document_title: List of highest scoring NFL games

question_text: what is the highest score in the nfl

question_tokens: what is the highest score in the nfl

text: List of highest scoring NFL games

text: List[edit]

text: Regular season[edit]

text:
Points scored
Score
Winning team
Losing team
Date
Ref

113
72–41
Washington Redskins
New York Giants
November 27, 1966
[1]

106
58–48
Cincinnati Bengals
Cleveland Browns
November 28, 2004
[2]

101
52–49
Oakland Raiders
Houston Oilers
December 22, 1963
[3]

101
52–49
New Orleans Saints
New York Giants
November 1, 2015
[4]

99
51–48 (OT)
Seattle Seahawks
Kansas City Chiefs
November 27, 1983
[5]

99
51–48
Denver Broncos
Dallas Cowboys
October 6, 2013
[6]

98
54–44
San Diego Chargers
Pittsburgh Steelers
December 8, 1985
[7]

96
51–45
Cleveland Browns
Cincinnati Bengals
September 16, 2007
[8]

96
51–45 (OT)
New York Jets
Miami Dolphins
September 21, 1986
[9]

95
48–47
Green Bay Packers
Washington Redskins
October 17, 1983
[10]

text: Playoffs[edit]

text:
Points scored
Score
Winning team
Losing team
Date
Ref

96
51–45 (OT)
Arizona Cardinals
Green Bay Packers
January 10, 2010
[11]

95
58–37
Philadelphia Eagles
Detroit Lions
December 30, 1995
[12]

89
45–44
Indianapolis Colts
Kansas City Chiefs
January 4, 2014
[13]

text: Super Bowl[edit]

text:
Points scored
Score
Winning team
Losing team
Date
Ref

75
49–26
San Francisco 49ers
San Diego Chargers
January 29, 1995
[14]

text: Game notes[edit]

text: Regular season[edit]

text: 113 points (New York Giants vs. Washington Redskins, 1966)[edit]

text: The Washington Redskins and the New York Giants combined for a total of 113 points in one game on November 27, 1966, in Washington, D.C.. The Redskins outscored the Giants 72–41. There were a total of 16 touchdowns: 10 by the Redskins and 6 by the Giants, plus a field goal by Washington's kicker Charlie Gogolak[15] with only 7 seconds left. The game was played before the introduction of nets behind the goal post causing the loss of fourteen footballs to the stands. Thirteen of the footballs were lost due to extra points, and one was lost by Brig Owens who threw the ball into the crowd after he returned a fumble 69 yards for a touchdown.[16]

text: 106 points (Cincinnati Bengals vs. Cleveland Browns, 2004)[edit]

text: On November 28, 2004, Cincinnati Bengals quarterback Carson Palmer threw for 4 touchdowns and Rudi Johnson ran for 2 more along with a career-high 202 rushing yards as the Bengals survived 413 passing yards and 5 touchdowns by Kelly Holcomb to defeat the Cleveland Browns 58–48, in the second-highest scoring game in NFL history. Deltha O'Neal returned an interception 69 yards for a touchdown in the final 2 minutes to end the Browns' comeback hopes and to cap the scoring.

text: 101 points (Oakland Raiders vs. Houston Oilers, 1963)[edit]

text: Played on December 22, 1963, the game took place in the American Football League (AFL), but it was absorbed into official NFL records after the NFL–AFL merger. The Oakland Raiders defeated the Houston Oilers 52–49, combining for a total of 101 points. It was Oakland's eighth win in a row.

text: Oakland placekicker Mike Mercer kicked a field goal with 4:37 left in the fourth quarter, breaking the 49–49 tie and giving Oakland the win. Raiders quarterback Tom Flores threw for 407 yards and 6 touchdowns. The Oilers quarterback and future Hall of Famer George Blanda passed for 342 yards and 5 touchdowns.[17] Oakland's wide receiver Art Powell caught 10 passes for a total of 247 yards and 4 touchdowns. Houston had their own offensive threat in Willard Dewveall who had seven catches adding up to a total amount of 137 yards and four touchdowns.[18]

text: 101 points (New York Giants vs. New Orleans Saints, 2015)[edit]

text: On November 1, 2015, the New York Giants and New Orleans Saints scored a combined 101 points.[19] The Saints won 52–49. Notably, Saints quarterback Drew Brees tied an NFL record by throwing seven touchdown passes, and Giants quarterback Eli Manning threw six touchdown passes. The 13 touchdown passes between the two quarterbacks set an NFL record.[20] The only field goal was scored on the final play of the game, when the Saints' Kai Forbath successfully kicked a 50-yard field goal to win the game, the longest kick of his career at the time.

text: 99 points (Seattle Seahawks vs. Kansas City Chiefs, 1983)[edit]

text: On November 27, 1983, the Seattle Seahawks defeated the visiting Kansas City Chiefs 51–48 in overtime. The 99 points scored is tied for fifth-highest scoring game in NFL history. Seahawks running back Curt Warner rushed for 207 yards on 32 carries. Chiefs receiver Carlos Carson had seven catches for 149 yards and one touchdown. The game ended when placekicker Norm Johnson converted a 42-yard field goal with 1:46 left in overtime.[18]

text: 99 points (Denver Broncos vs. Dallas Cowboys, 2013)[edit]

text: On October 6, 2013, the Dallas Cowboys hosted the Denver Broncos for a game in which 99 total points were scored, tied for fifth-highest in NFL history. Near the end of the fourth quarter the game was tied, 48-48. Cowboys quarterback Tony Romo (who achieved more than 500 passing yards for the first time in franchise history) threw a critical interception to Broncos linebacker Danny Trevathan at his own 24-yard line with 2 minutes remaining in the game. Denver placekicker Matt Prater kicked a 28-yard field goal as time expired to give the Broncos a 51-48 win.

text: Broncos quarterback Peyton Manning completed 33 of 42 passes for 414 yards, throwing 4 touchdown passes and 1 interception in a winning effort. This performance prompted KCNC-TV to report, "After 5 games and 5 big wins, the Broncos are on pace to become the first team in the history of the NFL to exceed 600, maybe even 700 points, in a season. It is the most remarkable five-game stretch in the history of professional football. The numbers don't lie. What Manning has done in his first five games — his "assault" on the record books — is simply unprecedented."[21]

text: 98 points (Pittsburgh Steelers vs. San Diego Chargers, 1985)[edit]

text: On December 8, 1985, the San Diego Chargers and Pittsburgh Steelers combined for 98 points in a 54–44 Chargers victory.

text: 96 points (Cincinnati Bengals vs. Cleveland Browns, 2007)[edit]

text: On September 16, 2007, Ohio intrastate rivals Cleveland and Cincinnati battled to combine for 96 points, with the Browns defeating the Bengals 51–45.

text: 96 points (Miami Dolphins vs. New York Jets, 1986)[edit]

text: In a September 21, 1986, AFC East showdown at Giants Stadium in East Rutherford, New Jersey, the New York Jets hosted the Miami Dolphins, combining for 96 points, with the Jets defeating the Dolphins in overtime, 51–45.

text: The contest featured 1,066 yards of combined offense, 59 first downs and 93 total pass attempts. Dolphins quarterback Dan Marino had 448 yards through the air and a personal best six touchdown passes, while Jets signal-caller Ken O'Brien threw for 479 yards and 4 touchdown passes. The shootout came to an end when Jets wide receiver Wesley Walker caught a 43-yard bomb touchdown from O'Brien in overtime, his fourth of the game. Walker finished with 6 catches for 179 yards. The Dolphins receiving corps was led by the "Marks Brothers", Mark Duper and Mark Clayton, combining for 328 yards receiving and 3 touchdown receptions.

text: 95 points (Washington Redskins vs. Green Bay Packers, 1983)[edit]

text: On October 17, 1983, the Redskins and Packers played on a Monday night with the Packers winning 48–47, a combined 95-point total. Redskins kicker Mark Moseley missed a field goal in the final seconds, securing the win for the Packers.

text: Playoffs[edit]

text: 96 points (Green Bay Packers vs. Arizona Cardinals, 2009 playoffs)[edit]

text: In the 2009–10 playoffs, the Cardinals and Packers combined for 96 points in a 51–45 overtime Arizona win.

text: 95 points (Detroit Lions vs. Philadelphia Eagles, 1995 playoffs)[edit]

text: In a December 30, 1995 Wild Card playoff game, the Philadelphia Eagles and Detroit Lions combined for 95 points in what was the NFL's highest scoring postseason game until the 2009–10 playoffs.

text: The Eagles dominated the game on seven Detroit turnovers, winning 58–37. The Eagles scored 31 points in the second quarter alone, and led 38–7 at halftime. They extended their lead to 51–7 with nine minutes left in the third quarter. After that, Detroit scored four touchdowns while the Eagles added another.

text: 89 points (Indianapolis Colts vs. Kansas City Chiefs, 2013 playoffs)[edit]

text: On January 4, 2014, the Colts and the Chiefs played in a Saturday evening 2014 NFL Wild Card playoff game. The teams combined for 89 points, with the Colts winning 45-44. Following an early second half Chiefs touchdown, the Colts rallied back for a 28-point comeback, the second largest comeback in NFL playoff history.[a][22]

text: Super Bowl[edit]

text: 75 points (Super Bowl XXIX: San Diego Chargers vs. San Francisco 49ers)[edit]

text: The highest-scoring Super Bowl was Super Bowl XXIX on January 29, 1995, in which the NFC champion San Francisco 49ers defeated the AFC champion San Diego Chargers 49–26 for a combined 75 points.[23]

text: Notes[edit]

text: Jump up ^ Behind only "The Comeback"

tag: ol


document_title: Corrosive substance

question_text: what word is used to describe an acid or base that can destroy body tissue

root

text: Corrosive substance

text: Chemical terms[edit]

text: The word corrosive is derived from the Latin verb corrodere, which means to gnaw, indicating how these substances seem to "gnaw" their way through flesh or other material. Sometimes the word caustic is used as a synonym but caustic generally refers only to strong bases, particularly alkalis, and not to acids, oxidizers, or other non-alkaline corrosives.

