document_title: OSI model

question_text: which layer of osi model does data compression

text: OSI model

text: History[edit]

text: In the late 1970s, one project was administered by the International Organization for Standardization (ISO), while another was undertaken by the International Telegraph and Telephone Consultative Committee (CCITT, from French: Comité Consultatif International Téléphonique et Télégraphique). These two international standards bodies each developed a document that defined similar networking models.

text: In 1983, these two documents were merged to form a standard called The Basic Reference Model for Open Systems Interconnection. The standard is usually referred to as the Open Systems Interconnection Reference Model, the OSI Reference Model, or simply the OSI model. It was published in 1984 by both the ISO, as standard ISO 7498, and the renamed CCITT (now called the Telecommunications Standardization Sector of the International Telecommunication Union or ITU-T) as standard X.200.

text: OSI had two major components, an abstract model of networking, called the Basic Reference Model or seven-layer model, and a set of specific protocols.

text: The concept of a seven-layer model was provided by the work of Charles Bachman at Honeywell Information Services. Various aspects of OSI design evolved from experiences with the ARPANET, NPLNET, EIN, CYCLADES network and the work in IFIP WG6.1. The new design was documented in ISO 7498 and its various addenda. In this model, a networking system was divided into layers. Within each layer, one or more entities implement its functionality. Each entity interacted directly only with the layer immediately beneath it, and provided facilities for use by the layer above it.

text: Protocols enable an entity in one host to interact with a corresponding entity at the same layer in another host. Service definitions abstractly described the functionality provided to an (N)-layer by an (N-1) layer, where N was one of the seven layers of protocols operating in the local host.

text: The OSI standards documents are available from the ITU-T as the X.200-series of recommendations.[1] Some of the protocol specifications were also available as part of the ITU-T X series. The equivalent ISO and ISO/IEC standards for the OSI model were available from ISO. Not all are free of charge.[2]

text: Description of OSI layers[edit]

text: The recommendation X.200 describes seven layers, labeled 1 to 7. Layer 1 is the lowest layer in this model.

text:
OSI Model

Layer
Protocol data unit (PDU)
Function[3]

Host
layers
7. Application
Data
High-level APIs, including resource sharing, remote file access

6. Presentation
Translation of data between a networking service and an application; including character encoding, data compression and encryption/decryption

5. Session
Managing communication sessions, i.e. continuous exchange of information in the form of multiple back-and-forth transmissions between two nodes

4. Transport
Segment (TCP) / Datagram (UDP)
Reliable transmission of data segments between points on a network, including segmentation, acknowledgement and multiplexing

Media
layers
3. Network
Packet
Structuring and managing a multi-node network, including addressing, routing and traffic control

2. Data link
Frame
Reliable transmission of data frames between two nodes connected by a physical layer

1. Physical
Bit
Transmission and reception of raw bit streams over a physical medium

text: At each level N, two entities at the communicating devices (layer N peers) exchange protocol data units (PDUs) by means of a layer N protocol. Each PDU contains a payload, called the service data unit (SDU), along with protocol-related headers or footers.

text: Data processing by two communicating OSI-compatible devices is done as such:

text:
The data to be transmitted is composed at the topmost layer of the transmitting device (layer N) into a protocol data unit (PDU).
The PDU is passed to layer N-1, where it is known as the service data unit (SDU).
At layer N-1 the SDU is concatenated with a header, a footer, or both, producing a layer N-1 PDU. It is then passed to layer N-2.
The process continues until reaching the lowermost level, from which the data is transmitted to the receiving device.
At the receiving device the data is passed from the lowest to the highest layer as a series of SDUs while being successively stripped from each layer's header or footer, until reaching the topmost layer, where the last of the data is consumed.

text: Some orthogonal aspects, such as management and security, involve all of the layers (See ITU-T X.800 Recommendation[4]). These services are aimed at improving the CIA triad - confidentiality, integrity, and availability - of the transmitted data. In practice, the availability of a communication service is determined by the interaction between network design and network management protocols. Appropriate choices for both of these are needed to protect against denial of service.[citation needed]

text: Layer 1: Physical Layer[edit]

text: This section may need to be rewritten entirely to comply with Wikipedia's quality standards. You can help. The discussion page may contain suggestions. (August 2017)

text: The physical layer defines the electrical and physical specifications of the data connection. It defines the relationship between a device and a physical transmission medium (for example, an electrical cable, an optical fiber cable, or a radio frequency link). This includes the layout of pins, voltages, line impedance, cable specifications, signal timing and similar characteristics for connected devices and frequency (5 GHz or 2.4 GHz etc.) for wireless devices. It is responsible for transmission and reception of unstructured raw data in a physical medium. Bit rate control is done at the physical layer. It may define transmission mode as simplex, half duplex, and full duplex. It defines the network topology as bus, mesh, or ring being some of the most common.

text: The physical layer is the layer of low-level networking equipment, such as some hubs, cabling, and repeaters. The physical layer is never concerned with protocols or other such higher-layer items. Examples of hardware in this layer are network adapters, repeaters, network hubs, modems, and fiber media converters.

text: Layer 2: Data Link Layer[edit]

text: The data link layer provides node-to-node data transfer—a link between two directly connected nodes. It detects and possibly corrects errors that may occur in the physical layer. It defines the protocol to establish and terminate a connection between two physically connected devices. It also defines the protocol for flow control between them.

text: IEEE 802 divides the data link layer into two sublayers:[5]

text:
Medium access control (MAC) layer – responsible for controlling how devices in a network gain access to a medium and permission to transmit data.
Logical link control (LLC) layer – responsible for identifying and encapsulating network layer protocols, and controls error checking and frame synchronization.

text: The MAC and LLC layers of IEEE 802 networks such as 802.3 Ethernet, 802.11 Wi-Fi, and 802.15.4 ZigBee operate at the data link layer.

text: The Point-to-Point Protocol (PPP) is a data link layer protocol that can operate over several different physical layers, such as synchronous and asynchronous serial lines.

text: The ITU-T G.hn standard, which provides high-speed local area networking over existing wires (power lines, phone lines and coaxial cables), includes a complete data link layer that provides both error correction and flow control by means of a selective-repeat sliding-window protocol.

text: Layer 3: Network Layer[edit]

text: The network layer provides the functional and procedural means of transferring variable length data sequences (called datagrams) from one node to another connected in "different networks". A network is a medium to which many nodes can be connected, on which every node has an address and which permits nodes connected to it to transfer messages to other nodes connected to it by merely providing the content of a message and the address of the destination node and letting the network find the way to deliver the message to the destination node, possibly routing it through intermediate nodes. If the message is too large to be transmitted from one node to another on the data link layer between those nodes, the network may implement message delivery by splitting the message into several fragments at one node, sending the fragments independently, and reassembling the fragments at another node. It may, but does not need to, report delivery errors.

text: Message delivery at the network layer is not necessarily guaranteed to be reliable; a network layer protocol may provide reliable message delivery, but it need not do so.

text: A number of layer-management protocols, a function defined in the management annex, ISO 7498/4, belong to the network layer. These include routing protocols, multicast group management, network-layer information and error, and network-layer address assignment. It is the function of the payload that makes these belong to the network layer, not the protocol that carries them.[6]

text: Layer 4: Transport Layer[edit]

text: The transport layer provides the functional and procedural means of transferring variable-length data sequences from a source to a destination host via one or more networks, while maintaining the quality of service functions.

text: An example of a transport-layer protocol in the standard Internet stack is Transmission Control Protocol (TCP), usually built on top of the Internet Protocol (IP).

text: The transport layer controls the reliability of a given link through flow control, segmentation/desegmentation, and error control. Some protocols are state- and connection-oriented. This means that the transport layer can keep track of the segments and re-transmit those that fail. The transport layer also provides the acknowledgement of the successful data transmission and sends the next data if no errors occurred. The transport layer creates packets out of the message received from the application layer. Packetizing is a process of dividing the long message into smaller messages.

text: OSI defines five classes of connection-mode transport protocols ranging from class 0 (which is also known as TP0 and provides the fewest features) to class 4 (TP4, designed for less reliable networks, similar to the Internet). Class 0 contains no error recovery, and was designed for use on network layers that provide error-free connections. Class 4 is closest to TCP, although TCP contains functions, such as the graceful close, which OSI assigns to the session layer. Also, all OSI TP connection-mode protocol classes provide expedited data and preservation of record boundaries. Detailed characteristics of TP0-4 classes are shown in the following table:[7]

text:
Feature name
TP0
TP1
TP2
TP3
TP4

Connection-oriented network
Yes
Yes
Yes
Yes
Yes

Connectionless network
No
No
No
No
Yes

Concatenation and separation
No
Yes
Yes
Yes
Yes

Segmentation and reassembly
Yes
Yes
Yes
Yes
Yes

Error recovery
No
Yes
Yes
Yes
Yes

Reinitiate connectiona
No
Yes
No
Yes
No

Multiplexing / demultiplexing over single virtual circuit
No
No
Yes
Yes
Yes

Explicit flow control
No
No
Yes
Yes
Yes

Retransmission on timeout
No
No
No
No
Yes

Reliable transport service
No
Yes
No
Yes
Yes

a If an excessive number of PDUs are unacknowledged.

text: An easy way to visualize the transport layer is to compare it with a post office, which deals with the dispatch and classification of mail and parcels sent. Do remember, however, that a post office manages the outer envelope of mail. Higher layers may have the equivalent of double envelopes, such as cryptographic presentation services that can be read by the addressee only. Roughly speaking, tunneling protocols operate at the transport layer, such as carrying non-IP protocols such as IBM's SNA or Novell's IPX over an IP network, or end-to-end encryption with IPsec. While Generic Routing Encapsulation (GRE) might seem to be a network-layer protocol, if the encapsulation of the payload takes place only at endpoint, GRE becomes closer to a transport protocol that uses IP headers but contains complete frames or packets to deliver to an endpoint. L2TP carries PPP frames inside transport packet.

text: Although not developed under the OSI Reference Model and not strictly conforming to the OSI definition of the transport layer, the Transmission Control Protocol (TCP) and the User Datagram Protocol (UDP) of the Internet Protocol Suite are commonly categorized as layer-4 protocols within OSI.

