document_title: The Princess and the Frog

question_text: who plays the voodoo guy in princess and the frog

text: The Princess and the Frog

text: Plot[edit]

text: In 1912 New Orleans, a girl named Tiana and her friend Charlotte La Bouff listen to Tiana's mother read the story of The Frog Prince. Charlotte finds the story to be romantic, while Tiana proclaims she will never kiss a frog. Fourteen years later, Tiana has grown into an aspiring young chef who works as a waitress for two local diners, so she can save enough money to start her own restaurant, a dream she shared with her deceased father.

text: Prince Naveen of Maldonia arrives in New Orleans to better his financial situation. After being cut off by his parents, Naveen intends to marry a rich southern belle, and Charlotte is the perfect candidate. Eli "Big Daddy" La Bouff, a rich sugar baron and Charlotte's father, is hosting a masquerade ball in Naveen's honor. Charlotte hires Tiana to make beignets for the ball, giving her enough money to buy an old sugar mill to convert into her restaurant. Meanwhile, Naveen and his valet, Lawrence, meet the voodoo witch doctor  Dr. Facilier. Inviting them into his emporium, Facilier convinces them that he can make their dreams come true, but neither man gets what they are expecting; Naveen is transformed into a frog, while Lawrence is given a voodoo talisman that makes him resemble Naveen. Facilier intends for Lawrence to marry Charlotte, after which he will kill Big Daddy and claim his fortune.

text: At the ball, Tiana discovers she may lose the mill to a higher bidder. Tiana then meets Naveen, who, believing her to be a princess because of her costume, asks her to kiss him and break Facilier's spell. In exchange for the money needed, Tiana accepts, but when she kisses Naveen, she is turned into a frog herself. A chase ensues, and Tiana and Naveen escape to a bayou. In the bayou, Tiana and Naveen meet Louis, a trumpet-playing alligator, and Ray, a Cajun firefly. Louis and Ray offer to lead Tiana and Naveen to the hoodoo priestess Mama Odie, whom they believe can undo the curse. During the journey, Tiana and Naveen develop feelings for each other. Meanwhile, Facilier makes a deal with the voodoo spirits, offering them the souls of the people of New Orleans; in exchange, the spirits grant Facilier the services of a host of shadow demons, whom he orders to find and capture Naveen.

text: When the four find Mama Odie, she tells them that Naveen must kiss a true princess in order to break the spell. They return to New Orleans to find Charlotte, who is the princess of the Mardi Gras Parade, but only until midnight. Naveen tells Ray he loves Tiana and is willing to give up his dreams for her, but before he can tell Tiana, he is captured by the demons and brought to Facilier. After Ray tells Tiana that Naveen loves her, Tiana goes to parade to find a human "Naveen" marrying Charlotte; but Ray rescues the real Naveen and steals the charm that disguises Lawrence. Ray finds Tiana, gives her the charm and attempts to hold off the demons so she can escape, but Facilier manages to wound him. Facilier then offers to make Tiana's restaurant dream come true in exchange for the talisman. Realizing she would rather be with Naveen, and recognizing Facilier's true intentions, Tiana destroys the talisman. The angered voodoo spirits claim Facilier himself as payment for his debts to them and drag him into the spirit world.

text: As Lawrence is taken away by the police, Tiana and Naveen reveal their love to each other and explain the situation to Charlotte, who agrees to kiss Naveen. The clock strikes midnight before she can do so, but the couple decide they are content to live together as frogs. Tiana and Naveen are wed by Mama Odie; and because of Tiana's new status as princess, they are restored to human form after their kiss. Later, the couple returns to New Orleans to legally get married and celebrate, and together they open their new restaurant.

text: Cast[edit]

text:
Anika Noni Rose as Tiana/"Tia", a 19-year-old waitress and aspiring chef/restaurateur. She is a smart, hard-working, and independent young woman, but one who works so hard that she often forgets important things such as love, fun, and family.[4] Originally, Tiana was supposed to be known as "Maddy". Mark Henn served as the supervising animator for Tiana in both human and frog form, making her one of several Disney lead female characters he has animated.[5] Henn declared that he attempted to make a character that could stand on its own "without repeating what I've done on Belle, Ariel, and Jasmine", with Tiana having a more cynical and grounded personality. Rose's performance influenced much of the animation, with the actress even suggesting to Henn for Tiana to be left-handed like herself.[6]
Elizabeth Dampier voices Tiana as a child.
Bruno Campos as Prince Naveen, the prince of Maldonia. Naveen is a 24-year-old ne'er-do-well and playboy who has been cut off from his family's riches until he learns the value of responsibility. Randy Haycock served as the supervising animator of Naveen in both human and frog form.[7] The directors described the fictional kingdom of Maldonia as "located in an East of the Sun and West of the Moon location", however, the name Naveen (meaning "young man" in Sanskrit) is fairly common among men from the Indian Subcontinent. Campos combined a French accent with his own Brazilian accent to make up a Maldonian accent.[citation needed]
Michael-Leon Wooley as Louis, a friendly, neurotic, trumpet-playing alligator whose dream is to become human so he can join a jazz band. His name comes from the famous jazz artist and trumpeter, Louis Armstrong. Eric Goldberg, the supervising animator of Louis and other miscellaneous characters,[7] won the Annie Award for Character Animation in a Feature Production for his work on the film.[8]
Jim Cummings as Ray, a Cajun firefly. He and his vast family are close friends with Mama Odie, so he offers to help the frogs get to her. Ray has an unrequited love for the Evening Star, which he believes is another firefly named "Evangeline" (a reference to the 19th-century Longfellow poem).[9] Mike Surrey was the supervising animator for Ray. Ray's name comes from the blind pianist Ray Charles.[7]
Keith David as Doctor Facilier, also known as The Shadow Man, a voodoo bokor (witch doctor). He is depicted in the image of Baron Samedi and/or Ghede Nibo wearing a tailcoat and tophat. Bruce W. Smith, supervising animator of Doctor Facilier, referred to the character as the "lovechild" of his two favorite Disney Villains: Captain Hook from Peter Pan (1953), and Cruella de Vil from One Hundred and One Dalmatians (1961).[10] Smith was nominated for the Annie Award for Character Animation in a Feature Production for his work.[8]
Jennifer Cody as Charlotte "Lottie" La Bouff, a wealthy Southern débutante and Tiana's best friend since childhood who dreams of marrying a prince. Nik Ranieri served as the supervising animator of Charlotte as an adult and child.[7] Jennifer Cody won the Annie Award for Voice Acting in a Feature Production for her performance.[8]
Breanna Brooks voices Charlotte as a child.
Jenifer Lewis as Mama Odie, a blind, 197-year-old voodoo priestess, who serves as the film's 'Fairy Godmother figure'. Andreas Deja was the supervising animator for both Mama Odie and her pet snake, Juju, and was nominated for the Annie Award for Character Animation in a Feature Production.[8][11]
Peter Bartlett as Lawrence, Prince Naveen's valet, whom Dr. Facilier recruits as a partner in his scheme by transforming him to look like Naveen using a blood charm. Anthony DeRosa was the supervising animator for the Lawrence character, whose design was influenced by the Mr. Smee character from Peter Pan.[9]
John Goodman as Eli "Big Daddy" La Bouff, a very wealthy Southern sugar mill owner and father of Charlotte La Bouff. While he spoils Charlotte with everything she asks for, he is a loving and generous man, and loves Tiana's cooking. Duncan Marjoribanks was the supervising animator for Eli "Big Daddy" La Bouff.[7]
Oprah Winfrey as Eudora, Tiana's mother who wants to see her happy and worries that Tiana focuses too much on her dream of owning a restaurant.[12] Ruben A. Aquino animated both Eudora and her husband, James.[7]
Terrence Howard as James, Tiana's father, who helped instil a strong work ethic in Tiana. He served in World War I as evidenced by a dresser-top portrait photo of him in a World War I uniform. The circumstances of his death were not stated in the film; however, his portrait is accompanied by the Distinguished Service Cross, a US medal awarded to soldiers who demonstrated great heroism or risk of life in battle.
Frank Welker as Stella (vocal effects), Charlotte's pet dog who talks to Tiana during the film, when she is chasing Tiana and Naveen as frogs on the table. She loves Tiana's beignets and begs at Tiana when she wants one.
Dee Bradley Baker as Juju, Mama Odie's green pet snake.
Corey Burton and Jerry Kernion as the Fenner Brothers, two real estate agents who eventually sell Tiana the sugar mill under duress after initially refusing because someone else was offering to pay for it in cash, and because they believed Tiana could not manage it because of her background.[13]
Ritchie Montgomery, Don Hall, and Paul Briggs as Reggie, Darnell, and Two-Fingers, three bumbling frog hunters who try to catch Tiana and Naveen as frogs. Their resemblance to the Three Stooges has been noted.
Kevin Michael Richardson and Emeril Lagasse as Ian and Marlon, the two alligators.

