document_title: Tangled

question_text: who plays the voice of rapunzel in the movie tangled

text: Tangled

text: Plot[edit]

text: Long ago, a drop of sunlight became a golden flower capable of healing illness, decay, and injury. Hundreds of years later, the flower is still used by Mother Gothel to retain her youth, until soldiers from a nearby kingdom, Corona, steal it to heal their ailing queen. Shortly afterwards, the Queen gives birth to Princess Rapunzel. While attempting to recover the flower, Gothel discovers that Rapunzel's hair contains the flower's healing properties, and that cutting her hair destroys its power. Gothel takes the baby and raises her as her own daughter in an isolated tower. Once a year, the King and Queen release sky lanterns on Rapunzel's birthday, hoping for their daughter's return.

text: On the eve of her 18th birthday, Rapunzel requests to leave the tower and discover the source of the lanterns, but Gothel refuses, claiming that the outside world is a dangerous place. Meanwhile, a thief called Flynn Rider steals Rapunzel's crown from the kingdom and inadvertently discovers the tower after ditching his allies, the Stabbington brothers. Rapunzel captures Flynn and discovers and hides the crown, but is unaware of its significance. Rapunzel plans to take Flynn to Gothel to prove she can take care of herself, but before she can do so, Gothel becomes angry, quickly silencing Rapunzel. Rapunzel then asks for a special paint that will take Gothel three days' round trip to obtain and return, and Gothel accepts. Rapunzel convinces a reluctant Flynn to escort her to see the lanterns in exchange for the return of the crown.

text: Flynn takes Rapunzel to the Snuggly Duckling, a pub filled with frightening thugs, but who instead are charmed by Rapunzel's innocence. Royal soldiers led by one of the royal army's lead horses, Maximus, arrive in search of Flynn. Rapunzel and Flynn escape but are then trapped in a flooding cave. Resigned to his fate, Flynn reveals his real name: Eugene Fitzherbert. Rapunzel starts to reveal that her hair glows when she sings, but then realizes that this is their key to escape. Her hair provides enough light to find a way out of the cave. Eugene and Rapunzel take refuge in a forest where Gothel, now in league with the Stabbingtons, gives the crown to Rapunzel and suggests using it to challenge Eugene's interest in her.

text: Maximus finds the pair and tries to capture Eugene, but Rapunzel arranges a truce in honor of her 18th birthday. The group reaches the kingdom and enjoys the festivities, culminating in an evening cruise as the lanterns are released. There, Rapunzel gives Eugene the crown and after fulfilling her dream of seeing the lanterns in person, Rapunzel and Eugene realize they have fallen in love with each other and attempt to kiss until he sees the Stabbingtons on the shore. Eugene leaves Rapunzel and intends to hand them the crown. Instead, the brothers tie Eugene onto a boat and confront Rapunzel, saying that Eugene is escaping with the crown. Gothel sets a rescue by betraying the brothers and returns Rapunzel to the tower as Eugene and the Stabbingtons are captured.

text: Back home, Rapunzel recognizes the symbol of the kingdom, which she had incorporated into her paintings over the years. Realizing that she is the long-lost princess, she confronts Gothel. As Eugene is sentenced to death, the Duckling regulars help him escape. He is then carried back to Gothel's tower by Maximus. Eugene enters by climbing Rapunzel's hair, only to find Rapunzel bound and gagged. Gothel stabs Eugene and attempts to escape with Rapunzel, but Rapunzel agrees to lifelong captivity if she is allowed to heal Eugene. As Eugene slowly dies, he slices off Rapunzel's hair, destroying its magic and causing Gothel's age to catch up with her. She then trips and falls out of the window of the tower to her death, turning into dust in the process.

text: A heartbroken Rapunzel mourns for Eugene. However, her tears, which still contain a bit of the sun's power, land on his cheek and restore Eugene's life, resurrecting him. The two return to the kingdom and Rapunzel reunites with her parents. The kingdom breaks out in celebration, Eugene is pardoned for his crimes, and Rapunzel and Eugene eventually marry.

text: Voice cast[edit]

text:
Mandy Moore as Rapunzel[8][9]

Delaney Rose Stein as young Rapunzel[10]

Zachary Levi as Eugene "Flynn Rider" Fitzherbert[8][9]
Donna Murphy as Mother Gothel[11]
Brad Garrett as Hook-Hand Thug[10]
Ron Perlman as the Stabbington brother with sideburns[10]
Jeffrey Tambor as Big Nose Thug[10]
Richard Kiel as Vladamir[10]
M. C. Gainey as Captain of the Guard[10]
Paul F. Tompkins as Short Thug[10]

tag: ul

text: Non-speaking animal characters include Rapunzel's pet chameleon Pascal, and Maximus, the horse of the head of the palace guard. Other non-speaking roles include Rapunzel's parents (the King and Queen of Corona), the other Stabbington brother, and Ulf the Mime Thug.

text: Development[edit]

text: Origins and conception[edit]

text: Glen Keane, the film's original director, first began working on the story for what became Tangled about 14 years prior to its release, then directed the film's development from 2002 to 2008.[12] In October 2003, the film was announced as Rapunzel Unbraided,[13][14] as a computer animated feature scheduled for a 2007 release[13][15] which Keane described as "a Shrek-like version of the film"[16] that revolved around an entirely different concept. Keane said of the original plot, "It was a fun, wonderful, witty version and we had a couple of great writers. But in my heart of hearts I believed there was something much more sincere and genuine to get out of the story, so we set it aside and went back to the roots of the original fairy tale."[17] In November 2005, Unbraided was pushed back to a summer 2009 release in order to give Keane "more time to work on the story."[18] According to Ed Catmull, at one point Michael Eisner himself had proposed using modern-day San Francisco as the initial setting at the start of the film and then somehow transporting the heroine into a fairy tale world, but Keane could not make that idea work.[19] The film was shut down about a week before Catmull and John Lasseter were placed in charge of the studio in January 2006, and one of their first decisions was to restart the project and ask Keane to keep going with the film.[19] It had originally been announced in April 2007 that Annie-nominated animator and story artist Dean Wellins would be co-directing the film alongside Glen Keane.[20] On October 9, 2008, it was reported that Keane and Wellins had stepped down as directors due to other commitments, and were replaced by the team of Byron Howard and Nathan Greno, director and storyboard director, respectively, of Disney's 2008 animated feature Bolt. Keane stayed on as an executive producer and animation supervisor, while Wellins moved on to developing other short and feature films.[21] After the film's release, Keane revealed that he had "stepped back" from the role of director because of a heart attack in 2008.[12]

text: Writing and character development[edit]

text: When asked about the character of Rapunzel, Mandy Moore said that Rapunzel was a relatable character and called her a "Renaissance, bohemian" woman[22] rather than a typical Disney princess:[23] Moore said "[Rapunzel] doesn't know she's a princess [until the end of the film]. She's just really sort of motivated to find out what else is out there beyond this crazy tower she's lived in for 18 years," and that "she's very independent, she can take care of herself, and she's definitely come up with really entertaining ways to keep herself busy."[23] Moore also stated that she herself had little influence on Rapunzel: "The character was developed way before I had anything to do with it."[22]

text: According to Greno, one of the most difficult problems during the development of the film's plot was how to get Rapunzel out of the tower without immediately ending the movie, in that she had thereby escaped Mother Gothel and did not have any other specific objectives to pursue.[24] At a meeting one day, animator John Ripa floated an idea which turned out to be the solution they had been looking for: the mysterious floating lanterns.[24]

text: Production[edit]

text: On September 10, 2009, it was announced that actress and singer-songwriter Mandy Moore had been cast as the voice of Rapunzel, and actor Zachary Levi would provide the voice of Flynn Rider.[8][9][25] Mandy Moore approached the project through auditioning, when she heard that a film about the story of Rapunzel was being made.[22][26] Moore later expressed that she had dreamed to be a Disney princess since she was young and said that with the role of Rapunzel, she had fulfilled her "ultimate childhood dream".[27] She described herself as a "girly fan" of Disney classics[27] like The Little Mermaid, Beauty and the Beast, Aladdin and The Lion King, and that it was an honor for her to be part of this "legacy"—the lineage of such Disney icons.[28] Since the film was going to be a musical, it was required that all auditionees had to read several scenes and perform a song of their choice, to ensure that the voice actors could both act and sing.[29][30] For this singing section, Moore chose "Help Me" by Joni Mitchell,[22] a song that she herself had covered on her fourth studio album, Coverage (2003).[31][32] Moore revealed that she had to attend several audition sessions[28][29] and described the experiences as "pretty fun" but didn't put much hope in getting the part because she believed there would be much competition for this role;[26] she just performed her best without any anxiety.[22] When she received a callback from Disney telling that she got the part, Moore described herself as being "over the moon": "I was working in New York at the time. I was with some friends and my husband—and I screamed as soon as I found out the news."[22]

