document_title: Bette Davis

question_text: who did she's got betty davis eyes

question_tokens: who did she 's got betty davis eyes

text: Bette Davis

text: Life and career[edit]

text: Background and early acting career (1908–1929)[edit]

text: Ruth Elizabeth Davis, known from early childhood as "Betty", was born on April 5, 1908, in Lowell, Massachusetts, the daughter of Harlow Morrell Davis (1885–1938), a law student from Augusta, Maine, and subsequently a patent attorney, and Ruth Augusta (née Favór; 1885–1961), from Tyngsboro, Massachusetts.[5] Her ancestry was primarily English.[6] Betty's younger sister was Barbara Harriet.[7]

text: In 1915, Davis' parents separated, and Betty attended a Spartan boarding school called Crestalban in Lanesborough in the Berkshires.[8] In 1921, Ruth Davis moved to New York City with her daughters, where she worked as a portrait photographer. Betty changed the spelling of her name to "Bette" after Honoré de Balzac's La Cousine Bette.[9]

text: Davis attended Cushing Academy, a boarding school in Ashburnham, Massachusetts, where she met her future husband, Harmon O. Nelson, known as "Ham". In 1926, she saw a production of Henrik Ibsen's The Wild Duck with Blanche Yurka and Peg Entwistle. Davis later recalled for Al Cohn of Newsday, "The reason I wanted to go into theater was because of an actress named Peg Entwistle."[10] She auditioned for admission to Eva Le Gallienne's Manhattan Civic Repertory, but was rejected by LeGallienne, who described her attitude as "insincere" and "frivolous".[11]

text: Davis auditioned for George Cukor's stock theater company in Rochester, New York; although he was not very impressed, he gave Davis her first paid acting assignment—a one-week stint playing the part of a chorus girl in the play Broadway. In 1929, Davis was chosen by Blanche Yurka to play Hedwig, the character she had seen Entwistle play in The Wild Duck.[12] After performing in Philadelphia, Washington, and Boston, she made her Broadway debut in 1929 in Broken Dishes, and followed it with Solid South.[citation needed]

text: Early years in Hollywood (1930–1936)[edit]

text: In 1930, Davis moved to Hollywood to screen test for Universal Studios. Davis and her mother traveled by train to Hollywood. She later recounted her surprise that nobody from the studio was there to meet her. In fact, a studio employee had waited for her but left because he saw nobody who "looked like an actress". She failed her first screen test, but was used in several screen tests for other actors. In a 1971 interview with Dick Cavett, she related the experience with the observation, "I was the most Yankee-est, most modest virgin who ever walked the earth. They laid me on a couch, and I tested fifteen men ... They all had to lie on top of me and give me a passionate kiss. Oh, I thought I would die. Just thought I would die."[13] A second test was arranged for Davis, for the 1931 film A House Divided. Hastily dressed in an ill-fitting costume with a low neckline, she was rebuffed by the director William Wyler, who loudly commented to the assembled crew, "What do you think of these dames who show their chests and think they can get jobs?"[14]

text: Carl Laemmle, the head of Universal Studios, considered terminating Davis' employment, but cinematographer Karl Freund told him she had "lovely eyes" and would be suitable for Bad Sister (1931), in which she subsequently made her film debut.[15] Her nervousness was compounded when she overheard the chief of production, Carl Laemmle, Jr., comment to another executive that she had "about as much sex appeal as Slim Summerville", one of the film's co-stars.[16] The film was not a success, and her next role in Seed (1931) was too brief to attract attention.[citation needed]

text: Universal Studios renewed her contract for three months, and she appeared in a small role in Waterloo Bridge (1931) before being lent to Columbia Pictures for The Menace and to Capital Films for Hell's House (all 1932). After one year, and six unsuccessful films, Laemmle elected not to renew her contract.[17]

text: Davis was preparing to return to New York when actor George Arliss chose Davis for the lead female role in the Warner Bros. picture The Man Who Played God (1932), and for the rest of her life, Davis credited him with helping her achieve her "break" in Hollywood. The Saturday Evening Post wrote, "she is not only beautiful, but she bubbles with charm" and compared her to Constance Bennett and Olive Borden.[18] Warner Bros. signed her to a five-year contract, and she remained with the studio for the next 18 years.[citation needed]

text: Davis married Harmon Oscar Nelson on August 18, 1932, in Yuma, Arizona.[19] Their marriage was scrutinized by the press; his $100 a week earnings compared unfavorably with Davis' reported $1,000 a week income. Davis addressed the issue in an interview, pointing out that many Hollywood wives earned more than their husbands, but the situation proved difficult for Nelson, who refused to allow Davis to purchase a house until he could afford to pay for it himself.[20] Davis had several abortions during the marriage.[21]

text: After more than 20 film roles, the role of the vicious and slatternly Mildred Rogers in the RKO Radio production of Of Human Bondage (1934), a film adaptation of W. Somerset Maugham's novel, earned Davis her first major critical acclaim. Many actresses feared playing unsympathetic characters and several had refused the role, but Davis viewed it as an opportunity to show the range of her acting skills. Her co-star, Leslie Howard, was initially dismissive of her, but as filming progressed, his attitude changed and he subsequently spoke highly of her abilities. The director, John Cromwell, allowed her relative freedom: "I let Bette have her head. I trusted her instincts." She insisted that she be portrayed realistically in her death scene, and said, "the last stages of consumption, poverty, and neglect are not pretty and I intended to be convincing-looking."[22]

text: The film was a success, and Davis' characterization won praise from critics, with Life writing that she gave "probably the best performance ever recorded on the screen by a U.S. actress".[23] Davis anticipated that her reception would encourage Warner Bros. to cast her in more important roles and was disappointed when Jack L. Warner refused to lend her to Columbia Studios to appear in It Happened One Night and instead cast her in the melodrama Housewife.[24] When Davis was not nominated for an Academy Award for Of Human Bondage, The Hollywood Citizen News questioned the omission and Norma Shearer, herself a nominee, joined a campaign to have Davis nominated. This prompted an announcement from the Academy president, Howard Estabrook, who said that under the circumstances "any voter ... may write on the ballot his or her personal choice for the winners", thus allowing, for the only time in the Academy's history, the consideration of a candidate not officially nominated for an award.[25] The uproar led, however, to a change in academy voting procedures the following year, wherein nominations were determined by votes from all eligible members of a particular branch, rather than by a smaller committee,[26] with results independently tabulated by the accounting firm Price Waterhouse.[27]

text: Davis appeared in Dangerous (1935) as a troubled actress and received very good reviews. E. Arnot Robertson wrote in Picture Post:

text: I think Bette Davis would probably have been burned as a witch if she had lived two or three hundred years ago. She gives the curious feeling of being charged with power which can find no ordinary outlet.[28]

text: The New York Times hailed her as "becoming one of the most interesting of our screen actresses."[29] She won the Academy Award for Best Actress for the role but commented that it was belated recognition for Of Human Bondage, calling the award a "consolation prize".[30] For the rest of her life, Davis maintained that she gave the statue its familiar name of "Oscar" because its posterior resembled that of her husband, whose middle name was Oscar,[31][32] although, the Academy of Motion Picture Arts and Sciences officially makes reference to another story.[33]

text: In her next film, The Petrified Forest (1936), Davis co-starred with Leslie Howard and Humphrey Bogart.

text: Legal case[edit]

text: Convinced that her career was being damaged by a succession of mediocre films, Davis accepted an offer in 1936 to appear in two films in Britain. Knowing that she was breaching her contract with Warner Bros., she fled to Canada to avoid legal papers being served on her. Eventually, Davis brought her case to court in Britain, hoping to get out of her contract.[34] She later recalled the opening statement of the barrister, Patrick Hastings, who represented Warner Bros. Hastings urged the court to "come to the conclusion that this is rather a naughty young lady and that what she wants is more money." He mocked Davis' description of her contract as "slavery" by stating, incorrectly, that she was being paid $1,350 per week. He remarked, "if anybody wants to put me into perpetual servitude on the basis of that remuneration, I shall prepare to consider it." The British press offered little support to Davis and portrayed her as overpaid and ungrateful.[35]

text: Davis explained her viewpoint to a journalist: "I knew that, if I continued to appear in any more mediocre pictures, I would have no career left worth fighting for."[36] Davis' counsel presented her complaints—that she could be suspended without pay for refusing a part, with the period of suspension added to her contract, that she could be called upon to play any part within her abilities regardless of her personal beliefs, that she could be required to support a political party against her beliefs, and that her image and likeness could be displayed in any manner deemed applicable by the studio. Jack Warner testified and was asked, "Whatever part you choose to call upon her to play, if she thinks she can play it, whether it is distasteful and cheap, she has to play it?" Warner replied, "Yes, she must play it."[37] Davis lost the case and returned to Hollywood, in debt and without income, to resume her career. Olivia de Havilland mounted a similar case in 1943 and won.

text: Success with Warner Bros. (1937–1941)[edit]

text: Davis began work on Marked Woman (1937), portraying a prostitute in a contemporary gangster drama inspired by the case of Lucky Luciano. For her performance in the film, she was awarded the Volpi Cup at the 1937 Venice Film Festival.[38] Her next picture was Jezebel (1938), and during production, Davis entered a relationship with director William Wyler. She later described him as the "love of my life" and said that making the film with him was "the time in my life of my most perfect happiness".[39] The film was a success, and Davis' performance as a spoiled Southern belle earned her a second Academy Award.

text: This led to speculation in the press that she would be chosen to play a similar character, Scarlett O'Hara, in Gone with the Wind. Davis expressed her desire to play Scarlett, and while David O. Selznick was conducting a search for the actress to play the role, a radio poll named her as the audience favorite. Warner offered her services to Selznick as part of a deal that also included Errol Flynn and Olivia de Havilland, but Selznick did not consider Davis as suitable, and rejected the offer,[40] while Davis did not want Flynn cast as Rhett Butler. Newcomer Vivien Leigh was eventually cast as Scarlett O'Hara, while de Havilland landed a role as Melanie, and both of them were nominated for the Oscars, with Leigh winning.

text: Jezebel marked the beginning of the most successful phase of Davis' career, and over the next few years, she was listed in the annual Quigley Poll of the Top Ten Money Making Stars, which was compiled from the votes of movie exhibitors throughout the U.S. for the stars who had generated the most revenue in their theaters over the previous year.[41]

text: In contrast to Davis' success, her husband, Ham Nelson, had failed to establish a career for himself, and their relationship faltered. In 1938, Nelson obtained evidence that Davis was engaged in a sexual relationship with Howard Hughes and subsequently filed for divorce, citing Davis' "cruel and inhuman manner."[42]

text: Davis was emotional during the making of her next film, Dark Victory (1939), and considered abandoning it until the producer Hal B. Wallis convinced her to channel her despair into her acting. The film became one of the highest-grossing films of the year, and the role of Judith Traherne brought her an Academy Award nomination. In later years, Davis cited this performance as her personal favorite.[43]

text: She appeared in three other box-office hits in 1939: The Old Maid with Miriam Hopkins, Juarez with Paul Muni, and The Private Lives of Elizabeth and Essex with Errol Flynn. The last was her first color film and her only color film made during the height of her career. To play the elderly Elizabeth I of England, Davis shaved her hairline and eyebrows.