text: Layer 5: Session Layer[edit]

text: The session layer controls the dialogues (connections) between computers. It establishes, manages and terminates the connections between the local and remote application. It provides for full-duplex, half-duplex, or simplex operation, and establishes checkpointing, adjournment, termination, and restart procedures. The OSI model made this layer responsible for graceful close of sessions, which is a property of the Transmission Control Protocol, and also for session checkpointing and recovery, which is not usually used in the Internet Protocol Suite. The session layer is commonly implemented explicitly in application environments that use remote procedure calls.

text: Layer 6: Presentation Layer[edit]

text: The presentation layer establishes context between application-layer entities, in which the application-layer entities may use different syntax and semantics if the presentation service provides a mapping between them. If a mapping is available, presentation service data units are encapsulated into session protocol data units and passed down the protocol stack.

text: This layer provides independence from data representation by translating between application and network formats. The presentation layer transforms data into the form that the application accepts. This layer formats data to be sent across a network. It is sometimes called the syntax layer.[8] The presentation layer can include compression functions.[9] The Presentation Layer negotiates the Transfer Syntax.

text: The original presentation structure used the Basic Encoding Rules of Abstract Syntax Notation One (ASN.1), with capabilities such as converting an EBCDIC-coded text file to an ASCII-coded file, or serialization of objects and other data structures from and to XML. ASN.1 effectively makes an application protocol invariant with respect to syntax.

text: Layer 7: Application Layer[edit]

text: The application layer is the OSI layer closest to the end user, which means both the OSI application layer and the user interact directly with the software application. This layer interacts with software applications that implement a communicating component. Such application programs fall outside the scope of the OSI model. Application-layer functions typically include identifying communication partners, determining resource availability, and synchronizing communication. When identifying communication partners, the application layer determines the identity and availability of communication partners for an application with data to transmit. The most important distinction in the application layer is the distinction between the application-entity and the application. For example, a reservation website might have two application-entities: one using HTTP to communicate with its users, and one for a remote database protocol to record reservations. Neither of these protocols have anything to do with reservations. That logic is in the application itself. The application layer per se has no means to determine the availability of resources in the network.

text: Cross-layer functions[edit]

text: Cross-layer functions are services that are not tied to a given layer, but may affect more than one layer. Examples include the following:

text:
Security service (telecommunication)[4] as defined by ITU-T X.800 recommendation.
Management functions, i.e. functions that permit to configure, instantiate, monitor, terminate the communications of two or more entities: there is a specific application-layer protocol, common management information protocol (CMIP) and its corresponding service, common management information service (CMIS), they need to interact with every layer in order to deal with their instances.
Multiprotocol Label Switching (MPLS) MPLS, ATM, and X.25 are 3a protocols. OSI divides the Network Layer into 3 roles: 3a) Subnetwork Access, 3b) Subnetwork Dependent Convergence and 3c) Subnetwork Independent Convergence. It was designed to provide a unified data-carrying service for both circuit-based clients and packet-switching clients which provide a datagram-based service model. It can be used to carry many different kinds of traffic, including IP packets, as well as native ATM, SONET, and Ethernet frames. Sometimes one sees reference to a Layer 2.5. This is a fiction create by those who are unfamiliar with the OSI Model and ISO 8648, Internal Organization of the Network Layer in particular.
ARP determines the mapping of an IPv4 address to the underlying MAC address. This is not a translation function. If it were IPv4 and the MAC address would be at the same layer. The implementation of the MAC protocol decodes the MAC PDU and delivers the User-Data to the IP-layer. Because Ethernet is a multi-access media, a device sending a PDU on an Ethernet segment needs to know what IP address maps to what MAC address.
DHCP, DHCP assigns IPv4 addresses to new systems joining a network. There is no means to derive or obtain an IPv4 address from an Ethernet address.
Domain Name Service is an Application Layer service which is used to look up the IP address of a given domain name. Once a reply is received from the DNS server, it is then possible to form a Layer 4 connection or flow to the desired host. There are no connections at Layer 3.
Cross MAC and PHY Scheduling is essential in wireless networks because of the time varying nature of wireless channels. By scheduling packet transmission only in favorable channel conditions, which requires the MAC layer to obtain channel state information from the PHY layer, network throughput can be significantly improved and energy waste can be avoided.[10]

text: Interfaces[edit]

text: Neither the OSI Reference Model nor OSI protocols specify any programming interfaces, other than deliberately abstract service specifications. Protocol specifications precisely define the interfaces between different computers, but the software interfaces inside computers, known as network sockets are implementation-specific.

text: For example, Microsoft Windows' Winsock, and Unix's Berkeley sockets and System V Transport Layer Interface, are interfaces between applications (layer 5 and above) and the transport (layer 4). NDIS and ODI are interfaces between the media (layer 2) and the network protocol (layer 3).

text: Interface standards, except for the physical layer to media, are approximate implementations of OSI service specifications.

text: Examples[edit]

text:
Layer
OSI protocols
TCP/IP protocols
Signaling
System 7[11]
AppleTalk
IPX
SNA
UMTS
Miscellaneous examples

No.
Name

7
Application

FTAM
X.400
X.500
DAP
ROSE
RTSE
ACSE[12]
CMIP[13]

INAP
MAP
TCAP
ISUP
TUP

AFP
ZIP
RTMP
NBP

SAP

APPC

HL7
Modbus

6
Presentation

ISO/IEC 8823
X.226

ISO/IEC 9576-1
X.236

MIME
SSL
TLS
XDR

AFP

TDI
ASCII
EBCDIC
MIDI
MPEG

5
Session

ISO/IEC 8327
X.225

ISO/IEC 9548-1
X.235

Sockets (session establishment in TCP / RTP / PPTP)

ASP
ADSP
PAP

NWLink

DLC?

Named pipes
NetBIOS
SAP
half duplex
full duplex
simplex
RPC
SOCKS

4
Transport

ISO/IEC 8073
TP0
TP1
TP2
TP3
TP4 (X.224)
ISO/IEC 8602
X.234

TCP
UDP
SCTP
DCCP

DDP
SPX

NBF

3
Network

ISO/IEC 8208
X.25 (PLP)

ISO/IEC 8878
X.223
ISO/IEC 8473-1
CLNP X.233
ISO/IEC 10589
IS-IS

IP
IPsec
ICMP
IGMP
OSPF
RIP

SCCP
MTP

ATP (TokenTalk / EtherTalk)

IPX

RRC / BMC

NBF
Q.931
NDP
IS-IS

2
Data link

ISO/IEC 7666
X.25 (LAPB)

Token Bus
X.222
ISO/IEC 8802-2
LLC (type 1 / 2)[14]

PPP
SBTV
SLIP

MTP
Q.710

LocalTalk
ARA
PPP

IEEE 802.3 framing
Ethernet II framing

SDLC

PDCP[15]
LLC
MAC

ARP
ARQ
ATM
Bit stuffing
CDP
CRC
DOCSIS
FDDI
FDP
Fibre Channel
Frame Relay
HDP
HDLC
IEEE 802.3 (Ethernet)
IEEE 802.11a/b/g/n (Ethernet MAC and LLC)
IEEE 802.1Q (VLAN)
ISL
ITU-T G.hn DLL
Linux interface bonding
PPP
Q.921
Token Ring

1
Physical

X.25 (X.21bis
EIA/TIA-232
EIA/TIA-449
EIA-530
G.703)[14]

MTP
Q.710

RS-232
RS-422
PhoneNet

Twinax

UMTS air interfaces

RS-232
Full duplex
RJ45 (8P8C)
V.35
V.34
I.430
I.431
T1
E1
10BASE-T
100BASE-TX
1000BASE-T
POTS
SONET
SDH
DSL
802.11a/b/g/n PHY
ITU-T G.hn PHY
CAN bus
DOCSIS
DWDM
OTN

text: Comparison with TCP/IP model[edit]

text: The design of protocols in the TCP/IP model of the Internet does not concern itself with strict hierarchical encapsulation and layering.[16] RFC 3439 contains a section entitled "Layering considered harmful".[17] TCP/IP does recognize four broad layers of functionality which are derived from the operating scope of their contained protocols: the scope of the software application; the end-to-end transport connection; the internetworking range; and the scope of the direct links to other nodes on the local network.[18]

text: Despite using a different concept for layering than the OSI model, these layers are often compared with the OSI layering scheme in the following way:

text:
The Internet application layer includes the OSI application layer, presentation layer, and most of the session layer.
Its end-to-end transport layer includes the graceful close function of the OSI session layer as well as the OSI transport layer.
The internetworking layer (Internet layer) is a subset of the OSI network layer.
The link layer includes the OSI data link layer and sometimes the physical layers, as well as some protocols of the OSI's network layer.

text: These comparisons are based on the original seven-layer protocol model as defined in ISO 7498, rather than refinements in such things as the internal organization of the network layer document.[citation needed]

text: The presumably strict layering of the OSI model as it is usually described does not present contradictions in TCP/IP, as it is permissible that protocol usage does not follow the hierarchy implied in a layered model. Such examples exist in some routing protocols (for example OSPF), or in the description of tunneling protocols, which provide a link layer for an application, although the tunnel host protocol might well be a transport or even an application-layer protocol in its own right.[citation needed]


document_title: The Life of David Gale

question_text: who plays berlin in the life of david gale

root

text: The Life of David Gale

text: Plot[edit]

text: David Gale is a professor who is a prisoner on death row in Texas. With only a few days until his execution, his lawyer negotiates a half million-dollar fee to tell his story to Bitsey Bloom, a journalist from a major news magazine. She is known for her ability to keep secrets and protect her sources. He tells her the story of how he ended up on death row, revealed to the audience through a series of lengthy flashbacks.

tag: p

text: Gale is head of the philosophy department at the University of Texas and an active member of DeathWatch, an advocacy group campaigning against capital punishment. At a graduation party, he encounters Berlin, an attractive graduate student who had been expelled from the school. When Gale gets drunk at the party, she seduces him and gets him to have sex with her. She then falsely accuses Gale of rape. The next day, he loses a televised debate with the Governor of Texas when he is unable to point to an example of a demonstrably innocent man being executed during that governor's term. After losing the debate, Gale is arrested and charged with rape. While the rape charge against Gale is later dropped, the damage had already been done, and his family, marriage, university career and reputation are all destroyed.

