Bangladesh. When Zulfikar Ali Bhutto's left-leaning and populist Pakistan Peoples Party (PPP) came to power in 1973, it authored and passed the country's third constitution. Even though the new constitution changed the country's name back to Islamic Republic of Pakistan, the new name did not appear on the passport. The contents inside changed a bit though. Apart from having the holder's name, address, profession, and marital status, a section was added to note the colour of the holder's eyes. From 1970 onward, the U.S. ended its policy of giving on-arrival-visas to Pakistanis, but the Soviet Union and communist countries began to relax their visa policies towards Pakistan somewhat. Nevertheless, Pakistanis were still able to enjoy on-arrival-visas in most countries.[14]

text: In 1974, the passport also came with the disclaimer that Pakistanis could not use the passport to travel to Israel and South Africa, which was under the apartheid regime at the time. In 1979, the passport was more or less the same, but the Urdu words 'Pakistan passport' were shifted on top and the English ones pushed down. In July 1977, a reactionary military coup pulled off by General Zia-ul-Haq had toppled the Bhutto regime, but the name Islamic Republic of Pakistan had yet to appear on the passports. The contents inside remained the same as they were in 1974. However, the revived on-arrival-visa policies between Pakistan and Afghanistan were abolished again, mainly due to the communist revolution in Afghanistan in 1978 and the Soviet invasion of that country in 1979. Barring the communist countries (except for China) and the U.S., Pakistanis could still get on-arrival-visas in most countries.[14]

text: In 1984, major changes were made to the Pakistani passport. Zia was still at the helm and had accelerated his Islamization. The country's official name, though changed to Islamic Republic of Pakistan in 1973, only appeared on the passports for the first time in 1984. The word 'Passport', in addition to English and Urdu, also appeared in Arabic. There were two reasons for this. Firstly, more and more Pakistanis were going to oil-rich Gulf countries for work. Secondly, Arab cultural and theological influence had been allowed by the regime to seep inside the country’s institutions. The contents of the new passport inside now had an additional section in which the holder had to declare their faith. Also, they had to sign a declaration that they were not members of the Ahmadiyya community in order to receive the passport. Though the community had been ousted from the fold of Islam by a National Assembly Bill in 1974, a new ordinance in 1984 introduced further restrictions on the community. In 1983, UK and other major European countries stopped providing on-arrival-visas to Pakistanis. Pakistanis could also not get Afghan visas (and vice versa), but the visa policies between India and Pakistan were greatly relaxed. Pakistanis still could not get visas for the Soviet Union and other communist countries easily, but China continued to provide on-arrival-visas. Soon, the Gulf states changed their policies as well and Pakistanis were required to have pre-arrival visas for the UAE, Qatar, Oman, Kuwait, and Saudi Arabia. Libya had already stopped providing on-arrival-visas to Pakistanis in 1980.[14]

text: In the early 1990s, a few years after the end of the Zia dictatorship, the passport changed again. The green became slightly lighter in colour, and the English words 'Islamic Republic of Pakistan' were once again pushed up and the Urdu ones pushed down. The Arabic text was removed, but the section noting the holder's faith remained and so did the declaration denouncing the Ahmadiyya community. This version of the passport has remained as is till this day, even though the Pervez Musharraf regime (1999-2008) attempted to replace the words 'Islamic Republic of Pakistan' with the old 'Republic of Pakistan'. But the attempt failed due to protests by religious parties. After 9/11, and the rise of religious militancy in Pakistan, more and more countries stopped providing on-arrival-visa facilities to Pakistanis. Pakistanis now require a pre-arrival visa for China as well. According to a 2016 Henley and Partners Visa Restrictions Report, the Pakistani passport's value has been rapidly diminishing in the last two decades and it is now one of the least valuable passports in the world.[14]

text: As of 2016, Pakistani embassies in some European countries have begun to provide, to dual-nationals only, Pakistani passports that have 'Pakistan' written on them in English and the words 'Islamic Republic of Pakistan' in Urdu only. This cover might gradually be adopted for passports held by all Pakistanis in the future.[14]

text: Types[edit]

text: The passports are printed by the governmental agency DGIP. The Passport Act, 1974 and Passport and Visa Manual 1974 regulate the issuance of passports. There are three types of passports being issued in Pakistan:[15]

text:
Diplomatic Passport
Official Passport
Ordinary Passport

text: Diplomatic passports are issued by the Ministry of Foreign Affairs to diplomats and other entitled categories in pursuance of Para-45 of Passport & Visa Manual, 2006.[16]

text: Official passports are issued to Senators, Members of the National Assembly, provincial ministers, judges of the supreme/high courts, officers serving with the governments when abroad on official assignments etc.The color outer cover of official passport of Pakistan is blue instead of green. (Para-9 of the Passport & Visa Manual, 2006)

text: A special Hajj passport was formerly issued to those making a hajj pilgrimage to Mecca, Saudi Arabia. They are however no longer issued, as ordinary passports may be utilised for the Hajj pilgrimage.

text: Security features[edit]

text: The key features of Pakistan passport are:

text:
PKI – Public Key Infrastructure
RFID Chip
Biometric features namely Facial & Fingerprint
IPI- Invisible Personal ID
2D Bar code
Machine-Readable Zone (MRZ)
Security Substrate and Laminate
Ultra Violet features Micro Printing
Holograms
Watermark Paper
Security Ink
3 Colour Intaglio Printing
Guilloche Patterns

text: Physical appearance[edit]

text: Pakistani passports have a deep green cover with golden colored content. Emblem of Pakistan is emblazoned in the center of the front cover. The words 'Islamic Republic of Pakistan' (English) are inscribed above the Emblem whereas 'Urdu: اسلامی جمہوریہ پاکستان', 'Urdu: پاسپورٹ' and 'Passport' (English) are inscribed  below the emblem. The standard passport contains 36 pages, but frequent travelers can opt for a passport containing 72 or 100 pages.