text: During filming, she was visited on the set by the actor Charles Laughton. She commented that she had a "nerve" playing a woman in her sixties, to which Laughton replied, "Never not dare to hang yourself. That's the only way you grow in your profession. You must continually attempt things that you think are beyond you, or you get into a complete rut." Recalling the episode many years later, Davis remarked that Laughton's advice had influenced her throughout her career.[44]

text: By this time, Davis was Warner Bros.' most profitable star and she was given the most important of their female leading roles. Her image was considered with more care; although she continued to play character roles, she was often filmed in close-ups that emphasized her distinctive eyes. All This and Heaven Too (1940) was the most financially successful film of Davis' career to that point.

text: The Letter (1940) was considered "one of the best pictures of the year" by The Hollywood Reporter, and Davis won admiration for her portrayal of an adulterous killer, a role originated by Katharine Cornell.[45] During this time, she was in a relationship with her former costar George Brent, who proposed marriage. Davis refused, as she had met Arthur Farnsworth, a New England innkeeper. Davis and Farnsworth were married at Home Ranch, in Rimrock, Arizona, in December 1940.[46]

text: In January 1941, Davis became the first female president of the Academy of Motion Picture Arts and Sciences but antagonized the committee members with her brash manner and radical proposals. Davis rejected the idea of her being just "a figurehead only". Faced with the disapproval and resistance of the committee, Davis resigned, and was succeeded by her predecessor Walter Wanger.[47]

text: Davis starred in three movies in 1941, the first being The Great Lie, opposite George Brent. It was a refreshingly different role for Davis, as she played a kind, sympathetic character.

text: William Wyler directed Davis for the third time in Lillian Hellman's The Little Foxes (1941), but they clashed over the character of Regina Giddens, a role originally played on Broadway by Tallulah Bankhead (Davis had portrayed in film roles initiated by Bankhead on the stage twice before, in Dark Victory and Jezebel). Wyler encouraged Davis to emulate Bankhead's interpretation of the role but Davis wanted to make the role her own. She received another Academy Award nomination for her performance and never worked with Wyler again.[48]

text: War effort and personal tragedy (1942–1944)[edit]

text: Following the attack on Pearl Harbor, Davis spent the early months of 1942 selling war bonds. After Jack Warner criticized her tendency to cajole crowds into buying, she reminded him that her audiences responded most strongly to her "bitch" performances. She sold $2 million worth of bonds in two days, as well as a picture of herself in Jezebel for $250,000. She also performed for black regiments as the only white member of an acting troupe formed by Hattie McDaniel, which included Lena Horne and Ethel Waters.[49]

text: At John Garfield's suggestion of opening a servicemen's club in Hollywood, Davis—with the aid of Warner, Cary Grant, and Jule Styne—transformed an old nightclub into the Hollywood Canteen, which opened on October 3, 1942. Hollywood's most important stars volunteered to entertain servicemen. Davis ensured that every night, a few important "names" would be there for the visiting soldiers to meet.[50]

text: She appeared as herself in the film Hollywood Canteen (1944), which used the canteen as the setting for a fictional story. Davis later commented, "There are few accomplishments in my life that I am sincerely proud of. The Hollywood Canteen is one of them." In 1980, she was awarded the Distinguished Civilian Service Medal, the United States Department of Defense's highest civilian award, for her work with the Hollywood Canteen.[51]

text: Davis showed little interest in the film Now, Voyager (1942) until Hal Wallis advised her that female audiences needed romantic dramas to distract them from the reality of their lives. It became one of the best known of her "women's pictures". In one of the film's most imitated scenes, Paul Henreid lights two cigarettes as he stares into Davis' eyes and passes one to her. Film reviewers complimented Davis on her performance, the National Board of Review commenting that she gave the film "a dignity not fully warranted by the script."[52]

text: During the early 1940s, several of Davis' film choices were influenced by the war, such as Watch on the Rhine (1943), by Lillian Hellman, and Thank Your Lucky Stars (1943), a lighthearted all-star musical cavalcade, with each of the featured stars donating their fees to the Hollywood Canteen. Davis performed a novelty song, "They're Either Too Young or Too Old", which became a hit record after the film's release.

text: Old Acquaintance (1943) reunited her with Miriam Hopkins in a story of two old friends who deal with the tensions created when one of them becomes a successful novelist. Davis felt that Hopkins tried to upstage her throughout the film. Director Vincent Sherman recalled the intense competitiveness and animosity between the two actresses, and Davis often joked that she held back nothing in a scene in which she was required to shake Hopkins in a fit of anger.[53]

text: In August 1943, Davis' husband, Arthur Farnsworth, collapsed while walking along a Hollywood street and died two days later. An autopsy revealed that his fall had been caused by a skull fracture he had suffered two weeks earlier. Davis testified before an inquest that she knew of no event that might have caused the injury. A finding of accidental death was reached. Highly distraught, Davis attempted to withdraw from her next film Mr. Skeffington (1944), but Jack Warner, who had halted production following Farnsworth's death, convinced her to continue.

text: Although she had gained a reputation for being forthright and demanding, her behavior during filming of Mr. Skeffington was erratic and out of character. She alienated Vincent Sherman by refusing to film certain scenes and insisting that some sets be rebuilt. She improvised dialogue, causing confusion among other actors, and infuriated the writer, Julius Epstein, who was called upon to rewrite scenes at her whim. Davis later explained her actions with the observation, "when I was most unhappy I lashed out rather than whined." Some reviewers criticized Davis for the excess of her performance; James Agee wrote that she "demonstrates the horrors of egocentricity on a marathonic scale;"[54] but despite the mixed reviews, she received another Academy Award nomination.[citation needed]

text: Professional setbacks (1945–1949)[edit]

text: In 1945, Davis married artist William Grant Sherry, who also worked as a masseur. She had been drawn to him because he claimed he had never heard of her and was, therefore, not intimidated by her.[55] The same year, Davis refused the title role in Mildred Pierce (1945),[56] a role for which Joan Crawford won an Academy Award, and instead made The Corn Is Green (1945) based on a play by Emlyn Williams.

text: Davis played Miss Moffat, an English teacher who saves a young Welsh miner (John Dall) from a life in the coal pits, by offering him education. The part had been played in the theatre by Ethel Barrymore but Warner Bros. felt that the film version should depict the character as a younger woman. Davis disagreed, and insisted on playing the part as written and wore a gray wig and padding under her clothes, to create a dowdy appearance.[57]

text: The film was well received by critics and made a profit of $2.2 million.[58] The critic E. Arnot Robertson observed:

text: Only Bette Davis...could have combated so successfully the obvious intention of the adaptors of the play to make frustrated sex the mainspring of the chief character's interest in the young miner.[59]

text: She concluded that "the subtle interpretation she insisted on giving" kept the focus on the teacher's "sheer joy in imparting knowledge".[59]

text: Her next film, A Stolen Life (1946), was the only film that Davis made with her own production company, BD Productions.[60] Davis played dual roles, as twins. The film received poor reviews and was described by Bosley Crowther as "a distressingly empty piece;"[61] but, with a profit of $2.5 million, it was one of her biggest box office successes.[62] In 1947, the U.S. Treasury named Davis as the highest-paid woman in the country,[63] with her share of the film's profit accounting for most of her earnings. Her next film was Deception (1946), the first of her films to lose money.[64]

text: Possessed (1947) had been tailor-made for Davis[65] and was to have been her next project after Deception. However, she was pregnant and went on maternity leave. Joan Crawford played her role in Possessed and was nominated for an Academy Award as Best Actress. In 1947, at the age of 39, Davis gave birth to a daughter, Barbara Davis Sherry (known as B.D.) and later wrote in her memoir that she became absorbed in motherhood and considered ending her career. As she continued making films, however, her relationship with her daughter B.D. began to deteriorate and her popularity with audiences was steadily declining.[66]

text: Among the film roles offered to Davis following her return to film-making was Rose Sayer in The African Queen (1951). When informed that the film was to be shot in Africa, Davis refused the part, telling Jack Warner, "If you can't shoot the picture in a boat on the back lot, then I'm not interested." Katharine Hepburn played the role and was nominated for an Academy Award as Best Actress.[67]

text: Davis was also offered a role in a film version of the Virginia Kellogg prison drama Women Without Men. Originally intended to pair Davis with Joan Crawford, Davis made it clear that she would not appear in any "dyke movie". It was filmed as Caged (1950), and the lead roles were played by Eleanor Parker (who was nominated for an Academy Award as Best Actress) and Agnes Moorehead.[68] She lobbied Jack Warner to make two films, Ethan Frome and a biography of Mary Todd Lincoln; however, Warner vetoed each proposal.[citation needed]

text: In 1948, Davis was cast in the melodrama Winter Meeting. Although she was initially enthusiastic, she soon learned that Warner had arranged for "softer" lighting to be used to disguise her age. She recalled that she had seen the same lighting technique "on the sets of Ruth Chatterton and Kay Francis, and I knew what they meant".[69] To add to her disappointment, she was not confident in the abilities of her leading man, James Davis in his first major screen role. She disagreed with changes made to the script because of censorship restrictions and found that many of the aspects of the role that had initially appealed to her had been cut. The film was later described by Bosley Crowther as "interminable", and he noted that "of all the miserable dilemmas in which Miss Davis has been involved ... this one is probably the worst". It failed at the box office and the studio lost nearly $1 million.[70]

text: While making June Bride (1948), Davis clashed with co-star Robert Montgomery, later describing him as "a male Miriam Hopkins... an excellent actor, but addicted to scene-stealing."[71] The film marked her first comedy in several years and earned her some positive reviews, but it was not particularly popular with audiences and returned only a small profit.

text: Despite the lackluster box office receipts from her more recent films, in 1949 she negotiated a four-film contract with Warner Bros. that paid $10,285 per week and made her the highest-paid woman in the United States.[72] However, Jack Warner had refused to allow her script approval and cast her in Beyond the Forest (1949). Davis reportedly loathed the script and begged Warner to recast the role but he refused. After the film was completed, her request to be released from her contract was honored.

text: The reviews of the film were scathing. Dorothy Manners, writing for the Los Angeles Examiner, described the film as "an unfortunate finale to her brilliant career." [73] Hedda Hopper wrote, "If Bette had deliberately set out to wreck her career, she could not have picked a more appropriate vehicle."[74] The film contained the line, "What a dump!," which became closely associated with Davis after it was referenced in Edward Albee's Who's Afraid of Virginia Woolf?, and impersonators began to use it in their acts.

