document_title: Gladiator (2000 film)

question_text: where did they film the coliseum in the gladiator movie

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text: Gladiator (2000 film)

text: Plot[edit]

text: In AD 180, Hispano-Roman General Maximus Decimus Meridius intends to return to his home after he leads the Roman army to victory against the Germanic tribes near Vindobona on the Limes Germanicus. Emperor Marcus Aurelius tells Maximus that his own son, Commodus, is unfit to rule and that he wishes Maximus to succeed him, as regent, to help save Rome from corruption. Commodus murders his father when he is told about the plan.

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text: Commodus announces he is the new Emperor and asks Maximus for his loyalty, but the general refuses. Maximus is arrested by guards and is told that he and his family will die. He kills his captors and rides for his home near Trujillo, where he finds his family murdered. Maximus buries his wife and son; then collapses. He is found by slavers who take him to the Roman province of Zucchabar, where he is sold to a gladiator trainer named Proximo.

text: Although reluctant at first, Maximus fights in local tournaments and makes friends with two other gladiators: Juba, a Numidian; and Hagen, a German. His military skills help him win matches and gain recognition from other gladiators and the crowd. Proximo reveals that he was once a gladiator, and advises Maximus that he must "win the crowd" to win his freedom. Proximo takes his gladiators to fight in Rome's Colosseum, because Commodus has organized 150 days of games.

text: Disguised by a masked helmet, Maximus debuts in gladiatorial combat in the Colosseum as a Carthaginian in a re-enactment of the Battle of Zama. Unexpectedly, Maximus leads his side to victory, and Commodus enters the Colosseum to offer his congratulations. He orders the disguised Maximus, as leader of the gladiators, to show himself and give his name; Maximus reveals himself and declares vengeance. Commodus is compelled by the crowd to let the gladiators live, and the Praetorian Guard is held back from striking them down.

text: Maximus's next fight is a victory against a legendary undefeated gladiator. Commodus orders Maximus to kill the gladiator, but Maximus spares his opponent's life; he is called "Maximus the Merciful" by the crowd. Angered at this outcome, Commodus taunts Maximus about his family's deaths, but Maximus turns and walks away.

text: Maximus discovers from Cicero, his ex-orderly, that his former legions remain loyal. Lucilla, Commodus's sister; Gracchus, an influential senator; and Maximus meet secretly. Maximus will escape Rome, join his soldiers, topple Commodus by force, and hand power back to the Roman Senate. Commodus learns of the plot by threatening Lucilla, and has the Praetorian Guard arrest Gracchus and attack the gladiators' barracks. Proximo and his men, including Hagen, sacrifice themselves to enable Maximus to escape. Maximus is captured at the rendezvous with Cicero, where Cicero is killed.

text: Commodus challenges Maximus to a duel in the Colosseum. He stabs Maximus before the match to gain an advantage. Maximus disarms Commodus, whom the Praetorian Guard refuse to aid. Commodus then produces a hidden knife, which Maximus drives into his throat, killing him. Maximus succumbs to his wound. Before he dies, he asks for political reforms, for his gladiator allies to be freed, and for Senator Gracchus to be reinstated. Maximus's friends and allies honor him as "a soldier of Rome", at Lucilla's behest, and carry his body out of the arena, leaving the dead Commodus behind.

text: Juba visits the Colosseum at night and buries the figurines of Maximus's wife and son at the spot where he died. Juba says he is to return to his own family and promises to see Maximus again, "but not yet".

text: Cast[edit]

text:
Russell Crowe as Maximus Decimus Meridius: a Hispano-Roman legatus forced into becoming a slave who seeks revenge against Commodus. He has earned the favor of Marcus Aurelius, and the love and admiration of Lucilla prior to the events of the film. His home is near Trujillo in today's Province of Cáceres, Spain. After the murder of his family he vows vengeance. Maximus is a fictional character partly inspired by Marcus Nonius Macrinus, Narcissus, Cincinnatus, and Maximus of Hispania. Mel Gibson was first offered the role,[6] but declined as he felt he was too old to play the character. Antonio Banderas and Hugh Jackman were also considered.[7]
Joaquin Phoenix as Commodus: The amoral, power-hungry, twisted son of Marcus Aurelius, he murders his father when he learns that Maximus will hold the emperor's powers in trust until a new republic can be formed.
Connie Nielsen as Lucilla: Maximus's former lover and the older child of Marcus Aurelius. Lucilla has been recently widowed. She resists her brother's incestuous advances and hates him, while also having to be careful to protect her son, Lucius, from her brother's corruption and wrath.
Oliver Reed as Antonius Proximo: An old, gruff gladiator trainer who buys Maximus in North Africa. A former gladiator himself, he was freed by Marcus Aurelius, and gives Maximus his own armor and eventually a chance at freedom, and becomes somewhat of a mentor to Maximus. This was Reed's final film appearance, before he died during the filming. In the original film script, Proximo was supposed to live.
Derek Jacobi as Senator Gracchus: A member of the Roman Senate who opposes Commodus's rule and an ally of Lucilla and Maximus.
Djimon Hounsou as Juba: A Numidian tribesman who was taken from his home and family by slave traders. He becomes Maximus's closest ally and friend, and inspires Maximus to bring down Commodus for the greater good before he joins his family in the afterlife.
Richard Harris as Marcus Aurelius: The old and wise emperor of Rome who appoints Maximus, whom he loves as a son, to be his successor, with the ultimate aim of returning Rome to a republican form of government. He is murdered by his son Commodus before his wish can be fulfilled.
Ralf Möller as Hagen: A Germanic warrior and Proximo's chief gladiator who later befriends Maximus and Juba during their battles in Rome.
Tommy Flanagan as Cicero, by his accent probably a native of Caledonia: Maximus's loyal servant who provides liaison between the enslaved Maximus, his former legion based at Ostia, and Lucilla. He is used as bait for the escaping Maximus and eventually killed by the Praetorian Guard.
David Schofield as Senator Falco: A Patrician, a senator opposed to Gracchus. He helps Commodus to consolidate his power.
John Shrapnel as Senator Gaius: Another Roman senator allied with Gracchus, Lucilla, and Maximus against Commodus.
Tomas Arana as General Quintus: another Roman legatus, who served under and was a friend to Maximus. Made commander of the Praetorian Guard by Commodus, after betraying Maximus. In the extended version, Quintus sees the mad side of the Emperor when he is forced to execute two innocent men. Quintus later redeems himself by refusing to allow Commodus a second sword during the latter's duel with Maximus, and promises to honor Maximus's last wishes.
Spencer Treat Clark as Lucius Verus: The young son of Lucilla. He is named after his father Lucius Verus, who was co-emperor until AD 169 . He is also the grandson of Marcus Aurelius.
David Hemmings as Cassius: the master of ceremonies for the gladiatorial games in the Colosseum.
Sven-Ole Thorsen as Tigris of Gaul: An undefeated champion gladiator who is called out of retirement by Commodus to kill Maximus but is defeated by Maximus. Commodus then ordered Maximus to kill Tigris, but Maximus spared him, much to Commodus' fury.
Omid Djalili as a slave trader.
Giannina Facio as Maximus's wife.
Giorgio Cantarini as Maximus's son, who is the same age as Lucilla's son Lucius.

text: Production[edit]

text: Screenplay[edit]

text: Gladiator was based on an original pitch by David Franzoni, who wrote the first draft.[8] Franzoni was given a three-picture deal with DreamWorks as writer and co-producer on the strength of his previous work, Steven Spielberg's Amistad, which helped establish the reputation of DreamWorks. Not a classical scholar, Franzoni was inspired by Daniel P. Mannix's 1958 novel Those About to Die, and he chose to base his story on Commodus after reading the Augustan History. In Franzoni's first draft, dated April 4, 1998, he named his protagonist Narcissus, a wrestler who, according to the ancient sources Herodian and Cassius Dio, strangled Emperor Commodus to death.[9]

text: Ridley Scott was approached by producers Walter F. Parkes and Douglas Wick. They showed him a copy of Jean-Léon Gérôme's 1872 painting entitled Pollice Verso (Thumbs Down).[10] Scott was enticed by filming the world of Ancient Rome. However, Scott felt Franzoni's dialogue was too "on the nose" (lacking subtlety) and hired John Logan to rewrite the script to his liking. Logan rewrote much of the first act and made the decision to kill off Maximus's family to increase the character's motivation.[11]

text: Russell Crowe describes being eager for the role as pitched by Walter F. Parkes, in his interview for Inside the Actors Studio: "They said, 'It's a 100-million-dollar film. You're being directed by Ridley Scott. You play a Roman General.' I've always been a big fan of Ridley's."[12]

text: With two weeks to go before filming, the actors complained of problems with the script. William Nicholson was brought to Shepperton Studios to make Maximus a more sensitive character. Nicholson reworked Maximus' friendship with Juba and developed the afterlife thread in the film, saying "he did not want to see a film about a man who wanted to kill somebody."[11]

