document_title: Les Misérables (2012 film)

question_text: who is the bad guy in les miserables

question_tokens: who is the bad guy in les miserables

text: Les Misérables (2012 film)

text: Plot[edit]

text: In 1815, French prisoner Jean Valjean is released on parole from the Bagne of Toulon after serving nineteen years for stealing a loaf of bread and trying to escape multiple times. On the outside, Valjean’s paroled status prevents him from getting work. He is offered shelter by the kindly Bishop of Digne, but Valjean steals his silverware. Captured by police and taken to the Bishop, Valjean is shocked when the Bishop says that he gave him the silver, telling him to use it to do something worthwhile with his life. Valjean breaks his parole to start a new life.

text: Eight years later, Valjean is factory owner and mayor of Montreuil, Pas-de-Calais. He is shocked when a Toulon prison guard Javert arrives as his new chief of police. Javert suspects Valjean’s identity when he rescues an injured worker trapped under a heavy cart. One of Valjean’s workers, Fantine, is dismissed by the factory foreman upon learning she is sending her earnings to her illegitimate daughter Cosette, who lives with the greedy innkeepers, the Thénardiers. To support her daughter, Fantine becomes a prostitute but is arrested by Javert when she attacks an abusive customer. Valjean, learning who she is, rescues her and takes her to the hospital.

text: Valjean learns a man has been wrongly identified as him, and reveals his true identity to a court before returning to the dying Fantine, promising to care for Cosette. Javert arrives but Valjean escapes, finding Cosette and pays Fantine’s debts to the Thénardiers. Valjean and Cosette flee Javert, hiding in a convent, aided by the worker Valjean rescued before. Nine years later, Valjean has become a philanthropist and helps the poor in Paris. General Lamarque, the only government official sympathetic to the poor, dies, and a group of revolutionists called the Friends of the ABC plot to rebel against the monarchy. Marius Pontmercy, a member of the Friends, encounters Cosette and they fall in love, asking Éponine, the Thénardiers’ daughter to help find her.

text: After Marius and Cosette meet and confess their love, Éponine prevents her father from robbing Valjean’s house. Valjean, believing Javert is near, makes plans to flee to England with Cosette. Cosette writes a letter for Marius, but Éponine hides it, intending on dying with Marius during the rebellion. During Lamarque’s funeral procession, the revolt begins and barricades are built across Paris. Javert pretends to be an ally to spy on the rebels but the street urchin Gavroche exposes him as a policeman. During the first skirmish against the soldiers, Éponine takes a bullet for Marius and dies in his arms, giving him Cosette’s letter and confesses to him beforehand. Gavroche takes Marius’ reply to Valjean, who joins the revolution to guard Marius.

text: Valjean offers to execute Javert but actually releases him, faking his death. By dawn, the soldiers are close to ending the revolution, storming the students’ barricade and execute everyone save Marius and Valjean, who escape into the sewers. Thénardier comes across Valjean and the unconscious Marius, stealing the latter’s ring, before pointing a way out. Valjean finds Javert waiting for him, ignoring his nemesis’ threats. Javert, morally confused by the mercy of Valjean, commits suicide by throwing himself in the Seine. Marius recovers but is traumatised by the death of his friends.

text: Marius and Cosette plan to marry but Valjean, concerned his presence would threaten their happiness, makes plans to leave and reveals his identity to Marius, who promises to remain silent. Cosette and Marius marry but the Thénardiers crash the wedding to try and blackmail Marius, Thénardier saying he witnessed Valjean carrying a murdered corpse and produces the stolen ring. Marius assaults Thénardier who reveals Valjean is at the convent. The dying Valjean reunites with Cosette and Marius, giving them letters of confession, before peacefully dying, guided away by Fantine and the Bishop’s spirits.

text: Cast[edit]

text:
Actor

Role

Jackman, HughHugh Jackman

Valjean, JeanJean Valjean

Crowe, RussellRussell Crowe

Javert, Javert

Hathaway, AnneAnne Hathaway

Fantine, Fantine

Seyfried, AmandaAmanda Seyfried

Cosette, Cosette

Redmayne, EddieEddie Redmayne

Pontmercy, MariusMarius Pontmercy

Tveit, AaronAaron Tveit

Enjolras, Enjolras

Barks, SamanthaSamantha Barks

Éponine, Éponine

Isabelle Allen, Isabelle Allen

Young Cosette

Daniel Huttlestone, Daniel Huttlestone

Gavroche, Gavroche

Wilkinson, ColmColm Wilkinson

Bishop Myriel, Bishop Myriel

Bonham Carter, HelenaHelena Bonham Carter

Madame Thénardier, Madame Thénardier

Baron Cohen, SachaSacha Baron Cohen

Thénardier, Thénardier

Blagden, GeorgeGeorge Blagden

Grantaire

Carvel, BertieBertie Carvel

Bamatabois

Donnelly, KillianKillian Donnelly

Combeferre, Combeferre

Fee, FraFra Fee

Courfeyrac, Courfeyrac

Brammer, AlistairAlistair Brammer

Prouvaire, JeanJean Prouvaire

Vick, GabrielGabriel Vick

Feuilly, Feuilly

Skinner, HughHugh Skinner

Joly, Joly

Lewis, IwanIwan Lewis

Bahorel, Bahorel

Neal, StuartStuart Neal

Lesgles, Lesgles

Fraser, HadleyHadley Fraser

National Guard Leader, National Guard Leader

Chasen, HeatherHeather Chasen

Madame Magloire, Madame Magloire

Glen, GeorgieGeorgie Glen

Mademoiselle Baptistine, Mademoiselle Baptistine

Godfrey, PatrickPatrick Godfrey

Monsieur Gillenormand, Monsieur Gillenormand

text: Hugh Jackman as Jean Valjean, a Frenchman released from Toulon prison after 19 years of imprisonment for stealing bread and failed attempts at escaping from the prison.[13] Around June 2011, Jackman met with producer Cameron Mackintosh to audition in New York.[14] To prepare for the role, Jackman lost 15 pounds (6.8 kg) and later regained 30 pounds (14 kg) to mirror his character's success.[14] He avoided drinking coffee, warmed up at least 15 minutes every day, kept Ricola lozenges, drank as much as seven litres of water per day, sat in steam three times a day, took cold baths and used a wet washcloth over his face while flying, citing the musical's original co-director Trevor Nunn for his training.[15] He worked extensively with vocal coach Joan Lader, and managed to extend his vocal range, which he originally categorised a high baritone, up to tenor.[16]

text: Russell Crowe as Javert, a police inspector dedicating his life to imprisoning Valjean once again.[13] Before being cast as Javert, Crowe was initially dissatisfied with the character. On his way to Europe for a friend's wedding, Crowe came to London and met with producer Cameron Mackintosh. On meeting with Tom Hooper, he told the director about his concerns about playing Javert, and after meeting with him, Crowe was "determined to be involved in the project and play Javert. I think it had something to do with Tom's passion for what he was about to undertake, and he clearly understood the problems and he clearly understood the challenge."[17] On visiting Victor Hugo's home in Paris, Crowe said, "[The house's curator] told me about [19th century detective Eugene Francois] Vidocq, a man who had been both a prisoner and a policeman, the man credited with inventing undercover police work when he established the Brigade de Surete."[14]

text: Anne Hathaway as Fantine, and Amanda Seyfried plays Cosette.[18][19][20] Fantine is a struggling factory worker and mother of an illegitimate child, Cosette, who is kept by the Thénardiers until Valjean buys her from them. When Hathaway was cast, she stated, "There was resistance because I was between their ideal ages for the parts—maybe not mature enough for Fantine but past the point where I could believably play Cosette."[14] On developing Cosette, Seyfried said, "In the little time that I had to explain Cosette and give the audience a reason [to see her] a symbol of love and strength and light in this tragedy, I needed to be able to convey things you may not have connected with in the show."[21] A vocal coach was enlisted to help her with the songs.[22] Isabelle Allen as the young Cosette, a child.[23] On working with her fellow actors, Allen said, "They gave us lots of tips and mostly [made] sure we were all OK. They were really nice."[24]

text: Eddie Redmayne as Marius Pontmercy, a student revolutionary who is friends with the Thenardiers' daughter, Éponine, but falls in love with Cosette.[25][26][27] He found director Hooper's vision "incredibly helpful". On collaborating with Hooper, Redmayne said, "He was incredibly collaborative. Certainly during the rehearsal process, we sat with Tom and the Victor Hugo book adding things."[28] It was Redmayne who suggested to Hooper that his character's song, "Empty Chairs at Empty Tables", should begin a cappella in order to better express Marius' guilt and pain.

text: Helena Bonham Carter and Sacha Baron Cohen play the Thénardiers, a pair of swindling innkeepers.[29][30][31] Hooper previously collaborated with Bonham Carter in The King's Speech, in which she portrayed Queen Elizabeth, King George VI's wife.[32] Baron Cohen and Bonham Carter previously co-starred in the film adaptation of the musical Sweeney Todd: The Demon Barber of Fleet Street. When Baron Cohen accepted the role of Thénardier, he had to abandon Django Unchained.[33]

text: Samantha Barks as Éponine, the Thénardiers' daughter.[34] Having previously played the role at the 25th Anniversary concert and in the West End production, Barks said "there was similarities in playing the role—they're the same character—but Eponine in the novel and Eponine in the musical are two kind of different girls, so to me it was the thrill of merging those two together, to get something that still had that heart and soul that we all connect to in the musical, but also the awkward, self-loathing teenager that we see in the novel, trying to merge those two together." She found Jackman "fascinating to learn from, and I feel like that's the way it should be done".[35]

text: Aaron Tveit as Enjolras, the leader of Les Amis de l'ABC. Hoping to play Marius, Tveit submitted an audition tape in which he sang "Empty Chairs at Empty Tables" and "In My Life". He had never performed any role in the musical. He also said of Enjolras that "once I got more and more familiar with the material and when I read the novel, I was like, 'Wow this is a really, really great role,' and I felt very much better suited for it." Tveit said the shooting of the film was "almost as grueling as a marathon".[36]

text: Colm Wilkinson and Frances Ruffelle, two of the original cast members involved in the Broadway and West End productions of the English version (as Jean Valjean and Éponine, respectively), make appearances. Wilkinson plays the Bishop of Digne, while Ruffelle plays a prostitute.[37] Hadley Fraser, who previously played Grantaire in the 25th Anniversary Concert and Javert at West End, appears as the Army General. Another West End actor, Gina Beck, appears as one of the "Turning Women". Michael Jibson plays the foreman of the factory in which Fantine works and is fired from.[31]

text: Several actors in the West End production of the musical appear members of the student society, including George Blagden as Grantaire;[38] Killian Donnelly as Combeferre; Fra Fee as Courfeyrac; Alistair Brammer as Jean Prouvaire; Hugh Skinner as Joly;[39] Gabriel Vick as Feuilly;[40] Iwan Lewis as Bahorel; and Stuart Neal as Bossuet. Blagden was cast in January 2012.[41] Other stage actors including Hannah Waddingham, Daniel Evans and Kerry Ellis have small parts in the film along with actors who previously starred in various productions of Les Misérables.[31][42]

text: Musical numbers[edit]

text: A highlights soundtrack album was released via Universal Republic 21 December 2012.[43] Republic Records confirmed 25 January 2013, via Twitter that a 2-disc deluxe soundtrack was in production alongside the DVD and Blu-ray; it was released 19 March 2013.[44]

text: The film contains every song from the original stage musical with the exception of "I Saw Him Once" and "Dog Eats Dog", although many songs have been partially or extensively cut. "The Attack on Rue Plumet" and "Little People" were especially shortened. In addition, the Bishop sings with Fantine during "Valjean's Death" instead of Eponine, as was in the stage musical. "Stars" was also moved to before "Look Down", which echoes the original 1985 London production. The lyrics of some songs were also changed to suit the changes in setting or narrative to the stage musical. In addition to the cuts, a new song, "Suddenly" was added, new music was composed for the battle scenes, and the order of several songs changed from the stage musical. Several major pieces, primarily as "Who Am I?", "Stars", and the two "Soliloquy" pieces are performed in a different key than most recordings.