text: Constance Harraway, a fellow DeathWatch activist, is a close friend of Gale who consoles him after his life falls apart, and the pair have sex. However, the next day, Harraway is discovered raped and murdered, suffocated by a plastic bag taped over her head. An autopsy reveals that she had been forced to swallow the key to the handcuffs used to restrain her, a psychological torture technique used by the Securitate under the communist regime of Nicolae Ceauşescu, which Gale and Harraway had both protested against. The physical evidence at the crime scene points to Gale, who is convicted of rape and murder and is sentenced to death.

text: In the present, Bloom investigates the case in between her visits with Gale. She comes to believe that the apparent evidence against Gale does not add up. She is tailed several times in her car by a person who turns out to be Dusty Wright, the alleged one-time lover and colleague of Harraway, who she suspects was the real killer. Wright slips evidence to Bloom that suggests Gale has been "framed", implying that the actual murderer videotaped the crime. Bloom pursues this lead until she finds a tape revealing that Harraway, who was suffering from terminal leukemia, had committed an elaborate suicide made to look like murder. Wright is seen on the videotape, acting as her accomplice, implying that they framed Gale as part of a plan to discredit the death penalty by conspiring to execute an innocent person, and subsequently releasing evidence of the actual circumstances.

text: Once Bloom and her aide find this evidence, only hours remain until Gale's scheduled execution. She tries to give the tape to the authorities in time to stop the execution. She arrives at the Huntsville Unit just as the warden announces that it has been carried out. The tape is subsequently released, causing a media and political uproar over the execution of an innocent man. Later, Wright receives the fee that Bloom's magazine agreed to pay for the interview, and delivers it to Gale's ex-wife in Spain, along with a postcard from Berlin in San Francisco apologizing, all but confessing that the rape accusation that derailed Gale's life and career was false. His ex-wife looks distraught, knowing Gale told the truth and that she effectively stole their child away from him.

text: Much later still, a videotape labelled "Off the Record" is delivered to Bloom. This tape picks up at the point where Wright confirmed that Harraway was dead. It continues to show him stepping aside to allow Gale, also present and party to the suicide, to caress the body of his lover, deliberately leaving his fingerprints on the plastic bag in the process. He then stands up and ends the recording, leaving Bloom stunned with the truth that the couple deliberately sacrificed themselves to discredit capital punishment as capable of causing the execution of an innocent man.

text: Cast[edit]

text:
Kevin Spacey as David Gale
Kate Winslet as Bitsey Bloom
Laura Linney as Constance Harraway
Gabriel Mann as Zack Stemmons
Rhona Mitra as Berlin
Leon Rippy as Braxton Belyeu
Matt Craven as Dusty Wright
Jim Beaver as Duke Grover
Melissa McCarthy as Nico

tag: ul

text: Production[edit]

text: The Life of David Gale was shot in multiple places, including Huntsville, Texas, Sam Houston State University, The University of Texas at Austin, Garrison Hall, KLRU-TV, Metro Espresso Bar (now Cafe Medici), 2222 Guadalupe St, Cain and Abel's Bar at Austin, Gumbo's Louisiana Style Cafe and Plaça Reial, Barcelona.

text: Reception[edit]

text: The Life of David Gale received overwhelmingly negative reviews from critics and has a rating of 19% on Rotten Tomatoes based on 156 reviews with an average score of 4.2 out of 10. The consensus states "Instead of offering a convincing argument against the death penalty, this implausible, convoluted thriller pounds the viewer over the head with its message."[3] The film also has a score of 31 out of 100 on Metacritic based on 36 reviews indicating 'Generally unfavorable reviews.'[4]

text: Chicago Sun-Times critic Roger Ebert gave the film a rare zero stars and stated in his review "I am sure the filmmakers believe their film is against the death penalty. I believe it supports it and hopes to discredit the opponents of the penalty as unprincipled fraudsters. Spacey and Parker are honorable men... The last shot made me want to throw something at the screen – maybe Spacey and Parker."[5] Ebert's co-host Richard Roeper, however, did not hesitate to give the film a "thumbs up".

text: Soundtrack[edit]

text: The soundtrack (composed by Alex and Jake Parker) has been used in various film trailers, specifically the tracks "The Life of David Gale" and "Almost Martyrs". The score has been used in the trailers for World Trade Center, Munich, In the Valley of Elah, Milk, The Artist and The Iron Lady.


document_title: Michael Manning (murderer)

question_text: who was the last person executed in ireland

text: Michael Manning (murderer)

text:
Michael Manning

Born
1929
Limerick, Ireland

Died
(1954-04-20)20 April 1954 (aged 25)
Mountjoy Prison, Dublin, Ireland

Cause of death
Execution by Hanging

Other names
Michael Mangan

Criminal penalty
Death

Conviction(s)
Rape
Murder

Details

Victims
Catherine Cooper

Date
18 November 1953

Country
Ireland

Date apprehended

19 November 1953

tag: table

text: Michael Manning was an Irish murderer who became the twenty-ninth and last person to be executed in the Republic of Ireland.

text: Manning, a 25-year-old carter from Johnsgate in Limerick, was found guilty of the rape and murder of Catherine Cooper, a 65-year-old nurse who worked at Barrington's Hospital in the city, in February 1954.[1] Nurse Cooper's body was discovered on 18 November 1953 in the quarry under the New Castle, Dublin Road, Castletroy where she was found to have choked on grass stuffed into her mouth to keep her from screaming during the committal of the crime.[2]

text: Manning expressed remorse at the crime which he did not deny. By his own account, he was making his way home on foot after a day’s drinking in The Black Swan, Annacotty when he saw a woman he did not recognise walking alone. "I suddenly lost my head and jumped on the woman and remember no more until the lights of a car shone on me." He took flight at this point but was arrested within hours, after his distinctive hat was found at the scene of the crime.[3]

text: Although Manning made an impassioned plea for clemency in a letter[4] to Minister for Justice Gerald Boland, his request was denied despite it also being supported by Nurse Cooper's family. The execution by hanging was duly carried out on 20 April 1954 in Mountjoy Prison, Dublin by Albert Pierrepoint, who had travelled from Britain where he was one of three Senior Executioners.

text: Frank Prendergast, subsequently TD for Limerick East who knew Manning well, recalled later, "Friends of mine who worked with me, I was serving my time at the time, went up to visit him on the Sunday before he was hanged. And they went to Mass and Holy Communion together and they played a game of handball that day. He couldn't have been more normal."[5]

text: Manning left a wife who was pregnant at the time of the murder. His body was buried in an unmarked grave in a yard at Mountjoy Prison.

text: Aftermath[edit]

text: The death penalty was abolished in 1964 for all but the murder of Gardaí, diplomats and prison officers. It was abolished by statute for these remaining offences in 1990 and was finally expunged from the Constitution of Ireland by a referendum in 2001.

text: The hanging of Michael Manning inspired a play by Ciaran Creagh. Creagh's father, Timothy, was one of the two prison officers who stayed with Michael Manning on his last night and Last Call is loosely based on what happened. It was shown in Mountjoy Prison's theatre for three nights in June 2006.

text: Footnotes[edit]

text:
Jump up ^ Executions in Ireland
Jump up ^ Wallace, Colm (2016). Sentenced to Death: Saved from the Gallows. Bantry: Somerville Press. p. 97. ISBN 9780992736491.
Jump up ^ O'Donnell, Ian (18 April 2014). "Sixty years since Dublin's last hanging". Irish Times. Retrieved 11 May 2018.
Jump up ^ http://www.limerickleader.ie/news/40-years-ago/145084/Final-pleas-of-Limerick-man-executed.html
Jump up ^ Capital punishment in Ireland since the foundation of the state

tag: ol


document_title: Ferris Bueller's Day Off

question_text: where was ferris bueller's day off filmed at

question_tokens: where was ferris bueller 's day off filmed at

text: Ferris Bueller's Day Off

text: Plot[edit]

text: In suburban Chicago, Illinois, near the end of the school year, high school senior Ferris Bueller fakes being sick to stay home. Throughout the film, Ferris frequently breaks the fourth wall to talk about his friends and give the audience advice on how to skip school. His parents believe him, though his sister Jeanie is not convinced. Dean of Students Edward R. Rooney suspects Ferris is being truant again and commits to catching him. Ferris convinces his friend Cameron Frye, who really is absent due to illness, to help get Ferris' girlfriend Sloane Peterson out of school by reporting that her grandmother has died. To trick Rooney, Ferris sways Cameron to let them use his father's prized 1961 Ferrari 250 GT California Spyder to collect Sloane. Cameron is dismayed when Ferris continues to use the car to drive them into downtown Chicago to spend the day, but Ferris promises they will return it as it was.

text: The trio leave the car with parking garage attendants who immediately take the car for a joy ride after they leave. Ferris, Cameron, and Sloane sightsee around the city, including the Art Institute of Chicago, Sears Tower, Chicago Mercantile Exchange, and Wrigley Field, while narrowly dodging Mr. Bueller. Cameron remains disinterested, and Ferris attempts to cheer him up by impromptu joining a parade float during the Von Steuben Day parade and lip-syncing Wayne Newton's cover of "Danke Schoen", as well as a rendition of The Beatles' "Twist and Shout" that excites the gathered crowds.

text: Meanwhile, Rooney investigates the Bueller home to try to prove Ferris' truancy, getting into several pratfalls. At the same time, Jeanie, frustrated that the entire school believes Ferris has come down with a deadly illness, skips class and returns home to confront him, only to hear someone outside trying to break in. Rooney flees while she calls the police; when they arrive they arrest her for filing a false report and contact her mother to collect her. While waiting, she meets a juvenile delinquent who advises her not to worry so much about Ferris. Mrs. Bueller arrives at the station, upset about having to forgo a house sale, only to find Jeanie kissing the delinquent, infuriating her more.

