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

question_text: who has the most nba points in a game

question_tokens: who has the most nba points in a game

text: Key[edit]

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

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

Occurred in playoff competition

Player's team lost the game

MP
Minutes played
FGM
Field goals made
FGA
Field goal attempts

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

FTM
Free throws made
FTA
Free throw attempts

tag: table

text: List[edit]

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

Scoring by quarter

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

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

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

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

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

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

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

[9]

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

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

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

[9]

70
Booker, DevinDevin Booker^
000000002017-03-24-0000March 24, 2017
10
9
23
28
Phoenix Suns
Boston Celtics
120–130
45
21
40
4
11
24
26
[I]

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

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

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

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

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

[5]

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

[5]

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

[9]

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

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

[5]

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

[5]

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

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

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

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

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

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

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

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

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

[9]

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

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

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

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

[5]

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

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

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

[9]

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

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

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

[18]

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

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

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

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

[5]

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

[5]

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

[5]

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

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

[9]

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

[9]

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

[9]

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

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

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

[30]

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

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

[32]

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

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

[5]

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

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

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

[35]

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

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

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

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

[41][42]

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

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

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

60
Klay Thompson^
000000002016-12-05-0000December 5, 2016
17
23
20
DNP
Golden State Warriors
Indiana Pacers
142–106
29
21
33
8
14
10
11
[AI]
[47]

60
James Harden^
000000002018-01-30-0000January 30, 2018
16
13
13
18
Houston Rockets
Orlando Magic
114–107
46:26
19
30
5
14
17
18
[AJ]
[48]


document_title: Joffrey Baratheon

question_text: where does joffrey live in game of thrones

root

text: Joffrey Baratheon

text: Overview[edit]

text: Joffrey Baratheon is not a point of view character in the novels, so his actions are witnessed and interpreted through the eyes of other people, such as his uncle Tyrion Lannister and his one-time fiancée Sansa Stark. Joffrey is mostly a background character in the novels.[5] He inherits his mother's traditional Lannister looks, and has blond hair and green eyes, and is believed by many to be very handsome.

tag: p

text: Character description[edit]

text: In public, Joffrey is allegedly the oldest son and heir of King Robert Baratheon and Queen Cersei Lannister, both of whom entered into a political marriage alliance after Robert took the throne by force from the 'Mad King' Aerys II Targaryen. In reality, his biological father is his mother's twin brother, Jaime Lannister. He has a younger sister, Myrcella, and a younger brother, Tommen, both of whom are also products of Jaime and Cersei's incestuous relationship. Their sole biological grandparents, Tywin and Joanna Lannister, were also first cousins.[6]

text: Joffrey is an amoral sadist who disguises his cruelty with a thin veneer of charm. This is best epitomized by his response when his (then) betrothed offends him: Joffrey pronounces that his mother had taught him never to strike a woman, and so commissions a knight of the Kingsguard to hit her instead. He enjoys forcing people to fight to the death, and enforces cruel punishments for lesser crimes. He has no sense of personal responsibility, blaming failures on others. He lacks self-control and often insults his allies and family members. Joffrey is one of the story's few characters to display no redeeming qualities whatsoever.

text: Joffrey is 12 years old at the beginning of A Game of Thrones (1996).

text: Storylines[edit]

text: A Game of Thrones[edit]

text: Prince Joffrey is taken by his parents to Winterfell and is betrothed to Sansa Stark in order to create an alliance between House Baratheon and House Stark. At first, Joffrey is kind and polite to Sansa. However, he refuses to show sympathy with the family when Bran Stark falls from a tower; this makes Joffrey's uncle Tyrion have to physically punish him until he shows respect. While on the Kingsroad to King's Landing, Joffrey and Sansa come across Arya Stark practicing swordplay with a commoner Mycah. Joffrey accuses Mycah of assaulting a noble girl and makes a cut on his face with a sword. This causes Arya to hit Joffrey, allowing Mycah to escape. Joffrey then turns on Arya, making her direwolf Nymeria attack Joffrey, injuring him. Later, Joffrey lies about the attack, saying it was unprovoked and demands Nymeria to be killed; however, Sansa's direwolf Lady is killed instead. He later orders his bodyguard and sworn sword Sandor "The Hound" Clegane to kill Mycah and bring him back his corpse, which he does.