tag: p

text: A low concentration of a corrosive substance is usually an irritant. Corrosion of non-living surfaces such as metals is a distinct process. For example, a water/air electrochemical cell corrodes iron to rust. In the Globally Harmonized System, both rapid corrosion of metals and chemical corrosion of skin qualify for the corrosive symbol.

text: Corrosives are different from poisons in that corrosives are immediately dangerous to the tissues they contact, whereas poisons may have systemic toxic effects that require time to become evident. Colloquially, corrosives may be called poisons but the concepts are technically distinct. However, there is nothing which precludes a corrosive from being a poison; there are substances that are both corrosives and poisons.

text: Effects on living tissue[edit]

text: Common corrosives are either strong acids, strong bases, or concentrated solutions of certain weak acids or weak bases. They can exist as any state of matter, including liquids, solids, gases, mists or vapors.

text: Their action on living tissue (e.g. skin, flesh and cornea) is mainly based on acid-base reactions of amide hydrolysis, ester hydrolysis and protein denaturation. Proteins (chemically composed of amide bonds) are destroyed via amide hydrolysis while lipids (which have ester bonds) are decomposed by ester hydrolysis. These reactions lead to chemical burns and are the mechanism of the destruction posed by corrosives.

text: Some corrosives possess other chemical properties which may extend their corrosive effects on living tissue. For example, sulfuric acid (H2SO4) at a high concentration is also a strong dehydrating agent,[1] capable of dehydrating carbohydrates and liberating extra heat. This results in secondary thermal burns in addition to the chemical burns and may speed up its decomposing reactions on the contact surface. Some corrosives, such as nitric acid and concentrated sulfuric acid, are strong oxidizing agents as well, which significantly contributes to the extra damage caused. Hydrofluoric acid does not necessarily cause noticeable damage upon contact, but produces tissue damage and toxicity after being painlessly absorbed. Zinc chloride solutions are capable of destroying cellulose and corroding through paper and silk since the zinc cations in the solutions specifically attack hydroxyl groups, acting as a Lewis acid. This effect is not restricted to acids; so strong a base as calcium oxide, which has a strong affinity for water (forming calcium hydroxide, itself a strong and corrosive base), also releases heat capable of contributing thermal burns as well as delivering the corrosive effects of a strong alkali to moist flesh.[2]

text: In addition, some corrosive chemicals, mostly acids such as hydrochloric acid and nitric acid, are volatile and can emit corrosive mists upon contact with air. Inhalation can damage the respiratory tract.

text: Corrosive substances are most hazardous to eyesight. A drop of a corrosive may cause blindness within 2–10 seconds through opacification or direct destruction of the cornea.

text: Ingestion of corrosives can induce severe consequences, including serious damage of the gastrointestinal tract, which can lead to vomiting, severe stomach aches, and death.

text: Common types[edit]

text: Common corrosive chemicals are classified into:

text:
Acids

Strong acids – the most common are sulfuric acid, nitric acid and hydrochloric acid (H2SO4, HNO3 and HCl, respectively).
Some concentrated weak acids, for example formic acid and acetic acid
Strong Lewis acids such as anhydrous aluminum chloride and boron trifluoride
Lewis acids with specific reactivity; e.g., solutions of zinc chloride
Extremely strong acids (superacids)

Bases

Caustics or alkalis, such as sodium hydroxide, potassium hydroxide, and calcium hydroxide
Alkali metals in the metallic form (e.g. elemental sodium), and hydrides of alkali and alkaline earth metals, such as sodium hydride, function as strong bases and hydrate to give caustics
Extremely strong bases (superbases) such as alkoxides, metal amides (e.g. sodium amide) and organometallic bases such as butyllithium
Some concentrated weak bases, such as ammonia when anhydrous or in a concentrated solution

Dehydrating agents such as concentrated sulfuric acid, phosphorus pentoxide, calcium oxide, anhydrous zinc chloride, also elemental alkali metals
Strong oxidizers such as concentrated hydrogen peroxide
Electrophilic halogens: elemental fluorine, chlorine, bromine and iodine, and electrophilic salts such as sodium hypochlorite or N-chloro compounds such as chloramine-T;[3] halide ions are not corrosive, except for fluoride
Organic halides and organic acid halides such as acetyl chloride and benzyl chloroformate
Acid anhydrides
Alkylating agents such as dimethyl sulfate
Some organic materials such as phenol ("carbolic acid")

tag: ul

text: Personal protective equipment[edit]

text: Use of personal protective equipment, including items such as protective gloves, protective aprons, acid suits, safety goggles, a face shield, or safety shoes, is normally recommended when handling corrosive substances. Users should consult a safety data sheet for the specific recommendation for the corrosive substance of interest. The material of construction of the personal protective equipment is of critical importance as well. For example, although rubber gloves and rubber aprons may be made out of a chemically resistant elastomer such as nitrile rubber, neoprene, or butyl rubber, each of these materials has different resistance to different corrosives and they should not be substituted for each other.

text: Uses[edit]

text: Some corrosive chemicals are valued for various uses, the most common of which is in household cleaning agents. For example, most drain cleaners contain either acids or alkalis due to their capabilities of dissolving greases and proteins inside water pipes such as limescale.[4]

text: In chemical uses, high chemical reactivity is often desirable, as the rates of chemical reactions depend on the activity (effective concentration) of the reactive species. For instance, catalytic sulfuric acid is used in the alkylation process in an oil refinery: the activity of carbocations, the reactive intermediate, is higher with stronger acidity, and thus the reaction proceeds faster. Once used, corrosives are most often recycled or neutralized. However, there have been environmental problems with untreated corrosive effluents or accidental discharges.


document_title: Battle of Saraighat

question_text: who was the ahom king during the battle of saraighat

text: Battle of Saraighat

text: Background[edit]

text: After Nara Narayana died in 1587, the Koch kingdom (ensconced between the Mughal Empire in the west/south and Ahom kingdom in the east) was divided into the western Koch Bihar and the eastern Koch Hajo, ruled by his son Lakshimi Narayan and nephew Raghudev respectively.  These two kingdoms were bitter rivals.  In due course the Mughals formed an alliance with Lakshmi Narayan and the Nawab of Dhaka, a governor of the Mughals attacked Parikshit Narayan, the son of Raghudev in 1602 at Dhubri, the western most corner of present-day Assam.  Following many battles, Parikshit finally accepted defeat and was sent off to Delhi; but his brother, Bali Narayana took refuge with the Ahoms, who were interested in keeping the Koch as a buffer between themselves and the Mughals.  The first Mughal-Ahom battle took place in 1615 when the Mughals attacked the Ahoms, then under Pratap Singha. This resulted in a period of Ahom-Mughal conflicts fluctuating fortunes that ended with the Treaty of Asurar Ali in 1639.  The Treaty fixed Barnadi river in the north bank and Asurar Ali in the south bank of the Brahmaputra as the boundary between the Ahoms and the Mughals.  This, and the defeat of the Koch king at Pandu in 1641, resulted in a period of Mughal administration in Kamrup (Guwahati and Hajo).

text: Taking advantage of the Mughal war of succession after the fall of the Mughal emperor Shah Jahan in 1658, Pran Narayan of Koch Bihar tried to occupy Koch Hajo, but the Ahoms under Jayadhwaj Singha took Guwahati and pushed him back beyond Dhubri. That the Ahoms reached Dhubri by defeating the Koch king and not the Mughals would form a central tenet in later Ahom diplomacy. Soon after, Aurangzeb occupied the Delhi throne.  Mir Jumla II, pursuing Shah Shuja in Bengal, was appointed the Subahdar of Bengal in 1660 and asked to retake Assam.  Mir Jumla marched in 1661 and defeated the Ahoms at successive encounters to finally take the Ahom capital Garhgaon.  But the daga juddha (guerrilla warfare) of Atan Burhagohain and the rains succeeded in cutting off Mughal communication lines making it impossible for Mir Jumla to consolidate Mughal rule.  Unaware of Mir Jumlas difficulties and unnerved by Baduli Phukan's defection, Jayadhwaj Singha sued for peace,[2] an opportunity Mir Jumla seized on. The Treaty of Ghilajharighat (1663) brought an end to Mughal occupation of Garhgaon, but the conditions of this treaty were so severe that the Ahoms were soon resolved to reverse them.

text: Ahom preparations for war[edit]

text: After the  humiliating defeat inflicted by Mir Jumla the Ahom king Jayadhwaj Singha died in despair. On his deathbed, he exhorted his cousin and successor Chakradhwaj Singha to "remove the spear of humiliation from the bosom of the nation." There followed a complete overhaul of the Ahom kingdom.  People who had dispersed due to Mir Jumla's invasion were rehabilitated in the appropriate khels, food and military productions were increased, new forts were constructed and garrisoned and an experditionary army was organized under a new commander—Lachit Borphukan.[3][4] Alliances were renewed with the Jaintia and the Kachari kingdoms. During this period Mughal imperial demands were tactfully and diplomatically rebuffed, but when the new faujdar of Guwahati, Firuz Khan, forced the matter in March 1667, the Ahoms were compelled to move.[5]  In August 1667 the Ahom army, under Lachit Borphukan and accompanied by Atan Burhagohain, sailed downstream to retake Guwahati.

text: Ahoms retake Guwahati[edit]

text: Lachit made Kaliabor, the old seat of the Borphukan, his base camp and advanced toward Guwahati along both banks of the Brahmaputra.  On the north bank the Deka Phukan retook Bahbari in early September 1667.  On the south bank, the Nausalia Phukan and others, moving on land and water, captured Kajali, Sonapur, Panikhaiti, and Titamara forts between the Kapili river and Guwahati.  The Ahoms then reached Guwahati which was defended by five choukies on each bank of the Brahmaputra (north—Kanai-borosi-bowa, Hillar, Hindurighopa, Patduar and Korai; south—Latasil, Joiduar, Dharamduar, Duarguria and Pandu).  With some loss, the Ahoms captured Shah Buruz and Rangamahal forts, a little north of the city.  An extended battle was fought for the Itakhuli fort (at the site of the current Deputy Commissioner's bungalow).  The Ahoms besieged Joiduar, occupied Pandu, and in spite of a Mughal reinforcement, approached Itakhuli.  The grand attack was launched on the night of 4 November 1667,[6] when the Ahoms scaled the walls by ladders and after two months of siege, Itakhuli fell in mid-November 1667.  Most of the defenders were massacred, many surrendered but a few managed to escape.  War provisions, treasures and war material fell into Ahom hands.[7]

text: The Mughals received some reinforcement at this point and retaliated against the Ahoms.  The Ahoms fought back with their naval forces and removed them from their bases in Umananda and Barhat. The Mughals, pursued by the Ahoms, managed to fortify the Manahmukh (the confluence of Manas river) and fend off the attackers for some time but Firuz Khan finally surrendered and was taken prisoner. This brought an end to the recapture of Guwahati and the Ahoms were able to control their old Manas border once again.  But this did not last long and they had to beat a strategic retreat due to the advancing Mughal army of Raja Ram Singh.