text: Ferris and his friends collect the Ferrari and depart for home, but shortly discover many miles have been added to the odometer and Cameron becomes catatonic. Back at Cameron's garage, Ferris sets the car on blocks and runs it in reverse to try to take miles off the odometer without success. Cameron finally snaps, and lets out his anger against his controlling father by repeatedly kicking the car. This causes it to fall off the blocks and race in reverse through the back of the garage and into the ravine below. Ferris offers to take the blame, but Cameron asserts he will stand up against his father.

text: Ferris returns Sloane home and realizes his parents are due home soon. As he races on foot through the neighborhood he is nearly hit by Jeanie, who is driving their mother home. She speeds off trying to beat Ferris home. Ferris makes it home first to find Rooney waiting for him outside. Jeanie races into the house as their mother talks to their father about her behavior that day. Jeanie discovers Rooney threatening Ferris and tells Rooney that she was just helping to return Ferris from the hospital and shows Rooney his wallet that she had found from his earlier break-in. Rooney flees from the family dog while Ferris rushes back to his bedroom to greet his parents while feigning his waning illness. As they leave, Ferris reminds the audience, "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."

text: A defeated Rooney heads home and is picked up by a school bus, further humiliated by the students.

text: Cast[edit]

text:
Matthew Broderick as Ferris Bueller
Alan Ruck as Cameron Frye
Mia Sara as Sloane Peterson
Jennifer Grey as Jeanie Bueller
Jeffrey Jones as Edward R. Rooney
Lyman Ward as Tom Bueller
Cindy Pickett as Katie Bueller
Edie McClurg as Grace
Ben Stein as Economics Teacher
Del Close as English Teacher
Charlie Sheen as Garth Volbeck
Virginia Capers as Florence Sparrow
Richard Edson as Garage Attendant
Larry "Flash" Jenkins as Attendant's co-pilot

text: Production[edit]

text: Writing[edit]

text: As he was writing the film in 1985, John Hughes kept track of his progress in a spiral-bound logbook. He noted that the basic storyline was developed on February 25. It was successfully pitched the following day to Paramount Studios chief Ned Tanen. Tanen was intrigued by the concept, but wary that the Writers Guild of America was hours away from picketing the studio.[5] Hughes wrote the screenplay in less than a week.[6] Editor Paul Hirsch explained that Hughes had a trance-like concentration to his script-writing process, working for hours on end, and would later shoot the film on essentially what was his first draft of the script. "The first cut of Ferris Bueller's Day Off ended up at two hours, 45 minutes. The shortening of the script had to come in the cutting room", said Hirsch.[7] "Having the story episodic and taking place in one day...meant the characters were wearing the same clothes. I suspect that Hughes writes his scripts with few, if any costume changes just so he can have that kind of freedom in the editing."[7]

text: Hughes intended the movie to be more focused on the characters rather than the plot. "I know how the movie begins, I know how it ends", said Hughes. "I don't ever know the rest, but that doesn't seem to matter. It's not the events that are important, it's the characters going through the event. Therefore, I make them as full and real as I can. This time around, I wanted to create a character who could handle everyone and everything."[8]

text: Casting[edit]

text: Hughes said that he had Broderick in mind when he wrote the screenplay, saying Broderick was the only actor he could think of who could pull off the role, calling him clever and charming.[9] "Certain guys would have played Ferris and you would have thought, 'Where's my wallet?'" Hughes said. "I had to have that look; that charm had to come through. Jimmy Stewart could have played Ferris at 15...I needed Matthew."[9] Other actors who were considered for the role included Jim Carrey, John Cusack, Tom Cruise and Michael J. Fox.[10]

text: Sara surprised Hughes when she auditioned for the role of Sloane Peterson. "It was funny. He didn't know how old I was and said he wanted an older girl to play the 17-year-old. He said it would take someone older to give her the kind of dignity she needed. He almost fell out of his chair when I told him I was only 18."[11] Molly Ringwald had also wanted to play Sloane, but according to Ringwald, "John wouldn't let me do it: he said that the part wasn't big enough for me."[5]

text: Ruck had previously auditioned for the Bender role in The Breakfast Club which went to Judd Nelson, but Hughes remembered Ruck and cast him as the 17-year-old Cameron Frye.[12] According to Hughes, the character of Cameron was largely based on a friend of his in high school. "He was sort of a lost person. His family neglected him, so he took that as license to really pamper himself. When he was legitimately sick, he actually felt good, because it was difficult and tiring to have to invent diseases but when he actually had something, he was relaxed."[13] Ruck said the role of Cameron had originally been offered to Emilio Estevez who turned it down. "Every time I see Emilio, I want to kiss him", said Ruck. "Thank you!"[5] Ruck, then 29, worried about the age difference. "I was worried that I'd be 10 years out of step, and I wouldn't know anything about what was cool, what was hip, all that junk. But when I was going to high school, I didn't know any of that stuff then, either. So I just thought, well, hell—I'll just be me. The character, he's such a loner that he really wouldn't give a damn about that stuff anyway. He'd feel guilty that he didn't know it, but that's it."[12] Ruck was not surprised to find himself cast young. "No, because, really, when I was 18, I sort of looked 12", he said. "Maybe it's a genetic imbalance."[12]

text: Ruck and Broderick had previously acted together in the Broadway production of Biloxi Blues. Cameron's Mr. Peterson voice was an in-joke imitation of their former director Gene Saks.[5] Ruck felt at ease working with Broderick, often crashing in his trailer. "We didn't have to invent an instant friendship like you often have to do in a movie", said Ruck. "We were friends."[5]

text: Jones was cast as Rooney based on his role in Amadeus, where he played the emperor; Hughes thought that character's modern equivalent was Rooney.[13] "My part was actually quite small in the script, but what seemed to be the important part to me was that I was the only one who wasn't swept along by Ferris", recalls Jones.[14] "So I was the only one in opposition, which presented a lot of opportunities, some of which weren't even in the script or were expanded on. John was receptive to anything I had to offer, and indeed got ideas along the way himself. So that was fun, working with him."[14] "Hughes told me at the time — and I thought he was just blowing his own horn — he said, 'You are going to be known for this for the rest of your life.' And I thought, 'Sure'... but he was right."[15] To help Jones study for the part, Hughes took him to meet his old vice principal. "This is the guy I want you to pay close attention to," Jones explained to Hughes' biographer Kirk Honeycutt. While meeting him, the VP's coat momentarily flew open revealing a holster and gun attached to the man's belt. This made Jones realize what Hughes had envisioned."The guy was 'Sign up for the Army quick before I kill you!'" Jones exclaimed.[16]

text: Stein says he got the role of Bueller's Economics teacher through six degrees of separation.[17] "Richard Nixon introduced me to a man named Bill Safire, who's a New York Times columnist. He introduced me to a guy who's an executive at Warner Brothers. He introduced me to a guy who's a casting director. He introduced me to John Hughes. John Hughes and I are among the only Republicans in the picture business, and John Hughes put me in the movie", Stein said.[17] Hughes said that Stein was an easy and early choice for the role of the teacher: "He wasn't a professional actor. He had a flat voice, he looked like a teacher."[13]

text: Filming[edit]

text: "Chicago is what I am," said Hughes.[2] "A lot of Ferris is sort of my love letter to the city. And the more people who get upset with the fact that I film there, the more I'll make sure that's exactly where I film. It's funny—nobody ever says anything to Woody Allen about always filming in New York. America has this great reverence for New York. I look at it as this decaying horror pit. So let the people in Chicago enjoy Ferris Bueller."[2]

text: For the film, Hughes got the chance to take a more expansive look at the city he grew up in. "We took a helicopter up the Chicago River. This is the first chance I'd really had to get outside while making a movie. Up to this point, the pictures had been pretty small. I really wanted to capture as much of Chicago as I could, not just the architecture and the landscape, but the spirit."[2] Shooting began in Chicago on September 9, 1985.[18] In late October 1985, the production moved to Los Angeles, and shooting ended on November 22.[19] The Von Steuben Day Parade scene was filmed on September 28. Scenes were filmed at several locations in downtown Chicago and Winnetka (Ferris's home, his mother's real estate office, etc.).[20] Many of the other scenes were filmed in Northbrook, Illinois, including at Glenbrook North High School, on School Drive, the long, curvy street on which Glenbrook North and neighboring Maple Middle School are situated.[21] The exterior of Ferris's house is located at 4160 Country Club Drive, Long Beach, California.[20]

text: The modernist house of Cameron Frye is located in Highland Park, Illinois. Known as the Ben Rose House,[22] it was designed by architects A. James Speyer, who designed the main building in 1954, and David Haid, who designed the pavilion in 1974. It was once owned by photographer Ben Rose, who had a car collection in the pavilion. In the film Cameron's father is portrayed as owning a Ferrari 250 GT California in the same pavilion.[23] According to Lake Forest College art professor Franz Shulze, during the filming of the scene where the Ferrari crashes out of the window, Haid explained to Hughes that he could prevent the car from damaging the rest of the pavilion.[24] Haid fixed connections in the wall and the building remained intact. Haid said to Hughes afterward, "You owe me $25,000", which Hughes paid.[24] Other scenes were shot in Chicago, River Forest, Oak Park, Northbrook, Highland Park, Glencoe and Winnetka, Lake Forest and Long Beach, California. After Ben Rose's death in 2009 the house was offered for sale and was sold in 2014.