text: Passport holder identity[edit]

text: Until 2004, Pakistani passports had the bearers particulars written by hand, with the passport picture glued to the cover page. These older passports looked very unsophisticated and the newer passports have identity information printed on both front and back cover ends. Both of these pages are laminated to prevent modification.

text:
The opening cover end contains the following information:
Photo of Passport Holder
Type 'P'- Stands for "Personal", 'D'- Stands for "Diplomat", - S'- Stands for "Service"
Country Code
Passport number
Surname
Given Name
Nationality
Date of Birth
Citizenship Number
Gender
Place of birth
Father Name
Date of issue
Date of expiry
Issuing Authority
Tracking Number
Booklet Number
1st page of regular booklet contains the note from President of Pakistan (mentioned later).
2nd page mentions ANNOTATION on the top and contains the following
Religion
Previous Passport Number (if any)
Signature of Passport holder
3rd page declares that said passport is valid to travel all countries of the world except ISRAEL.

text: Passport note[edit]

text: The passports contain a note from the President of Pakistan addressing the authorities of all states, identifying the bearer as a citizen of the Islamic Republic of Pakistan and requesting and requiring that the bearer be allowed to pass freely without any hindrance and be assisted and protected in any need. The note inside of Pakistani passports states:

text:
“

Ministry of Interior, Government of Pakistan requires & requests in the name of President of Islamic Republic of Pakistan all those to whom it may concern to allow the bearer to pass freely without let or hindrance and to afford the bearer such assistance and protection as may be necessary.
Director General Immigration & Passports.

”

text: Visa requirements[edit]

text: In 2018, Pakistani citizens had visa-free or visa on arrival access to 33 countries and territories.


document_title: On the Waterfront

question_text: who played the priest in on the waterfront

text: On the Waterfront

text: Plot[edit]

text: Mob-connected union boss Johnny Friendly (Lee J. Cobb) gloats about his iron-fisted control of the waterfront. The police and the Waterfront Crime Commission know that Friendly is behind a number of murders, but witnesses play "D and D" ("deaf and dumb"), accepting their subservient position rather than risking the danger and shame of informing.

text: Terry Malloy (Marlon Brando) is a dockworker whose brother Charley "the Gent" (Rod Steiger) is Friendly's right-hand man. Some years earlier, Terry had been a promising boxer, until Friendly had Charley instruct him to deliberately lose a fight that he could have won, so that Friendly could win money betting against him. Terry is used to coax Joey Doyle (Ben Wagner), a popular dockworker, into an ambush, preventing Joey from testifying against Friendly before the Crime Commission. Terry assumed that Friendly's enforcers were only going to "lean" on Joey to pressure him into silence, and is surprised when Joey is killed.

text: Joey's sister Edie (Eva Marie Saint), angry about her brother's death, shames "waterfront priest" Father Barry (Karl Malden) into fomenting action against the mob-controlled union. Friendly sends Terry to attend and inform on a dockworkers' meeting Father Barry holds in the church, which is broken up by Friendly's men. Terry helps Edie escape the violence, and is smitten with her. Another dockworker, Timothy J. "Kayo" Dugan (Pat Henning), who agrees to testify after Father Barry promises unwavering support, ends up dead after Friendly arranges for him to be crushed by a load of whiskey in a staged accident.

text: Although Terry resents being used as a tool in Joey's death, and despite Father Barry's impassioned "sermon on the docks" reminding the longshoremen that Christ walks among them and that every murder is a Calvary, Terry is at first willing to remain "D and D", even when subpoenaed to testify. However, when Edie, unaware of Terry's role in her brother's death, begins to return Terry's feelings, Terry is tormented by his awakening conscience and confesses the circumstances of Joey's death to Father Barry and Edie. Horrified, Edie breaks up with him.

text: As Terry increasingly leans toward testifying, Friendly decides that Terry must be killed unless Charley can coerce him into keeping quiet. Charley tries bribing Terry with a good job and finally threatens Terry by holding a gun against him, but recognizes that he has failed to sway Terry, who blames his own downward spiral on his well-off brother. In what has become an iconic scene, Terry reminds Charley that had it not been for the fixed fight, Terry's prizefighting career would have bloomed. "I coulda' been a contender," laments Terry to his brother, "Instead of a bum, which is what I am – let's face it." Charley gives Terry the gun and advises him to run. Terry flees to Edie's apartment, where she first refuses to let him in but finally admits her love for him. Friendly, having had Charley watched, has Charley murdered and his body hung in an alley as bait to lure Terry out to his death, but Terry and Edie both escape the attempt on Terry's life.

text: After finding Charley's body, Terry sets out to shoot Friendly, but Father Barry prevents it by blocking Terry's line of fire and convincing Terry to fight Friendly by testifying instead. Terry proceeds to give damaging testimony implicating Friendly in Joey's murder and other illegal activities, causing Friendly's mob boss to cut him off and Friendly to face indictment.

text: After the testimony, Friendly announces that Terry will not find employment anywhere on the waterfront. Terry is shunned by his former friends and by a neighborhood boy who had previously looked up to him. Refusing Edie's suggestion that they move away from the waterfront together, Terry shows up during recruitment at the docks. When he is the only man not hired, Terry openly confronts Friendly, calling him out and proclaiming that he is proud of what he did. The confrontation develops into a vicious brawl, with Terry getting the upper hand until Friendly's thugs gang up on Terry and nearly beat him to death. The dockworkers, who witness the confrontation, show their support for Terry by refusing to work unless Terry is working too and pushing Friendly into the river. Encouraged by Father Barry and Edie, the badly injured Terry forces himself to his feet and enters the dock, followed by the other workers. A soaking wet and face-scarred Friendly, now left with nothing, swears revenge on them all, but his threats fall on deaf ears as they enter the garage and the door closes behind them.