text: Starting a freelance career (1949–1960)[edit]

text: Davis filmed The Story of a Divorce (released by RKO Radio Pictures in 1951 as Payment on Demand). Shortly before filming was completed, producer Darryl F. Zanuck offered her the role of the aging theatrical actress Margo Channing in All About Eve (1950). Davis read the script, described it as the best she had ever read, and accepted the role. Within days, she joined the cast in San Francisco to begin filming. During production, she established what would become a lifelong friendship with her co-star, Anne Baxter, and a romantic relationship with her leading man, Gary Merrill, which led to marriage. The film's director, Joseph L. Mankiewicz, later remarked, "Bette was letter perfect. She was syllable-perfect. The director's dream: the prepared actress."[75]

text: Critics responded positively to Davis' performance, and several of her lines became well-known, particularly "Fasten your seatbelts, it's going to be a bumpy night." She was again nominated for an Academy Award and critics such as Gene Ringgold described her Margo as her "all-time best performance."[76] Pauline Kael wrote that much of Mankiewicz' vision of "the theater" was "nonsense" but commended Davis, writing "[the film is] saved by one performance that is the real thing: Bette Davis is at her most instinctive and assured. Her actress—vain, scared, a woman who goes too far in her reactions and emotions—makes the whole thing come alive."[77]

text: Davis won a Best Actress award from the Cannes Film Festival, and the New York Film Critics Circle Award. She also received the San Francisco Film Critics Circle Award as "Best Actress", having been named by them as the "Worst Actress" of 1949 for Beyond the Forest. During this time, she was invited to leave her handprints in the forecourt of Grauman's Chinese Theatre.[citation needed]

text: On July 3, 1950, Davis' divorce from William Sherry was finalized, and on July 28, she married Gary Merrill. With Sherry's consent, Merrill adopted B. D., Davis' daughter with Sherry. In January 1951, Davis and Merrill adopted a 5-day-old baby girl they named Margot Mosher Merrill (born January 6, 1951),[78][79] after the character Margo Channing. Davis and Merrill lived with their three children on an estate on the coast of Cape Elizabeth, Maine. Davis, after semi-retirement in the mid-1950s, again starred in several movies during her time in Maine, including 1955's The Virgin Queen, in which she played Queen Elizabeth I.[80]

text: The family traveled to England, where Davis and Merrill starred in a murder-mystery film, Another Man's Poison (1951). When it received lukewarm reviews and failed at the box office, Hollywood columnists wrote that Davis' comeback had petered out, and an Academy Award nomination for The Star (1952) did not halt her decline.[citation needed]

text: Davis and Merrill adopted a baby boy, Michael (born January 5, 1952),[81] in 1952, and Davis appeared in a Broadway revue, Two's Company directed by Jules Dassin. She was uncomfortable working outside of her area of expertise; she had never been a musical performer and her limited theater experience had been more than 20 years earlier. She was also severely ill and was operated on for osteomyelitis of the jaw.[citation needed] Margot was diagnosed as severely brain-damaged due to an injury sustained during or shortly after her birth, and was placed in an institution around the age of 3. Davis and Merrill began arguing frequently, with B.D. later recalling episodes of alcohol abuse and domestic violence.[82]

text: Few of Davis' films of the 1950s were successful, and many of her performances were condemned by critics. The Hollywood Reporter wrote of mannerisms "that you'd expect to find in a nightclub impersonation of [Davis]," while the London critic, Richard Winninger, wrote,

text: Miss Davis, with more say than most stars as to what films she makes, seems to have lapsed into egoism. The criterion for her choice of film would appear to be that nothing must compete with the full display of each facet of the Davis art. Only bad films are good enough for her.[83]

text: Her films of this period included The Virgin Queen (1955), Storm Center (1956), and The Catered Affair (1956). As her career declined, her marriage continued to deteriorate until she filed for divorce in 1960. The following year, her mother died. During the same time, she tried television, appearing in three episodes of the popular NBC Western Wagon Train as three different characters in 1959 and 1961; her first appearance on TV had been February 25, 1956, on General Electric Theatre.[84]

text: In 1960 Davis, a registered Democrat, appeared at the 1960 Democratic National Convention in Los Angeles, where she met future President John F. Kennedy, whom she greatly admired.[85] Outside of acting and politics, Davis was an active and practicing Episcopalian.[86]

text: Renewed success (1961–1970)[edit]

text: In 1961, Davis opened in the Broadway production The Night of the Iguana to mostly mediocre reviews, and left the production after four months due to "chronic illness". She then joined Glenn Ford and Ann-Margret for the Frank Capra film A Pocketful of Miracles (1961) (a remake of Capra's 1933 film, Lady for a Day), based on a story by Damon Runyon.

text: She accepted her next role, in the Grand Guignol horror film What Ever Happened to Baby Jane? (1962) after reading the script and believing it could appeal to the same audience that had recently made Alfred Hitchcock's Psycho (1960) a success. She negotiated a deal that would pay her 10% of the worldwide gross profits, in addition to her salary. The film became one of the year's biggest successes.[87]

text: Davis and Joan Crawford played two aging sisters, former actresses forced by circumstance to share a decaying Hollywood mansion. The director, Robert Aldrich, explained that Davis and Crawford were each aware of how important the film was to their respective careers and commented, "It's proper to say that they really detested each other, but they behaved absolutely perfectly."[88]

text: After filming was completed, their public comments against each other allowed the tension to develop into a lifelong feud. When Davis was nominated for an Academy Award, Crawford contacted the other Best Actress nominees (who were unable to attend the ceremonies) and offered to accept the award on their behalf should they win, which was exactly what happened when Anne Bancroft was announced as winner. Crawford accepted the award on Bancroft's behalf.

text: Davis also received her only BAFTA Award nomination for this performance. Daughter Barbara (credited as B. D. Merrill) played a small role in the film and when Davis and she visited the Cannes Film Festival to promote it, she met Jeremy Hyman, an executive for Seven Arts Productions. After a short courtship, she married Hyman at the age of 16, with Davis' permission.

text: In October 1962, it was announced that four episodes of the CBS-TV series Perry Mason would feature special guest stars who would cover for Raymond Burr during his convalescence from surgery. A Perry Mason fan, Davis was the first of the guest stars. "The Case of Constant Doyle" began filming on December 12, 1962,[89] and aired January 31, 1963.[90]

text: In September 1962, Davis placed an advertisement in Variety under the heading of "Situations wanted—women artists", which read: "Mother of three—10, 11 & 15—divorcee. American. Thirty years experience as an actress in Motion Pictures. Mobile still and more affable than rumor would have it. Wants steady employment in Hollywood. (Has had Broadway.)"[91] Davis said that she intended it as a joke, and she sustained her comeback over the course of several years.

text: Dead Ringer (1964) was a crime drama in which she played twin sisters. The film was based in a plot previously filmed in Mexico by Dolores del Rio.[92] Where Love Has Gone (1964) was a romantic drama based on a Harold Robbins novel. Davis played the mother of Susan Hayward, but filming was hampered by heated arguments between Davis and Hayward.[93]

text: Hush… Hush, Sweet Charlotte (1964) was Robert Aldrich's follow-up to What Ever Happened to Baby Jane?, in which he planned to reunite Davis and Crawford, but when Crawford withdrew, allegedly due to illness, soon after filming began, she was replaced by Olivia de Havilland. The film was a considerable success and brought renewed attention to its veteran cast, which also included Joseph Cotten, Mary Astor, and Agnes Moorehead.

text: The following year, Davis was cast as the lead in an Aaron Spelling sitcom, The Decorator.[94] A pilot episode was filmed, but was not shown, and the project was terminated. By the end of the decade, Davis had appeared in the British films The Nanny (1965), The Anniversary (1968), and Connecting Rooms (1970), but her career again stalled.[citation needed]

text: Later career (1971–1983)[edit]

text: In the early 1970s, Davis was invited to appear in New York City, in a stage presentation, Great Ladies of the American Cinema. Over five successive nights, a different female star discussed her career and answered questions from the audience; Myrna Loy, Rosalind Russell, Lana Turner, Sylvia Sidney, and Joan Crawford were the other participants. Davis was well received and was invited to tour Australia with the similarly themed, Bette Davis in Person and on Film, and its success allowed her to take the production to the United Kingdom.[95]

text: In 1972, Davis played the lead role in two television films that were each intended as pilots for upcoming series for ABC and NBC, Madame Sin with Robert Wagner, and The Judge and Jake Wyler, with Joan Van Ark, but in each case, the network decided against producing a series.

text: She appeared in the stage production, Miss Moffat, a musical adaptation of her film The Corn is Green, but after the show was panned by the Philadelphia critics during its pre-Broadway run, she cited a back injury and abandoned the show, which closed immediately.

text: She played supporting roles in Comencini's Lo Scopone scientifico (1972) with the great Italian actor Alberto Sordi and Joseph Cotten, Burnt Offerings (1976), and The Disappearance of Aimee (1976), but clashed with Karen Black and Faye Dunaway, the stars of the two latter respective productions, because she felt that neither extended her an appropriate degree of respect, and that their behavior on the film sets was unprofessional.[96]

text: In 1977, Davis became the first woman to receive the American Film Institute's Lifetime Achievement Award. The televised event included comments from several of Davis' colleagues, including William Wyler, who joked that given the chance, Davis would still like to refilm a scene from The Letter to which Davis nodded. Jane Fonda, Henry Fonda, Natalie Wood, and Olivia de Havilland were among the performers who paid tribute, with de Havilland commenting that Davis "got the roles I always wanted".[97]

text: Following the telecast, she found herself in demand again, often having to choose between several offers. She accepted roles in the television miniseries The Dark Secret of Harvest Home (1978) and the theatrical film Death on the Nile (1978), an Agatha Christie murder mystery. The bulk of her remaining work was for television. She won an Emmy Award for Strangers: The Story of a Mother and Daughter (1979) with Gena Rowlands, and was nominated for her performances in White Mama (1980) and Little Gloria... Happy at Last (1982). She also played supporting roles in two Disney films, Return from Witch Mountain (1978) and The Watcher in the Woods (1980).[98][citation needed]

text: Davis' name became well-known to a younger audience when Kim Carnes' song "Bette Davis Eyes" (written by Jackie DeShannon) became a worldwide hit and the best-selling record of 1981 in the U.S., where it stayed at number one on the music charts for more than two months. Davis' grandson was impressed that she was the subject of a hit song and Davis considered it a compliment, writing to both Carnes and the songwriters, and accepting the gift of gold and platinum records from Carnes, and hanging them on her wall.[99][100]

text: She continued acting for television, appearing in Family Reunion (1981) opposite her grandson J. Ashley Hyman, A Piano for Mrs. Cimino (1982) and Right of Way (1983) with James Stewart. In 1983, she was awarded the Women in Film Crystal Award.[101]

text: Illness, conflict and death (1983–1989)[edit]

text: In 1983, after filming the pilot episode for the television series Hotel, Davis was diagnosed with breast cancer and underwent a mastectomy. Within two weeks of her surgery, she suffered four strokes which caused paralysis in the left side of her face and in her left arm, and left her with slurred speech. She commenced a lengthy period of physical therapy, and aided by her personal assistant, Kathryn Sermak, gained partial recovery from the paralysis. Even late in life, Davis smoked 100 cigarettes a day.[102]

text: During this time, her relationship with her daughter, B. D. Hyman, deteriorated when Hyman became a born-again Christian and attempted to persuade Davis to follow suit. With her health stable, she traveled to England to film the Agatha Christie mystery Murder with Mirrors (1985). Upon her return, she learned that Hyman had published a memoir, My Mother's Keeper, in which she chronicled a difficult mother-daughter relationship and depicted scenes of Davis' overbearing and drunken behavior.[citation needed]

text: Several of Davis' friends commented that Hyman's depiction of events was not accurate; one said, "so much of the book is out of context." Mike Wallace rebroadcast a 60 Minutes interview he had filmed with Hyman a few years earlier in which she commended Davis on her skills as a mother, and said that she had adopted many of Davis' principles in raising her own children.

