document_title: Gerontion

question_text: what does the narrator say he is waiting for in the first lines of gerontion

text: Gerontion

text: History[edit]

text: Eliot was working on the poem after the end of World War One when Europe was undergoing changes as old systems of government and international relations were being replaced. During that time, Eliot was working at Lloyds Bank, editing The Egoist, and trying to publish poetry. Eliot had published in 1920 Ara Vos Prec, a limited printed work that collected his early poems including "Gerontion".[4]

text: Two earlier versions of the poem can be found, the original typescript of the poem as well as that version with comments by Ezra Pound. In the typescript, the name of the poem is "Gerousia", referring to the name of the Council of the Elders at Sparta.[5] Pound, who was living in London in 1919, acted as Eliot's editor and influenced many of his works. When Eliot considered publishing the poem as the opening part of The Waste Land, Pound discouraged him from doing so saying, "I do not advise printing Gerontion as preface. One don't miss it at all as the thing now stands. To be more lucid still, let me say that I advise you NOT to print Gerontion as prelude."[2] The lines were never added to the text and remained an individual poem.[5]

text: The poem[edit]

text: "Gerontion" opens with an epigraph (from Shakespeare's play Measure for Measure) which states:

text: The poem itself is a dramatic monologue by an elderly character that critics believe to be an older version of "J. Alfred Prufrock". The use of pronouns such as "us" and "I" regarding the speaker and a member of the opposite sex as well as the general discourse in lines 53–58, in the opinion of Anthony David Moody, presents the same sexual themes that face Prufrock, only this time they meet with the body of an older man.[6][7] The poem contains six stanzas of free verse describing the relationship between the narrator and the world around him, ending with a couplet that declares,

text: which describes the monologue as the production of the "dry brain" of the narrator in the "dry season" of his age.[8] Hugh Kenner suggests that these "tenants" are the voices of The Waste Land and that Eliot is describing the method of the poem's narrative by saying that the speaker uses several different voices to express the impressions of Gerontion.[9] Kenner also suggests that the poem resembles a portion of a Jacobean play as it relates its story in fragmented form and lack of a formal plot.[10]

text: Themes[edit]

text: Many of the themes within "Gerontion" are present throughout Eliot's later works, especially within The Waste Land. This is especially true of the internal struggle within the poem and the narrator's "waiting for rain". Time is also altered by allowing past and present to be superimposed, and a series of places and characters connected to various cultures are introduced.[11]

text: Religion[edit]

text: To Donald J. Childs, the poem attempts to present the theme of Christianity from the viewpoint of the modernist individual with various references to the Incarnation and salvation. Childs believes that the poem moves from Christmas Day in line 19: "in the Juvescence of the year," to the Crucifixion in line 21 as it speaks of "depraved May" and "flowering Judas". He argues that Gerontion contemplates the "paradoxical recovery of freedom through slavery and grace through sin".[3] In line 20, the narrator refers to Jesus as "Christ the tiger", which emphasizes judgment rather than compassion, according to Jewel Spears Brooker in Mystery and Escape: T. S. Eliot and the Dialectic of Modernism.[12]

text: Peter Sharpe states that "Gerontion" is the poem that shows Eliot "taking on the mantle of his New England Puritan forebears" as Gerontion views his life as the product of sin. Sharpe suggests that Christ appears to Gerontion as a scourge because he understands that he must reject the "dead world" to obtain the salvation offered by Christianity.[13] However, other critics disagree; Russell Kirk believes that the poem is "a description of life devoid of faith, drearily parched, it is cautionary".[14] Marion Montgomery writes that Gerontion's "problem is that he can discover no vital presence in the sinful shell of his body".[15]

text: In The American T. S. Eliot, Eric Whitman Sigg describes the poem as "a portrait of religious disillusion and despair", and suggests that the poem, like "The Love Song of J. Alfred Prufrock", explores the relationship between action and inaction and their consequences.[16] To this, Alfred Kazin adds that Eliot, especially in "Gerontion" shows that "it is easier for God to devour us than for us to partake of Him in a seemly spirit."[17] To Kazin, it is religion, not faith that Eliot describes through the narrative of "Gerontion", and that religion is important not because of its spirituality but because of "the 'culture' it leaves". Kazin suggests that in lines 33–36 the poem attempts to show how Eliot tells his generation that history is "nothing but human depravity":

text: Nasreen Ayaz argues that in the fourth movement of the poem, Gerontion shows that his loss of faith in Christianity has resulted in an emotional sterility to go along with the physical. In that stanza he remembers a former mistress and regrets that he no longer has the ability to interact with her on a physical level. The "closer contact" sought by the narrator represents both the physical longing of intimacy as well as the emotional connection he previously had with the female described in the poem.[18]

