document_title: Old Firm

question_text: who has scored the most old firm goals

question_tokens: who has scored the most old firm goals

text: Old Firm

text: Origin of 'Old Firm'[edit]

text: The origin of the term is unclear but may derive from the two clubs' initial match in which the commentators referred to the teams as "like two old, firm friends",[11] or alternatively may stem from a satirical cartoon published in a magazine prior to the 1904 Scottish Cup Final between the sides, depicting an elderly man with a sandwich board reading "Patronise The Old Firm: Rangers, Celtic Ltd", highlighting the mutual commercial benefits of their meetings.[12][13] The name may also be a reference to these two teams being among the original 11 members of the Scottish Football League formed in 1890.[14]

text: Rivalry and sectarianism[edit]

text: The competition between the two clubs had roots in more than just a simple sporting rivalry.[4] It has as much to do with Northern Ireland as Scotland and this can be seen in the flags, cultural symbols, and emblems of both clubs.[15] It was infused with a series of complex disputes, sometimes centred on religion (Catholic and Protestant), Northern Ireland-related politics (Loyalist and Republican), national identity (British or Irish Scots), and social ideology (Conservatism and Socialism).[16]

text: Another primary contributor to the intensity of the rivalry in the west of Scotland was that Rangers supporters are historically native Scots and Ulster Scots,[17] and Celtic supporters are historically Irish-Scots. Although the confrontation between the two sets of supporters was often labelled as 'Sectarianism', 'Native-Immigrant tension' was an equally accurate catalyst for hostility between the two teams' supports in Scotland. Rangers' traditional support was largely from the Protestant community, and for decades the club had an unwritten rule whereby they would not knowingly sign a player of the Catholic faith.[18] The policy was decried by Graeme Souness when he became manager, and he brought ex-Celtic forward Mo Johnston to the club in a very public move away from the practice, which no longer continues.[19][20][21] Celtic's support was largely from those of Irish Roman Catholic backgrounds and while the club practiced no exclusion of Protestants and signed many of them to play for the team, there was a pro-Catholic mindset among some of the employees.[22] One effect is that Scottish flags are rarer than might be expected amongst both sets of supporters; Celtic fans are more likely to wave the Irish tricolour while Rangers fans tend to wave the Union Jack.

text: "When I was growing up, I went to a Catholic school, and there wasn’t one Rangers fan in the entire school," said Neil McGarvey, 43, who is involved in the operation of Kerrydale Street, a popular Celtic fan Web site. "It’s much more mixed now — my boy goes to a Catholic school, and there are maybe 5 percent Rangers fans now."

text: Traditionally, Rangers, founded in 1872, attracted the Protestant, Scottish establishment: Celtic, founded later in 1887, represented the Catholic Irish people in Scotland, as Celtic were founded on the promise that the club would deliver much-needed money and resources to a poverty-stricken Catholic population in East Glasgow.[17] Nevertheless, this dividing line seems to be blurred today in Glasgow: "mixed marriages" between Protestants and Catholics have never been higher and the old certainties—the Rangers supporter voting Conservative and the Celtic supporter voting Labour—are lost.[24][25]

text: In 2005 both Celtic and Rangers joined a project to tackle bigotry and sectarianism in sport,[26] but there was little change in the behaviour and subsequent prosecution of the fans.

text: The majority of Rangers and Celtic supporters do not get involved in sectarianism, but serious incidents do occur with a tendency for the actions of a minority to dominate the headlines.[26][15] The Old Firm rivalry fueled many assaults on Derby days, and some deaths in the past have been directly related to the aftermath of Old Firm matches.[27] An activist group that monitors sectarian activity in Glasgow has reported that on Old Firm weekends, violent attacks increase ninefold over normal levels.[28] An increase in domestic abuse can also be attributed to Old Firm fixtures.[29] A freedom of information request found that Strathclyde Police incurred costs of £2.4 million for the seven derbies played during the 2010–11 season, with the clubs only contributing £0.3 million towards that.[30] Other high-profile games involving Rangers and Celtic incurred much lower costs.[30] The reason for the disparity in costs and the contribution made is that Strathclyde Police had to increase its activity elsewhere in Glasgow and beyond, while the clubs were only responsible for costs incurred in the vicinity of their stadium.[30]

text: In 2015, former Rangers player Brian Laudrup said that the Old Firm topped all of the rivalries he had played in,[31] which included the Milan derby and the Fiorentina-Juventus meetings[32] in Italy; ex-Celtic striker Henrik Larsson, who experienced El Clásico in Spain and De Klassieker in the Netherlands, has made similar comments.[4] Jim Bett, who had already played in Iceland prior to joining  Rangers in the 1980s and thereafter moved to Belgium, stated that he declined an opportunity to return to the Ibrox club due to the sectarianism associated with life as a footballer in the west of Scotland, in contrast to his positive experiences living abroad.[33]

text: Disorder within stadia[edit]

text: Opposing fans fought an on-pitch battle in the aftermath of Celtic's 1–0 victory in the 1980 Scottish Cup Final at Hampden. This remains one of the worst invasions onto a football pitch ever reported, and was instrumental in alcohol being banned from football grounds in Scotland.[34][35][36]

text: In January 1994, Rangers chairman David Murray announced that Celtic fans had been banned from Ibrox due to repeated instances of vandalism to the stadium which Celtic refused to take financial responsibility for.[37] Only one fixture, which ended 1–1, was played before the ban was rescinded[38][39] (the Scottish Football League passed a resolution preventing clubs from taking that action in future).[40]

text: There was serious fan disorder during an Old Firm match played on a Sunday evening in May 1999 at Celtic Park, with the usual tensions heightened by the fact that Rangers could clinch the league title with victory (and it became clear that they would do so from the early stages of the match). Several objects were thrown by Celtic fans, one of which struck referee Hugh Dallas forcing the game to be stopped while he received medical treatment.[41] With many of those in attendance having spent a full weekend drinking alcohol prior to the event, at least four Celtic fans invaded the field of play to confront Dallas during the game,[41] and more missiles were thrown at players on the pitch after the game.[41] Since the events of that day, Old Firm league matches have normally been played in the early afternoon and the possibility of an Old Firm title decider has been deliberately avoided.[42][43]

text: During the 2018 close season, Rangers announced that they would be cutting the ticket allocation for Celtic fans at Ibrox from around 7,000 (the entire Broomloan Stand) to 800, situated in a corner where smaller travelling supports were usually accommodated, following a fan survey backing the proposal as well as an upturn in season ticket sales. In response, Celtic indicated they would do likewise, bringing to an end a long tradition of both clubs offering an generous proportion of their stadium to their rivals.[44] The development was criticised by former players as diluting the famous atmosphere of the fixtures,[39][45] although others praised the extra income the change would likely generate.[46]

text: Legislation[edit]