text: The screenplay faced many rewrites and revisions. Crowe allegedly questioned every aspect of the evolving script and strode off the set when he did not get answers. According to a DreamWorks executive, "(Russell Crowe) tried to rewrite the entire script on the spot. You know the big line in the trailer, 'In this life or the next, I will have my vengeance'? At first he absolutely refused to say it."[13]

text: Russell Crowe described the script situation: "I read the script and it was substantially underdone. Even the character didn't exist on the pages. And that set about a long process, that's probably the first time that I've been in a situation where the script wasn't a complete done deal. We actually started shooting with about 32 pages and went through them in the first couple of weeks."[12]

text: Of the writing and filming process, Crowe added, "Possibly, a lot of the stuff that I have to deal with now in terms of my quote unquote volatility has to do with that experience. Here was a situation where we got to Morocco with a crew of 200 and a cast of a 100 or whatever, and I didn't have anything to learn. I actually didn't know what the scenes were gonna be. We had, I think, one American writer working on it, one English writer working on it, and of course a group of producers who were also adding their ideas, and then Ridley himself; and then, on the occasion where Ridley would say, 'Look, this is the structure for it – what are you gonna say in that?' So then I'd be doing my own stuff, as well. And this is how things like, 'Strength and honor,' came up. This is how things like, 'At my signal, unleash hell,' came up. The name Maximus Decimus Meridius, it just flowed well."[12]

text: Maximus' habit of rubbing soil before each fight references the attachment and affection to his former life as a farmer.[14] In a conversation with Marcus Aurelius, Maximus says the fecund soil of his farm is "black like my wife's hair".[14] Crowe wrote the speech himself, drawing on his feelings of homesickness for his own ranch.[14]

text: Pre-production[edit]

text: In preparation for filming, Scott spent several months developing storyboards to develop the framework of the plot.[15] Over six weeks, production members scouted various locations within the extent of the Roman Empire before its collapse, including Italy, France, North Africa, and England.[16] All of the film's props, sets, and costumes were manufactured by crew members due to high costs and unavailability of the items.[17] One hundred suits of steel armour and 550 suits in polyurethane were made by Rod Vass and his company Armordillo. The unique sprayed-polyurethane system was developed by Armordillo and pioneered for this production. Over a three-month period, 27,500 component pieces of armor were made.[18]

text: Filming[edit]

text: The film was shot in three main locations between January and May 1999. The opening battle scenes in the forests of Germania were shot in three weeks in the Bourne Woods, near Farnham, Surrey, in England.[19] When Scott learned that the Forestry Commission planned to remove a section of the forest, he persuaded them to allow the battle scene to be shot there and burn it down.[20] Scott and cinematographer John Mathieson used multiple cameras filming at various frame rates and a 45-degree shutter, creating stop motion effects in the action sequences, similar to techniques used for the battle sequences of Saving Private Ryan (1998).[21] Subsequently, the scenes of slavery, desert travel, and gladiatorial training school were shot in Ouarzazate, Morocco, just south of the Atlas Mountains over a further three weeks.[22] To construct the arena where Maximus has his first fights, the crew used basic materials and local building techniques to manufacture the 30,000-seat mud brick arena.[23] Finally, the scenes of Ancient Rome were shot over a period of nineteen weeks in Fort Ricasoli, Malta.[24][25]

text: In Malta, a replica of about one-third of Rome's Colosseum was built, to a height of 52 feet (15.8 meters), mostly from plaster and plywood (the other two-thirds and remaining height were added digitally).[26] The replica took several months to build and cost an estimated $1 million.[27] The reverse side of the complex supplied a rich assortment of Ancient Roman street furniture, colonnades, gates, statuary, and marketplaces for other filming requirements. The complex was serviced by tented "costume villages" that had changing rooms, storage, armorers, and other facilities.[24] The rest of the Colosseum was created in computer-generated imagery using set-design blueprints and textures referenced from live action, and rendered in three layers to provide lighting flexibility for compositing in Flame and Inferno software.[28]

text: Post-production[edit]

text: British post-production company The Mill was responsible for much of the computer-generated imagery effects that were added after filming. The company was responsible for such tricks as compositing real tigers filmed on bluescreen into the fight sequences, and adding smoke trails and extending the flight paths of the opening scene's salvo of flaming arrows to get around regulations on how far they could be shot during filming. They also used 2,000 live actors to create a computer-generated crowd of 35,000 virtual actors that had to look believable and react to fight scenes.[29] The Mill accomplished this by shooting live actors at different angles giving various performances, and then mapping them onto cards, with motion-capture tools used to track their movements for three-dimensional compositing.[28] The Mill created over 90 visual effects shots, comprising approximately nine minutes of the film's running time.[30]

text: An unexpected post-production job was caused by the death of Oliver Reed of a heart attack during the filming in Malta, before all his scenes had been shot. The Mill created a digital body double for the remaining scenes involving his character Proximo[28] by photographing a live action body-double in the shadows and by mapping a three-dimensional computer-generated imagery mask of Reed's face to the remaining scenes during production at an estimated cost of $3.2 million for two minutes of additional footage.[31][32] Visual effects supervisor John Nelson reflected on the decision to include the additional footage: "What we did was small compared to our other tasks on the film. What Oliver did was much greater. He gave an inspiring, moving performance. All we did was help him finish it."[31] The film is dedicated to Reed's memory.[33]

text: Historical authenticity[edit]

text: Development[edit]

text: The film is loosely based on real events that occurred within the Roman Empire in the latter half of the 2nd century AD. As Ridley Scott wanted to portray Roman culture more accurately than in any previous film, he hired several historians as advisors. Nevertheless, some deviations from historical fact were made to increase interest, maintain narrative continuity, and for practical or safety reasons. Scott also stated that due to the influence of previous films affecting the public perception of what ancient Rome was like, some historical facts were "too unbelievable" to include. For instance in an early version of the script, gladiators would have been carrying out product endorsements in the arena; while this would have been historically accurate, it was not filmed for fear that audiences would think it anachronistic.[34]

text: At least one historical advisor resigned due to these changes. Another asked not to be mentioned in the credits (though it was stated in the director's commentary that he constantly asked, "where is the proof that certain things were exactly like they say?"). Historian Allen Ward of the University of Connecticut believed that historical accuracy would not have made Gladiator less interesting or exciting because "creative artists need to be granted some poetic license, but that should not be a permit for the wholesale disregard of facts in historical fiction".[35][36]

text: Fictionalization[edit]

text: Marcus Aurelius died at Vindobona (a Roman camp on the site of modern-day Vienna in Austria) in 180 AD; he was not murdered by his son Commodus following the final battle of the Marcomannic Wars. In reality Marcus Aurelius shared the rule of the Empire with Commodus for three years before his own death. Commodus then ruled alone from that point until his death at the end of 192 AD.

text: The character of Maximus is fictional, although in some respects he resembles the historical figures Narcissus (Commodus's real-life murderer and the character's name in the first draft of the screenplay),[37] Spartacus (who led a significant slave revolt in 73-71 BC), Cincinnatus (519-430 BC) (a farmer who was made dictator, saved Rome from invasion, then resigned his six-month appointment after 15 days),[38][39] and Marcus Nonius Macrinus (a trusted general, Consul in 154 AD, and friend of Marcus Aurelius).[40][41][42] Although Commodus engaged in show combat in the Colosseum, he was not killed in the arena; he was strangled in his bath by the wrestler Narcissus. Commodus reigned for over twelve years, unlike the shorter period portrayed in the film.[43][44]

text: The character of Maximus had a similar career (and personality traits as documented by Herodian) to Claudius Pompeianus (a Syrian) who married Marcus Aurelius' daughter Lucilla following the death of Lucius Verus. It is believed Aurelius may have wanted Pompeianus to succeed him as Caesar in preference to Commodus but was turned down. Pompeianus had no part in any of the many plots against Commodus. He was not depicted in the film.[35]

text: In the film the character Antonius Proximo claims "the wise" Marcus Aurelius banned gladiatorial games in Rome forcing him to move to Mauretania. The real Aurelius did ban the games, but only in Antioch as punishment for the city's support of the usurper Avidius Cassius. No games were ever banned in Rome. However, when the Emperor started conscripting gladiators into the legions, the resulting shortage in fighters allowed lanistae such as Proximo to make "windfall" profits through increased charges for their services.[45]

text: In real life, the death of Commodus did not result in a peace for Rome, nor a return to the Roman Republic. Rather, it ushered in a chaotic and bloody power struggle that culminated in the Year of the Five Emperors of AD 193. According to Herodian, the people of Rome were overjoyed at the news of Commodus dying, although they feared that the praetorians would not accept the new emperor Pertinax.[46]

text: Anachronisms[edit]

text: Costumes within the film are almost never completely historically correct. Some of the soldiers wear fantasy helmets. The bands wrapped around their lower arms were rarely ever worn. Their appearance is the product of historical movies always depicting peoples of antiquity wearing such bands. Although the film is set within the 2nd century AD, the Imperial Gallic armor and the helmets worn by the legionaries are from AD 75, a century earlier. This was superseded by new designs in AD 100. Likewise the legions' standard bearers (Aquilifer), centurions, mounted forces, and auxiliaries would have worn scale armour, lorica squamata.[47][48] The Germanic tribes are dressed in clothes from the Stone Age period.[49]

text: The Roman cavalry are shown attacking using stirrups. This is anachronistic in that the horse-mounted forces of the Roman army used a two-horned saddle. Stirrups were only employed for safety reasons because of the additional training and skill required to ride with a Roman saddle.[45][50] Catapults and ballistae would not have been used in a forest. They were reserved primarily for sieges and were rarely used in open battles.[45]

text: The Praetorian Guards seen in the film are all wearing black uniforms. No historical evidence supports that. On campaign they usually wore standard legionary equipment albeit with some unique decorative elements.[51]

text: In the bird's eye view of Rome when the city is introduced for the first time there are several buildings that did not exist at the time of Gladiator. For example, the Basilica of Maxentius and Constantine is quite prominent; however, it was not completed until AD 312.