text: Cast[edit]

text:
Marlon Brando as Terry Malloy
Karl Malden as Father Barry
Lee J. Cobb as Michael J. Skelly aka "Johnny Friendly"
Rod Steiger as Charley "the Gent" Malloy
Eva Marie Saint as Edie Doyle
Pat Henning as Timothy J. "Kayo" Dugan
John F. Hamilton as 'Pop' Doyle
Ben Wagner as Joey Doyle
James Westerfield as Big Mac
Fred Gwynne as Mladen "Slim" Sekulovich
Leif Erickson as Lead Investigator for Crime Commission
Rudy Bond as Moose
Martin Balsam as Gillette, Secondary Investigator for Crime Commission (uncredited)
Katherine MacGregor as a Longshoreman's Mother (uncredited)
Pat Hingle as Bartender (uncredited)
Nehemiah Persoff as Cab Driver (uncredited)

text: Production[edit]

text: Screenplay and political context[edit]

text: The film is widely considered to be Elia Kazan's answer to those who criticized him for identifying eight (former) Communists in the film industry before the House Committee on Un-American Activities (HUAC) in 1952. One of Kazan's critics was his friend and collaborator, the noted playwright Arthur Miller, who had earlier written the first version of the script, originally entitled The Hook. Kazan had agreed to direct it, and in 1951 they met with Harry Cohn at Columbia Pictures about making the picture. Cohn agreed in principle to make The Hook, but there were concerns about the portrayal of corrupt union officials.[citation needed] When Cohn asked the antagonists be changed to Communists, Miller refused. Cohn sent a letter telling Miller it was interesting he had resisted Columbia's desire to make the movie "pro-American". Kazan asked Miller to rewrite the script; Miller declined due to his disenchantment with Kazan's friendly testimony before the HUAC. Kazan then replaced Miller with Budd Schulberg.[2]

text: After rewriting the script, Schulberg and Kazan approached Darryl F. Zanuck, who eventually told them he did not like a single thing about the script, asking, "Who's going to care about a bunch of sweaty longshoremen?" This led Kazan and Schulberg to meet with independent producer Sam Spiegel, who set up a deal with Columbia. Spiegel was insistent on Schulberg delivering a perfect screenplay and barraged the writer with changes and suggestion, to the frustration of Schulberg.

text: Schulberg's script nonetheless went through a number of changes before reaching the screen. In an early draft, the Terry Malloy character was not an ex-pug dockworker but a cynical investigative reporter, as well as an older, divorced man.

text: Real-life basis for characters[edit]

text: Terry Malloy's fight against corruption was in part modeled after whistle-blowing longshoreman Anthony DeVincenzo, who testified before a real-life Waterfront Commission about activities on the Hoboken Docks and suffered a degree of ostracism for his deed. DeVincenzo sued and settled, many years after, with Columbia Pictures over the appropriation of what he considered his story. DeVincenzo claimed to have recounted his story to screenwriter Budd Schulberg during a month-long session of waterfront barroom meetings. Schulberg attended DeVincenzo's waterfront commission testimony every day during the hearing.

text: The character of Father Barry was based on the real-life "waterfront priest" Father John M. Corridan, a Jesuit priest and graduate of Regis High School who operated a Roman Catholic labor school on the west side of Manhattan. Father Corridan was interviewed extensively by Schulberg, who also wrote the foreword to a biography of Father Corridan, Waterfront Priest by Allen Raymond.

text: The character of Johnny Friendly was partially based on International Longshoremen's Association boss Michael Clemente. Friendly also had aspects of former Murder, Inc. head Albert Anastasia, who was a top enforcer for the crime family that ran the Hoboken docks, the Luciano – later Genovese – family. In 1979, Clemente and other members of the Genovese family were indicted for corruption and racketeering on the New York waterfront.

text: Casting[edit]

text: According to Richard Schickel in his biography of Kazan, Marlon Brando initially refused the role of Terry Malloy, and Frank Sinatra then had "a handshake deal" – but no formally signed contract – to play the part, even attending an initial costume fitting. But Kazan still favored Brando for the role, partly because casting Brando would assure a larger budget for the picture. While Brando's agent, Jay Kanter, attempted to persuade Brando to change his mind, Kazan enlisted actor Karl Malden, whom Kazan considered more suited to a career as a director than as an actor, to direct and film a screen test of a "more Brando-like" actor as Terry Malloy, in an effort to persuade Spiegel that "an actor like Marlon Brando" could perform the role more forcefully than Sinatra. To that end, Malden filmed a screen test of Actors Studio members Paul Newman and Joanne Woodward performing the love scene between Terry and Edie. Persuaded by the Newman/Woodward screen test, Spiegel agreed to reconsider Brando for the role, and shortly afterward Kanter convinced Brando to reconsider his refusal. Within a week, Brando signed a contract to perform in the film. At that point, a furious Sinatra demanded to be cast in the role of Father Barry, the waterfront priest. It was left to Spiegel to break the news to Sinatra that Malden had already been signed for that role.

text: The part of Edie Doyle was offered to Grace Kelly, who turned it down, preferring to make Rear Window instead. Kazan said in his autobiography A Life that the choice of an actress to play Edie Doyle was narrowed down to Elizabeth Montgomery and Eva Marie Saint. There was something well-bred about Montgomery that Kazan thought would not be becoming for Edie,[citation needed] who was raised on the waterfront in Hoboken, New Jersey. He gave the part to Saint.

text: The role of Terry's older brother Charley was originally offered to Lawrence Tierney, who asked for too much money, so the role went to Rod Steiger. Despite playing Terry's older brother, Steiger was one year younger than Brando.

text: Several of the labor boss' men in the film, including Abe Simon as Barney, Tony Galento as Truck, and Tami Mauriello as Tullio, were former professional heavyweight boxers in real life.