text:
"Look Down" – Convicts, Javert, Valjean†§
"On Parole" – Valjean, Bishop of Digne
"The Bishop" – Bishop of Digne†§
"Valjean's Soliloquy" – Valjean†§
"At the End of the Day" – Poor, Foreman, Workers, Factory Women, Fantine, Valjean†§
"The Runaway Cart" – Valjean, Javert
"The Docks (Lovely Ladies)" – Sailors, Old Woman, Fantine, Crone, Whores, Pimp, Toothman§
"I Dreamed a Dream" – Fantine†§
"Fantine's Arrest" – Bamatabois, Fantine, Javert, Valjean§
"Who Am I?" – Valjean§
"Fantine's Death" – Fantine, Valjean§
"The Confrontation" – Javert, Valjean†§
"Castle on a Cloud" – Young Cosette, Mme. Thénardier†§
"Master of the House" – Thénardier, Mme. Thénardier, Inn Patrons†§
"The Well Scene" – Valjean, Young Cosette§
"The Bargain" – Valjean, Thénardier, Mme. Thénardier§
"The Thénardier Waltz of Treachery" – Thénardier, Valjean, Mme. Thénardier, Young Cosette§
"Suddenly" – Valjean†§
"The Convent" – Valjean§
"Stars" – Javert§
"Paris/Look Down" – Gavroche, Beggars, Enjolras, Marius, Students§
"The Robbery" – Thénardier, Mme. Thénardier, Éponine, Valjean§
"Javert's Intervention" – Javert, Thénardier§
"Éponine's Errand" - Éponine, Marius
"ABC Café/Red and Black" – Students, Enjolras, Marius, Grantaire, Gavroche†§
"In My Life" – Cosette, Valjean, Marius, Éponine§
"A Heart Full of Love" – Marius, Cosette, Éponine†§
"The Attack on Rue Plumet" – Thénardier, Thieves, Éponine, Valjean
"On My Own" – Éponine†§
"One Day More" – Valjean, Marius, Cosette, Éponine, Enjolras, Javert, Thénardier, Mme. Thénardier, Cast of Les Misérables†§
"Do You Hear the People Sing?" – Enjolras, Marius, Students, Beggars§
"Building the Barricade (Upon These Stones)" – Enjolras, Javert, Gavroche, Students§
"Javert's Arrival" – Javert, Enjolras§
"Little People" – Gavroche, Students, Enjolras, Javert§
"A Little Fall of Rain" – Éponine, Marius§
"Night of Anguish" – Enjolras, Marius, Valjean, Javert, Students
"Drink With Me" – Grantaire, Marius, Gavroche, Students†§
"Bring Him Home" – Valjean†§
"Dawn of Anguish" – Enjolras, Marius, Gavroche, Students§
"The Second Attack (Death of Gavroche)" – Gavroche, Enjolras, Students, Army Officer§
"The Sewers" – Valjean, Javert§
"Javert's Suicide" – Javert†§
"Turning" – Parisian women§
"Empty Chairs at Empty Tables" – Marius†§
"A Heart Full of Love [Reprise]" – Marius, Cosette, Valjean, Gillenormand§
"Valjean's Confession" – Valjean, Marius§
"Suddenly [Reprise]" – Marius, Cosette§
"Wedding Chorale" – Chorus, Marius, Thérnardier, Mme. Thérnardier§
"Beggars at the Feast" – Thénardier, Mme. Thénardier§
"Valjean's Death" – Valjean, Fantine, Cosette, Marius, Bishop of Digne†§
"Do You Hear the People Sing? [Reprise] / Epilogue" – The Cast of Les Misérables†§

text:
† Included on the highlights edition soundtrack
§ Included on the deluxe edition soundtrack

text: Production[edit]

text: Development[edit]

text: In 1988, Alan Parker was considered to direct a film adaptation of the Les Misérables musical. However, in 1991, Bruce Beresford signed on to be the film's director.[45]

text: In 1992, producer Cameron Mackintosh announced that the film would be co-produced by TriStar Pictures.[46] However, the film was abandoned. In 2005, Mackintosh later confirmed that interest in turning the musical into a film adaptation had resumed during the early months of that year. Mackintosh said that he wanted the film to be directed by "someone who has a vision for the show that will put the show's original team, including [Mackintosh], back to work." He also said that he wanted the film audiences to make it "fresh as the actual show".[47]

text: In 2009, producer Eric Fellner began negotiations with Mackintosh to acquire the film's rights and concluded it near the end of 2011. Fellner, Tim Bevan, and Debra Hayward engaged William Nicholson to write a screenplay for the film.[14] Nicholson wrote the draft within six weeks time.[14]

text: The DVD/Blu-ray release of Les Misérables: 25th Anniversary Concert confirmed an announcement of the musical's film adaptation.[48]

text: Pre-production[edit]

text: In March 2011, director Tom Hooper began negotiations to direct Les Misérables from the screenplay by William Nicholson.[49] Production on the film officially began in June that year, with Cameron Mackintosh and Working Title Films co-producing. Having already approached Hooper prior to production with the desire of playing Jean Valjean, Hugh Jackman began negotiations to star in the film alongside Paul Bettany as Javert.[50][51] Other stars who became attached to the project included Hathaway and Helena Bonham Carter.[52]

text: In September 2011, Jackman was officially cast as Jean Valjean and Russell Crowe was cast as Javert.[53] The following month, Mackintosh confirmed that Fantine would be played by Hathaway. Before Hathaway was cast, Amy Adams, Jessica Biel, Tammy Blanchard, Kristin Kreuk, Marion Cotillard, Kate Winslet and Rebecca Hall had reportedly been considered for the part.[54] For the role, Hathaway allowed her hair to be cut short on camera for a scene in which her character sells her hair, stating that the lengths she goes to for her roles "don't feel like sacrifices. Getting to transform is one of the best parts of [acting]."[55] The role also required her to lose 25 pounds (11 kg).[14]

text: In addition to Hathaway’s weight loss, Hugh Jackman also lost an extreme amount of weight for the opening scene as Jean Valjean when he is imprisoned in a labor camp. To achieve an emaciated look, Jackman committed to a minimalistic diet and intense work outs. In an interview with Epix, Jackman revealed that he went on 45 minute morning runs on an empty stomach which Hathaway later used as a weight loss tactic with Jackman's help, and he went on a 36-hour liquid fast. This allowed him to rapidly lose ten pounds and caused his eyes and cheeks to sink severely.[56] With these efforts, Jackman was able to successfully look unrecognizable as Jean Valjean in the opening scene.

text: In November 2011, Eddie Redmayne joined the cast as Marius Pontmercy.[25] It was reported that the shortlist of actresses for the role of Éponine included Scarlett Johansson (who also auditioned for the role of Fantine), Lea Michele, Tamsin Egerton, Taylor Swift, and Evan Rachel Wood.[57][58]

text: In January 2012, the press reported that the role of Éponine had officially been offered to Taylor Swift, but Swift later stated that those reports were not entirely accurate.[59][60][61][62] At the end of the month, Mackintosh made a special appearance during the curtain call of the Oliver! UK tour at the Palace Theatre, Manchester, announcing that the tour's Nancy, Samantha Barks, who had played Éponine in the West End production and in the 25th Anniversary concert, would reprise the role in the film.[34] Barks had been auditioning for 15 weeks by that point.[63]

text: Originally, an unknown was sought for the role of Cosette, with an open casting call in New York City in December 2011.[64] In January 2012, reports surfaced that Amanda Seyfried had been offered the role instead.[65] Eddie Redmayne confirmed both Seyfried's casting and that of Bonham Carter as Madame Thénardier in an interview on 12 January.[18] Hooper confirmed that he would stick to the musical's essentially sung-through form and would thus introduce very little additional dialogue.[27] Hooper confirmed that the film would not be shot in 3D, expressing his opinion that it would not enhance the emotional narrative of the film and would distract audiences from the storytelling.[66]

text: Following this announcement, reports surfaced in the press that Sacha Baron Cohen had begun talks to join the cast as Thénardier and that Aaron Tveit had been cast as Enjolras.[67][68] Later that month, the press officially confirmed Tveit's casting as Enjolras.[19][20] Colm Wilkinson and Frances Ruffelle (the original Valjean and Éponine, respectively, in the West End and Broadway productions) appeared in the film. Wilkinson played the Bishop of Digne, and Ruffelle had a cameo as a prostitute.[37] George Blagden was cast as Grantaire.[38] In an interview with BBC Radio 4's Front Row, Tom Hooper revealed that Claude-Michel Schönberg will be composing one new song and additional music. The director also expanded on the performers singing live on set, which he felt would eliminate the need to recapture "locked" performances and allow more creative freedom. More details of this were confirmed by Eddie Redmayne in an interview. He stated that the cast would sing to piano tracks (via earpiece) and that the orchestra would be added in post-production.[69]

text: In February 2012, casting auditions involving extras for the film took place at the University of Portsmouth and Chatham Maritime in Chatham.[70] Several days later, Mackintosh officially confirmed that Bonham Carter would play Madame Thénardier.[30] He also announced that the title of the newly created song for the film is "Suddenly" and that it "beautifully explains what happens when Valjean takes Cosette from the inn and looks after her."[71] At the end of the month, The Sun reported that the long-rumoured Baron Cohen had been cast in the role of Monsieur Thénardier.[72]

text: The cast began rehearsals in January 2012, with principal photography due to begin in March.[73] The press officially confirmed Baron Cohen's casting during the latter month.[31] No table read took place before filming.[22]

text: Filming[edit]

text: With a production budget of $61 million,[7] principal photography of the film began 8 March 2012 in Gourdon. Filming locations in England included Boughton House, Winchester College, Winchester Cathedral Close, Her Majesty's Naval Base Portsmouth, Chatham Dockyard,[74] St Mary the Virgin Church, Ewelme, South Oxfordshire[75] and Pinewood Studios.[9][76][77][78] In April 2012, crews built a replica of the Elephant of the Bastille in Greenwich.[79][80] In the novel, Gavroche lives in the decaying monument.

text: On-location filming also took place at Gourdon, Alpes-Maritimes in France. Footage of Hathaway singing "I Dreamed a Dream", a song from the musical, was shown at CinemaCon 26 April 2012. Russell Crowe confirmed 5 June 2012, on Twitter that he had finished filming. He was later followed by Samantha Barks, confirming that all of her scenes had too been completed. Jackman stated that all filming had been completed 23 June 2012.[81] Some late filming occurred in Bath, Somerset, in October 2012 where stunt shots for Javert's suicide scene had to be reshot due to an error found with this footage during post-production. Bath was not the original filming location for this scene, but the late footage was captured at Pulteney Weir.[82]

text: Post-production[edit]

text: The film's vocals were recorded live on set using live piano accompaniments played through earpieces as a guide, with the orchestral accompaniment recorded in post-production, rather than the traditional method where the film's musical soundtracks are usually pre-recorded and played back on set to which actors lip-sync. Production sound mixer Simon Hayes used 50 DPA 4071 lavalier microphones to record the vocals.[83] Hooper explained his choice:

text:
“
I just felt ultimately, it was a more natural way of doing it. You know, when actors do dialogue, they have freedom in time, they have freedom in pacing. They can stop for a moment, they can speed up. I simply wanted to give the actors the normal freedoms that they would have. If they need a bit for an emotion or a feeling to form in the eyes before they sing, I can take that time. If they cry, they can cry through a song. When you're doing it to playback, to the millisecond you have to copy what you do. You have no freedom in the moment – and acting is the illusion of being free in the moment.[84]
”

text: Although this unique live recording method has been stated as "a world's first" by the creative team, several film musicals have used this method before, including early talkies, as lip-syncing wasn't perfected, the 1975 20th Century Fox film At Long Last Love, the adaptation of The Magic Flute that same year, and more recently in the 1995 adaptation of The Fantasticks, in the 2001 film version of Hedwig and the Angry Inch, and in the 2007 film Across the Universe with songs by The Beatles.