text: From 1 March 2012, the police were given more powers to act against Sectarian acts at football matches through the new Offensive Behaviour at Football and Threatening Communications Act.  The law was designed specifically to target the Old Firm rivalry by reducing the religious hatred between the two opposing sides. The Act created two new offences, one covering behaviour in and around football matches and the other related to posts sent by either electronic or postal methods. People convicted under the act could face up to five years imprisonment. This is a much higher sentence than was previously in place. It will now make it much easier to prosecute this misbehaviour, which has proved difficult in the past.[47]

text: In March 2013 a protest by a number of Celtic fans took place to protest against the new laws and the subsequent match bans that a number of fans had received for breaking the Act. The protesters, known as the "Green Brigade," had marched without police authority and the event was therefore cracked down on by local authorities resulting in thirteen arrests. The protestors claim that the police instigated the trouble that occurred at this march.[48] Following the march, media coverage reported that the fans were growing further apart from the police than ever before. They claimed that the trust the fans hold with the police to work in cooperation with them is falling dramatically. The march that took place resulted in a number of complaints from both the Celtic and the Rangers fans that they were harassed by the police. Investigations are still underway to discover the legitimacy of these claims.[49]

text: Joint sponsorship[edit]

text: Glasgow-based brewers Tennent's were the primary commercial sponsor of both teams for several years;[50][51] any local business that only sponsored one would likely lose half its customers.[23] Previously, glazing company CR Smith (who later had a deal with Celtic alone),[52][53] communications firm NTL[54] and English brewers Carling[55] had also sponsored both clubs.

text: Events post-2012[edit]

text: In 2012, Rangers suffered a financial collapse leading to the liquidation of the commercial entity,[56][57] however the sporting assets were acquired by a new company[58] which allowed its playing membership to continue unbroken (albeit in the lowest division of the Scottish football league system).[59]  As a result this would mean that for the first time in 120 years, no fixtures would be played between Rangers and Celtic.

text: The status of the Old Firm was also challenged,[17] following the logic that since Rangers 'died' during the events of 2012, the rivalry also expired and any matches played since that point would be between Celtic and a 'new Rangers', albeit playing at the same stadium, in the same colours, with the same supporters and some of the same players as before.[58][60] Adherents to this point of view refer to the club disparagingly as Sevco (the original name of the post-2012 holding company),[61] and Rangers supporters as 'zombies' or 'the undead'.[62] This difference of opinion became a new factor in the rivalry.[60]

text: Some Celtic supporters were particularly vociferous in their assertions, to the extent of a group paying for a full-page newspaper advertisement in January 2015 announcing that their club would soon play its first fixture against the new Rangers.[63][64][65]

text: It is regarded as a continuation of the same club by the SPFL chief executive Neil Doncaster;[66] external governing bodies such as UEFA, the European Club Association and FIFA have never formally stated their position on Rangers but have issued general remarks about the continuation of a club's history when controlled by a new company.[67][68][69]

text: In 2013 numerous complaints were made to the Advertising Standards Authority (ASA) over official marketing communications from Rangers which stated they were "Scotland’s most successful club", with this claim being disputed as the complainants declared the club had only been in existence for one year. Having considered the evidence including advice from UEFA, the ASA did not uphold the complaints.[70]

text: In July 2012, a large banner was displayed at Celtic Park during a game showing a cartoon zombie representing Rangers rising from the grave before being shot by a sniper, drawing criticism due to the gunman resembling a paramilitary from the Northern Ireland conflict, although Celtic escaped formal punishment over the matter.[71][72] Celtic fan groups have continued to display banners claiming Rangers are ‘dead’[73] as well as mocking other aspects of their economic problems.[74]

text: Celtic and their followers also became involved in other legal proceedings relating to Rangers,[75][76][77] including the outcome of the long-running EBT investigation.[78][79][80]

text: Results on the field[edit]

text: It took Rangers four years to climb through the lower divisions and re-take their place in the Scottish Premiership for the 2016–17 season; in the interim only two cup semi-finals were played between the clubs[81][82][83][84] and Celtic won all four league titles by significant margins (never less than 15 points).[85]  The rivalry resumed in earnest by way of six matches during 2016–17, with Celtic eliminating Rangers from both cups at the semi-final stage on the way to lifting the trophies and emerging victorious in three of the matches in the league championship, which they also won without losing a game to secure their sixth successive title and a domestic treble.[86][87] The 2017–18 season was much the same: Celtic won three of the Old Firm league fixtures[1] plus a Scottish Cup semi-final meeting[88] and lifted all three domestic trophies;[89] Rangers finished third, behind Aberdeen.[90]

text: Recent results[edit]

text: Since the administration and liquidation of The Rangers Football Club plc, the clubs have faced each other thirteen times. Celtic have won ten of these matches, with Rangers winning a single match via a penalty shooutout. The remaining two fixtures were drawn.

text:
1 February 2015 League Cup Semi-final

Celtic

2 – 0

Rangers

showGlasgow

13:30 GMT

Griffiths  10'Commons  31'

BBC

Stadium: Hampden Park Attendance: 50,925Referee: Craig Thomson

text:
17 April 2016 Scottish Cup Semi-final

Rangers

2 – 2 (a.e.t.)(5 – 4 p)

Celtic

showGlasgow

Miller  16'McKay  96'

BBC

Sviatchenko  50'Rogic  106'

Stadium: Hampden Park Attendance: 50,069Referee: Craig Thomson

Penalties

Halliday Tavernier McKay Clark Wallace Zelalem Law

 Mulgrew McGregor Bitton Brown Griffiths Lustig Rogic

text:
10 September 2016 Premiership

Celtic

5 – 1

Rangers

showGlasgow

Dembélé  33', 42', 83'Sinclair  61'Armstrong  90+2'

BBC

Garner  44'

Stadium: Celtic Park Attendance: 58,348Referee: Willie Collum

text:
23 October 2016 League Cup Semi-final

Rangers

0 – 1

Celtic

showGlasgow

BBC

Dembélé  87'

Stadium: Hampden Park Attendance: 50,697Referee: Craig Thomson

text:
31 December 2016 Premiership

Rangers

1 – 2

Celtic

showGlasgow

Miller  12'

BBC

Dembélé  34'Sinclair  70'

Stadium: Ibrox Stadium Attendance: 50,126Referee: Steven McLean

text:
12 March 2017 Premiership

Celtic

1 – 1

Rangers

showGlasgow

Armstrong  35'

BBC

Hill  87'

Stadium: Celtic Park Attendance: 58,545Referee: Bobby Madden

text:
23 April 2017 Scottish Cup Semi-final

Celtic

2 – 0

Rangers

showGlasgow

McGregor  11'Sinclair  51' (pen.)