text: Mughal imperial invasion[edit]

text: Mughal emperor Aurangzeb was informed of the losses on 19 December 1667 and he commissioned Raja Ram Singh of Amber, son of the famous Mirza Raja Jai Singh, to take back Guwahati.  Ram Singh left Delhi on 27 December 1667 and finally reached Rangamati in February 1669.  He was accompanied, as was the Mughal custom of sending two generals, by Rashid Khan, ex-faujdar of Guwahati, and from Patna by the Sikh Guru Tegh Bahadur. The Ahoms, anticipating a Mughal strike, are said to have followed his movements from Delhi itself.  Along the way Aurangzeb augmented Ram Singh's forces of 4,000 troopers (from his char-hazaari mansab), 1,500 ahadis (soldiers recruited by the Emperor) and 500 barqandezes by an additional 30,000 infantrymen, 21 Rajput chiefs (Thakurs) with their contingents, 18,000 cavalry, 2,000 archers and shieldmen and 40 ships.[8]  When Lachit surveyed the massive Mughal force later, he was moved to tears and he uttered: "It is a tragedy that my country is facing this dire catastrophe during my Phukanship. How will my king be saved? How will my people be saved? And how will my posterity be saved?"[9]

text: Armies from Koch Bihar joined the Mughal forces since they were vassals.

text: Ahom strategic planning and Mughal attacks[edit]

text: Aware of Mughal military might and the weakness of the Ahom militia, especially against the professional cavalry and mounted forces in open fields, Lachit Borphukan and the other commanders decided to choose the terrain of the battlefield with care. The choice fell on Guwahati, which was hilly, on the way to the heart of the Ahom kingdom and without open fields where the Mughal forces would not have sufficient mobility. The only way east was via the Brahmaputra river passing through it. The Brahmaputra at Saraighat, at its narrowest 1 km width, was ideal for a naval defense. To check Mughal advance, Lachit prepared a complex system of mud embankments in Guwahati[10] When the Mughals found Guwahati impregnable by land, they would be forced to use their navy, which was their weakest asset. Lachit set up his headquarters at Andharubali, the sandbanks between the Kamakhya and Sukreshwar hills. The deliberations of the war council were recorded and made into a manual.[11]

text: When the Mughal march reached the Manas river in March–April 1669 and defeated some Ahom forces, Lachit decided on a strategic retreat to Guwahati. Three Rajkhowas were asked to meet the Mughal forces and retreat to Guwahati, keeping the Mughal forces in sight but beyond the reach of their weapons. When the Mughals reached closer, he started a sham negotiation via the captured Firuz Khan with Ram Singh, who had set up camp at Agiathuti, calling the Mughal Emperor the "Bhai Raja" (brother sovereign) to the Ahom king.[12] And when he was ready for the Mughal attacks, he sent words to Ram Singh that "Guwahati and Kamrup do not belong to the Mughals" since they were taken from the Koch and that the Assamese were prepared to fight to the last.[13]

text: A period of battles between the Ahom and Mughal forces in the region of Guwahati followed, with varied results with forts changing hands many times. In these battles, the Mughal forces were arraigned in four divisions:[14]

text:
The north bank, commanded by Ram Singh himself.
The south bank, under Ali Akbar Khan, Mir Sayyid Khan, Raja Indramani, Raja Jaynarayan and Marul Khan
The Sindurighopa entrance, under Jahir Beg, Kayam Khan, Ghanashyam Bakshi, and three Baruah's from Koch Bihar—Kavisekhar, Sarveshwar and Manmatha.
The river, guarded by the naval commanders Mansur Khan, Latif Khan, Iswarpati, firinghees (Europeans) and one Kapidan Raja.

text: In these attacks the Ahom allies—the Garos, the Jaintia, the Nagas, the Rani of Darrang, the Raja of Rani, and even the monsoons of 1669—joined battle.  The Ahom defense was arraigned as:[15]

text:
The north bank, under the command of Atan Burhagohain.
The south bank, under the command of Lachit Borphukan.

text: Both commanders had a number of pali commanders each defending a specific strategic area, with each pali reorganized in response to the challenge posed by Ram Singh's forces.

text: Aurangzeb received information of the lack of progress in August 1669 and made arrangements with the Subahdar of Bengal, Shaistha Khan, to provide reinforcements to Ram Singh. This period is also known for Atan Burhagohain's dagga judha (guerilla warfare). Ram Singh  protested that these harassing campaigns lowered the "dignity of warfare", and withdrew from fighting (October 1669 – March 1970), to no particular military advantage.[16]

text: Major Ahom reversal at Alaboi[edit]

text: One of these battles stood out for a major Ahom reversal.  Exasperated with the delaying tactics of the Borphukan, Ram Singh asked for a duel with the Ahom king. He promised to withdraw from Assam with his army if he was defeated.  Lachit updated Chakradhwaj Singha about this proposal, who rejected the offer on the ground that it was beneath his dignity to duel a mere servant "who has no umbrella over his head" (who is not a "Chhatrapati").  Annoyed with Ram Singh's proposal he ordered Lachit to confront the Mughals militarily. In a battle that was set up as a challenge, a force of 10,000 Mughals under Mir Nawab was to confront a force of 20,000 Ahom cavalry. Ram Singh's "approach was psychological, marked by pride, chivalry and revenge". The Ahom approach, to cover their basic weaknesses, was based on "diplomacy, deception and mispresentation". So instead of 20,000, they sent in 40,000 and using an anti-koch tactic that had worked against Chilarai, they dressed their vanguard archers and musketeers as Brahmans to make the Rajput warriors desist from killing them. Ram Singh, on the other hand, set a woman, Madanavati, dressed as a man, to command the vanguard to deny the Ahoms any glory in case of a victory. The battle took place in the fields adjoining the Alaboi hills about 5 August 1669.

text: In the first phase, Madanavati dispersed the first four lines of the Ahom vanguard with ease, but the Borphukan had trenches dug to conceal his other lines. In the second phase, a diversion to cross the Brahmaputra was thwarted, and Madanavati was shot.  The battle turned and in the third phase, Mir Nawab's forces were routed. Enraged at the deception, Ram Singh let loose his veteran horsemen and in the carnage that followed, 10,000 Ahom soldiers were massacred.

text: Aurangzeb was pleased with these Mughal successes and increased Ram Singh's mansab from 4000 to 5000.  Ram Singh was also instructed to invest Guwahati soon, and if it was not possible, to devastate the land and plunder the people.

text: Final diplomatic maneuvers[edit]

text: After the Mughal advances in late 1669, Ram Singh began diplomatic efforts. The proposal was for the Assamese to evacuate Guwahati and a return to the 1639 status quo (Treaty of Asurar Ali) in return for a Mughal payment of 300,000 rupees. The Ahoms did not respond favorably. Ram Singh next attempted to bribe and create divisions among the Ahom field commanders (Phukans). In the meantime, the Ahom king Chakradhwaj Singha died and was succeeded by his brother Udayaditya Singha. The long war had resulted in popular discontent in the Ahom kingdom.  Ram Singh again put forward his proposal on the 1639 status quo settlement and this time the Ahoms appeared receptive. The Ahom king, though displeased, left the decision to his commanders in Guwahati. In the meeting which included Lachit Borphukan, the only dissenter to the proposal was Atan Burhagohain, who displayed his statesmanship.

text: Atan Burhagohain argued that there was no guarantee that the Emperor at Delhi will abide by Ram Singh's assurance. Also, a settlement then would mean that the drain on the country's resources would have been in vain. Further, what was the guarantee that once the Mughals take Guwahati, they would not reach for Garhgaon or even Namrup.[17]

text: Atan Burhagohain was able to persuade the other commanders and the Ahoms rejected this proposal. The diplomatic efforts of Ram Singh failed once again.

text: Final battle at Saraighat[edit]

text: Meanwhile, Mughal reinforcements in the shape of war-vessels and imperial officers (Omraos) reached Ram Singh, along with the Mughal admiral, Munnawar Khan and the Mughal Viceroy Shaista Khan, sent the message that Ram Singh was sent to fight the Assamese, not make friends with them.[18] Ram Singh now made preparations for his final and direct assault on Guwahati and began moving along the northbank. Near Sualkuchi he was joined by ships with artillery and archers under five sardars. The Mughals had large boats, some carrying as many as sixteen cannons. The Mughal ambassador, Paditrai, had reported a breach in the embankment at Andharubali a few days earlier, and Ram Singh wanted to exploit this opening.[19]

text: The Ahom soldiers were demoralised after their losses at Allaboi. Their commander-in-chief, Lachit Borphukan and their admiral were both seriously ill, and the Nara Raja, the son of the Miri Sandikoi, was in command. An encounter both on land and water ensued near Ashwakranta. The Ahom land forces, under Laluk Borgohain Phukan, worsted the Mughals, but the Mughal boats compelled the Ahom boats to retreat to Barhila, north of Saraighat. The land forces, fearing an encirclement, too retreated.[20]  The battle reached a crucial phase, when the Mughals were beginning to get close to Andharubali. The Borphukan, as well as the Nara Raja sent messages to inspire the soldiers. It looked as if there was a break in command and some boats began falling back to Kajali and Samdhara. Lachit Barphukan was observing this from  his sickbed in the gatehouse of the Itakhuli fort.