text: Critics of Hyman noted that Davis had financially supported the Hyman family for several years and had recently saved them from losing their house. Despite the acrimony of their divorce years earlier, Gary Merrill also defended Davis. Interviewed by CNN, Merrill said that Hyman was motivated by "cruelty and greed." Davis' adopted son, Michael Merrill, ended contact with Hyman and refused to speak to her again, as did Davis, who also disinherited her.[103]

text: In her second memoir, This 'N That (1987), Davis wrote, "I am still recovering from the fact that a child of mine would write about me behind my back, to say nothing about the kind of book it is. I will never recover as completely from B.D.'s book as I have from the stroke. Both were shattering experiences." Her memoir concluded with a letter to her daughter, in which she addressed her several times as "Hyman", and described her actions as "a glaring lack of loyalty and thanks for the very privileged life I feel you have been given". She concluded with a reference to the title of Hyman's book, "If it refers to money, if my memory serves me right, I've been your keeper all these many years. I am continuing to do so, as my name has made your book about me a success."[104]

text: Davis appeared in the television film As Summers Die (1986) and Lindsay Anderson's film The Whales of August (1987), in which she played the blind sister of Lillian Gish. Though in poor health at the time, Davis memorized her own and everyone else's lines as she always had.[105] The film earned good reviews, with one critic writing, "Bette crawls across the screen like a testy old hornet on a windowpane, snarling, staggering, twitching—a symphony of misfired synapses."[106] Davis became an honouree of the Kennedy Center Honors for her contribution to films in 1987.

text: Her last performance was the title role in Larry Cohen's Wicked Stepmother (1989). By this time, her health was failing, and after disagreements with Cohen, she walked off the set. The script was rewritten to place more emphasis on Barbara Carrera's character, and the reworked version was released after Davis' death.[102]

text: After abandoning Wicked Stepmother and with no further film offers (though she was keen to play the centenarian in Craig Calman's The Turn Of The Century and worked with him on adapting the stage play to a feature-length screenplay), Davis appeared on several talk shows and was interviewed by Johnny Carson, Joan Rivers, Larry King, and David Letterman, discussing her career, but refusing to discuss her daughter. Her appearances were popular; Lindsay Anderson observed that the public enjoyed seeing her behaving "so bitchy": "I always disliked that because she was encouraged to behave badly. And I'd always hear her described by that awful word, feisty."[107]

text: During 1988 and 1989, Davis was honored for her career achievements, receiving the Kennedy Center Honor, the Legion of Honor from France, the Campione d'Italia from Italy and the Film Society of Lincoln Center Lifetime Achievement Award. She appeared on British television in a special broadcast from the South Bank Centre, discussing film and her career, the other guest being the renowned Russian director, Andrei Tarkovsky.

text: She collapsed during the American Cinema Awards in 1989 and later discovered that her cancer had returned. She recovered sufficiently to travel to Spain, where she was honored at the Donostia-San Sebastián International Film Festival, but during her visit, her health rapidly deteriorated. Too weak to make the long journey back to the U.S., she traveled to France, where she died on October 6, 1989, at 11:20 pm, at the American Hospital in Neuilly-sur-Seine. Davis was 81 years old.

text: She was interred in Forest Lawn—Hollywood Hills Cemetery in Los Angeles, alongside her mother, Ruthie, and sister, Bobby, with her name in larger type size. On her tombstone is written: "She did it the hard way," an epitaph that she mentioned in her memoir Mother Goddam as having been suggested to her by Joseph L. Mankiewicz shortly after they had filmed All About Eve.[108]

text: Reception and legacy[edit]

text: As early as 1936, Graham Greene summed Davis up:

text: Even the most inconsiderable film ... seemed temporarily better than they were because of that precise, nervy voice, the pale ash-blond hair, the popping, neurotic eyes, a kind of corrupt and phosphorescent prettiness .... I would rather watch Miss Davis than any number of competent pictures.[109]

text: In 1964, Jack Warner spoke of the "magic quality that transformed this sometimes bland and not beautiful little girl into a great artist",[108] and in a 1988 interview, Davis remarked that, unlike many of her contemporaries, she had forged a career without the benefit of beauty.[110] She admitted she was terrified during the making of her earliest films and that she became tough by necessity. "Until you're known in my profession as a monster, you are not a star," she said, "[but] I've never fought for anything in a treacherous way. I've never fought for anything but the good of the film."[111] During the making of All About Eve (1950), Joseph L. Mankiewicz told her of the perception in Hollywood that she was difficult, and she explained that when the audience saw her on screen, they did not consider that her appearance was the result of numerous people working behind the scenes. If she was presented as "a horse's ass ... forty feet wide, and thirty feet high", that is all the audience "would see or care about".[112]

text: While lauded for her achievements, Davis and her films were sometimes derided; Pauline Kael described Now, Voyager (1942) as a "shlock classic",[113] and by the mid-1940s her sometimes mannered and histrionic performances had become the subject of caricature. Edwin Schallert for the Los Angeles Times praised Davis' performance in Mr. Skeffington (1944), while observing, "the mimics will have more fun than a box of monkeys imitating Miss Davis", and Dorothy Manners at the Los Angeles Examiner said of her performance in the poorly received Beyond the Forest (1949), "no night club caricaturist has ever turned in such a cruel imitation of the Davis mannerisms as Bette turns on herself in this one." Time magazine noted that Davis was compulsively watchable even while criticizing her acting technique, summarizing her performance in Dead Ringer (1964) with the observation, "her acting, as always, isn't really acting: it's shameless showing off. But just try to look away!"[114]

text: Davis attracted a following in the gay subculture[115] and was frequently imitated by female impersonators such as Tracey Lee and Charles Pierce.[116] Attempting to explain her popularity with gay audiences, the journalist Jim Emerson wrote, "Was she just a camp figurehead because her brittle, melodramatic style of acting hadn't aged well? Or was it that she was 'Larger Than Life,' a tough broad who had survived? Probably some of both."[110]

text: Her film choices were often unconventional: Davis sought roles as manipulators and killers in an era when actresses usually preferred to play sympathetic characters, and she excelled in them. She favored authenticity over glamour and was willing to change her own appearance if it suited the character.[111]

text: As she entered old age, Davis was acknowledged for her achievements. John Springer, who had arranged her speaking tours of the early 1970s, wrote that despite the accomplishments of many of her contemporaries, Davis was "the star of the thirties and into the forties", achieving notability for the variety of her characterizations and her ability to assert herself, even when her material was mediocre.[117] Individual performances continued to receive praise; in 1987, Bill Collins analyzed The Letter (1940), and described her performance as "a brilliant, subtle achievement", and wrote, "Bette Davis makes Leslie Crosbie one of the most extraordinary females in movies."[118] In a 2000 review for All About Eve (1950), Roger Ebert noted, "Davis was a character, an icon with a grand style, so even her excesses are realistic."[119] In 2006, Premiere magazine ranked her portrayal of Margo Channing in the film as fifth on their list of "100 Greatest Performances of All Time", commenting, "There is something deliciously audacious about her gleeful willingness to play such unattractive emotions as jealousy, bitterness, and neediness."[120] While reviewing What Ever Happened to Baby Jane? (1962) in 2008, Ebert asserted that "no one who has seen the film will ever forget her."[121]

text: A few months before her death in 1989, Davis was one of several actors featured on the cover of Life magazine. In a film retrospective that celebrated the films and stars of 1939, Life concluded that Davis was the most significant actress of her era, and highlighted Dark Victory (1939) as one of the most important films of the year.[122] Her death made front-page news throughout the world as the "close of yet another chapter of the Golden Age of Hollywood." Angela Lansbury summed up the feeling of those of the Hollywood community who attended her memorial service, commenting after a sample from Davis' films was screened, that they had witnessed "an extraordinary legacy of acting in the twentieth century by a real master of the craft" that should provide "encouragement and illustration to future generations of aspiring actors."[123]

text: In 1977, Davis became the first woman to be honored with the AFI Life Achievement Award.[124] In 1999, the American Film Institute published its list of the "AFI's 100 Years...100 Stars," which was the result of a film-industry poll to determine the "50 Greatest American Screen Legends" in order to raise public awareness and appreciation of classic film. Of the 25 actresses listed, Davis was ranked at number two, behind Katharine Hepburn.[125]

text: The United States Postal Service honored Davis with a commemorative postage stamp in 2008, marking the 100th anniversary of her birth.[126] The stamp features an image of her in the role of Margo Channing in All About Eve. The First Day of Issue celebration took place September 18, 2008, at Boston University, which houses an extensive Davis archive. Featured speakers included her son Michael Merrill and Lauren Bacall. In 1997 the executors of her estate, Merrill and Kathryn Sermak, her former assistant, established "The Bette Davis Foundation" which awards college scholarships to promising actors and actresses.[51]

text: Academy Awards milestones[edit]

text: In 1962, Bette Davis became the first person to secure 10 Academy Award nominations for acting. Since then only three people have surpassed this figure, Meryl Streep (with 21 nominations and three wins), Katharine Hepburn (12 nominations and four wins), and Jack Nicholson (12 nominations and three wins).[127]

text: Steven Spielberg purchased Davis' Oscars for Dangerous (1935) and Jezebel (1938), when they were offered for auction for $207,500 and $578,000, respectively, and returned them to the Academy of Motion Picture Arts and Sciences.[128][129]

text: 1934: Davis' performance in Of Human Bondage (1934) was widely acclaimed and when she was not nominated for an Academy Award, several influential people mounted a campaign to have her name included. The Academy relaxed its rules for that year (and the following year also) to allow for the consideration of any performer nominated in a write-in vote; therefore, any performance of the year was technically eligible for consideration. For a period of time in the 1930s, the Academy revealed the second- and third-place vote getters in each category, Davis placed third for best actress above the officially nominated Grace Moore. The academy's nomination and winner database notes this under the 1934 best actress category and under the Bette Davis search.

text:
Year
Category
Film
Result

1935
Best Actress
Dangerous
Won

1938
Jezebel

1939
Dark Victory
Nominated

1940
The Letter

1941
The Little Foxes

1942
Now, Voyager

1944
Mr. Skeffington

1950
All About Eve

1952
The Star

1962
What Ever Happened to Baby Jane?

text: In popular culture[edit]

text: Music[edit]

text: Reference is made to Bette Davis in Bob Dylan's "Desolation Row", and in the song "Celluloid Heroes" by the Kinks. Kim Carnes' "Bette Davis Eyes" was the number-one single of 1981.[130] Davis is mentioned in the 1990 Madonna song "Vogue". She and Cary Grant, another famous actor of the silver-screen era, are mentioned in the song “Silver Screen Romance”, by American rock band Good Charlotte. She, along with Clark Gable and James Dean, are mentioned in the 1999 song Girl on TV by the boy band LFO.[131] Industrial Disease (1982) by Dire Straits refers to "Bette Davis knees".

text: Books[edit]

text: The feud between Davis and Joan Crawford is depicted in Shaun Considine's 1989 book Bette and Joan: The Divine Feud. It was fueled by competition over film roles, Academy Awards, and Franchot Tone, Davis' co-star in 1935's Dangerous.[132] A book by her former assistant Kathryn Sermak, Miss D. and me : Live with the Invincible Bette Davis, was released in 2017. The book is about the period that Sermak worked for Davis as her personal assistant between the years 1979 till 1989.