BBC

Stadium: Hampden Park Attendance: 49,645Referee: Willie Collum

text:
29 April 2017 Premiership

Rangers

1 – 5

Celtic

showGlasgow

Miller  81'

BBC

Sinclair  7' (pen.)Griffiths  18'McGregor  52'Boyata  66'Lustig  87'

Stadium: Ibrox Stadium Attendance: 49,822Referee: John Beaton

text:
23 September 2017 Premiership

Rangers

0 – 2

Celtic

showGlasgow

BBC

Rogic  50'Griffiths  65'

Stadium: Ibrox Stadium Attendance: 50,116Referee: Craig Thomson

text:
30 December 2017 Premiership

Celtic

0 – 0

Rangers

showGlasgow

BBC

Stadium: Celtic Park Attendance: 59,004Referee: Bobby Madden

text:
11 March 2018 Premiership

Rangers

2 – 3

Celtic

showGlasgow

Windass  3'Candeias  26'

BBC

Rogic  11'Dembélé  45+1'Édouard  69'

Stadium: Ibrox Stadium Attendance: 50,215Referee: Willie Collum

text:
15 April 2018 Scottish Cup Semi-final

Celtic

4 – 0

Rangers

showGlasgow

Rogic  22'McGregor  38'Dembélé  52' (pen.)Ntcham  78' (pen.)

BBC

Stadium: Hampden Park Attendance: 49,729Referee: Bobby Madden

text:
29 April 2018 Premiership

Celtic

5 – 0

Rangers

showGlasgow

Édouard  14', 41'Forrest  45'Rogic  47'McGregor  53'

BBC

Stadium: Celtic Park Attendance: 58,320Referee: Craig Thomson

text: Honours[edit]

text:
Celtic

Competition

Rangers

Domestic

49
Scottish first-tier League Championships
54

38
Scottish Cup
33

17
Scottish League Cup
27

104
Aggregate
114

European and Worldwide

1
UEFA Champions League/European Cup
—

—
UEFA Cup Winners' Cup (defunct)
1

1
Aggregate
1

105
Total Aggregate
115

text: All-time head-to-head record[edit]

text: Updated following match on 29 April 2018[8][9]

text:
Competition

First match

Played

Rangers

Celtic

Draw

Scottish League

1891

313[a]

119

107

87

Scottish Cup

1890

51[b]

16

25

10[c]

League Cup

1947

49

24

23

2

Totals

413

159

155

99

text:
Jump up ^ League championship statistics include an additional play-off match for the 1904–05 title which Celtic won 2–1.[93][94]

Jump up ^ The Scottish Cup totals include two matches in the 1909 Scottish Cup Final (a 2–2 draw and a 1–1 draw), although the cup itself was withheld.

Jump up ^ The 2016 Scottish Cup match was won by Rangers on penalties,[84][95] causing minor discrepancies in the tallies on some websites.

tag: ol

text: Defunct minor/wartime competitions[edit]

text: There are a number of matches between the two clubs that are not recognised in the official records, such as their first competitive meeting in the 1888–89 Glasgow Cup, in which Celtic defeated Rangers 6–1.[96]

text:
Competition[95][97]

Years

Played

Rangers

Celtic

Draw

Glasgow Cup

1887–1988

79

36

23

20

Glasgow Merchants Charity Cup

1892–1919[a]

19

8

10

1

Glasgow League / Inter City League

1895–1906

19

6

9

4

Glasgow International Exhibition Cup

1901

1

1

0

0

British League Cup

1902

1

0

1

0

Drybrough Cup

1971–1980

2

1

0

1

text: Jump up ^ Records incomplete: cup was played for between 1877–1966

text: Wartime competitions (all WWII)[edit]

text: During the Second World War, the Scottish Football League and Scottish Cup were suspended and in their place unofficial regional league competitions were set up (these were dominated by Rangers).[98] One of these games was a New Year's Day derby in 1943 which Rangers won 8–1.[99][100]

text:
Competition[95][97]

Years

Played

Rangers

Celtic

Draw

Emergency Western League

1939–1940

2

1

0

1

Southern League

1940–1946

12

7

3

2

Southern League Cup

1940–1946

4

4

0

0

Summer Cup

1940–1946

2

2

0

0

Victory Cup

1946

2

1

0

1

text: Biggest wins[edit]

text: * Four or more goals difference between the teams.

text: Celtic[edit]

text: 6-goal margin[edit]

text: Celtic 7–1 Rangers on 19 October 1957, Scottish League Cup

text: 5-goal margin[edit]

text:
Celtic 5–0 Rangers on 21 March 1925, Scottish Cup
Celtic 5–0 Rangers on 29 April 2018, Scottish Premiership[1]

text: 4-goal margin[edit]

text:
Celtic 6–2 Rangers on 1 January 1896, Scottish Division One
Rangers 0–4 Celtic on 1 January 1898 Scottish Division One
Celtic 4–0 Rangers on 10 March 1900, Scottish Cup
Celtic 4–0 Rangers on 1 January 1914, Scottish Division One
Celtic 6–2 Rangers on 1 January 1939, Scottish Division One
Celtic 5–1 Rangers on 1 January 1966, Scottish Division One
Celtic 4–0 Rangers on 26 April 1969, Scottish Cup
Celtic 5–1 Rangers on 21 November 1998, Scottish Premier League
Celtic 6–2 Rangers on 27 August 2000, Scottish Premier League
Celtic 5–1 Rangers on 10 September 2016, Scottish Premiership
Rangers 1–5 Celtic on 29 April 2017, Scottish Premiership
Celtic 4–0 Rangers on 15 April 2018, Scottish Cup[88]

text: Rangers[edit]

text: 5-goal margin[edit]

text: Rangers 5–0 Celtic on 1 January 1894, Scottish Division One

text: 4-goal margin[edit]

text:
Celtic 0–4 Rangers on 1 January 1899, Scottish Division One
Rangers 4–0 Celtic on 14 April 1928, Scottish Cup
Celtic 1–5 Rangers on 10 September 1960, Scottish Division One
Rangers 5–1 Celtic on 27 August 1988, Scottish Premier Division
Rangers 4–0 Celtic on 26 March 2000, Scottish Premier League
Rangers 5–1 Celtic on 26 November 2000, Scottish Premier League

text: Players who played for both teams[edit]

text: The ferocity of the rivalry has made it rare for a player to represent both teams during his career.[101] Players who played for both sides of the Old Firm included Alec Bennett,[102] Scott Duncan, Robert Campbell, and George Livingstone, who all played before the intensity of the rivalry had started prior to 1912, as well as later players: Alfie Conn,[103] Maurice Johnston,[20][21] Kenny Miller,[104][105] Steven Pressley[106] and Mark Brown (none of whom moved directly between the two clubs).