text: Filming locations[edit]

text: On the Waterfront was filmed over 36 days on location in various places in Hoboken, New Jersey, including the docks, workers' slum dwellings, bars, littered alleys, and rooftops. The church used for exterior scenes in the film was the historic Our Lady of Grace, built in 1874, while the interiors were shot at the Church of St. Peter and St. Paul at 400 Hudson Street.[3]

text: Reception[edit]

text: Upon its release, the film received positive reviews from critics and was a commercial success, earning an estimated $4.2 million at the North American box office in 1954.[4] In his July 29, 1954, review, New York Times critic A. H. Weiler called the film "an uncommonly powerful, exciting, and imaginative use of the screen by gifted professionals."[5]

text: Review aggregation website Rotten Tomatoes retrospectively collected 60 reviews and gave the film a score of 98%, with an average rating of 9.1 out of 10.[6]

text: Awards and honors[edit]

text: Academy Awards

text: On the Waterfront received twelve Academy Awards nominations in ten categories and won in eight of the categories.[7]

text:
Award
Result
Winner

Best Motion Picture
Won
Sam Spiegel, producer

Best Director
Won
Elia Kazan

Best Actor
Won
Marlon Brando

Best Screenplay
Won
Budd Schulberg

Best Supporting Actor
Nominated
Lee J. Cobb
Winner was Edmond O'Brien – The Barefoot Contessa

Best Supporting Actor
Nominated
Karl Malden
Winner was Edmond O'Brien – The Barefoot Contessa

Best Supporting Actor
Nominated
Rod Steiger
Winner was Edmond O'Brien – The Barefoot Contessa

Best Supporting Actress
Won
Eva Marie Saint

Best Art Direction-Set Decoration Black-and-White
Won
Richard Day

Best Cinematography (Black-and-White)
Won
Boris Kaufman

Best Film Editing
Won
Gene Milford

Best Score of a Dramatic or Comedy Picture
Nominated
Leonard Bernstein
Winner was Dimitri Tiomkin – The High and the Mighty

text: American Film Institute recognition

text:
AFI's 100 Years... 100 Movies – #8
AFI's 100 Years... 100 Heroes and Villains:

Terry Malloy – #23 Hero
Johnny Friendly – Nominated Villain

AFI's 100 Years... 100 Movie Quotes:

"You don't understand! I coulda had class. I coulda been a contender. I coulda been somebody instead of a bum, which is what I am." – #3

AFI's 100 Years of Film Scores – #22
AFI's 100 Years... 100 Cheers – #36
AFI's 100 Years... 100 Movies (10th Anniversary Edition) – #19
AFI's 10 Top 10 – Nominated Gangster film

text: Legacy

text: In 1989, the film was deemed "culturally, historically or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry. It is also on the Vatican's list of 45 greatest films, compiled in 1995.[8]

text: Home media[edit]

text: The first home video release of the film was in 1984, on VHS and Beta. The first DVD version was released in 2001. Among the special features is the featurette "Contender: Mastering the Method," a video photo gallery, an interview with Elia Kazan, an audio commentary, filmographies, production notes, and theatrical trailers. The film has been added to the Criterion Collection.


document_title: Kiowa Five

question_text: where did the kiowa five study during their time at the university of oklahoma

text: Kiowa Five

text: Background[edit]

text: Stephen Mopope (1898–1974), the oldest in the group, was born on the Kiowa Reservation in Oklahoma Territory. His relatives, including his great-uncles Silver Horn and Fort Marion ledger artist Ohettoint, recognized his artistic talent at an early age and taught him traditional Kiowa painting techniques.[2] Jack Hokeah (ca. 1900/2-1969) was orphaned at a young age and raised by his grandmother. Later in life, San Ildefonso Pueblo potter Maria Martinez adopted him as a son and he lived with her family for a decade in New Mexico.[3] Monroe Tsatoke (1904–1937) was born near Saddle Mountain, Oklahoma. His father Tsatokee ("Hunting Horse") was his first artistic influence.[4] James Auchiah (1906–1974) was born near present-day Medicine Park, Oklahoma.[5] His grandfather was Red Tipi, a ledger artist, medicine man, and bundle keeper.[6] Spencer Asah (ca. 1905/1910-1954) was born in Carnegie, Oklahoma. His father, a buffalo medicine man, provided Asah with the traditional cultural background to inspire his art.[7] Lois Smoky (1907–1981), born near Anadarko, was the youngest of the group and the only woman.[8]

text: St. Patrick's Mission School[edit]

text: Five of the artists attended the St. Patrick's Mission School in Anadarko, serving Kiowa, Comanche and Apache children. Operating from 1872 to 1996, the school, also known as the Anadarko Boarding School, was the longest surviving of the seven schools for Native American children in Oklahoma operated by St. Patrick's Mission.[9] There, the five Kiowa artists received formal art instruction from a Choctaw nun, Sister Mary Olivia Taylor (1872–1931).[8][10]

text: Monroe Tsatoke did not attend St. Patrick's and did not receive formal art training until the Anadarko Agency field matron, Susan Peters, took an interest in the young Kiowa artists and established an art club. Peters arranged for Mrs. Willie Baze Lane of Chickasha, Oklahoma, to give them painting lessons.[11]

text: University of Oklahoma[edit]

text: Susie Peters encouraged Swedish-American artist Oscar Jacobson, the director of the University of Oklahoma's art department to create a special program for the Kiowa artists. In 1926, Asah, Hokeah, Tsatoke, and Mopope moved to Norman. They were soon joined by Lois Smoky in 1927[11] and lived together in a house rented by Lois Smoky's parents.