text: The film reportedly cost more than $260 million to produce.[5]

text: Recording[edit]

text: In Tangled, as with most animated films, all voice actors had to record their dialogue separately from one another to avoid bleeding into each other's tracks.[33] Mandy Moore later recalled that during recording, she had never met Donna Murphy and only met Zachary Levi once when they recorded "I See the Light".[33] Moore thought that this was "a good exercise in employing your imagination".[34] When recording action scenes, the voice actors had to jog a little in place in order to make their voices sound realistic.[34] For the songs, Moore and Levi recorded on a soundstage with a 65-piece orchestra under the supervision of composer Alan Menken. They sang live with the orchestra for several times in order to help everyone "get a vibe" and a feel for the music and the singing, then were asked to go in isolation booths to record the actual tracks.[35][36] In order to aid animators in animating the characters, the filmmakers did interviews with the voice actors and filmed their facial expressions throughout the recording sessions.[34] Disney animated films are usually animated to synchronize with recorded dialogue rather than asking the vocal talent to synchronize their delivery to animation after it is rendered. Thus, Moore felt that the recording process was challenging because at that time she had no animation to look at except for a few sketches.[22]

text: Due to scheduling conflicts with other projects (Moore had to travel to different places such as London or New York, and Levi could only record on weekends for five hours once every six weeks), they did not necessarily record dialogue in the same order as in the final film. "[When I came in], maybe that sequence or scene had been recorded by Mandy (Moore) already, maybe it hadn't. We'd end up doing the same scene five times, depending," Levi said.[30] After watching the finished film, Moore was disappointed because she felt that her voice sounded "shrill", while Levi thought that his performance sounded "incredibly nasally".[34]

text: Animation[edit]

text: The film was made using computer-generated imagery (CGI), although Tangled was modeled on the traditional look of oil paintings on canvas. The Rococo paintings of French artist Jean-Honoré Fragonard, particularly The Swing, were used as references for the film's artistic style, a style described by Keane as "romantic and lush."[37] To create the impression of a painting, non-photorealistic rendering was used.[38]

text: Glen Keane originally wanted the film to be animated using a traditional 2D animation process. However, Disney executives David Stainton and Dick Cook announced that they would only approve the film for production if it were created using the 3D computer graphics.[39] In response to that demand, Glen Keane held a seminar called "The Best of Both Worlds", where he, with 50 Disney CGI artists and traditional artists, focused on the pros and cons of each style.[40] After the meeting, it was decided that the film would be made in 3D CG animation, but in a way as to become an extension of the traditional 2D Disney "aesthetic", a term which referred to the naturalistic animation that conforms to the fundamental principles of animation as documented by Frank Thomas and Ollie Johnston in the book The Illusion of Life: Disney Animation.[39]

text: Due to limitations in computer technology, especially regarding attempts to capture the complexity of a human form, many basic principles of animation used in traditionally animated movies had been absent from earlier CGI films; but technological advancements have made it easier to blend the two, combining the strengths of each style.[38] Keane stated repeatedly he was trying to make the computer "bend its knee to the artist" instead of having the computer dictate the artistic style and look of the film.[13] By making the computer become as "pliable as the pencil", Keane's vision of a "three-dimensional drawing" seemed within reach, with the artist controlling the technology. Many of the techniques and tools that were required to give the film the quality Keane demanded did not exist when the project was started, and Walt Disney Animation Studios had to create them on their own.[37] Keane said, "There’s no photoreal hair. I want luscious hair, and we are inventing new ways of doing that. I want to bring the warmth and intuitive feel of hand-drawn to CGI."[41]

text: One of the main goals of the animators was to create movement that mimicked the soft fluidity of the hand-drawn art found in older Disney animated films. Keane credited Disney 3D animator Kyle Strawitz with helping to combine CGI with the traditional hand-drawn style.[38] "He took the house from Snow White and built it and painted it so it looked like a flat painting that suddenly started to move, and it had dimension and kept all of the soft, round curves of the brushstrokes of watercolor. Kyle helped us get that Fragonard look of that girl on the swing… We are using subsurface scattering and global illumination and all of the latest techniques to pull off convincing human characters and rich environments."[37]

text: Rather than focusing on realism, the 3D team used an aesthetic approach.[38] Robert Newman, the film’s stereoscopic supervisor said that "We’re using depth more artistically than ever before, and we’re not as concerned with the literal transcription of depth between camera and projector as we are the interpretation of it." To do this, they used a new technique called multi-rigging, which is made up of multiple pairs of virtual cameras. Each pair is used individually on each separate element that adds depth to a scene, like background, foreground, and characters, without adjusting for the relation with the other pairs. When sandwiched together later in production, the result was something that would be visually impossible in the real world, but which created an appealing look to the film.[42]

text: As a counterpart to the appealing and cute design of Rapunzel,[43] the directors wanted to make Flynn Rider "the most handsome, most attractive male lead Disney has ever had."[44] They held a large "Hot Man Meeting" where they gathered about 30 women from the studio and asked them what they considered attractive in a man.[45] They brought in hundreds of images of their favourite male actors and celebrities, which were torn and pasted back again.[45][46] After much deliberation, his look was eventually narrowed down to one concept drawing.[44][45]

text: Technology development[edit]

text: Existing technology continued to present difficulties: in particular, animating hair turned out to be a challenge. Senior software engineer Kelly Ward spent six years writing programs to make it move the way they wanted.[47] As late as January 2010, the directors were still not sure if the Rapunzel character's length of hair was going to work. These problems were finally solved in March:[48] An improved version of a hair simulation program named Dynamic Wires, originally developed for Bolt, was eventually used. To make hair float believably in water, and to surmount other similar challenges, discrete differential geometry was used to produce the desired effects, freeing the animators from executing these specific tasks directly, which would have taken days instead of minutes.[49]

text: Music and soundtrack[edit]

text:
Tangled: Original Soundtrack

Soundtrack album by Various Artists

Released
November 16, 2010

Recorded
2010

Genre
Folk rock, medieval, soundtrack

Length
55:39

Label
Walt Disney

Producer
Chris Montan, Alan Menken, Scott Cutler, Anne Preven, Frank Wolf, Grace Potter, Mike Daly, Kevin Kliesch[50]

Walt Disney Animation Studios chronology

The Princess and the Frog
(2009)The Princess and the Frog2009
Tangled
(2010)
Winnie the Pooh
(2011)Winnie the Pooh2011

text:
Professional ratings

Review scores

Source
Rating

Filmtracks
[51]

text: The original score for the film was composed by Alan Menken with lyrics written by Glenn Slater.[52]

text: Menken said he attempted to blend medieval music with 1960s folk rock to create the new songs.[53]

text: Several songs were written, but eventually cut from the final film; "When Will My Life Begin?" replaced an earlier version called "What More Could I Ever Need?". Menken reported that that opening number went through five or six different versions.[54]

text: Elsewhere, Menken reported that there was originally a love song called "You Are My Forever" that Mother Gothel sang to Rapunzel in a motherly way, but was reprised later in the film by Flynn Rider in a romantic way. This idea was apparently replaced with the two songs "Mother Knows Best" and "I See the Light".[55]

text: The song "Something That I Want" performed by Grace Potter from Grace Potter and the Nocturnals is featured in the closing credits. This version features some of the lyrics that were re-written and sung by Potter herself. The Latin American Spanish version of the song, titled "Algo quiero querer", was recorded by Colombian pop-singer, Fanny Lú.[56]

text: The soundtrack peaked at number 44 on the Billboard 200, number 7 on the Soundtrack chart, and number 3 on the Kid Albums chart.[57][58][59]

text: Track listing[edit]

text: All tracks written by Alan Menken and Glenn Slater except track 20 which is written and composed by Grace Potter. All original scores composed by Menken[50].

text:
No.
Title
Performers
Length

1.
"When Will My Life Begin?"
Mandy Moore
2:32

2.
"When Will My Life Begin? (Reprise 1)[1]"
Moore
1:03

3.
"Mother Knows Best[2]"
Donna Murphy
3:10

4.
"When Will My Life Begin? (Reprise 2)"
Moore
2:06

5.
"I've Got a Dream"
Brad Garrett, Jeffrey Tambor, Moore, Zachary Levi, Company
3:11