text: Pre-war[edit]

text:
Tom Dunbar (Celtic 1888–1891, Rangers 1891–1892, Celtic 1892–1898)[107]
John Cunningham (Celtic 1889–1892, Rangers ?–?)[108][109]
Allan Martin (Rangers 1891–1892, Celtic 1895–1896)[107]
George Livingstone (Celtic 1901–1902, Rangers 1906–1909)[107]
Alec Bennett (Celtic 1903–1908, Rangers 1908–1918)[107][102]
Tom Sinclair (Rangers 1904–1906, Celtic 1906–1907)[107][110]
Robert Campbell (Celtic 1905–1906, Rangers 1906–1914)[107]
Hugh Shaw (Rangers 1905–1906, Celtic 1906–1907)[107]
Willie Kivlichan (Rangers 1905–1907, Celtic 1907–1911)[107]
David Taylor (Rangers 1906–1911, Celtic 1918–1919 wartime guest)[107]
Davie McLean (Celtic 1907–1909, Rangers 1918–1919)[107]
Scott Duncan (Rangers 1913–1918, Celtic 1918–1919 wartime guest)[107]
James Young (Celtic 1917–1918, Rangers 1917–1918)[107]
Tully Craig (Celtic 1919–1922, Rangers 1923–1935)[107]

text: Post-war[edit]

text:
Alfie Conn (Rangers 1968–1974, Celtic 1977–1979)[107][103]
Mo Johnston (Celtic 1984–1987, Rangers 1989–1991)[107][20][21]
Kenny Miller (Rangers 2000–2001, Celtic 2006–2007, Rangers 2008–2011, Rangers 2014–2018)[111][104][105]
Steven Pressley (Rangers 1990–1994, Celtic 2006–2008)[112][106]
Mark Brown (Rangers 1997–2001, Celtic 2007–2010)[113]

text: Played for opposite clubs during youth and senior careers[edit]

text:
John Dowie (youth career Rangers, senior career Celtic)[114]
Gordon Marshall (youth career Rangers, senior career Celtic)[115]
Craig Beattie (youth career with both Rangers and Celtic, senior career Celtic)[116][117]
Sean Fitzharris (youth career with both Rangers and Celtic, senior career Celtic)[118][119]
Greig Spence (youth career Rangers, senior career Celtic)[120][121]
Joe Thomson (youth career with both Rangers and Celtic, senior career Celtic)[122][123]
Dylan McGeouch (youth career with both Celtic and Rangers, senior career Celtic)[124][125]
Gregg Wylde (youth career with both Celtic and Rangers, senior career Rangers)[126]
Barry Robson (youth career Rangers, senior career Celtic)[127]
Michael O'Halloran (youth career Celtic, senior career Rangers)[128][129]
Liam Burt (youth career with both Celtic and Rangers, senior career Rangers)[130][131]
Lewis Morgan (youth career Rangers, senior career Celtic)

text: Individual records[edit]

text: Most appearances[edit]

text: As of end of season 2017–18. Any current players in bold.

text:
All competitions[132][133]

Rank

Name

Club

Games

Years

1

Alec Smith

Rangers

87

1894–1913

2

John Greig

Rangers

74

1962–1978

3

Paul McStay

Celtic

70

1982–1997

4

Billy McNeill

Celtic

65

1958–1975

Dougie Gray

Rangers

65

1925–1945

6

Sandy Jardine

Rangers

64

1967–1982

7

Roy Aitken

Celtic

62

1976–1990

8

Pat Bonner

Celtic

60

1979–1995

John McPherson

Rangers

60

1890–1902

10

Danny McGrain

Celtic

58

1970–1987

11

Alec McNair

Celtic

56

1905–1924

League games only[134][135]

Rank

Name

Club

Games

Years

1

Paul McStay

Celtic

54

1982–1997

2

Roy Aitken

Celtic

51

1976–1990

3

Pat Bonner

Celtic

50

1980–1995

4

Sandy Jardine

Rangers

44

1967–1982

Danny McGrain

Celtic

44

1970–1987

6

Ally McCoist

Rangers

43

1983–1998

7

Davie Cooper

Rangers

40

1977–1989

8

Tommy Burns

Celtic

39

1976–1989

Peter Grant

Celtic

39

1984–1997

10

John Greig

Rangers

38

1962–1978

11

Derek Johnstone

Rangers

37

1971–1985

text: Highest goalscorers[edit]

text:
All competitions[132][133]

Rank

Name

Club

Goals

Games

Ratio

1

Ally McCoist

Rangers

27

55

0.49

2

R.C. Hamilton

Rangers

24

46

0.52

3

Jimmy McGrory

Celtic

22

35

0.63

4

Sandy McMahon

Celtic

22

43

0.51

5

Jimmy Quinn

Celtic

18

37

0.49

6

John McPherson

Rangers

17

60

0.29

7

Alex Venters

Rangers

16

26

0.61

8

Jimmy Duncanson

Rangers

16

30

0.53

9

Henrik Larsson

Celtic

15

30

0.50

10

Bobby Lennox

Celtic

15

51

0.29

11

Willie Reid

Rangers

14

21

0.67

12

Alec Smith

Rangers

14

87

0.16

League games only[134][135]

Rank

Name

Club

Goals

Games

Ratio

1

Ally McCoist

Rangers

17

43

0.39

2

Sandy McMahon

Celtic

15

22

0.68

3

Henrik Larsson

Celtic

11

23

0.48

4

Jimmy McGrory

Celtic

10

19

0.53

5

Kenny Miller

Both[a]

10

19

0.53

6

John Campbell

Celtic

9

19

0.47

7

Jimmy Quinn

Celtic

9

21

0.43

8

Derek Johnstone

Rangers

9

37

0.24

9

Derek Parlane

Rangers

8

17

0.47

10

Charlie Nicholas

Celtic

8

18

0.44

11

Mark Hateley

Rangers

8

19

0.42

12

Tom McAdam

Celtic

8

30

0.27

text: Jump up ^ Miller scored 9 league goals for Rangers, 1 for Celtic

text: Managerial statistics[edit]

text: As of 29 April 2018. Minimum 10 Old Firm games as manager.

text:
hideName

Team

Years

Overall Record[136][137][138][139]

League Record[140][141]

Games
Wins
Win %
Games
Wins
Win %

Brendan Rodgers

Celtic

2016–

11

9

81%

8

6

75%

Martin O'Neill

Celtic

2000–2005

27

16

59%

20

13

65%

Bill Struth

Rangers

1920–1954[a][b]

116

66

57%

54

29

54%

David White

Rangers

1968–1969

10

4

40%

4

3

75%

Graeme Souness

Rangers

1986–1991

27

14

52%

20

10

50%

Walter Smith

Rangers

1991–1998, 2006–2011

56

28

50%

46

22

48%

Jock Stein

Celtic

1965–1978

58

29

50%

28

12

43%

Neil Lennon

Celtic

2010–2014

12

6

50%

9

5

55%

Scot Symon

Rangers

1954–1967

61

29

48%

27

17

63%

Billy McNeill

Celtic

1978–1983, 1987–1991

46

22

48%

36

16

44%

Gordon Strachan

Celtic

2005–2009

18

8

44%

16

6

37%

Jock Wallace

Rangers

1972–1978, 1984–1986

38

15

39%

28

9

32%

Dick Advocaat

Rangers

1998–2001

16

6

37%

14

5

36%

Alex McLeish

Rangers

2002–2006

25

8

32%

18

4

22%

William Wilton

Rangers

1899–1920

96

30

31%

42

11

26%

Davie Hay

Celtic

1983–1987

21

6

29%

16

6

37%

Willie Maley

Celtic

1897–1940[c]

146

43

29%

84

22

26%

John Greig

Rangers

1978–1983

27

7

26%

21

4

19%

Jimmy McGrory

Celtic

1945–1965

80

18

22%

38

6

16%

Tommy Burns

Celtic

1994-1997

15

3

20%

12

2

17%

Jimmy McStay

Celtic

1940–1945[d][e]