text: Films and television[edit]

text: Susan Sarandon played Davis in the 2017 first season of the FX anthology television series Feud, subtitled Bette and Joan, which focused on the Davis–Crawford rivalry.[133][134]

text: Selected filmography[edit]

text:
Of Human Bondage (1934)
Dangerous (1935)
The Petrified Forest (1936)
Marked Woman (1937)
Jezebel (1938)
Dark Victory (1939)
The Old Maid (1939)
The Private Lives of Elizabeth and Essex (1939)
Juarez (1939)
All This, and Heaven Too (1940)
The Letter (1940)
The Little Foxes (1941)
The Great Lie (1941)
The Man Who Came to Dinner (1942)
In This Our Life (1942)
Now, Voyager (1942)
Watch on the Rhine (1943)
Old Acquaintance (1943)
Mr. Skeffington (1944)
A Stolen Life (1946)
Deception (1946)
Winter Meeting (1948)
Beyond the Forest (1949)
All About Eve (1950)
The Star (1952)
The Virgin Queen (1955)
The Catered Affair (1956)
Pocketful of Miracles (1961)
What Ever Happened to Baby Jane? (1962)
Hush… Hush, Sweet Charlotte (1964)
Dead Ringer (1964)
The Nanny (1965)
Madame Sin (1972)
Burnt Offerings (1976)
Death on the Nile (1978)
Strangers: The Story of a Mother and Daughter (1979)
The Watcher In The Woods (1980)
The Whales of August (1987)
Wicked Stepmother (1989)


document_title: Indian Cricket League

question_text: who conducted the first bcci recognise international 20 20 cricket tournament in india

root

text: Indian Cricket League

text: History[edit]

text: The second season, which added Ahmedabad as a venue, commenced in the last quarter of 2008, with the Lahore Badshahs from Pakistan winning. Many international cricketers played in it like Imran Nazir, Abdur Razzaq, Shane Bond, Inzamam ul haq and Moin Khan was coach of Lahore Badshahs.

tag: p

text: League structure[edit]

text: Each team was coached by a former international cricketer and comprised four international, two Indian and eight budding domestic players. Essel Group also planned to set up cricket academies all over the country. The Board of Control for Cricket in India (BCCI) was assured that it was free to draw from ICL's talent pool. The league became active in November 2007 with matches in the Twenty20 format.

text: Former international cricketers including Anjingsora Risora, Tony Greig, Dean Jones and Kiran More were hired as board members of the Indian Cricket League.[1] The board positions will be paid positions.[2]

text:
Nine teams of private clubs :

Mumbai Champs
Chennai Superstars
Chandigarh Lions
Hyderabad Heroes
Royal Bengal Tigers (Kolkata)
Delhi Giants
Ahmedabad Rockets
Lahore Badshahs
Dhaka Warriors

Each team had a paid mentor, media manager, psychologist and physiotherapist
There was a US$1 million prize for the winning club team
An Ombudsman is available to look into grievances of players

tag: ul

text: ICL World Teams[edit]

text: World XI

text:
John Emburey – Coach,
Chris Cairns – Captain
Ian Harvey,
Jimmy Maher,
Johan van der Wath,
Lou Vincent (Wicketkeeper),
Marvan Atapattu,
Matthew Elliot,
Michael Kasprowicz,
Russel Arnold

text: India

text:
Steve Rixon – Coach
Rajagopal Satish – Captain
Abbas Ali,
Abhishek Jhunjhunwala,
Abu Nacheem,
Ali Murtaza,
Ambati Rayudu,
Ganapathi Vignesh,
Ibrahim Khaleel (Wicketkeeper),
Love Ablish,
Ravi Raj Patil,
Rohan Gavaskar,
Stuart Binny,
Syed Mohammed,
Thiru Kumaran,
TP Sudhindra,
Sarbjit Singh,
Sumit Kumar(Wicketkeeper),
Tejinder Pal Singh,
V. Sarvanan
A.Ansuman

text: Pakistan

text:
Moin Khan – Coach
Inzamam-ul-Haq – Captain
Azhar Mahmood
Taufeeq Umar
Imran Farhat
Rana Naved-ul-Hasan
Abdul Razzaq
Naved Latif
Humayun Farhat
Shahid Nazir
Hasan Raza
Mohammad Sami
Imran Nazir
Riaz Afridi
Shabbir Ahmed

text: Bangladesh

text:
Balwinder Sandhu – Coach
Habibul Bashar – Captain
Aftab Ahmed
Alok Kapali
Dhiman Ghosh
Farhad Reza
Manjural Islam
Golam Mabud
Mahbubul Karim
Mohammad Rafique
Mohammad Sharif
Mosharraf Hossain
Shahriar Nafees
Tapash Baisya

text: ICL Domestic Teams[edit]

text: Tournaments[edit]

text: First season[edit]

text: Second season[edit]

text: Reasons for creation[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2008) (Learn how and when to remove this template message)

tag: table

text: Several factors have played a role in formulation of a cricket league and which may run in parallel to the current official Indian cricket control body, BCCI.

text: The "Inverted Pyramid" cricket structure[edit]

text: There is wide disparity between the facilities enjoyed by the national team and the regional ones. This makes the regional players far from finished products when they are called to represent their country, preventing a huge country like India from having adequate reserve strength in the national squad when key players are injured or retire. Also, the regional cricket boards depend on the BCCI for hand-outs of funds for infrastructure and grassroots development. The players who are entrenched at the top have strong backing from sports management firms and also can afford the best in personal trainers, physiotherapists and technical consultants, which are well beyond the scope of the average player.

text: Zee Telefilms desire to create sports content[edit]

text: The Essel group has expressed a keen desire to help India develop cricketing talent, as well as provide lucrative sports programming for Zee Telefilms, which lost out on the rights to broadcast all BCCI-sanctioned cricket matches in India until 2011.

text: Essel Group had originally launched Zee Sports earlier with the anticipation of securing at least some of the BCCI telecast rights in 2006. This was followed by Zee acquiring 50 percent in TEN Sports in November 2006 for Rs. 2.57 billion. This gave the company a few international cricket rights – West Indies, Sri Lanka and Pakistan.

text: Cricket played in India generates Rs. 10 billion in advertising and subscription revenue and Subhash Chandra has been acutely aware of his company missing out on this lucrative cricket pie.

text: During his battle with BCCI and ESPN Star Sports for the five-year telecast rights in August–September 2004 in the Bombay High Court, Chandra was present every day for the hearings. Despite Zee bidding the highest at $307 million, BCCI and its then president Jagmohan Dalmiya denied him the rights.

text: The pain of denial has been with Chandra since 2000 when the ICC World Cup rights were sold to NewsCorp's Global Cricket Corporation (GCC) for $550 million despite Zee bidding the highest at $650 million citing Zee's insufficient sports marketing experience.

text: In August 2005, Zee again emerged as a forerunner with a pitch of over $340 million while ESPN Star Sports, the other principal contender, is believed to have offered around $325 million. BCCI took the stance that Zee was not qualified as a specialist broadcaster and refused to consider Zee's proposal. The matter expectedly went to court and Doordarshan emerged the beneficiary.

text: Chandra then tried the political route too and supported Sharad Pawar's candidature as BCCI president against Dalmiya. Pawar emerged victorious but not Chandra. In the last round of bidding in February, last year, it was Nimbus who bagged BCCI's telecast rights till 2011 for $613 million with Zee trailing at $513 million.

text: Since there was a Zee-Nimbus alliance before the bidding, media pundits thought Nimbus' bid was a Zee front. But Nimbus chose to go its own way and launched its own sports network – NEO Sports. In 2012, Star Sports bought broadcasting rights for international and domestic matches in India for more than $550 million.

text: Support for the league[edit]

text: The ICL received some support from unexpected quarters. There was a fear that lack of access to infrastructure, like the premier cricket stadiums, would limit the success of the operation of the league, but support from various government bodies boosted the league. Camps were held at Mayajaal in Chennai, a private resort with adequate cricket facilities.[3] The then head of Indian Railways Lalu Prasad Yadav showed his backing by opening all the cricket stadiums controlled by the Indian Railways to the league. Describing the ICL as a "good initiative", Prasad issued a statement saying that the BCCI and ICL should each come up with a cricket team and play against each other to show who's the best.[4] The state government of West Bengal also agreed to rent its cricket grounds, notably Eden Gardens, to the league.[5] In Ahmedabad, Ahmedabad Municipal Corporation provided its Sardar Vallabhbhai Patel Stadium for matches.

text: Controversy[edit]

text: BCCI Response[edit]

text: The BCCI refused to recognise the ICL as a cricket league, and criticised Kiran More and Kapil Dev for joining the ICL.[6] Kapil Dev's association with ICL was seen by the establishment as a conflict of interest as he was also the chairman of National Cricket Academy, a BCCI owned cricket facility.[7] On 21 August 2007 Kapil Dev was sacked from his NCA post.[8] Subhash Chandra had earlier stated that the ICL will go ahead regardless of the BCCI's stance. The International Cricket Council gave a statement through its chief executive, Malcolm Speed, that the ICC would not recognize the ICL unless the BCCI chooses to recognise it. The ICC looks at the ICL as an issue to be sorted out by the BCCI. On 25 July 2012 Kapil Dev informed BCCI that he had resigned from the ICL.[9]

text: Faced with the threat of young players joining the ICL, the BCCI jacked up prize money for winners, runners-up and losing semi-finalists across all tournaments. An average domestic cricketer can hope to make around Rs 35,000 per match day from the season of 2007–08: more than double the Rs 16,000 they got in 2005–06. The BCCI has also planned to do away with honorary selectors, who will be paid professionals from September 2008 onwards.[10]

text: The BCCI started its own international Twenty20 league. The official league, which launched in April 2008, is called the Indian Premier League Twenty20 cricket. The league model is based on the franchise model of the National Football League and Major League Baseball in the US.[11]

text: ICL takes BCCI to court[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010) (Learn how and when to remove this template message)

text: In August 2007, the ICL filed a petition against the BCCI in the Delhi High Court accusing the BCCI of threatening and intimidating them and other state organisations, and asked the court to stop BCCI from interfering with its attempts to sign up players for its tournaments. It also petitioned that the BCCI stop trying to "out-hire" cricket stadiums in India that are owned by the state governments, in anti-competitive attempts to stop the ICL from using them to play matches.

text: On 27 August 2007, the Delhi High Court ruled in favour of the ICL. In its ruling, the Delhi High Court said that players should not suffer in the battle between corporate giants. The court has issued notices to all corporate sponsors, the state cricket associations & the BCCI against terminating valid contracts of players joining the ICL.[12]

text: The Monopolies and Restrictive Trade Practices Commission (MRTPC) of India had asked its Director-General of Investigation to do an initial investigation into the BCCI's action against players who had joined the ICL. The investigation was based on media reports of the BCCI giving an open statement that it will ban players who join ICL. It was also reported in the media that all state associations, under direction from the BCCI, have cancelled contracts with players.[13]

text: Pressure on Players from Other National Organisations[edit]

text: In considering rejoining the ICL former England wicketkeeper Paul Nixon was said to have put his career in jeopardy because any player that signs up with the ICL, which does not have official status from the International Cricket Council, risks losing their registration.[14]

text: The addition of a new team from Dhaka in Bangladesh, consisting largely of Bangladesh internationals caused more controversy as the cricket board of that country banned the players for 10 years for joining the 'rebel' ICL.[15] Faced with the departure of so many players the board appealed to other Bangladeshi players to reject the new ICL team, stay loyal to the board and embrace the opportunity to play for their country.[16]

text: The Downfall of the ICL[edit]

text: The future of ICL became uncertain when BCCI banned ICL players from playing international matches. Since then many ICL players have returned to their national team including famous players like Shane Bond (now retired) and Abdul Razzaq.

text: BCCI after seeing the success of ICL wanted to start their own league called "IPL". So, BCCI didn't miss any chance to stop the league by banning players and stadium associated with ICL.