6.
"Mother Knows Best (Reprise)"
Murphy
1:38

7.
"I See the Light"
Moore, Levi
3:44

8.
"Healing Incantation"
Moore
0:54

9.
"Flynn Wanted" (Score)
Alan Menken
2:51

10.
"Prologue" (Score & Song)
Menken, Murphy, Delaney Stein
2:02

11.
"Horse with No Rider" (Score)
Menken
1:57

12.
"Escape Route" (Score)
Menken
1:57

13.
"Campfire" (Score)
Menken
3:21

14.
"Kingdom Dance" (Score)
Menken
2:20

15.
"Waiting For the Lights" (Score)
Menken
2:47

16.
"Return to Mother" (Score)
Menken
2:06

17.
"Realization and Escape" (Score)
Menken
5:50

18.
"The Tear Heals" (Score & Song)
Menken, Moore
7:37

19.
"Kingdom Celebration" (Score)
Menken
1:50

20.
"Something That I Want"
Grace Potter
2:43

text:
[show]UK bonus track[60]

No.
Title
Performers
Length

21.
"I See The Light"
Shannon Saunders
3:38

text: Chart performance[edit]

text:
Chart (2010)
Peak
position

US Billboard 200[57]
44

US Billboard Soundtracks[58]
7

US Billboard Kids Albums[59]
3

text: Release[edit]

text: Home media[edit]

text: Tangled was released by Walt Disney Studios Home Entertainment as a four-disc combo pack on March 29, 2011. The combo pack includes a Blu-ray 3D, standard Blu-ray, DVD, and digital copy. A two-disc Blu-ray/DVD combo pack and single DVD are also available. Bonus features for the Blu-ray include deleted scenes, two alternate opening sequences, two extended songs, and an inside look at how the film was made. The DVD includes only the two Original Storybook Openings and the 50th Animated Feature Countdown.

text: Sales of Tangled in the US and Canada exceeded $95 million in DVD and Blu-ray sales, the highest-grossing DVD of the year 2011; its home video sales exceeded the film's earnings in its first week in theaters.[63] The film sold a record 2,970,052 units (the equivalent of $44,521,079) in its first week in North America, the largest opening for a 2011 DVD. It dominated for two weeks on the DVD sales chart and sold 6,657,331 units ($102,154,692) as of July 18, 2012.[64] It has also sold 2,518,522 Blu-ray units ($59,220,275) by May 29, 2011.[65] As of January 20, 2016, the film has earned a total of $215 million in home video sales in the United States and Canada ($155 million from DVD sales and $60 million from Blu-ray sales).[64]

text: Reception[edit]

text: Box office[edit]

text: Tangled premiered in Paris on November 17, exclusively screening at the Grand Rex theater two weeks in advance of its French wide release.[66] With over 3,800 tickets sold on its opening day, it set a new record for films showing in a single theater.[67] It had a worldwide opening weekend of $86.1 million,[68][69] and reached the summit of the worldwide box office once, on its eleventh weekend (Feb 4–6, 2011), with $24.9 million.[70][71] Tangled earned $200,821,936 in North America, and $390,973,000 in other countries, for a worldwide total of $591,794,936.[6] It was the third Disney film appearing in the Top 10 films of 2010.[72] As of 2017, it was the sixth-highest-grossing film worldwide produced by Walt Disney Animation Studios, behind Frozen, Zootopia, The Lion King, Big Hero 6, and Moana.[73]

text: Tangled earned $11.9 million on its opening Wednesday,[74] breaking the record for the largest pre-Thanksgiving Wednesday opening, a record previously held by Disney·Pixar's Toy Story 2.[75] In its first weekend of release, it earned $48.8 million (the highest opening for Walt Disney Animation Studios, surpassing The Lion King ($40.9 million), and later surpassed by both Wreck-It Ralph ($49 million) and Frozen ($67.4 million)), placing second for the period behind Harry Potter and the Deathly Hallows – Part 1, which earned $49.1 million.[76] Tangled had the sixth-highest opening weekend for a film that did not debut at #1.[77] Over the traditional Wednesday–Sunday Thanksgiving holiday period, it tallied $68.7 million, again finishing in second place.[76] Tangled also marked the second-largest 3-day and 5-day Thanksgiving opening after Toy Story 2.[76] During its second weekend (post-Thanksgiving), Tangled declined 56% to $21.6 million, although it jumped to first place at the box office.[78] With a final gross of $200.8 million, it is the tenth-highest-grossing film of 2010,[79] and the tenth 2010 film to pass the $200 million mark;[80] it was the fourth-slowest film to pass this mark.[81] Unadjusted for inflation, it is the eighth-highest-grossing film produced by Walt Disney Animation Studios, behind The Lion King ($422.8 million), Frozen ($400.7 million), Zootopia ($341.3 million), Moana ($248.7 million), Big Hero 6 ($221.3 million), Beauty and the Beast ($219 million), and Aladdin ($217.4 million).[82]

text: On its opening weekend, it earned $17.4 million in eight territories and ranked second for the weekend behind Harry Potter and the Deathly Hallows – Part 1 ($117.3 million).[83] It reached first place at the weekend box office outside North America three times in 2011.[84][85][86] It marked the seventh-highest-grossing 2010 film and the third-highest-grossing 2010 animated film.[87] In Russia and the CIS, it set an opening-weekend record among non-sequel animated films (first surpassed by Rio) and among Walt Disney Animation Studios films (surpassed by Frozen).[88] Its highest-grossing markets outside North America was Germany ($44.2 million), where it is the highest-grossing 2010 animated film,[89] followed by France and the Maghreb region ($39.4 million) and the UK, Ireland and Malta ($32.9 million).[90]

text: Critical reception[edit]

text: Rotten Tomatoes gives the film an approval rating of 89% based on 218 reviews and an average score of 7.5/10. The website's critical consensus is: "While far from Disney's greatest film, Tangled is a visually stunning, thoroughly entertaining addition to the studio's classic animated canon."[91] Another review aggregator, Metacritic, which assigns a weighted average score based on reviews from mainstream film critics, calculated a score of 71/100 based on 34 reviews, indicating "generally favorable reviews".[92] According to CinemaScore polls conducted during the opening weekend, the average grade cinemagoers gave Tangled was an "A+" on an A+ to F scale.[93]

text: A. O. Scott of The New York Times positively reviewed the film as "the 50th animated feature from Disney, and its look and spirit convey a modified, updated but nonetheless sincere and unmistakable quality of old-fashioned Disneyness."[94] Time film critic Richard Corliss wrote that Tangled "wades into the DreamWorks style of sitcom gags and anachronistic sass," while praising the film for achieving "the complex mix of romance, comedy, adventure and heart that defines the best Disney features."[95] Corliss included Tangled at 19 in a list of top 25 All-time Best Animated films.[96] Kenneth Turan from the Los Angeles Times awarded the film four stars out of five; he described the film as a "gorgeous computer-animated look that features rich landscapes and characters that look fuller and more lifelike than they have in the past."[97] Sandie Angulo Chen of Common Sense Media gave the film five out of five stars, writing, "Fantastic princess adventure is fun, with great messages."[98] Gael Cooper of NBC News expressed that Tangled may be the best Disney film of all time.[99]

text: James Berardinelli commented on his review website ReelViews that the film is "entertaining and enjoyable, but not groundbreaking." He also stated Rapunzel is "not as memorable as Snow White, Ariel, or Belle" as well as stating "the songs are neither catchy nor memorable."[100] Todd McCarthy, film reviewer for The Hollywood Reporter opened his review with, "It would have been nice if Disney's self-touted 50th animated feature were one of its best, a film that could stand with the studio's classics, but the world will have to make do with Tangled, a passably entertaining hodgepodge of old and new animation techniques, mixed sensibilities and hedged commercial calculations."[101]

text: Music[edit]

text: Music in the film received mixed reviews. Bill Graham from Collider.com praised them for their variations to the tempo and tone, memorable lyrics, and "blending old with new," However, he also stated that "the film’s constant mixture of tones can feel a bit off-putting for some."[102] Roth Cornet from ScreenRant was positive towards them, saying that "Alan Menken’s music is as catchy, uplifting and effecting as one would expect."[103] Scott of The New York Times positively reviewed the music, saying that it "takes you back to a charmed world of swoony longing and sprightly mischief," with a slick and efficient atmosphere and grace notes of self-conscious classicism.[94] Corliss from Time was also positive to the songs, noting that though "don't sound on first hearing like top-drawer Menken," the songs still "smoothly fill their functions." He described the opener, "When Will My Life Begin?," as the "heroine's 'I wanna' song," a Disney tradition that stretches back to Snow White's "Some Day My Prince Will Come." "I See the Light" was described as "a generically tuneful love ballad, which is sure to be nominated for a Best Song Oscar."[95]

text: James Berardinelli, on the other hand, negatively commented the songs as "neither catchy nor memorable."[100] Tim Robey from The Daily Telegraph gave a negative review, saying that they were only "OK—there’s nothing you want to whistle on the way home."[104] Peter Bradshaw from The Guardian, who gave the movie two out of five stars, described the songs as "sporting a laboured selection of Broadway-style show tunes," and hence are actually added for profit.[105]