text: In lines 17–19, Gerontion alludes to the Pharisees' statement to Christ in Matthew 12:38 when they say "Master, we would see a sign from thee."[19] The narrator of the poem uses these words in a different manner:

text: James Longenbach argues that these lines show that Gerontion is unable to extract the spiritual meaning of the Biblical text because he is unable to understand words in a spiritual sense: "Gerontion's words have no metaphysical buttressing, and his language is studded with puns, words within words. The passage on history is a series of metaphors that dissolve into incomprehensibility".[20]

text: Sexuality[edit]

text: The narrator of the poem discusses sexuality throughout the text, spending several lines, including lines 57–58 where he says:

text: Ian Duncan MacKillop in F. R. Leavis argues that impotence is a pretext of the poem the same way that embarrassment is the pretext of "Portrait of a Lady". He argues that the narrator writes each line of the poem with an understanding that he is unable to fulfill any of his sexual desires.[21] Gelpi, in A Coherent Splendor: An American Poetic Renaissance also states that the poem is centred upon the theme of impotence, arguing that old age brings the poet "not wisdom but confirmed decrepitude and impotence." He also argues that this theme continues into Eliot's later works Ash Wednesday and Four Quartets.[22] To Sharpe, the inability of the narrator to carry out his sexual desires leads him to "humiliated arrogance" and the "apprehension of Judgement without the knowledge of God's mercy.[13]

text: In lines 59–60, the speaker explains that he has lost his physical senses due to his age:

text: Marion Montgomery, writing in T. S. Eliot: an Essay on the American Magus, equates the loss of these senses with the mindset that controls the narrative of the poem. Gerontion has lost the ability to partake in the same sexual endeavours that face Nathaniel Hawthorne's hero in "Young Goodman Brown", yet Montgomery believes he has "turned from innocent hope to pursue significance in the dark forces of the blood". Gerontion's exploration of sinful pleasures takes place in his mind, according to Montgomery, as he can "discover no vital presence in the sinful shell of his body".[23]

text: Other prominent lines[edit]

text: The phrase "wilderness of mirrors" from the poem has been alluded to by many other writers and artists. It has been used as the titles of plays by Van Badham and Charles Evered, of novels by Max Frisch, and of albums by bands such as Waysted. Rock singer Fish entitled his first solo album Vigil in a Wilderness of Mirrors.

text: Some commentators believe that James Jesus Angleton took the phrase from this poem when he described the confusion and strange loops of espionage and counter-intelligence, such as the Double-Cross System, as a "wilderness of mirrors".[24][25] It thence entered and has since become commonplace in the vocabulary of writers of spy novels or of popular historical writing about espionage. It was the title of an episode of the television series JAG where the protagonist is subjected to disinformation.[26]

text: Another prominent line in the poem, "In depraved May, dogwood and chestnut, flowering judas/To be eaten, to be divided, to be drunk", is the origin of the title of Katherine Anne Porter's first collection of short stories, Flowering Judas and Other Stories (1930).

text: Sources[edit]

text: There is a connection between Gerontion and Eliot's understanding of F. H. Bradley's views. In Eliot's doctoral dissertation, later published as Knowledge and Experience in the Philosophy of F. H. Bradley, Eliot explores Bradley's philosophy to determine how the mind relates to reality. By relying on Bradley, Eliot is able to formulate his own scepticism and states: "Everything, from one point of view, is subjective; and everything, from another point of view is objective; and there is no absolute point of view from which a decision may be pronounced."[27] In terms of poetic structure, Eliot was influenced by Jacobean dramatists such as Thomas Middleton that relied on blank verse in their dramatic monologues. Lines within the poems are connected to the works of a wide range of writers, including A. C. Benson, Lancelot Andrewes, and Henry Adams's The Education of Henry Adams.[28]

text: Critical response[edit]

text: Eliot scholar Grover Smith says of this poem, "If any notion remained that in the poems of 1919 Eliot was sentimentally contrasting a resplendent past with a dismal present, Gerontion should have helped to dispel it."[29] Bernard Bergonzi writes that "Eliot's most considerable poem of the period between 1915 and 1919 is 'Gerontion'".[30] Kirk believes that "To me, the blank verse of 'Gerontion' is Eliot's most moving poetry, but he never tried this virile mode later."[14]

text: The literary critic Anthony Julius, who has analysed the presence of anti-Semitic rhetoric in Eliot's work,[31][32] has cited "Gerontion" as an example of a poem by Eliot that contains anti-Semitic sentiments. In the voice of the poem's elderly narrator, the poem contains the line, "And the Jew squats on the window sill, the owner [of my building] / Spawned in some estaminet of Antwerp."[33]

text: Notes[edit]