text: Jacobson provided studio space for the group, but felt that he did not want to interfere with the direction their painting was taking. Dr. Edith Mahler, an art professor at OU also helped provide technical instruction. In the fall of 1927, James Auchiah joined the program at OU.[11]

text: Lois Smoky returned home in 1927, leaving the program. She married and was devoted to her family. Although she did not continue painting, she became a beadwork artist. Since her paintings are the rarest, they have become the most collectible of the group.[3][8]

text: Art career[edit]

text: While Jacobson did not wish to dictate subject matter to the remaining five artists, he actively promoted their work. He arranged for their work to be shown at the Denver Art Museum. In 1928, Jacobson entered their watercolor paintings in the First International Art Exposition in Prague, Czechoslovakia, where they received international acclaim. Their work continued to be exhibited throughout Europe. In 1929, Jacobson collaborated with a French printer to produce Kiowa Art, a portfolio of 24 pochoir prints of their paintings of intertribal dancers, ceremonies, musicians, and Kiowa daily life.[11]

text: When they participated in the 1932 Venice Biennale, their exhibit "was acclaimed the most popular exhibit among all the rich and varied displays assembled."[12]

text: The Kiowa Six are considered significant in the development of Native American painting, bridging the era of Ledger Art to flat-style Southern Plains painting.[3][13][14][15] While not the first Native Americans to be successful in the international fine art world, their careers proved inspirational to many Native artists in the 20th century.

text: Artwork[edit]

text: Inspired by the narrative, representational qualities of Plains hide painting and Ledger art, the Kiowa Six created a new style of painting that portrayed ceremonial and social scenes of Kiowa life and stories from oral history, which is characterized by solid color fields, minimal backgrounds, a flat perspective, and emphasis on details of dance regalia.


document_title: Great Pyramid of Giza

question_text: who commissioned the great pyramid of giza to be built

text: Great Pyramid of Giza

text: History and description

text: It is believed by Egyptologists that the pyramid was built as a tomb for Fourth Dynasty Egyptian pharaoh Khufu (often Hellenicised as "Cheops") and was constructed over a 20-year period. Khufu's vizier, Hemiunu (also called Hemon), is believed by some to be the architect of the Great Pyramid.[2] It is thought that, at construction, the Great Pyramid was originally 280 Egyptian cubits tall (146.5 metres (480.6 ft)), but with erosion and absence of its pyramidion, its present height is 138.8 metres (455.4 ft). Each base side was 440 cubits, 230.4 metres (755.9 ft) long. The mass of the pyramid is estimated at 5.9 million tonnes. The volume, including an internal hillock, is roughly 2,500,000 cubic metres (88,000,000 cu ft).[3]

text: Based on these estimates, building the pyramid in 20 years would involve installing approximately 800 tonnes of stone every day. Additionally, since it consists of an estimated 2.3 million blocks, completing the building in 20 years would involve moving an average of more than 12 of the blocks into place each hour, day and night. The first precision measurements of the pyramid were made by Egyptologist Sir Flinders Petrie in 1880–82 and published as The Pyramids and Temples of Gizeh.[4] Almost all reports are based on his measurements. Many of the casing stones and inner chamber blocks of the Great Pyramid fit together with extremely high precision. Based on measurements taken on the northeastern casing stones, the mean opening of the joints is only 0.5 millimetre wide (1/50 of an inch).[5]

text: The pyramid remained the tallest man-made structure in the world for over 3,800 years,[6] unsurpassed until the 160-metre-tall (520 ft) spire of Lincoln Cathedral was completed c. 1300. The accuracy of the pyramid's workmanship is such that the four sides of the base have an average error of only 58 millimetres in length.[7] The base is horizontal and flat to within ±15 mm (0.6 in).[8] The sides of the square base are closely aligned to the four cardinal compass points (within four minutes of arc)[9] based on true north, not magnetic north,[10] and the finished base was squared to a mean corner error of only 12 seconds of arc.[11]

text: The completed design dimensions, as suggested by Petrie's survey and subsequent studies, are estimated to have originally been 280 royal cubits high by 440 cubits long at each of the four sides of its base. The ratio of the perimeter to height of 1760/280 royal cubits equates to 2π to an accuracy of better than 0.05% (corresponding to the well-known approximation of π as 22/7). Some Egyptologists consider this to have been the result of deliberate design proportion. Verner wrote, "We can conclude that although the ancient Egyptians could not precisely define the value of π, in practice they used it".[12] Petrie, author of Pyramids and Temples of Gizeh concluded: "but these relations of areas and of circular ratio are so systematic that we should grant that they were in the builder's design".[13] Others have argued that the Ancient Egyptians had no concept of pi and would not have thought to encode it in their monuments. They believe that the observed pyramid slope may be based on a simple seked slope choice alone, with no regard to the overall size and proportions of the finished building.[14] In 2013, rolls of papyrus called the Diary of Merer were discovered written by some of those who delivered limestone and other construction materials from Tora to Giza.[15]

text: Materials

text: The Great Pyramid consists of an estimated 2.3 million blocks which most believe to have been transported from nearby quarries. The Tura limestone used for the casing was quarried across the river. The largest granite stones in the pyramid, found in the "King's" chamber, weigh 25 to 80 tonnes and were transported from Aswan, more than 800 km (500 mi) away. Traditionally,[clarification needed] ancient Egyptians cut stone blocks by hammering into them wooden wedges, which were then soaked with water. As the water was absorbed, the wedges expanded, causing the rock to crack. Once they were cut, they were carried by boat either up or down the Nile River to the pyramid.[16] It is estimated that 5.5 million tonnes of limestone, 8,000 tonnes of granite (imported from Aswan), and 500,000 tonnes of mortar were used in the construction of the Great Pyramid.[17]

text: Casing stones

text: At completion, the Great Pyramid was surfaced by white "casing stones" – slant-faced, but flat-topped, blocks of highly polished white limestone. These were carefully cut to what is approximately a face slope with a seked of 5½ palms to give the required dimensions. Visibly, all that remains is the underlying stepped core structure seen today. In AD 1303, a massive earthquake loosened many of the outer casing stones, which were then carted away by Bahri Sultan An-Nasir Nasir-ad-Din al-Hasan in 1356 to build mosques and fortresses in nearby Cairo. Many more casing stones were removed from the great pyramids by Muhammad Ali Pasha in the early 19th century to build the upper portion of his Alabaster Mosque in Cairo not far from Giza. These limestone casings can still be seen as parts of these structures. Later explorers reported massive piles of rubble at the base of the pyramids left over from the continuing collapse of the casing stones, which were subsequently cleared away during continuing excavations of the site.