text: Title change controversy[edit]

text: When first put into production, the film was promoted as having the title Rapunzel Unbraided, which was later changed to Rapunzel.[106] Disney's previous animated feature The Princess and the Frog in 2009, while being well-received by various critics[107] and taking in nearly $270 million worldwide was not as successful as Disney had hoped. Catmull would later admit in writing that Disney Animation's faith that The Princess and the Frog's excellent quality would bring in all audiences notwithstanding the word "princess" in the title was their version of "a stupid pill."[108] In order to market the film to both sexes and additional age groups, Disney changed the film's name from Rapunzel to Tangled while also emphasizing Flynn Rider, the film's prominent male character, showing that his story is just as important as Rapunzel's.[109] Disney was criticized for altering the classic title as a marketing strategy. Floyd Norman, a former Disney and Pixar animator and story artist, said, "The idea of changing the title of a classic like Rapunzel to Tangled is beyond stupid. I'm convinced they'll gain nothing from this except the public seeing Disney as desperately trying to find an audience."[110]

text: Justin Chang of Variety compared it to changing the title of The Little Mermaid to Beached.[111] Writing for the San Francisco Chronicle's blog, Margot Magowan accused Disney of sexism, writing, "Can you imagine if Disney…switched a movie title so it wouldn't risk highlighting a male star? It's awful that this kind of radical gender discrimination exists for our smallest people—little kids who come into this world with huge imaginations and aspirations, big dreams that get squashed by a bunch of billionaire guys who run massive entertainment franchises."[112]

text: On November 24, 2010, the day of the film's release, directors Nathan Greno and Byron Howard disputed reports that the title change was a marketing decision. They said they changed the title from Rapunzel to Tangled because Rapunzel is not the only main character in the film. They went on to say that you cannot call Toy Story "Buzz Lightyear," and they really needed a title that represented what the film is, and that it's a duo, and it stars Rapunzel and Flynn Rider.[113]

text: In March 2014, executive producer John Lasseter explained that Disney had changed the name to improve the film's appeal to the four quadrants: "There was an audience perception that these movies were just for little girls[,] but when boys, men, whatever actually see these movies[,] they like them. So on Rapunzel … we changed the name and we called it Tangled. We did marketing that made the people who would not normally show up say, 'Hey, this looks pretty good.'"[114]

text: Accolades[edit]

text: The film has been nominated for a number of awards. Hollywood Foreign Press Association nominated Tangled for two Golden Globe Awards, for Best Animated Feature Film and Best Original Song for "I See the Light", but lost to Toy Story 3 and Burlesque, respectively.[115] The film also received two nominations for the Broadcast Film Critics Association in the same categories, though lost to Toy Story 3 and 127 Hours,[116] as well as nominations for two Annie Awards, for Best Animated Feature Film and for Writing in a Feature Production.[117]

text: Tangled was also nominated for two Phoenix Film Critics Society Awards, Best Animated Film and Best Original Song for "I've Got a Dream," which it lost to Toy Story 3 and Burlesque.[118] "I See the Light" has been nominated for Best Original Song at the 83rd Academy Awards, but lost to "We Belong Together" from Toy Story 3.[119] It has also been nominated for 37th Saturn Award for Best Animated Film.[120]

text: Tangled won best 3D scene of the year at the second annual International 3D Society Creative Arts Awards.[121]

text: Tangled was also nominated for favorite film in the British Academy Children Awards for Favorite Film, competing against films like Harry Potter and the Deathly Hallows – Parts 1 & 2, Transformers: Dark of the Moon, Cars 2, and Kung Fu Panda 2.[122][123]

text:
Group
Category
Result

83rd Academy Awards[119]
Best Original Song ("I See the Light")
Nominated

38th Annie Awards[117]
Best Animated Feature Film

Writing in a Feature Production (Dan Fogelman)

British Academy Children's Awards (BAFTA)[122][123]
Favourite Film

Broadcast Film Critics Association Awards 2010[116]
Best Animated Feature Film

Best Song ("I See the Light")

68th Golden Globe Awards[115]
Best Animated Feature Film

Best Song ("I See the Light")

54th Grammy Awards[124]
Best Compilation Soundtrack for Visual Media

Best Song Written For Visual Media ("I See the Light")
Won

Las Vegas Film Critics Society[125]
Best Song ("I See the Light")

National Movie Awards 2011[126]
Animation

Phoenix Film Critics Society Awards[118]
Best Animated Film
Nominated

Best Original Song ("I've Got a Dream")

37th Saturn Awards[120]
Best Animated Film

2011 Teen Choice Awards[127]
Choice Animated Movie Voice (Zachary Levi)

9th Visual Effects Society Awards[128]
Outstanding Animation in an Animated Feature Motion Picture (Clay Kaytis, John Kahrs, Glen Keane, Roy Conli)

Outstanding Animated Character in an Animated Feature Motion Picture (Tony Smeed, Amy Smeed, Becky Bresee, Kira Lehtomaki for "Rapunzel")

text: Sequels and spin-offs[edit]

text: Video game[edit]

text: A video game based on the film was released on November 23, 2010, for Nintendo DS, Wii, and PC platforms by Disney Interactive Studios.[129]

text: Short film[edit]

text: Tangled Ever After is a short sequel released in 2012. The plot revolves around the wedding of Rapunzel and Flynn Rider. Pascal and Maximus lose the wedding rings and chase after them, causing massive collateral damage along the way.

text: Musical[edit]

text: An abridged stage adaptation entitled Tangled: The Musical premiered on board the Disney Magic of the Disney Cruise Line[130] in November 2015,[131] featuring three new songs written by Alan Menken and Glenn Slater.[132]

text: Television movie and series[edit]

text: Tangled: Before Ever After, a television movie set between the feature film and the short film, aired on March 10, 2017. It served as an introduction to a continuing television series, Tangled: The Series, that started airing on Disney Channel on March 24, 2017.[133]

text: Feature-length sequel development[edit]

text: In December 2014, Tangled's producer, Roy Conli, revealed that the production team had been "heavily pushed" for a feature-length sequel to the film, but when the writers and directors got together to develop one, they realized, "she [sic] cut her hair. It's over!"[134] Conli explained that at Disney Animation under Lasseter, it is always the filmmakers who decide whether they are ready to make a sequel (not marketing or merchandising).[134] In January 2015, Conli again provided a similar explanation when pressed on this point, and also mentioned that directors Greno and Howard ultimately "weren't really interested" in continuing the story.[135]


document_title: Bletchley Park

question_text: when did bletchley park open to the public

question_tokens: when did bletchley park open to the public

root

text: Bletchley Park

text: Site[edit]

text: Bletchley Park is opposite Bletchley railway station. It is close to junctions 13 and 14 of the M1. Located 50 miles (80 km) northwest of London, the site appears in the Domesday Book as part of the Manor of Eaton. Browne Willis built a mansion there in 1711, but after Thomas Harrison purchased the property in 1793 this was pulled down. It was first known as Bletchley Park after its purchase by Samuel Lipscomb Seckham in 1877.[3] The estate of 581 acres (235 ha) was bought in 1883 by Sir Herbert Samuel Leon, who expanded the then-existing farmhouse[4] into what architect Landis Gores called a "maudlin and monstrous pile"[5][6] combining Victorian Gothic, Tudor, and Dutch Baroque styles.

tag: p

text: In 1938, the mansion and much of the site was bought by a builder planning a housing estate, but in May 1938 Admiral Sir Hugh Sinclair, head of the Secret Intelligence Service (SIS or MI6), bought the mansion and 58 acres (23 ha) of land for £6,000, using his own money after the Government said they did not have the budget to do so, for use by GC&CS and SIS in the event of war.[7]

text: A key advantage seen by Sinclair and his colleagues (inspecting the site under the cover of "Captain Ridley's shooting party")[8] was Bletchley's geographical centrality. It was almost immediately adjacent to Bletchley railway station, where the "Varsity Line" between Oxford and Cambridge – whose universities were expected to supply many of the code-breakers – met the main West Coast railway line connecting London, Birmingham, Manchester, Liverpool, Glasgow and Edinburgh. Watling Street, the main road linking London to the north-west (now the A5) was close by, and high-volume communication links were available at the telegraph and telephone repeater station in nearby Fenny Stratford.