text: Producers announced 27 August 2012, that recording sessions for Les Misérables would begin in London 10 October and featured a 70-piece orchestra. They was also announced that composer Claude-Michel Schönberg was composing additional music to underscore the film.[85] Universal Studios executives were granted a viewing of the rough cut of the film 9 September 2012, without the orchestra tracks. They greeted the cut with "extreme excitement".

text: Distribution[edit]

text: Marketing[edit]

text: The film's first teaser trailer debuted online 30 May 2012, and later in theatres with Snow White and the Huntsman, The Bourne Legacy and Argo.[86]

text: Producers released an extended first look on the film's official Facebook page 20 September 2012. This short introduces and explains Hooper's method of recording vocals live on set, comparing it to the traditional method of pre-recording the vocals in a studio months in advance. Hugh Jackman stated that filming in this way allows him more creative freedom with the material and that he "only has to worry about acting it." Both Hooper and the actors believe that this choice of production method will make the film feel much more emotional, raw, and real. The actors praised Hooper for his method and provide brief interviews throughout the video. Hooper mentions, "I thought it was an amazing opportunity to do something genuinely groundbreaking."[87]

text: Clips of Jackman, Hathaway, Seyfried, Redmayne and Barks singing were received very positively, especially the teaser trailer's presentation of "I Dreamed a Dream" by Hathaway. Producers released a new poster, featuring young Cosette (in what is essentially a real-life version of the musical's emblem), played by Isabelle Allen, 24 September 2012, on the film's official Facebook page.[88] They released posters featuring Jean Valjean, Javert, Fantine, and Cosette 12 October,[89] with additional posters of Thénardiers and Marius released 1 November 2012.

text: Release[edit]

text: Les Misérables was originally to be released 7 December 2012 before the studio moved it to 14 December in the United States; however, 18 September 2012, they delayed the film's release date to 25 December, so as not to conflict with the opening of The Hobbit: An Unexpected Journey, which opened 14 December. Because of this, it opened alongside Django Unchained.[10] Release date for the United Kingdom was 11 January 2013.[90]

text: Les Misérables was screened for the first time at the Lincoln Center in New York City, 23 November 2012, and received a standing ovation from the crowd.[91][92] This was followed by a screening the next day in Los Angeles, which also received positive reviews.[93]

text: Les Misérables premiered 5 December 2012, at the Empire, Leicester Square in London.[2] Red carpet footage was screened live online in an event hosted by Michael Ball, the original Marius of the West End. The film was released in select IMAX theatres in New York, Los Angeles, Toronto, and Montreal the same day as its domestic theatrical release, 25 December 2012.[94] Les Misérables was released internationally by IMAX theatres on 10 January 2013.[94]

text: Home media[edit]

text: The film was confirmed for home release 13 May 2013 on DVD, Blu-ray, and VOD in the United Kingdom; it was released in the United States 22 March 2013. The DVD contains three featurettes: The Stars of Les Misérables, Creating the Perfect Paris, and The Original Masterwork: Victor Hugo's Les Misérables, along with an audio commentary from director Tom Hooper. The Blu-ray has all DVD features including four additional featurettes: Les Misérables Singing Live, Battle at the Barricade, The West End Connection, and Les Misérables On Location.[95]

text: Reception[edit]

text: Box office[edit]

text: Les Misérables earned $148,809,770 in North America and $293,000,000 in other territories for a worldwide total of $441,809,770.[8] In North America, Les Misérables opened 25 December 2012 in 2,808 theatres, placing first at the box office with $18.1 million.[96] This amount broke the record for the highest opening day gross for a musical film, previously held by High School Musical 3: Senior Year, and was also the second highest opening day gross for a film released on Christmas Day.[97] It earned $27.3 million in its opening weekend, placing third behind Django Unchained and The Hobbit: An Unexpected Journey.[98]

text: The film was released in the United Kingdom 11 January 2013 and earned £8.1 ($13.1) million in its opening weekend, making it the largest opening weekend for a musical film, as well as for Working Title.[99]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 69% approval rating with an average rating of 6.9/10, based on an aggregation of 231 reviews. The site's consensus reads: "Impeccably mounted but occasionally bombastic, Les Misérables largely succeeds thanks to bravura performances from its distinguished cast."[100] On Metacritic, the film achieved an average score of 63 out of 100 based on 41 reviews, signifying "generally favorable reviews".[101] The film was generally praised for its acting and ensemble cast, with Jackman, Hathaway and Barks being singled out for praise. The live singing, which was heavily promoted in marketing for the film, received a more divided response.

text: Robbie Collin of The Daily Telegraph gave the film five stars: "Les Misérables is a blockbuster, and the special effects are emotional: explosions of grief; fireballs of romance; million-buck conflagrations of heartbreak. Accordingly, you should see it in its opening week, on a gigantic screen, with a fanatical crowd."[102]

text: The Guardian's Peter Bradshaw concurred: "Even as a non-believer in this kind of "sung-through" musical, I was battered into submission by this mesmeric and sometimes compelling film ...".[103] Kenneth Turan of Los Angeles Times gave a positive review, saying that the film "is a clutch player that delivers an emotional wallop when it counts. You can walk into the theater as an agnostic, but you may just leave singing with the choir."[104] Peter Travers of Rolling Stone said, "Besides being a feast for the eyes and ears, Les Misérables overflows with humor, heartbreak, rousing action and ravishing romance. Damn the imperfections, it's perfectly marvelous."[105]

text: Todd McCarthy of The Hollywood Reporter said, "As the enduring success of this property has shown, there are large, emotionally susceptible segments of the population ready to swallow this sort of thing, but that doesn't mean it's good."[106]

text: Manohla Dargis of The New York Times wrote: "[Director Tom] Hooper can be very good with actors. But his inability to leave any lily ungilded—to direct a scene without tilting or hurtling or throwing the camera around—is bludgeoning and deadly. By the grand finale, when tout le monde is waving the French tricolor in victory, you may instead be raising the white flag in exhausted defeat."[107]

text: Justin Chang of Variety wrote that the film "will more than satisfy the show's legions of fans." Chang praised the performances of Jackman, Hathaway, Barks, Tveit and Seyfried (i.e., every leading cast member except Crowe and Redmayne) but said that the film's editing "seems reluctant to slow down and let the viewer simply take in the performances."[108]

text: Callum Marsh of Slant Magazine gave the film 1 star, and wrote: "Flaws—and there are a great many that would have never made the cut were this a perfectible studio recording—are conveniently swept under the rug of candid expression ... the worst quality of Les Misérables's live singing is simply that it puts too much pressure on a handful of performers who frankly cannot sing.... Fisheye lenses and poorly framed close-ups abound in Les Misérables, nearly every frame a revelation of one man's bad taste ... One would be hard-pressed to describe this, despite the wealth of beauty on display, as anything but an ugly film, shot and cut ineptly. Everything in the film, songs included, is cranked to 11, the melodrama of it all soaring. So it's odd that this kind of showboating maximalism should be ultimately reduced to a few fisheye'd faces, mugging for their close-up, as the people sing off-key and broken."[109] Chicago Tribune critic Michael Philips gave the film only one and a half stars, writing: "The camera bobs and weaves like a drunk, frantically. So you have hammering close-ups, combined with woozy insecurity each time more than two people are in the frame. ...too little in this frenzied mess of a film registers because Hooper is trying to make everything register at the same nutty pitch."[110]

text: Some specific performances were reviewed very positively. Anne Hathaway's performance of ballad "I Dreamed a Dream" was met with praise, with many comparing its showstopper-like quality to Jennifer Hudson's performance of "And I Am Telling You I'm Not Going" from Dreamgirls.[111] Christopher Orr of The Atlantic wrote that "Hathaway gives it everything she has, beginning in quiet sorrow before building to a woebegone climax: she gasps, she weeps, she coughs. If you are blown away by the scene—as many will be; it will almost certainly earn Hathaway her first Oscar—this may be the film for you."[112] Ann Hornaday of The Washington Post writes that "The centerpiece of a movie composed entirely of centerpieces belongs to Anne Hathaway, who as the tragic heroine Fantine sings another of the memorable numbers".[113] Joy Tipping of The Dallas Morning News described Hathaway's performance as "angelic".[114]

text: Claudia Puig of USA Today describes her as "superb as the tragic Fantine".[115] Travers felt that "A dynamite Hathaway shatters every heart when she sings how 'life has killed the dream I dreamed.' Her volcanic performance has Oscar written all over it."[105] Lou Lumenick, critic for New York Post, wrote that the film is "worth seeing for Hathaway alone".[116] She was widely considered to be the frontrunner for the Academy Award for Best Supporting Actress,[117] ultimately winning it.

text: Eddie Redmayne also received considerable praise for his performance with Bloomberg News saying that "Eddie Redmayne—most recently seen as the eager young production assistant in My Week with Marilyn—delivers by far the most moving and memorable performance in the film as the young firebrand Marius, who, along with his fellow students, is caught up in France's political upheavals in the 19th century."[118]

text: Samantha Barks earned praise for her portrayal of Éponine, with Digital Journal saying: "Samantha Barks plays Éponine with such grace, sweetness, and sadness that it is hard to imagine anyone else in the role",[119] while Claudia Puig of USA Today calls her "heartbreakingly soulful",[115] Richard Roeper of Chicago Sun-Times describes her performance as "star-making",[120] and Roger Friedman of Showbiz411.com says she "just about steals the film".[121]

text: Crowe's performance was less well received and even Crowe agreed that the film suffered from poor vocal performances. Emma Gosnell, writing for The Daily Telegraph, stated that she walked out of the showing due to the poor singing, specifically citing Crowe and Jackman as the cause. Playback singer Marni Nixon said "[Crowe] was nothing. It wasn't that he was choosing to sing like that, he just couldn't do anything else" and that Jackman acted well but "could have done with a nobler voice". She also criticised Bonham Carter as being incomprehensible, but praised the rest of the female cast.[122] American Idol runner-up Adam Lambert tweeted several disparaging messages, including "why not cast actors who could actually sound good?" and "the singing was so distracting at times it pulled me out", to which Crowe replied via Twitter: "I don't disagree with Adam, sure it could have been sweetened, Hooper wanted it raw and real, that's how it is".[123] Nixon rebutted this: "We're talking about a musical. Is that real? People don't go around singing 'La la la la' to each other all day!"[122]

text: In 2013, the film was nominated for eight Academy Awards, including the Best Picture, Best Actor in a Leading Role for Hugh Jackman,[124] and went on to win in three categories: Best Supporting Actress for Anne Hathaway, Best Makeup and Hairstyling, and Best Sound Mixing.

text: Awards and nominations[edit]

text:
Award
Date of ceremony
Category
Nominee
Result
Ref

Academy Awards
24 February 2013
Best Picture
Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh
Nominated
[124]

Best Actor
Hugh Jackman
Nominated

Best Supporting Actress
Anne Hathaway
Won

Best Original Song
"Suddenly" by Claude-Michel Schönberg, Herbert Kretzmer, and Alain Boublil
Nominated