text: At this crucial moment in the battle, when the Mughals were about to land at Andharubali, the Borphukan sent orders via katakis to all the land and naval forces to attack. He also ordered seven war-boats[21] for himself and had Nadai of Kharangi carry him to a boat. He shouted "The King has put all the people in my hands to fight the Bongal. Shall I go back to my wife and children?" and pushed a few men into the water. With the other six war-boats the Borphukan headed toward the naval battle.[22]

text: The entry of the Borphukan transformed the Ahom soldiers. His small flotilla soon swelled with Ahom warships from all sides that smashed into the Mughal warships at Amrajuli on the north bank, opposite Kamakhya hills. The triangle in the river, between Itakhuli, Kamakhya and Aswakranta was filled with men and boat. The Ahoms spanned the river over an improviso bridge of boats and resorted to a combined front and rear attack. The Mughal admiral Munnawar Khan, smoking a hookah was killed by a gunshot from the back, throwing the Mughals out of gear. They suffered the loss of three top-ranking amirs, and another 4000 dead. The day of this decisive battle is not known for certain, only that it happened in the middle of March 1671.

text: Epilogue[edit]

text: The Mughals were pursued to the Manas river, the Ahom kingdom's western boundary. The Borphukan instructed his men not to attack the retreating army, reminding them of Alaboi.[23]  Anticipating a counterattack, he set messengers at regular intervals, while Atan Burhagohain and other commanders stood ready for one. The Mughals in Darrang were also worsted, and Ram Singh left Kamrup on 7 April 1671 for Rangamati.[24]  Ram Singh waited in vain for another opportunity and finally had an audience with Aurangzeb on 25 June 1676.

text: Lachit Borphukan died at Kaliabor about a year later in April 1672, but not from the illness at Saraighat.[25]  And this was not the final battle between the Ahoms and the Mughals, nor did Guwahati remain with the Ahoms. Lachit Borphukan's own brother and successor Borphukan, Laluk Sola, deserted Guwahati for the Mughals in 1679. It remained with the Mughals until 1682, when the Ahoms under Gadadhar Singha recovered it and ended Mughal control in Kamrup for ever, though the Mughal administration of 80 years cast a long shadow.


document_title: Sing (2016 American film)

question_text: who plays miss crawley in the movie sing

text: Sing (2016 American film)

text: Plot[edit]

text: In a world of anthropomorphic animals, koala Buster Moon owns a theater, having been interested in show business since his father took him to his first music show as a child. Following financial problems brought up by the bank representative Judith, he tells his wealthy friend Eddie that he will host a singing competition with a prize of $1,000. But Buster's assistant, Miss Crawly, accidentally appends two extra zeroes, and the promotional fliers showing $100,000 are blown out of Buster's office into the city streets.

text: Animals from all around the city gather for auditions. Those selected include: housewife and mother of 25 piglets Rosita; street musician mouse Mike; mobster's son gorilla Johnny; punk-rock porcupine Ash; a trio of frogs; and a camel named Pete. Shy teenage elephant Meena fails her audition out of stage fright, while Ash's boyfriend Lance is dismissed from the contest. Rosita is paired with another contestant, an exuberant pig named Gunter, for a dancing routine. Although Buster discovers the flyers show a prize of $100,000, money he does not have, he remains optimistic. Buster convinces Eddie to arrange a visit with Eddie's grandmother, former opera singer and theater actress Nana Noodleman, to persuade her to sponsor the prize money. She is hesitant to contribute, but agrees to see a private screening of the show.

text: Encouraged by her grandfather, Meena tries to ask Buster for another chance, but becomes his stage hand instead. When the frogs quit, and Pete is injured, Meena is added as an act. The performers' individual problems begin to hinder rehearsals: Rosita flounders in her dance routine with Gunter, after having been distracted by her parenting duties that have fallen into disarray. After discovering Lance with a new girlfriend and evicting them from her apartment, Ash is devastated and can no longer sing her assigned song, Carly Rae Jepsen's "Call Me Maybe." Johnny is torn between having to help his father as the driver of a getaway car in a heist and making the practices. When he tries to do both, he does not show up for the planned pickup in time, and his father and his gang are arrested. Meena does not get any help in overcoming her stage fright, and Mike, certain that the prize money is as good as his, buys a fancy car to impress a female mouse, and then swindles a group of bears in a card game in a nightclub.

text: The day of the screening, the bears interrupt the show, demanding the money from Mike, who in turn, points to Buster. The bears open the chest containing the prize money, but it is nowhere near $100,000. The glass tank full of luminescent squids that Buster got to light up the theater breaks under all their weight, flooding the theater, which then comes crashing down. With the lot repossessed by Judith, Buster, who had been living in his theater's office desk, takes up residence at Eddie's place (his parents' pool house). Although the contestants (besides Mike, who saw Buster as a fraud) visit him and try to cheer him up, Buster is too despondent to listen to them. He tries to start over by opening a car wash, using the same bucket that his father had used to earn money for Buster's theater.

text: When Meena goes to the theater's rubble lot and sings Leonard Cohen's "Hallelujah," Buster hears her and is inspired to reinstate the show without the prize money. They perform on a makeshift stage on the lot in front of Rosita and Meena's family members. As Rosita and Gunter perform Taylor Swift's "Shake It Off," more animals are attracted to the scene as the show is broadcast on the news. Johnny's rendition of Elton John's "I'm Still Standing" impresses his father, who then escapes from prison to reconcile with him. Despite interruption by Judith, Ash sings her original rock song "Set It All Free." Mike returns to the show and sings Frank Sinatra's "My Way." Meena finally overcomes her fears and sings Stevie Wonder's "Don't You Worry 'bout a Thing," which literally brings down the house. The show becomes a success and impresses Nana, who was in the audience. Nana buys the lot and the theater is rebuilt and reopened.

text: Voice cast[edit]

text:
Matthew McConaughey as Buster Moon, an optimistic koala who plans to save his theater from closure by holding a singing competition.[3][5]
Reese Witherspoon as Rosita, a pig who gave up her teenage music dreams to become a devoted wife to Norman, and mother to their 25 piglets.[5]
Seth MacFarlane as Mike, a white mouse with a big Frank Sinatra-esque voice and an arrogant attitude.[5]
Scarlett Johansson as Ash, a teen porcupine and punk rocker who takes part in an alternative-rock music duo with her boyfriend Lance.[1][5]
John C. Reilly as Eddie, a sheep and Buster's friend who doubts the future of the theater.[5][6]
Tori Kelly as Meena, a teenage elephant with an exquisite voice and severe stage fright.[5]
Taron Egerton as Johnny, a teenage gorilla who wants to sing, though his father would rather have him follow his criminal footsteps.[5]
Jennifer Saunders as Nana Noodleman, a sheep and Eddie's grandmother who was a singer in her glory days.[7][8]
Jennifer Hudson[1] as Young Nana
Garth Jennings as Miss Crawly, an elderly iguana with a glass eye who is Buster's administrative assistant.[1]
Peter Serafinowicz as Big Daddy, a gorilla gang leader who wants his son Johnny to follow in his crime business.[1]
Nick Kroll as Gunter, a passionate dancing pig who is partnered with Rosita for the show.[9][7]
Beck Bennett as Lance, a porcupine and Ash's boyfriend.[1]
Jay Pharoah[7] as Meena's grandfather who pressures her to overcome her stage fright.
Nick Offerman[7] as Norman, a pig and Rosita's husband.
Leslie Jones as Meena's mother
Rhea Perlman as Judith,[1][10] a brown llama from the bank who warns Buster that his theater will be repossessed if he does not pay.
Laraine Newman as Meena's grandmother
Adam Buxton as Stan, a gorilla who is a member of Big Daddy's gang.
Brad Morris as a Baboon, whom Mike attacks for not donating more money to his street performances.
Bill Farmer as News Reporter Dog, who documents Buster's singing competition.
Oscar, Leo, Caspar, and Asa Jennings as Piglets.

text: Production[edit]

text: In January 2014, it was announced that Garth Jennings would write and direct an animated comedy film for Universal Pictures and Illumination Entertainment, about "courage, competition and carrying a tune,"[11] which was originally titled Lunch,[12] and then retitled as Sing.[5]

text: On January 14, 2015, Matthew McConaughey was cast in the film's lead voice role.[3] Chris Meledandri and Janet Healy produced the film.[3] On June 17, 2015, it was confirmed that McConaughey's character is named Buster and that John C. Reilly would voice Eddie, a sheep and Buster's best friend.[6] In November 2015, it was announced that Reese Witherspoon, Seth MacFarlane, Scarlett Johansson, Tori Kelly and Taron Egerton had joined the cast of the film.[5]

text: The film features 65 pop songs, the rights to which cost 15 percent of the film's $75 million budget.[13] The animation was created entirely in France by Illumination MacGuff.[14]

text: Soundtrack[edit]

text: A soundtrack album for the film was released on December 21, 2016.

text: Release[edit]

text: The almost complete[15] film was screened as a work in progress beginning September 11, 2016 at the Toronto International Film Festival.[16] Universal Studios released the film on December 21, 2016.[17]

text: Home media[edit]

text: Sing was released on Blu-ray, Blu-ray 3D, Ultra HD Blu-ray and DVD on March 21, 2017. It includes three short films: Gunter Babysits, Love at First Sight, and Eddie's Life Coach.[18]

text:
In Gunter Babysits, Gunter offers to watch over Rosita and Norman's piglets while they are away as he works to prove himself to be a good babysitter.
In Love at First Sight, Johnny sets Miss Crawly up with an online dating website where she manages to score a date with a lizard named Herman.
In Eddie's Life Coach, Eddie's mother sets Eddie up for a digital training seminar where he will be assigned to a dachshund named Garry "The Winner" Wishman.