text: Influences[edit]

text: The film's plot was influenced by two 1960s Hollywood films of the sword-and-sandal genre, The Fall of the Roman Empire and Spartacus,[52] and shares several plot points with The Fall of the Roman Empire, which tells the story of Livius, who, like Maximus in Gladiator, is Marcus Aurelius's intended successor. Livius is in love with Lucilla and seeks to marry her while Maximus, who is happily married, was formerly in love with her. Both films portray the death of Marcus Aurelius as an assassination. In Fall of the Roman Empire a group of conspirators independent of Commodus, hoping to profit from Commodus's accession, arrange for Marcus Aurelius to be poisoned; in Gladiator Commodus himself murders his father by smothering him. In the course of Fall of the Roman Empire Commodus unsuccessfully seeks to win Livius over to his vision of empire in contrast to that of his father, but continues to employ him notwithstanding; in Gladiator, when Commodus fails to secure Maximus's allegiance, he executes Maximus's wife and son and tries unsuccessfully to execute him. Livius in Fall of the Roman Empire and Maximus in Gladiator kill Commodus in single combat, Livius to save Lucilla and Maximus to avenge the murder of his wife and son, and both do it for the greater good of Rome.

text: Scott cited Spartacus and Ben-Hur as influences on the film: "These movies were part of my cinema-going youth. But at the dawn of the new millennium, I thought this might be the ideal time to revisit what may have been the most important period of the last two thousand years – if not all recorded history – the apex and beginning of the decline of the greatest military and political power the world has ever known."[53]

text: Spartacus provides the film's gladiatorial motif, as well as the character of Senator Gracchus, a fictitious senator (bearing the name of a pair of revolutionary Tribunes from the 2nd century BC) who in both films is an elder statesman of ancient Rome attempting to preserve the ancient rights of the Roman Senate in the face of an ambitious autocrat –Marcus Licinius Crassus in Spartacus and Commodus in Gladiator. Both actors who played Gracchus (in Spartacus and Gladiator), played Claudius in previous films – Charles Laughton of Spartacus played Claudius in the unfinished 1937 film I, Claudius and Sir Derek Jacobi of Gladiator, played Claudius in the 1976 BBC adaptation. Both films also share a specific set piece, wherein a gladiator (Maximus here, Woody Strode's Draba in Spartacus) throws his weapon into a spectator box at the end of a match, as well as at least one line of dialogue: "Rome is the mob", said here by Gracchus and by Julius Caesar (John Gavin) in Spartacus.

text: The film's depiction of Commodus's entry into Rome borrows imagery from Leni Riefenstahl's Nazi propaganda film Triumph of the Will (1935), although Scott has pointed out that the iconography of Nazi rallies was itself inspired by the Roman Empire. Gladiator reflects back on the film by duplicating similar events that occurred in Adolf Hitler's procession. The Nazi film opens with an aerial view of Hitler arriving in a plane, while Scott shows an aerial view of Rome, quickly followed by a shot of the large crowd of people watching Commodus pass them in a procession with his chariot.[54] The first thing to appear in Triumph of the Will is a Nazi eagle, which is alluded to when a statue of an eagle sits atop one of the arches (and then is shortly followed by several more decorative eagles throughout the rest of the scene) leading up to the procession of Commodus. At one point in the Nazi film, a little girl gives flowers to Hitler, while Commodus is met by several girls who all give him bundles of flowers.[55]

text: Music[edit]

text:
Hans Zimmer and Lisa Gerrard – "Now We Are Free"

listen to a clip from the score of Gladiator.

Problems playing this file? See media help.

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text: The Oscar-nominated score was composed by Hans Zimmer and Lisa Gerrard, and conducted by Gavin Greenaway. Zimmer was originally planning to use Israeli vocalist Ofra Haza for the score, after his work with her in The Prince of Egypt. However, Haza died in late February 2000, before she was able to record, and so Gerrard was chosen instead. Lisa Gerrard's vocals are similar to her own work on The Insider score.[56] The music for many of the battle scenes has been noted as similar to Gustav Holst's "Mars: The Bringer of War", and in June 2006, the Holst Foundation sued Hans Zimmer for allegedly copying the late Holst's work.[57][58] Another close musical resemblance occurs in the scene of Commodus's triumphal entry into Rome, accompanied by music clearly evocative of two sections – the Prelude to Das Rheingold and Siegfried's Funeral March from Götterdämmerung – from Richard Wagner's Ring of the Nibelung. On February 27, 2001, nearly a year after the first soundtrack's release, Decca produced Gladiator: More Music From the Motion Picture. Then, on September 5, 2005, Decca produced Gladiator: Special Anniversary Edition, a two-CD pack containing both the above-mentioned releases. Some of the music from the film was featured in the NFL playoffs in January 2003 before commercial breaks and before and after half-time.[59] In 2003, Luciano Pavarotti released a recording of himself singing a song from the film and said he regretted turning down an offer to perform on the soundtrack.[60]

text: Reception[edit]

text: Box office[edit]

text: Gladiator grossed $187.7 million in the United States and Canada and $269.9 million in other territories for a total of $457.6 million, against a production budget of $103 million.[61]

text: In North America, the film earned $34.8 million in its opening weekend at 2,938 theaters, topping the box office.[62] It remained number one in its second weekend grossing $24.6 million, and dropped to third place in its third weekend with $19.7 million behind newcomers Mission: Impossible 2 and Shanghai Noon.[63][64]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 76% based on 186 reviews; the average rating is 7.2/10. The site's critical consensus reads, "Ridley Scott and an excellent cast successfully convey the intensity of Roman gladiatorial combat as well as the political intrigue brewing beneath." [65] On Metacritic, which assigns a normalized rating, the film has a score of 67 out of 100, based on 37 critics, indicating "generally favorable reviews".[66] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[67]

text: The Battle of Germania was cited by CNN as one of their "favorite on-screen battle scenes",[68] while Entertainment Weekly named Maximus as their sixth favorite action hero, because of "Crowe's steely, soulful performance",[69] and named it as their third favorite revenge film.[70] In December 2000, Gladiator was named the best film of the year by viewers of Film 2000, taking 40% of the votes.[71] In 2002, a Channel 4 (UK TV) poll named it as the sixth greatest film of all time.[72] Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Are you not entertained?".[73]

text: It was not without its deriders. Roger Ebert gave the film 2 out of 4 stars and criticized the look of the film as "muddy, fuzzy, and indistinct." He also derided the writing, saying it "employs depression as a substitute for personality, and believes that if characters are bitter and morose enough, we won't notice how dull they are."[74] Camille Paglia called the film "boring, badly shot and suffused with sentimental p.c. rubbish."[75]

text: Accolades[edit]

text: Gladiator was nominated in 36 individual ceremonies, including the 73rd Academy Awards, the BAFTA Awards, and the Golden Globe Awards. Of 119 award nominations, the film won 48 prizes.[76]

text: The film won five Academy Awards and was nominated for an additional seven, including Best Original Screenplay, Best Supporting Actor for Joaquin Phoenix and Best Director for Ridley Scott. It was the first movie to win Best Picture without winning either a directing or screenwriting award since All the King's Men at the 22nd Academy Awards in 1950. In 2003, Chicago became another Best Picture winner which didn't win an Academy Award in either of these two major categories. Due to Academy rules, only Hans Zimmer was officially nominated for Best Music, Original Score, and not to Lisa Gerrard at the time.[77] However, the pair did win the Golden Globe Award for Best Original Score as co-composers.

text:
73rd Academy Awards[78]

Best Picture (Douglas Wick, David Franzoni and Branko Lustig)
Best Actor in a Leading Role (Russell Crowe)
Best Visual Effects
Best Costume Design
Best Sound Mixing (Bob Beemer, Scott Millan and Ken Weston)

BAFTA Awards

Best Cinematography
Best Editing
Best Film
Best Production Design

58th Golden Globe Awards

Best Motion Picture – Drama
Best Original Score – Motion Picture

American Film Institute Lists

AFI's 100 Years...100 Heroes and Villains:

General Maximus Decimus Meridius – #50 Hero[79]

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

"Father to a murdered son. Husband to a murdered wife. And I will have my vengeance, in this life or the next." – Nominated[80]