Best Costume Design
Paco Delgado
Nominated

Best Makeup and Hairstyling
Lisa Westcott and Julie Dartnell
Won

Best Sound Mixing
Andy Nelson, Mark Paterson, and Simon Hayes
Won

Best Production Design
Production Design: Eve Stewart; Set Decoration: Anna Lynch-Robinson
Nominated

American Film Institute
11 January 2013
Movies of the Year
Won
[125]

Australian Academy of Cinema and Television Arts Award
28 January 2013
Best International Film
Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh
Nominated
[126]

Best International Actor
Hugh Jackman
Nominated

British Academy Film Award
10 February 2013
Best Film
Nominated
[127]

Best British Film
Nominated

Best Actor in a Leading Role
Hugh Jackman
Nominated

Best Actress in a Supporting Role
Anne Hathaway
Won

Best Cinematography
Danny Cohen
Nominated

Best Costume Design
Paco Delgado
Nominated

Best Makeup and Hair
Lisa Westcott
Won

Best Sound
Simon Hayes, Andy Nelson, Mark Paterson, Jonathan Allen, Lee Walpole, and John Warhurst
Won

Best Production Design
Eve Stewart and Anna Lynch-Robinson
Won

Broadcast Film Critics Association Awards
10 January 2013
Best Film
Nominated
[128]

Best Acting Ensemble
The Cast of Les Misérables
Nominated

Best Actor
Hugh Jackman
Nominated

Best Supporting Actress
Anne Hathaway
Won

Best Director
Tom Hooper
Nominated

Best Song
"Suddenly"
Nominated

Best Cinematography
Danny Cohen
Nominated

Best Art Direction
Eve Stewart and Anna Lynch-Robinson
Nominated

Best Editing
Chris Dickens and Melanie Oliver
Nominated

Best Costume Design
Paco Delgado
Nominated

Best Makeup
Lisa Westcott
Won

Chicago Film Critics Association
17 December 2012
Best Supporting Actress
Anne Hathaway
Nominated
[129]

Best Art Direction
Eve Stewart and Anna Lynch-Robinson
Nominated

Most Promising Performer
Samantha Barks
Nominated

Directors Guild of America Award
2 February 2013
Outstanding Directorial Achievement in Motion Pictures
Tom Hooper
Nominated

Dorian Awards
17 January 2013
Film of the Year

Nominated
[130][131]

Film Performance of the Year - Actor
Hugh Jackman
Nominated

Film Performance of the Year - Actress
Anne Hathaway
Won

Visually Striking Film of the Year

Nominated

Golden Globe Award
13 January 2013
Best Motion Picture – Musical or Comedy
Won
[132]

Best Actor – Motion Picture Musical or Comedy
Hugh Jackman
Won

Best Supporting Actress – Motion Picture
Anne Hathaway
Won

Best Original Song
"Suddenly"
Nominated

Grammy Awards
26 January 2014
Best Compilation Soundtrack for Visual Media
Cameron Mackintosh, Lee McCutcheon, and Stephan Metcalfe
Nominated
[133]

Hollywood Film Festival
23 October 2012
Best Trailer
Erin Wyatt
Won
[134]

Producer of the Year
Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh
Won

Spotlight Award
Samantha Barks
Won

Houston Film Critics Society
5 January 2013
Best Picture
Nominated

Best Director
Tom Hooper
Nominated

Best Actor
Hugh Jackman
Nominated

Best Supporting Actress
Anne Hathaway
Won

Best Cinematography
Danny Cohen
Nominated

Best Original Song
"Suddenly"
Won

5th Annual Lancashire Film Critics Awards
30 March 2013
Best Film

Won
[135]

Best Director
Tom Hooper
Won

London Film Critics Circle
20 January 2013
British Film of the Year
Nominated

Actor of the Year
Hugh Jackman
Nominated

Supporting Actress of the Year
Anne Hathaway
Won

Young British Performer of the Year
Samantha Barks
Nominated

Los Angeles Film Critics Association
9 December 2012
Best Supporting Actress
Anne Hathaway
(also for The Dark Knight Rises)
Nominated

MTV Movie Awards
14 April 2013
Best Female Performance
Anne Hathaway
Nominated
[136]

Best Breakthrough Performance
Eddie Redmayne
Nominated

Best Musical Moment
Anne Hathaway
Nominated

New York Film Critics Circle Award
3 December 2012
Best Supporting Actress
Anne Hathaway
(also for The Dark Knight Rises)
Nominated

New York Film Critics Online
3 December 2012
Movies of the Year
Won

Best Supporting Actress
Anne Hathaway
Won

Producers Guild of America Award
26 January 2013
Best Theatrical Motion Picture
Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh
Nominated
[137]

Satellite Award
16 December 2012
Best Film
Nominated
[138]

Best Cast – Motion Picture
The Cast of Les Misérables
Won

Best Actor – Motion Picture
Hugh Jackman
Nominated

Best Supporting Actor – Motion Picture
Eddie Redmayne
Nominated

Best Supporting Actress – Motion Picture
Anne Hathaway
Won

Samantha Barks
Nominated

Best Art Direction and Production Design
Eve Stewart and Anna Lynch-Robinson
Nominated

Best Costume Design
Paco Delgado
Nominated

Best Editing
Chris Dickens and Melanie Oliver
Nominated

Best Original Song
"Suddenly"
Won

Best Sound
John Warhurst, Lee Walpole, and Simon Hayes
Won

Saturn Awards
26 June 2013
Best Action / Adventure
Nominated
[139]

Best Actor
Hugh Jackman
Nominated

Best Supporting Actress
Anne Hathaway
Nominated

Best Performance by a Younger Actor
Daniel Huttlestone
Nominated

Best Costume
Paco Delgado
Won

Best Production Design
Eve Stewart
Nominated

Screen Actors Guild Award
27 January 2013
Outstanding Performance by a Cast in a Motion Picture
The Cast of Les Misérables
Nominated
[140]

Outstanding Performance by a Male Actor in a Leading Role
Hugh Jackman
Nominated

Outstanding Performance by a Female Actor in a Supporting Role
Anne Hathaway
Won

Outstanding Performance by a Stunt Ensemble in a Motion Picture
Nominated

Washington D.C. Area Film Critics Association
10 December 2012
Best Film
Nominated
[141]

Best Acting Ensemble
The Cast of Les Misérables
Won

Best Actor
Hugh Jackman
Nominated

Best Supporting Actress
Samantha Barks
Nominated

Anne Hathaway
Won

Best Director
Tom Hooper
Nominated

Best Art Direction
Eve Stewart and Anna Lynch-Robinson
Nominated

Best Cinematography
Danny Cohen
Nominated

Young Artist Award
5 May 2013
Best Performance in a Feature Film - Supporting Young Actor
Daniel Huttlestone
Nominated
[142]

Best Performance in a Feature Film - Supporting Young Actress Ten and Under
Isabelle Allen
Won


document_title: You Can't Always Get What You Want

question_text: can't always get what you want lyrics meaning

question_tokens: ca n 't always get what you want lyrics meaning

root

text: You Can't Always Get What You Want

text: Composition and recording[edit]

text: Jagger commented on the song's beginnings:

tag: p

text: "You Can't Always Get What You Want" was something I just played on the acoustic guitar—one of those bedroom songs. It proved to be quite difficult to record because Charlie couldn't play the groove and so Jimmy Miller had to play the drums. I'd also had this idea of having a choir, probably a gospel choir, on the track, but there wasn't one around at that point. Jack Nitzsche, or somebody, said that we could get the London Bach Choir and we said, "That will be a laugh."[3]

text: "You Can't Always Get What You Want" was the first song recorded for the album. It exists in two versions, a 5:00 single mix[1] and a 7:28 album mix.[2]  "You Can't Always Get What You Want" was recorded on 16 and 17 November 1968 at Olympic Sound Studios in London. It features the London Bach Choir opening the song (the choir opening is only on the album version), highlighting throughout, and bringing it to its conclusion. Jimmy Miller, the Stones' producer at the time, plays drums on this song instead of Charlie Watts. Al Kooper plays piano and organ, as well as the French horn intro, while Rocky Dijon plays congas and maracas.[citation needed]

text: In his review of the song, Richie Unterberger of AllMusic said: "If you buy John Lennon's observation that the Rolling Stones were apt to copy the Beatles' innovations within a few months or so, 'You Can't Always Get What You Want' is the Rolling Stones' counterpart to 'Hey Jude'."[4] Jagger said in 1969, "I liked the way the Beatles did that with 'Hey Jude'. The orchestra was not just to cover everything up—it was something extra. We may do something like that on the next album."[5]

text: Lyrics[edit]

text: The three verses (and the varied theme of the fourth verse) address major topics of the 1960s: love, politics, and drugs. Each verse captures the essence of the initial optimism and eventual disillusion, followed by the resigned pragmatism of the chorus.[citation needed]

text: Unterberger ebalorated:

text: Much has been made of the lyrics reflecting the end of the overlong party that was the 1960s, as a snapshot of Swinging London burning out. That's a valid interpretation, but it should also be pointed out that there's also an uplifting and reassuring quality to the melody and performance. This is particularly true of the key lyrical hook, when we are reminded that we can't always get what we want, but we'll get what we need.[4]

text: Jimmy Hutmaker of Excelsior, Minnesota, claimed to be the "Mr. Jimmy" cited in the song and that he said the phrase "you can't always get what you want" to Jagger during a chance encounter at an Excelsior drug store in 1964.[6] However, David Dalton, a writer for Rolling Stone who witnessed the filming of The Rolling Stones Rock and Roll Circus, claims in his commentary for the DVD of the concert that "Mr. Jimmy" refers to Jimmy Miller, the Stones producer from 1968 to 1973.

text: Marianne Faithfull has also claimed a role: "Obviously I also contributed to 'You Can't Always Get What You Want' and 'Dear Doctor' – junk songs ... I know they used me as a muse for those tough drug songs. I knew I was being used but it was for a worthy cause."[7]

text: Release and aftermath[edit]

text: The song was originally released on the B-side of "Honky Tonk Women" in July 1969. Although it did not chart at the time, London Records re-serviced the single in 1973 and "You Can't Always Get What You Want" reached number 42 on the Billboard Hot 100 and number 34 on the Cashbox Top 100 Singles chart.[8] One of the Stones' most popular recordings, it has since appeared on the compilations Hot Rocks, Singles Collection (single version), Forty Licks, Rolled Gold+: The Very Best of the Rolling Stones (2007 edition), Singles 1968-1971 (single version), Slow Rollers (single version) and GRRR! (single version).

text: The song is also very popular at Rolling Stones shows in part because of its sing-along chorus, and is played at almost every show, where it is customary for Jagger to change the lyrics from "my favourite flavour, cherry red" to the question "What's your favourite flavour?" to which the audience replies "Cherry red!" Live recordings appear on the albums Love You Live, Flashpoint, Live Licks, and Sweet Summer Sun: Hyde Park Live, as well as on The Rolling Stones Rock and Roll Circus, filmed in 1968.  Stones concert films that contain the song include: Ladies and Gentlemen: The Rolling Stones, From the Vault – L.A Forum - Live in 1975, Let's Spend the Night Together, Stones at the Max, Bridges to Babylon Tour '97–98, Four Flicks, The Biggest Bang, and 'Sweet Summer Sun: Hyde Park Live.

text: The song was performed live with members of Voce Chamber Choir and London Youth Choir[9] for the Stones' 2012 reunion shows in London, November 25 and November 29. The same choir also performed on the track at Glastonbury and two performances at Hyde Park in 2013.