text: Shortly before the conclusion of the inaugural tournament, the ICL announced its plans for expansion, which include a fifty over tournament in February 2008, and the expansion of the ICL Indian Championship to eight teams for the second tournament, due to be held in September and October 2008.[17]

text: A similar initiative has been launched in United States by the PayAutoMata group but details have yet to emerge.[18]

text: In October 2008, the promoters of the ICL, Zee and its parent company Essel Sports Pvt. Ltd, had applied for trademark registration of T20 under Class 28 of the Trade Mark Rules, 2002.[19] [20]

text: Transparency Issues[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010) (Learn how and when to remove this template message)

text: Independent analysts have had difficulty gauging the financial viability of the ICL due to the lack of transparency of the league's operations. Terms of contracts are hidden and advertising revenue from match telecasts – considered to be a major contributor to revenues – have never been disclosed. Because they are unsanctioned by the ICC, the teams do not have access to the best facilities across the whole country or access to the best players, limiting their ability to generate high gate revenues. This lack of transparency leads to questions regarding the overall viability of the ICL's business model.[citation needed]

text: The end of ICL[edit]

text: The ICL has now come to an end after all its players dropped out. This was because of the offer of amnesty given by BCCI to players choosing to leave the ICL.

text: Broadcasting of ICL[edit]

text: Since the ICL was conducted by Zee Telefilms, the ICL was broadcast in most domains on the Zee network.[21]

text:
Broadcaster
Regional Broadcast Rights

Zee Sports
Global Rights, India—Hindi, Bangladesh & US

Ten Sports
India—English, Bangladesh, Pakistan & Middle East

BTV
Bangladesh

ATN Bangla
Bangladesh

Gateway
North Africa

Telkom-Malaysia
Malaysia

Astro TVIQ
Malaysia

Fox Sports
Australia

Zee Music
UK

Zee Smile
Asia[citation needed]

Zee TV
Africa

Caribbean Media Corporation
Caribbean

text: Broadcasting Ban[edit]

text: In November 2008, the Bangladeshi government set a ban on the broadcasting of live matches of the ICL on the private held Diganta TV channel in the country. This would extend to the ICL World Series featuring the country's national team.[22]


document_title: The man on the Clapham omnibus

question_text: who said the man on the clapham omnibus

question_tokens: who said the man on the clapham omnibus

text: The man on the Clapham omnibus

text: History[edit]

text: The phrase was first put to legal use in a reported judgment by Sir Richard Henn Collins MR in the 1903 English Court of Appeal libel case, McQuire v. Western Morning News.[4] He attributed it to Lord Bowen, said to have coined it as junior counsel defending the Tichborne Claimant case in 1871. Brewer's also lists this as a possible first use.[5]

text: It may be derived from the phrase "Public opinion ... is the opinion of the bald-headed man at the back of the omnibus",[6] a description by the 19th-century journalist Walter Bagehot of a normal London man. Clapham, in South London, was at the time a nondescript commuter suburb seen to represent "ordinary" London. Omnibus is now a rather archaic term for a public bus, but was in common use by the judiciary at the beginning of the 20th century.

text: The concept was used by Lord Justice Greer, in the case of Hall v. Brooklands Auto-Racing Club,[7] to define the standard of care a defendant must live up to in order to avoid being found negligent.

text: The use of the phrase was reviewed by the UK Supreme Court in Healthcare at Home Limited v. The Common Services Agency,[8] where Lord Reed said:

text: 1. The Clapham omnibus has many passengers. The most venerable is the reasonable man, who was born during the reign of Victoria but remains in vigorous health. Amongst the other passengers are the right-thinking member of society, familiar from the law of defamation, the officious bystander, the reasonable parent, the reasonable landlord, and the fair-minded and informed observer, all of whom have had season tickets for many years.

text: 2. The horse-drawn bus between Knightsbridge and Clapham, which Lord Bowen is thought to have had in mind, was real enough. But its most famous passenger, and the others I have mentioned, are legal fictions. They belong to an intellectual tradition of defining a legal standard by reference to a hypothetical person, which stretches back to the creation by Roman jurists of the figure of the bonus paterfamilias...

text: 3. It follows from the nature of the reasonable man, as a means of describing a standard applied by the court, that it would be misconceived for a party to seek to lead evidence from actual passengers on the Clapham omnibus as to how they would have acted in a given situation or what they would have foreseen, in order to establish how the reasonable man would have acted or what he would have foreseen. Even if the party offered to prove that his witnesses were reasonable men, the evidence would be beside the point. The behaviour of the reasonable man is not established by the evidence of witnesses, but by the application of a legal standard by the court. The court may require to be informed by evidence of circumstances which bear on its application of the standard of the reasonable man in any particular case; but it is then for the court to determine the outcome, in those circumstances, of applying that impersonal standard.

text: 4. In recent times, some additional passengers from the European Union have boarded the Clapham omnibus. This appeal is concerned with one of them: the reasonably well-informed and normally diligent tenderer.

text: Other related common law jurisdictions[edit]

text: The expression has also been incorporated in Canadian patent jurisprudence, notably Beloit v. Valmet Oy[9] in its discussion of the test for obviousness.[10]

text: In Australia, the "Clapham omnibus" expression has inspired the New South Wales and Victorian equivalents, "the man on the Bondi tram" (a now disused tram route in Sydney, New South Wales),[11] and "the man on the Bourke Street tram" (Melbourne, Victoria).[12] In Western Australia, the equivalent is "the man on the Prospector to Kalgoorlie".[citation needed]

text: In Hong Kong, the equivalent expression is "the man on the Shaukiwan Tram".[13]


document_title: Bob's your uncle

question_text: where does bob is your uncle come from

question_tokens: where does bob is your uncle come from

text: Bob's your uncle

text: ...And Bob's your uncle is an expression of unknown origin, that means "and there it is" or "and there you have it." It is commonly used in Great Britain and Commonwealth countries. Typically, someone says it to conclude a set of simple instructions or when a result is reached. The meaning is similar to that of the French expression "et voilà!"

text: "Bob's your uncle" is an exclamation that is used when "everything is all right" and the simple means of obtaining the successful result is explained. For example: "left over right; right over left, and Bob's your uncle – a reef knot." Sometimes the phrase is followed with "and Nellie's your aunt" or "and Fanny's your aunt." It is sometimes elaborately phrased Robert is your mother's brother or similar for comic effect.

text: Origin[edit]

text: A. J. Langguth and others have suggested that the expression arose after Conservative Prime Minister Robert "Bob" Cecil appointed his nephew Arthur Balfour as Chief Secretary for Ireland in 1887, an act which was apparently both surprising and unpopular. Whatever other qualifications Balfour might have had, "Bob's your uncle" was seen as the conclusive one.[1] Regardless of the origin, the meaning has become acknowledging, announcing, or explaining a result or outcome that is achieved more easily than might be imagined.[2][3]

text: It is suggested in Shantaram by Gregory David Roberts that Frederick Roberts, 1st Earl Roberts was known as Uncle Bobs and that the phrase referred to him. [4]


document_title: List of Indian Premier League records and statistics

question_text: who has hit most sixes in all the ipl tournaments till now

text: Team records

text: Results summary

text:
Team
Span
Mat
Won
Lost
Tie+W
Tie+L
NR
Win %
Titles

Mumbai Indians
2008–2018
171
97
73
1
0
0
57.01
3

Royal Challengers Bangalore
2008–2018
167
78
84
1
1
3
48.17
0

Kolkata Knight Riders
2008–2018
162
85
75
0
2
0
53.08
2

Kings XI Punjab
2008–2018
162
74
86
2
0
0
46.29
0

Delhi Daredevils
2008–2018
161
67
91
0
1
2
42.45
0

Chennai Super Kings
2008–2018
148
90
56
0
1
1
61.56
3

Rajasthan Royals
2008–2018
132
68
60
2
1
1
53.05
1

Sunrisers Hyderabad
2013–2018
93
51
41
1
0
0
55.37
1

Deccan Chargers
2008–2012
75
29
46
0
0
0
38.66
1

Pune Warriors India
2011–2013
46
12
33
0
0
1
26.66
0

Rising Pune Supergiants
2016–2017
30
15
15
0
0
0
50.00
0

Gujarat Lions
2016–2017
30
13
16
0
1
0
45.00
0

Kochi Tuskers Kerala
2011–2011
14
6
8
0
0
0
42.85
0

text: Note:

text:
Defunct Teams
Tie+W and Tie+L indicates matches tied and then won or lost by "Super Over"
The result percentage excludes no results and counts ties (irrespective of a tiebreaker) as half a win
The total matches does not include matches played for Champions League T20

text: Last updated: 28 May 2018

text: Highest totals

text:
Score
Team
Opponent
Season

7002264166666666669♠263/5 [a]
Royal Challengers Bangalore
Pune Warriors India
2013

248/3
Royal Challengers Bangalore
Gujarat Lions
2016

7002247166666666670♠246/5
Chennai Super Kings
Rajasthan Royals
2010

7002245166666666670♠245/6
Kolkata Knight Riders
Kings XI Punjab
2018

7002241166666666670♠240/5
Chennai Super Kings
Kings XI Punjab
2008

7002235166666666670♠235/1
Royal Challengers Bangalore
Mumbai Indians
2015

text: Last updated: 12 May 2018

text: Lowest totals

text:
Score
Team
Opponent
Season

7001680909090909090♠49
Royal Challengers Bangalore
Kolkata Knight Riders
2017

7001680909090909090♠58
Rajasthan Royals
Royal Challengers Bangalore
2009

7001680909090909090♠66
Delhi Daredevils
Mumbai Indians
2017

7001680909090909090♠67
Delhi Daredevils
Kings XI Punjab
2017

7001680909090909090♠67
Kolkata Knight Riders
Mumbai Indians
2008

text: Last updated: 21 May 2017

text: Highest successful run chases

text:
Score
Team
Opponent
Season

217/7
Rajasthan Royals
Deccan Chargers
2008

214/3
Delhi Daredevils
Gujarat Lions
2017

211/4
Kings XI Punjab
Sunrisers Hyderabad
2014

208/5
Chennai Super Kings
Royal Challengers Bangalore
2012

207/5
Chennai Super Kings
Royal Challengers Bangalore
2018

text: Last updated: 21 May 2018

text: Lowest scores defended

text:
Score
Team
Opponent
Opponent score
Season

116/9
Chennai Super Kings
Kings XI Punjab
92/8
2009

118
Sunrisers Hyderabad
Mumbai Indians
87
2018

119/8
Kings XI Punjab
Mumbai Indians
116/7
2009

Royal Challengers Bangalore
Pune Warriors India
108/10
2013

120/9
Mumbai Indians
Pune Warriors India
119/6
2012

126/8
Royal Challengers Bangalore
Chennai Super Kings
112/8
2008

Sunrisers Hyderabad
Pune Warriors India
104/10
2013

text: Largest victories (by runs)