AFI's 100 Years of Film Scores – Nominated[81]
AFI's 100 Years...100 Cheers – Nominated[82]
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated[83]
AFI's 10 Top 10 – Nominated Epic Film[84]

text: Impact[edit]

text: The film's mainstream success is responsible for an increased interest in Roman and classical history in the United States. According to The New York Times, this has been dubbed the "Gladiator Effect".

text: It's called the 'Gladiator' effect by writers and publishers. The snob in us likes to believe that it is always books that spin off movies. Yet in this case, it's the movies – most recently Gladiator two years ago – that have created the interest in the ancients. And not for more Roman screen colossals, but for writing that is serious or fun or both."[85]

text: The Cicero biography Cicero: The Life and Times of Rome's Greatest Politician and Gregory Hays's translation of Marcus Aurelius's Meditations received large spikes in sales after the release of the film.[85] The film also began a revival of the historical epic genre with films such as Troy, The Alamo, King Arthur, Alexander, 300, Kingdom of Heaven and Robin Hood (the last two were also directed by Scott).[86] The character of Maximus was placed 12th in the Total Film list of 50 best movie heroes and villains[87] and 35th in the Empire's 100 Greatest Movie Characters.[88] Maximus is also featured on 55c "Australian Legends" postage stamp series.[89] Russell Crowe attended a ceremony to mark the creation of the stamps.[89]

text: Home media[edit]

text: The film was first released on DVD on November 21, 2000, and has since been released in several different extended and special edition versions. Special features for the Blu-ray Disc and DVDs include deleted scenes, trailers, documentaries, commentaries, storyboards, image galleries, Easter eggs, and cast auditions. The film was released on Blu-ray in September 2009, in a 2-disc edition containing both the theatrical and extended cuts of the film, as part of Paramount's "Sapphire Series" (Paramount bought the DreamWorks library in 2006).[90] Initial reviews of the Blu-ray Disc release criticized poor image quality, leading many to call for it to be remastered, as Sony did with The Fifth Element in 2007.[91] A remastered version was later released in 2010.

text: The DVD editions that have been released since the original two-disc version, include a film only single-disc edition as well as a three-disc "extended edition" DVD which was released in August 2005. The extended edition DVD features approximately fifteen minutes of additional scenes, most of which appear in the previous release as deleted scenes. The original cut, which Scott still calls his director's cut, is also select-able via seamless branching (which is not included on the UK edition). The DVD is also notable for having a new commentary track featuring director Scott and star Crowe. The film is on the first disc, the second one has a three-hour documentary into the making of the film by DVD producer Charles de Lauzirika, and the third disc contains supplements. Discs one and two of the three-disc extended edition were also repackaged and sold as a two-disc "special edition" in the EU in 2005.

text: Possible sequel[edit]

text: In June 2001, Douglas Wick said a Gladiator prequel was in development.[92] The following year, Wick, Walter Parkes, David Franzoni, and John Logan switched direction to a sequel set fifteen years later;[93] the Praetorian Guards rule Rome and an older Lucius is trying to learn who his real father was. However, Russell Crowe was interested in resurrecting Maximus, and further researched Roman beliefs about the afterlife to accomplish this.[94] Ridley Scott expressed interest, although he admitted the project would have to be retitled as it had little to do with gladiators.[95] An easter egg contained on disc 2 of the extended edition / special edition DVD releases includes a discussion of possible scenarios for a follow-up. This includes a suggestion by Parkes that, in order to enable Russell Crowe to return to play Maximus, who dies at the end of the original movie, a sequel could involve a "multi-generational drama about Maximus and the Aureleans and this chapter of Rome", similar in concept to The Godfather Part II.

text: In 2006, Scott stated he and Crowe approached Nick Cave to rewrite the film, but their ideas conflicted with DreamWorks's idea of a spin-off involving Lucius, whom Scott revealed would turn out to be Maximus's son with Lucilla. Scott noted that a tale of corruption in Rome was too complex, whereas Gladiator worked due to its simple drive.[96] In 2009, details of Cave's ultimately-rejected script surfaced on the internet: the script having Maximus being reincarnated by the Roman gods and returned to Rome to defend Christians against persecution; then transported to other important periods in history, including World War II, the Vietnam War, and finally being a general in the modern-day Pentagon. This script for a sequel, however, was rejected as being too far-fetched, and not in keeping with the spirit and theme of the original film.[97][98]

text: In March 2017, Scott again stated that he has an idea of how a sequel could be done, and that he is currently trying to convince Russell Crowe to reprise his role as Maximus.[99]


document_title: June Stahl

question_text: when does the atf agent die in sons of anarchy

text: June Stahl

text: Season one[edit]

text: June Stahl arrives in Charming in episode 6, "AK-51", and is assigned to a case involving the Sons of Anarchy Motorcycle Club and their involvement in inter-state arms trafficking. She had been called in by David Hale, the local police department's Deputy Chief, as he had been struggling to rid the town of the gang due to his superior, Wayne Unser's, corruptness. She soon becomes involved in an affair with David Hale. Jax Teller, SAMCRO's Vice President, witnessed them in a sexual encounter at the police station while breaking Cherry out of lockup. Agent Stahl became even more obsessed with crushing SAMCRO after being severely beaten by Big Otto Delaney, who hit her head into a table as a way to show the club that he did not succumb to her pressure. He also detested her for arresting his wife Luann as a way to force him to become an informant. Her subsequent attempts to recruit Opie Winston caused her to trick Clay Morrow, SAMCRO's President, into believing that Opie had betrayed the Club and the others with whom he murdered Hefferen, a port commissioner. Clay responded by ordering Tig Trager to kill Opie and pin it on the One-Niners street gang. Opie's wife, who was driving his truck, was mistakenly killed instead. This incident caused a rift between Stahl and Deputy Chief Hale, who icily told her at the crime scene, "This blood's on you." She continued in her attempts to bring down SAMCRO until the very end, keeping another member, Bobby Munson, in jail three weeks after the case was dropped and he was a free man. When Bobby asked her why she did that, even though it caused so much sorrow and did not accomplish anything, she says it gave her peace of mind.

text: In a deleted scene on the Season 1 DVD, she is shown waking up with a naked woman in her bed and telling her she has to go, thus revealing she is bisexual. This is the end of the episode.

text: Season two[edit]

text: Agent Stahl returned again later in Season Two to investigate the L.O.A.N. and the True IRA. She visits Clay in jail in attempt to get him to turn on the IRA. Although she fails at that, their conversation ultimately provokes a physical confrontation between Jax and Clay. She also visits Jax Teller as well in an attempt to exploit the schism between SAMCRO and the IRA and ends up revealing the IRA's betrayal of SAMCRO to L.O.A.N. Jax declines the offer and instills dread upon Stahl with the revelation of her colleague Josh Kohn's murder.

text: Stahl was able to prey on Chibs Telford's desire to reunite with his family and the two worked out a deal where if Chibs delivered the True IRA to the ATF, she would rescue his estranged wife and daughter and would grant complete immunity for any crimes to SAMCRO. However, Stahl decided to change the deal (no immunity for SAMCRO) but couldn't convince Chibs to go along with it. She threatened him by saying that she herself would tell the IRA about Chibs' betrayal, but she was still unable to break him.

text: When Opie found out that his wife, Donna's, death was a result of Stahl making Opie appear to be a snitch, he found her and threatened her at gunpoint. However, he showed mercy and let her live. He took out the empty magazine to his gun and gave it to Stahl. After Opie left, Stahl broke down and started crying.

text: In the season two finale, Stahl discovers that Ethan Zobelle is an F.B.I. informant and passes the information to Chief Unser, who in turn passes it onto SAMCRO. She continued her sting operation with Edmond Hayes and was able to arrange a meeting between him and his father, Cameron. Cameron secretly told Edmond to kill Stahl, so Edmond convinced Stahl that another meeting would take place and she arranged for only herself to be present. At his home, Edmond retrieved a gun but couldn't bring himself to kill Stahl. Stahl revealed that the ATF knew all along about Cameron's plan and that Edmond's gun was loaded with blanks. Feeling like a fool, Edmond punched Stahl and attempted to escape, but Stahl was able to fire several shots from her sidearm and accidentally killed Edmond. Soon after, Polly Zobelle showed up to say goodbye to Edmond, but instead found his dead body. Before finding Stahl, Gemma Teller appeared in the house, looking to exact revenge on Polly. Gemma killed Polly in self-defense and then discovered Edmond's body and Stahl. After telling Gemma to flee, Stahl tricked Gemma into handling her gun, making it appear that Gemma killed both Polly and Edmond.

text: After Gemma escaped, Stahl announced over her radio that Gemma had murdered Polly Zobelle and then took Stahl's sidearm to kill Edmond Hayes. However, Edmond's father had been eavesdropping on Stahl's broadcast and ends up killing SAMCRO member Half-Sack and kidnapping Jax's infant son in retaliation.

text: Season three[edit]

text: At the start of season three, Stahl showed no remorse for the fact that her actions led to the death of Half-Sack and the kidnapping of baby Abel. She was demoted off of the IRA case by the ATF after the events at the end of season 2 but was looking for ways to return to the case. She interrogated Tara regarding the kidnapping and was agitated even though Tara was being truthful in an effort to get law enforcement to assist in the search for Abel. Clay told Stahl that if anything happened to Abel because of her, he will personally kill her, which terrified Stahl inside.