text: Trump campaign use[edit]

text: Donald Trump played the Rolling Stones' recording of the song at campaign appearances during the 2016 Republican primaries and the presidential election, including his nationally televised acceptance speech at the Republican National Convention in July.[10] After the convention, the band stated publicly that they do not endorse Trump and requested that he cease all use of their songs immediately.[11] Despite the requests to stop, Trump continued using the song at campaign rallies before and after the 2016 election.[12] According to Jagger, the band considers the use of the song as a play-out at rallies to be "odd," given that it is a "sort of doomy ballad about drugs in Chelsea."[13]

text: Personnel[edit]

text: The Rolling Stones

text:
Mick Jagger – vocals, acoustic guitar
Keith Richards – acoustic and electric guitars, backing vocals
Bill Wyman – bass guitar

tag: ul

text: Additional personnel

text:
London Bach Choir – choral arrangements by Jack Nitzsche
Al Kooper – piano, organ, French horn[4]
Jimmy Miller – drums
Rocky Dijon – congas, maracas, tambourine
Madeline Bell – backing vocals
Nanette Workman – backing vocals (credited as 'Nanette Newman' on the LP)
Doris Troy – backing vocals

text: Chart performance[edit]

text:
Chart (1973)

Peakposition

Canada RPM Top Singles[14]

68

US Billboard Hot 100[15]

42

tag: table

text: Covers and tributes[edit]

text: This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: may not meet WP:SONGCOVER Please help improve this section if you can. (July 2013) (Learn how and when to remove this template message)

text:
1980 – Bette Midler recorded a live version for her concert album and film Divine Madness. The song was made into a medley featuring Bob Dylan's "I Shall Be Released".
1981 – Aretha Franklin covered the song on her album Love All the Hurt Away.
1983 – The song is on the soundtrack for the movie "The Big Chill" and is played after the funeral of the unseen character who everyone is there to mourn.
1989 – "Weird Al" Yankovic included the song in "The Hot Rocks Polka", a polka medley consisting entirely of the Stones' songs.
1990 – George Michael used the song's rhythm, chords and chorus in his single "Waiting for That Day". Jagger and Richards received shared songwriting credit.
1992 – Def Leppard released an acoustic cover of the song as a b-side to their single "Have You Ever Needed Someone So Bad".
1993 – folk singers Greg Brown and Bill Morrissey covered the song on their only joint recording Friend of Mine.
1998 – the jam band Rusted Root included a version on their self-titled fourth album.
2007 – Band from TV covered it for the House M.D. Original Television Soundtrack, the song being a recurring theme in the television show.
2008 – Belgian outfit Soulwax released a remix of the song, which appeared on the soundtrack to the 2008 film 21.
2009 – the cast of Glee recorded a cover in the episode "Sectionals".
2012 – Anastacia covered the song for her album It's a Man's World.
2016 – Parliamentary rock group MP4, Ricky Wilson of Kaiser Chiefs, Steve Harley, KT Tunstall and David Gray teamed up with Members of the British Parliamentary choir and the Royal Opera House Thurrock Community Chorus to record a charity version of the song in memory of Labour MP Jo Cox.[16]


document_title: List of Indian state trees

question_text: what is our state tree of andhra pradesh

text: List of Indian state trees

text: All 29 Indian states have their own government and the 7 Union territories come under the jurisdiction of the Central Government. As most of the other countries India too has a national emblem - The lion capital. Apart from India's national emblem, each of its States and Union Territories have their own state seals and symbols which include state animals, birds, trees, flowers etc.[1] A list of state trees of India is given below. See Symbols of Indian states and territories for a complete list of all State characters and seals.

text:
State
Common name
Scientific name
Image

Andhra Pradesh
Neem (వేప చెట్టు)
Azadirachta indica

Arunachal Pradesh
Hollong
Dipterocarpus macrocarpus

Assam
Hollong
Dipterocarpus macrocarpus

Bihar
Sacred fig
Ficus religiosa

Chhattisgarh
Sal
Shorea robusta

Goa
Coconut[2]
Cocos nucifera

Gujarat
Banyan[3]
Ficus benghalensis

Haryana
Sacred fig
Ficus religiosa

Himachal Pradesh
Deodar
Cedrus deodara

Jammu and Kashmir
Chinar
Platanus orientalis

Jharkhand
Sal
Shorea robusta

Karnataka
Sandalwood
Santalum album

Kerala
Coconut
Cocos nucifera

Madhya Pradesh
Banyan
Ficus benghalensis

Maharashtra
Mango
Mangifera indica

Manipur
Toona
Toona

Meghalaya
White teak
Gmelina arborea

Mizoram
Iron wood
Mesua ferrea

Nagaland
Alder
Alnus nepalensis

Odisha
Banyan
Ficus benghalensis

Punjab
Indian Rosewood
Dalbergia sissoo

Rajasthan
Khejri
Prosopis cineraria

Sikkim
Rhododendron
Rhododendron niveum

Tamil Nadu
Palmyra palm
Borassus

Telangana
Jammi
Prosopis cineraria

Tripura
Agar
Aquillaria agallocha

Uttar Pradesh
Ashoka
Saraca asoca

Uttarakhand
Burans
Rhododendron arboreum

West Bengal
Alstonia
Alstonia scholaris [4]

text:
Union territory
Common name
Scientific name
Image

Andaman and Nicobar Islands
Andaman Padauk[5][6]
Pterocarpus dalbergioides

Chandigarh
Blue jacaranda[7][8]
Jacaranda mimosifolia

Dadra and Nagar Haveli
Not Designated

Daman and Diu
Not Designated

Delhi
Flamboyant
Delonix regia

Lakshadweep
Bread fruit
Artocarpus altilis

Puducherry
Bael fruit tree
Aegle marmelos


document_title: Race and ethnicity in the NHL

question_text: what is the percentage of canadian players in nhl

text: Race and ethnicity in the NHL

text: This article is an orphan, as no other articles link to it. Please introduce links to this page from related articles; try the Find link tool for suggestions. (August 2016)

text: The National Hockey League evolved from a mono-ethnic and primarily Canadian professional athletic league to span North America.[1][2][3][4][5] The distribution of ethnic groups has been gradually changing since the inception of the NHL.[6] The league consists of a variety of players from varying nationalities and diverse backgrounds. Once known as a league riddled with racism and exclusiveness, the NHL has made positive steps toward a more diverse and inclusive institution.[7]

text: According to statistics,[8] gathered by www.quanthockey.com, the NHL began its expansion of player nationalities in the 1970s, where players hailed from the United States, Sweden, and Finland. The share of Canadians in the league dropped to 75% by the 1980s and is now slightly less than 50%.[8] In 2011, the NHL was composed of 93 percent of players who identified as white, with the remaining 7 percent identifying as varying ethnicities.[9][needs update]

text: History[edit]

text: A number of ice hockey leagues for players of African descent formed in Canada as early as the late-19th century. The Coloured Hockey League was an all-black ice hockey league established in 1895. Operating across the Maritime provinces of Canada, the league operated for several decades until 1930.

text: Although other ice hockey leagues saw integration in the early 20th century (including the Quebec Senior Hockey League), the NHL did not see its first non-white player until March 13, 1948, when Larry Kwong broke the NHL's colour barrier playing with the New York Rangers.[10] Born in Vernon, British Columbia, Kwong was a Chinese Canadian of Cantonese descent.[11] In 1953, Fred Sasakamoose was the first Cree NHL player, and the first Canadian indigenous player in the NHL, debuting with the Chicago Black Hawks. On January 18, 1958, Willie O'Ree became the first Black Canadian to play in the NHL. Playing with the Boston Bruins, he was also the first NHL player of African-descent.[12]

text: Val James was the first African American player to play in the NHL. James signed his contract with the Buffalo Sabres in 1982.[13] His stint with the Buffalo Sabres and Toronto Maple Leafs were short lived and he eventually retired in 1987 due to injury.[13] He experienced racism as the first player throughout his skating career. He never spoke of racism on the ice until 30 years after his career ended. In his account, he reported he could not watch hockey games for 10 years after leaving the ice without being haunted by the memories of his treatment as a man of color in the NHL.[14] His hostile experiences were and continue to be representative of how institutional racism permeates the culture and socialization of men (and women) sports. An biography of his life in the sport was published under the title Black Ice: The Val James Story written by John Gallagher.[15] The number of black NHL players moved to 26 by the end of the 20th century and sat at 32 in 2016. This is a seemingly minor yet significant change in the racial demographic of the NHL in its hundred-year history.[9]

text: In addition to black and white players, other races and ethnicities represented in the NHL (in the 2017–18 season) include players of Arab-descent (including Brandon Saad, Justin Abdelkader, Mika Zibanejad, and Nazem Kadri), players of Latino-descent (including Al Montoya, Auston Matthews, Max Pacioretty, and Raffi Torres), and players of Asian-descent (including Kailer Yamamoto, and Matthew Dumba).


document_title: Now You See Me 2

question_text: who plays henley in now you see me

question_tokens: who plays henley in now you see me

text: Now You See Me 2

text: Plot[edit]

text: Eighteen months after outwitting the FBI, the remaining members of the Four Horsemen—J. Daniel Atlas (Jesse Eisenberg), Merritt McKinney (Woody Harrelson) and Jack Wilder (Dave Franco)—are in hiding in New York City, awaiting further instructions from The Eye, the secret society of magicians they've been recruited into. Atlas, having grown tired of waiting for a mission, seeks out The Eye himself. His search leads him to an underground tunnel in which he hears a voice that tells him that his wait may be coming to an end. The Horsemen's handler, FBI Special Agent Dylan Rhodes (Mark Ruffalo), ultimately assigns them a new mission, exposing corrupt businessman Owen Case (Ben Lamb), whose new software secretly steals data on its users for Case's benefit. Lula May (Lizzy Caplan) is added to the team to replace former member Henley Reeves (Isla Fisher), who has left the Horsemen after breaking up with Atlas.

text: The Horsemen hijack the launch party for the new software, but the show is interrupted by a mysterious individual who reveals to the world that Wilder, believed to be dead, is actually alive, and that Rhodes is their mole, forcing him to escape. While escaping, the Horsemen enter their escape tube on a roof and emerge in Macau, where they are captured by mercenaries and Chase McKinney (also played by Woody Harrelson), Merritt's twin brother. The Horsemen are then brought before Chase's employer, technology prodigy Walter Mabry (Daniel Radcliffe), Case's former business partner, who faked his own death after Case stole Walter's company. Mabry conscripts the Horsemen into stealing the data-mining device developed by Case to prevent him from using it. The chip allows the user to decrypt and access any electronic device around the world. The Horsemen agree to steal the device.

text: They get supplies at a famous magic shop in Macau, run by Li (Jay Chou) and Bu Bu (Tsai Chin), and secretly contact The Eye to arrange to hand over the device after they steal it. Meanwhile, Rhodes is branded a fugitive and forced to spring his rival Thaddeus Bradley (Morgan Freeman), whom Rhodes blames for the death of his father, out of jail for help.

text: The Horsemen infiltrate the facility and steal the chip, despite being interrogated and searched by security guard Allen Scott-Frank (Henry Lloyd-Hughes). Atlas is then confronted by Mabry, revealing that Atlas had been fooled into thinking that Mabry was The Eye. Rhodes intervenes and pretends to retrieve the device, but is captured by Mabry's henchmen and taken to a nearby yacht. There, he learns Mabry is acting on behalf of his father, Arthur Tressler (Michael Caine), whom Rhodes exposed with the help of the Horsemen in the first film. Tressler places Rhodes in a replica of the same safe that his father died in and leaves him to drown, but Rhodes escapes and is rescued by the Horsemen. They find that the chip they had stolen appears to be a fake.