text: Later, Eddard Stark discovers that Joffrey is not King Robert's son and rightful heir, by examining the family history and realizing that black hair is a dominant trait in the Baratheon line, hence the blonde hair can be attributed to the incestuous relationship of Queen Cersei and Ser Jaime. This causes Eddard to refuse to acknowledge Joffrey's claim to the throne when King Robert dies. He is taken into custody and his guards and household are murdered.

text: Sansa kneels and begs for Joffrey to spare her father's life and give him a chance to confess the treason. Joffrey promises Sansa that if Eddard truly does confess, he would be merciful. Reluctant at first, Eddard begrudgingly accepts Joffrey as the rightful King in order to spare Sansa's life. However, Joffrey, though pleased by Eddard's "confession", says that he has no acceptance for traitors and instead beheads Eddard and later forces Sansa to look upon her father's head.

text: A Clash of Kings[edit]

text: Joffrey is briefly seen in A Clash of Kings (1998). He rules with whim and caprice, proving difficult for even his mother to control. Sansa becomes imprisoned to his will, and he frequently has his guards beat her when she displeases him. When Stannis Baratheon attacks King's Landing, Joffrey leaves the battlefield, damaging the morale of his army. The battle is only won by his uncle Tyrion's use of wildfire and his grandfather Tywin's last-minute counterattack aided by the forces of House Tyrell.

text: A Storm of Swords[edit]

text: Joffrey sets aside his earlier betrothal to Sansa Stark in favor of Margaery Tyrell, cementing an alliance between the Lannisters and House Tyrell. At Tyrion and Sansa's wedding, he humiliates his uncle and is outraged when his uncle threatens him after he commands him to consummate their marriage. Tyrion only avoids punishment when his father Tywin assures Joffrey that his uncle was drunk and had no intention of threatening the king. Later after the events of the "Red Wedding", Joffrey gleefully plans on serving Sansa her recently deceased brother's head, when Tyrion and Tywin are outraged. Tyrion threatens Joffrey once again, and later Joffrey turns on Tywin, who responds by commanding Joffrey to be sent to his room, much to Joffrey's chagrin. During his wedding feast in the throne room, he presents an extremely offensive play of "The War of the Five Kings, " with each of the kings played by dwarves, to humiliate his uncle. He also repeatedly torments Tyrion and Sansa, forcing the former to be his cupbearer. At the conclusion of the dinner, however, Joffrey's wine is poisoned, and he dies in an event known as "The Purple Wedding," in which Tyrion is falsely accused and arrested by Cersei in A Storm of Swords (2000). It is later revealed that Lady Olenna Tyrell and Lord Petyr Baelish were the true perpetrators, with assistance from royal fool Ser Dontos Hollard, who successfully smuggles Tyrion's wife Sansa out of King's Landing before either of them can be caught and tried for Joffrey's murder.

text: Later novels[edit]

text: Joffrey is mentioned a few times in the later novels.

text: Family tree[edit]

text:
Tywin Lannister

Joanna Lannister

Tyrion Lannister

Jaime Lannister

Cersei Lannister

Robert Baratheon

Joffrey Baratheon

Myrcella Baratheon

Tommen Baratheon

text: TV adaptation[edit]

text: In January 2007 HBO secured the rights to adapt Martin's series for television.[7][8] Years later young actor Jack Gleeson was cast as Joffrey Baratheon.[9]

text: Storylines[edit]

text: Joffrey Baratheon is the Crown Prince of the Seven Kingdoms. He is the eldest of Cersei Lannister's children and heir to the Iron Throne. Evil, arrogant, vicious, and cruel, he has a short temper and believes he can do anything he wants. He is also a coward when confronted by those who aren't afraid of him. Joffrey is also unaware that King Robert is not his real father – in reality, he is the son of Jaime Lannister.

text: Season 1[edit]

text: After Robert's death, the Lannisters make Joffrey King against his father's will, and his mother uses him as a puppet. A cruel ruler, Joffrey makes a mistake when, against Cersei's and Sansa's wishes, he refuses to honor his promise of sparing Ned; instead, Joffrey has him executed.