text: According to Hughes, the scene at the Art Institute of Chicago was "a self-indulgent scene of mine—which was a place of refuge for me, I went there quite a bit, I loved it. I knew all the paintings, the building. This was a chance for me to go back into this building and show the paintings that were my favorite." The museum had not been shot in, until the producers of the film approached them.[13] "I remember Hughes saying, 'There are going to be more works of art in this movie than there have ever been before,'" recalled Jennifer Grey.[5]

text: According to editor Paul Hirsch, in the original cut, the museum scene fared poorly at test screenings until he switched sequences around and Hughes changed the soundtrack.[25]

text: The piece of music I originally chose was a classical guitar solo played on acoustic guitar. It was nonmetrical with a lot of rubato. I cut the sequence to that music and it also became nonmetrical and irregular. I thought it was great and so did Hughes. He loved it so much that he showed it to the studio but they just went "Ehhh." Then after many screenings where the audience said "The museum scene is the scene we like least", he decided to replace the music. We had all loved it, but the audience hated it. I said, 'I think I know why they hate the museum scene. It's in the wrong place.' Originally, the parade sequence came before the museum sequence, but I realized that the parade was the highlight of the day, there was no way we could top it, so it had to be the last thing before the three kids go home. So that was agreed upon, we reshuffled the events of the day, and moved the museum sequence before the parade. Then we screened it and everybody loved the museum scene! My feeling was that they loved it because it came in at the right point in the sequence of events. John felt they loved it because of the music. Basically, the bottom line is, it worked.[25]

text: The music used for the final version of the museum sequence is an instrumental cover version of The Smiths' "Please, Please, Please, Let Me Get What I Want", performed by The Dream Academy. A passionate Beatles fan, Hughes makes multiple references to them and John Lennon in the script. During filming, Hughes "listened to The White Album every single day for fifty-six days".[26] Hughes also pays tribute to his childhood hero Gordie Howe with Cameron's Detroit Red Wings jersey.[27] "I sent them the jersey", said Howe. "It was nice seeing the No. 9 on the big screen."[28]

text: Car[edit]

text: In the film, Ferris convinces Cameron to borrow his father's rare 1961 Ferrari GT California. "The insert shots of the Ferrari were of the real 250 GT California", Hughes explains in the DVD commentary. "The cars we used in the wide shots were obviously reproductions. There were only 100 of these cars, so it was way too expensive to destroy. We had a number of replicas made. They were pretty good, but for the tight shots I needed a real one, so we brought one in to the stage and shot the inserts with it."[13]

text: Prior to filming, Hughes learned about Modena Design and Development who produced the Modena Spyder California, a replica of the Ferrari 250 GT.[29] Hughes saw a mention of the company in a car magazine and decided to research them. Neil Glassmoyer recalls the day Hughes contacted him to ask about seeing the Modena Spyder:

text: The first time he called I hung up on him because I thought it was a friend of mine who was given to practical jokes. Then he called back and convinced me it really was him, so Mark and I took the car to his office. While we were waiting outside to meet Hughes this scruffy-looking fellow came out of the building and began looking the car over; we thought from his appearance he must have been a janitor or something. Then he looked up at a window and shouted, 'This is it!' and several heads poked out to have a look. That scruffy-looking fellow was John Hughes, and the people in the window were his staff. Turned out it was between the Modena Spyder and a Porsche Turbo, and Hughes chose the Modena.[29]

text: Automobile restorationist Mark Goyette designed the kits for three reproductions used in the film and chronicled the whereabouts of the cars today: [30]

text:
"Built by Goyette and leased to Paramount for the filming. It's the one that jumps over the camera, and is used in almost every shot. At the end of filming, Paramount returned it to Goyette, with the exhaust crushed and cracks in the body. "There was quite a bit of superficial damage, but it held up amazingly well", he said. He rebuilt it, and sold it to a young couple in California. The husband later ran it off the road, and Goyette rebuilt the front end for him. That owner sold it in the mid-90s, and it turned up again around 2000, but hasn't emerged since."[30]
"Sold to Paramount as a kit for them to assemble as their stunt car, they did such a poor job that it was basically unusable, aside from going backwards out the window of Cameron's house. Rebuilt, it ended up at Planet Hollywood in Minneapolis and was moved to Planet Hollywood in Cancun when this one was closed."[30]
"Another kit, supposed to be built as a shell for the out the window scene, it was never completed at all, and disappeared after the film was completed. Goyette thinks he once heard it was eventually completed and sold off, but it could also still be in a back lot at Paramount."[30]

text: One of the "replicars" was sold by Bonhams on April 19, 2010, at the Royal Air Force Museum at Hendon, United Kingdom for £79,600.[31][32]

text: The "replicar" was "universally hated by the crew", said Ruck. "It didn't work right." The scene in which Ferris turns off the car to leave it with the garage attendant had to be shot a dozen times because it would not start.[5] The car was built with a real wheel base, but used a Ford V8 engine instead of a V12.[33] At the time of filming, the original 250 GT California model was worth $350,000.[5] Since the release of the film, it has become one of the most expensive cars ever sold, going at auction in 2008 for $10,976,000 [34] and more recently in 2015 for $16,830,000.[35] The vanity plate of Cameron's dad's Ferrari spells NRVOUS and the other plates seen in the film are homages to Hughes's earlier works, VCTN (National Lampoon's Vacation), TBC (The Breakfast Club), MMOM (Mr. Mom), as well as 4FBDO (Ferris Bueller's Day Off).

text: Economic lecture[edit]

text: Ben Stein's famous monotonous lecture about the Smoot-Hawley Tariff Act was not originally in Hughes's script. Stein, by happenstance, was lecturing off-camera to the amusement of the student cast. "I was just going to do it off camera, but the student extras laughed so hard when they heard my voice that (Hughes) said do it on camera, improvise, something you know a lot about. When I gave the lecture about supply-side economics, I thought they were applauding. Everybody on the set applauded. I thought they were applauding because they had learned something about supply-side economics. But they were applauding because they thought I was boring...It was the best day of my life", Stein said.[17]

text: Parade scene[edit]

text: The parade scene took multiple days of filming; Broderick spent some time practicing the dance moves. "I was very scared", Broderick said. "Fortunately, the sequence was carefully choreographed beforehand. We worked out all the moves by rehearsing in a little studio. It was shot on two Saturdays in the heart of downtown Chicago. The first day was during a real parade, and John got some very long shots. Then radio stations carried announcements inviting people to take part in 'a John Hughes movie'. The word got around fast and 10,000 people showed up! For the final shot, I turned around and saw a river of people. I put my hands up at the end of the number and heard this huge roar. I can understand how rock stars feel. That kind of reaction feeds you."[36][37]

text: Broderick's moves were choreographed by Kenny Ortega (who later choreographed Dirty Dancing). Much of it had to be scrapped though as Broderick had injured his knee badly during the scenes of running through neighbors' backyards. "I was pretty sore", Broderick said. "I got well enough to do what you see in the parade there, but I couldn't do most of Kenny Ortega's knee spins and things like that that we had worked on. When we did shoot it, we had all this choreography and I remember John would yell with a megaphone, 'Okay, do it again, but don't do any of the choreography,' because he wanted it to be a total mess." "Danke Schoen" was somewhat choreographed but for "Twist and Shout", Broderick said, "we were just making everything up".[5] Hughes explained that much of the scene was spontaneously filmed. "It just happened that this was an actual parade, which we put our float into—unbeknownst to anybody, all the people on the reviewing stand. Nobody knew what it was, including the governor."[13]

text: Wrigley Field[edit]

text: Wrigley Field is featured in two interwoven and consecutive scenes. In the first scene, Rooney is looking for Ferris at a pizza joint while the voice of Harry Caray announces the action of a ballgame that is being shown on TV. From the play-by-play descriptions, the uniforms, and the player numbers, this game has been identified as the June 5, 1985, game between the Atlanta Braves and the Chicago Cubs.[18][38] The batter rips a foul ball into the left field stands, and as Rooney looks away from the TV briefly, the TV cameras show a close up of Ferris a moment after catching it. The scene in the pizza joint continues as Rooney tries to banter about the game with the guy behind the counter.

text: In the next scene, Sloane, Cameron, and Ferris are in the left field stands inside Wrigley. Ferris flexes his hand in pain after supposedly catching the foul ball. During this scene, the characters enjoy the game and joke about what they would be doing if they had played by the rules. All these "in the park" shots, including the one from the previous scene where Ferris catches the foul ball on TV, were filmed on September 24, 1985, at a game between the Montreal Expos and the Cubs. During the 1985 season, the Braves and the Expos both wore powder blue uniforms during their road games. And so, with seamless editing by Hughes, it is difficult to distinguish that the game being seen and described in the pizza joint is not only a different game but also a different Cubs' opponent than the one filmed inside the stadium.[39]

text: John Hughes had originally wanted to film the scene at the baseball game at Comiskey Park, as Hughes was a Chicago White Sox fan. However, due to time constraints, the location was moved to Wrigley Field at the last minute.

text: On October 1, 2011, Wrigley Field celebrated the 25th anniversary of the film by showing it on three giant screens on the infield.[40]

text: Deleted scenes[edit]

text: Several scenes were cut from the final film; one lost scene entitled "The Isles of Langerhans" has the three teenagers trying to order in the French restaurant, shocked to discover pancreas on the menu (although in the finished film, Ferris still says, "We ate pancreas", while recapping the day). This is featured on the Bueller, Bueller Edition DVD. Other scenes were never made available on any DVD version.[41] These scenes included additional screen time with Jeanie in a locker room, Ferris' younger brother and sister (both of whom were completely removed from the film), and additional/alternate lines of dialogue throughout the film, all of which can be seen in the original theatrical trailer. Hughes had also wanted to film a scene where Ferris, Sloane, and Cameron go to a strip club. Paramount executives told him there were only so many shooting days left, so the scene was scrapped.[5]

text: Music[edit]

text: Limited edition fan club soundtrack[edit]

text: An official soundtrack was not originally released for the film, as director John Hughes felt the songs would not work well together as a continuous album.[42] However, according to an interview with Lollipop Magazine, Hughes noted that he had sent 100,000 7" vinyl singles containing two songs featured in the film to members of his fan mailing list.[43]

text: Hughes gave further details about his refusal to release a soundtrack in the Lollipop interview:

text: The only official soundtrack that Ferris Bueller's Day Off ever had was for the mailing list. A&M was very angry with me over that; they begged me to put one out, but I thought "who'd want all of these songs?" I mean, would kids want "Danke Schoen" and "Oh Yeah" on the same record? They probably already had "Twist and Shout", or their parents did, and to put all of those together with the more contemporary stuff, like the (English) Beat—I just didn't think anybody would like it. But I did put together a seven-inch of the two songs I owned the rights to—"Beat City" on one side, and... I forget, one of the other English bands on the soundtrack... and sent that to the mailing list. By '86, '87, it was costing us $30 a piece to mail out 100,000 packages. But it was a labor of love.[43]

text: Songs in the film[edit]