text:
Jump up ^ Longenbach, James. "On Gerontion"
^ Jump up to: a b T. S. Eliot, Ezra Pound. The Waste Land: The Original Facsimile of the Original Drafts Including Annotations of Ezra Pound Ed. Valerie Eliot. Houghton Mifflin Harcourt (1974) p. 127
^ Jump up to: a b Childs, Donald J. T. S. Eliot: Mystic, Son, and Lover.Continuum International Publishing Group (1997) p. 93
Jump up ^ Kirk 53
^ Jump up to: a b Miller, James Edwin. T. S. Eliot. Penn State Press (2005), p. 351
^ Jump up to: a b Gelpi, Albert. A coherent Splendor Cambridge University Press (1987) p. 124
Jump up ^ Moody, Anthony David. The Cambridge companion to T. S. Eliot. Cambridge University Press (1994) p. 113
Jump up ^ Bedient, Calvin. "Yeats, Lawrence, and Eliot" in The Columbia History of British poetry. Eds Carl Woodring, James S. Shapiro. pp. 570–571
Jump up ^ Kenner, Hugh. A Starchamber Quiry: a James Joyce Centennial Volume, 1882–1982. Routledge (1982) pp. 7–8
Jump up ^ Kenner, Hugh The Counterfeiters: An Historical Comedy. Dalkey Archive Press (2005) p. 163
Jump up ^ Bergonzi 54–55
Jump up ^ Brooker, Jewel Spears. Mystery and Escape: T. S. Eliot and the Dialectic of Modernism. Univ of Massachusetts Press (1996) p. 99
^ Jump up to: a b Sharpe, Petter. The Ground of our Beseeching p. 95
^ Jump up to: a b Kirk 54
Jump up ^ Montgomery 76
Jump up ^ Sigg, Eric Whitman. The American T. S. EliotCambridge University Press (1989) p. 171
^ Jump up to: a b Kazin, Alfred. An American Procession Harvard University Press (1996) p. 19
Jump up ^ Ayaz, Nasreen. Anti-T. S. Eliot Stance in Recent Criticism. Sarup & Sons (2004) p. 17
Jump up ^ King James Bible. Matthew 12:38
Jump up ^ Longenbach, James. Modernist Poetics of History: Pound, Eliot, and the Sense of the Past. Princeton: Princeton UP (1987)
Jump up ^ MacKillop, Duncan. F. R. Leavis. Palgrave Macmillan (1997) p. 136
Jump up ^ p. 124
Jump up ^ Montgomery, Marion. T. S. Eliot: an Essay on the American Magus.University of Georgia Press (1970) pp. 74–76
Jump up ^ Jet Heer. "School for spies".
Jump up ^ Douglas McCollam (July–August 2004). "How Chalabi Played the Press". Columbia Journalism Review. Archived from the original on 3 July 2004.
Jump up ^ Peter C. Jones. "JAG: "Wilderness of Mirrors"". JAG Credits. Archived from the original on 28 July 2011.
Jump up ^ Bergonzi 24–25
Jump up ^ Bergonzi 53–54
Jump up ^ Grover Smith (1956). T. S. Eliot's Poetry and Plays: A Study in Sources and Meaning. Chicago: University of Chicago Press.
Jump up ^ Bergonzi 53
Jump up ^ Gross, John. Was T. S. Eliot a Scoundrel?, Commentary, November 1996
Jump up ^ Anthony, Julius. T. S. Eliot, Anti-Semitism, and Literary Form. Cambridge University Press, 1996 ISBN 0-521-58673-9
Jump up ^ Eliot, T. S. "Gerontion." Collected Poems. Harcourt, 1963.


document_title: Charmed (2018 TV series)

question_text: who plays the mom in the charmed reboot

question_tokens: who plays the mom in the charmed reboot

root

text: Charmed (2018 TV series)

text: Premise[edit]

text: Set in the fictional college town of Hilltowne,  the series begins with sisters Mel (Melonie Diaz) and Maggie Vera (Sarah Jeffery) living with their mother Marisol (Valerie Cruz), who shortly after is attacked and killed by an unknown demonic force.[3] Three months later, Mel and Maggie discover that they have an older half-sister, Macy Vaughn (Madeleine Mantock), who was kept a secret by their mother for  years, but recently moved to Hilltowne to accept a new job at the local university. After the first time the sisters are under the same roof, they unexpectedly start exhibiting new magical abilities; the eldest Macy receives the power of telekinesis, middle sister Mel can freeze time, and the youngest Maggie can hear people's thoughts. Soon after, their whitelighter—an advisor who protects and guides witches—Harry Greenwood (Rupert Evans) gathers all three sisters together and reveals to them that they are witches, as was their mother. Marisol had bound her daughters' powers when they were born so they could live normal lives, and was in the process of unbinding those powers on the night she was murdered.[4] The sisters ultimately accept their new destiny as The Charmed Ones, the most powerful trio of witches who protect innocents and vanquish supernatural demons.[5][6]