text: Bletchley Park was known as "B.P." to those who worked there.[9] "Station X" (X = Roman numeral ten), "London Signals Intelligence Centre", and "Government Communications Headquarters" were all cover names used during the war.[10] The formal posting of the many "Wrens" – members of the Women's Royal Naval Service – working there, was to HMS Pembroke V. Royal Air Force names of Bletchley Park and its outstations included RAF Eastcote, RAF Lime Grove and RAF Church Green.[11] The postal address that staff had to use was "Room 47, Foreign Office".[12]

text: Personnel[edit]

text:
The Enigma
cipher machine

Enigma machine

Enigma rotors

Breaking Enigma

Polish Cipher Bureau

Doubles
Grill
Clock
Cyclometer
Bomba
Zygalski sheets

Bletchley Park

Banburismus
Herivel tip
Crib
Bombe
Hut 3
Hut 6
Hut 8

PC Bruno

Ultra

v
t
e

tag: table

text: Commander Alastair Denniston was operational head of GC&CS from 1919 to 1942, beginning with its formation from the Admiralty's Room 40 (NID25) and the War Office's MI1b.[13] Key GC&CS cryptanalysts who moved from London to Bletchley Park included John Tiltman, Dillwyn "Dilly" Knox, Josh Cooper, and Nigel de Grey. These people had a variety of backgrounds – linguists and chess champions were common, and in Knox's case papyrology. The British War Office recruited top solvers of cryptic crossword puzzles, as these individuals had strong lateral thinking skills.[14]

text: On the day Britain declared war on Germany, Denniston wrote to the Foreign Office about recruiting "men of the professor type".[15] Personal networking drove early recruitments, particularly of men from the universities of Cambridge and Oxford. Trustworthy women were similarly recruited for administrative and clerical jobs.[16] In one 1941 recruiting stratagem, The Daily Telegraph was asked to organise a crossword competition, after which promising contestants were discreetly approached about "a particular type of work as a contribution to the war effort".[17]

text: Denniston recognised, however, that the enemy's use of electromechanical cipher machines meant that formally trained mathematicians would also be needed;[18] Oxford's Peter Twinn joined GC&CS in February 1939;[19] Cambridge's Alan Turing[20] and Gordon Welchman[21] began training in 1938 and reported to Bletchley the day after war was declared, along with John Jeffreys. Later-recruited cryptanalysts included the mathematicians Derek Taunt,[22] Jack Good, Bill Tutte,[23] and Max Newman; historian Harry Hinsley, and chess champions Hugh Alexander and Stuart Milner-Barry.[24] Joan Clarke (eventually deputy head of Hut 8) was one of the few women employed at Bletchley as a full-fledged cryptanalyst.[25][26]

text: This eclectic staff of "Boffins and Debs" (scientists and debutantes, young women of high society)[27] caused GC&CS to be whimsically dubbed the "Golf, Cheese and Chess Society".[28] During a September 1941 morale-boosting visit, Winston Churchill reportedly remarked to Denniston: "I told you to leave no stone unturned to get staff, but I had no idea you had taken me so literally."[29] Six weeks later, having failed to get sufficient typing and unskilled staff to achieve the productivity that was possible, Turing, Welchman, Alexander and Milner-Barry wrote directly to Churchill. His response was "Action this day make sure they have all they want on extreme priority and report to me that this has been done."[30]

text: After initial training at the Inter-Service Special Intelligence School set up by John Tiltman (initially at an RAF depot in Buckingham and later in Bedford – where it was known locally as "the Spy School")[31] staff worked a six-day week, rotating through three shifts: 4 p.m. to midnight, midnight to 8 a.m. (the most disliked shift), and 8 a.m. to 4 p.m., each with a half-hour meal break. At the end of the third week, a worker went off at 8 a.m. and came back at 4 p.m., thus putting in sixteen hours on that last day. The irregular hours affected workers' health and social life, as well as the routines of the nearby homes at which most staff lodged. The work was tedious and demanded intense concentration; staff got one week's leave four times a year, but some "girls" collapsed and required extended rest.[32] A small number of men (e.g. Post Office experts in Morse code or German) worked part-time.

text: In January 1945, at the peak of codebreaking efforts, some 10,000 personnel were working at Bletchley and its outstations.[33] About three-quarters of these [33] were women. Many of the women came from middle-class backgrounds[34] and held degrees in the areas of mathematics, physics and engineering; they were given entry into STEM programs due to the lack of men, who had been sent to war. They performed complex calculations and coding and hence were integral to the computing processes.[35] For example, Eleanor Ireland worked on the Colossus computers.[36]

text: The female staff in Dilwyn Knox's section were sometimes termed "Dilly's Fillies".[37] "Dilly's girls" included Jean Perrin, Clare Harding, Rachel Ronald, and Elisabeth Granger. Jane Hughes processed information leading to the last battle of the Bismarck. Mavis Lever (who married mathematician and fellow code-breaker Keith Batey) made the first break into the Italian naval traffic. She and Margaret Rock solved a German code[38], the Abwehr break.[39][39] Their work achieved official recognition only in 2009.[34]

text: Many of the women had backgrounds in languages, particularly French and German. Rozanne Colchester was a translator who worked at Bletchley from April 1942 until January 1945, mainly for the Italian air forces Section.[40] Like most of the 'Bletchleyettes', she came from the higher middle class, her father, Air Vice-Marshal Sir Charles Medhurst, being an air attaché in Rome. Before joining Bletchley, Colchester was moving in high circles: “she had met Hitler and been flirted with by Mussolini at an embassy party”, writes Sarah Rainey. She joined the Park because she found it thrilling to fight for her country.[41]

text: Cicely Mayhew was recruited straight from university, having graduated from Lady Margaret Hall, Oxford in 1944 with a First in French and German, after only two years. She worked in Hut 8, translating decoded German Navy signals.[42]

text: Ruth Briggs, a German scholar, worked within the Naval Section and was known as one of the best cryptographers;[43] she married Oliver Churchill of the SOE.[44]

text: Secrecy[edit]

text: Properly used, the German Enigma and Lorenz ciphers should have been virtually unbreakable, but flaws in German cryptographic procedures, and poor discipline among the personnel carrying them out, created vulnerabilities that made Bletchley's attacks just barely feasible. These vulnerabilities, however, could have been remedied by relatively simple improvements in enemy procedures,[45] and such changes would certainly have been implemented had Germany any hint of Bletchley's success. Thus the intelligence Bletchley produced was considered wartime Britain's "Ultra secret" – higher even than the normally highest classification Most Secret [46] – and security was paramount.

text: All staff signed the Official Secrets Act (1939) and a 1942 security warning emphasised the importance of discretion even within Bletchley itself: "Do not talk at meals. Do not talk in the transport. Do not talk travelling. Do not talk in the billet. Do not talk by your own fireside. Be careful even in your Hut ..."[47]

text: Nevertheless, there were security leaks. Jock Colville, the Assistant Private Secretary to Winston Churchill, recorded in his diary on 31 July 1941, that the newspaper proprietor Lord Camrose had discovered Ultra and that security leaks "increase in number and seriousness".[48] Without doubt, the most serious of these was that Bletchley Park had been infiltrated by John Cairncross, the notorious Soviet mole and member of the Cambridge Spy Ring, who leaked Ultra material to Moscow.[49]

text: Early work[edit]

text: The first personnel of the Government Code and Cypher School (GC&CS) moved to Bletchley Park on 15 August 1939. The Naval, Military, and Air Sections were on the ground floor of the mansion, together with a telephone exchange, teleprinter room, kitchen, and dining room; the top floor was allocated to MI6. Construction of the wooden huts began in late 1939, and Elmers School, a neighbouring boarding school, was acquired for the Commercial and Diplomatic Sections.[51]

text: After the United States joined World War II, a number of American cryptographers were posted to Hut 3, and from May 1943 onwards there was close co-operation between British and American intelligence.[52] (See 1943 BRUSA Agreement.) In contrast, the Soviet Union was never officially told of Bletchley Park and its activities –  a reflection of Churchill's distrust of the Soviets even during the US-UK-USSR alliance imposed by the Nazi threat.

text: The only direct enemy damage to the site was done 20–21 November 1940 by three bombs probably intended for Bletchley railway station; Hut 4, shifted two feet off its foundation, was winched back into place as work inside continued. [53]

text: Intelligence reporting[edit]

text: Non-naval Enigma messages were deciphered in Hut 6, followed by translation, indexing and cross-referencing, in Hut 3. Only then was it sent out to the Secret Intelligence Service (MI6), the intelligence chiefs in the relevant ministries, and later on to high-level commanders in the field.[55]

text: Naval Enigma deciphering was in Hut 8, with translation in Hut 4. Verbatim translations were sent only to the Naval Intelligence Division (NID) of the Admiralty's Operational Intelligence Centre (OIC), supplemented by information from indexes as to the meaning of technical terms and cross-references from a knowledge store of German naval technology.[56]

text: Hut 4 also decoded a manual system known as the dockyard cipher, which sometimes carried messages that were also sent on an Enigma network. Feeding these back to Hut 8 provided excellent "cribs" for Known-plaintext attacks on the daily naval Enigma key.[57]

text: Listening stations[edit]

text: Initially, a wireless room was established at Bletchley Park. It was set up in the mansion's water tower under the code name "Station X",[58] a term now sometimes applied to the codebreaking efforts at Bletchley as a whole. The "X" is the Roman numeral "ten", this being the Secret Intelligence Service's tenth such station. Due to the long radio aerials stretching from the wireless room, the radio station was moved from Bletchley Park to nearby Whaddon Hall to avoid drawing attention to the site.[59][60]

text: Subsequently, other listening stations – the Y-stations, such as the ones at Chicksands in Bedfordshire, Beaumanor Hall, Leicestershire (where the headquarters of the War Office "Y" Group was located) and Beeston Hill Y Station in Norfolk – gathered raw signals for processing at Bletchley. Coded messages were taken down by hand and sent to Bletchley on paper by motorcycle despatch riders or (later) by teleprinter.