text: Production[edit]

text: Early development[edit]

text: Disney had once announced that 2004's Home on the Range would be their last traditionally animated film. After the company's acquisition of Pixar in 2006, Ed Catmull and John Lasseter, the new president and chief creative officer of Disney Animation Studios, reversed this decision and reinstated hand-drawn animation at the studio.[14][15] Many animators who had either been laid off or had left the studio when the traditional animation units were dissolved in 2003 were located and re-hired for the project.[16] Lasseter also brought back directors Ron Clements and John Musker, whose earlier works include The Great Mouse Detective (1986), The Little Mermaid (1989), Aladdin (1992), Hercules (1997), and Treasure Planet (2002).[17][18] The duo had left the company in 2005, but Lasseter requested their return to Disney to direct and write the film and had let them choose the style of animation (traditional or CGI) they wanted to use.[9]

text: The story for the film began development by merging two projects in development at Disney and Pixar at the time, both based around the "Frog Prince" fairy tale.[9][16] One of the projects was based on E. D. Baker's The Frog Princess, in which the story's heroine (Princess Emma) kisses a prince turned frog (Prince Eadric), only to become a frog herself.[16] The Princess and the Frog returns to the musical film format used in many of the previously successful Disney animated films, with a style Musker and Clements declared, like with Aladdin and The Little Mermaid, had inspiration from Golden Age Disney features such as Cinderella.[6]

text: Musker and Clements thought that given all fairy tales were set in Europe, they could do an American fairy tale.[6] They stated that they chose New Orleans as a tribute to the history of the city, for its "magical" qualities, and because it was Lasseter's favorite city.[9][19] The directors spent ten days in Louisiana before starting to write the film.[6]

text: The Princess and the Frog was originally announced as The Frog Princess in July 2006,[14] and early concepts and songs were presented to the public at the Walt Disney Company's annual shareholders' meeting in March 2007.[20] These announcements drew criticism from African-American media outlets, due to elements of the Frog Princess story, characters, and settings considered distasteful.[21][22] African-American critics disapproved of the original name for the heroine, "Maddy", due to its similarity to the derogatory term "mammy".[21] Also protested were Maddy's original career as a chambermaid,[22] the choice to have the black heroine's love interest be a non-black prince, which upset opponents of on-screen interracial romance,[21] and the use of a black male voodoo witchdoctor as the film's villain.[21] The Frog Princess title was also thought by critics to be a slur on French people.[23] Also questioned was the film's setting of New Orleans, which had been heavily damaged by Hurricane Katrina in 2005, resulting in the expulsion of a large number of mostly black residents.[24] Critics claimed the choice of New Orleans as the setting for a Disney film with a black heroine was an affront to the Katrina victims' plight.[21][24]

text: In response to these early criticisms, the film's title was changed in May 2007 from The Frog Princess to The Princess and the Frog. The name "Maddy" was changed to "Tiana",[23][25] and the character's occupation was altered from chambermaid to waitress.[21] Talk-show host Oprah Winfrey was hired as a technical consultant for the film, leading to her taking a voice-acting role in the film as Tiana's mother, Eudora.[9]

text: Writing and themes[edit]

text: The head of story, Don Hall, described the plot as a fairy tale "twisted enough that it seems new and fresh", with a kingdom that is a modern city, a handsome prince that is a "knuckleheaded playboy" and a variation on the fairy godmother with Mama Odie. Co-writer Rob Edwards also said The Princess and the Frog was "a princess movie for people who don't like princess movies". As the writers thought Tiana's character motivation of simply dreaming of having her own restaurant was not appealing enough, they expanded so it was her father's as well, with the extra philosophy of "food bringing people together from all walks of life". Musker and Clements stated that while Tiana already starts as a sympathetic character, the events of the plot make her "understand things in a deeper level" and change people around her. Both protagonists would learn from each other—Naveen to take responsibilities, Tiana to enjoy life—as well as figuring from Ray's passion for Evangeline that the perfect balance is brought by having someone you love to share the experience.[6] Tiana became the first African-American Disney Princess.[26][27]

text: Voice cast[edit]

text: On December 1, 2006, a detailed casting call was announced for the film at the Manhattan Theatre Source forum.[28] The casting call states the film as being an American fairy tale musical set in New Orleans during the 1920s Jazz Age and provides a detailed list of the film's major characters.

text: In February 2007, it was reported that Dreamgirls actresses Jennifer Hudson and Anika Noni Rose were top contenders for the voice of Tiana, and that Alicia Keys directly contacted Walt Disney Studios chairman Dick Cook about voicing the role.[29] It was later reported that Tyra Banks was considered for the role as well.[30] By April 2007, it was confirmed that Rose would be voicing Tiana.[31] Three months later, it was reported that Keith David would be doing the voice of Dr. Facilier, the villain of the film.[32]

text: Animation and design[edit]

text: Clements and Musker had agreed early on that the style they were aiming for was primarily that of Lady and the Tramp (1955), a film which they and John Lasseter feel represents "the pinnacle of Disney's style".[33] "After that, everything started becoming more stylized, like Sleeping Beauty, 101 Dalmatians—which are fantastic films as well, but there's a particular style (to 'Lady and the Tramp') that's so classically Disney."[34] Lady and the Tramp also heavily informed the style of the New Orleans scenes, while Disney's Bambi (1942) served as the template for the bayou scenes.[33] Bambi was described as a stylistic reference for the painted backgrounds, as according to art director Ian Gooding "Bambi painted what it feels like to be in the forest instead of the forest" so The Princess and the Frog would in turn try capturing the essence of roaming through New Orleans.[6]