text: Season 2[edit]

text: His act worsens the situation with the Lannisters' war effort as his uncle Jaime is captured by the Starks and his uncles Renly and Stannis have challenged his claim to the Iron Throne. He frequently orders his Kingsguard to beat Sansa. His cruelty and ignorance of the commoners' suffering makes him unpopular after he orders the City Watch to kill all of his father's bastard children in King's Landing which would later lead to a riot where he is almost killed. When Stannis attacks King's Landing, Joffrey serves only as a figurehead and avoids the heavy fighting. When the battle eventually turns in Stannis' favor, Cersei calls her son into the safety of the castle, damaging the morale of his army. The battle is only won by his uncle Tyrion and his grandfather Tywin, aided by the forces of House Tyrell. To cement the alliance between their families, Joffrey's engagement to Sansa is annulled so he can marry Margaery Tyrell.

text: Season 3[edit]

text: The marriage is yet to take place, and rifts are growing between Joffrey and his uncle and grandfather, who are (in their respective ways) rebutting his cruelty. He also seems to take little interest in his bride, but is amazed and altered by her ways of winning the people's favor, in which he takes part. At Tyrion and Sansa's wedding, he humiliates his uncle and is outraged when his uncle threatens him after he commands him to consummate their marriage. Tyrion only avoids punishment when his father Tywin assures Joffrey that his uncle was drunk and had no intention of threatening the king. Later after the events of the "Red Wedding", Joffrey gleefully plans on serving Sansa her recently deceased brother's head, when Tyrion and Tywin are outraged. Tyrion threatens Joffrey once again, and later Joffrey turns on Tywin, who responds by commanding Joffrey to be sent to his room, much to Joffrey's chagrin.

text: Season 4[edit]

text: Joffrey finally marries Margaery. During his wedding feast in the gardens of the Red Keep, he presents an extremely offensive play of "The War of the Five Kings, " with each of the kings played by dwarves, to humiliate his uncle. He also repeatedly torments Tyrion and Sansa, forcing the former to be his cupbearer. At the height of festivities Joffrey is suddenly overcome by poison, and he dies. His uncle Tyrion is accused and arrested. It is confirmed, however, he was poisoned by Olenna Tyrell, with assistance from Petyr Baelish and Dontos Hollard, as she wanted to protect Margaery from the physical and emotional abuse that Joffrey had very clearly inflicted on Sansa. Olenna later confides to Margaery that she would never have let her marry "that monster". Following Joffrey's funeral, his younger brother and heir, Tommen, is crowned King and proceeds to marry Joffrey's widow Margaery.

text: Reception[edit]

text: Jack Gleeson has received positive reviews for his role as Joffrey Baratheon in the television series. In 2016, Rolling Stone ranked the character #4 in their list of the "40 Greatest TV Villains of All Time".[10] Author Martin described Joffrey as similar to "five or six people that I went to school with ... a classic bully ... incredibly spoiled".[11]


document_title: A Rose for Emily

question_text: who is emily in the story a rose for emily

text: A Rose for Emily

text: Title[edit]

text: Faulkner described his reasoning for the title "A Rose For Emily" as an allegorical title; this woman had undergone great tragedy, for this Faulkner pitied her. And as a salute, he handed her a rose.[2] The word rose in the title has multiple meanings to it. The rose may be seen as Homer, interpreting the rose as a dried rose. Homer's body could be the dried rose, such as one that is pressed between the pages of a book, kept in perfect condition as Emily did with Homer's body.[3] The "Rose" also represents secrecy. Roses have been portrayed in Greek legends as a gift of secrecy and of confidentiality, known as sub rosa, introducing that the "Rose" is a symbol of silence between the narrator and Miss Emily, the narrator keeps Emily's secrets until her death.

text: Plot summary[edit]

text: The story opens with a brief first-person account of the funeral of Emily Grierson, an elderly Southern woman whose funeral is the obligation of their small town. It then proceeds in a non-linear fashion to the narrator's recollections of Emily's archaic and increasingly strange behavior throughout the years. Emily is a member of a family of the antebellum Southern aristocracy. After the Civil War, the family has fallen on hard times. She and her father, the last two of the clan, continue to live as if in the past; Emily’s father refuses for her to marry. Her father dies when Emily is about the age of 30, and takes her by surprise. She refused to give up his corpse, and the townspeople wrote it off as her grieving process.