text: Gemma Teller made a personal deal with Stahl to surrender to the federal authorities, but her heart condition flares, causing her to pass out in the drive way of the SAMCRO clubhouse before she can turn herself in. At the hospital, Stahl informed Gemma that the US Attorney will take away the deal because she didn't turn herself in even though she was incapacitated. Jax took a risky move and secretly made an off-the-record deal with Stahl to give her the True IRA in exchange for Stahl pushing back their upcoming bail hearing, reduced time on their gun charges, and Stahl recanting her statement against Gemma.

text: Stahl proved to be trustworthy in her deal with Jax when she is able to push back SAMCRO's bail hearing by 10 days so that the bikers can go to Belfast to get Abel back. She supplied a rigged testimony for Gemma to relay to the U.S. Attorney's office, incriminating Agent Tyler in the process. She has been trustworthy because she knows that Jax's knowledge of the California gun-running operation can save her dying career and unlike the rest of her deals she had a lot to lose by breaking.

text: It is reinforced in season three that Agent Stahl is bisexual as she is shown to be having an intimate relationship with Agent Tyler, the one she incriminated in the statement she gave to Gemma. During an assignment, Stahl shoots Agent Tyler in the throat and sets it up as a drive-by from a Mexican gang. In her statement, she admits their intimate relationship and claims that Agent Tyler had confessed to framing Gemma for the murder of Edmond, thereby exonerating Gemma and holding up her end of the deal. When Gemma finds out about the deal, she threatens to revoke her statement and tell the authorities who really wrote it. Stahl replies that she is already too late, as she has already been exonerated.

text: In the finale of Season 3, she exposes Jax's deal to the club thinking they would kill him. Her motivation for doing so seems to have been malicious. However, Jax was aware that she could not be trusted and had already informed the other members of the club. This led ultimately to Opie, with the help of Unser, targeting Agent Stahl in retribution for her role in the death of his wife, Donna. During this confrontation Stahl breaks down crying and begs Opie for her life, to which Opie responds, "This is what she felt." He then shoots Stahl in the back of the head with a MAC-10, instantly killing her. After this, Chibs Telford rigs the scene to look as if the real IRA murdered Stahl and Jimmy O'Phelan.


document_title: Rail Budget

question_text: who presented last seperate rail budget of india

text: Rail Budget

text: History[edit]

text: Following the recommendation of the Acworth Committee in 1920-21, headed by British railway economist William Acworth[2] The "Acworth Report" led to reorganisation of railways, the railway finances were separated from the general government finances in 1921. After that in 1924 the budget was announced, a practice that continued till 2016.[3][4][5]

text: The first live telecast took place on 24 March 1994.

text: Lalu Prasad Yadav, who remained Railways Minister from 2004 to May 2009, presented the railway budget 6 times in a row. In 2009, under his tenure a ₹108 billion (US$1.7 billion) budget was passed.[6]

text: In the year 2000, Mamata Banerjee (later Chief Minister of West Bengal) became the first female Railway Minister. In 2002, she became the first female to present the Railway budget and is the only woman to do so for two different governing coalitions (NDA and UPA).

text: In 2014 budget, Railway Minister D. V. Sadananda Gowda announced the first bullet train and 9 High-Speed Rail routes.[7]

text: The last Railway Budget [8] was presented on 25 February 2016 by Mr. Suresh Prabhu.


document_title: List of National Basketball Association single-game scoring leaders

question_text: who has scored the most points in a nba game

text: Key[edit]

text:
^
Denotes player who is currently active in the NBA

*
Denotes player who has been inducted into the Naismith Memorial Basketball Hall of Fame

Occurred in playoff competition

Player's team lost the game

MP
Minutes played
FGM
Field goals made
FGA
Field goal attempts

3PM
3-point field goals made
3PA
3-point field goal attempts
DNP
Did not play

FTM
Free throws made
FTA
Free throw attempts

text: List[edit]

text:
Rank
Points
Player
Date
1st
2nd
3rd
4th
Team
Opponent
Score
MP
FGM
FGA
3PM
3PA
FTM
FTA
Notes
Ref.

Scoring by quarter

1
100
Chamberlain, WiltWilt Chamberlain*
000000001962-03-02-0000March 2, 1962
23
18
28
31
Philadelphia Warriors
New York Knicks
169–147
48
36
63
—
—
28
32
[A]
[1][2] [3][4][5]

2
81
Bryant, KobeKobe Bryant
000000002006-01-22-0000January 22, 2006
14
12
27
28
Los Angeles Lakers
Toronto Raptors
122–104
41:56
28
46
7
13
18
20
[B]
[6][7][8]

3
78
Chamberlain, WiltWilt Chamberlain*
000000001961-12-08-0000December 8, 1961
—
—
—
—
Philadelphia Warriors
Los Angeles Lakers
147–151
63
31
62
—
—
16
31
[C]
[5]

4
73
Chamberlain, WiltWilt Chamberlain*
000000001962-01-13-0000January 13, 1962
—
—
—
—
Philadelphia Warriors
Chicago Packers
135–117
48
29
48
—
—
15
25
[D]
[5]

73
Chamberlain, WiltWilt Chamberlain*
000000001962-11-16-0000November 16, 1962
—
—
—
—
San Francisco Warriors
New York Knicks
127–111
48
29
43
—
—
15
19
[E]
[9]

73
Thompson, DavidDavid Thompson*
000000001978-04-09-0000April 9, 1978
32
21
9
11
Denver Nuggets
Detroit Pistons
137–139
43
28
38
—
—
17
20
[F]

7
72
Chamberlain, WiltWilt Chamberlain*
000000001962-11-03-0000November 3, 1962
—
—
—
—
San Francisco Warriors
Los Angeles Lakers
115–127
—
29
48
—
—
14
18

[9]

8
71
Baylor, ElginElgin Baylor*
000000001960-11-15-0000November 15, 1960
—
—
—
—
Los Angeles Lakers
New York Knicks
123–108
45
28
48
—
—
15
18
[G]

71
Robinson, DavidDavid Robinson*
000000001994-04-24-0000April 24, 1994
18
6
19
28
San Antonio Spurs
Los Angeles Clippers
112–97
44
26
41
1
2
18
25
[H]
[10][11]

10
70
Chamberlain, WiltWilt Chamberlain*
000000001963-03-10-0000March 10, 1963
—
—
—
—
San Francisco Warriors
Syracuse Nationals
148–163
48
27
38
—
—
16
22

[9]

70
Booker, DevinDevin Booker^
March 24, 2017
10
9
23
28
Phoenix Suns
Boston Celtics
120–130
45
21
40
4
11
24
26
[I]

12
69
Jordan, MichaelMichael Jordan*
000000001990-03-28-0000March 28, 1990
16
15
20
18
Chicago Bulls
Cleveland Cavaliers
117–113
50
23
37
2
6
21
23
[J]
[12][13][14]

13
68
Chamberlain, WiltWilt Chamberlain*
000000001967-12-16-0000December 16, 1967
14
15
15
24
Philadelphia 76ers
Chicago Bulls
143–123
—
30
40
—
—
8
22

68
Maravich, PetePete Maravich*
000000001977-02-25-0000February 25, 1977
17
14
17
20
New Orleans Jazz
New York Knicks
124–107
43
26
43
—
—
16
19

15
67
Chamberlain, WiltWilt Chamberlain*
000000001961-03-09-0000March 9, 1961
—
—
—
—
Philadelphia Warriors
New York Knicks
135–126
—
27
37
—
—
13
17

67
Chamberlain, WiltWilt Chamberlain*
000000001962-02-17-0000February 17, 1962
—
—
—
—
Philadelphia Warriors
St. Louis Hawks
121–128
48
26
44
—
—
15
20

[5]

67
Chamberlain, WiltWilt Chamberlain*
000000001962-02-25-0000February 25, 1962
—
—
—
—
Philadelphia Warriors
New York Knicks
135–149
48
25
38
—
—
17
22

[5]

67
Chamberlain, WiltWilt Chamberlain*
000000001963-01-11-0000January 11, 1963
—
—
—
—
San Francisco Warriors
Los Angeles Lakers
129–134
—
28
47
—
—
11
17

[9]

19
66
Chamberlain, WiltWilt Chamberlain*
000000001969-02-09-0000February 9, 1969
17
17
22
10
Los Angeles Lakers
Phoenix Suns
134–116
48
29
35
—
—
8
18
[K]

20
65
Chamberlain, WiltWilt Chamberlain*
000000001962-02-13-0000February 13, 1962
—
—
—
—
Philadelphia Warriors
Cincinnati Royals
132–152
48
24
40
—
—
17
30

[5]

65
Chamberlain, WiltWilt Chamberlain*
000000001962-02-27-0000February 27, 1962
—
—
—
—
Philadelphia Warriors
St. Louis Hawks
147–137
48
25
43
—
—
15
20

[5]