21

4

19%

0

0

0%

Liam Brady

Celtic

1991–1993

11

2

18%

9

2

22%

Willie Waddell

Rangers

1970–1972

12

1

8%

5

0

0%

text:
Jump up ^ 116 includes 27 unofficial wartime games

Jump up ^ 66 includes 19 unofficial wartime games

Jump up ^ 146 includes one unofficial wartime game

Jump up ^ All 21 are unofficial wartime games

Jump up ^ All 4 are unofficial wartime games

text: Attendances[edit]

text: The stadium attendance records for Rangers' Ibrox (118,567, January 1939)[142][143] and Celtic's Celtic Park (at least 83,500, January 1938)[144][145] were both set at Old Firm matches; however while the Ibrox figure is the Rangers club record (and the record for any domestic league match in the United Kingdom),[142] Celtic's biggest 'home' attendance was the 1969–70 European Cup semi-final with Leeds United, moved to the larger Hampden Park due to the anticipated interest: the crowd of 136,505 is a record for any match in European international club competitions.[146][142]

text: Hampden, Scotland's national stadium and home of Queen's Park, is situated roughly an equal distance from Ibrox and Celtic Park in Glasgow. Due to the frequency of the two teams appearing in semi-finals and finals held there (often facing one another), its West and East stands are always allocated to the same club and are informally known as the Rangers end and Celtic end respectively.[147][148] That stadium, once the largest in the world,[146][142] attracted the largest Old Firm attendance of all time with 132,870 at the 1969 Scottish Cup Final[142] (it is not the record for the competition, with 147,365 having attended the 1937 final which also featured Celtic, versus Aberdeen).[142][146] The record Scottish League Cup final attendance (107,609; October 1965) was an Old Firm affair,[142] although the tournament record was set in 1947 when Rangers overcame Hibernian in a semi-final before 123,830.[149]

text: Since redevelopments completed in the 1990s, all three venues are all-seater with much smaller capacities of between 50,000 and 60,000, meaning the above records may never be beaten.

text: The 1971 Ibrox disaster – in which 66 Rangers supporters died in a crush on an exterior stairway – occurred at the end of an Old Firm match,[143] although the identity of the opposition was not a factor in the incident other than having drawn a large crowd of at least 75,000 to the event.[150]

text: Dominance of Scottish football[edit]

text: The intensity of the rivalry is fuelled by the clubs' historical duopoly in Scottish football, with most meetings between them being pivotal in deciding the destiny of a championship or cup and anything but a title-winning season seen as a major disappointment, particularly as it would usually mean 'the enemy' has won the trophy.

text: League[edit]

text: Statistics show that Rangers and Celtic have been by far the most successful clubs involved in the Scottish Football League since its formation in 1890. The pair were the only participants in every edition of the competition until 2012, when Rangers were removed from the top tier for economic reasons; they returned for the 2016–17 season. Of the 121 championships played, 103 (85%) have been won by one of the Old Firm with Rangers ahead on 54 titles to Celtic's 49, and 19 between ten other clubs (including a shared title between Rangers and Dumbarton).

text: Although there have been brief periods when silverware went elsewhere, there have also been long spells of domination by each Old Firm club, the longest run of 9-in-a-row being first set by Celtic between 1966 and 1974, matched by Rangers between 1989 and 1997.

text: On just five occasions since 1891 have neither of the Glasgow giants been the league winner nor the runner-up. This includes 1964–65, the only season in which both Rangers and Celtic failed to finish in the top three places. The Old Firm have finished 1st and 2nd 48 times overall. Between the resurgence of Celtic in the mid-1990s and the liquidation of Rangers in 2012, '1–2' finishes were recorded in all but one of 17 SPL-era seasons.

text: The longest sequence without an Old Firm title is three years between 1983 and 1985, while the longest unbroken run of championships between the two clubs began immediately afterwards and is ongoing: 33 seasons and counting since 1986 (overtaking a previous sequence of 27 years between 1905 and 1931).

text: As of end of season 2017–18. Runners-up in (parentheses)

text:
Outcome[5]

Celtic

Rangers

Combined

%

One club 1st, other 2nd

24 (24)

24 (24)

48

40%

One club 1st, other not top 2

25

30

55

45%

Title wins by Old Firm club

49

54

103

85%

One club 2nd, other not top 2

N/A (7)

N/A (6)

13

11%

Neither club in top 2

N/A

N/A

5

4%

Title wins by another club

N/A

N/A

18*

15%

Totals

49 (31)

54 (30)

121

100%

text: For the purpose of the calculation, the shared 1891 title is attributed to Rangers only here to prevent it being counted twice.

text: Scottish Cup[edit]

text: Although the initial Scottish Cup was played in 1874, 15 years before Celtic were formed, they have still won the competition more than any other club - 38 times, plus 18 runners-up - with Rangers not far behind on 33 (also 18 runners-up).

text: There have been 14 Old Firm finals, while there have been just 39 finals involving neither Rangers or Celtic, 17 of which were in the 1800s.

text: The longest run of Old Firm wins is 11 between 1971 and 1981.

text:
Outcome[6]

Celtic

Rangers

Combined

%

Old Firm final

7 (7)

7 (7)

14

11%

One winner, other not involved

31

26

57

43%

Cup wins by an Old Firm club

38

33

71

54%

One runner-up, other not involved

N/A (11)

N/A (11)

22

17%

neither club involved

N/A

N/A

39

29%

Cup wins by another club

N/A

N/A

61

46%

Totals

38 (18)

33 (18)

132

100%

text: Old Firm Scottish Cup finals[edit]

text: Rangers wins: 1893–94, 1927–28, 1962–63, 1965–66, 1972–73, 1998–99, 2001–02

text: Celtic wins: 1898–99, 1903–04, 1968–69, 1970–71, 1976–77, 1979–80, 1988–89

text: Cup withheld: 1908–09[12][13][151]

text: League Cup[edit]

text: The Scottish League Cup has been contested 72 times since 1946–47. Rangers are dominant in terms of wins with 27 from 34 finals, with Celtic some way behind on 17 wins from 32 finals. 13 other clubs share 28 wins between them. 14 of its finals have been Old Firm occasions,[152] while 20 featured neither of them.

text: The longest run of Old Firm wins is 8 between 1964 and 1971.

text: As of end of the 2017–18 competition which concluded in November 2017. Runners-up in (parentheses)

text:
Outcome[7]

Celtic

Rangers

Combined

%

Old Firm final

5 (9)

9 (5)

14

19%

One winner, other not involved

12

18

30

42%

Cup wins by an Old Firm club

17

27

44

61%

One runner-up, other not involved

N/A (6)

N/A (2)

8

11%

neither club involved

N/A

N/A

20

28%

Cup wins by another club

N/A

N/A

28

39%

Totals

17 (15)

27 (7)