text: The former trend in Disney's hand-drawn features where the characters and cinematography were influenced by a CGI-look has been abandoned. Andreas Deja, a veteran Disney animator who supervised the character of Mama Odie, says "I always thought that maybe we should distinguish ourselves to go back to what 2D is good at, which is focusing on what the line can do rather than volume, which is a CG kind of thing. So we are doing less extravagant Treasure Planet kind of treatments. You have to create a world but [we're doing it more simply]. What we're trying to do with Princess and the Frog is hook up with things that the old guys did earlier. It's not going to be graphic…".[35] Deja also mentions that Lasseter was aiming for the Disney sculptural and dimensional look of the 1950s: "All those things that were non-graphic, which means go easy on the straight lines and have one volume flow into the other—an organic feel to the drawing."[35] Lasseter also felt that traditional animation created more character believability.[36] For example, with Louis the alligator, created by Eric Goldberg, Lasseter said: "It's the believability of this large character being able to move around quite like that."[36] Choreographer Betsy Baytos was brought by the directors to lead a team of eccentric dancers that gave reference to make each character a different style of movement. The character design tried to create beautiful drawings through subtle shapes, particularly for most characters being human. For the frog versions of Tiana and Naveen, while the animators started with realistic designs, they eventually went for cutesy characters "removing all that is unappealing in frogs", similar to Pinocchio's Jiminy Cricket.[6]

text: Toon Boom Animation's Toon Boom Harmony software was used as the main software package for the production of the film, as the Computer Animation Production System (CAPS) system that Disney developed with Pixar in the 1980s for use on their previous traditionally animated films had become outdated.[37] The Harmony software was augmented with a number of plug-ins to provide CAPS-like effects such as shading on cheeks and smoke effects.[11][35] The reinstated traditional unit's first production, a 2007 Goofy cartoon short entitled How to Hook Up Your Home Theater, was partly animated without paper by using Harmony and Wacom Cintiq pressure-sensitive tablets. The character animators found some difficulty with this approach, and decided to use traditional paper and pencil drawings, which were then scanned into the computer systems, for The Princess and the Frog.[11]

text: The one exception to the new Toon Boom Harmony pipeline was the "Almost There" dream sequence, which utilized an Art Deco graphic style based on the art of Harlem Renaissance painter Aaron Douglas.[38] Supervised by Eric Goldberg and designed by Sue Nichols,[39] the "Almost There" sequence's character animation was done on paper without going through the clean-up animation department,[9] and scanned directly into Photoshop. The artwork was then enhanced to affect the appearance of painted strokes and fills, and combined with backgrounds, using Adobe After Effects.[10][11]

text: The visual effects and backgrounds for the film were created digitally using Cintiq tablet displays.[11][40] Marlon West, one of Disney's veteran animation visual effects supervisors, says about the production; "Those guys had this bright idea to bring back hand-drawn animation, but everything had to be started again from the ground up. One of the first things we did was focus on producing shorts, to help us re-introduce the 2D pipeline. I worked as vfx supervisor on the Goofy short, How to Hook Up Your Home Theater. It was a real plus for the effects department, so we went paperless for The Princess and the Frog." The backgrounds were painted digitally using Adobe Photoshop, and many of the architectural elements were based upon 3D models built in Autodesk Maya.[11] Much of the clean-up animation, digital ink-and-paint, and compositing were outsourced to third-party companies in Orlando, Florida (Premise Entertainment), Toronto, Ontario, Canada (Yowza Digital Animation), and Brooklin, São Paulo, Brazil (HGN Produções).[7]

text: Music[edit]

text: During Disney's 2007 shareholder meeting, Randy Newman and the Dirty Dozen Brass Band performed the film's opening number, "Down in New Orleans", with famous New Orleans singer Dr. John singing, while slides of pre-production art from the film played on a screen.[20] Other songs in the film include "Almost There" (a solo for Tiana), "Dig a Little Deeper" (a song for Mama Odie), "When We're Human" (a song for Louis, Tiana and Naveen [as frogs]), "Friends on the Other Side" (a solo for Doctor Facilier), and "Gonna Take You There" and "Ma Belle Evangeline" (two solos for Ray).[20] Newman composed, arranged, and conducted the music for the film, a mixture of jazz, zydeco, blues, and gospel styles performed by the voice cast members for the respective characters while R&B singer-songwriter Ne-Yo wrote and performed the end title song "Never Knew I Needed", an R&B love song referring to the romance between the film's two main characters, Tiana and Naveen. Supported by a music video by Melina, "Never Knew I Needed" was issued to radio outlets as a commercial single from the Princess and the Frog soundtrack.[41]

text: The film's soundtrack album, The Princess and the Frog: Original Songs and Score, contains the ten original songs from the film and seven instrumental pieces. The soundtrack was released on November 23, 2009, the day before the limited release of the film in New York and Los Angeles.[42]

text: Release[edit]

text: The film premiered in theaters with a limited run in New York and Los Angeles beginning on November 25, 2009, followed by wide release on December 11, 2009.[43] The film was originally set for release on Christmas Day 2009, but its release date was changed due to a competing family film, Alvin and the Chipmunks: The Squeakquel, scheduled for release the same day.[44] The Princess and the Frog enjoyed a limited re-release in AMC Theatres, lasting from October 6–12, 2017 as part of the Dream Big, Princess campaign.[45][46]

text: Marketing[edit]

text: The Princess and the Frog was supported by a wide array of merchandise leading up to and following the film's release. Although Disney's main marketing push was not set to begin until November 2009, positive word-of-mouth promotion created demand for merchandise well in advance of the film.[47] Princess Tiana costumes were selling out prior to Halloween 2009, and a gift set of Tiana-themed hair-care products from Carol's Daughter sold out in seven hours on the company's website.[47] Other planned merchandise includes a cookbook for children and even a wedding gown.[47] Princess Tiana was also featured a few months before the release in the Disney on Ice: Let's Celebrate! show.[48] The film itself was promoted through advertisements, including one from GEICO where Naveen, as a frog, converses with the company's gecko mascot.[49]

text: A live parade and show called Tiana's Showboat Jubilee! premiered on October 25, 2009, at the Magic Kingdom theme park at Walt Disney World Resort in Florida,[50] and on November 5 at Disneyland in California.[51] In Disneyland, actors in New Orleans Square paraded to the Rivers of America and boarded the park's steamboat.[51] From there, the cast, starring Princess Tiana, Prince Naveen, Louis the alligator, and Doctor Facilier, would sing songs from the movie, following a short storyline taking place after the events of the film. The Disneyland version's actors actually partook in singing, while the Walt Disney World rendition incorporated lip-syncing.[51]

text: Tiana's Showboat Jubilee! ran at both parks until January 3, 2010.[50][51] At Disneyland Park, the show was replaced by a land-based event called Princess Tiana's Mardi Gras Celebration, which features Princess Tiana along with five of the original presentation's "Mardi Gras dancers" and the park's "Jambalaya Jazz Band" as they perform songs from the movie.[52] "Tiana's Mardi Gras Celebration" officially ended on October 3, 2010. However, it returned to Disneyland from 2011-2013 as part of the "Limited Time Magic" family-fun weekends.[53][54][55]