tag: p

text: The reboot changes several elements from the original Charmed series, including moving the fictional setting from San Francisco to Hilltowne; making the middle sister a lesbian; giving the youngest sister the power of telepathy instead of premonition; changing the family name from Halliwell to Vera; and having all three of the sisters' alliterative names begin with M instead of P.[7][8] Additionally, the reboot has a more diverse cast with different ethnicities; Diaz and Jeffery are of Hispanic descent, while Mantock is of Afro-Caribbean descent.[9][10]

text: Cast and characters[edit]

text: Main[edit]

text:
Madeleine Mantock as Macy Vaughn, the eldest half-sister.[4] She is a "practical", "driven", "shy" and "intense science nerd".[11][12] Macy has a Ph.D. in molecular genetics and initially moves to Hilltowne, Michigan to work in the university lab. Once she arrives in town, Macy discovers that she has two younger half-sisters.[11][13] Macy has the power of telekinesis, similar to the original eldest sister Prue Halliwell (Shannen Doherty) of the original Charmed series.[14]
Melonie Diaz as Melanie "Mel" Vera, the middle half-sister in the family.[15] A "strong-willed feminist" and "passionate, outspoken activist," Mel is a graduate student in the women's studies department at Hilltowne University.[11][16] She is also a lesbian in an on-and-off again relationship with Niko (Ellen Tamaki), a detective on the Hilltowne police force.[4] Mel has the power of time-freezing, similar to the original middle sister Piper Halliwell (Holly Marie Combs) from the original series.[17]
Sarah Jeffery as Maggie Vera, the youngest half-sister.[18] She is a "bubbly", "fun-loving" and "kindhearted" freshman at Hilltowne University who is pledging a sorority.[11][19] Maggie is initially mortified to learn that she is a witch as she wants to be well-liked and fit in.[11] Maggie has the power of telepathy, the ability to read the thoughts of other people. This is one of the first differences from the original show as the original youngest sister Phoebe Halliwell (Alyssa Milano) from the original series had the power of premonition.[13][20]
Rupert Evans as Harry Greenwood, the sisters' Whitelighter – a guardian angel who protects and guides witches.[15] In his former life, Harry was an actor in London before being recruited into the British Secret Service, where he later died and was chosen to become a Whitelighter.[11] In the first episode, Harry initially poses as a professor and the chair of the women's studies department at Hilltowne University, until he gathers all three sisters together to reunite them of their destiny as The Charmed Ones.[5]
Ser'Darius Blain as Galvin Burdette, a molecular geneticist who works at the Hilltowne University lab with Macy Vaughn. He is "outgoing" and "generous", and is the first person who befriends Macy when she moves to Hilltowne.[11][21]
Ellen Tamaki as Niko Hamada, a "smart" and "determined" detective with the Hilltowne police department. She is in an on-and-off again relationship with Mel Vera.[11][22][23]

tag: ul

text: Guest[edit]

text: Valerie Cruz as Marisol Vera, the sisters' biological mother and a witch. Marisol had bound each of her daughters' powers when they were born so they could lead normal lives. In the first episode, Marisol was in the process of unbinding their powers when she was attacked and killed by an unknown demon.[4][5]

text: Charlie Gillespie as Brian, Maggie Vera's "on-again off-again" boyfriend who she went to high school with.[11][22][24]

text: Episodes[edit]

text: No.TitleDirected byWritten byOriginal air dateProd.codeUS viewers(millions)1"Pilot"[25]Brad SilberlingStory by : Jennie Snyder Urman Teleplay by : Jessica O'Toole & Amy RardinOctober 14, 2018 (2018-10-14)[26]TBATBD

tag: table

text: Gina Rodriguez will direct the eleventh episode of the season.[27]

text: Production[edit]

text: Development[edit]

text: A reboot of the original series had been announced since October 2013, when it was originally being developed for CBS by Party of Five co-creator Christopher Keyser and Sydney Sidner. The pilot script was going to center "around four sisters who discover their destiny    – to battle against the forces of evil using their witchcraft."[28] However, CBS ultimately decided not to move forward with the reboot.[29] On January 5, 2017, it was announced that The CW network was developing a new reboot of Charmed by Jane the Virgin showrunner Jennie Snyder Urman for the 2017–18 television season.[30] Both Urman and director Brad Silberling were approached in 2016 by CBS Television Studios (who own the rights to Charmed) to work on a reboot of the show.[31] The original pilot script was going to be set in 1976 about three witches (Tina, Paige and Annie), who are not related but are brought together to fight evil in a small New England town.[32] At the time, The CW president Mark Pedowitz stated that the reboot would not be a prequel to the original series, but described it as "a self-contained, self-sustained" and "very standalone show."[33] However, on February 3, 2017, The Hollywood Reporter announced that the reboot would be redeveloped and delayed until the 2018–19 season, as the pilot draft script "didn't come in the way the network had hoped" and that Urman, who had prior commitments with Jane the Virgin, did not have enough time to fully commit to the reboot for the 2017–18 season.[34] Pedowitz gave an update on the reboot during the Television Critics Association summer press tour in August 2017, saying that it was still in the redevelopment process and that the network was waiting to see what Urman had come up with for the redeveloped script.[35]