text: "Danke Schoen" is one of the recurring motifs in the film and is sung by Ferris, Ed Rooney, and Jeanie. Hughes called it the "most awful song of my youth. Every time it came on, I just wanted to scream, claw my face. I was taking German in high school—which meant that we listened to it in school. I couldn't get away from it."[13] According to Broderick, Ferris's singing "Danke Schoen" in the shower was his idea. "Although it's only because of the brilliance of John's deciding that I should sing "Danke Schoen" on the float in the parade. I had never heard the song before. I was learning it for the parade scene. So we're doing the shower scene and I thought, 'Well, I can do a little rehearsal.' And I did something with my hair to make that Mohawk. And you know what good directors do: they say, 'Stop! Wait till we roll.' And John put that stuff in."[44]

text: 2016 soundtrack[edit]

text:
Ferris Bueller's Day Off

Soundtrack album by various artists

Released
September 13, 2016

Genre
new wave

Length
76:47

Label
La-La Land Records

text: The soundtrack for the film, limited to 5,000 copies, was released on September 13, 2016 by La-La Land Records. The album includes new wave and pop songs featured in the film, as well as Ira Newborn's complete score, including unused cues.[45] Due to licensing restrictions, "Twist and Shout," "Taking The Day Off," and "March of the Swivelheads" were not included, but are available elsewhere. The Flowerpot Men's "Beat City" makes its first official release on CD with a new mix done by The Flowerpot Men's Ben Watkins and Adam Peters that differs from the original 7" fan club release.[45][46]

text: Reception[edit]

text: Critical[edit]

text: The film largely received positive reviews from critics. Roger Ebert gave it three out of four stars, calling it "one of the most innocent movies in a long time,” and “a sweet, warm-hearted comedy."[47] Richard Roeper called the film "one of my favorite movies of all time. It has one of the highest 'repeatability' factors of any film I've ever seen ... I can watch it again and again. There's also this, and I say it in all sincerity: Ferris Bueller's Day Off is something of a suicide prevention film, or at the very least a story about a young man trying to help his friend gain some measure of self-worth ... Ferris has made it his mission to show Cameron that the whole world in front of him is passing him by, and that life can be pretty sweet if you wake up and embrace it. That's the lasting message of Ferris Bueller's Day Off."[48] Roeper pays homage to the film with a license plate that reads "SVFRRIS".[49] Conservative columnist George Will hailed Ferris as "the moviest movie," a film "most true to the general spirit of the movies, the spirit of effortless escapism."[50]

text: Essayist Steve Almond called Ferris "the most sophisticated teen movie [he] had ever seen," adding that while Hughes had made a lot of good movies, Ferris was the "one film [he] would consider true art, [the] only one that reaches toward the ecstatic power of teendom [sic] and, at the same time, exposes the true, piercing woe of that age." Almond also applauded Ruck's performance, going so far as saying he deserved the Academy Award for Best Supporting Actor of 1986: "His performance is what elevates the film, allows it to assume the power of a modern parable."[51] The New York Times reviewer Nina Darnton criticized Mia Sara's portrayal of Sloane for lacking "the specific detail that characterized the adolescent characters in Hughes's other films", asserting she "created a basically stable but forgettable character."[52][53] Conversely, Darnton praised Ruck and Grey's performances: "The two people who grow in the movie—Cameron, played with humor and sensitivity by Alan Ruck, and Ferris's sister Jeanie, played with appropriate self-pity by Jennifer Grey—are the most authentic. Grey manages to play an insufferably sulky teen-ager who is still attractive and likable."[52]

text: National Review writer Mark Hemingway lauded the film's celebration of liberty. "If there's a better celluloid expression of ordinary American freedom than Ferris Bueller's Day Off, I have yet to see it. If you could take one day and do absolutely anything, piling into a convertible with your best girl and your best friend and taking in a baseball game, an art museum, and a fine meal seems about as good as it gets," wrote Hemingway.[54]

text: Others were less enamored with Ferris, many taking issue with the film's "rebel without a cause" hedonism. David Denby of New York Magazine, called the film "a nauseating distillation of the slack, greedy side of Reaganism."[55] Author Christina Lee agreed, adding it was a “splendidly ridiculous exercise in unadulterated indulgence,” and the film “encapsulated the Reagan era's near solipsist worldview and insatiable appetite for immediate gratification—of living in and for the moment....”[56] Gene Siskel panned the film from a Chicago-centric perspective saying “Ferris Bueller doesn't do anything much fun ... [t]hey don't even sit in the bleachers where all the kids like to sit when they go to Cubs games.”[57] Siskel did enjoy the chemistry between Jennifer Grey and Charlie Sheen. Ebert thought Siskel was too eager to find flaws in the film's view of Chicago.[57]

text: It has an aggregate score of 79% (based on 63 critics' reviews) on Rotten Tomatoes, and an average rating of 7.7/10.[58]

text: Accolades[edit]

text: Broderick was nominated for a Golden Globe Award in 1986 for Best Actor – Motion Picture Musical or Comedy.

text: Box office[edit]

text: The film opened in 1,330 theaters in the United States and had a total weekend gross of $6,275,647, opening at #2. Ferris Bueller's Day Off's total gross in the United States was approximately $70,136,369, making it a box office success.[1] It subsequently became the 10th-highest-grossing film of 1986.[59]

text: Rankings[edit]

text: As an influential and popular film, Ferris Bueller's Day Off has been included in many film rating lists. The film is number 54 on Bravo's "100 Funniest Movies", came 26th in the British 50 Greatest Comedy Films and ranked number 10 on Entertainment Weekly's list of the "50 Best High School Movies".[60]

text: Cultural impact[edit]

text: First Lady Barbara Bush paraphrased the film in her 1990 commencement address at Wellesley College: "Find the joy in life, because as Ferris Bueller said on his day off, 'Life moves pretty fast; if you don't stop and look around once in a while, you could miss it!'" Responding to the audience's enthusiastic applause, she added "I'm not going to tell George ya clapped more for Ferris than ya clapped for George."[61]

text: Other phrases from Ferris Bueller's Day Off such as Stein's nasally-voiced "Bueller? ...Bueller? ...Bueller?" (while taking roll call in class), and "Anyone? Anyone?" (trying to probe the students for answers) as well as Kristy Swanson's cheerful "No problem whatsoever!" also permeated popular culture.[62] In fact, Stein's monotone performance launched his acting career.[63] In 2016, Stein reprised the attendance scene in a campaign ad[64] for Iowa Senator Charles Grassley; Stein intoned the last name of Grassley's opponent (Patty Judge), to silence, while facts about her missed votes and absences from state board meetings were listed. Stein then calls out "Grassley," which gets a response; Stein mutters, "He's always here."[65]

text: Broderick said of the Ferris Bueller role, "It eclipsed everything, I should admit, and to some degree it still does."[5] Later at the 2010 Oscar tribute to Hughes, he said, "For the past 25 years, nearly every day someone comes up to me, taps me on the shoulder and says, 'Hey, Ferris, is this your day off?'"[66]

text: Ruck says that with Cameron Frye, Hughes gave him "the best part I ever had in a movie, and any success that I've had since 1985 is because he took a big chance on me. I'll be forever grateful."[67] "While we were making the movie, I just knew I had a really good part", Ruck says. "My realization of John's impact on the teen-comedy genre crept in sometime later. Teen comedies tend to dwell on the ridiculous, as a rule. It's always the preoccupation with sex and the self-involvement, and we kind of hold the kids up for ridicule in a way. Hughes added this element of dignity. He was an advocate for teenagers as complete human beings, and he honored their hopes and their dreams. That's what you see in his movies."[67]

text: Broderick starred in a television advertisement prepared by Honda promoting its CR-V for the 2012 Super Bowl XLVI. The ad pays homage to Ferris Bueller, featuring Broderick (as himself) faking illness to skip out of work to enjoy sightseeing around Los Angeles. Several elements, such as the use of the song "Oh Yeah", and a valet monotonously calling for "Broderick... Broderick...", appear in the ad. A teaser for the ad had appeared two weeks prior to the Super Bowl, which had created rumors of a possible film sequel.[68] It was produced by Santa Monica-based RPA and directed by Todd Phillips.[69] AdWeek's Tim Nudd called the ad "a great homage to the original 1986 film, with Broderick this time calling in sick to a film shoot and enjoying another day of slacking."[69] On the other hand, Jalopnik's Matt Hardigree called the spot "sacrilegious".[70][71]

text: In March 2017, Domino's Pizza began an advertising campaign parodying the film, featuring actor Joe Keery in the lead role.[72]

text: Music[edit]

text:
Yello – Oh Yeah excerpt

An excerpt from "Oh Yeah"

Problems playing this file? See media help.