text: Tiana also appears in Disneyland Paris' New Generation Festival.[56] Some of the characters appear frequently during World of Color, the nightly fountain and projection show presented at Disney California Adventure. Disney announced on June 4, 2009, that they would release a video game inspired by the film and it was released on November 2009 exclusively for Wii and Nintendo DS platforms. It has been officially described an "adventure through the exciting world of New Orleans in a family-oriented video game", featuring events from the film and challenges for Princess Tiana.[57]

text: Home media[edit]

text: The Princess and the Frog was released in North America on DVD and Blu-ray Disc on March 16, 2010.[58]

text: The film is available on DVD, Blu-ray Disc, and Blu-ray Disc combo pack editions; the combo pack includes DVD and digital copies of the film, along with the Blu-ray Disc version.[58] The film was released on DVD and Blu-ray Disc in Australia on June 2, 2010, and on June 21, 2010, in the United Kingdom. As of December 2010 the DVD has sold 4,475,227 copies and has made $71.3 million in DVD sales,[59] making it the ninth-best-selling DVD of 2010.[60]

text: Reception[edit]

text: The financial and critical success of The Princess and the Frog persuaded Disney to green-light at least one new hand-drawn animated film to be released every two years.[16] However, the blog /Film noted in July 2014 with the release of hand-drawn concept art for the 2013 computer animated film Frozen, that any future hand-drawn animated films have been "killed" for the time being due to The Princess and the Frog failing "to ignite the box office".[61] Two months later, however, many Disney artists announced they were working on a new independent hand drawn animated film, Hullabaloo as part of an attempt to bring back hand-drawn animation.[62] Despite such speculation, Walt Disney Animation Studios has continued to use both hand-drawn animation and computer animation in subsequent films.

text: Box office[edit]

text: On its limited day release, the film grossed $263,890 at two theaters and grossed $786,190 its opening weekend.[63][64] On its opening day in wide release, the film grossed $7 million at 3,434 theaters.[65] It went on to gross $24.2 million over the opening weekend averaging $7,050 per theater,[66] ranking at #1 for the weekend, and making it the highest-grossing start to date for an animated movie in December, a record previously held by Beavis and Butt-Head Do America.[67] The film went on to gross $104.4 million (in the United States and Canada) and $267 million (worldwide), making it a box office success, and became the fifth-highest-grossing animated film of 2009.[68] While the film did out-gross Disney's more recent hand-drawn films such as The Emperor's New Groove, Atlantis: The Lost Empire, Treasure Planet, Brother Bear, and Home on the Range, it was less auspicious than the animated films from Walt Disney Animation Studios' 1990s heyday. Disney animator Tom Sito compared the film's box office performance to that of The Great Mouse Detective (1986), which was a step up from the theatrical run of the 1985 box office bomb The Black Cauldron.[69]

text: Looking back on the experience four years later, Catmull acknowledged that Disney had made a "serious mistake" in the process of marketing and releasing the film.[70] The Walt Disney Studios' marketing department had warned Disney Animation that the word "princess" in the title "would lead moviegoers to think that the film was for girls only," but the animation studio's management insisted on keeping the "princess" title because they truly believed that the film's excellent quality and beautiful hand-drawn animation would bring in all quadrants anyway.[70] In Catmull's words, this belief "was our own version of a stupid pill."[70]  The marketing department turned out to be correct in their prediction that many moviegoers would and did avoid the film because they thought it was "for little girls only."[70] This error was further compounded by the fact that the film opened a week before Avatar.[70]

text: Looking back seven years later, Lasseter told Variety: "I was determined to bring back [hand-drawn animation] because I felt it was such a heritage of the Disney studio, and I love the art form … I was stunned that Princess didn't do better. We dug into it and did a lot of research and focus groups. It was viewed as old-fashioned by the audience."[71]

text: Critical reception[edit]

text: The film received largely positive reviews from critics, praising the animation, characters, music and themes. Review aggregator Rotten Tomatoes reported that 85% of 191 critics have given the film a positive review, with a rating average of 7.4 out of 10.[72] The site's general consensus is that "The warmth of traditional Disney animation makes this occasionally lightweight fairy-tale update a lively and captivating confection for the holidays."[73] Metacritic, which assigns a weighted average score out of 0–100 from film critics, has a rating score of 73 based on 29 reviews.[74]

text: Lisa Schwarzbaum of Entertainment Weekly gave the film an "A" grade and applauded the film's creative team for "uphold[ing] the great tradition of classic Disney animation".[75] Kirk Honeycutt of The Hollywood Reporter praised Walt Disney Animation for "rediscovering its traditional hand-drawn animation" and for "a thing called story".[76] David Germain of the Associated Press wrote that "The Princess and the Frog is not the second coming of Beauty and the Beast or The Lion King. It's just plain pleasant, an old-fashioned little charmer that's not straining to be the next glib animated compendium of pop-culture flotsam."[77] Justin Chang of Variety was less receptive, stating "this long-anticipated throwback to a venerable house style never comes within kissing distance of the studio's former glory".[78] Joe Neumaier of the New York Daily News gave the film 3/5 stars while saying "The Princess and the Frog breaks the color barrier for Disney princesses, but is a throwback to traditional animation and her story is a retread".[79] Village Voice's Scott Foundas found that "the movie as a whole never approache[d] the wit, cleverness, and storytelling brio of the studio's early-1990s animation renaissance (Beauty and the Beast, The Lion King) or pretty much anything by Pixar".[80] Betsy Sharkey of the Los Angeles Times gave the film a positive review claiming that "the dialogue is fresh-prince clever, the themes are ageless, the rhythms are riotous and the return to a primal animation style is beautifully executed."[81] Chicago Sun-Times film critic Roger Ebert gave the film three out of four stars and admired Disney's step back to traditional animation, writing, "No 3-D! No glasses! No extra ticket charge! No frantic frenzies of meaningless action! And…good gravy! A story! Characters! A plot! This is what classic animation once was like!", but stated that the film "inspires memories of Disney's Golden Age it doesn't quite live up to, as I've said, but it's spritely and high-spirited, and will allow kids to enjoy it without visually assaulting them."[82]

text: S. Jhoanna Robledo of Common Sense Media gave the film three out of five stars, writing, "First African-American Disney princess is a good role model".[83] Saint Bryan of the NBC-TV Seattle praised the film and called it "The Best Disney Movie Since The Lion King".[84]

text: Upon its release, the film created controversy among some Christians over its use of Louisiana Voodoo as a plot device.[85] Christianity Today's review of the film cited its sexual undertones and use of voodoo, arguing that the scenes with Dr. Facilier and his "friends on the other side" contain many horror elements and that young children might be frightened by the film.[86] The film's treatment of Louisiana voodoo as a type of magic instead of a religion also drew criticism from non-Christian factions.[87]

text: Awards and nominations[edit]

text: The film was nominated for the Academy Award for Best Animated Feature and twice for the Academy Award for Best Original Song, but lost to Up and Crazy Heart, respectively.[3][88] It was also nominated for eight Annie Awards and, at the 37th Annie Awards Ceremony on February 6, 2010, won three.[8]

text:
Award

Category

Nominee

Result

2009 Satellite Awards[89]

Best Motion Picture, Animated or Mixed Media

The Princess and the Frog

Nominated

Best Original Song

Randy Newman(Almost There)

Randy Newman(Down in New Orleans)