text: Additional buildings[edit]

text: The wartime needs required the building of additional accommodation.[61]

text: Huts[edit]

text: Often a hut's number became so strongly associated with the work performed inside that even when the work was moved to another building it was still referred to by the original "Hut" designation.[62][63]

text:
Hut 1: The first hut, built in 1939[64] used to house the Wireless Station for a short time,[58] later administrative functions such as transport, typing, and Bombe maintenance. The first Bombe, "Victory", was initially housed here.[65]
Hut 2: A recreational hut for "beer, tea, and relaxation".[66]
Hut 3: Intelligence: translation and analysis of Army and Air Force decrypts[67]
Hut 4: Naval intelligence: analysis of Naval Enigma and Hagelin decrypts[68]
Hut 5: Military intelligence including Italian, Spanish, and Portuguese ciphers and German police codes.[69]
Hut 6: Cryptanalysis of Army and Air Force Enigma[70]
Hut 7: Cryptanalysis of Japanese naval codes and intelligence.[71][72]
Hut 8: Cryptanalysis of Naval Enigma.[56]
Hut 9: ISOS (Intelligence Section Oliver Strachey).
Hut 10: Secret Intelligence Service (SIS or MI6) codes, Air and Meteorological sections.[73]
Hut 11: Bombe building.[74]
Hut 14: Communications centre.[75]
Hut 15: SIXTA (Signals Intelligence and Traffic Analysis).
Hut 16: ISK (Intelligence Service Knox) Abwehr ciphers.
Hut 18: ISOS (Intelligence Section Oliver Strachey).
Hut 23: Primarily used to house the engineering department. After February 1943, Hut 3 was renamed Hut 23.

text: Blocks[edit]

text: In addition to the wooden huts, there were a number of brick-built "blocks".

text:
Block A: Naval Intelligence.
Block B: Italian Air and Naval, and Japanese code breaking.
Block C: Stored the substantial punch-card index.
Block D: Enigma work, extending that in huts 3, 6, and 8.
Block E: Incoming and outgoing Radio Transmission and TypeX.
Block F: Included the Newmanry and Testery, and Japanese Military Air Section. It has since been demolished.
Block G: Traffic analysis and deception operations.
Block H: Tunny and Colossus (now The National Museum of Computing).

text: Work on specific countries' signals[edit]

text: German signals[edit]

text: Most German messages decrypted at Bletchley were produced by one or another version of the Enigma cipher machine, but an important minority were produced by the even more complicated twelve-rotor Lorenz SZ42 on-line teleprinter cipher machine.

text: Five weeks before the outbreak of war, Warsaw's Cipher Bureau revealed its achievements in breaking Enigma to astonished French and British personnel.[45] The British used the Poles' information and techniques, and the Enigma clone sent to them in August 1939, which greatly increased their (previously very limited) success in decrypting Enigma messages.[76]

text: The bombe was an electromechanical device whose function was to discover some of the daily settings of the Enigma machines on the various German military networks.[78][79][80] Its pioneering design was developed by Alan Turing (with an important contribution from Gordon Welchman) and the machine was engineered by Harold 'Doc' Keen of the British Tabulating Machine Company. Each machine was about 7 feet (2.1 m) high and wide, 2 feet (0.61 m) deep and weighed about a ton.[81]

text: At its peak, GC&CS was reading approximately 4,000 messages per day.[82] As a hedge against enemy attack[83] most bombes were dispersed to installations at Adstock and Wavendon (both later supplanted by installations at Stanmore and Eastcote), and Gayhurst.[84][85]

text: Luftwaffe messages were the first to be read in quantity. The German navy had much tighter procedures, and the capture of code books was needed before they could be broken. When, in February 1942, the German navy introduced the four-rotor Enigma for communications with its Atlantic U-boats, this traffic became unreadable for a period of ten months.[86] Britain produced modified bombes, but it was the success of the US Navy bombe that was the main source of reading messages from this version of Enigma for the rest of the war. Messages were sent to and fro across the Atlantic by enciphered teleprinter links.

text: The Lorenz messages were codenamed Tunny at Bletchley Park. They were only sent in quantity from mid-1942. The Tunny networks were used for high-level messages between German High Command and field commanders. With the help of German operator errors, the cryptanalysts in the Testery (named after Ralph Tester, its head) worked out the logical structure of the machine despite not knowing its physical form. They devised automatic machinery to help with decryption, which culminated in Colossus, the world's first programmable digital electronic computer. This was designed and built by Tommy Flowers and his team at the Post Office Research Station at Dollis Hill. The prototype first worked in December 1943, was delivered to Bletchley Park in January and first worked operationally on 5 February 1944. Enhancements were developed for the Mark 2 Colossus, the first of which was working at Bletchley Park on the morning of 1 June in time for D-day. Flowers then produced one Colossus a month for the rest of the war, making a total of ten with an eleventh part-built. The machines were operated mainly by Wrens in a section named the Newmanry after its head Max Newman.

text: Bletchley's work was essential to defeating the U-boats in the Battle of the Atlantic, and to the British naval victories in the Battle of Cape Matapan and the Battle of North Cape. In 1941, Ultra exerted a powerful effect on the North African desert campaign against German forces under General Erwin Rommel. General Sir Claude Auchinleck wrote that were it not for Ultra, "Rommel would have certainly got through to Cairo". While not changing the events, "Ultra" decrypts featured prominently in the story of Operation SALAM, László Almásy's mission across the desert behind Allied lines in 1942.[87] Prior to the Normandy landings on D-Day in June 1944, the Allies knew the locations of all but two of Germany's fifty-eight Western-front divisions.

text: Italian signals[edit]

text: Italian signals had been of interest since Italy's attack on Abyssinia in 1935. During the Spanish Civil War the Italian Navy used the K model of the commercial Enigma without a plugboard; this was solved by Knox in 1937. When Italy entered the war in 1940 an improved version of the machine was used, though little traffic was sent by it and there were "wholesale changes" in Italian codes and cyphers.

text: Knox was given a new section for work on Enigma variations, which he staffed with women ("Dilly's girls"), who included Margaret Rock, Jean Perrin, Clare Harding, Rachel Ronald, Elisabeth Granger; and Mavis Lever.[88] Mavis Lever solved the signals revealing the Italian Navy's operational plans before the Battle of Cape Matapan in 1941, leading to a British victory.

text: Although most Bletchley staff did not know the results of their work, Admiral Cunningham visited Bletchley in person a few weeks later to congratulate them.[89]

text: On entering World War II in June 1940, the Italians were using book codes for most of their military messages. The exception was the Italian Navy, which after the Battle of Cape Matapan started using the C-38 version of the Boris Hagelin rotor-based cipher machine, particularly to route their navy and merchant marine convoys to the conflict in North Africa.[90] As a consequence, JRM Butler recruited his former student Bernard Willson to join a team with two others in Hut 4.[91][92] In June 1941, Willson became the first of the team to decode the Hagelin system, thus enabling military commanders to direct the Royal Navy and Royal Air Force to sink enemy ships carrying supplies from Europe to Rommel's Afrika Korps. This led to increased shipping losses and, from reading the intercepted traffic, the team learnt that between May and September 1941 the stock of fuel for the Luftwaffe in North Africa reduced by 90 percent.[93] After an intensive language course, in March 1944 Willson switched to Japanese language-based codes.[94]

text: A Middle East Intelligence Centre (MEIC) was set up in Cairo in 1939. When Italy entered the war in June 1940, delays in forwarding intercepts to Bletchley via congested radio links resulted in cryptanalysts being sent to Cairo. A Combined Bureau Middle East (CBME) was set up in November, though the Middle East authorities made "increasingly bitter complaints" that GC&CS was giving too little priority to work on Italian cyphers. However, the principle of concentrating high-grade cryptanalysis at Bletchley was maintained.[95] John Chadwick started cryptanalysis work in 1942 on Italian signals at the naval base 'HMS Nile' in Alexandria. Later, he was with GC&CS; in the Heliopolis Museum, Cairo and then in the Villa Laurens, Alexandria.