65
Chamberlain, WiltWilt Chamberlain*
000000001966-02-07-0000February 7, 1966
—
—
—
—
Philadelphia 76ers
Los Angeles Lakers
132–125
—
28
43
—
—
9
20

65
Bryant, KobeKobe Bryant
000000002007-03-16-0000March 16, 2007
4
19
9
24
Los Angeles Lakers
Portland Trail Blazers
116–111
49:58
23
39
8
12
11
12
[L]
[15]

24
64
Baylor, ElginElgin Baylor*
000000001959-11-08-0000November 8, 1959
13
12
17
22
Minneapolis Lakers
Boston Celtics
136–115
—
25
47
—
—
14
19
[M]

64
Barry, RickRick Barry*
000000001974-03-26-0000March 26, 1974
—
—
23
22
Golden State Warriors
Portland Trail Blazers
143–120
43
30
45
—
—
4
5

64
Jordan, MichaelMichael Jordan*
000000001993-01-16-0000January 16, 1993
22
8
11
16
Chicago Bulls
Orlando Magic
124–128
47
27
49
1
5
9
11
[N]
[16]

27
63
Fulks, JoeJoe Fulks*
000000001949-02-10-0000February 10, 1949
—
—
—
—
Philadelphia Warriors
Indianapolis Jets
108–87
—
27
56
—
—
9
14
[O]

63
Baylor, ElginElgin Baylor*
000000001961-12-08-0000December 8, 1961
—
—
—
—
Los Angeles Lakers
Philadelphia Warriors
151–147
—
23
55
—
—
17
24
[P]
[17]

63
West, JerryJerry West*
000000001962-01-17-0000January 17, 1962
—
—
—
—
Los Angeles Lakers
New York Knicks
129–121
39
22
36
—
—
19
22

63
Chamberlain, WiltWilt Chamberlain*
000000001962-12-14-0000December 14, 1962
—
—
—
—
San Francisco Warriors
Los Angeles Lakers
118–120
—
24
41
—
—
15
20

[9]

63
Chamberlain, WiltWilt Chamberlain*
000000001964-11-26-0000November 26, 1964
—
—
—
—
San Francisco Warriors
Philadelphia 76ers
117–128
—
27
58
—
—
9
20

63
Gervin, GeorgeGeorge Gervin*
000000001978-04-09-0000April 9, 1978
20
33
10
DNP
San Antonio Spurs
New Orleans Jazz
132–153
33
23
49
—
—
17
20
[Q]

63
Jordan, MichaelMichael Jordan*
000000001986-04-20-0000April 20, 1986
17
6
13
18
Chicago Bulls
Boston Celtics
131–135
53
22
41
0
0
19
21
[R]

34
62
Chamberlain, WiltWilt Chamberlain*
000000001962-01-14-0000January 14, 1962
—
—
—
—
Philadelphia Warriors
Boston Celtics
136–145
48
27
45
—
—
8
10

[5]

62
Chamberlain, WiltWilt Chamberlain*
000000001962-01-17-0000January 17, 1962
—
—
—
—
Philadelphia Warriors
St. Louis Hawks
136–130
53
24
48
—
—
14
20
[S]
[5]

62
Chamberlain, WiltWilt Chamberlain*
000000001962-01-21-0000January 21, 1962
—
—
—
—
Philadelphia Warriors
Syracuse Nationals
139–132
53
25
42
—
—
12
17
[T]
[5]

62
Chamberlain, WiltWilt Chamberlain*
000000001963-01-29-0000January 29, 1963
—
—
—
—
San Francisco Warriors
New York Knicks
123–103
—
27
44
—
—
8
17

[9]

62
Chamberlain, WiltWilt Chamberlain*
000000001964-11-15-0000November 15, 1964
—
—
—
—
San Francisco Warriors
Cincinnati Royals
122–106
—
26
44
—
—
10
21

62
Chamberlain, WiltWilt Chamberlain*
000000001966-03-03-0000March 3, 1966
—
—
—
—
Philadelphia 76ers
San Francisco Warriors
135–125
—
26
39
—
—
10
19

62
McGrady, TracyTracy McGrady*
000000002004-03-10-0000March 10, 2004
7
21
24
10
Orlando Magic
Washington Wizards
108–99
45:50
20
37
5
14
17
26

[18]

62
Bryant, KobeKobe Bryant
000000002005-12-20-0000December 20, 2005
15
17
30
DNP
Los Angeles Lakers
Dallas Mavericks
112–90
32:53
18
31
4
10
22
25
[U]
[19][20]

62
Anthony, CarmeloCarmelo Anthony^
000000002014-01-24-0000January 24, 2014
20
17
19
6
New York Knicks
Charlotte Bobcats
125–96
38:39
23
35
6
11
10
10
[V]
[21]

43
61
Mikan, GeorgeGeorge Mikan*
000000001952-01-20-0000January 20, 1952
18
18
—
—
Minneapolis Lakers
Rochester Royals
91–81
—
22
45
—
—
17
21
[W]

61
Chamberlain, WiltWilt Chamberlain*
000000001961-12-09-0000December 9, 1961
—
—
—
—
Philadelphia Warriors
Chicago Packers
135–113
48
28
48
—
—
5
10

[5]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-02-22-0000February 22, 1962
—
—
—
—
Philadelphia Warriors
St. Louis Hawks
139–121
48
21
36
—
—
19
34

[5]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-02-28-0000February 28, 1962
—
—
—
—
Philadelphia Warriors
Chicago Packers
128–119
48
24
46
—
—
13
17

[5]

61
Baylor, ElginElgin Baylor*
000000001962-04-14-0000April 14, 1962
18
15
13
15
Los Angeles Lakers
Boston Celtics
126–121
—
22
46
—
—
17
19
[X]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-11-21-0000November 21, 1962
—
—
—
—
San Francisco Warriors
Cincinnati Royals
139–143
—
27
52
—
—
7
15

[9]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-12-11-0000December 11, 1962
—
—
—
—
San Francisco Warriors
Syracuse Nationals
136–124
—
27
57
—
—
7
11

[9]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-12-18-0000December 18, 1962
—
—
—
—
San Francisco Warriors
St. Louis Hawks
130–110
—
26
53
—
—
9
14

[9]

61
Jordan, MichaelMichael Jordan*
000000001987-03-04-0000March 4, 1987
14
10
7
26
Chicago Bulls
Detroit Pistons
125–120
43
22
39
0
0
17
18
[Y]
[22][23][24]

61
Jordan, MichaelMichael Jordan*
000000001987-04-16-0000April 16, 1987
15
17
16
13
Chicago Bulls
Atlanta Hawks
114–117
41
22
38
0
3
17
21
[Z]
[25][26][27][28][29]

61
Malone, KarlKarl Malone*
000000001990-01-27-0000January 27, 1990
17
13
20
11
Utah Jazz
Milwaukee Bucks
144–96
33
21
26
0
0
19
23

[30]

61
O'Neal, ShaquilleShaquille O'Neal*
000000002000-03-06-0000March 6, 2000
10
16
16
19
Los Angeles Lakers
Los Angeles Clippers
123–103
44:52
24
35
0
0
13
22
[AA]
[31]

61
Bryant, KobeKobe Bryant
000000002009-02-02-0000February 2, 2009
18
16
12
15
Los Angeles Lakers
New York Knicks
126–117
36:48
19
31
3
6
20
20

[32]

61
James, LeBronLeBron James^
000000002014-03-03-0000March 3, 2014
11
13
25
12
Miami Heat
Charlotte Bobcats
124–107
41:12
22
33
8
10
9
12
[AB]
[33][34]

57
60
Chamberlain, WiltWilt Chamberlain*
000000001961-12-01-0000December 1, 1961
—
—
—
—
Philadelphia Warriors
Los Angeles Lakers
138–117
48
22
47
—
—
16
26

[5]

60
Chamberlain, WiltWilt Chamberlain*
000000001961-12-29-0000December 29, 1961
—
—
—
—
Philadelphia Warriors
Los Angeles Lakers
123–118
48
24
43
—
—
12
19
[AC]
[5]

60
Chamberlain, WiltWilt Chamberlain*
000000001969-01-26-0000January 26, 1969
18
9
10
23
Los Angeles Lakers
Cincinnati Royals
126–113
—
22
36
—
—
16
24
[AD]

60
King, BernardBernard King*
000000001984-12-25-0000December 25, 1984
21
19
11
9
New York Knicks
New Jersey Nets
114–120
41
19
30
0
0
22
26

[35]

60
Bird, LarryLarry Bird*
000000001985-03-12-0000March 12, 1985
12
11
19
18
Boston Celtics
Atlanta Hawks
126–115
43
22
36
1
4
15
16
[AE]
[36]

60
Chambers, TomTom Chambers
000000001990-03-24-0000March 24, 1990
14
21
14
11
Phoenix Suns
Seattle SuperSonics
121–95
42
22
32
0
0
16
18

[37][38][39][40]

60
Iverson, AllenAllen Iverson*
000000002005-02-12-0000February 12, 2005
17
12
11
20
Philadelphia 76ers
Orlando Magic
112–99
42:01
17
36
2
5
24
27