text: Nevertheless, a few of the casing stones from the lowest course can be seen to this day in situ around the base of the Great Pyramid, and display the same workmanship and precision that has been reported for centuries. Petrie also found a different orientation in the core and in the casing measuring 193 centimetres ± 25 centimetres. He suggested a redetermination of north was made after the construction of the core, but a mistake was made, and the casing was built with a different orientation.[4] Petrie related the precision of the casing stones as to being "equal to opticians' work of the present day, but on a scale of acres" and "to place such stones in exact contact would be careful work; but to do so with cement in the joints seems almost impossible".[19] It has been suggested it was the mortar (Petrie's "cement") that made this seemingly impossible task possible, providing a level bed, which enabled the masons to set the stones exactly.[20][21]

text: Construction theories

text: Many alternative, often contradictory, theories have been proposed regarding the pyramid's construction techniques.[22] Many disagree on whether the blocks were dragged, lifted, or even rolled into place. The Greeks believed that slave labour was used, but modern discoveries made at nearby workers' camps associated with construction at Giza suggest that it was built instead by tens of thousands of skilled workers. Verner posited that the labour was organized into a hierarchy, consisting of two gangs of 100,000 men, divided into five zaa or phyle of 20,000 men each, which may have been further divided according to the skills of the workers.[23]

text: One mystery of the pyramid's construction is its planning. John Romer suggests that they used the same method that had been used for earlier and later constructions, laying out parts of the plan on the ground at a 1-to-1 scale. He writes that "such a working diagram would also serve to generate the architecture of the pyramid with precision unmatched by any other means".[24] He also argues for a 14-year time span for its construction.[25] A modern construction management study, in association with Mark Lehner and other Egyptologists, estimated that the total project required an average workforce of about 14,500 people and a peak workforce of roughly 40,000. Without the use of pulleys, wheels, or iron tools, they used critical path analysis methods, which suggest that the Great Pyramid was completed from start to finish in approximately 10 years.[26]

text: Interior

text: The original entrance to the Great Pyramid is on the north, 17 metres (56 ft) vertically above ground level and 7.29 metres (23.9 ft) east of the centre line of the pyramid. From this original entrance, there is a Descending Passage 0.96 metres (3.1 ft) high and 1.04 metres (3.4 ft) wide, which goes down at an angle of 26° 31'23" through the masonry of the pyramid and then into the bedrock beneath it. After 105.23 metres (345.2 ft), the passage becomes level and continues for an additional 8.84 metres (29.0 ft) to the lower Chamber, which appears not to have been finished. There is a continuation of the horizontal passage in the south wall of the lower chamber; there is also a pit dug in the floor of the chamber. Some Egyptologists suggest that this Lower Chamber was intended to be the original burial chamber, but Pharaoh Khufu later changed his mind and wanted it to be higher up in the pyramid.[27]

text: 28.2 metres (93 ft) from the entrance is a square hole in the roof of the Descending Passage. Originally concealed with a slab of stone, this is the beginning of the Ascending Passage. The Ascending Passage is 39.3 metres (129 ft) long, as wide and high as the Descending Passage and slopes up at almost precisely the same angle to reach the Grand Gallery. The lower end of the Ascending Passage is closed by three huge blocks of granite, each about 1.5 metres (4.9 ft) long. One must use the Robbers' Tunnel (see below) to access the Ascending Passage. At the start of the Grand Gallery on the right-hand side there is a hole cut in the wall. This is the start of a vertical shaft which follows an irregular path through the masonry of the pyramid to join the Descending Passage. Also at the start of the Grand Gallery there is the Horizontal Passage leading to the "Queen's Chamber". The passage is 1.1m (3'8") high for most of its length, but near the chamber there is a step in the floor, after which the passage is 1.73 metres (5.7 ft) high.

text: Queen's Chamber

text: The "Queen's Chamber"[1] is exactly halfway between the north and south faces of the pyramid and measures 5.75 metres (18.9 ft) north to south, 5.23 metres (17.2 ft) east to west, and has a pointed roof with an apex 6.23 metres (20.4 ft) above the floor. At the eastern end of the chamber there is a niche 4.67 metres (15.3 ft) high. The original depth of the niche was 1.04 metres (3.4 ft), but has since been deepened by treasure hunters.[28]

text: In the north and south walls of the Queen's Chamber there are shafts, which unlike those in the King's Chamber that immediately slope upwards (see below), are horizontal for around 2 m (6.6 ft) before sloping upwards. The horizontal distance was cut in 1872 by a British engineer, Waynman Dixon, who believed a shaft similar to those in the King's Chamber must also exist. He was proved right, but because the shafts are not connected to the outer faces of the pyramid or the Queen's Chamber, their purpose is unknown. At the end of one of his shafts, Dixon discovered a ball of black diorite (a type of rock) and a bronze implement of unknown purpose. Both objects are currently in the British Museum.[29]

text: The shafts in the Queen's Chamber were explored in 1993 by the German engineer Rudolf Gantenbrink using a crawler robot he designed, Upuaut 2. After a climb of 65 m (213 ft),[30] he discovered that one of the shafts was blocked by limestone "doors" with two eroded copper "handles". Some years later the National Geographic Society created a similar robot which, in September 2002, drilled a small hole in the southern door, only to find another door behind it.[31] The northern passage, which was difficult to navigate because of twists and turns, was also found to be blocked by a door.[32]