text: On January 25, 2018, The CW officially ordered the Charmed reboot to pilot.[36] The redeveloped script was changed to be set in the present day and was described by The CW as "a fierce, funny, feminist reboot" centered on "three sisters in a college town who, after the tragic death of their mother, are stunned to discover they are witches."[37] The description also stated that the reboot would revolve around the sisters "vanquishing supernatural demons" and "tearing down the patriarchy," while "maintaining familial bonds."[36] In an interview with the Metro newspaper, Silberling stated that the appeal of the reboot is to be "fun and contemporary" with its timely social observations.[31] The pilot episode was written by Jane the Virgin writers Jessica O'Toole and Amy Rardin, and was based on a story by Urman. All three women are also executive producers of the reboot alongside Silberling, Ben Silverman, Howard Owens, and Carter Covington.[1][11][38] The pilot episode was also directed by Silberling.[38] On May 11, 2018, The CW picked up the pilot and ordered the Charmed reboot to series.[39] A preview trailer was released after The CW's upfronts presentation on May 17, 2018, followed by videos of first-look scenes.[40][41]

text: Casting[edit]

text: On February 7, 2018, TVLine revealed the reboot's casting details, with the three sisters bearing the unofficial names of Macy, Mel and Madison Pruitt.[13] The casting details revealed that all ethnicities were being sought for each of the roles; and that one of the sisters would be a lesbian, a major change from the original Charmed series.[13] TVLine also revealed that casting was underway for the trio's "devilishly handsome" advisor/whitelighter Harry, Macy's "documentary filmmaker-boyfriend" Galvin, Madison's "sensitive loner ex-beau" Brian, and Mel's detective girlfriend Soo Jin.[13] Madison's name was later changed to Maggie, the sisters' family name was changed to Vera, and Soo Jin's name was changed to Nico.[7][15]

text: In mid-February 2018, Ser'Darius Blain was the first to be cast as Galvin,[42] followed by film actress Melonie Diaz as the middle sister Mel,[16] and Shades of Blue actress Sarah Jeffery as the youngest sister Maggie.[7][19] Later that month, The Man in the High Castle British actor Rupert Evans was cast as Harry.[43] In early March 2018, former Into the Badlands British actress Madeleine Mantock was cast as the eldest sister Macy.[12] Charlie Gillespie and Ellen Tamaki were the last to be cast in the roles of Brian and Nico, respectively.[22] The three lead actresses playing the Vera sisters are of different ethnicities; Diaz and Jeffery are of Hispanic descent, while Mantock is an Afro-Caribbean.[9][10] Executive producer Brad Silberling stated that the Vera sisters are "very different in terms of personalities and ethnicities" to the Halliwell sisters of the original series, who were all straight white women.[31] The CW's president Mark Pedowitz stated that the network was pleased with the choice of casting and the way executive producer Jennie Snyder Urman "reimagined" the series.[44]

text: Filming[edit]

text: Charmed is filmed in Vancouver, British Columbia. The pilot episode was filmed from March 19 to April 7, 2018.[31][45][46] Filming for the rest of season one is scheduled to begin on August 13, 2018 and last until December 21, 2018.[47][48]

text: Broadcast[edit]

text: In the United States, Charmed is set to premiere on The CW on October 14, 2018.[26] It will air on Sunday nights at 9:00 pm, with Supergirl as its lead-in at 8:00 pm. The pairing of Charmed and Supergirl will return the network to original programming on Sunday evenings for the first time since the 2008–09 television season.[5] The CW president Mark Pedowitz explained, "We wanted to have an established show on Sunday night. We wanted name value with Charmed on there. We felt that it was two shows that are empowered women. We were making a statement that we were not kidding, that we're not phoning it in on Sunday night, that we were going to compete."[49]

text: In Belgium, Charmed will air on RTL,[50] while in Turkey the show will air on Digiturk.[51]

text: Reception[edit]

text: Ratings[edit]

text:
No.