text: After her acceptance of her father's death, Emily somewhat revives; she becomes friendly with Homer Barron, a Northern laborer who comes to town shortly after Mr. Grierson’s death. The connection surprises some of the community while others are glad she is taking an interest. But Homer claims that he is not a marrying man—a bachelor. Emily shortly buys arsenic from a druggist in town, which convinces the townspeople she was to poison herself with it. Emily’s distant cousins are called into town by the minister’s wife to supervise Miss Emily and Homer Barron. Homer leaves town for some time, reputedly to give Emily a chance to get rid of her cousins, and returns three days later after the cousins have left. Homer is never seen again.

text: Despite these turnabouts in her social status, Emily continues to behave haughtily, as she had before her father died. Her reputation is such that the city council finds itself unable to confront her about a strong smell that has begun to emanate from the house. Instead, they decide to send men to her house under the cover of darkness to sprinkle lime around the house, after which the smell dissipates. The mayor of the town, Colonel Sartoris, made a gentleman's agreement to overlook her taxes as an act of charity, though it was done under a pretense of repayment towards her father to assuage Emily's pride after her father had died. Years later, when the next generation has come to power, Emily insists on this informal arrangement, flatly refusing that she owes any taxes; the council declines to press the issue. Emily has become a recluse: she is never seen out of the house, and only rarely accepts people into it. The community comes to view her as a "hereditary obligation" on the town, who must be humored and tolerated.

text: The funeral is a large affair; Emily had become an institution, so her death sparks a great deal of curiosity about her reclusive nature and what remains of her house. After she is buried, a group of townsfolk enters her house to see what remains of her life there. The door to her upstairs bedroom is locked; some of the townsfolk kick in the door to see what has been hidden for so long. Inside, among the possessions that Emily had bought for Homer, lies the decomposed corpse of Homer Barron on the bed; on the pillow beside him is the indentation of a head and a single strand of Emily's gray hair.

text: Characters[edit]

text: Emily Grierson - The main character of the story. Emily's father kept her from seeing suitors and controlled her social life, essentially keeping her in isolation until his death, when she is 30 years old. Her struggle with loss and attachment is the impetus for the plot.

text: Homer Barron - Emily's romantic interest, he is later found dead and decomposed in Emily's bedroom after her funeral.

text: The Narrator - An unnamed member(s) of the town who watched the events of Emily's life unfold in its entirety.

text: Colonel Sartoris - The former mayor who remitted Emily's taxes.

text: Mr. Grierson - Emily's father, the patriarchal head of the Grierson family, who was well respected in the town. His control over Emily's personal life prohibited her from romantic involvement.

text: The cousins - Emily's extended relatives, they come to town during Emily's courting of Homer Barron to check on Emily's well-being.

text: Tobe - Emily's cook/gardner, who is also very likely her secret keeper: during the years of Emily's isolation, he provides no details of her life to the townspeople and promptly disappears directly following her death.

text: Structure[edit]

text: Faulkner tells this story in a series of flashbacks and stretches the story out over decades. By presenting the story in terms of present and past events he can examine how they influence each other. Faulkner presents two visions of time in the story; one based on mathematical precision and one that is more subjective. In terms of mathematical precision, time moves on and what exists is only the present. In terms of the more subjective time, time moves on but memories can exist no matter how much time changes. Those memories stay unhindered. Through this Faulkner could analyze the depth at which Miss Emily as a character could change.[4]

text: Themes[edit]

text: "A Rose for Emily" discusses many dark themes that characterized the Old South. Death is an important theme because it thematically reflects the decaying of the South in the 1930s by relating it to Emily's need to cling to tradition by sleeping next to the corpse of Homer Barron. There is also a reference to the stagnant mindset of the Old South in their inability to initially accept Homer Barron, a Northerner, into their lives.