African-American Film Critics Association Awards 2009

Top 10 Films

The Princess and the Frog

Won

Best Screenplay

John Musker, Ron Clements and Rob Edwards — Tied with Geoffrey Fletcher for Precious: Based on the Novel "Push" by Sapphire

2009 Producers Guild of America Awards[90]

Animated Theatrical Motion Pictures

Peter Del Vecho

Nominated

2009 Online Film Critics Society Awards[91]

Best Animated Feature

The Princess and the Frog

67th Golden Globe Awards[92]

Best Animated Feature Film

2009 Chicago Film Critics Association[93]

Best Animated Feature

2009 Critics Choice Awards[94]

Best Animated Feature

Best Score

Randy Newman

Best Song(Almost There)

2009 Black Reel Awards[95]

Best Film

The Princess and the Frog

Best Song, Original or Adapted

Ne-Yo(Never Knew I Needed)

Anika Noni Rose(Almost There)

Won

Anika Noni Rose(Down in New Orleans)

Nominated

Best Voice Performance

Keith David

Anika Noni Rose

Won

Best Ensemble

The Princess and the Frog

Nominated

37th Annie Awards[8]

Best Animated Feature

Animated Effects

James DeValera Mansfield

Won

Production Design in a Feature Production

Ian Gooding

Nominated

Character Animation in a Feature Production

Andreas Deja

Eric Goldberg

Won

Bruce W. Smith

Nominated

Voice Acting in a Feature Production

Jennifer Cody ("Charlotte")

Won

Jenifer Lewis ("Mama Odie")

Nominated

82nd Academy Awards[3][88]

Best Animated Feature

John Musker and Ron Clements

Best Music, Original Song

Randy Newman(Almost There)

Randy Newman(Down in New Orleans)

41st NAACP Image Awards

Outstanding Motion Picture

Outstanding Actress in a Motion Picture

Anika Noni Rose

36th Saturn Awards[96]

Best Animated Film

The Princess and the Frog

2010 Teen Choice Awards[97][98]

Choice Movie: Animated

2011 Grammy Awards[99]

Best Song Written for a Motion Picture, Television or Other Visual Media

Randy Newman(Down in New Orleans)

Women Film Critics Circle

Best Animated Females

Anika Noni Rose (Tiana), Jennifer Cody (Charlotte La Bouff), Oprah Winfrey (Eudora), Jenifer Lewis (Mama Odie), and all other female characters in The Princess and the Frog.

Won

text: Television[edit]

text:
Tiana made a guest-appearance on Sofia the First in the season 2 episode titled "Winter's Gift".[100]
Tiana, Prince Naveen, Eudora, and Dr. Facilier appear on the seventh season of Once Upon a Time. Maldonia also appears as a realm in New Fairy Tale Land.[101][102][103][104][105]


document_title: Humbaba

question_text: how many splendors or ornaments does humbaba have

root

text: Humbaba

text: Description[edit]

text: His face is that of a lion. "When he looks at someone, it is the look of death."[2] "Humbaba's roar is a flood, his mouth is death and his breath is fire! He can hear a hundred leagues away any [rustling?] in his forest! Who would go down into his forest!"[3] In various examples, his face is scribed in a single coiling line like that of the coiled entrails of men and beasts, from which omens might be read.[4]

tag: p

text: Another description from Georg Burckhardt translation of Gilgamesh says, "he had the paws of a lion and a body covered in thorny scales; his feet had the claws of a vulture, and on his head were the horns of a wild bull; his tail and phallus each ended in a snake's head."[5]

text: Yet another description in a newly discovered tablet in Sulaymaniyah is somewhat positive about Humbaba:

text: "Where Humbaba came and went there was a track, the paths were in good order and the way was well trodden ... Through all the forest a bird began to sing: A wood pigeon was moaning, a turtle dove calling in answer. Monkey mothers sing aloud, a youngster monkey shrieks: like a band of musicians and drummers daily they bash out a rhythm in the presence of Humbaba."

text: In this version of the story, Humbaba is beloved of the gods and a kind of king in the palace of the forest. Monkeys are his heralds, birds his courtiers, and his entire throne room breathes with the heady aroma of cedar resin.[6]

text: The tablet goes on to portray Gilgamesh as an aggressor who destroys a forest unnecessarily, and his death is lamented by Enkidu.

text: Demise[edit]

text: Humbaba is first mentioned in Tablet II of the Epic of Gilgamesh: after Gilgamesh and Enkidu become friends following their initial fight, they set out on an adventure to the Cedar Forest beyond the seventh mountain range, to slay Humbaba (Huwawa): "Enkidu," Gilgamesh vows, "since a man cannot pass beyond the final end of life, I want to set off into the mountains, to establish my renown there."[2] Gilgamesh tricks the monster into giving away his seven "radiances" by offering his sisters as wife and concubine. When Humbaba's guard is down, Gilgamesh punches him and captures the monster. Defeated, Humbaba appeals to a receptive Gilgamesh for mercy, but Enkidu convinces Gilgamesh to slay Humbaba. In a last effort, Humbaba tries to escape but is decapitated by Enkidu, or in some versions by both heroes together; his head is put in a leather sack, which is brought to Enlil, the god who set Humbaba as the forest's guardian. Enlil becomes enraged upon learning this and redistributes Humbaba's seven splendors (or in some tablets "auras"). "He gave Humbaba's first aura to the fields. He gave his second aura to the rivers. He gave his third aura to the reed-beds. He gave his fourth aura to the lions. He gave his fifth aura to the palace (one text has debt slaves). He gave his sixth aura to the forests (one text has the hills). He gave his seventh aura to Nungal."[7] No vengeance was laid upon the heroes, though Enlil says, "He should have eaten the bread that you eat, and should have drunk the water that you drink! He should have been honored."

text: As each gift was given by Gilgamesh, he received a "terror" (= "radiance") in exchange, from Humbaba. The seven gifts successively given by Gilgamesh were:[8]

text:
his sister, Ma-tur,
(a gap in the text),
eca-flour,
big shoes,
tiny shoes,
semi-precious stones, and
a bundle of tree-branches.

tag: ol

text: While Gilgamesh thus distracts and tricks this spirit of the cedar forest, the fifty unmarried young men he has brought on the adventure are felling cedar timber, stripping it of its branches and laying it "in many piles on the hillside," ready to be taken away. Thus the adventure reveals itself in the context of a timber raid, bringing cedar wood to timberless Mesopotamia.

text: As his death approaches, and Gilgamesh is oppressed with his own mortality, the gods remind him of his great feats: "…having fetched cedar, the unique tree, from its mountains, having killed Humbaba in the forest…"[9]

text: The iconography of the apotropaic severed head of Humbaba, with staring eyes, flowing beard and wild hair, is well documented from the First Babylonian Dynasty, continuing into Neo-Assyrian art and dying away during the Achaemenid rule. The severed head of the monstrous Humbaba found a Greek parallel in the myth of Perseus[10] and the similarly employed head of Medusa, which Perseus placed in his leather sack.[11] Archaic Greek depictions of the gorgoneion render it bearded, an anomaly in the female Gorgon. Judith McKenzie detected Humbaba heads in a Nabatean tomb frieze at Petra.[12]


document_title: Boiler water

question_text: what is the purpose of boiler water treatment

text: Boiler water

text: Early practice[edit]

text: Impurities in water will leave solid deposits as steam evaporates. These solid deposits thermally insulate heat exchange surfaces initially decreasing the rate of steam generation, and potentially causing boiler metals to reach failure temperatures.[1] Boiler explosions were not uncommon until surviving boiler operators learned how to periodically clean their boilers. Some solids could be removed by cooling the boiler so differential thermal expansion caused brittle crystalline solids to crack and flake off metal boiler surfaces. Other solids were removed by acid washing or mechanical scouring.[2] Various rates of boiler blowdown could reduce the frequency of cleaning, but efficient operation and maintenance of individual boilers was determined by trial and error until chemists devised means of measuring and adjusting water quality to minimize cleaning requirements.