text: Research continued in 2011 with the Djedi Project. Realizing the problem was that the National Geographic Society's camera was only able to see straight ahead of it, they instead used a fiber-optic "micro snake camera" that could see around corners. With this they were able to penetrate the first door of the southern shaft through the hole drilled in 2002, and view all the sides of the small chamber behind it. They discovered hieroglyphs written in red paint. They were also able to scrutinize the inside of the two copper "handles" embedded in the door, and they now believe them to be for decorative purposes. They also found the reverse side of the "door" to be finished and polished, which suggests that it was not put there just to block the shaft from debris, but rather for a more specific reason.[33]

text: Grand Gallery

text: The Grand Gallery continues the slope of the Ascending Passage, but is 8.6 metres (28 ft) high and 46.68 metres (153.1 ft) long. At the base it is 2.06 metres (6.8 ft) wide, but after 2.29 metres (7.5 ft) the blocks of stone in the walls are corbelled inwards by 7.6 centimetres (3.0 in) on each side. There are seven of these steps, so, at the top, the Grand Gallery is only 1.04 metres (3.4 ft) wide. It is roofed by slabs of stone laid at a slightly steeper angle than the floor of the gallery, so that each stone fits into a slot cut in the top of the gallery like the teeth of a ratchet. The purpose was to have each block supported by the wall of the Gallery, rather than resting on the block beneath it, in order to prevent cumulative pressure.[34]

text: At the upper end of the Gallery on the right-hand side there is a hole near the roof that opens into a short tunnel by which access can be gained to the lowest of the Relieving Chambers. The other Relieving Chambers were discovered in 1837–1838 by Colonel Howard Vyse and J. S. Perring, who dug tunnels upwards using blasting powder.

text: The floor of the Grand Gallery consists of a shelf or step on either side, 51 centimetres (20 in) wide, leaving a lower ramp 1.04 metres (3.4 ft) wide between them. In the shelves there are 54 slots, 27 on each side matched by vertical and horizontal slots in the walls of the Gallery. These form a cross shape that rises out of the slot in the shelf. The purpose of these slots is not known, but the central gutter in the floor of the Gallery, which is the same width as the Ascending Passage, has led to speculation that the blocking stones were stored in the Grand Gallery and the slots held wooden beams to restrain them from sliding down the passage.[35] This, in turn, has led to the proposal that originally many more than 3 blocking stones were intended, to completely fill the Ascending Passage.[citation needed]

text: At the top of the Grand Gallery, there is a step giving onto a horizontal passage some metres long and approximately 1.02 metres (3.3 ft) in height and width, in which can be detected four slots, three of which were probably intended to hold granite portcullises. Fragments of granite found by Petrie in the Descending Passage may have come from these now-vanished doors.

text: In 2017, scientists from the Scan Pyramids Project discovered a large cavity above the Grand Gallery, using muon radiography that can detect cosmic rays. Its length is at least 30 metres (98 ft) and its cross-section is similar to that of the Grand Gallery. It was detected using three different technologies: nuclear emulsion films, scintillator hodoscopes, and gas detectors.[36][37] The purpose of the cavity is not known and it is not accessible but according to Zahi Hawass it may have been a gap used in the construction of the Grand Gallery.[38] The Japanese research team disputes this, however, saying that the huge void is completely different from the construction spaces previously identified.[39]

text: King's Chamber

text: The "King's Chamber"[1] is 20 cubits or 10.47 metres (34.4 ft) from east to west and 10 cubits or 5.234 metres (17.17 ft) north to south. It has a flat roof 11 cubits and 5 digits or 5.852 metres (19 feet 2 inch) above the floor. 0.91 m (3.0 ft) above the floor there are two narrow shafts in the north and south walls (one is now filled by an extractor fan in an attempt to circulate air inside the pyramid). The purpose of these shafts is not clear: they appear to be aligned towards stars or areas of the northern and southern skies, yet one of them follows a dog-leg course through the masonry, indicating no intention to directly sight stars through them. They were long believed by Egyptologists to be "air shafts" for ventilation, but this idea has now been widely abandoned in favour of the shafts serving a ritualistic purpose associated with the ascension of the king’s spirit to the heavens.[40]

text: The King's Chamber is entirely faced with granite. Above the roof, which is formed of nine slabs of stone weighing in total about 400 tons, are five compartments known as Relieving Chambers. The first four, like the King's Chamber, have flat roofs formed by the floor of the chamber above, but the final chamber has a pointed roof. Vyse suspected the presence of upper chambers when he found that he could push a long reed through a crack in the ceiling of the first chamber. From lower to upper, the chambers are known as "Davison's Chamber", "Wellington's Chamber", "Nelson's Chamber", "Lady Arbuthnot's Chamber", and "Campbell's Chamber". It is believed that the compartments were intended to safeguard the King's Chamber from the possibility of a roof collapsing under the weight of stone above the Chamber. As the chambers were not intended to be seen, they were not finished in any way and a few of the stones still retain masons' marks painted on them. One of the stones in Campbell's Chamber bears a mark, apparently the name of a work gang.[41][42]

text: The only object in the King's Chamber is a rectangular granite sarcophagus, one corner of which is broken. The sarcophagus is slightly larger than the Ascending Passage, which indicates that it must have been placed in the Chamber before the roof was put in place. Unlike the fine masonry of the walls of the Chamber, the sarcophagus is roughly finished, with saw marks visible in several places. This is in contrast with the finely finished and decorated sarcophagi found in other pyramids of the same period. Petrie suggested that such a sarcophagus was intended but was lost in the river on the way north from Aswan and a hurriedly made replacement was used instead.