[41][42]

60
Arenas, GilbertGilbert Arenas
000000002006-12-17-0000December 17, 2006
12
5
12
15
Washington Wizards
Los Angeles Lakers
147–141
49:00
17
32
5
12
21
27
[AF]
[43]

60
Bryant, KobeKobe Bryant
000000002007-03-22-0000March 22, 2007
13
11
19
17
Los Angeles Lakers
Memphis Grizzlies
121–119
45:11
20
37
3
7
17
18
[AG]
[44]

60
Bryant, KobeKobe Bryant
000000002016-04-13-0000April 13, 2016
15
7
15
23
Los Angeles Lakers
Utah Jazz
101–96
42
22
50
6
21
10
12
[AH]
[45][46]

60
Klay Thompson^
December 5, 2016
17
23
20
DNP
Golden State Warriors
Indiana Pacers
142–106
29
21
33
8
14
10
11
[AI]
[47]


document_title: Travel agency

question_text: when did the first travel information agency open

text: Travel agency

text: Origins[edit]

text: The modern travel agency first appeared in the second half of the 19th century with its root in 1758 as establishment of Cox & Kings Ltd.[1] In the year 1970, Cox & Kings the longest established travel company[2] centered its focus on its business of travel and tourism. Lately Thomas Cook also established a chain of agencies in the last quarter of the 19th century, in association with the Midland Railway. They not only sold their own tours to the public, but in addition, represented other tour companies. Other British pioneer travel agencies were Dean & Dawson,[3] the Polytechnic Touring Association, and the Co-operative Wholesale Society. The oldest travel agency in the United States is Brownell Travel; on 4 July 1887, Walter T. Brownell led ten travelers on a European tour, setting sail from New York on the SS Devonia.[4]

text: Travel agencies became more commonplace with the development of commercial aviation, starting in the 1920s. Originally, travel agencies largely catered to middle and upper class customers, but the post-war boom in mass-market package holidays resulted in the proliferation of travel agencies on the main streets of most British towns, catering to a working class clientele looking for a convenient way to book overseas beach holidays.[5]

text: Operations[edit]

text: A travel agency's main function is to act as an agent, selling travel products and services on behalf of a supplier. Consequently, unlike other retail businesses, they do not keep a stock in hand, unless they have pre-booked hotel rooms and/or cabins on a cruise ship for a group travel event such as a wedding, honeymoon, or a group event. A package holiday or a ticket is not purchased from a supplier unless a customer requests that purchase. The holiday or ticket is supplied to the agency at a discount. The profit is therefore the difference between the advertised price which the customer pays and the discounted price at which it is supplied to the agent. This is known as the commission. In many countries, all individuals or companies that sell tickets are required to be licensed as a travel agent.[citation needed][6]

text: In some countries, airlines have stopped giving commissions to travel agencies. Therefore, travel agencies are now forced to charge a percentage premium or a standard flat fee, per sale. However, some companies pay travel agencies a set percentage for selling their product. Major tour companies can afford to do this, because if they were to sell a thousand trips at a cheaper rate, they would still come out better than if they sold a hundred trips at a higher rate. This process benefits both parties.[7] It is also cheaper to offer commissions to travel agents rather than engage in advertising and distribution campaigns without using agents.[8]

text: Other commercial operations are undertaken, especially by the larger chains. These can include the sale of in-house insurance, travel guide books, and public transport timetables, car rentals, and the services of an on-site bureau de change, dealing in the most popular holiday currencies.

text: A travel agent is supposed to offer impartial travel advice to the customer, as well as coordinating travel details and assisting the customer in booking travel. However, this function almost disappeared with the mass market package holiday, and some agency chains seemed to develop a "holiday supermarket" concept, in which customers choose their holiday from brochures on racks and then book it from a counter. Again, a variety of social and economic changes[which?] have now contrived to bring this aspect to the fore once more, particularly with the advent of multiple, no-frills, low-cost airlines.[which?][when?][citation needed]

text: Agency income[edit]

text: Traditionally, travel agencies' principal source of income was, and continues to be, commissions paid for bookings of car rentals, cruise lines, hotels, railways, sightseeing tours, tour operators, etc. A fixed percentage of the main element of the price is paid to the agent as a commission. Commissions may vary depending on the type of product and the supplier. Commissions are not paid on the tax component of the price. Travel agencies also receive a large variety of bonuses, benefits, and other incentives from travel and tourism related companies as inducements for travel agents to promote their products. The customer is normally not made aware of how much the travel agent is earning in commissions and other benefits. Other sources of income may include the sale of insurance, travel guide books, public transport timetables and money exchange.[9]

text: Since 1995, many airlines around the world and most airlines in the United States now do not pay any commission to travel agencies. In this case, an agency adds a service fee to the net price. Reduced commissions started in 1995 in the United States, with the introduction of a cap of $50 on return trips and $25 on one way. In 1999, European airlines began eliminating or reducing commissions, while Singapore Airlines did so in parts of Asia. In 2002, Delta Air Lines announced a zero-commission base for the U.S. and Canada; after a few months United Airlines, American Airlines, Continental Airlines, Northwest Airlines, US Airways and American Trans Air all followed suit.

text: Insurance[edit]

text: The majority of travel agents have felt the need to protect themselves and their clients against the possibilities of commercial failure, either their own or a supplier's. They will advertise the fact that they are surety bonded, meaning in the case of a failure, the customers are guaranteed either an equivalent holiday to that which they have lost or, if they prefer, a refund. Many British and American agencies and tour operators are bonded with the International Air Transport Association (IATA),[10] for those who issue air tickets, Air Travel Organisers' Licensing (ATOL) for those who order tickets in, and the Association of British Travel Agents (ABTA) or the American Society of Travel Agents (ASTA), for those who sell package holidays on behalf of a tour company.[11]

text: Types of agencies[edit]

text: There are three different types of agencies in the UK: multiples, miniples,[12] and independent agencies. Multiples comprises a number of national chains, often owned by international conglomerates, like Thomson Holidays, now a subsidiary of TUI Group, the German multinational.[13] It is now common for the large mass market tour companies to purchase a controlling interest in a chain of travel agencies, in order to control the distribution of their product. (This is an example of vertical integration.) The smaller chains are often based in particular regions or districts.[citation needed]

text: Five different types of agencies exist in the United States: independent, host, franchise, consortium, and mega agencies. American Express and the American Automobile Association (AAA) are examples of mega travel agencies.[14] Carlson Wagonlit Travel is an example of a consortium agency consisting of various types of specialty agencies. An example of an independent travel agency, is one that is started by a sole proprietorship, or partnership between individuals that have no business partnerships with competition agencies. Each type of travel agency has its pros and cons.[15][16]

text: Within Australia, many small businesses are sole traders, and often franchisees. They operate online, with a shopfront or as a franchisee. The Australian travel agency industry has increased substantially due to the growth of franchise chains, with small business and sole traders joining franchise networks such as Helloworld Travel, giving them access to internal systems for product and bookings.[17] Flight Centre Travel Group has almost 2,800 company-owned operations and is one of the largest in the world.[18] Booking.com is Australia's most widely used online travel agent.[19]

text: Independent agencies usually cater to a special or niche market, such as the needs of residents in an upmarket commuter town or suburb, or a particular group interested in a similar activity, such as sporting events, like football, golf, or tennis.[20]

text: Travel agencies choose between two approaches. One is the traditional, multi-destination, outbound travel agency, based in the traveler's originating location; the other is the destination focused, inbound travel agency, that is based in the destination and delivers an expertise on that location. At present, the former is usually a larger operator while the latter is often a smaller, independent operator.[21]

text: Consolidators[edit]

text: Airline consolidators, tour operators, and other types of travel consolidators and wholesalers are high volume sales companies that specialize in selling to niche markets.[22] They may or may not offer various types of services, at a single point of access. These can be hotel reservations, flights or car-rentals. Sometimes the services are combined into vacation packages, that include transfers to the location and lodging. These companies do not usually sell directly to the public, but act as wholesalers to retail travel agencies. Commonly, the sole purpose of consolidators is to sell to ethnic niches in the travel industry. Usually no consolidator offers everything; they may only have contracted rates to specific destinations. Today, there are no domestic consolidators, with some exceptions for business class contracts.[citation needed]

text: Travel agencies in the 21st century[edit]

text:
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text: With general public access to the Internet since the mid-1990s, many airlines and other travel companies began to sell directly to passengers. As a consequence, airlines no longer needed to pay the commissions to travel agents on each ticket sold. Since 1997, travel agencies have gradually been dis-intermediated, by the reduction in costs caused by removing layers from the package holiday distribution network.[23][24] However, travel agents remain dominant in some areas such as cruise vacations where they represent 77% of bookings and 73% of packaged travel.[25]

text: In response, travel agencies have developed an internet presence of their own by creating travel websites, with detailed information and online booking capabilities. Travel agencies also use the services of the major computer reservations systems companies, also known as Global Distribution Systems (GDS), including: Amadeus CRS, Galileo CRS, SABRE, and Worldspan, which is a subsidiary of Travelport, allowing them to book and sell airline tickets, car rentals, hotels, and other travel related services. Some online travel websites allow visitors to compare hotel and flight rates with multiple companies for free; they often allow visitors to sort the travel packages by amenities, price, and proximity to a city or landmark.[26]

text: All travel sites that sell hotels online work together with GDS, suppliers, and hotels directly to search for room inventory. Once the travel site sells a hotel room, the site will try to get a confirmation for this hotel. Once confirmed or not, the customer is contacted with the result. This means that booking a hotel on a travel website will not necessarily result in an instant confirmation. Only some hotels on a travel website can be confirmed instantly (which is normally marked as such on each site).[citation needed] As different travel websites work with different suppliers, each site has different hotels that it can confirm instantly.[citation needed] Some examples of such online travel websites that sell hotel rooms are Expedia, Orbitz, and Priceline.