text: The film's influence in popular culture extends beyond the film itself to how musical elements of the film have been received as well, for example, Yello's song "Oh Yeah". As Jonathan Bernstein explains, "Never a hit, this slice of Swiss-made tomfoolery with its varispeed vocal effects and driving percussion was first used by John Hughes to illustrate the mouthwatering must-haveness of Cameron's dad's Ferrari. Since then, it has become synonymous with avarice. Every time a movie, TV show or commercial wants to underline the jaw-dropping impact of a hot babe or sleek auto, that synth-drum starts popping and that deep voice rumbles, 'Oh yeah . . .'"[74] Concerning the influence of another song used in the film, Roz Kaveney writes that some "of the finest moments in later teen film draw on Ferris's blithe Dionysian fervour — the elaborate courtship by song in 10 Things I Hate About You (1999) draws usefully on the "Twist and Shout" sequence in Ferris Bueller's Day Off".[75]

text: The bands Save Ferris and Rooney were named in allusion to Ferris Bueller's Day Off.[76][self-published source][77]

text: "Twist and Shout" charted again, 16 years after the Beatles broke up, as a result of its prominent appearance in both this film and Back To School (where Rodney Dangerfield performs a cover version) which was released the same weekend as Ferris Bueller's Day Off. The re-released single reached #23 in the U.S; a US-only compilation album containing the track The Early Beatles, re-entered the album charts at #197. The version heard in the film includes brass overdubbed onto the Beatles' original recording, which did not go down well with Paul McCartney. "I liked [the] film but they overdubbed some lousy brass on the stuff! If it had needed brass, we'd had stuck it on ourselves!"[73] Upon hearing McCartney's reaction, Hughes felt bad for "offend[ing] a Beatle. But it wasn't really part of the song. We saw a band [onscreen] and we needed to hear the instruments."[13]

text: Sequel[edit]

text: Broderick and Hughes stayed in touch for a while after production. "We thought about a sequel to Ferris Bueller, where he'd be in college or at his first job, and the same kind of things would happen again. But neither of us found a very exciting hook to that. The movie is about a singular time in your life."[44] "Ferris Bueller is about the week before you leave school, it's about the end of school—in some way, it doesn't have a sequel. It's a little moment and it's a lightning flash in your life. I mean, you could try to repeat it in college or something but it's a time that you don't keep. So that's partly why I think we couldn't think of another", Broderick added. "But just for fun", said Ruck, "I used to think why don't they wait until Matthew and I are in our seventies and do Ferris Bueller Returns and have Cameron be in a nursing home. He doesn't really need to be there, but he just decided his life is over, so he committed himself to a nursing home. And Ferris comes and breaks him out. And they go to, like, a titty bar and all this ridiculous stuff happens. And then, at the end of the movie, Cameron dies."[5]

text: Academic analysis[edit]

text: Many scholars have discussed at length the film's depiction of academia and youth culture. For Martin Morse Wooster, the film "portrayed teachers as humorless buffoons whose only function was to prevent teenagers from having a good time".[78] Regarding not specifically teachers, but rather a type of adult characterization in general, Art Silverblatt asserts that the "adults in Ferris Bueller's Day Off are irrelevant and impotent. Ferris's nemesis, the school disciplinarian, Mr. Rooney, is obsessed with 'getting Bueller.' His obsession emerges from envy. Strangely, Ferris serves as Rooney's role model, as he clearly possesses the imagination and power that Rooney lacks. ... By capturing and disempowering Ferris, Rooney hopes to ... reduce Ferris's influence over other students, which would reestablish adults, that is, Rooney, as traditional authority figures."[79] Nevertheless, Silverblatt concludes that "Rooney is essentially a comedic figure, whose bumbling attempts to discipline Ferris are a primary source of humor in the film".[79] Thomas Patrick Doherty writes that "the adult villains in teenpics such as ... Ferris Bueller's Day Off (1986) are overdrawn caricatures, no real threat; they're played for laughs".[80] Yet Silverblatt also remarks that casting "the principal as a comic figure questions the competence of adults to provide young people with effective direction—indeed, the value of adulthood itself".[79]

text: Adults are not the stars or main characters of the film, and Roz Kaveney notes that what "Ferris Bueller brings to the teen genre, ultimately, is a sense of how it is possible to be cool and popular without being rich or a sports hero. Unlike the heroes of Weird Science, Ferris is computer savvy without being a nerd or a geek — it is a skill he has taken the trouble to learn."[81]

text: In 2010, English comedian Dan Willis performed his show "Ferris Bueller's Way Of..." at the Edinburgh Festival, delving into the philosophy of the movie and looking for life answers within.[82]

text: Home media[edit]

text: The film was first released on VHS and Laserdisc in 1987, and then re-released on VHS in 1996. The film has been released on DVD three times; including the original DVD release October 19, 1999, the Bueller... Bueller edition January 2006, and the I Love the '80s edition August 19, 2008.[83] The original DVD, like most Paramount Pictures films released on DVD for the first time, has very few bonus features, but it does feature a commentary by Hughes. Though this is no longer available for sale, the director's commentary is available here.[84] The Bueller... Bueller re-release has several more bonus features, but does not contain the commentary track of the original DVD release. The I Love the '80s edition is identical to the first DVD release (no features aside from commentary), but includes a bonus CD with songs from the 1980s. The songs are not featured in the film. The Bueller... Bueller edition has multiple bonus features such as interviews with the cast and crew, along with a clip of Stein's commentaries on the film's philosophy and impact. The Blu-ray Disc release (which is a part of the Bueller... Bueller edition, with the same bonus material) was first released on May 5, 2009. A 25th anniversary edition for DVD and Blu-ray were both released on August 2, 2011.[83]

text: Television series[edit]

text: In 1990, a series called Ferris Bueller started for NBC, starring Charlie Schlatter as Ferris Bueller, Jennifer Aniston as Jeanie Bueller[85], and Ami Dolenz as Sloane Peterson. The series served as a prequel to the film. In the pilot episode, the audience sees Schlatter cutting up a cardboard cutout of Matthew Broderick, saying that he hated Broderick's performance as him. It was produced by Maysh, Ltd. Productions in association with Paramount Television. In part because of competition of the similar series on the Fox Television Network, Parker Lewis Can't Lose,[86] the series was canceled after the first thirteen episodes aired. Both Schlatter and Aniston later had success on other TV shows, Schlatter on Diagnosis: Murder and Aniston on Friends.


document_title: Goliath (TV series)

question_text: who plays billy bob thornton's daughter on goliath

question_tokens: who plays billy bob thornton 's daughter on goliath

text: Goliath (TV series)

text: Premise[edit]

text: Goliath follows "a down-and-out lawyer (Thornton) as he seeks redemption. His one shot depends on getting justice in a legal system where truth has become a commodity, and the scales of justice have never been more heavily weighed toward the rich and powerful."[7]

text: Cast[edit]

text: Main[edit]

text:
Billy Bob Thornton as Billy McBride: formerly a brilliant and personable lawyer who founded the law firm Cooperman McBride with Donald Cooperman, and the two of them built it to be a successful legal firm.  He walked out of the firm and became an alcoholic after a murder suspect he got acquitted on a technicality went on to kill an entire family. He lives in an extended-stay hotel by the Santa Monica Pier.[8]
Nina Arianda as Patty Solis-Papagian: a DUI lawyer and real estate agent, who brings Rachel Kennedy's case to McBride.[9]
Tania Raymonde as Brittany Gold: a prostitute who cares about Billy McBride and sometimes works as his legal assistant.[10]
Diana Hopper as Denise McBride (recurring season 1, main season 2): Billy and Michelle's 16-year-old daughter.[11]

text: Season 1[edit]

text:
William Hurt as Donald Cooperman: McBride's partner in founding Cooperman McBride. He is disfigured with facial burns, and functions as a recluse: he rarely if ever leaves his office, and most people at the firm have never seen him. He monitors meetings and depositions remotely by cameras. Without the staff's knowledge, he has the entire office bugged, giving him access to everything that happens. He holds a grudge against McBride.[12]
Maria Bello as Michelle McBride: Billy's ex-wife and a partner at Cooperman McBride. She is angry with McBride, but respects his legal skills and is still fond of him.[13]
Olivia Thirlby as Lucy Kittridge: a young associate at Cooperman McBride who Cooperman installs on the Larson case.[14]
Molly Parker as Callie Senate: a senior lawyer at the firm who previously used a relationship with Cooperman to advance her career.[15]
Sarah Wynter as Gina Larson: widow of Ryan Larson (who worked at Borns Tech and is supposed to have committed suicide by blowing himself up on a boat).[16]
Britain Dalton as Jason Larson: son of Ryan and Gina. He eventually becomes the plaintiff in the case.[17]

text: Season 2[edit]

text:
Ana de la Reguera as Marisol Silva, a city councilwoman from East Los Angeles, in the race to be the first Latina mayor of Los Angeles.[18]
Matthew Del Negro as Danny Loomis, a charismatic yet devious political operator and consiglieri to the city's power elite under the guise of being a "financial analyst".[19]
Morris Chestnut as Deputy District Attorney Hakeem Rashad, who was on the losing side of Billy’s last criminal case and has a bitter, old grudge against him.[20]
Mark Duplass as Tom Wyatt, a successful Los Angeles developer who wants to give the city a distinct skyline. A prominent philanthropist, he is a major contributor to mayoral candidate Marisol Silva.[21]

text: Recurring[edit]

text: Julie Brister as Marva Jefferson: Billy's legal assistant.

text: Season 1[edit]

text:
Damon Gupton as Leonard Letts: Corporate counsel to Borns Tech.
Dwight Yoakam as Wendell Corey: CEO of Borns Tech.[22]
Harold Perrineau as Judge Roston Keller: The presiding judge on the Larson case.[22]
Ever Carradine as Rachel Kennedy: Ryan's sister, and the initial plaintiff in the wrongful death case against Borns Tech.
Kevin Weisman as Ned Berring: A former employee at Borns Tech and a key witness in the case.
Jason Ritter as FBI Agent Farley.

text: Season 2[edit]

text:
Diego Josef as Julio Suarez, the son of the owner of Chez Jay, who is falsely accused of murder.
Dominic Fumusa as Detective Keith Roman: An LAPD detective involved in the conspiracy. Roman blames Billy for getting a killer off who then went on to murder a family a few years ago.[11]
Paul Williams as J. T., a former colleague of Billy's with extensive contacts, who left his legal practice following the execution of a client.
James Wolk as FBI Special Agent Jeff Clayton, who agrees to help Billy hunt down his prime suspect in the Marcos Pena murder.[23]
Alexandra Billings as Judge Martha Wallace, the judge in the Pena murder case, and a former prosecutor who has history with both Billy and J.T.[24]
Manuel Garcia-Rulfo as Gabriel Ortega, a powerful drug lord behind the murder conspiracy; he has childhood connections to Marisol.
Annika Marks as Mary Roman[25]
JC Gonzalez as DJ Diego Spiz.[26]

text: Episodes[edit]

text: SeasonEpisodesOriginally airedFirst airedLast aired18October 13, 2016 (2016-10-13)28June 15, 2018 (2018-06-15)