text: Reception[edit]

text: Box office[edit]

text: Sing grossed $270.3 million in the U.S. and Canada and $362.1 million in other territories for a worldwide total of $632.4 million, against a production budget of $75 million.[2] Deadline.com calculated the net profit of the film to be $194.2 million, when factoring together all expenses and revenue for the film, making it the 7th most profitable release of 2016.[19]

text: In North America, the film opened alongside Passengers and Assassin's Creed, and was expected to gross around $70 million from 4,022 theaters over its first six days of release.[20] The film made $1.7 million during its Tuesday night previews.[21] It went on to gross $35.3 million in its opening weekend (a six-day total of $75.5 million), finishing second at the box office behind Rogue One: A Star Wars Story, which was in its second week.[22] Sing holds the record for being the highest-grossing film to never finish first at the North American box office, besting My Big Fat Greek Wedding ($241.4 million in 2002).[23]

text: Critical response[edit]

text: Sing received positive reviews from critics. On the aggregate site Rotten Tomatoes, the film has an approval rating of 73% based on 157 reviews; the average rating is 6.5/10. The site's critical consensus reads, "Sing delivers colorfully animated, cheerfully undemanding entertainment with a solid voice cast and a warm-hearted – albeit familiar – storyline that lives up to its title."[24] On Metacritic, the film has a weighted average score of 59 out of 100 based on 37 critics, indicating "mixed or average reviews."[25] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[26]

text: Brian Truitt of USA Today gave the film three-and-a-half out of four stars and wrote, "In a year full of talking-animal hits, Sing isn't quite as strong a number. It's a tale that might not be particularly thought-provoking but sure is toe-tapping."[27] In her review for the Los Angeles Times, Katie Walsh called Sing, "a cute movie with genuinely funny moments (keep an eye out for the koala car wash), and some great tunes to boot."[28] The Arizona Republic's Bill Goodykoontz was rather mixed about the movie in his review and overall said, "Sing is like an album with a good song here and there, but too much filler and not enough hits."[29] Reviewing the version of the film screened at the Toronto International Film Festival, Stefan Pape of the British website HeyUGuys gave the film a mixed review of 2/5, stating that "Garth Jennings's Sing effectively acknowledges early on that it's following a completely unoriginal formula, and yet carries on regardless."[30] While Peter Debruge of Variety, who also saw the film during the same festival, did not find the subplots to have any "profound life lessons," he overall praised Jennings' direction, the cast's voice performances and the film's silliness.[31]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)

AARP Annual Movies for Grownups Awards
February 6, 2017
Best Movie for Grownups who Refuse to Grow Up
Sing
Nominated
[32]

Annie Awards
February 4, 2017
Outstanding Achievement, Music in an Animated Feature Production
Joby Talbot
[33]

Golden Globe Awards
January 8, 2017
Best Animated Feature Film
Sing
[34]

Best Original Song
"Faith" – Ryan Tedder, Stevie Wonder and Francis Farewell Starlite

Hollywood Music in Media Awards
November 17, 2016
Best Song – Animated Film
[35][36]

Best Soundtrack Album
Sing: Original Motion Picture Soundtrack

Outstanding Music Supervision – Film
Jojo Villanueva
Won

Nickelodeon Kids' Choice Awards
March 11, 2017
Favorite Animated Movie
Sing
Nominated
[37]

Favorite Voice From an Animated Movie
Reese Witherspoon

Most Wanted Pet

Favorite Soundtrack
Sing

Saturn Awards
June 28, 2017
Best Animated Film
Nominated
[38]

tag: table

text: Sequel[edit]

text: Universal and Illumination have announced plans for a Sing 2, slated for December 25, 2020.[39]


document_title: Flag of Italy

question_text: what shade of green is in the italian flag

text: Flag of Italy

text: Napoleonic era[edit]

text: The tricolour was reportedly used for the first time on 13–14 November 1794 on a cockade worn by a group of students of the University of Bologna, led by Luigi Zamboni and Giovanni Battista De Rolandis, who attempted to plot a popular riot to topple the Catholic government of Bologna,[4][5] a city which was part of the Papal States at the time. The law students defined themselves as "patriots" and wore tricolour cockades to signal they were insipred by Jacobin revolutionary ideals, but modified them to distinguish themselves from the French. The chosen colours were white and red since those are the colours of the flag of Bologna, some scholars contend green was added only for the event to give it a more ideological effect; not all agree that the cockades used by the Bologna plotters actually had three colours, since a myth about that may have been created a year later.[6] On 18 May 1796 a cockade with those colours commemorating the Bologna riots was reportedly presented to Napoleon Bonaparte in Milan, who decided banners with same colours would be carried by the Milan Civic Guard, of the Lombard Legion and the National Guard.[7]

text: The first official tricolore italiano, or Italian tricolour, was adopted on 7 January 1797, when the XIVth Parliament of the Cispadane Republic, on the proposal of deputy Giuseppe Compagnoni of Lugo, decreed "to make universal the ... standard or flag of three colours, green, white, and red ..."[8] This was probably because the Legione Lombarda had carried banners of red, white (from the flag of Milan), and green (from the uniform of the civic guard), and the same colours were later adopted in the banners of the Legione Italiana, which was formed by soldiers coming from Emilia and Romagna.[9] The flag was a horizontal square with red uppermost and, at the heart of the white fess, an emblem composed of a garland of laurel decorated with a trophy of arms and four arrows, representing the four provinces that formed the Republic

text:
1797 flag of the Cispadane Republic

1798 flag of the Cisalpine Republic

1802 flag of the Italian Republic

1805 flag of the Kingdom of Italy

text: The Cispadane Republic and the Transpadane Republic, which had itself been using a vertical Italian tricolour from 1796, merged into the Cisalpine Republic and adopted the vertical square tricolour without badge in 1798. The flag was maintained until 1802, when it was renamed the Napoleonic Italian Republic, and a new flag was adopted, this time with a red field carrying a green square within a white lozenge.

text: In 1799, the independent Republic of Lucca came under French influence and adopted as its flag a horizontal tricolour with green uppermost; this lasted until 1801. In 1805 Napoleon installed his sister, Elisa Bonaparte Baciocchi, as Princess of Lucca and Piombino. This affair is commemorated in the opening of Leo Tolstoy's War and Peace.[10]

text: In the same year, after Napoleon had crowned himself first French Emperor, the Italian Republic was transformed into the first Napoleonic Kingdom of Italy, or Italico, under his direct rule. The flag of the Kingdom of Italy was that of the Republic in rectangular form, charged with the golden Napoleonic eagle. This remained in use until the abdication of Napoleon in 1814.

text: Kingdom of Italy[edit]

text:
Kingdom of Italy

Use
Civil flag and ensignProportion
2:3Adopted
1861 (Sardinia 1851)Design
A vertical tricolour of green, white, and red, defaced with the arms of Savoy

Variant flag of the Kingdom of ItalyUse
State flag, state and naval ensignProportion
2:3Adopted
1861 (Sardinia 1851)Design
A vertical tricolour of green, white, and red, defaced with the arms of Savoy and crown

Variant flag of the Kingdom of ItalyUse
War flagProportion
1:1Adopted
1861 (Sardinia 1848)[11]Design
A defaced Italian tricolour

text: Between 1848 and 1861, a sequence of events led to the independence and unification of Italy (except for Venetia, Rome, Trento and Trieste, known as Italia irredenta, which were united with the rest of Italy in 1866, 1870, and 1918 respectively); this period of Italian history is known as the Risorgimento, or resurgence. During this period, the tricolore became the symbol which united all the efforts of the Italian people towards freedom and independence.[12]

text: The Italian tricolour, defaced with the Savoyan coat of arms, was first adopted as war flag by the Kingdom of Sardinia–Piedmont army on 1848. In his Proclamation to the Lombard-Venetian people, Charles Albert said "... in order to show more clearly with exterior signs the commitment to Italian unification, We want that Our troops ... have the Savoy shield placed on the Italian tricolour flag."[13] As the arms, blazoned gules a cross argent, mixed with the white of the flag, it was fimbriated azure, blue being the dynastic colour, although this does not conform to the heraldic rule of tincture.[14] The rectangular civil and state variants were adopted in 1851.

text: In the same year, the Grand Duchy of Tuscany became constitutional and dropped the Austrian flag, with Austria–Lorraine great coat of arms, in favour of the defaced Italian tricolour with simplified arms. It is worthy of note, however, that the arms bear the red-white-red flag of Austria, the opponent of Italian unification. In 1859, the Granducato officially ceased to exist, being joined to the Duchies of Modena and Parma to form the United Provinces of Central Italy, which used the undefaced tricolour until it was annexed to the Kingdom of Sardinia the following year.

text: The flag of the Constitutional Kingdom of the Two Sicilies, a white field charged with the coats of arms of Castile, Leon, Aragon, Two Sicilies, and Granada, was modified by Ferdinand II through the addition of a red and green border. This flag lasted from 3 April 1848 until 19 May 1849. The Provisional Government of Sicily, which lasted from 12 January 1848 to 15 May 1849, adopted the Italian tricolour, defaced with the trinacria, or triskelion.

text:
1848 flag of the Grand Duchy of Tuscany, with the Habsburg-Lorraine coat of arms

1859 state flag of the Provisional Government of Tuscany; the civil flag was undifferenced from that of Sardinia.

1848–1849 flag of the Constitutional Kingdom of the Two Sicilies, with Bourbon coat of arms.

1848–1849 flag of the Provisional Government of Sicily.

text: In the same year, the Kingdom of Lombardy–Venetia revolted against the Austrian Empire in the Five Days of Milan, forming the Provisional Government of Lombardy on 22 March 1848 and Provisional Government of Venice, the so-called "Republic of San Marco", a day later. The flags that they adopted, marked the link to Italian independence and unification efforts; the former, the Italian tricolour undefaced, and the latter, charged with the winged lion of St. Mark, from the flag of the Most Serene Republic, on a white canton.[15] These lasted until 6 and 24 August 1849 respectively.

text: In 1849, the new Roman Republic adopted an Italian tricolour, sent from Venice, bearing the legend DIO E POPOLO in red capital letters. This lasted for four months, while the Papal States of the Church was in abeyance.[16]

text: In 1860, the flag of the Kingdom of the Two Sicilies was again modified to the defaced Italian tricolour with the House of Bourbon-Two Sicilies coat of arms.[17] Adopted on 21 June 1860, this lasted until 17 March 1861, when the Two Sicilies was incorporated into the Kingdom of Italy, after its defeat in the Expedition of the Thousand led by Giuseppe Garibaldi.

text: On 15 April 1861, the flag of the Kingdom of Sardinia was declared the flag of the newly formed Kingdom of Italy.[18] This Italian tricolour, with the armorial bearings of the former Royal House of Savoy was the first national flag and lasted in that form for 85 years until the birth of the Italian Republic in 1946.

text:
1848–49 flag of the Provisional Government of Venice

1849 state and civil flag of the Roman Republic

1849 war flag of the Roman Republic

1860–61 flag of the Kingdom of the Two Sicilies

text: Fascist regime[edit]

text: In 1926, the Fascist government attempted to have the Italian national flag redesigned by having the fasces, the symbol used by the Fascist movement, included in the flag.[19] However, this attempt by the Fascist government to change the Italian flag to incorporate the fasces was stopped by strong opposition to the proposal by Italian monarchists.[19] Afterwards, the Fascist government raised the national tricolour flag along with a Fascist black flag in public ceremonies.[20]

text:
Flag of the National Fascist Party (PNF). This black flag was used in the Fascist era in public ceremonies alongside the Italian national tricolour flag.[20]

Flag of the Head of Government and Duce of Fascism.