text: Boiler water treatment[edit]

text: Boiler water treatment is a type of industrial water treatment focused on removal or chemical modification of substances potentially damaging to the boiler. Varying types of treatment are used at different locations to avoid scale, corrosion, or foaming.[3] External treatment of raw water supplies intended for use within a boiler is focused on removal of impurities before they reach the boiler. Internal treatment within the boiler is focused on limiting the tendency of water to dissolve the boiler, and maintaining impurities in forms least likely to cause trouble before they can be removed from the boiler in boiler blowdown.[4]

text: Within the boiler[edit]

text: At the elevated temperatures and pressures within a boiler, water exhibits different physical and chemical properties than those observed at room temperature and atmospheric pressure. Chemicals may be added to maintain pH levels minimizing water solubility of boiler materials while allowing efficient action of other chemicals added to prevent foaming, to consume oxygen before it corrodes the boiler, to precipitate dissolved solids before they form scale on steam-generating surfaces, and to remove those precipitates from the vicinity of the steam-generating surfaces.[5]

text: Oxygen scavengers[edit]

text: Sodium sulphite or hydrazine may be used to maintain reducing conditions within the boiler.[6] Sulphite is less desirable in boilers operating at pressures above 1,000 pounds per square inch (6,900 kPa);[7] because sulfates formed by combination with oxygen may form sulfate scale or decompose into corrosive sulfur dioxide or hydrogen sulfide at elevated temperatures.[8] Excess hydrazine may evaporate with steam to provide corrosion protection by neutralizing carbon dioxide in the steam condensate system;[9] but it may also decompose into ammonia which will attack copper alloys. Products based on filming amines such as Helamin may be preferred for corrosion protection of condensate systems with copper alloys.[8]

text: Coagulation[edit]

text: Boilers operating at pressures less than 200 pounds per square inch (1,400 kPa)[10] may use unsoftened feedwater with the addition of sodium carbonate or sodium hydroxide to maintain alkaline conditions to precipitate calcium carbonate, magnesium hydroxide and magnesium silicate. Hard water treated this way causes a fairly high concentration of suspended solid particles within the boiler to serve as precipitation nuclei preventing later deposition of calcium sulfate scale. Natural organic materials like starches, tannins and lignins may be added to control crystal growth and disperse precipitates.[11] The soft sludge of precipitates and organic materials accumulates in quiescent portions of the boiler to be removed during bottom blowdown.[8]

text: Phosphates[edit]

text: Boiler sludge concentrations created by coagulation treatment may be avoided by sodium phosphate treatment when water hardness is less than 60 mg/L. With adequate alkalinity, addition of sodium phosphate produces an insoluble precipitate of hydroxyapatite with magnesium hydroxide and magnesium and calcium silicates. Lignin may be processed for high temperature stability to control calcium phosphate scale and magnetic iron oxide deposits.[12] Acceptable phosphate concentrations decrease from 140 mg/L in low pressure boilers to less than 40 mg/L at pressures above 1,500 pounds per square inch (10,000 kPa). Recommended alkalinity similarly decreases from 700 mg/L to 200 mg/L over the same pressure range. Foaming problems are more common with high alkalinity.[8]

text: Coordinated control of pH and phosphates attempts to limit caustic corrosion occurring from concentrations of hydroxyl ions under porous scale on steam generating surfaces within the boiler. High pressure boilers using demineralized water are most vulnerable to caustic corrosion. Hydrolysis of trisodium phosphate is a pH buffer in equilibrium with disodium phosphate and sodium hydroxide.[13]

text: Chelants[edit]

text: Chelants like ethylenediaminetetraacetic acid (EDTA) or nitrilotriacetic acid (NTA) form complex ions with calcium and magnesium. Solubility of these complex ions may reduce blowdown requirements if anionic carboxylate polymers are added to control scale formation. Potential decomposition at high temperatures limits chelant use to boilers operating at pressures less than 1,500 pounds per square inch (10,000 kPa).[12] Decomposition products may cause metal corrosion in areas of stress and high temperature.[14]

text: Feedwater[edit]

text: Many large boilers including those used in thermal power stations recycle condensed steam for re-use within the boiler. Steam condensate is distilled water, but it may contain dissolved gases. A deaerator is often used to convert condensate to feedwater by removing potentially damaging gases including oxygen, carbon dioxide, ammonia and hydrogen sulfide.[15] Inclusion of a polisher (an Ion exchange vessel) helps to maintain water purity, and in particular protect the boiler from a condenser tube leak.

text: Make-up water[edit]

text: All boilers lose some water in steam leaks; and some is intentionally wasted as boiler blowdown to remove impurities accumulating within the boiler.[16] Steam locomotives and boilers generating steam for use in direct contact with contaminating materials may not recycle condensed steam. Replacement water is required to continue steam production. Make-up water is initially treated to remove floating and suspended materials.[17] Hard water intended for low-pressure boilers may be softened by substituting sodium[18] for divalent cations of dissolved calcium and magnesium most likely to cause carbonate and sulfate scale.[19] High-pressure boilers typically require water demineralized by reverse osmosis, distillation or ion-exchange.[20]


document_title: List of largest empires

question_text: who has the largest land empire in history

text: List of largest empires

text: Measurement[edit]

text: This section needs expansion. You can help by adding to it. (March 2017)

tag: table

text: Both what constitutes an empire and the calculation of the land area of a particular empire are controversial subjects. Rein Taagepera has defined an empire as "any relatively large sovereign political entity whose components are not sovereign" and its size as the area over which the empire has some undisputed military and taxation prerogatives.[1]

text: Largest empires by land area[edit]

text: For context, note that the total land area of the Earth is 148,940,000 km2 (57,500,000 sq mi).[2] This is a list of empires whose greatest extent exceeded 2% of that area.

text: Empires at their greatest extent[edit]

text:
Empire
Max. land area (million km2)
Max. land area (million mi2)
% of world land area
Year

British Empire
35.5[3]
13.71
7001238400000000000♠23.84%
000000001920-01-01-00001920[3]

Mongol Empire
24.0[3][4]
9.27
7001161100000000000♠16.11%
000000001270-01-01-00001270[4] or 000000001309-01-01-00001309[3]

Russian Empire
22.8[3][4]
8.80
7001153100000000000♠15.31%
000000001895-01-01-00001895[3][4]

Qing dynasty
14.7[3][4]
5.68
7000986990000099999♠9.87%
000000001790-01-01-00001790[3][4]

Spanish Empire
13.7[3]
5.29
7000920000000099999♠9.20%
000000001810-01-01-00001810[3]