text: Soviet signals[edit]

text: Soviet signals had been studied since the 1920s. In 1939–40, John Tiltman (who had worked on Russian Army traffic from 1930) set up two Russian sections at Wavendon (a country house near Bletchley) and at Sarafand in Palestine. Two Russian high-grade army and navy systems were broken early in 1940. Tiltman spent two weeks in Finland, where he obtained Russian traffic from Finland and Estonia in exchange for radio equipment. In June 1941, when the Soviet Union became an ally, Churchill ordered a halt to intelligence operations against it. In December 1941, the Russian section was closed down, but in late summer 1943 or late 1944, a small GC&CS Russian cypher section was set up in London overlooking Park Lane, then in Sloane Square.[96]

text: Japanese signals[edit]

text: An outpost of the Government Code and Cypher School had been set up in Hong Kong in 1935, the Far East Combined Bureau (FECB). The FECB naval staff moved in 1940 to Singapore, then Colombo, Ceylon, then Kilindini, Mombasa, Kenya. They succeeded in deciphering Japanese codes with a mixture of skill and good fortune.[97] The Army and Air Force staff went from Singapore to the Wireless Experimental Centre at Delhi, India.

text: In early 1942, a six-month crash course in Japanese, for 20 undergraduates from Oxford and Cambridge, was started by the Inter-Services Special Intelligence School in Bedford, in a building across from the main Post Office. This course was repeated every six months until war's end. Most of those completing these courses worked on decoding Japanese naval messages in Hut 7, under John Tiltman.

text: By mid-1945, well over 100 personnel were involved with this operation, which co-operated closely with the FECB and the US Signal intelligence Service at Arlington Hall, Virginia. In 1999, Michael Smith wrote that: "Only now are the British codebreakers (like John Tiltman, Hugh Foss, and Eric Nave) beginning to receive the recognition they deserve for breaking Japanese codes and cyphers".[98]

text: Post war[edit]

text: Continued secrecy[edit]

text: After the War, the secrecy imposed on Bletchley staff remained in force, so that most relatives never knew more than that a child, spouse, or parent had done some kind of secret war work.[99] Churchill referred to the Bletchley staff as "the geese that laid the golden eggs and never cackled".[100] That said, occasional mentions of the work performed at Bletchley Park slipped the censor's net and appeared in print.[101]

text: With the publication of F. W. Winterbotham's The Ultra Secret (1974)[102] public discussion of Bletchley's work finally became possible (though even today some former staff still consider themselves bound to silence)[103] and in July 2009 the British government announced that Bletchley personnel would be recognised with a commemorative badge.[104]

text: Site[edit]

text: After the war, the site passed through a succession of hands[105] and saw a number of uses, including as a teacher-training college and local GPO headquarters. By 1991, the site was nearly empty and the buildings were at risk of demolition for redevelopment.

text: In February 1992, the Milton Keynes Borough Council declared most of the Park a conservation area, and the Bletchley Park Trust was formed to maintain the site as a museum. The site opened to visitors in 1993, and was formally inaugurated by HRH The Duke of Kent as Chief Patron in July 1994. In 1999 the land owners, the Property Advisors to the Civil Estate and BT, granted a lease the Trust giving the Trust control over most of the site.[106]

text: Bletchley Park as a heritage attraction[edit]

text: June 2014 saw the completion of an £8 million restoration project, which was marked by a visit from Catherine, Duchess of Cambridge. The Duchess' paternal grandmother, Valerie, and Valerie's twin sister, Mary (née Glassborow), both worked at Bletchley Park during the war. The twin sisters worked as Foreign Office Civilians in Hut 6, where they managed the interception of enemy and neutral diplomatic signals for decryption. Valerie married Catherine's grandfather, Captain Peter Middleton.[107][108][109]

text: Exhibitions[edit]

text:
Block C Visitor Centre

Secrets Revealed introduction
The Road to Bletchley Park. Codebreaking in World War One.
Intel Security Cybersecurity exhibition. Online security and privacy in the 21st Century.

Block B

Operational Bombe Rebuild
Lorenz Cipher
Alan Turing
Enigma machines
Japanese codes
Home Front exhibition. How people lived in WW2

The Mansion

Office of Alistair Denniston
Library. Dressed as a World War II naval intelligence office
The Imitation Game exhibition
Gordon Welchman: Architect of Ultra Intelligence exhibition

Huts 3 and 6. Codebreaking offices as they would have looked during World War II.
Hut 8.

Interactive exhibitions explaining codebreaking
Alan Turing's office
Pigeon exhibition. The use of pigeons in World War II.

Hut 11. Life as a WRNS Bombe operator
Hut 12. Bletchley Park: Rescued and Restored. Items found during the restoration work.
Wartime garages
Hut 19. 2366 Bletchley Park Air Training Corp Squadron

text: Funding[edit]

text: In October 2005, American billionaire Sidney Frank donated £500,000 to Bletchley Park Trust to fund a new Science Centre dedicated to Alan Turing.[111] In July 2008, a letter to The Times from more than a hundred academics condemned the neglect of the site.[112][113] In September 2008, PGP, IBM, and other technology firms announced a fund-raising campaign to repair the facility.[114] On 6 November 2008 it was announced that English Heritage would donate £300,000 to help maintain the buildings at Bletchley Park, and that they were in discussions regarding the donation of a further £600,000.[115]

text: In October 2011, the Bletchley Park Trust received a £4.6m Heritage Lottery Fund grant to be used "to complete the restoration of the site, and to tell its story to the highest modern standards" on the condition that £1.7m of 'match funding' is raised by the Bletchley Park Trust.[116][117] Just weeks later, Google contributed £550k[118] and by June 2012 the trust had successfully raised £2.4m to unlock the grants to restore Huts 3 and 6, as well as develop its exhibition centre in Block C.[119]

text: Additional income is raised by renting Block H to the National Museum of Computing, and some office space in various parts of the park to private firms.[120][121][122]

text: Other organisations sharing the campus[edit]

text: National Museum of Computing[edit]

text: The National Museum of Computing is housed in Block H, which is rented from the Bletchley Park Trust. Its Colossus and Tunny galleries tell an important part of allied breaking of German codes during World War II. There is a working reconstruction of a Colossus computer that was used on the high-level Lorenz cipher, codenamed Tunny by the British.[123][124]

text: The museum, which opened in 2007, is an independent voluntary organisation that is governed by its own board of trustees. Its aim is "To collect and restore computer systems particularly those developed in Britain and to enable people to explore that collection for inspiration, learning and enjoyment."[125] Through its many exhibits, the museum displays the story of computing through the mainframes of the 1960s and 1970s, and the rise of personal computing in the 1980s. It has a policy of having as many of the exhibits as possible in full working order.

text: The Colossus and Tunny galleries are open daily. The rest of the museum is open to the public every Thursday, Saturday and Sunday afternoons and most bank holidays, and by appointment for groups only, at other times. There are guided tours on Tuesday afternoons. There is a modest admission charge to the museum to help cover overheads.

text: National College of Cyber Security[edit]

text: The museum is working with four other organisations, in a group called Qufaro, to create the new college for students between 16 and 19 years of age. It will be located in Block G which was being renovated in 2017 with funding from the Bletchley Park Science and Innovation Centre. (Bletchley Park Trust has no involvement with the college.) The National College of Cyber Security is scheduled to open in 2018.[126][127][128][129]

text: RSGB National Radio Centre[edit]

text: The Radio Society of Great Britain's National Radio Centre (including a library, radio station, museum and bookshop) are in a newly constructed building close to the main Bletchley Park entrance.[130][131]

text: In popular culture[edit]

text: Film[edit]

text:
The film Enigma (2001), starring Kate Winslet, Saffron Burrows and Dougray Scott, is set in part in Bletchley Park.
The film The Imitation Game (2014), starring Benedict Cumberbatch as Alan Turing, is set in Bletchley Park, and was partially filmed there.

text: Literature[edit]

text:
Bletchley featured heavily in Robert Harris' novel Enigma (1995) and its eponymous 2001 film adaptation, although filming was done at nearby Chicheley Hall. (See photograph)
A fictionalised version of Bletchley Park is featured in Neal Stephenson's novel Cryptonomicon (1999).
Bletchley Park plays a significant role in Connie Willis' novel All Clear (2010).

text: Radio[edit]

text:
The Radio Show Hut 33 is a Situation Comedy set in the fictional 33rd Hut of Bletchley Park.[132]
The Big Finish Productions Doctor Who audio Criss-Cross, released in September 2015, features the Sixth Doctor working undercover in Bletchley Park to decode a series of strange alien signals that have hindered his TARDIS, the audio also depicting his first meeting with his new companion Constance Clarke.