text: Season 1 (2016)[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal release date11"Of Mice and Men"Lawrence TrillingDavid E. Kelley & Jonathan ShapiroOctober 13, 2016 (2016-10-13)
22"Pride and Prejudice"Alik SakharovJonathan Shapiro & David E. KelleyOctober 13, 2016 (2016-10-13)
33"Game On"Bill D'EliaJonathan Shapiro & David E. KelleyOctober 13, 2016 (2016-10-13)
44"It's Donald"Alik SakharovJonathan ShapiroOctober 13, 2016 (2016-10-13)
55"Cover Your Ass"Anthony HemingwayJonathan ShapiroOctober 13, 2016 (2016-10-13)
66"Line of Fire"Lawrence TrillingJonathan ShapiroOctober 13, 2016 (2016-10-13)
77"Beauty and the Beast"Lawrence TrillingJonathan Shapiro & David E. KelleyOctober 13, 2016 (2016-10-13)
88"Citizens United"Lawrence TrillingJonathan Shapiro & David E. KelleyOctober 13, 2016 (2016-10-13)

text: Season 2 (2018)[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal release date91"La Mano"Lawrence TrillingBen MyerJune 15, 2018 (2018-06-15)
102"Politics"Lawrence TrillingNoelle Valdivia and Tony SaltzmanJune 15, 2018 (2018-06-15)
113"Fresh Flowers"Dennie GordonJennifer Ames and Steve Turner & Marisa WegrzynJune 15, 2018 (2018-06-15)
124"Alo"Dennie GordonNoelle Valdivia and Tony SaltzmanJune 15, 2018 (2018-06-15)
135"Who's Gabriel"Dennie GordonTony SaltzmanJune 15, 2018 (2018-06-15)
146"Two Cinderellas"Lawrence TrillingNoelle ValdiviaJune 15, 2018 (2018-06-15)
157"Diablo Verde"Lawrence TrillingJennifer Ames and Steve TurnerJune 15, 2018 (2018-06-15)
168"Tongue Tied"Dennie GordonMarisa WegrzynJune 15, 2018 (2018-06-15)

text: Production[edit]

text: Development[edit]

text: On May 14, 2015, it was announced that Amazon had issued a pilot order for the series, then titled Trial, based off a script by David E. Kelley and Jonathan Shapiro.[27] On December 1, 2015, Amazon announced that it was bypassing the pilot process with the project and was instead issuing a straight-to-series order consisting of a ten-episode first season to premiere in 2016.[2]  The first season would ultimately come to consist of eight episodes total. On August 7, 2016, it was announced that the first season would premiere on October 13, 2016.[3]

text: Casting[edit]

text: On June 25, 2015, it was reported that Kevin Costner was in talks to join the series in the lead role of Billy McBride.[28] By June 30, he had exited talks.[29] On July 23, 2015, it was confirmed that Billy Bob Thornton had ultimately been cast in the role.[8] In August, Olivia Thirlby and Maria Bello joined the main cast.[14][13] On September 14, Sarah Wynter was cast in the series regular role of Gina Larson.[16] In November, Molly Parker and Britain Dalton joined the production as series regulars.[15][17] The following March, Nina Arianda and Tania Raymonde were also announced as part of the main cast.[9][10] In June, Dwight Yoakam and Harold Perrineau were cast in recurring roles.[22] In August, the final casting announcements, of Diana Hopper and Jason Ritter in recurring roles, were made.[7][30]

text: Renewal[edit]

text: On February 15, 2017, Amazon announced the series had been renewed for a second season. In that announcement, it was also confirmed that Clyde Phillips was joining the series in season two as the day-to-day showrunner. Kelley, Shapiro and Ross Fineman were set to remain in their roles as executive producers.[4]

text: Reception[edit]

text: Critical response[edit]

text: On Rotten Tomatoes, the first season holds an approval rating of 78% based on 36 reviews, with an average score of 6.04/10. The site's critical consensus reads, "Compelling performances from an excellent cast—led by standout Billy Bob Thornton—propel David E. Kelley's Goliath into must-watch TV territory."[31] On Metacritic the first season has a weighted average score of 65 out of 100, based on 26 critics, indicating "generally favorable reviews".[32]

text: Season two holds a rating of 86% based on 7 professional reviews on Rotten Tomatoes. Audience reviews are sharply at odds with those of professional critics, scoring only a 53% rating, with many reviews scoring 1-star, or even half a star.[33]

text: Among Amazon Prime subscribers, Season two scores a mere 2.7 out of 5 stars with more than 4,700 reviews posted, 43% of which are rated one-star.[34]

text: Awards and nominations[edit]

text:
Year

Ceremony

Category

Recipient(s)

Result

Ref.

2017

74th Golden Globe Awards

Best Actor – Television Series Drama

Billy Bob Thornton

Won

[35]


document_title: List of players with 1,000 NRL points

question_text: who has scored the most points in nrl

question_tokens: who has scored the most points in nrl

text: List of players with 1,000 NRL points

text: As of September 2017, there have been 50 players who have scored 1,000 or more points in Australian top-level rugby league, i.e. the NRL and its predecessors, the NSWRL, ARL and SL premierships. Players still currently active are listed in bold.

text:
Ranking
Points
Player
Club/Clubs
Career span

1
2,418[1]
Hazem El Masri
Canterbury-Bankstown Bulldogs
1996-2009

2
2,185
Cameron Smith
Melbourne Storm
2002-

3
2,176
Andrew Johns
Newcastle Knights
1993-2007

4
2,107
Jason Taylor
Western Suburbs Magpies, North Sydney Bears, Northern Eagles, Parramatta Eels
1990-2001

5
2,056
Johnathan Thurston
Canterbury-Bankstown Bulldogs, North Queensland Cowboys
2002-

6
2,034
Daryl Halligan
North Sydney Bears, Canterbury-Bankstown Bulldogs
1991-2000

7
1,971
Mick Cronin
Parramatta Eels
1977-1986

8
1,917
Graham Eadie
Manly-Warringah Sea Eagles
1971-1983

9
1,841
Eric Simms
South Sydney
1965-1975

10
1,793
Luke Burt
Parramatta Eels
1999-2012

11
1,690
Ryan Girdler
Illawarra Steelers, Penrith Panthers
1991-2004

12
1,663
James Maloney
Melbourne Storm, New Zealand Warriors, Sydney Roosters, Cronulla-Sutherland Sharks
2009-

13
1,614
Jarrod Croker
Canberra Raiders
2009-

=14
1,604
Clinton Schifcofske
South Queensland Crushers, Parramatta Eels, Canberra Raiders
1996-2006

=14
1,604
Craig Fitzgibbon
Illawarra Steelers, St. George Illawarra Dragons, Sydney Roosters
1998-2009

=16
1,554
Graeme Langlands
St. George
1963-1976

=16
1,554
Jamie Lyon
Parramatta Eels, Manly-Warringah Sea Eagles
2000-2004, 2007-2016

18
1,528
Michael Gordon
Penrith Panthers, Cronulla-Sutherland Sharks, Parramatta Eels, Sydney Roosters
2006-

19
1,519
Keith Barnes
Balmain
1955-1968

20
1,500
Matt Orford
Northern Eagles, Melbourne Storm, Manly-Warringah Sea Eagles, Canberra Raiders
2000-2011

21
1,442
Terry Lamb
Western Suburbs Magpies, Canterbury-Bankstown Bulldogs
1980-1996

22
1,388
Steve Gearin
Canterbury-Bankstown Bulldogs, St. George Dragons, Manly-Warringah Sea Eagles
1976-1986

23
1,376
Steve Rogers
Cronulla-Sutherland Sharks, St. George Dragons
1973-1985

24
1,363
Ivan Cleary
Manly-Warringah Sea Eagles, North Sydney Bears, Sydney City Roosters, New Zealand Warriors
1992-2002

25
1,360
Mat Rogers
Cronulla-Sutherland Sharks, Gold Coast Titans
1995-2001, 2007-2011

26
1,331
Matthew Ridge
Manly-Warringah Sea Eagles, Auckland Warriors
1990-1999

27
1,328
Corey Parker
Brisbane Broncos
2001-2016

28
1,294
John Dorahy
Western Suburbs Magpies, Manly-Warringah Sea Eagles, Illawarra Steelers, North Sydney Bears
1974-1989

29
1,289
Brett Hodgson
Western Suburbs Magpies, Parramatta Eels, Wests Tigers
1997-2008

30
1,288
Ron Willey
Canterbury-Bankstown, Manly-Warringah, Parramatta
1948-1964

31
1,280
Jamie Soward
Sydney Roosters, St. George Illawarra Dragons, Penrith Panthers
2005-2016

32
1,278
Ron Giteau
Western Suburbs Magpies, Eastern Suburbs Roosters
1974-1986

33
1,261
Ken Wilson
Newtown Jets, Penrith Panthers
1971-1983

34
1,228
Kurt Gidley
Newcastle Knights
2001-2015

35
1,218
David Furner
Canberra Raiders
1992-2000

36
1,196
Julian O'Neill
Brisbane Broncos, Western Reds, South Sydney Rabbitohs, North Queensland Cowboys
1991-2001

37
1,191
Darren Lockyer
Brisbane Broncos
1995-2011

38
1,180
Ross Conlon
Western Suburbs Magpies, Canterbury-Bankstown Bulldogs, Balmain Tigers
1981-1988

39
1,160
Greg Alexander
Penrith Panthers, Auckland Warriors
1984-1999

40
1,158
Wayne Bartrim
Gold Coast Seagulls, St. George Dragons, St. George Illawarra Dragons
1991-2001

41
1,157
Benji Marshall
Wests Tigers, St. George Illawarra Dragons, Brisbane Broncos
2003-

=42
1,154
Bernie Purcell
Western Suburbs, South Sydney
1948-1960

=42
1,154
Bob Batty
Manly-Warringah
1959-1971

44
1,092
Rod Wishart
Illawarra Steelers, St. George Illawarra Dragons
1989-1999

45
1,090
Luke Covell
Wests Tigers, Cronulla-Sutherland Sharks
2003-2010

46
1,062
Michael De Vere
Brisbane Broncos
1997-2009

47
1,057
Bob Landers
Eastern Suburbs, Penrith
1959-1970

48
1,054
Scott Prince
North Queensland Cowboys, Brisbane Broncos, West Tigers, Gold Coast Titans
1998-2013

49
1,045
Darcy Russell
Eastern Suburbs, Western Suburbs
1948-1960

50
1,042
Tom Kirk
Canterbury-Bankstown, Newtown, North Sydney
1936-1947

Source: Rugby League Point Scorers (1908-2017)