Flag of the Viceroy of Italian East Africa.

Flag of the Lieutenant General of Albania.

text: Italian Social Republic[edit]

text:
Italian Social Republic

Use
Civil flag and ensignProportion
2:3Adopted
1943Design
A vertical tricolour of green, white, and red.

Variant flag of the Italian Social RepublicUse
War flagProportion
2:3Adopted
1944[21]Design
A vertical tricolour of green, white, and red, charged with a silver hawk clutching horizontally placed fasci littori.

text: The civil and state flag of the short-lived Fascist state in northern Italy, the Italian Social Republic (1943–1945), or "Republic of Salò" as it was commonly known, is nearly identical to the flag of the modern Italian Republic. This was rarely seen, while the war flag, charged with a silver/black eagle clutching horizontally placed fascio littorio (literally, bundles of the lictors), was very common in propaganda.[21] Italian fascism derived its name from the fasces, which symbolised imperium, or power and authority, in ancient Rome. Roman legions had carried the aquila, or eagle, as signa militaria.

text: On 25 April 1945, known as festa della liberazione, the government of Benito Mussolini fell. The Italian Social Republic had existed for slightly more than one and a half years.

text: Italian Republic[edit]

text: The Italian tricolour was adopted in its current form on 1 January 1948, with the promulgation of the republican constitution and the end of the reign of the House of Savoy. Article 12 of the Italian Constitution, approved by the Constituent Assembly on the 22 December 1947, states:

text: The flag of the Republic is the Italian tricolour: green, white, and red, in three vertical bands of equal dimensions.[1]

text: The universally adopted ratio is 2:3, while the war flag is squared (1:1). Each comune also has a gonfalone bearing its coat of arms.

text: The Italian naval ensign comprises the national flag defaced with the arms of the Marina Militare; the Marina Mercantile (and private citizens at sea) use the civil ensign, differenced by the absence of the mural crown and the lion holding open the gospel, bearing the inscription PAX TIBI MARCE EVANGELISTA MEVS, instead of a sword.[23] The shield is quartered, symbolic of the four great thalassocracies of Italy, the repubbliche marinare of Venice (represented by the lion passant, top left), Genoa (top right), Amalfi (bottom left), and Pisa (represented by their respective crosses); the rostrata crown was proposed by Admiral Cavagnari in 1939 to acknowledge the Navy's origins in ancient Rome.[24]

text: In 2003, a state ensign was created specifically for non-military vessels engaged in non-commercial government service; this defaces the Italian tricolour with the national coat of arms.[25] Since 1914, the Italian Air Force have also used a roundel of concentric rings in the colours of the tricolor as aircraft marking; substituted, from 1923 to 1943, by encircled fasces. The Frecce Tricolori, officially known as the 313º Gruppo Addestramento Acrobatico, is its aerobatic demonstration team.

text: Presidential standard[edit]

text: The President of the Italian Republic has an official standard. The current version is based on the square flag of the Napoleonic Italian Republic, on a field of blue, charged with the coat of arms in gold.[26][27][28] The first version of the standard, adopted in 1965 and used until 1990 was very similar to the current version only without the red, white and green. The emblem was also much larger.[29] This version of the standard was replaced in 1990 by then President Francesco Cossiga. Cossiga's new version of the standard contained the same Royal Blue background but now with a squared Italian national flag in the centre and no emblem.[30] This version was short lived however as only two years later it was replaced by the 1965 standard, only with a smaller emblem.[31] This version lasted until 2000 from where it was replaced by the current version.

text: After the Republic was proclaimed, the national flag was provisionally adopted as distinguishing flag of the head of state in place of the royal standard.[32] On the initiative of the Ministry of Defence, a project was prepared in 1965 to adopt a distinct flag.[33] Opportunity suggested the most natural solution was the Italian tricolour defaced with the coat of arms; however, under conditions of poor visibility, this could easily be mistaken for the standard of the President of the United States of Mexico, which is also that country's national flag. The standard is kept in the custody of the Commander of the Reggimento Corazzieri of the Arma dei Carabinieri, along with the war flag (assigned to Regiment in 1878).[34]

text: The Italian Constitution does not make provision for a Vice-President. However, separate insignia for the President of the Senate, in exercise of duties as acting head of state under Article 86, was created in 1986.[35] This has a white square on the blue field, charged with the arms of the Republic in silver. Distinguishing insignia for former Presidents of the Republic was created in 2001;[36] a tricolour in the style of the Presidential standard, it is emblazoned with the Cypher of Honour of the President of the Republic.[37]

text: In 1927, Mussolini adopted a personal standard consisting of fasces on a Savoy blue field with a yellow border; this was abolished in 1943. Firstly in 2001, and then again from 2008, Silvio Berlusconi adopted a similar standard of the office of Prime Minister, this time the coat of arms proper on a darker blue field with double yellow border.

text:
Jack of the (former) Regia Marina[38]

Naval jack of the Italian Republic (recto)

Standard of a substitute President of the Republic

Standard of a President Emeritus of the Republic

text: In 1997, on its bicentenary, 7 January was declared Festa del Tricolore; it is intended as a celebration, though not a public holiday.[39]

text: Protocol[edit]

text: The law, implementing Article 12 of the Constitution and following of Italy's membership of the European Union, lays down the general provisions governing the use and display of the flag of the Italian Republic and the flag of the European Union (in its territory).[40]

text: There are no international conventions on flying the flag, but protocol adopted by a large number of countries have such similarities as to suggest lines of commonly accepted practice. In general two areas of exposure are identified: national and international events. In both cases it is generally followed practice that national flags displayed in a group should be of equal size and each hoisted on its own flagstaff, of equal height, or on separate ropes if fixed on yardarm. The flag is flown from sunrise to sunset, except in case of bad weather; exhibition at night is permitted provided it is adequately illuminated. The flag is raised and lowered vividly and with solemnity; it is always treated with dignity and should never be allowed to touch the ground or water.[41] Vertical hoist is transformationally identical to horizontal hoist (i.e. the flag is rotated 90 degrees).

text: When displayed alongside other flags, the national flag takes the position of honour; it is raised first and lowered last. Other national flags should be arranged in alphabetical order. Where two (or more than three) flags appear together, the national flag should be placed to the right (left of the observer); in a display of three flags in line, the national flag occupies the central position. The European flag is also flown from government buildings on a daily basis. In the presence of a foreign visitor belonging to a member state, this takes precedence over the Italian flag. As a sign of mourning, flags flown externally shall be lowered to half-mast; two black ribbons may be attached to those otherwise displayed.[42] Traditionally, the flag may be decorated with a golden fringe surrounding the perimeter.

text: Pantone matching system[edit]

text: In 2003, after 206 years of service, the authentic colours of the Italian tricolour were specified by the government,[43] but later amended after hot debate on the chosen shades.[44][45] As of  23 September 2006[update], the official Pantone textile colours defined by law[46][47] (and their rendered values in other colour spaces) are:[48]

text:
Description
Number
RGB
CMYK
HSV
Hex

Fern Green
17-6153 TC
000-140-069
100-000-100-045
149-100-057
#008C45

Bright White
11-0601 TC
244-245-240
000-000-000-000
120-000-095
#F4F5F0

Flame Scarlet
18-1662 TC
205-033-042
000-100-100-000
356-079-081
#CD212A

text: This approach has been criticised by the Centro Italiano Studi Vessillologici as a "fundamental error."[49] However, it applies only to flags produced on polyester fabric bunting. Other materials should produce the same chromatic results obtained on the sample kept in the State Ceremonial Department of the Presidency of the Council of Ministers, as well as in every Prefecture and Italian diplomatic mission abroad.[47]


document_title: Gangs of New York

question_text: what were the gangs in gangs of new york

text: Gangs of New York

text: Plot[edit]

text: In the slum neighborhood of Five Points, Manhattan in 1846, two gangs have engaged in a final battle (or "challenge") in Paradise Square over "who holds sway over the Five Points"; these two factions involved in this event are the nativist, Protestant "Natives" led by William "Bill the Butcher" Cutting, and the Irish Catholic group of immigrants, the "Dead Rabbits", led by "Priest" Vallon. At the end of this battle, Bill kills Vallon and declares the Dead Rabbits outlawed. Having witnessed this, Vallon's young son hides the knife that killed his father and is taken to an orphanage on Blackwell's Island.

text: Sixteen years later, Vallon's son, using the alias of Amsterdam, returns to the Five Points seeking revenge and retrieves the knife. An old acquaintance, Johnny Sirocco, familiarizes him with the local clans of gangs and thieves, all of whom pay tribute to Bill, who controls the neighborhood. Amsterdam is finally introduced to Bill, but keeps his past a secret, seeking to be recruited. He learns that many of his father's former loyalists are now in Bill's employ. Each year, Bill celebrates the anniversary of his victory over the Dead Rabbits; Amsterdam plans to murder him secretly during this celebration.

text: Amsterdam becomes attracted to pickpocket and grifter Jenny Everdeane, with whom Johnny is infatuated. Amsterdam gains Bill's confidence and Bill becomes his mentor, involving him in the dealings of corrupt Tammany Hall politician William M. Tweed. Amsterdam saves Bill from an assassination attempt, and is tormented by the thought that he may have done so out of honest devotion.