text: Modern entrance

text: Today tourists enter the Great Pyramid via the Robbers' Tunnel, a tunnel purportedly created around AD 820 by Caliph al-Ma'mun's workmen using a battering ram.[43] The tunnel is cut straight through the masonry of the pyramid for approximately 27 metres (89 ft), then turns sharply left to encounter the blocking stones in the Ascending Passage. It is believed that their efforts dislodged the stone fitted in the ceiling of the Descending Passage to hide the entrance to the Ascending Passage and it was the noise of that stone falling and then sliding down the Descending Passage, which alerted them to the need to turn left. Unable to remove these stones, however, the workmen tunnelled up beside them through the softer limestone of the Pyramid until they reached the Ascending Passage. It is possible to enter the Descending Passage from this point, but access is usually forbidden.[44]

text: Pyramid complex

text: The Great Pyramid is surrounded by a complex of several buildings including small pyramids. The Pyramid Temple, which stood on the east side of the pyramid and measured 52.2 metres (171 ft) north to south and 40 metres (130 ft) east to west, has almost entirely disappeared apart from the black basalt paving. There are only a few remnants of the causeway which linked the pyramid with the valley and the Valley Temple. The Valley Temple is buried beneath the village of Nazlet el-Samman; basalt paving and limestone walls have been found but the site has not been excavated.[45][46] The basalt blocks show "clear evidence" of having been cut with some kind of saw with an estimated cutting blade of 15 feet (4.6 m) in length, capable of cutting at a rate of 1.5 inches (38 mm) per minute. John Romer suggests that this "super saw" may have had copper teeth and weighed up to 300 pounds (140 kg). He theorizes that such a saw could have been attached to a wooden trestle and possibly used in conjunction with vegetable oil, cutting sand, emery or pounded quartz to cut the blocks, which would have required the labour of at least a dozen men to operate it.[47]

text: On the south side are the subsidiary pyramids, popularly known as Queens' Pyramids. Three remain standing to nearly full height but the fourth was so ruined that its existence was not suspected until the recent discovery of the first course of stones and the remains of the capstone. Hidden beneath the paving around the pyramid was the tomb of Queen Hetepheres I, sister-wife of Sneferu and mother of Khufu. Discovered by accident by the Reisner expedition, the burial was intact, though the carefully sealed coffin proved to be empty.

text: The Giza pyramid complex, which includes among other structures the pyramids of Khufu, Khafre and Menkaure, is surrounded by a cyclopean stone wall, the Wall of the Crow. Mark Lehner has discovered a worker's town outside of the wall, otherwise known as "The Lost City", dated by pottery styles, seal impressions, and stratigraphy to have been constructed and occupied sometime during the reigns of Khafre (2520–2494 BC) and Menkaure (2490–2472 BC).[48][49] Recent discoveries by Mark Lehner and his team at the town and nearby, including what appears to have been a thriving port, suggest the town and associated living quarters consisting of barracks called "galleries" may not have been for the pyramid workers after all, but rather for the soldiers and sailors who utilized the port. In light of this new discovery, as to where then the pyramid workers may have lived Lehner now suggests the alternative possibility they may have camped on the ramps he believes were used to construct the pyramids or possibly at nearby quarries.[50]

text: In the early 1970s, the Australian archaeologist Karl Kromer excavated a mound in the South Field of the plateau. This mound contained artefacts including mudbrick seals of Khufu, which he identified with an artisans' settlement.[51] Mudbrick buildings just south of Khufu's Valley Temple contained mud sealings of Khufu and have been suggested to be a settlement serving the cult of Khufu after his death.[52] A worker's cemetery used at least between Khufu's reign and the end of the Fifth Dynasty was discovered south of the Wall of the Crow by Zahi Hawass in 1990.[53]

text: Boats

text: There are three boat-shaped pits around the pyramid, of a size and shape to have held complete boats, though so shallow that any superstructure, if there ever was one, must have been removed or disassembled. In May 1954, the Egyptian archaeologist Kamal el-Mallakh discovered a fourth pit, a long, narrow rectangle, still covered with slabs of stone weighing up to 15 tons. Inside were 1,224 pieces of wood, the longest 23 metres (75 ft) long, the shortest 10 centimetres (0.33 ft). These were entrusted to a boat builder, Haj Ahmed Yusuf, who worked out how the pieces fit together. The entire process, including conservation and straightening of the warped wood, took fourteen years.

text: The result is a cedar-wood boat 43.6 metres (143 ft) long, its timbers held together by ropes, which is currently housed in a special boat-shaped, air-conditioned museum beside the pyramid. During construction of this museum, which stands above the boat pit, a second sealed boat pit was discovered. It was deliberately left unopened until 2011 when excavation began on the boat.[54]

text: Looting

text: Although succeeding pyramids were smaller, pyramid building continued until the end of the Middle Kingdom. However, as authors Briar and Hobbs claim, "all the pyramids were robbed" by the New Kingdom, when the construction of royal tombs in a desert valley, now known as the Valley of the Kings, began.[55][56] Joyce Tyldesley states that the Great Pyramid itself "is known to have been opened and emptied by the Middle Kingdom", before the Arab caliph Abdullah al-Mamun entered the pyramid around AD 820.[43]

text: I. E. S. Edwards discusses Strabo's mention that the pyramid "a little way up one side has a stone that may be taken out, which being raised up there is a sloping passage to the foundations". Edwards suggested that the pyramid was entered by robbers after the end of the Old Kingdom and sealed and then reopened more than once until Strabo's door was added. He adds: "If this highly speculative surmise be correct, it is also necessary to assume either that the existence of the door was forgotten or that the entrance was again blocked with facing stones", in order to explain why al-Ma'mun could not find the entrance.[57]

text: He also discusses a story told by Herodotus. Herodotus visited Egypt in the 5th century BC and recounts a story that he was told concerning vaults under the pyramid built on an island where the body of Cheops lies. Edwards notes that the pyramid had "almost certainly been opened and its contents plundered long before the time of Herodotus" and that it might have been closed again during the Twenty-sixth Dynasty of Egypt when other monuments were restored. He suggests that the story told to Herodotus could have been the result of almost two centuries of telling and retelling by Pyramid guides.[58]