Title

Air date
Rating/share(18–49)
Viewers(millions)
DVR(18–49)
DVR viewers(millions)
Total(18–49)
Total viewers(millions)

1

"Pilot"

October 14, 2018[26]
TBD
TBD
TBD
TBD
TBD
TBD

text: Controversy and fans reaction[edit]

text: Shortly after the pilot's announcement in January 2018, Holly Marie Combs, a cast member from the original Charmed series, took to Twitter and criticized The CW's decision to reboot the show without any input from the original cast and crew. Combs claimed to have an issue with The CW's "reimagining" of Charmed as the network, formerly known as The WB, chose not to renew the show in 2006 for a ninth season.  Combs accused The CW of trying to cash in on the Charmed name and concept, while "capitalizing" on the original cast and crew's hard work.[52] Combs also took issue with the network's description of a "feminist" reboot, which she felt implied the original series was not, by sarcastically tweeting: "Guess we forgot to do that the first go around. Hmph."[53] Combs then implied that the reboot should have a new title as she felt that it is a brand new show with no ties to the original Charmed. She tweeted that television reboots or remakes "usually have storylines so similar to the original that they are legally required to use the same title and buy the rights to that title", further adding "If it's not similar than it's just another show. A new show with a new title."[54]

text: Another original cast member, Shannen Doherty, gave a more positive approach to the reboot on Twitter, stating that it was a testament to the original that a reboot was even being considered. She further added that she was "intrigued by the idea that a new generation might be comforted, inspired like you all were. Charmed helped us all in some way."[55] However, Doherty admitted that she did take issue with The CW's description of a "feminist" reboot, by tweeting that the their wording was "terrible and a bit offensive," but understood that "everyone makes mistakes."[56] Rose McGowan was also positive towards the reboot and showed her support to the new lead actresses by tweeting "fly girls, fly." McGowan also added that she has no issues with the reboot and wished "everyone the best."[57]

text: News of the reboot was met with a mixed response from fans of the original series. Some fans were positive about the reboot, while others were not impressed about the changes made to the series.[52][55] Following the reboot announcement, fans took to Twitter and began to share the #StopCharmedReboot hashtag in attempts to prevent The CW from moving forward with the pilot.[58][59] The CW's president Mark Pedowitz stated that he would like the fans to give the reboot a chance, telling fans that "before you make a decision, watch the series."[60] In an interview with HuffPost in May 2018, Combs spoke up about the reboot again, this time criticizing the show's marketing and the casting of younger actors. She stated that although she appreciates "the jobs and opportunities the Charmed reboot has created," she "will never understand what is fierce, funny, or feminist in creating a show that basically says the original actresses are too old to do a job they did 12 years ago."[61][62]


document_title: The Ballad of High Noon

question_text: who sang the theme song to high noon

question_tokens: who sang the theme song to high noon

text: The Ballad of High Noon

text: Description[edit]

text: It is the theme song of the movie High Noon, sung over the opening credits by Tex Ritter, with its tune repeated throughout the film. It was awarded the 1952 Academy Award for Best Original Song,[1] and was performed that night for the Academy by Ritter.[2] The song is about the film's main character, Will Kane (played by Gary Cooper), and the moral dilemma of his new wife, Amy Fowler-Kane (played by Grace Kelly), abandoning (or "forsaking") him because he chooses to stay and fight (and risk being killed) instead of running away with her after their wedding. The song refers to how he can't have a safe life with her until he has eliminated the threats that face him, and he wants her to stay with him just a while longer until it's all over and not give up on him for good. The song's lyrics significantly foreshadow the final set-piece of the film, in which Amy returns to help save Will, though this is only obvious on repeat viewings.

text: In the context of film music, "The Ballad of High Noon" is acclaimed not merely for its musical integration with High Noon's score, but also for expounding lyrically on the themes of honor and obligation which define the film.[citation needed] It is placed at #25 on "AFI's 100 Years...100 Songs". Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.[3]

text: Recorded versions[edit]

text:
Johnny Bond (1976)
Harry Brandelius with Sune Waldimir's orchestra. The Swedish lyrics were written by Sverker Ahde. The Swedish title is "Du får ej lämna mig". It was recorded in Stockholm on July 2, 1952, and released on the 78 rpm record His Master's Voice X 7817.
Walter Brennan
Roy Clark
Faron Young (1963) Released on the album Faron Young Aims At The West, Mercury Records SR 60840.
Connie Francis (1961)
Frankie Laine (1952) – US #5; UK #7[1]
Nana Mouskouri (1993)
Steve Oliver (2002) - Released on the album "Positive Energy", Native Language Music (Re-released 2009 Amazon Music Remastered edition)
Dean Reed (1982)
Tex Ritter (1952) – US #12[4][5]
Sons of the Pioneers
Legião Urbana
Olavi Virta, whose version was recorded on July 7, 1953 and released in 1954. The lyrics were translated into Finnish by Tapio Lahtinen (under the alias Kullervo).
Waldemar Matuška (1964) "Buď pořád se mnou" with Czech lyrics by Vladimír Dvořák.