text: On the evening of the anniversary, Johnny, in a fit of jealousy over Jenny's affections for Amsterdam, reveals Amsterdam's true identity and intentions to Bill. Bill baits Amsterdam with a knife throwing act involving Jenny. As Bill toasts Priest Vallon, Amsterdam throws his knife, but Bill deflects it and wounds Amsterdam with a counter throw. Bill proclaims that rather than dying, Amsterdam shall live in shame, and burns his cheek with a hot blade. Going into hiding, Jenny nurses Amsterdam back to health and implores him to escape with her to San Francisco.

text: Amsterdam, however, returns to the Five Points seeking vengeance, and announces his return by hanging a dead rabbit in Paradise Square. Bill sends corrupt policeman Mulraney to investigate, but Amsterdam kills him and hangs his body in the square. In retaliation, Bill has Johnny severely beaten and run through with a pike, leaving it to Amsterdam to end his suffering. The incident garners newspaper coverage, and Tweed presents Amsterdam with a plan to defeat Bill's influence: Tweed will back the candidacy of Monk McGinn for sheriff. Monk wins in a landslide (the election had been rigged by the Dead Rabbits), and a humiliated Bill murders him. McGinn's death prompts an angry Amsterdam to challenge Bill to a gang battle in Paradise Square for order, in which Bill accepts.

text: Citywide draft riots break out just as the gangs are preparing to fight, and Union Army soldiers are deployed to control the rioters. As the rival gangs face off, cannon fire from naval ships is fired directly into Paradise Square, interrupting their battle shortly before it begins. Between the cannons, soldiers, and rioters, many of the gang members are killed. Bill and Amsterdam face off against one another until Bill is severely wounded by a piece of shrapnel. He is finally killed by Amsterdam using his father's knife. Afterward, Amsterdam and Jenny leave New York together to start a new life in San Francisco. Before they leave, Amsterdam buries Bill in a cemetery in Brooklyn next to his father. As Amsterdam and Jenny leave the cemetery, the final scene of the film shows the skyline changing in a time-lapse over the next hundred years as modern Manhattan is built, from the Brooklyn Bridge to the World Trade Center, and the cemetery becomes overgrown and forgotten.

text: Cast[edit]

text:
Leonardo DiCaprio as Amsterdam Vallon
Daniel Day-Lewis as William "Bill the Butcher" Cutting
Cameron Diaz as Jenny Everdeane
Jim Broadbent as William "Boss" Tweed
John C. Reilly as Happy Jack Mulraney
Henry Thomas as Johnny Sirocco
Liam Neeson as "Priest" Vallon
Brendan Gleeson as Walter "Monk" McGinn
Gary Lewis as McGloin
Stephen Graham as Shang
Eddie Marsan as Killoran
Alec McCowen as Reverend Raleigh
David Hemmings as John F. Schermerhorn
Lawrence Gilliard Jr. as Jimmy Spoils
Cara Seymour as Hell-Cat Maggie
Roger Ashton-Griffiths as P. T. Barnum
Barbara Bouchet as Mrs. Schermerhorn
Michael Byrne as Horace Greeley
John Sessions as Harry Watkins
Richard Graham as Harvey-Card Player
Giovanni Lombardo Radice as Mr. Legree

text: Production[edit]

text:
The country was up for grabs, and New York was a powder keg. This was the America not the West with its wide open spaces, but of claustrophobia, where everyone was crushed together. On one hand, you had the first great wave of immigration, the Irish, who were Catholic, spoke Gaelic, and owed allegiance to the Vatican. On the other hand, there were the Nativists, who felt that they were the ones who had fought and bled, and died for the nation. They looked at the Irish coming off the boats and said, "What are you doing here?" It was chaos, tribal chaos. Gradually, there was a street by street, block by block, working out of democracy as people learned somehow to live together. If democracy didn't happen in New York, it wasn't going to happen anywhere.

— Martin Scorsese on how he saw the history of New York City as the battleground of the modern American democracy[3]

text: Filmmaker Martin Scorsese had grown up in Little Italy in the borough of Manhattan in New York City during the 1950s. At the time, he had noticed there were parts of his neighborhood that were much older than the rest, including tombstones from the 1810s in Old St. Patrick's Cathedral, cobblestone streets and small basements located under more recent large buildings; this sparked Scorsese's curiosity about the history of the area: "I gradually realized that the Italian-Americans weren't the first ones there, that other people had been there before us. As I began to understand this, it fascinated me. I kept wondering, how did New York look? What were the people like? How did they walk, eat, work, dress?"[3]

text: In 1970, Scorsese came across Herbert Asbury's The Gangs of New York: An Informal History of the Underworld (1927) about the city's nineteenth century criminal underworld and found it to be a revelation. In the portraits of the city's criminals, Scorsese saw the potential for an American epic about the battle for the modern American democracy.[3] At the time, Scorsese was a young director without money or clout; by the end of the decade, with the success of crime films such as Mean Streets (1973), about his old neighborhood, and Taxi Driver (1976), he was a rising star. In 1979, he acquired screen rights to Asbury's book; however, it took twenty years to get the production moving forward. Difficulties arose with reproducing the monumental city scape of nineteenth century New York with the style and detail Scorsese wanted; almost nothing in New York City looked as it did in that time, and filming elsewhere was not an option. Eventually, in 1999, Scorsese was able to find a partnership with Harvey Weinstein, noted producer and co-chairman of Miramax Films.[3]

text: In order to create the sets that Scorsese envisioned, the production was filmed at the large Cinecittà Studio in Rome, Italy. Production designer Dante Ferretti recreated over a mile of mid-nineteenth century New York buildings, consisting of a five-block area of Lower Manhattan, including the Five Points slum, a section of the East River waterfront including two full-sized sailing ships, a thirty-building stretch of lower Broadway, a patrician mansion, and replicas of Tammany Hall, a church, a saloon, a Chinese theater, and a gambling casino.[3]  For the Five Points, Ferretti recreated George Catlin's painting of the area.[3]

text: Particular attention was also paid to the speech of characters, as loyalties were often revealed by their accents. The film's voice coach, Tim Monich, resisted using a generic Irish brogue and instead focused on distinctive dialects of Ireland and Great Britain. As DiCaprio's character was born in Ireland but raised in the United States, his accent was designed to be a blend of accents typical of the half-Americanized. To develop the unique, lost accents of the Yankee "Nativists" such as Daniel Day-Lewis's character, Monich studied old poems, ballads, newspaper articles (which sometimes imitated spoken dialect as a form of humor) and the Rogue's Lexicon, a book of underworld idioms compiled by New York's police commissioner, so that his men would be able to tell what criminals were talking about. An important piece was an 1892 wax cylinder recording of Walt Whitman reciting four lines of a poem in which he pronounced the word "world" as "woild", and the "a" of "an" nasal and flat, like "ayan". Monich concluded that native nineteenth century New Yorkers probably sounded something like the proverbial Brooklyn cabbie of the mid-twentieth.[3]

text: Filming began in New York and Rome in August 30, 2000 and continued through April 14, 2001. Due to the strong personalities and clashing visions of director and producer,[clarification needed] the three year production became a story in and of itself.[3][4][5][6] Scorsese strongly defended his artistic vision on issues of taste and length while Weinstein fought for a streamlined, more commercial version. During the delays, noted actors such as Robert De Niro and Willem Dafoe had to leave the production due to conflicts with their other productions. Costs overshot the original budget by 25 percent, bringing the total cost over $100 million.[4] The increased budget made the film vital to Miramax Films' short term success.[5][7]

text: After post-production was nearly completed in 2001, the film was delayed for over a year. The official justification was after the September 11, 2001 attacks, certain elements of the picture may have made audiences uncomfortable; the film's closing shot is a view of modern-day New York City, complete with the World Trade Center's towers, despite their having been destroyed by the attacks over a year before the film's release.[8] However this explanation was refuted in Scorsese's own contemporary statements, where he noted that the production was still filming pick-ups even into October 2002.[5][9] The filmmakers had also considered having the towers removed out of the shot to acknowledge their disappearance, or remove the entire sequence altogether. It was ultimately decided to keep the towers unaltered.[10]

text: Weinstein kept demanding cuts to the film's length, and some of those cuts were eventually made. In December 2001, Jeffrey Wells[who?] reviewed a purported workprint of the film as it existed in the fall of 2001. Wells reported the work print lacked narration, was about 20 minutes longer, and although it was "different than the [theatrical] version ... scene after scene after scene play[s] exactly the same in both." Despite the similarities, Wells found the work print to be richer and more satisfying than the theatrical version. While Scorsese has stated the theatrical version is his final cut, he reportedly "passed along [the] three-hour-plus [work print] version of Gangs on tape [to friends] and confided, 'Putting aside my contractual obligation to deliver a shorter, two-hour-and-forty-minute version to Miramax, this is the version I'm happiest with,' or words to that effect."[8]

text: In an interview with Roger Ebert, Scorsese clarified the real issues in the cutting of the film. Ebert notes,

text: His discussions with Weinstein, he said, were always about finding the length where the picture worked. When that got to the press, it was translated into fights. The movie is currently 168 minutes long, he said, and that is the right length, and that's why there won't be any director's cut — because this is the director's cut.[11]

text: Soundtrack[edit]

text: Robbie Robertson supervised the soundtrack's collection of eclectic pop, folk, and neo-classical tracks.