text: The comparison sites, such as Kayak.com and TripAdvisor, search the reseller sites all at once to save time searching. None of these sites actually sells hotel rooms.[27]

text: Often tour operators have hotel contracts,[clarification needed] allotments,[clarification needed] and free sell agreements[clarification needed] which allow for the immediate confirmation of hotel rooms for vacation bookings.[citation needed]

text: Mainline service providers are those that actually produce the direct service, like various hotels chains or airlines that have a website for online bookings.[original research?]

text: Portals serve as a consolidator of various airlines and hotels on the internet. They work on a commission from these hotels and airlines. Often, they provide cheaper rates than the mainline service providers, as these sites get bulk deals from the service providers.[original research?]

text: A meta search engine, on the other hand, simply scrapes data from the internet on real time rates for various search queries and diverts traffic to the mainline service providers for an online booking. These websites usually do not have their own booking engine.[citation needed]

text: Careers[edit]

text: A travel agent may work for a travel agency or work freelance.[28]

text: With many people switching to self-service internet websites, the number of available jobs as travel agents is decreasing.[28]

text: Since 1995, many travel agents have exited the industry, and relatively few young people have entered the field due to less competitive salaries.[29] However, others have abandoned the "brick and mortar" agency for a home-based business to reduce overhead, and those who remain have managed to survive by promoting other travel products, such as cruise lines and train excursions, or by promoting their ability to aggressively research and assemble complex travel packages on a moment's notice, essentially acting as an advanced concierge. In this regard, travel agents can remain competitive, if they become "travel consultants" with flawless knowledge of destination regions and specialize in topics like nautical tourism or cultural tourism.[30]


document_title: William Warfield

question_text: who sang ol man river in showboat 1951

question_tokens: who sang ol man river in showboat 1951

text: William Warfield

text: Biography[edit]

text: Early life and career[edit]

text: Warfield was born in West Helena, Arkansas, the oldest of five sons of a Baptist minister.[1] He grew up in Rochester, New York, where his father was called to serve as pastor of Mt. Vernon Church. He gave his recital debut in New York's Town Hall on 19 March 1950. He was quickly invited by the Australian Broadcasting Corporation to tour Australia and give 35 concerts. In 1952, Warfield performed in Porgy and Bess during a tour of Europe sponsored by the U.S. State Department (he made six separate tours for the US Department of State, more than any other American solo artist.) In this production he played opposite the opera star Leontyne Price, whom he soon married, but the demands of two separate careers left them little time together. They divorced in 1972, but were featured together in a 1963 studio recording of excerpts from Porgy and Bess.

text: According to a recent exhibit about World War Two, Warfield was the only African American member of the "Ritchie Boys", thousands of soldiers who were trained at Fort Ritchie, Maryland. It was an intelligence center where hundreds of Jewish recruits who fled Nazi Germany for the United States were trained to interrogate their one-time countrymen. According to the exhibit at the Zekelman Holocaust Memorial Center in Farmington Hills, Michigan, Warfield was brought to the camp because of his strong German skills which he perfected while studying music. Because of segregation, his skills were never put to use.

text: Warfield was a graduate of the Eastman School of Music. In 1975 he accepted an appointment as Professor of Music at the University of Illinois at Urbana-Champaign. He later became Chairman of the Voice Department. In 1994, he moved to Northwestern University's School of Music, where he stayed until his death.

text: He sang the premiere performances of the version for soloist and orchestra of Set I of Aaron Copland's Old American Songs in 1955, and of the version for soloist and piano of Set II of the collection in 1958. (He also recorded both sets of the songs.) His vocal talents were also featured on two recordings of Handel's "Messiah" – a classic, but heavily cut, performance by the Philadelphia Orchestra under the direction of Eugene Ormandy (released in 1959), and a lesser-known, drastically restructured recording made in 1956, also heavily cut, with Leonard Bernstein and the New York Philharmonic. Bernstein combined the Christmas and Resurrection sections, and ended with the arias and choruses depicting the death of Christ. The Ormandy recording featured the Mormon Tabernacle Choir, and Bernstein's the Westminster Choir.

text: Warfield was also accomplished in acting and poetry recitation. He played the character De Lawd in a celebrated Hallmark Hall of Fame television production of The Green Pastures, a role he played twice on live TV (both versions survive as kinescopes).[2] He appeared in two Hollywood films, including a star-making performance as Joe in Metro-Goldwyn-Mayer's 1951 Technicolor remake of Show Boat. His other film was an overlooked item called "Old Explorers", starring James Whitmore and José Ferrer. In a nod to "Show Boat", Warfield played a cameo role as a tugboat captain. Footage of Warfield in "Show Boat" has been included in several TV shows and/or films, notably That's Entertainment!. Warfield played his Show Boat role in two other productions of the musical – the 1966 Lincoln Center production, and a 1972 production in Vienna. He sang Ol' Man River in three different record albums of the show – the 1951 motion picture soundtrack album on MGM Records, a 1962 studio album featuring Barbara Cook and John Raitt on Columbia Masterworks, and the RCA Victor album made from the Lincoln Center production.

text: He made an appearance on The Colgate Comedy Hour and on a program called TV Recital Hall in 1951, the same year that he made his screen debut in Show Boat. He later appeared on The Ed Sullivan Show in 1955. In 1961, he appeared as a recital soloist on an episode of the Young People's Concerts, conducted by Leonard Bernstein. In March 1984 he was the winner of a Grammy in the "Spoken Word" category for his outstanding narration of Aaron Copland's Lincoln Portrait accompanied by the Eastman Philharmonia [1]. And in the 1990s, he narrated a special jazz arrangement of music from "Show Boat", on the PRI program Riverwalk Jazz. In 1999 Warfield joined baritones Robert Sims and Benjamin Matthews in a trio by the name of "Three Generations". Managed by Arthur White, this ensemble toured the United States giving full concerts of African-American spirituals and folk songs until Warfield's death in 2002.

text: Decline and death[edit]

text: Beginning in 1962, Warfield began to have some trouble with his voice, as he himself admitted in his autobiography. This was only slightly noticeable on the 1962 studio recording of Show Boat. By the time he made the 1966 recording of the Lincoln Center production of the musical, his voice had deepened from merely bass-baritone to a full-fledged bass, and he could not sing the climactic high note on Ol' Man River as easily as he had in the 1951 film version, though he sounded fine on his lower notes. Because of this problem, however, he compensated by learning how to sing even more expressively than he had before.[citation needed]

text: By 1976, Warfield, although still making various stage and television appearances, was not singing as much as he had in the past. He served as narrator in various orchestral works, such as Aaron Copland's Lincoln Portrait, and occasionally performed sprechstimme roles in works by Arnold Schoenberg. However, he did sing on occasion during his final years, despite the fact that by then his singing voice was practically gone. In those years, when he sang Ol' Man River, he would not perform it with the original lyrics, but with the altered ones that Paul Robeson used in his recitals beginning in 1938.[citation needed]

text: He died in Chicago in August 2002, following treatment at Northwestern Memorial Hospital, succumbing to injuries he sustained in his neck from a fall a month prior.[1][3]

text: Membership of organizations[edit]

text: Warfield was active in many organizations, after appearing as the featured artist at the 50th year convention of the National Association of Negro Musicians [2], he became active with the organization, serving as its president for two terms. He later served on the boards of the [3] (NANM) and the Schiller Institute. After joining the Schiller Institute in 1996, he began to collaborate with acclaimed vocal coach Sylvia Olden Lee in a project to save the performance tradition of the Negro spiritual.[4] During the final years of his life, from 1999 to 2002, he performed regularly at Schiller Institute biannual conferences, often with Olden Lee as his accompanist, and the two of them traveled the country conducting singing workshops for members of the LaRouche Youth Movement.[5] Warfield was made an honorary member of the Delta Lambda chapter of Phi Mu Alpha Sinfonia at Ball State University in 1961, and awarded the Fraternity's Charles E. Lutton Man of Music Award in 1976 at its national convention in Evansville, Indiana.

text: Legacy[edit]

text: The William Warfield Scholarship Fund was formed in 1977 with the purpose supporting young African American classical singers at the Eastman School of Music. Recipients include Claron McFadden and Nicole Cabell.[6] It has provided financial aid to over 35 students to date.[7]