72

100%

text: Old Firm League Cup finals[edit]

text: Rangers wins: 1964–65, 1970–71, 1975–76, 1977–78, 1983–84, 1986–87, 1990–91, 2002–03, 2010–11[152]

text: Celtic wins: 1957–58, 1965–66, 1966–67, 1982–83, 2008–09[152]

text: Women's football[edit]

text: The Rangers–Celtic rivalry in women's football has existed only in the 21st century, with Rangers W.F.C. having formed in 2008, one year after the Celtic F.C. women's team. The footballing environment is also very different, with a third team in the city – Glasgow City F.C. – not merely competing in the same division as the more famous names and attracting a similar fanbase, but dominant over them in the domestic league, with eleven consecutive titles up to 2017.[153] Rangers have only finished above Celtic once (2014),and neither club has won the Scottish Women's Cup; Celtic have lifted the SWPL Cup on one occasion, in 2010.[154]

text: Fixtures between the teams generate extra media interest due to their association with the parent clubs and are referred to as Old Firm matches as a result,[155][156][157][158][159][160] although none have ever taken place at Ibrox or Celtic Park due to the far lower spectator numbers, nor have there been any national cup finals between them.


document_title: Hair of the dog

question_text: where did hair of the dog come from

question_tokens: where did hair of the dog come from

root

text: Hair of the dog

text: Etymology[edit]

text: The expression originally referred to a method of treatment of a rabid dog bite by placing hair from the dog in the bite wound.[1] Ebenezer Cobham Brewer writes in the Dictionary of Phrase and Fable (1898): "In Scotland it is a popular belief that a few hairs of the dog that bit you applied to the wound will prevent evil consequences. Applied to drinks, it means, if overnight you have indulged too freely, take a glass of the same wine within 24 hours to soothe the nerves. 'If this dog do you bite, soon as out of your bed, take a hair of the tail the next day.'" He also cites two apocryphal poems containing the phrase, one of which is attributed to Aristophanes. It is possible that the phrase was used to justify an existing practice, and the idea of Latin: similia similibus curantur ("like cures like") dates back at least to the time of Hippocrates and exists today as the basic postulate of classical homeopathy. In the 1930s cocktails known as Corpse Revivers were served in hotels.[2]

tag: p

text: The earliest known reference to the phrase "hair of the dog" in connection with drunkenness is found in a text from ancient Ugarit dating from the mid to late second millennium BC, in which the god ʾIlu becomes hungover after a drinking binge. The text includes a recipe for a salve to be applied to the god's forehead, which consists of "hairs of a dog" and parts of an unknown plant mixed with olive oil.[3]

text: An early example of modern usage (poil de ce chien) can be found in Rabelais' 16th century pentology Gargantua and Pantagruel,[4] literally translated by Motteux in the late 17th century.[5]

text: In other languages[edit]

text: The phrase also exists in Hungarian, where the literal translation to English is "(You may cure) the dog's bite with its fur", but has evolved into a short phrase ("kutyaharapást szőrével") that is used frequently in other contexts when one is trying to express that the solution to a problem is more of the problem. Among the Irish and Mexicans, the phrase 'The Cure' ("curarse la cruda", in Spanish) is often used instead of 'hair of the dog'.[6] It is used, often sarcastically, in the question "Going for a Cure?" In Costa Rica (Central America), the same expression is used but it refers to a pig as in: hair of the same pig ("pelos de la misma chancha" in Central America) referring to the same method to cure the hangover.[citation needed]

text: In some Slavic languages (Polish, Bosnian, Bulgarian, Croatian, Serbian, Slovenian and Russian), hair of the dog is called "a wedge" (klin), mirroring the concept of dislodging a stuck wedge with another one; hence the popular Polish phrase "[to dislodge] a wedge [with] a wedge" – [wybijać] klin klinem – which is used figuratively both with regard to alcohol and in other contexts. The proper Russian term is опохмелка (opohmelka, "after being drunk"), which indicates a process of drinking to decrease effects of drinking the day before.[citation needed]

text: In German, drinking alcohol the next morning to relieve the symptoms is sometimes described as "having a counter-beer" (ein Konterbier trinken), whereas in Austria people talk about having a repair-beer (Reparatur-Seidl). In Portuguese, people speak of "a hit" (uma rebatida), meaning to strike away (the hangover with more alcohol).[citation needed]

text: A similar usage is encountered in Romanian, in the phrase "Cui pe cui se scoate" (A nail (fastener) pulls out a nail); in Bulgarian, in the phrase "Клин клин избива"; in Italian, in the phrase "Chiodo schiaccia chiodo"; in Spanish, in the phrase "Un clavo saca otro clavo" (A nail pulls out another nail); and in Turkish, in the phrase "Çivi çiviyi söker". In all five cases, the English translation is "a nail dislodges a nail", though these phrases are not exclusively used to refer to the hangover cure.[citation needed]

text: In Italian, is also used the term "richiamino", which translates to "little recall": a recall is a booster shot. In this context, the booster shot consist of another small dose of alcohol to drink during the hangover to reduce the effects of drinking.[citation needed]

text: In Swedish, drinking alcohol to relieve a hangover is called having an "återställare", which translates roughly to "restorer". In Norwegian, it is usually called "repareringspils", meaning a "beer to repair". In Finnish, it is called "tasoittava" (smoothening) or "korjaussarja" (repair kit) and in Czech "vyprošťovák" (extricator). In Tanzania, the equivalent Swahili phrase used is "kuzimua" which means 'assist to wake up after a coma'.

text: In Danish, a beer the day after drinking, is called a "reparationsbajer", which translates to "repair beer". There is also a saying: "One must rise at the tree where one fell".[citation needed]

text: In Japanese, alcohol consumed to lighten a hangover is called "迎え酒" (mukae-zake), which literally means "counter alcohol".[citation needed]

text: In Korea, alcohol (typically soju) drunk in the morning to relieve hangovers is called "haejangsul."[7]

text: In China, alcohol drunk to relieve hangover is called "回魂酒", literally translates to "the drink that brings back your soul".[8]The phrase also exists in (Cheng) Swahili Slang: In Kenya taking alcohol to relieve a hangover is called " Kutoa Lock" Translated into "removing the Lock"

text: Scientific background[edit]

text: There are at least two theories as to how "hair of the dog" works:

text: In the first, hangovers are described as the first stage of alcohol withdrawal, which is then alleviated by further alcohol intake. Although "...Low [ethanol] doses may effectively prevent alcohol withdrawal syndrome in surgical patients",[9] this idea is questionable as the signs and symptoms of hangover and alcohol withdrawal are very different.[10]

text: In the second, hangovers are attributed to methanol metabolism.[11][12] Levels of methanol, present as a congener in alcohol, have been correlated with severity of hangover[13][14] and methanol metabolism to the highly toxic formate via formaldehyde[15] coincides with the rate of appearance of hangover symptoms.[16] As both ethanol and methanol are metabolised by alcohol dehydrogenase – and ethanol is a much better substrate for this enzyme – drinking more of the former then effectively prevents (or delays) the metabolism of the latter. As pure ethanol consumption has also been found to increase endogenous levels of methanol,[17] presumably for this reason, this suggests that if "hair of the dog" works in this way it effects a temporary hiatus rather than a cure.[clarification needed]