text: Historical accuracy[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)

text: Scorsese received both praise and criticism for historical depictions in the film. In a PBS interview for the History News Network, George Washington University professor Tyler Anbinder discussed the historical aspects of the film.[12][13]

text: Asbury's book described the Bowery Boys, Plug Uglies, True Blue Americans, Shirt Tails, and Dead Rabbits, who were named after their battle standard, a dead rabbit on a pike.[3] The book also described William Poole, the inspiration for William "Bill the Butcher" Cutting, a member of the Bowery Boys, a bare-knuckle boxer, and a leader of the Know Nothing political movement. Poole did not come from the Five Points and was assassinated nearly a decade before the Draft Riots. Both the fictional Bill and the real one had butcher shops, but Poole is not known to have killed anyone.[14][15] The book also described other famous gangsters from the era such as Red Rocks Farrell, Slobbery Jim and Hell-Cat Maggie, who filed her front teeth to points and wore artificial brass fingernails.[3]

text: Anbinder said that Scorsese's recreation of the visual environment of mid-19th century New York City and the Five Points "couldn't have been much better".[12] All sets were built completely on the exterior stages of Cinecittà Studios in Rome.[16] By 1860, New York City had 200,000 mostly Catholic Irish immigrants[17] in a population of 800,000.[18]

text: According to Paul S. Boyer, "The period from the 1830s to the 1850s was a time of almost continuous disorder and turbulence among the urban poor. The decade from 1834–1844 saw more than 200 major gang wars in New York City alone, and in other cities the pattern was similar."[19]

text: As early as 1839, Mayor Philip Hone said: "This city is infested by gangs of hardened wretches" who "patrol the streets making night hideous and insulting all who are not strong enough to defend themselves."[20] The large gang fight depicted in the film as occurring in 1846 is fictional, though there was one between the Bowery Boys and Dead Rabbits in the Five Points on July 4, 1857, which is not mentioned in the film.[21] Reviewer Vincent DiGirolamo concludes that "'Gangs of New York' becomes a historical epic with no change over time. The effect is to freeze ethno-cultural rivalries over the course of three decades and portray them as irrational ancestral hatreds unaltered by demographic shifts, economic cycles and political realignments."[22]

text: In the film, the Draft Riots are depicted mostly as acts of destruction but there was considerable violence during that week in July 1863, which resulted in more than one hundred deaths, mostly freed African-Americans. They were especially targeted by the Irish, in part because of fears of job competition that more freed slaves would cause in the city.[23] The film references the infamous Tweed Courthouse, as "Boss" Tweed refers to plans for the structure as being "modest" and "economical".[citation needed]

text: In the film, Chinese Americans were common enough in the city to have their own community and public venues. Significant Chinese migration to New York City did not begin until 1869 (although Chinese people migrated to America as early as the 1840s), the time when the transcontinental railroad was completed. The Chinese theater on Pell St. was not finished until the 1890s.[24] The Old Brewery, the overcrowded tenement shown in the movie in both 1846 and 1862–63, was actually demolished in 1852.[25]

text: Release[edit]

text: The original target release date was December 21, 2001, in time for the 2001 Academy Awards but the production overshot that goal as Scorsese was still filming.[5][9]  A twenty-minute clip, billed as an "extended preview", debuted at the 2002 Cannes Film Festival and was shown at a star-studded event at the Palais des Festivals et des Congrès with Scorsese, DiCaprio, Diaz and Weinstein in attendance.[9]

text: Harvey Weinstein then wanted the film to open on December 25, 2002, but a potential conflict with another film starring Leonardo DiCaprio, Catch Me If You Can produced by DreamWorks, caused him to move the opening day to an earlier position. After negotiations between several parties, including the interests of DiCaprio, Weinstein and DreamWorks' Jeffrey Katzenberg, the decision was made on economic grounds: DiCaprio did not want to face a conflict of promoting two movies opening against each other; Katzenberg was able to convince Weinstein that the violence and adult material in Gangs of New York would not necessarily attract families on Christmas Day. Of main concern to all involved was attempting to maximize the film's opening day, an important part of film industry economics.[5]

text: After three years in production, the film was released on December 20, 2002; a year after its original planned release date.[9] While the film has been released on DVD and Blu-ray, there are no plans to revisit the theatrical cut or prepare a "director's cut" for home video release. "Marty doesn't believe in that," editor Thelma Schoonmaker stated. "He believes in showing only the finished film."[8]

text: Reception[edit]

text: Box office[edit]

text: The film made $77,812,000 in Canada and the United States. It also took $23,763,699 in Japan and $16,358,580 in the United Kingdom. Worldwide the film grossed a total of $193,772,504.[26]

text: Critical reception[edit]

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 75% based on 206 reviews, with an average rating of 7.1/10. The website's critical consensus reads, "Though flawed, the sprawling, messy Gangs of New York is redeemed by impressive production design and Day-Lewis's electrifying performance."[27] Another review aggregator, Metacritic, gave the film a score of 72 out of 100, based on 39 critics, indicating "generally favorable reviews".[28]

text: Roger Ebert praised the film but believed it fell short of Scorsese's best work, while his At the Movies co-star Richard Roeper called it a "masterpiece" and declared it a leading contender for Best Picture.[29] Paul Clinton of CNN called the film "a grand American epic".[30] In Variety, Todd McCarthy wrote that the film "falls somewhat short of great film status, but is still a richly impressive and densely realized work that bracingly opens the eye and mind to untaught aspects of American history." McCarthy singled out the meticulous attention to historical detail and production design for particular praise.[31]

text: Some critics were disappointed with the film, complaining that it fell well short of the hype surrounding it, that it tried to tackle too many themes without saying anything unique about them, and that the overall story was weak.[32]

text: Awards[edit]

text:
Award

Category

Recipient

Result

Academy Awards

Best Picture

Alberto Grimaldi and Harvey Weinstein

Nominated

Best Director

Martin Scorsese

Nominated

Best Actor

Daniel Day-Lewis

Nominated

Best Original Screenplay

Jay Cocks, Steven Zaillian, Kenneth Lonergan

Nominated

Best Cinematography

Michael Ballhaus

Nominated

Best Production Design

Dante Ferretti and Francesca Lo Schiavo

Nominated

Best Costume Design

Sandy Powell

Nominated

Best Film Editing

Thelma Schoonmaker

Nominated

Best Sound Mixing

Tom Fleischman, Eugene Gearty, Ivan Sharrock

Nominated

Best Original Song

Bono, The Edge, Adam Clayton and Larry MullenFor the song "The Hands That Built America"

Nominated

British Academy Film Awards[33]

Best Film

Alberto Grimaldi and Harvey Weinstein

Nominated

Best Direction

Martin Scorsese

Nominated

Best Actor in a Leading Role

Daniel Day-Lewis

Won

Best Original Screenplay

Jay Cocks, Steven Zaillian, Kenneth Lonergan

Nominated

Best Cinematography

Michael Ballhaus

Nominated

Best Film Music

Howard Shore

Nominated

Best Editing

Thelma Schoonmaker

Nominated

Best Sound

Tom Fleischman, Ivan Sharrock, Eugene Gearty, and Philip Stockton

Nominated

Best Production Design

Dante Ferretti

Nominated

Best Costume Design

Sandy Powell

Nominated

Best Makeup

Manlio Rocchetti and Aldo Signoretti

Nominated

Best Special Visual Effects

R. Bruce Steinheimer, Michael Owens, Ed Hirsh, and Jon Alexander

Nominated

Chicago Film Critics Association[34]

Best Director

Martin Scorsese

Nominated

Best Actor

Daniel Day-Lewis

Won

Best Cinematography

Michael Ballhaus

Nominated

Critics' Choice Movie Awards[35]

Best Picture

Nominated

Best Director

Martin Scorsese

Nominated

Best Actor

Daniel Day-Lewis

Won

Directors Guild of America

Best Director

Martin Scorsese

Nominated

Empire Awards

Best Actor

Daniel Day-Lewis

Nominated

Scene of the Year

The flag speech

Nominated

Florida Film Critics Circle Awards

Best Actor

Daniel Day-Lewis

Won

Best Director

Martin Scorsese

Won

Golden Globe Awards[36]

Best Motion Picture – Drama

Nominated

Best Director

Martin Scorsese

Won

Best Actor– Motion Picture Drama

Daniel Day-Lewis

Nominated

Best Supporting Actress – Motion Picture

Cameron Diaz

Nominated

Best Original Song

Bono, The Edge, Adam Clayton and Larry MullenFor the song "The Hands That Built America"

Won

Kansas City Film Critics Circle Awards

Best Actor

Daniel Day-Lewis

Won

Las Vegas Film Critics Society Awards[37]

Best Actor

Daniel Day-Lewis

Won

Best Original Song

Bono, The Edge, Adam Clayton and Larry MullenFor the song "The Hands That Built America"

Won

Los Angeles Film Critics Association

Best Actor

Daniel Day-Lewis

Won

Best Production Design

Dante Ferretti

Won

New York Film Critics Circle[38]

Best Actor

Daniel Day-Lewis

Won

Online Film Critics Society Awards[39]

Top 10 films

5th place

Best Director

Martin Scorsese

Nominated

Best Actor

Daniel Day-Lewis

Won

Best Cinematography

Michael Ballhaus

Nominated

Best Ensemble

Nominated

Best Art Direction

Dante Ferretti

Nominated

Best Costume Design

Sandy Powell

Nominated

Best Sound

Tom Fleischman, Eugene Gearty, Ivan Sharrock

Nominated

Phoenix Film Critics Society Awards

Best Actor

Daniel Day-Lewis

Nominated

Best Art Direction

Dante Ferretti

Nominated

Best Costume Design

Sandy Powell

Nominated

Best Makeup

Manlio Rocchetti and Aldo Signoretti

Nominated

San Diego Film Critics Society Awards

Best Actor

Daniel Day-Lewis

Won

Satellite Awards

Best Actor - Drama

Daniel Day-Lewis

Won

Best Art Direction

Dante Ferretti

Won

Best Costume Design

Sandy Powell

Nominated

Best Cinematography

Michael Ballhaus

Nominated

Best Editing

Thelma Schoonmaker

Won

Best Sound

Tom Fleischman, Eugene Gearty, Ivan Sharrock

Nominated

Best Visual Effects

Nominated

Screen Actors Guild Award[40]

Best Actor

Daniel Day-Lewis

Won

Southeastern Film Critics Association Awards[41]

Best Director

Martin Scorsese

Won

Best Actor

Daniel Day-Lewis

Won

Vancouver Film Critics Circle

Best Film

Nominated

Best Director

Martin Scorsese

Nominated

Best Actor

Daniel Day-Lewis

Won

Visual Effects Society Awards

Best Supporting Visual Effects

Michael Owens, Camille Geier, Edward Hirsh and Jon Alexander

Nominated

Best Matte Painting

Brett Northcutt, Ronn Brown, Mathieu Raynault, Evan Pontoriero

Nominated

Writers Guild of America

Best Original Screenplay

Jay Cocks, Steven Zaillian, Kenneth Lonergan

Nominated