document_title: To Kill a Mockingbird (film)

question_text: who played the lead role in to kill a mockingbird

text: To Kill a Mockingbird (film)

text: Plot[edit]

text: The film's young protagonists, Jean Louise "Scout" Finch (Mary Badham) and her brother Jeremy Atticus "Jem" Finch (Phillip Alford), live in the fictional town of Maycomb, Alabama, during the early 1930s. The story covers three years, during which Scout and Jem undergo changes in their lives. They are innocent children, spending their days happily playing games with each other and spying on Arthur "Boo" Radley (Robert Duvall) who has not left his home for many years and about whom many rumors circulate. Their widowed father, Atticus (Gregory Peck), is a town lawyer and has strong beliefs that all people are to be treated fairly, to turn the other cheek, and to stand for what you believe. He also allows his children to call him by his first name. Early in the film, the children see their father accept hickory nuts, and other produce, from Mr. Cunningham (Crahan Denton) for legal work because the client has no money.[3] Through their father's work as a lawyer, Scout and Jem begin to learn of the racism and evil in their town, aggravated by poverty; they mature quickly as they are exposed to it.

text: The local judge (Paul Fix) appoints Atticus to defend a black man, Tom Robinson (Brock Peters), against an accusation of rape of a white girl, Mayella Ewell (Collin Wilcox). Atticus accepts the case. Jem and Scout experience schoolyard taunts for their father's decision. Later, as Atticus is sitting in front of the local jail to safeguard Robinson, a lynch mob arrives, which includes Mr. Cunningham. Scout, Jem and their friend, Dill (John Megna), interrupt the confrontation. Scout, unaware of the mob's purpose, recognizes Cunningham as the man who paid her father in hickory nuts and tells him to say hello to his son, who is her schoolmate. Cunningham becomes embarrassed and the mob disperses.

text: At the trial, it is undisputed that Tom came to Mayella's home at her request to help with the chopping up of a chifforobe, and that Mayella showed signs of having been beaten around that time. Among Atticus' chief arguments is that Tom has a crippled left arm, yet the supposed rapist would have had to make extensive use of his left hand in assaulting Mayella before raping her. Atticus then points out that Mayella's father, Bob Ewell (James Anderson), is left handed, implying that he – rather than Tom – was the one who beat Mayella. Atticus also states that the girl had not been examined by a doctor to check for signs of rape after the supposed assault. In his closing argument Atticus asks the all-white male jury to cast aside their prejudices and instead focus on Tom's obvious innocence. In taking the stand in his own defense, Tom denies he attacked Mayella, but states she kissed him. He testifies he voluntarily assisted Mayella because "I felt sorry for her because…". Although Tom does not finish his sentence, the prosecutor (William Windom) hammers home the point that he was a black man feeling sorry for a white woman. In a town where whites are viewed as superior to blacks, Tom's sympathy for Mayella dooms his case, and he is found guilty.

text: As Atticus leaves the courtroom, the black spectators in the balcony rise to their feet as a sign of respect and appreciation. Reverend Sykes says to Scout, "Miss Jean Louise, stand up. Your father's passing." When Atticus arrives home, Sheriff Heck Tate (Frank Overton) tells him that Tom has been killed by a deputy during his transfer to prison. According to this deputy, Tom was trying to escape, "running like a crazy man" before he was shot. Atticus and Jem go to the Robinson family home to inform them of Tom's death. Bob Ewell, Mayella's father, appears and spits in Atticus' face while Jem waits in the car. Atticus wipes his face and leaves.

text: Autumn arrives, and Scout and Jem attend a nighttime Halloween pageant at their school. Scout wears a large hard-shelled ham costume, portraying one of Maycomb county's products. At some point during the pageant, Scout's dress and shoes are misplaced. She is forced to walk home without shoes, wearing her ham costume. While cutting through the woods, Scout and Jem are attacked by an unidentified man who has been following them. Scout's costume, like an awkward suit of armor, protects her from the attack but restricts her movement and severely restricts her vision. Jem is knocked unconscious and Scout escapes unharmed in a brief but violent struggle. Their attacker is thwarted and overcome by another unidentified man. Scout escapes her costume in time to see the second man carrying Jem to their home. Scout follows the stranger inside and runs into the arms of a concerned Atticus. Doc Reynolds comes over and treats the broken arm of an unconscious Jem.

text: When Sheriff Tate asks Scout what happened, she sees a man standing quietly in the corner behind the door of Jem's room. Atticus formally introduces Scout to Arthur Radley, whom she has known as Boo, the man who came to the aid of Jem and Scout in the woods. It is revealed that Boo had overpowered Bob Ewell before carrying Jem home. The sheriff reports that Ewell was discovered dead at the scene of the attack with a knife in his ribs. Atticus assumes that Jem killed Ewell in self-defense. Sheriff Tate, however, believes that Boo killed Ewell in defense of the children, and he tells Atticus that to drag the shy and reserved Boo into the spotlight for his heroism would be "a sin". To protect Boo, Sheriff Tate suggests that Ewell "fell on his knife". Scout draws a startlingly precocious analogy, likening unwelcome public attention to Boo to the killing of a mockingbird.