text: Resistance is a strong underlying theme in William Faulkner’s “A Rose for Emily”. Emily Grierson has been oppressed by her father for most of her life and hasn’t questioned it because that was her way of living. Once her father has passed, she refuses to give his corpse up for burial—this resistance shows her unwillingness to adapt to change. Emily is portrayed as a victim which is why the reader is able to forgive her for her felony of murdering Homer Barron later on in the story. She falls victim to the ruling hand of her father, and to society; she has to uphold the noblesse oblige to which she was born into.[5]

text: Control is a persistent theme throughout the story. Emily's father was an intimidating and manipulative figure, keeping her from experiencing life the way she wanted it. She was never able to grow, learn, live her life, start a family, and marry the one she truly loved. Even after Emily's father died, his presence and impact on his daughter was still apparent. Discussing Emily and her father, the townspeople said "We had long thought of them as a tableau, Miss Emily a slender figure in white in the background, her father a spraddled silhouette in the foreground, his back to her and clutching a horsewhip, the two of them framed by the back-flung front door.".[6] Emily is small, powerless, and in the background wearing white, a symbol of innocence and purity. The controlling and powerful nature of her father is shown, he is in the foreground of the painting taking up space, holding a horsewhip, standing in with his legs apart, and silhouetted in black.

text: Another theme that characterizes the story is the isolation that Emily makes for herself, juxtaposed with the interest of the town in the life of Emily. Emily is alone, yet always being watched by the townspeople. She is both isolated and a part of the community.[7] Not only is Emily always being observed by the townspeople, but her father is still watching her although he has passed. He contributes to her isolation because while he was alive and even after he had passed, he pushes away the suitors who could have loved Miss Emily.

text: The theme of time is also represented by this story, "A Rose for Emily". This story established two opposing attitudes about time against each other, the North and South each representing a generation. condemning them both.The world of the present and the world of tradition. This theme is represented by the North and the South. Homer, who represents the North, portrays the world of the present and the new generation. Miss Emily represents the South and the old generation. The South expresses the refusal to accept the present and the clinging onto the past, the world of tradition.[8]

text: The themes in this story all tie into each other and create the character that Miss Emily is. The theme of death describes how Miss Emily cannot let go of death that she has been dealing with. This death theme also describes the Old South during that time. The old Southern ways are slowly dying just as her life is crumbling apart. Her father died and she kept his decaying corpse with her and then shortly after, she did the same thing with Homer. This is a sign of isolation from everyone else in society. Everyone has left her and the people that really connected with her were gone in a short amount of time. Miss Emily killed Homer in fear that he would leave her just as her father did. Everyone seemed to push Miss Emily away in the town, that is why her isolation reached such an extreme level. Miss Emily is reaching out for help because she keeps hiding corpses in her house. She cannot deal with the loss of the people that are closest to her.[9]

text: Critical response[edit]

text: Floyd C. Watkins wrote about the structure of "A Rose for Emily" in "Modern Language Notes". Watkins claims that this is Faulkner's best story and is among the best American writers of this time period. Faulkner had to carefully dissect his sections, bringing importance to every aspect of Miss Emily's life, but Watkins sees this as a "structural problem" but later goes on to rave about the symmetry of this short story. Watkins enjoys this story in its entirety, and is impressed by Faulkner's ordering, as building suspense was an important aspect in the response.[10]

text: This critical response by John Skinner explores the interpretations of Faulkner’s short story in detail while reviewing the importance of over analyzing a piece of literary work. William Faulkner published this story in the 1930s, Skinner had published his critical response in 1985. More than 40 years has passed and people are still ignoring his claim; “A Rose for Emily” should not be interpreted any further. The characters and theme of this tale have been scrutinized by many. There have been numerous interpretations for what Miss Emily stands for; Skinner gives examples of scholars including S.W. M. Johnson “Emily represented a refusal to submit to, or even concede, the inevitability of change”. Whereas William Going pictures Emily as a rose, “the treasured memory of the confederate veterans”. The point of view according to Skinner, is of immediate relevance to the story as the chief character, the narrator tells the chronology of the story. This narrator gives approximately “round figures” for the important events of the accounts. Yet the exact chronology is of little relevance to the overall importance of the story itself. John Skinner states that Faulkner should be taken literally, appreciate his formal subtlety in his works.[11]