text:
Score
Team
Opponent
Season

146
Mumbai Indians
Delhi Daredevils
2017

144
Royal Challengers Bangalore
Gujarat Lions
2016

140
Kolkata Knight Riders
Royal Challengers Bangalore
2008

138
Royal Challengers Bangalore
Kings XI Punjab
2015

130
Royal Challengers Bangalore
Pune Warriors
2013

text: Last updated: 21 May 2017

text: Batting records

text: Most runs

text:
Batsman
Inns
Runs
Span

 Suresh Raina (CSK,GL)
172
4985
2008–2018

 Virat Kohli (RCB)
155
4948
2008–2018

 Sharma, RohitRohit Sharma (DC, MI)
168
4493
2008–2018

 Gambhir, GautamGautam Gambhir (DD, KKR)
152
4217
2008–2018

 Robin Uthappa (KKR, MI, PWI, RCB)
159
4129
2008–2018

text: Last updated: 28 May 2018

text: Highest individual score

text:
Batsman
Runs
Balls
Opp
Season

 Gayle, ChrisChris Gayle (RCB)
7002175000000000000♠175*
66
PWI
2013

 McCullum, BrendonBrendon McCullum (KKR)
7002158000000000000♠158*
73
RCB
2008

 Villiers, AB deAB de Villiers (RCB)
7002133000000000000♠133*
59
MI
2015

 Villiers, AB deAB de Villiers (RCB)
7002129000000000000♠129*
52
GL
2016

 Chris Gayle (RCB)
7002128000000000000♠128*
62
DD
2012

text: Last updated: 21 May 2017

text: Most sixes (overall)

text:
Batsman
Inn
6's
Span

 Chris Gayle (KKR, RCB, KXIP)
111
292
2009–2018

 AB de Villiers (DD, RCB)
129
187
2008-2018

 MS Dhoni (CSK, RPS)
158
186
2008–2018

 Suresh Raina (CSK, GL)
172
185
2008–2018

 Rohit Sharma (DC, MI)
168
184
2008–2018

text: Last updated: 28 May 2018

text: Most sixes (innings)

text:
Batsman
6's
Opponent
Season

 Chris Gayle (RCB)
17
PWI
2013

 Brendon McCullum (KKR)
13
RCB
2008

 Chris Gayle (RCB)
DD
2012

 Chris Gayle (RCB)
12
KXIP
2015

 AB de Villiers (RCB)
GL
2016

text: Last updated: 21 May 2017

text: Fastest centuries

text:
Batsman
Balls
Opp
Season

 Chris Gayle (RCB)
30
PWI
2013

 Yusuf Pathan (RR)
37
MI
2010

 David Miller (KXIP)
38
RCB
2013

 Adam Gilchrist (DC)
42
MI
2008

 AB de Villiers (RCB)
43
GL
2016

text: Last updated: 21 May 2017

text: Fastest fifties

text:
Batsman
Balls
Opp
Season

 K. L. Rahul (KXIP)
14
DD
2018

 Sunil Narine (KKR)
15
RCB
2017

 Yusuf Pathan (KKR)
SRH
2014

 Suresh Raina (CSK)
16
KXIP
2014

 Sunil Narine (KKR)
17
RCB
2018

 Ishan Kishan (MI)
KKR
2018

 Kieron Pollard (MI)
KKR
2016

 Chris Morris (DD)
GL
2016

 Chris Gayle (RCB)
PWI
2013

 Adam Gilchrist (DC)
DD
2009

 Jos Buttler (RR)
18
DD
2018

text: Last updated: 8 April 2018

text: Best strike rate

text:
Batsman
SR
Span

 Russell, AndreAndre Russell (DD, KKR)
177.29
2012–2018

 Sunil Narine (KKR)
168.81
2012–2018

 Chris Morris (CSK, DD, RR)
166.66
2013–2018

 Rishabh Pant (DD)
162.71
2016–2018

 Maxwell, GlennGlenn Maxwell (DD, KXIP, MI)
161.13
2012–2018

text: Minimum balls faced – 125

text: Last updated: 28 May 2017

text: Bowling records

text: Most wickets

text:
Bowler
Inn
Wkts
Span

 Malinga, LasithLasith Malinga (MI)
110
154
2009–2017

 Mishra, AmitAmit Mishra (DC, DD, SRH)
136
146
2008–2018

 Piyush Chawla (KXIP, KKR)
143
140
2008–2018

 Dwayne Bravo (CSK, GL, MI)
119
136
2008–2018

 Harbhajan Singh (MI,CSK)
146
134
2008–2018

text: Last updated: 28 May 2018

text: Best bowling figures in an innings

text:
Player
Ovr
BBI
Opp
Season

 Sohail TanvirSohail Tanvir (RR)
4.0
7000706666666666670♠6-14
CSK
2008

 Zampa, AdamAdam Zampa (RPS)
4.0
7000616666666666670♠6-19
SRH
2016

 Kumble, AnilAnil Kumble (RCB)
3.1
7000616666666666670♠5-5
RR
2009

 Sharma, IshantIshant Sharma (DC)
3.0
7000607692307692310♠5-12
KTK
2011

 Malinga, LasithLasith Malinga (MI)
3.4
7000607142857142860♠5-13
DD
2011

text: Last updated: 21 May 2017

text: Best bowling averages

text:
Player
Mat
Average
Span

 Andrew Tye (KXIP,GL)
20
16.36
2017–2018

 Doug Bollinger (CSK)
27
18.72
2010–2012

 Mascarenhas, DimitriDimitri Mascarenhas (KXIP, RR)
13
18.73
2008–2013

 Malinga, LasithLasith Malinga (MI)
110
19.01
2009–2017

 Farveez Maharoof (DC)
20
19.25
2008–2010

text: Last updated: 28 May 2018

text: Best economy rates

text:
Player
Mat
Econ
Span

 Narine, SunilSunil Narine (KKR)
98
6.54
2012–2018

 Shaun Pollock (MI)
13
6.54
2008–2008

 Kumble, AnilAnil Kumble (RCB)
42
6.57
2009–2010

 Glenn Mcgrath (DD)
14
6.61
2008–2008

 Muttiah Muralitharan (CSK,KTK,RCB)
66
6.67
2008–2014

text: Last updated: 28 May 2018

text: Most runs conceded in an innings

text:
Bowler
Overs
Wkts
Runs
Opp
Season

 Basil Thampi (SRH)
4.0
0
70
RCB
2018

 Ishant Sharma (SRH)
4.0
0
66
CSK
2013

 Umesh Yadav (DD)
4.0
0
65
RCB
2013

 Sandeep Sharma (KXIP)
4.0
1
65
SRH
2014

 Varun Aaron (DD)
4.0
2
63
CSK
2012

text: Last updated: 28 May 2018

text: Most dot balls bowled

text:
Player
Inns
Dot Balls

 Harbhajan Singh
145
1128

 Praveen Kumar
119
1075

 Lasith Malinga
110
1060

 Amit Mishra
136
1027

 Piyush Chawla
143
1020

text: Last updated: 28 May 2018

text: Most maiden overs bowled

text:
Player
Inns
Maidens

 Praveen Kumar
119
14

 Irfan Pathan
101
10

 Lasith Malinga
110
8

 Sandeep Sharma
68
8

 Dhawal Kulkarni
79
7

 Dale Steyn
90
7

text: Last updated: 28 May 2018

text: List of hat-tricks

text:
No.
Bowler
Opp
Season

1
 Lakshmipathy Balaji (CSK)
KXIP
2008

2
 Amit Mishra (DD)
DC
2008

3
 Makhaya Ntini (CSK)
KKR
2008

4
 Yuvraj Singh (KXIP)
RCB
2009

5
 Rohit Sharma (DC)
MI
2009

6
 Yuvraj Singh (KXIP)
DC
2009

7
 Praveen Kumar (RCB)
RR
2010

8
 Amit Mishra (DC)
KXIP
2011

9
 Ajit Chandila (RR)
PWI
2012

10
 Sunil Narine (KKR)
KXIP
2013

11
 Amit Mishra (SRH)
PWI
2013

12
 Pravin Tambe (RR)
KKR
2014

13
 Shane Watson (RR)
SRH
2014

14
 Axar Patel (KXIP)
GL
2016

15
 Samuel Badree (RCB)
MI
2017

16
 Andrew Tye (GL)
RPS
2017

17
 Jaydev Unadkat (RPS)
SRH
2017

text: Hat-tricks in IPL[1]

text: Last updated: 21 May 2017

text: Wicketkeeping and fielding records

text: Most dismissals

text:
Wicket Keeper
Dis
Ct
St
Span

 Karthik, DineshDinesh Karthik (DD, KXIP, MI, RCB,KKR,GL)
124
94
30
2008–2018

 MS Dhoni (CSK, RPS)
116
83
33
2008–2018

 Uthappa, RobinRobin Uthappa (KKR, MI, PWI, RCB)
90
58
32
2008–2018

 Naman Ojha (DD, RR, SRH)
75
65
10
2008–2018

 Patel, ParthivParthiv Patel (CSK, DC, KTK, MI, RCB, SRH)
74
60
14
2008–2018

text: Last updated: 28 May 2018

text: Most catches (fielder)

text:
Player
Ct
Span

 Suresh Raina (CSK, GL)
95
2008–2018

 Rohit Sharma (DC, MI)
79
2008–2018

 AB de Villiers (DD, RCB)
78
2008–2018

 Kieron Pollard (MI)
74
2010–2018

 Dwayne Bravo (CSK, MI,Gujarat Lions)
69
2008–2018

text: Last updated: 28 May 2018

text: Miscellaneous records

text:
Records
Player /
Team
Stats
Season /
Span

Team

Most wins[2]
Mumbai Indians
97
(2008–2018)

Most defeats[2]
Delhi Daredevils
91
(2008–2018)

Highest win%[2]
Chennai Super Kings
61.56
(2008–2018)

Largest victory (runs)[3]
Mumbai Indians v Delhi Daredevils
146
2017

Most consecutive wins
(season)[4]
Kolkata Knight Riders
9
2014

Most consecutive wins
(overall)
Kolkata Knight Riders
10
(2014–2015)

Most consecutive defeats
(season)[5]
Delhi Daredevils
Pune Warriors
9
2014
2012

Most consecutive defeats
(overall)
Delhi Daredevils
Pune Warriors
11
(2014–2015)
(2012–2013)

Batting

Most 100s[6]
 Chris Gayle (KKR, RCB, KXIP)
6
(2008–2018)

Most 50s[7]
 David Warner (DD, SRH)
36
(2009–2017)

Highest Partnership[8]
 Virat Kohli (RCB)
 AB de Villiers (RCB)
229
2016

Most ducks[9]
 Harbhajan Singh (MI)
13
(2008–2018)

Bowling

Most 4 wicket hauls[10][11]
 Sunil Narine (KKR)
6
(2012–2018)

Most 5 wicket hauls[12]
 James Faulkner (KXIP, PWI, RR )
2
(2011–2017)

Most hat-tricks[1]
 Amit Mishra (DC, DD, SRH)
3
(2008–2018)

Other Miscellaneous

Most matches[13]
 Suresh Raina (CSK, GL)
176
(2008–2018)

Most matches as captain[14]
 MS Dhoni (CSK, RPS)
159
(2008–2018)

Most man of the matches[15]
 Chris Gayle (KKR, RCB, KXIP)
20
(2008–2018)

Most matches as umpire[16]
 Sundaram Ravi
97
(2009–2018)

text: ☢ Last updated: 28 May 2018

text: Awards


document_title: The Dukes of Hazzard (film)

question_text: who played uncle jesse in the dukes of hazzard movie

text: The Dukes of Hazzard (film)

text: Plot[edit]

text: Cousins Bo (Seann William Scott), Luke (Johnny Knoxville), and Daisy Duke (Jessica Simpson) run a moonshine business for their Uncle Jesse (Willie Nelson) in Hazzard County, Georgia. The cousins' primary mode of transportation is an orange 1969 Dodge Charger that the boys affectionately refer to as the "General Lee". Along the way, the family is tormented by corrupt Hazzard County Commissioner Jefferson Davis Hogg, widely known as "Boss Hogg" (Burt Reynolds), and his willing but dimwitted henchman, Sheriff Rosco P. Coltrane (M. C. Gainey).