text: Rhodes and the Horsemen broadcast that they will be performing live in London at midnight on New Year's Eve. Mabry and Tressler, thinking that they have the computer chip, make haste to London, where the Horsemen are performing a series of tricks on the streets. At the Shard, Mabry, Tressler and Chase discover that Rhodes is still alive and capture the five, taking them on his private plane. Mabry takes the card from them, and Rhodes and the other Horsemen are thrown out of the plane supposedly in flight. However, Tressler finds that the plane has never taken off, and instead is on a barge in the middle of the River Thames, with their criminal activities being broadcast live to the world by the Horsemen in the process. Mabry, Tressler and Chase are arrested and Rhodes, now going by his real surname, "Shrike", entrusts the information they've gathered on the real criminals' activities to the FBI, who allows him a head start to escape.

text: Rhodes and the Horsemen are then taken to meet the leaders of the Eye in a secret library in Greenwich Observatory. They find that the members of the Eye include Li, Bu Bu, Allen Scott-Frank and Thaddeus Bradley. Bradley reveals that he was actually Lionel Shrike's partner, and he had been masquerading as his rival as part of their planned act: he had exposed Lionel's first act planning to be dumbfounded by his second act, only to abandon the Eye after Lionel's death. Before Bradley leaves, he asks Rhodes to be his successor in the Eye's leadership and requests that the Horsemen enter a curtain. The Horsemen, along with Rhodes, go behind the curtain, and find a door behind it. They enter the room and find a staircase; the camera zooms out to the stairs, forming an Eye.

text: Cast[edit]

text:
Mark Ruffalo as Agent Dylan Rhodes. The Fool: Former FBI agent, leader of The Four Horsemen, and the son of the late illusionist Lionel Shrike.[4]
Jesse Eisenberg as J. Daniel Atlas. He is the self-appointed leader of the Four Horsemen.
William Henderson as young Dylan.
Woody Harrelson as Merritt McKinney and Chase McKinney.[5] They specialize in hypnosis.
Dave Franco as Jack Wilder, a magician specializing in card tricks.
Daniel Radcliffe as Walter Mabry, Arthur Tressler's illegitimate young technology tycoon son.
Lizzy Caplan as Lula May, a new member of The Four Horsemen, replacing Henley.[6]
Morgan Freeman as Thaddeus Bradley, a magic debunker, exposing the tricks of other magicians.[7]
Jay Chou as Li, a Macanese magic shop owner.
Sanaa Lathan as Agent Natalie Austin.
Michael Caine as Arthur Tressler, the Four Horsemen's former sponsor, who wants revenge for losing his money and power.
Henry Lloyd-Hughes as Allen Scott-Frank, head of the Macau Science Center and member of the Eye.
Ben Lamb as Owen Case, Walter's former business partner.
David Warshofsky as Agent Cowan.
Tsai Chin as Bu Bu, Li's grandmother who supposedly does not speak English.
Varada Sethu as Tressler’s Assistant[8]
Richard Laing as Lionel Shrike, a magician who drowned while performing an escape trick thirty years ago.
Zach Gerard as Hannes Pike
Zoey Callandria Jones as Hannes' attractive woman
Alberto Calvet Gonzalez as Hannes' scientist
Isla Fisher as Henley Reeves (cameo)

text: Production[edit]

text: On July 3, 2013, after the box office success of the first film, Lionsgate CEO Jon Feltheimer confirmed that there would be a sequel to the film, with production beginning in 2014 for an unspecified release date.[9] In September 2014, it was confirmed that Jon M. Chu would replace Louis Leterrier as director.[10] On October 2, 2014, Michael Caine confirmed in an interview that Daniel Radcliffe would be playing his son in the film, and that shooting is expected to begin in December in London.[11] The film was produced by Lionsgate and Summit Entertainment.[12] In October 2014, it was announced that Isla Fisher would be unable to reprise her role as Henley Reeves due to her pregnancy, and Lizzy Caplan was cast as new character Lula to replace her as the Fourth Horseman.[13][14] The sequel was thought to be titled Now You See Me: Now You Don't,[14] with the director pushing for that name,[15] but the studio call announced in November 2014 was that the film had changed its title to Now You See Me: The Second Act.[16][17] On January 28, 2015, Henry Lloyd-Hughes was confirmed to play the role of a tech whiz kid named Allen Scott-Frank.[18] On December 22, 2014, it was reported that Morgan Freeman was not going to reprise his role as Thaddeus Bradley,[19] but on January 19, 2015, film director Chu posted a selfie with Freeman on his Instagram, verifying that he would return.[7]

text: Filming[edit]

text: On November 25, 2014, Mark Ruffalo posted to his Facebook that filming had begun on the sequel,[4] as the film was shooting in London, England.[13] On March 11, 2015, shooting began in China, where filming took place in Macau and the Macau Science Center, and ended on May 12, 2015 in New York City.[20]

text: Soundtrack[edit]

text:
Now You See Me 2 (Original Motion Picture Soundtrack)

Soundtrack album by Brian Tyler

Released
June 10, 2016

Recorded
2016

Genre
Film score

Length
77:37

Label
Varese Sarabande

Producer
Brian Tyler

Brian Tyler film scores chronology

Criminal
(2016)Criminal2016
Now You See Me 2
(2016)
Power Rangers
(2017)Power Rangers2017

text: The film’s music was written and composed by Brian Tyler. The soundtrack was released on June 10, 2016 by Varese Sarabande.

text: Track listing[edit]

text: All music composed by Brian Tyler.

text:
[show]Track listing

No.
Title
Length

1.
"Now You See Me 2 Fanfare"
3:20

2.
"Now You See Me 2 Main Titles"
3:00

3.
"300 Seconds"
7:25

4.
"The Setup"
5:45

5.
"Sleight of Hand"
5:52

6.
"Revelatory"
1:24

7.
"A Special Invitation"
4:38

8.
"Equivoque"
3:18

9.
"Off The Grid (Walter's Theme)"
2:13

10.
"Trifecta"
3:53

11.
"The Fool"
1:55

12.
"Buffy the Chippie"
2:58

13.
"Behind the Curtain"
4:10

14.
"Thaddeus' Game"
2:23

15.
"Octa"
1:37

16.
"United"
1:36

17.
"Deliverance"
4:10

18.
"Diversion Tactics"
4:34

19.
"Sibling Rivalry"
1:55

20.
"Bazaar Getaway"
2:09

21.
"The New Horseman"
1:05

22.
"See You in 3 to 5"
1:41

23.
"The Big Finish"
3:56

24.
"Finale"
2:40

Total length:
77:37

text: Release[edit]

text: In November 2014, the film was officially titled Now You See Me 2, and was set to be released on June 10, 2016.[4][10] In March 2016, the film's international release date was announced as July 4, 2016.

text: Home media[edit]

text: Now You See Me 2 was released on Digital HD on August 19, with a subsequent Blu-ray Combo Pack and DVD released on September 6.[21]

text: Reception[edit]

text: Box office[edit]

text: Now You See Me 2 grossed $65.1 million in the United States and Canada and $269.8 million in other territories for a worldwide total of $334.9 million, against a budget of $90 million.[3]

text: In the United States and Canada, Now You See Me 2 opened on June 10, 2016, alongside Warcraft and The Conjuring 2, and was projected to gross $23–26 million from 3,232 theaters in its opening weekend.[22][23] The film grossed $1.8 million from its Thursday night previews, besting the $1.5 million made by its predecessor, and $8.4 million on its first day.[24][25] It went on to gross $22.3 million in its opening weekend, finishing third at the box office behind The Conjuring 2 ($40.4 million) and Warcraft ($24.1 million).[26]

text: In China, the film was released on June 24, 2016 and had an opening day of $14.8 million, a record for Lionsgate and up 67.9% from the original's first day. In its opening weekend the film grossed $44.4 million, also a record for Lionsgate.[27] China was the largest territory for the film, with a total gross of $97.1 million.[28]

text: Critical response[edit]

text: Now You See Me 2 received mixed reviews from critics. On the review aggregator website Rotten Tomatoes, the film has an approval rating of 34% based on 165 reviews, with an average rating of 5/10. The site's critical consensus reads, "Now You See Me 2 packs in even more twists and turns than its predecessor, but in the end, it has even less hiding up its sleeve."[29] On another aggregator, Metacritic, the film has a score of 46 out of 100, based on 33 critics, indicating "mixed or average reviews".[30] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, the same grade earned by its predecessor.[25]

text: Although critics and fans were disappointed that Isla Fisher was not returning as Henley Reeves, many praised Lizzy Caplan's addition to the cast. Caplan was described as "one of the sequel's biggest improvements" by Entertainment Weekly,[31] while Dave White of TheWrap wrote that she "provides a fresh infusion of smart-ass energy into the boy's club."[32] Australian film magazine Filmink also noted that Caplan "over-shadows her skilled co-stars with her sassy and commanding screen presence."[33] Owen Gleiberman of Variety wrote that "all bearded creepy grins, [Daniel Radcliffe] makes Walter a megalomaniac imp, like the world's youngest Bond villain."[34] Randy Cordova of The Arizona Republic, who preferred the film to the original, said of the villain character that "In [Radcliffe's] hands, he is a spoiled and petulant baddie, alternately creepy and hilarious."[35]

text: Ignatiy Vishnevetsky of The A.V. Club wrote that the sequel "up[s] the ludicrous quotient" from the original, "double-timing the convoluted plotting and embracing implausibility as an aesthetic...[I]f [director Jon M.] Chu doesn’t seem comfortable with the swooping, lens-flare-speckled flashiness that director Louis Leterrier brought to the first film, he seems even less interested than his predecessor in creating the impression of a recognizably real world — which is a good thing, at least for a movie about a superstar heist crew called the Horsemen that involves twins, multiple secret identities, and a global corporate surveillance plot that can only be foiled through the use of stage magic."[36]

text: Michael Phillips of the Chicago Tribune gave the film a mixed review but considered it "more fun" than its predecessor.[37]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient
Result
Ref(s)

Teen Choice Awards
July 31, 2016
Choice Summer Movie

Nominated
[38]

Choice Summer Movie Star: Male
Dave Franco
Nominated

Choice Summer Movie Star: Female
Lizzy Caplan
Nominated

text: Future[edit]

text: Now You See Me 3[edit]

text: In May 2015, Lionsgate CEO Jon Feltheimer announced that they had indeed "already begun early planning" for Now You See Me 3.[39] It was later confirmed that Lizzy Caplan will be reprising the role of Lula May, and that a new cast member, Benedict Cumberbatch, will be joining the cast. It was also confirmed that Isla Fisher will not be returning to the series as Henley Reeves, after her absence from the first sequel.[40][41][42][43][44]

text: Spin-off film[edit]

text: In July 2016, The Hollywood Reporter reported that Lionsgate wants to make a Now You See Me spin-off with a primarily Chinese cast, starring Jay Chou as Li, his character from Now You See Me 2.[45]


document_title: Harold & Kumar Go to White Castle

question_text: harold and kumar go to white castle where was it filmed

text: Harold & Kumar Go to White Castle

text: Plot[edit]

text: Investment banker Harold Lee is persuaded by his colleagues to do their work while they leave for the weekend. Kumar Patel attends a medical school interview, but intentionally botches it to prevent getting accepted. Harold is attracted to his neighbor, Maria, but is unable to admit his feelings. After smoking marijuana with Kumar, and seeing an advertisement for White Castle, the pair decide to get hamburgers. After traveling to the nearest White Castle in New Brunswick, they find it replaced by "Burger Shack" but learn of another White Castle in Cherry Hill.

text: Kumar suggests stopping at Princeton University to buy more marijuana. Kumar buys marijuana from a student and they are discovered by campus security and forced to flee, losing their marijuana. Harold and Kumar resume their drive, and Kumar pulls over to urinate. A raccoon gets in the car and bites Harold. Kumar takes Harold to a hospital where Kumar's father and older brother work. Kumar steals ID badges to obtain medical marijuana, but after being mistaken for his brother, Kumar performs surgery on a gunshot victim and, after the surgery, the patient tells them how to reach White Castle.