text: Alice Petry introduces a different type of critical response that is not focused on the usual subjects. Rather, she focuses on the complex and provocative language. For example, Hall discusses how the sentence, "Thus she passed from generation to generation-dear, inescapable, impervious, tranquil and perverse" has been considered misleading, but is in fact strategically placed to provide foreshadowing and unification of plot. The five descriptive words used in the sentence each correspond to one of the five parts in the order they are seen. For example, the adjective "inescapable" corresponds to Part II, to the incident of the strange smell coming from Miss Emily's home. Faulkner's placement of these adjectives at the end of Part IV serves as an important unifying sentence that connects all five parts to each other.[12]

text: Adaptations[edit]

text:
A Rose for Emily—PBS adaptation with Anjelica Huston.
The Zombies' song "A Rose for Emily" retells the story, and is about a strong theme present in the story: Miss Emily living and dying alone, unloved.[13]
Andrea Camilleri has a similar theme in his novel The Scent of the Night influencing his character Detective Salvo Montalbano.

tag: ul


document_title: Gladiator (2000 film)

question_text: who are the romans fighting at the beginning of gladiator

text: Gladiator (2000 film)

text: Plot[edit]

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

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

text: Although reluctant at first, Maximus fights in local tournaments and make friends with two other gladiators: Juba, a Numidian; and Hagen, a German. His military skills help him win matches and gain recognition from other gladiators and the crowd. Proximo reveals that his own past has shown him that to be a good killer is not enough; a good gladiator is one who can "win the crowd". Proximo takes his gladiators to fight in Rome's Colosseum, because Commodus has organized 150 days of games.

text: Disguised by a masked helmet, Maximus debuts in gladiatorial combat in the Colosseum as a Carthaginian in a re-enactment of the Battle of Zama, where the Cartaginians are supposed to be massacred by gladiators playing the legionaries of Scipio Africanus; but Maximus leads his side to victory. Commodus is pleased by the surprising outcome and enters the Colosseum to offer his congratulations. Maximus cannot kill Commodus because Commodus's nephew, Lucilla's son, whom Maximus has befriended, accompanies him. Commodus orders the disguised Maximus, as leader of the gladiators, to show himself and give his name, which leads to Maximus revealing himself and declaring vengeance. The Emperor is compelled by the crowd to let the gladiators live, and the Praetorian Guard is held back from striking them down.

text: Maximus's next fight is a victory against a legendary undefeated gladiator. Commodus has ordered that the loser should die; but Maximus spares his opponent's life, and he is called "Maximus the Merciful" by the crowd. Angered at this outcome, Commodus taunts Maximus about his family's deaths, but Maximus turns and walks away—another defiant act that the emperor has to endure.

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

text: Commodus challenges Maximus to a duel. He stabs Maximus before the match to gain an advantage. Maximus disarms Commodus, whom the Praetorian Guard refuse to aid. The emperor feigns being disarmed then produces a hidden knife. Maximus drives the blade into Commodus's throat and then grows weak. Before he dies he asks for political reforms, for his gladiator allies to be freed, and for Senator Gracchus to be reinstated. He then succumbs to his wound. While the dead Commodus is left abandoned on the dirt floor of the arena, Maximus's friends and allies solemnly lift Maximus up and honor him as "a soldier of Rome", at Lucilla's behest. The crowd stands in respect as Maximus is carried out to be given an honorable funeral.

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

text: Cast[edit]

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

text: Production[edit]

text: Screenplay[edit]

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

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

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

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

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

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

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

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

text: Pre-production[edit]

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

text: Filming[edit]

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

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

text: Post-production[edit]

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

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

text: Historical authenticity[edit]

text: Development[edit]

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

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

text: Fictionalization[edit]

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

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

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

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

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

text: Anachronisms[edit]

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

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

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

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

text: Influences[edit]

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

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

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

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

text: Music[edit]

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

listen to a clip from the score of Gladiator.

Problems playing this file? See media help.

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

text: Reception[edit]

text: Box office[edit]

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

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

text: Critical response[edit]

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

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

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

text: Accolades[edit]

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

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

text:
73rd Academy Awards[78]

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

BAFTA Awards

Best Cinematography
Best Editing
Best Film
Best Production Design

58th Golden Globe Awards

Best Motion Picture – Drama
Best Original Score – Motion Picture

American Film Institute Lists

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

General Maximus Decimus Meridius – #50 Hero[79]

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

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

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

text: Impact[edit]

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

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

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

text: Home media[edit]

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

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

text: Possible sequel[edit]

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

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

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