Second French colonial empire
11.5[3]
4.44
7000772000000000000♠7.72%
000000001920-01-01-00001920[3]

Abbasid Caliphate
11.1[3][4]
4.29
7000745000000000000♠7.45%
000000000750-01-01-0000750[3][4]

Umayyad Caliphate
11.1[3]
4.29
7000745000000000000♠7.45%
000000000720-01-01-0000720[3]

Yuan dynasty
11.0[3]
4.25
7000739000000000000♠7.39%
000000001310-01-01-00001310[3]

Portuguese Empire
10.4[5]
4.02
7000698000000000000♠6.98%
000000001815-01-01-00001815[5]

Xiongnu Empire
9.0[4][6]
3.47
7000604000000000000♠6.04%
-999999999824-01-01-0000176 BC[4][6]

Empire of Brazil
8.337[7]
3.22
7000560000000099999♠5.60%
000000001889-01-01-00001889[7]

Eastern Han Dynasty
6.5[6]
2.51
7000436000000000000♠4.36%
000000000100-01-01-0000100[6]

Ming dynasty
6.5[3][4]
2.51
7000436000000000000♠4.36%
000000001450-01-01-00001450[3][4]

Rashidun Caliphate
6.4[3]
2.47
7000430000000000000♠4.30%
000000000655-01-01-0000655[3]

Göktürk Khaganate
6.0[4][6]
2.32
7000403000000000000♠4.03%
000000000557-01-01-0000557[4][6]

Golden Horde Khanate
6.0[3][4]
2.32
7000403000000000000♠4.03%
000000001310-01-01-00001310[3][4]

Western Han Dynasty
6.0[4][6]
2.32
7000403000000000000♠4.03%
-999999999950-01-01-000050 BC[4][6]

Achaemenid Empire
5.5[4][6]
2.12
7000369000000000000♠3.69%
-999999999500-01-01-0000500 BC[4][6]

Tang dynasty
5.4[3][4]
2.08
7000363000000000000♠3.63%
000000000715-01-01-0000715[3][4]

Macedonian Empire
5.2[4][6]
2.01
7000349000000000000♠3.49%
-999999999677-01-01-0000323 BC[4][6]

Ottoman Empire
5.2[3][4]
2.01
7000349000000000000♠3.49%
000000001683-01-01-00001683[3][4]

Maurya Empire
5.0[4]
1.93
7000336000000000000♠3.36%
-999999999750-01-01-0000250 BC[4]

Roman Empire
5.0[4][6]
1.93
7000336000000000000♠3.36%
000000000117-01-01-0000117[4][6]

Tibetan Empire
4.6[3][4]
1.78
7000309000000000000♠3.09%
000000000800-01-01-0000800[3][4]

Timurid Empire
4.4[3][4]
1.70
7000295000000000000♠2.95%
000000001405-01-01-00001405[3][4]

Fatimid Caliphate
4.1[3][4]
1.58
7000275000000000000♠2.75%
000000000969-01-01-0000969[3][4]

Eastern Turkic Khaganate
4.0[6]
1.54
7000269000000000000♠2.69%
000000000624-01-01-0000624[6]

Hephthalite Empire
4.0[6]
1.54
7000269000000000000♠2.69%
000000000470-01-01-0000470[6]

Hunnic Empire
4.0[4][6]
1.54
7000269000000000000♠2.69%
000000000441-01-01-0000441[4][6]

Mughal Empire
4.0[3][4]
1.54
7000269000000000000♠2.69%
000000001690-01-01-00001690[3][4]

Great Seljuq Empire
3.9[3][4]
1.51
7000262000000000000♠2.62%
000000001080-01-01-00001080[3][4]

Seleucid Empire
3.9[4][6]
1.51
7000262000000000000♠2.62%
-999999999699-01-01-0000301 BC[4][6]

Italian Empire
3.798[8]
1.47
7000255000000099999♠2.55%
000000001938-01-01-00001938[8]

Ilkhanate
3.75[3][4]
1.45
7000252000000000000♠2.52%
000000001310-01-01-00001310[3][4]

Khwarazmian Empire
3.6[3]
1.39
7000242000000000000♠2.42%
000000001218-01-01-00001218[3]

Chagatai Khanate
3.5[3][4]
1.35
7000235000000000000♠2.35%
000000001310-01-01-00001310[3] or 000000001350-01-01-00001350[3][4]

Gupta Empire
3.5[4]
1.35
7000235000000000000♠2.35%
000000000400-01-01-0000400[4]

Sasanian Empire
3.5[4][6]
1.35
7000235000000000000♠2.35%
000000000550-01-01-0000550[4][6]

Western Turkic Khaganate
3.5[6]
1.35
7000235000000000000♠2.35%
000000000630-01-01-0000630[6]

First French colonial empire
3.4[3]
1.31
7000227990000099999♠2.28%
000000001670-01-01-00001670[3]

Ghaznavid Empire
3.4[3][4]
1.31
7000227990000099999♠2.28%
000000001029-01-01-00001029[3][4]

Delhi Sultanate (Tughlaq dynasty)
3.2[3][4]
1.24
7000215000000000000♠2.15%
000000001312-01-01-00001312[3][4]

German colonial empire
3.199[9][10]
1.24
7000215000000000000♠2.15%
000000001912-01-01-00001912[10]

Song dynasty
3.1[3][4]
1.20
7000208000000000000♠2.08%
000000000980-01-01-0000980[3][4]

Uyghur Khaganate
3.1[3][4]
1.20
7000208000000000000♠2.08%
000000000800-01-01-0000800[3][4]

Western Jin dynasty
3.1[6]
1.20
7000208000000000000♠2.08%
000000000280-01-01-0000280[6]

Khazar Khanate
3.0[4]
1.16
7000200999999999999♠2.01%
000000000850-01-01-0000850[4]

Sui Dynasty
3.0[6]
1.16
7000200999999999999♠2.01%
000000000589-01-01-0000589[6]

text: Largest empires by percentage of global population[edit]

text: This section needs expansion. You can help by adding to it. (October 2017)

text: According to the Guinness World Records, the Achaemenid Empire ruled the greatest percentage of the global population. This was in 440BC, when it ruled about 49.4 million people of the global population of 112.4 million, or 44%.[11]


document_title: The Odd Couple (film)

question_text: who played the pigeon sisters on the odd couple

text: The Odd Couple (film)

text: Plot[edit]

text: Felix Ungar (Jack Lemmon) checks into a fleabag hotel near Times Square and attempts to kill himself by jumping out of the window, but he fails to open it and pulls a muscle in his back. Limping back on the street he tries to get drunk at a dance bar and ends up hurting his neck when he throws down a shot. He stands on a bridge, contemplating jumping into the river.

text: Meanwhile, in the frowzy Upper West Side apartment of divorced sportswriter Oscar Madison (Walter Matthau) on a hot and sticky summer evening, Oscar and his buddies Speed (Larry Haines), Roy (David Sheiner), Vinnie (John Fiedler), and policeman Murray (Herb Edelman) are playing poker and discussing their friend, Felix Ungar, who is unusually late for the game. Murray's wife calls and tells him that Felix is missing. Oscar then calls Felix's wife Frances who says that she and Felix have split up. As they are discussing what to do, and worried that Felix might try to commit suicide, Felix arrives not knowing that his friends already know that his wife has kicked him out of the house.