text: After Rosco has the General Lee wrecked during Bo's attempt at winning his fifth consecutive local road rally, Billy Prickett (James Roday), a famous stock-car driver, enters Hazzard to participate in the rally. Meanwhile, Rosco plants a fake moonshine still ("'cause he's too dumb to find the real one") in Uncle Jesse's barn and seizes the Duke property in the interest of eminent domain for Boss Hogg, forcing the family to temporarily reside with neighbor and Uncle Jesse's love-interest, Pauline (Lynda Carter). Pauline informs the Dukes that Rosco seized another farm on charges so Bo and Luke investigate a local construction site and find geologic core samples with the help of bait-shop owner Sheev (Kevin Heffernan). Meanwhile, Coltrane makes arrangements to seize the General Lee as "evidence" from the local auto body shop run by the Dukes' friend Cooter Davenport (David Koechner), who instead turns the car into a hot-rod and applies a new paint job and horn, in return for finally getting payment for all the work he has done ("...'cause that's how this works...") for the boys in the past.

text: After retrieving the General Lee before Rosco can, the Dukes go to Atlanta to visit a local university geology lab, meeting up with Katie-Lynn Johnson (Nikki Griffin), a Hazzard county girl and the Dukes' love interest, and her Australian roommate Annette (Jacqui Maxwell). At the lab, they discover Boss Hogg's intentions of turning the county into a strip coalmine. They are later arrested by Atlanta Police after running from campus police. Back in Hazzard, Daisy learns, with the help of Sheriff Deputy Enos Strate (Michael Weston), that Billy Prickett has been hired by Boss Hogg to participate in the Rally as a ringer. Boss Hogg then heads to Atlanta where he informs the Duke boys, in lock-up, that they are too late to stop him and reveals that the vote on Hogg's proposition is at the same time as the rally, explaining Billy Prickett's involvement. During a transfer from detainment, Daisy helps the boys escape from the patrol car and they speed home to try to inform the townsfolk, escaping Atlanta Police, and the Georgia State Patrol after Bo out-maneuvers the city cops.

text: Upon returning home, the Dukes discover that Rosco has taken Uncle Jesse and Pauline hostage, an obvious trap for the boys, and that Billy is in on the scheme because he's ashamed of the town's low status. The two race to the farmhouse to cause a distraction to the waiting Hazzard County Sheriff's Deputies and Georgia State Troopers while Daisy and Cooter rescue Jesse and Pauline. Meanwhile, the college girls head to the rally with Sheev to inform the townsfolk about the vote on the strip-mining ordinance. Because of Sheev's armadillo hat and lack of pants, no one listens, so Bo leaves for the rally while Luke and Jesse team up to foil the county and state police who are chasing Bo, interfering with the race. Upon crossing the finish line first, before Billy, the two continue racing back and forth all the way into town, leading the townsfolk to the courthouse just in time to vote against Boss Hogg's proposed ordinance. At the courthouse, Daisy takes advantage of the governor of Georgia's presence and TV cameras to convince him into pardoning the boys, so Uncle Jesse takes the opportunity to knock out Boss Hogg and gets a pardon for assaulting a county commissioner at the same time.

text: The final scene shows a cook-out at the Dukes' house where Pauline convinces Uncle Jesse, who could not be found because he was "using the meat smoker", to get up and play the television series' main theme. Bo and Luke are romantically involved with the girls in the General Lee when they are caught by Luke's other love-interest Laurie Pullman (Alice Greczyn) from the intro of the film, who proceeds to chase them with a shotgun as they drive away.

text: During the credits, outtakes from the production of the film are shown.

text: Cast[edit]

text:
Johnny Knoxville as Luke Duke
Seann William Scott as Bo Duke
Jessica Simpson as Daisy Duke
Burt Reynolds as Boss Hogg
Willie Nelson as Uncle Jesse Duke
David Koechner as Cooter Davenport
M. C. Gainey as Sheriff Rosco P. Coltrane[1]
Michael Weston as Deputy Enos Strate
Lynda Carter as Pauline
James Roday as Billy Prickett
Kevin Heffernan as Derek "Sheev" Sheevington
Nikki Griffin as Katie-Lynn Johnson
Jacqui Maxwell as Annette
Alice Greczyn as Laurie Pullman
Junior Brown as The Balladeer (narrator)
Joe Don Baker as Governor Jim Applewhite
Barry Corbin as Bill Pullman
Randy Orton as Bo Duke (Stunt double)

text: Cameos[edit]

text: All five members of the comedy film troupe Broken Lizard make appearances in the film, classified as cameos except for Kevin Heffernan who had a larger speaking role (Sheev).

text:
Steve Lemme appears as Jimmy Pullman, the son of Bill Pullman, in an early car chase scene in which he accidentally shoots the inside of his father's truck.
Jay Chandrasekhar and Erik Stolhanske reprise their roles as "Ramathorn" and "Rabbit" from the Broken Lizard comedy, Super Troopers. The characters are now campus security officers, who give a warning to the Duke boys for driving too slowly.
Paul Soter appears as TV newsman Rick Shakely, who is reporting from the Hazzard Road Rally.
Charlie Finn, who played a dimwitted fast food employee in Super Troopers, appears as a dimwitted geology student who assists the Duke boys with the coal samples.

text:
During the bar fight scene, Indy-car driver A. J. Foyt IV appears as himself.
Bloopers roll under the ending credits, one of which features Rip Taylor interrupting the bedroom scene with Luke and the two college girls. Taylor had previously appeared with Knoxville in Jackass: The Movie.

text: Production[edit]

text: Stunts[edit]

text: Knoxville said he was initially reluctant to take on the role but was persuaded by script changes and the presence of Dan Bradley as stunt coordinator and second unit for the car chase scenes. Knoxville praised him saying "everyone in Hollywood wants Dan Bradley to shoot their car stuff".[2]

text: Locations[edit]

text: The majority of the film was shot in and around Clinton, Louisiana.

text: The street scenes are set in Atlanta but filmed in the New Orleans Central Business District, and the University scenes on the campus of Louisiana State University.

text: Reception[edit]

text: Box office[edit]

text: The film was No. 1 at the box office its opening weekend and grossed $30.7 million on 3,785 screens. It also had an adjusted-dollar rank of No. 24 all-time for August releases.[3]

text: The film eventually collected $111 million worldwide, although it was much less successful financially outside the United States.

text: Critical reception[edit]

text: Roger Ebert gave the film one star, calling it a "lame-brained, outdated wheeze" and wondered that Burt Reynolds' part in the film is "karma-wise... the second half of what Smokey and the Bandit was the first half of".[4] Ebert also named it the second worst film of the year and Richard Roeper named it the worst film of 2005.[5]

text: According to review aggregator Rotten Tomatoes, 14% of critics gave the film positive reviews, based on 168 reviews; the website's consensus called the film "A dumb, goofy and vacuous adaptation of a TV show where plot is simply an excuse to string together the car chases." The audience score on the film was "46% liked it". "Top Critics" linked by Rotten Tomatoes who gave the film a "fresh" rating (positive review) wrote for Chicago Review, USA Today, Toronto Star, New York Post, Washington Post, Slate, Entertainment Weekly, and Variety. [6] The film received an average rating of 33% on Metacritic based on 36 reviews.[7] Longtime fans of the original Dukes of Hazzard series were generally disappointed by the film.[8]

text: Awards[edit]

text: At the 26th Golden Raspberry Awards, the film received seven nominations, but didn't win any.

text:
Worst Picture - lost to Dirty Love
Worst Director (Jay Chandrasekhar) - lost to John Mallory Asher for Dirty Love
Worst Screenplay (John O'Brien) - lost to Jenny McCarthy for Dirty Love
Worst Supporting Actor (Burt Reynolds) - lost to Hayden Christensen in Star Wars: Episode III – Revenge of the Sith
Worst Supporting Actress (Jessica Simpson) - lost to Paris Hilton in House of Wax
Worst Screen Couple (Jessica Simpson & Her Daisy Dukes) - lost to Nicole Kidman and Will Ferrell in Bewitched
Worst Remake or Sequel - lost to Son of the Mask

text: At the People's Choice Awards, Simpson won the "Favorite Song from a Movie" award for her cover of Nancy Sinatra's "These Boots Are Made For Walkin'".

text: The film was nominated for two MTV Movie Awards, including Best On-Screen Team (Johnny Knoxville, Seann William Scott, & Jessica Simpson), and Sexiest Performance (Jessica Simpson).

text: Simpson won the Choice Breakout Female award for her role in the film at the Teen Choice Awards.

text: Controversy[edit]

text: Before the release of this film, Warner Bros. reportedly paid $17.5 million to the producer of Moonrunners, the movie that inspired the television series. This was soon followed by a claim from screenwriter Gy Waldron. The Hollywood Reporter reported that James Best, who portrayed Rosco P. Coltrane in the original series, filed suit in late July 2011 over royalties he was contracted to receive over spinoffs that "used his identity".[9] Ben Jones, who played Cooter Davenport in the original series, criticized the film for its emphasis on sexual content, suggesting that the original series was more family-oriented and not as sexualized.[10] He called for fans of the television series to boycott the film "unless they clean it up before the August 5th release date."

text: Some have countered that the original series also contained sexual themes, primarily Catherine Bach's (Daisy Duke) much-displayed "short shorts" (which have become so ubiquitous in American culture that skimpy blue jean cutoff shorts are now often simply called "Daisy Dukes"). In a film review, a New York Daily News entertainment columnist said the movie's sex humor is "cruder" than the TV series, but that it is "nearly identical to the TV series in... its ogling of the posterior of cousin Daisy Duke."[11]

text: Although initially he commented that he enjoyed the new style of relationship between the movie versions of Bo and Luke, John Schneider, who played Bo Duke in the original series, was later asked if he saw the film and said: "My gosh... it was terrible! It wasn’t Dukes. It was true to whatever it was; I just don’t know what that was!"[12]

text: Soundtrack[edit]

text: Jessica Simpson recorded her own version of "These Boots Are Made for Walkin'" (and added her own lyrics) for the soundtrack to the film The Dukes of Hazzard (2005). Performed from the point of view of her character in the movie, Simpson's cover was co-produced by Jimmy Jam and Terry Lewis, and was released as the soundtrack's first single in 2005. It became Simpson's fifth top-twenty single in the United States and its music video drew some controversy because of its sexual imagery.[13] Both the original Ram Jam version of "Black Betty", and the Sylvia Massy produced remake by Spiderbait appear in the film. "If You Want Blood (You've Got It)" and "Shoot to Thrill" are played by AC/DC.[14]

text: Unrated Cut[edit]

text: In 2008, an unrated cut restored changes made to get a PG-13 rating from the Motion Picture Association of America. The unrated cut was released on DVD, and included rated and unrated bonus features, including unrated deleted scenes and blooper scenes. This edition was not rated by the MPAA, but would have unquestionably been rated R for nudity, language and violent driving stunts.[15]

text: Prequel[edit]

text: A prequel to the film, titled The Dukes of Hazzard: The Beginning, was released to television on March 4, 2007 and released to DVD on March 13, 2007.