text: Television[edit]

text:
The 1979 ITV television serial Danger UXB featured the character Steven Mount, who was a codebreaker at Bletchley and was driven to a nervous breakdown (and eventual suicide) by the stressful and repetitive nature of the work.
In Foyle's War, Adam Wainwright (Samantha Stewart's fiance, then husband), is a former Bletchley Park codebreaker.[133][134][135]
The Second World War code-breaking sitcom pilot "Satsuma & Pumpkin" was recorded at Bletchley Park in 2003 and featured Bob Monkhouse, OBE in his last ever screen role. The BBC declined to produce the show and develop it further before creating effectively the same show on Radio 4 several years later, featuring some of the same cast, entitled Hut 33.[136][137]
Bletchley came to wider public attention with the documentary series Station X (1999).
The 2012 ITV programme, The Bletchley Circle, is a set of murder mysteries set in 1952 and 1953. The protagonists are four female former Bletchley codebreakers, who use their skills to solve crimes. The pilot episode's opening scene was filmed on-site, and the set was asked to remain there for its close adaptation of historiography.[138][139]
Ian McEwan's television play The Imitation Game (1980) concludes at Bletchley Park.
Bletchley Park was featured in the sixth and final episode of the BBC TV documentary The Secret War (1977), presented and narrated by William Woodard. This episode featured interviews with Gordon Welchman, Harry Golombek, Peter Calvocoressi, F. W. Winterbotham, Max Newman, Jack Good, and Tommy Flowers.

text: Theatre[edit]

text: The play Breaking the Code (1986) is set at Bletchley.

text: Video games[edit]

text: Bletchley is featured in a level of the Russian video game Death to Spies: Moment of Truth. The player, a Soviet spy working for SMERSH, is tasked with killing a professor at the park, and stealing a briefcase pertaining to Bletchley's code-breaking of Soviet communications.


document_title: Finance Commission

question_text: who is the chairman of 14 finance commission

text: Finance Commission

text: History[edit]

text: As a federal state, India suffers from both vertical and horizontal fiscal imbalances. Vertical imbalances between the central and state governments result from states incurring expenditures disproportionate to their sources of revenue, in the process of fulfilling their responsibilities. However, states are better able to gauge the needs and concerns of their inhabitants and therefore more efficient at addressing them. Horizontal imbalances among state governments result from differing historical backgrounds or resource endowments, and can widen over time.

text: The Finance Commission was established in 1951 by Dr. B.R. Ambedkar, the then-incumbent Law Minister, to address these imbalances. Several provisions to bridge the fiscal gap between the Centre and the States were already enshrined in the Constitution of India, including Article 268, which facilitates levy of duties by the Centre but equips the States to collect and retain the same. Similarly, Articles 269, 270, 275, 282 and 293, among others, specify ways and means of sharing resources between the Union and States. In addition to the above provisions, the Finance Commission serves as an institutional framework to facilitate Centre-State Transfers.[citation needed]

text: Article 280 of the Indian Constitution defines the scope of the Commission:

text:
The President will constitute a Finance Commission within two years from the commencement of the Constitution and thereafter at the end of every fifth year or earlier, as the deemed necessary by him/her, which shall include a chairman and four other members.
Parliament may by law determine the requisite qualifications for appointment as members of the Commission and the procedure of selection.
The Commission is constituted to make recommendations to the president about the distribution of the net proceeds of taxes between the Union and States and also the allocation of the same amongst the States themselves. It is also under the ambit of the Finance Commission to define the financial relations between the Union and the States. They also deal with devolution of non-plan revenue resources.

tag: ol

text: Functions[edit]

text:
Distribution of net proceeds of taxes between Center and the States, to be divided as per their respective contributions to the taxes.
Determine factors governing Grants-in Aid to the states and the magnitude of the same.
To make recommendations to president as to the measures needed to augment the Fund of a State to supplement the resources of the panchayats and municipalities in the state on the basis of the recommendations made by the Finance Commission of the state.
any other matter related to it by the president in the interest of sound finance
finance commission is autonomous body which is governed by the government of India

text: The Finance Commission (Miscellaneous Provisions) Act, 1951[edit]

text: The Finance Commission (Miscellaneous Provisions) Act, 1951 was passed to give a structured format to the Finance Commission and to bring it to par with world standards, by laying down rules for the qualification and disqualification of members of the Commission, and for their appointment, term, eligibility and powers.[6]

text: Qualifications of the members[edit]

text: The Chairman of the Finance Commission is selected from people with experience of public affairs. The other four members are selected from people who:

text:
Are, or have been, or are qualified, as judges of High Court,
Have knowledge of Government finances or accounts, or
Have had experience in administration and financial expertise; or
Have special knowledge of economics

text: Procedure and Powers of the Commission[edit]

text: The Commission has the power to determine their own procedure and:

text:
Has all powers of the civil court as per the Civil Procedure Code, 1908
Can summon and enforce the attendance of any witness or ask any person to deliver information or produce a document, which it deems relevant.
Can ask for the production of any public record or document from any court or office.
Shall be deemed to be a civil court for purposes of Sections 480 and 482 of the Code of Criminal Procedure, 1898.

text: Disqualification from being a member of the Commission[edit]

text: A member may be disqualified if:

text:
He is mentally unsound;
He is an undischarged insolvent;
He has been convicted of an immoral offence;
His financial and other interests are such that it hinders smooth functioning of the Commission.

text: Terms of Office of Members and Eligibility for Reappointment[edit]

text: Every member will be in office for the time period as specified in the order of the President, but is eligible for reappointment provided he has, by means of a letter addressed to the president, resigned his office.

text: Salaries and Allowances of the members[edit]

text: The members of the Commission shall provide full-time or part-time service to the Commission, as the President specifies in his order. The members shall be paid salaries and allowances as per the provisions made by the Central Government.

text: List of Finance Commissions[edit]

text: So far 14 Finance Commissions have been appointed which are as follows:[7]

text:
Finance Commission
Year of Establishment
Chairman
Operational Duration

First
1951
K. C. Neogy
1952–57

Second
1956
K. Santhanam
1957–62

Third
1960
A. K. Chanda
1962–66

Fourth
1964
P. V. Rajamannar
1966–69

Fifth
1968
Mahaveer Tyagi
1969–74

Sixth
1972
K. Brahmananda Reddy
1974–79

Seventh
1977
J. M. Shelat
1979–84

Eighth
1983
Y. B. Chavan
1984–89

Ninth
1987
N. K. P. Salve
1989–95

Tenth
1992
K. C. Pant
1995–2000

Eleventh
1998
A. M. Khusro
2000–2005

Twelfth
2002
C. Rangarajan
2005–2010

Thirteenth
2007
Dr. Vijay L. Kelkar
2010–2015

Fourteenth[8]
2013
Dr. Y. V Reddy
2015–2020

Fifteenth[9]
2017
N. K. Singh
2020–2025

text: 14th Finance Commission[edit]

text: Major Recommendations of 14th Finance Commission headed by Prof. Y V Reddy

text:
The share of states in the net proceeds of the shareable Central taxes should be 42%. This is 10 percentage points higher than the recommendation of 13th Finance Commission.
Revenue deficit to be progressively reduced and eliminated.
Fiscal deficit to be reduced to 3% of the GDP by 2017–18.
A target of 62% of GDP for the combined debt of centre and states.
The Medium Term Fiscal Plan (MTFP) should be reformed and made the statement of commitment rather than a statement of intent.
FRBM Act need to be amended to mention the nature of shocks which shall require targets relaxation.
Both centre and states should conclude 'Grand Bargain' to implement the model Goods and Services Act (GST).
Initiatives to reduce the number of Central Sponsored Schemes (CSS) and to restore the predominance of formula based plan grants.
States need to address the problem of losses in the power sector in time bound manner.

text: 15th Finance Commission[edit]

text: The Fifteenth Finance Commission was constituted in November 2017.[10][11][12][13] The commission's chairman is N. K. Singh, with its full-time members being Shaktikanta Das and Anoop Singh.[10][11][12][13] In addition the commission also has two part-time members in Ramesh Chand and Ashok Lahiri.[10][11][12][13]

text: The Commission was set up to give recommendations for five years commencing on 1 April 2020.[14][15] The main tasks of the commission was to "strengthen cooperative federalism, improve the quality of public spending and help protect fiscal stability".[16]

text: Finance Commission versus Planning Commission[edit]

text: It is alleged[by whom?] that Planning Commission (India) (PC) which is neither a constitutional nor a statutory body has usurped the role of Finance Commission (FC). PC has restricted FC's role to mere recommend grants to states on revenue account only under article 275 of Indian constitution. However, after the formation of NITI Aayog (National Institute of Transforming India), which comes to replace the Planning Commission seeks to empower FC with the originally envisaged task of distribution of revenue to the states.[citation needed]