text: Felix eventually breaks down crying and his friends try to console him. Oscar then suggests that Felix move in with him, since Oscar has lived alone since he split up with his own wife, Blanche, several months earlier. Felix agrees, and urges Oscar to not be shy about letting him know if he gets on Oscar's nerves.

text: Within only a week, Oscar is going nuts. Felix is a neurotic, obsessive-compulsive nut, who runs around the apartment cleaning, picking up after Oscar, and berating him for being such a slob. He also refuses to have any fun, spending most of his time thinking about Frances. Felix at one point even telephones Oscar at Shea Stadium telling him not to eat any hot dogs at the game, because Felix is preparing franks and beans for dinner; this distraction causes Oscar to miss seeing a rare triple-play at the Mets game on which he is reporting. The two men are shown bowling, shooting pool, and walking the city streets. Felix has a sinus attack, making loud obnoxious noises while seated in a coffee shop. Finally, after Felix drives everyone at the weekly poker game crazy, Oscar convinces Felix to lighten up and join him on a double-date with two English girls who live in the building – the Pigeon sisters, Cecily (Monica Evans) and Gwendolyn (Carole Shelley),[3] who actually "coo" when they laugh.

text: As the date commences, Oscar tries to get Felix to loosen up by leaving him alone for a while in their living room with the two attractive, and somewhat frisky, sisters. Instead, he winds up talking about Frances, and breaks down weeping. When Oscar returns from their kitchen, the Pigeon sisters, one a divorcee, the other widowed, are sobbing as uncontrollably as Felix. Oscar cheers them up and they invite the boys upstairs for what should be a wild night. Instead, Felix, who realizes that he is still too attached to his wife, refuses to go, opting to "scrub the pots and wash his hair" instead. Oscar joins the sisters in their apartment, but winds up spending the night drinking tea and telling them all about Felix.

text: Furious about Felix's ruining the date, Oscar resorts to giving Felix the silent treatment and torturing him by messing up the apartment as much as possible. Felix retaliates by just being himself, driving Oscar insane with his endless cleaning and neurotic behavior. Eventually, the tension explodes into an argument that results in Oscar demanding that Felix move out. Felix complies, but leaves Oscar with a major-league guilt trip for having abandoned his still-in-need friend.

text: Feeling awful about throwing Felix out, and not knowing where he has gone, Oscar assembles his poker buddies to search New York City for Felix in Murray's NYPD police car, which he's not supposed to use for this purpose. After searching for hours, they return to Oscar's apartment to find out that Felix has moved in with the Pigeon sisters. Oscar and Felix apologize to each other, and realize that a bit of each has rubbed off on the other, with each being a better person for it. Felix agrees that next Friday night, he will be at Oscar's apartment for their poker game. The once slobbish Oscar tells his friends to clean up their mess after the poker game is over, ending the film.

text: Cast[edit]

text:
Jack Lemmon as Felix Ungar
Walter Matthau as Oscar Madison
Herb Edelman as Murray
John Fiedler as Vinnie
David Sheiner as Roy
Larry Haines as Speed
Monica Evans as Cecily Pigeon
Carole Shelley as Gwendolyn Pigeon
Billie Bird as Chambermaid
Iris Adrian as Waitress
Angelique Pettyjohn as Go-Go dancer
Ted Beniades as Bartender
Bill Baldwin as Sports announcer

tag: ul

text: Production and casting[edit]

text: The Odd Couple was originally produced for Broadway and the original cast starred Art Carney as Felix and Walter Matthau as Oscar. For the film version, Matthau reprised his role as Oscar, and Felix was portrayed by Jack Lemmon, who had never played the character before. At one point, Frank Sinatra (as Felix) and Jackie Gleason (as Oscar) were reportedly considered for the film version. Dick Van Dyke and Tony Randall were also among those considered for the role of Felix (the latter portrayed him in the TV series). Similarly, Jack Klugman (who aside from the TV series had replaced Matthau on Broadway) and Mickey Rooney were also to play Oscar. Most of the script from the play has been retained, although the setting is expanded: instead of taking place entirely in Oscar's apartment, Simon also added some scenes that take place at various outdoor New York City locations (such as the scene at Shea Stadium in Queens, New York).

text: Oscar's poker playing cronies were Roy (David Sheiner), Vinnie (John Fiedler), Speed (Larry Haines) and Murray the Cop (Herb Edelman). The film made its debut at Radio City Music Hall in 1968. It was a hit and earned Neil Simon a nomination for the Academy Award for Writing Adapted Screenplay. The film was also nominated for the Golden Globe Award for Best Motion Picture - Musical or Comedy and Lemmon and Matthau were both nominated for the Golden Globe Award for Best Actor - Motion Picture Musical or Comedy.

text: The scene at Shea Stadium, which also featured Heywood Hale Broun, was filmed right before a real game between the New York Mets and the Pittsburgh Pirates on June 27, 1967. Roberto Clemente was asked to hit into the triple play that Oscar misses, but he refused to do it and Bill Mazeroski took his place.[4]

text: One of the outdoor scenes in the film involved Felix shopping at Bohack, a Maspeth, Queens-based supermarket chain ubiquitous in the New York City area during the mid-20th century. The last Bohack supermarket closed in 1977.[5]

text: Theme music[edit]

text: The award-winning jazz instrumental theme was composed by Neal Hefti. The theme was used throughout the movie's sequel, starring Lemmon and Matthau and released 30 years later, and also adapted for the 1970 TV series and used over the opening credits. The song also has seldom-heard lyrics, written by Sammy Cahn.[6]

text: Reception[edit]

text: The film garnered both critical acclaim and box office success. It grossed over $44.5 million in the United States,[2] making it the fourth highest-grossing film of 1968.[7] The Odd Couple received universal acclaim from critics, earning a rare 100% "Fresh" rating on the review aggregate website Rotten Tomatoes.[8]

text: Awards and honors[edit]

text:
Neil Simon was nominated for the Academy Award for Writing-Adapted Screenplay
Frank Bracht was nominated for the Academy Award for Film Editing and for the American Cinema Editors "Eddie" award for Best Edited Feature Film.
The film was nominated for the Golden Globe Award for Best Motion Picture - Musical or Comedy
Jack Lemmon and Walter Matthau were each nominated for the Golden Globe Award for Best Actor - Motion Picture Musical or Comedy
Gene Saks was nominated for the Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film.

text: The film is recognized by American Film Institute in these lists:

text:
2000: AFI's 100 Years...100 Laughs – #17[9]
2005: AFI's 100 Years...100 Movie Quotes:

Oscar Madison: "I cannot stand little notes on my pillow! “We are all out of cornflakes, F.U.” It took me three hours to figure out F.U. was Felix Unger." – Nominated[10]

text: TV series[edit]

text: The film spawned a television series spinoff in 1970, also entitled The Odd Couple which ran until 1975. As the series ended, a cartoon version called The Oddball Couple ran on ABC. Produced by Depatie-Freleng, it features a sloppy dog and a neat cat.

text: Sequel[edit]

text: A sequel, The Odd Couple II, reunited Jack Lemmon and Walter Matthau in their original roles and was released 30 years later, breaking the record for the length of time between an original movie and a sequel featuring the same cast.