text: Kumar spots Maria at a movie theatre. He decides to get her attention so Harold can talk to her, but Harold panics and crashes the car. They are rescued by Freakshow, a tow-truck driver, who takes them to his house to repair their car. Harold and Kumar are propositioned by Freakshow's wife, but after Freakshow suggests a foursome, Harold and Kumar flee in disgust. Kumar picks up a hitchhiker, Neil Patrick Harris, who is high on ecstasy. Harold and Kumar go into a convenience store to get directions and Harris drives away. The duo are then harassed by a racist police officer for jaywalking. Harold attempts to punch Kumar for teasing the officer, but ends up punching the officer, resulting in his arrest.

text: Kumar fakes a 911 call to draw the police away and breaks into the station to free Harold. Harold and Kumar flee. The pair encounters an escaped cheetah, and after smoking marijuana with it, they ride it. After encountering a group of extreme sports punks who have been harassing the pair, Harold and Kumar steal their truck. A police officer spots the speeding truck and chases them. They are trapped when they reach the edge of a cliff. Spotting the White Castle below, Harold and Kumar use a hang glider from the truck to reach their destination. The pair place their orders but are disheartened to find they have no money. Harris suddenly appears, and pays for their meal as an apology for stealing their car.

text: Kumar realizes he wants to be a doctor, but is afraid of conforming to the stereotype of Indians becoming doctors. Harold notices his co-workers pull up with two women and gets angry at them because they said they had to work with clients but were actually out partying. He tells them off and threatens to get them fired and humiliated if it happens again. After returning to their apartment they encounter Maria. Harold professes his feelings for her and they kiss. She informs Harold that she is leaving for Amsterdam but will return in ten days. Kumar convinces Harold to go with him to Amsterdam to pursue Maria, reminding him that marijuana is legal in the Netherlands.

text: Cast[edit]

text:
John Cho as Harold Lee, a second generation Korean-American man working at his first job in investment banking.
Kal Penn as Kumar Patel, a second generation Indian-American whose family thinks that he will become a doctor like his father and brother.
Paula Garcés as Maria Perez, Harold and Kumar's neighbor, on whom Harold has a crush.
Neil Patrick Harris as a fictionalized version of himself.
Ryan Reynolds as an OR nurse
David Krumholtz as Goldstein, Harold and Kumar's neighbor and Rosenberg's roommate
Eddie Kaye Thomas as Rosenberg, Harold and Kumar's neighbor and Goldstein's roommate
Brooke D'Orsay as Clarissa, twin sister student at Princeton University who agreed to smoke weed with Kumar
Kate Kelton as Chrissy, twin sister student at Princeton University who agreed to smoke weed with Kumar
Christopher Meloni as Randy/Freakshow, a car mechanic with infected pimples on his face and neck who fixed Harold and Kumar's car
Sandy Jobin Bevans as Officer Palumbo, a police officer
Fred Willard as Dr. Willoughby, medical school dean who interviewed Kumar
Robert Tinkler as J.D.
Anthony Anderson as the Burger Shack Employee
Siu Ta as Cindy Kim, student at Princeton University who has a crush on Harold
Malin Åkerman as Liane, Freakshow's wife
Dov Tiefenbach as Bradley Thomas, student at Princeton University who sold weed to Kumar
Gary Anthony Williams as Tarik Jackson, a philosophical black man in who has been arrested for being black
Gary Archibald as Nathaniel Brooks
Craig Stevens as Ralph
Jamie Kennedy as Creepy Guy (uncredited)
Ethan Embry as Billy Carver

text: Production[edit]

text: While living in Los Angeles, screenwriters Jon Hurwitz and Hayden Schlossberg decided to write a low-budget stoner film and base the main characters on their high school friends from Randolph High School. They based the character of Harold on their real-life friend Harold Lee. Hurwitz got the idea to base the film around White Castle from his own experience craving White Castle burgers when he lived in Pennsylvania for several years. At the time, Pennsylvania did not have any White Castle locations and Hurwitz had to have family members bring him frozen White Castle burgers from New Jersey.[2]

text: The filmmakers received permission from White Castle in 2002 to use the chain's name in the film.[3] One scene that depicted a White Castle being closed was changed at the request of the company's director of marketing. The film was also supposed to feature a hunt for Krispy Kreme donuts, but the food was changed to hotdogs when Krispy Kreme refused to allow the film to use their name.[4]

text: Casting[edit]

text:
Hurwitz and Schlossberg included a role for Neil Patrick Harris as himself in the script without asking him first. Harris liked the script and agreed to appear in the film.[5]
During casting, both Kal Penn and actor Sendhil Ramamurthy were being considered for the role of Kumar. After auditioning seven times, Penn eventually won the part.[6]

text: Filming[edit]

text: Harold & Kumar began filming on May 12, 2003.[7] The film is set in New Jersey, but was mainly filmed in Toronto, Ontario, Canada. Scenes set at Princeton University were actually filmed at the University of Toronto's Victoria College and Knox College.[8] The production design team had to build a White Castle franchise especially for the shoot since Canada does not have White Castle restaurants. During filming, Penn ate veggie burgers as he is a vegetarian.[9]

text: Soundtrack[edit]

text:
Harold & Kumar Go to White Castle – SoundtrackSoundtrack album by Various ArtistsReleased
July 27th, 2004Label
Bulletproof

text: Harold & Kumar Go to White Castle : Original Soundtrack was released on July 27, 2004. It contains 16 songs from the film.

text:
"Chick Magnet" – MxPx
"One Good Spliff" – Ziggy Marley / The Melody Makers
"Yeah (Dream of Me)" – All Too Much
"Righteous Dub" – Long Beach Dub All Stars
"Skunk One" – Kottonmouth Kings
"Same Old Song" – Phunk Junkeez
"White Castle Blues" – The Smithereens
"Crazy On You" – Heart
"Cameltoe" – Fannypack
"Kinda High, Kinda Drunk" – Coolio
"Mary Jane" – Rick James
"I Wanna Get Next to You" – Rose Royce
"Hold On" – Wilson Phillips
"Ridin'" – Classic & 86
"Arrival at White Castle" – Heiruspecs
"Total Eclipse of the Heart" – Nicki French

tag: ol

text: Songs that are in the film but do not appear on the soundtrack include:

text:
"Also Sprach Zarathustra" – David Kitay
"Baby Baby" – Amy Grant
"Ballin' Boy" – No Good
"Click Click Pow" – Lexicon (real song title is "The Official")
"Warrior Dance" – Zion I feat. Pep Love
"Fall In Line" – Phunk Junkeez
"Faraway" – Dara Schindler
"Gangsta Gangsta" – J. O'Neal / D. Black
"Girl From Ypsilanti" – Daniel May
"Let's Get Retarded" – Black Eyed Peas (this song is the unedited version of their "Let's Get It Started" hit)
"Looney" – Moonshine Bandits
"Mariachi Speier" – Eric Speier
"On the Ganges" – Matt Hirt
"Rock to the Rhythm" – Lexicon (actual song name is "Rock")
"Rock Your Body 2004" – Stagga Lee
"Ooh Wee" – Mark Ronson

text: Release[edit]

text: Marketing[edit]

text: In the 11 days before the film's release, New Line Cinema turned a parking lot on Sunset Strip into a temporary White Castle. The restaurant served 40,000 burgers to patrons, including Quentin Tarantino, Farah Fawcett and Jay Leno.[10]

text: White Castle launched several promotions in tandem with the film's release. The restaurant chain featured beverage cups with pictures of Harold and Kumar. They also provided free hamburgers to moviegoers attending the film's premiere.[3] Cho and Penn were inducted into the company's White Castle Cravers Hall of Fame in 2004.[11]

text: Box office[edit]

text: In its opening weekend, the film grossed $5,480,378 in 2135 theatres in the United States and Canada. In total it had a worldwide gross of $23,936,908.[1]

text: Critical reception[edit]

text: The film was positively received by critics, with a 74% rating at Rotten Tomatoes based on 147 reviews; the consensus states "The likable leads and subversion of racial stereotypes elevate Harold and Kumar above the typical stoner comedy."[12][13]

text: Film critic Roger Ebert of the Chicago Sun-Times awarded the film 3 out of 4 stars and wrote "One secret of fiction is the creation of unique characters who are precisely defined. The secret of comedy is the same, with the difference being that the characters must be obsessed with unwholesome but understandable human desires."[14]

text: Home media[edit]

text: The "Extreme Unrated" edition of the DVD was released on January 4, 2005. It includes special features like a mockumentary, "The Art of the Fart", "The Backseat Interview", an interview with Cho and Penn, and a making-of featurette about the Land of Burgers animated segment. The DVD also features two commentaries: one by writers Jon Hurwitz and Hayden Schlossberg and one by actor Dan Bochart in character as Extreme Sports Punk #1.[15] The film was re-released on DVD in 2007 and a remastered edition was released in 2008. The film was released on Blu-ray on November 13, 2012.

text: As of August 17, 2008, the film had 2,878,770 DVD sales in the United States, grossing $30,609,751.[16]

text: Sequels[edit]

text: Harold & Kumar Escape from Guantanamo Bay is the 2008 sequel to White Castle. The movie revolves around Harold and Kumar trying to get to Amsterdam to find Maria, but when the two are mistaken for terrorists on the plane, they are sent to the Guantanamo Bay detention camp.

text: Both Hurwitz and Schlossberg announced plans to write a third Harold and Kumar film, with Greg Shapiro returning as producer, and Kal Penn and John Cho returning in their title roles,[17][18] While Todd Strauss-Schulson directed the film. A Very Harold & Kumar 3D Christmas, was released on November 4, 2011 in 2D and 3D.


document_title: Dido and Aeneas

question_text: the libretto for purcells opera dido and aeneas is based on

text: Dido and Aeneas

text: Background and context[edit]

text: Before Dido and Aeneas, Purcell had composed music for several stage works, including nine pieces for Nathaniel Lee's Theodosius, or The Force of Love (1680) and eight songs for Thomas d'Urfey's A Fool's Preferment (1688). He also composed songs for two plays by Nahum Tate (later the librettist of Dido and Aeneas), The Sicilian Usurper (1680) and Cuckold-Haven (1685). Dido and Aeneas was Purcell's first (and only) all-sung opera and derives from the English masque tradition.

text: Libretto[edit]

text: Originally based on Nahum Tate's play Brutus of Alba, or The Enchanted Lovers (1678), the opera is likely, at least to some extent, to be allegorical. The prologue refers to the joy of a marriage between two monarchs, which could refer to the marriage between William and Mary. In a poem of about 1686, Tate alluded to James II as Aeneas, who is misled by the evil machinations of the Sorceress and her witches (representing Roman Catholicism, a common metaphor at the time) into abandoning Dido, who symbolises the British people. The same symbolism may apply to the opera.[6] This explains the addition of the characters of the Sorceress and the witches, which do not appear in the original Aeneid. It would be noble, or at least acceptable, for Aeneas to follow the decree of the Gods, but not so acceptable for him to be tricked by ill-meaning spirits.