text: From the perspective of sugar metabolism, alcohol may cause a blood sugar spike, resulting in a hypoglycemic awakening "hangover".[citation needed] Consuming more alcohol might be a way to ingest more calories that quickly convert to sugar to raise the body's blood sugar, as well as lifting the fainting and headaches often associated with low blood sugar.[citation needed]

text: Cultural references[edit]

text: In Stanley Kubrick's 1980 horror film, The Shining, the "hair of the dog" expression is used in the sequence in which Jack Torrance (Jack Nicholson) seats himself at the bar in the Gold Room for the second time and asks Lloyd the Bartender (Joe Turkel) for a drink:

tag: ul


document_title: Beauty and the Beast (2017 film)

question_text: who played gaston beauty and the beast 2017

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: In Rococo-era France, an enchantress disguised as a beggar arrives at a ball and offers the host, a coldhearted prince, a rose for shelter. When he refuses, she transforms him into a beast and his servants into household objects, and erases the castle from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will never lift unless he learns to love another, and earn their love in return, before the last petal falls.

text: Years later, in the village of Villeneuve, Belle dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. Lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose. Belle ventures out in search for him and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who treat her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is cornered by wolves, but the Beast rescues her and is injured in the process. A friendship develops as Belle nurses his wounds. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in Paris, where she discovers a plague doctor mask. Belle realises that she and her father were forced to leave her mother's deathbed as her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the beggar Agathe, but when he tells the townsfolk of Gaston's crime, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston has her thrown into the asylum carriage with her father and rallies the villagers to follow him to the castle to slay the Beast. Maurice and Belle escape and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his will upon seeing Belle return. He overpowers Gaston but spares his life before reuniting with Belle. However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles and he falls to his death. The Beast dies as the last petal falls and the servants become inanimate. When Belle tearfully professes her love to him, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a beautiful and benevolent bibliophile who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as The Prince / Beast, a cold-hearted prince who is transformed into a hideous beast and forced to earn back his humanity by learning to truly love and be loved in return.[9][10]

Adam Mitchell[3] portrays the younger version of the Prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[11]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[12]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[13]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[14]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[15]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[11]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[16]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[17]
Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[18]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the Enchantress responsible for cursing the Prince.[19] Morahan also narrates the prologue.

Rita Davies portrays the Enchantress in her beggar woman form.

Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[19]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the Prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the Prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the Prince's mother who died of an illness when he was a child.
Dale Branston as Baker, Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' Mother, an unnamed seamstress who is the mother of the Village Lasses.

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[20]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[20]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[21]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[22][23] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[24]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[25] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[26] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[27]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[28] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[29]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[30] Watson was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[29] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[31][32] and Watson confirmed their casting the following day through tweets.[9][33] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[12][11][16][15][17][13][14][34]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[35] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[36]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[37]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, England, on May 18, 2015.[11][38][39] Filming with the principal actors concluded on August 21.[40][41] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[42]

text: The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.[6]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones' character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[20]

text: Music[edit]

text: When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[43]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[44] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[45] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[46] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[47]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion - singer of the original 1991 Beauty and the Beast duet song, with singer Peabo Bryson - that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[48] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way".[18] She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today".[9] Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[49][50][51][52]

text: The 2017 film features a remake of the 1991 original song Beauty and the Beast recorded as a duet by Ariana Grande and John Legend.[53][54] Grande and Legend's updated version of the Beauty and the Beast title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[55]

text: Emma Thompson also performed a rendition of "Beauty and the Beast", which was performed by Angela Lansbury in the original 1991 animated film release.[56]

text: Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song "Beauty and the Beast" on Freeform television network on March 5, 2017, and it has since attained over 100 million video views on the Vevo video hosting service.[56]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[11] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[57]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, England;[58] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[59] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[60] Following an announcement on May 22, 2016,[61] Disney premiered the first official teaser trailer on Good Morning America the next day.[62] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[63] This record has since been broken by Thor: Ragnarok and It.[64] The first official teaser poster was released on July 7, 2016.[65] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[66][67] One week later, Emma Watson and Disney debuted a new poster for the film.[68] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[69] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[70] This record has since been broken again by The Fate of the Furious.[71] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[72] Disney released the final trailer on January 30, 2017.[73]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[74] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[75] The movie regained the top spot on the national home video sales charts during its third week of release.[76] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $758.6 million in other territories for a worldwide gross of $1.262 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second biggest musical ever overall, behind Disney's Frozen (2013).[78] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[79] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[80] It surpassed the entire lifetime total of the original film in just six days.[81][82]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[83] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[84][85][86][87] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[88][89][90] It is currently the highest-grossing film of 2017,[91] the highest-grossing March release,[92] the highest-grossing remake of all-time,[93] and the fifth biggest Disney film.[94] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[93]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[95][96][97] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[98][99] It earned $16.3 milion from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[100] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest – 59% – came from regular 2D shows which began at 7 p.m.[101] The numbers were considered more impressive given that the film played during a school week.[102]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[103][104] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[105] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell -2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[83] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[106] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[107][108] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[109] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[110] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[110] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[106]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second biggest film of the year, behind Logan ($184 million), and also the second highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[111] 70% of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[83] 70% of the film's opening day demographic was female, dropping to 60% through the weekend.[110] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[112][113] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[112][114]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second biggest March Monday, behind Batman v Superman ($15 million).[115] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a +32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[116] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[117] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[118] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[78] The hold was notable considering how the film was able to fend off three new wide release; Power Rangers, Life, and CHiPs.[119] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[120] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[121] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[122] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[123] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[124] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[125] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[126][127][128]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[129] the biggest musical film (both animated and live-action),[130] as well as the biggest film of 2017.[131]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second biggest for a PG title behind The Jungle Book.[132] In its second weekend, it fell just by -35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[133] It top the international box office for three consecutive weekends[134] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[135][90]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[136][137] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[132][133]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[138] This included the second biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[139] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[140][133] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[141][142][143] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases – Machine, Trapped and Aa Gaya Hero – combined.[144] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[145][146][147] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[148]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time – around two months – to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[149] The original film was however never widely popular in the country.[150] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[151] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[152][153] Either ways, it recorded the second biggest opening for a Disney live-action film,[150] with $3.4 million coming from 386 IMAX screens.[132] Japan – a huge Disney market – served as the film's final market and opened there on April 21[133] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[154][155] The two day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[156] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[157][158][159] and is the biggest film release of the year and overall the eleventh biggest of all time.[160] It topped the box office there for eight consecutive weekends.[161][162]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[132] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[135][163] In the Philippines, it emerged as the most commercial successful film of all time – both local and foreign – with over $13.5 million.[164] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[165] It is currently the eighth biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[154][166] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[161] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past 1 year (behind Rogue One: A Star Wars Story).[167][154][157]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[168][169] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 292 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[170] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[171] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[172][173]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[174] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[175] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[176] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[177] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[178] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[179] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[180]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[181] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)."[182] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[183] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[184] Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[185] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[186]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[187] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[188] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails – the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[189][190]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he sensed that the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[191] Dana Schwartz of The Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[192]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[193]