text: Although the opera is a tragedy, there are numerous seemingly lighter scenes, such as the First Sailor's song, "Take a boozy short leave of your nymphs on the shore, and silence their mourning with vows of returning, though never intending to visit them more." Musicologist Ellen T. Harris considers the callousness and cynicism of the song to underline the "moral" of the story, that young women should not succumb to the advances and promises of ardent young men.[7]

text: Score[edit]

text: No score in Purcell's hand is extant, and the only seventeenth-century source is a libretto, possibly from the original performance. The earliest extant score, held in the Bodleian Library, was copied no earlier than 1750, well over sixty years after the opera was composed.[8] No later sources follow the act divisions of the libretto, and the music to the prologue is lost. The prologue, the end of the act 2 'Grove' scene, and several dances, were almost certainly lost when the opera was divided into parts to be performed as interludes between the acts of spoken plays in the first decade of the eighteenth century.[9]

text: The first of the arias to be published separately was "Ah, Belinda" in Orpheus Britannicus.[6] The most famous aria of the work is "When I am laid in earth", popularly known as "Dido's Lament". Both arias are formed on a lamento ground bass. "Dido's Lament" has been performed or recorded by artists far from the typical operatic school, such as Klaus Nomi (as "Death"), Ane Brun and Jeff Buckley. It has also been transcribed or used in many scores, including the soundtrack to the HBO miniseries Band of Brothers (renamed "Nixon's Walk"). It is played annually by a military band at the Cenotaph remembrance ceremony, which takes place on the Sunday nearest to 11 November (Armistice Day) in London's Whitehall. The music is thought by some to be too simple for Purcell in 1689, but this may simply reflect that the intended performers were schoolchildren.[6] The work is scored for four-part strings and continuo. The fact that the libretto from the Chelsea School performance indicates two dances for guitar, the "Dance Gittars Chacony" in act 1, and the "Gittar Ground a Dance" in the 'Grove' scene of act 2, has led one scholar to suggest that Purcell envisioned a guitar as a primary member of the continuo group for the opera.[10] Music for neither of these dances is extant, and it seems likely that Purcell did not compose them, but rather left them to be improvised by the guitarist.[11] Several editions of the opera have been made and have been provided with a continuo realisation; a notable, if rather idiosyncratic edition being that made by Imogen Holst and Benjamin Britten. There are a number of editions with realisations, and the opera's accessibility to amateur performers is a feature that has greatly abetted the growth of its popularity in the latter half of the twentieth century.[12] While the Prologue's music has been lost and has not been reconstructed, several realisations of the opera include a solution to the missing ritornello at the end of the second act. Known to have been part of the score, it is now performed as a dance taken from other, similar works by Purcell, or invented outright in the same vein, to keep the integrity and continuity of the performance.

text: Performance history[edit]

text: Premiere and early revivals[edit]

text: A letter from the Levant merchant Rowland Sherman associates Dido and Aeneas with Josias Priest's girls' school in Chelsea, London no later than the summer of 1688.[13] The first performance may have taken place as early as 1 December 1687,[14] and evidence suggests that the opera was performed at the school again in 1689.[3] Several scholars have argued that the work was composed for the English court, either for Charles II (and perhaps as early as 1684)[4][5] or for James II.[15] Following the Chelsea performances, the opera was not staged again in Purcell's lifetime. Its next performance was in 1700 as a masque incorporated into an adapted version of Shakespeare's Measure for Measure at Thomas Betterton's theatre in London.

text: After 1705 it disappeared as a staged work, with only sporadic concert performances, until 1895 when the first staged version in modern times was performed by students of the Royal College of Music at London's Lyceum Theatre to mark the bicentenary of Purcell's death.[16] Dido and Aeneas received its first performance outside England on 14 December 1895 in a concert version at the University Society in Dublin.

text: 20th- and 21st-century performances[edit]

text: Dido and Aeneas premiered in the United States at the Plaza Hotel in New York City on 10 February 1923 performed by the girls of the Rosemary School, although The New York Times noted that "considerable liberties" had been taken with the score.[17] A concert version with professional musicians organised by the Society of Friends of Music took place on 13 January 1924 at the New York City Town Hall, using a score edited by Artur Bodanzky, who also conducted the performance.[18]

text: As new critical editions of the score appeared, and with the revival of interest in Baroque music, the number of productions steadily increased. After Jonathan Miller's visit to Bornholm, Denmark, Dido was performed in 2008 at the Rønne Theatre (which had been built in 1823). Devin Duggan conducted. Amongst the new productions of the opera in 2009 (the 350th anniversary of Purcell's birth) were those staged by the De Nederlandse Opera, the Royal Opera, London, the Divertimento Baroque Opera Company, and Glimmerglass Opera in Cooperstown, New York. The Royal Opera production, which featured contemporary dance by Wayne McGregor Random Dance and animated effects by Mark Hatchard, formed part of a double bill with Handel's Acis and Galatea.[19] In 2011 the opera was revived by City Wall Productions and set during World War II.[20] A new Opera North production of the opera opened at Leeds Grand Theatre in February 2013[21] Opera Up Close performed a truncated version in 2011, setting it in an American high school in the 1950s.

text: Adaptations[edit]

text: A version of the opera adapted to modern dance was choreographed by the American Mark Morris, who originally danced both the roles of Dido and the Sorceress. It premiered on 11 March 1989 at the Théâtre Varia in Brussels.[22] It has since been performed many times and was filmed in 1995 by Canadian director Barbara Willis Sweete, with Morris in the roles of Dido and the Sorceress.[23] Another dance version, choreographed by Sasha Waltz, premiered at the Staatsoper Unter den Linden in Berlin on 29 January 2005 and opened with the dancers performing underwater in an enormous tank.[24] The production was subsequently seen at the Grand Théâtre in Luxembourg, Opéra national de Montpellier, and Sadler's Wells Theatre in London. In both the Morris and the Waltz adaptations, the characters are each portrayed by both a singer and a dancer, with the dancers onstage and the singers performing from the side of the stage or the orchestra pit.

text: Roles[edit]

text:
Role
Voice type

Dido (also known as Elissa), Queen of Carthage
soprano or mezzo-soprano[25]

Belinda, Dido's sister and handmaid
light soprano

Second Woman, Another Handmaiden
soprano or mezzo-soprano

Aeneas, Trojan Prince
tenor or high baritone[26]

Sorceress/Sorcerer
mezzo-soprano, contralto, countertenor or bass[27]

First Witch/Enchantress
mezzo-soprano

Second Witch/Enchantress
mezzo-soprano

Spirit, in form of Mercury
soprano or countertenor

First Sailor
tenor[28]

Chorus, SATB: all members at one point or another represent courtiers, witches, cupids, and sailors.

text: Synopsis[edit]

text: Act 1[edit]

text: Dido's court

text: The opera opens with Dido in her court with her attendants. Belinda is trying to cheer up Dido, but Dido is full of sorrow, saying 'Peace and I are strangers grown'. Belinda believes the source of this grief to be the Trojan Aeneas, and suggests that Carthage's troubles could be resolved by a marriage between the two. Dido and Belinda talk for a time—Dido fears that her love will make her a weak monarch, but Belinda and the Second Woman reassure her that "The hero loves as well." Aeneas enters the court, and is at first received coldly by Dido, but she eventually accepts his proposal of marriage.

text: Act 2[edit]

text: Scene 1: The cave of the Sorceress

text: The Sorceress/Sorcerer is plotting the destruction of Carthage and its queen, and summons companions to help with evil plans. The plan is to send her "trusted elf" disguised as Mercury, someone to whom Aeneas will surely listen, to tempt him to leave Dido and sail to Italy. This would leave Dido heartbroken, and she would surely die. The chorus join in with terrible laughter, and the Enchantresses decide to conjure up a storm to make Dido and her train leave the grove and return to the palace. When the spell is prepared, the witches vanish in a thunderclap.

text: Scene 2: A grove during the middle of a hunt

text:
Stay, Prince and hear

The Sorceress' messenger, in form of Mercury, attempts to convince Aeneas to leave Carthage.

Problems playing this file? See media help.

text: Dido and Aeneas are accompanied by their train. They stop at the grove to take in its beauty. A lot of action is going on, with attendants carrying goods from the hunt and a picnic possibly taking place, and Dido and Aeneas are together within the activity. This is all stopped when Dido hears distant thunder, prompting Belinda to tell the servants to prepare for a return to shelter as soon as possible. As every other character leaves the stage, Aeneas is stopped by the Sorceress's elf, who is disguised as Mercury. This pretend Mercury brings the command of Jove that Aeneas is to wait no longer in beginning his task of creating a new Troy on Latin soil. Aeneas consents to the wishes of what he believes are the gods, but is heart-broken that he will have to leave Dido. He then goes off-stage to prepare for his departure from Carthage.

text: Act 3[edit]

text: The harbour at Carthage

text: Preparations are being made for the departure of the Trojan fleet. The sailors sing a song, which is followed shortly by the Sorceress and her companions' sudden appearance. The group is pleased at how well their plan has worked, and the Sorceress sings a solo describing her further plans for the destruction of Aeneas "on the ocean". All the characters begin to clear the stage after a dance in three sections, and then disperse.

text: The palace

text: Dido and Belinda enter, shocked at Aeneas’ disappearance. Dido is distraught and Belinda comforts her. Suddenly Aeneas returns, but Dido is full of fear before Aeneas speaks, and his words only serve to confirm her suspicions. She derides his reasons for leaving, and even when Aeneas says he will defy the gods and not leave Carthage, Dido rejects him for having once thought of leaving her. After Dido forces Aeneas to leave, she states that "Death must come when he is gone." The opera and Dido's life both slowly come to a conclusion, as the Queen of Carthage sings her last aria, "When I am laid in Earth", also known as "Dido's Lament." The chorus and orchestra then conclude the opera once Dido is dead by ordering the "cupids to scatter roses on her tomb, soft and gentle as her heart. Keep here your watch, and never, never part."[29]

text: Recordings[edit]

text: The first complete recording of the opera was made by Decca Records in 1935 with Nancy Evans as Dido and Roy Henderson as Aeneas,[30] followed in 1945 by HMV's release with Joan Hammond and Dennis Noble. Kirsten Flagstad, who had sung the role at the Mermaid Theatre in London, recorded it in 1951 for EMI with Thomas Hemsley as Aeneas. Dido and Aeneas has been recorded many times since the 1960s with Dido sung by mezzo-sopranos such as Janet Baker (1961), Tatiana Troyanos (1968), Teresa Berganza (1986), Anne Sofie von Otter (1989) and Susan Graham (2003). In addition to Joan Hammond and Kirsten Flagstad, sopranos who have recorded the role include Victoria de los Ángeles (1965), Emma Kirkby (1981), Jessye Norman (1986), Catherine Bott (1992), Lynne Dawson (1998), and Evelyn Tubb (2004).

text: Beginning with Andrew Parrott's 1981 recording for Chandos with the Taverner Consort and Players, there was an increasing preference for a more genuine period sound.[31] Further recordings by conductors and ensembles using this approach include those by Christopher Hogwood and The Academy of Ancient Music, William Christie and Les Arts Florissants (1986); Trevor Pinnock and The English Concert (1989); René Jacobs and the Orchestra of the Age of Enlightenment (1998); Emmanuelle Haïm and Le Concert d'Astrée (2003); and Predrag Gosta and New Trinity Baroque (2004). The Haïm recording with Susan Graham as Dido and Ian Bostridge as Aeneas was nominated for the Best Opera Recording in the 2005 Grammy Awards.[32]

text: Several performances of the opera have been filmed and are available on DVD, most recently the 2008 performance at the Opéra-Comique in Paris conducted by William Christie and directed by Deborah Warner (FRA Musica FRA001)[33] and the 2009 performance at London's Royal Opera House conducted by Christopher Hogwood and directed by Wayne McGregor (OpusArte OA1018D). The Mark Morris dance version of the opera is also preserved on DVD (recorded 1995, Image Entertainment 8741) as is the dance version by Sasha Waltz (recorded 2005, Arthaus Musik 101311). Leopold Stokowski made a string orchestra arrangement of "Dido's Lament" and in addition to his own recordings, others who have recorded it include Matthias Bamert, Jose Serebrier, Richard Egarr and Iona Brown.