Best Actor in a Movie
Emma Watson

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
[194]

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[195]
[196]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans

Choice Movie Ship
Emma Watson and Dan Stevens

Choice Liplock

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans

Dan Stevens

tag: table

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[197] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you’ve seen the movie—it's such a tiny thing, and it’s been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly-talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that’s what’s exciting about it.”[198] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[199]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[200] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[201] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[202] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[203][204][205] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[206] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[207][208] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[209]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[210] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[211]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[212] but a debate questioning whether it is possible to fall in love with someone who is holding you prisoner, and whether this is a problematic theme, has resulted.[213] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[214][215] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[216]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[217] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[218][219] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th century France for arranged marriages, and that the power disparity is amplified in the Disney version.[220] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[221]

text: Notes[edit]

text: ^ Jump up to: a b Beauty and the Beast at Box Office Mojo. Retrieved August 14, 2017.


document_title: The Lorax

question_text: what are the trees from the lorax called

text: The Lorax

text: Plot[edit]

text: A boy living in a polluted area visits a strange isolated man called the Once-ler on the Street of the Lifted Lorax. The boy pays the Once-ler fifteen cents, a nail, and the shell of a great-great-great grandfather snail to hear the legend of how the Lorax was lifted away.

text: The Once-ler tells the boy of his arrival in a beautiful valley containing a forest of Truffula trees and a range of animals. The Once-ler, having long searched for such a tree as the Truffula, chops one down and uses its silk-like foliage to knit a Thneed, an impossibly versatile garment. The Lorax, who "speaks for the trees" as they have no tongues, emerges from the stump of the Truffula and voices his disapproval both of the sacrifice of the tree and of the Thneed itself. However, the first other person to happen by purchases the Thneed for $3.98, so the Once-ler is encouraged and starts a business making and selling Thneeds.

text: The Once-ler's small shop soon grows into a factory. The Once-ler's relatives all come to work for him and new vehicles and equipment are brought in to log the Truffula forest and ship out Thneeds. The Lorax appears again to report that the small bear-like Bar-ba-loots, who eat Truffula fruits, are short of food and must be sent away to find more. The Lorax later returns to complain that the factory has polluted the air and the water, forcing the Swomee-Swans and Humming-Fish to migrate as well. The Once-ler is unrepentant and defiantly tells the Lorax that he will keep on "biggering" his business, but at that moment one of his machines fells the very last Truffula tree.

text: Without raw materials, the factory shuts down and the Once-ler's relatives leave. The Lorax says nothing but with one sad backward glance and the Once-ler helps him into the air ("by the seat of his pants") and disappears behind the smoggy clouds. Where he last stood is a small monument engraved with a single word: "UNLESS". The Once-ler ponders the message for years, in solitude and self-imposed exile.

text: In the present, his buildings falling apart around him, the Once-ler at last realizes out loud what the Lorax meant: "unless someone like you cares a whole awful lot, nothing is going to get better. It's not." He then gives the boy the last Truffula seed and urges him to grow a forest from it, saying that if the trees can be protected from logging then the Lorax and all of his friends may come back.

text: Reception[edit]

text: Based on a 2007 online poll, the National Education Association named The Lorax one of its "Teachers' Top 100 Books for Children".[3] In 2012 it was ranked number 33 among the "Top 100 Picture Books" in a survey published by School Library Journal – the second of five Dr. Seuss books on the list.[1]

text: In a retrospective critique written in the journal Nature in 2011 upon the 40th anniversary of the book's publication, Emma Marris described the Lorax character as a "parody of a misanthropic ecologist". She called the book "gloomy" and expressed skepticism that its message would resonate with small children in the manner intended. Nevertheless, she praised the book as effective in conveying the consequences of ecological destruction in a way that young children will understand.[4]

text: Controversy[edit]

text: In 1988, a small school district in California kept the book on a reading list for second graders, though some in the town claimed the book was unfair to the logging industry.[5][6]

text: Terri Birkett, a member of a family-owned hardwood flooring factory, authored The Truax,[7] offering a logging-friendly perspective to an anthropomorphic tree known as the Guardbark. This book was published by the National Oak Flooring Manufacturers' Association (NOFMA). Just as in The Lorax, the book consists of a disagreement between two people. The logging industry representative states that they have efficiency and re-seeding efforts. The Guardbark, a personification of the environmentalist movement much as the Once-ler is for big business, refuses to listen and lashes out. But in the end, he is convinced by the logger's arguments. However, this story was criticized for what were viewed as skewed arguments and clear self-interest, particularly a "casual attitude toward endangered species" that answered the Guardbark's concern for them. In addition, the book's approach as a more blatant argument, rather than one worked into a storyline, was also noted.[8][9][10]

text: The line "I hear things are just as bad up in Lake Erie" was removed more than fourteen years after the story was published, after two research associates from the Ohio Sea Grant Program wrote to Seuss about the clean-up of Lake Erie.[11] The line remains in the home video releases of the television special.

text: Adaptations[edit]

text: 1972 television special[edit]

text: The book was adapted as an animated musical television special produced by DePatie-Freleng Enterprises, directed by Hawley Pratt and starring the voices of Eddie Albert and Bob Holt. It was first aired by CBS on February 14, 1972. A reference to pollution of Lake Erie was spoken by one of the Humming-Fish as they depart; it remains in DVD releases of the show, although later removed from the book. The special also shows the Once-ler arguing with himself, and asking the Lorax whether shutting down his factory (thus putting hundreds of people out of work) is practical. An abridged version of the special is used in the 1994 TV movie In Search of Dr. Seuss, with Kathy Najimy's reporter character hearing the Once-ler's story.

text: 2012 feature film[edit]

text: On March 2, 2012, Universal Studios and Illumination Entertainment released a 3-D CGI film based upon the book. The release coincided with the 108th birthday of Seuss, who died at 87 in 1991. The cast includes Danny DeVito as the Lorax, Zac Efron as Ted (the boy in the book), and Ed Helms as the Once-ler. The film includes several new characters: Rob Riggle as villain Aloysius O'Hare, Betty White as Ted's Grammy Norma, and Taylor Swift as Audrey, Ted's romantic interest. The film debuted in the #1 spot at the box office, making $70 million, though it received mixed reviews. The film eventually grossed a domestic total of $214,030,500.[12]

text: Audio books[edit]

text: Two audio readings have been released on CD, one narrated by Ted Danson in the United States (Listening Library, ISBN 978-0-8072-1873-0) and one narrated by Rik Mayall in the United Kingdom (HarperCollins, ISBN 978-0-00-715705-1).

text: Musical[edit]

text: A musical adaptation of The Lorax was originally included in script for the Broadway musical Seussical, but was cut before the show opened.[13]

text: From 2 December 2015 to 16 January 2016, a musical version of the book ran at the Old Vic theatre in London. With former Noah And The Whale frontman, Charlie Fink, who wrote the music for the production.[14]