text: Cast[edit]

text: In the order of the film's opening credits:

text:
Gregory Peck as Atticus Finch
John Megna as Charles Baker "Dill" Harris
Frank Overton as Sheriff Heck Tate
Rosemary Murphy as Miss Maudie Atkinson
Ruth White as Mrs Dubose
Brock Peters as Tom Robinson
Estelle Evans as Calpurnia
Paul Fix as Judge John Taylor
Collin Wilcox as Mayella Violet Ewell
James Anderson as Robert E. Lee "Bob" Ewell
Alice Ghostley as Miss Stephanie Crawford
Robert Duvall as Arthur "Boo" Radley
William Windom as Horace Gilmer, District Attorney
Crahan Denton as Walter Cunningham
Richard Hale as Nathan Radley
Mary Badham as Scout
Phillip Alford as Jem

text: Uncredited roles (in order of appearance)

text:
Kim Stanley.........Unseen narrator—the voice of adult Scout—"Maycomb was a tired old town – even in 1932 when I first knew it – that summer I was six years old."
Paulene Myers.........Mrs. Dubose's servant, sitting close to her on the Dubose porch (she has no speaking lines).
Jamie Forster.........Mr. Townsend, sitting on a bench, with three men, near the courthouse: "If you're lookin' for your daddy, he's inside the courthouse."
Steve Condit.........Mr. Cunningham's son Walter, at dinner with the Finch family: "Yes, sir. I don't know when I had roast. We been havin' squirrels and rabbits lately."
David Crawford.........David, Tom Robinson's son, sitting on the steps to the Robinsons' shack: "Good evening."
Kim Hamilton.........Helen, Tom Robinson's wife, inside the Robinsons' shack: "Good evening, Mr. Finch."
Dan White.........Mob leader approaching as Atticus Finch sits in front of the jailhouse: "He in there, Mr. Finch?"
Kelly Thordsen.........Heavyset member of the mob who grabs and picks up Jem: "Well, I'll send you home."
William "Bill" Walker.........Reverend Sykes, at the courthouse for Tom Robinson's trial: "Miss Jean Louise? Miss Jean Louise, stand up. Your father's passin'."
Charles Fredericks.........Court clerk at Tom Robinson's trial: "Place your hand on the bible, please. Do you solemnly swear to tell the truth...?"
Guy Wilkerson.........Jury foreman at Tom Robinson's trial: We find the defendant guilty as charged."
Jay Sullivan.........Court reporter at Tom Robinson's trial: "Yes."
Jester Hairston.........Tom Robinson's father in front of the Robinsons' shack: "Hello Mr. Finch. I'm Spence, Tom's father."
Hugh Sanders.........Doctor who examines Jem: "He's got a bad break, so far as I can tell. Somebody tried to wring his arm off."

text: Music[edit]

text:
To Kill a Mockingbird

Soundtrack album by Elmer Bernstein

Released
Early April 1963[4]

Recorded
August 1–2, 1996, City Halls, Glasgow

Label
Varèse Sarabande

text: Elmer Bernstein's score for To Kill a Mockingbird is regarded as one of the greatest film scores[5] and has been recorded three times. It was first released in April 1963 on Ava; then Bernstein re-recorded it in the 1970s for his Film Music Collection series; and finally, he recorded the complete score (below) in 1996 with the Royal Scottish National Orchestra for the Varese Sarabande Film Classics series.

text:
"Main Title" – 3:21
"Remember Mama" – 1:08
"Atticus Accepts The Case – Roll in the Tire" – 2:06
"Creepy Caper – Peek-A-Boo" – 4:10
"Ewell's Hatred" – 3:33
"Jem's Discovery" – 3:47
"Tree Treasure" – 4:23
"Lynch Mob" – 3:04
"Guilty Verdict" – 3:10
"Ewell Regret It" – 2:11
"Footsteps in the Dark" – 2:07
"Assault in the Shadows" – 2:28
"Boo Who" – 3:00
"End Title" – 3:25

tag: ol

text: Critical response[edit]

text: The film received widespread critical acclaim. As of March 2017, it maintains a 91% rating on Rotten Tomatoes, based on 56 reviews.[6] According to Bosley Crowther:[7]

text: "Horton Foote's script and the direction of Mr. Mulligan may not penetrate that deeply, but they do allow Mr. Peck and little Miss Badham and Master Alford to portray delightful characters. Their charming enactments of a father and his children in that close relationship, which can occur at only one brief period, are worth all the footage of the film. Rosemary Murphy as a neighbor, Brock Peters as the Negro on trial, and Frank Overton as a troubled sheriff are good as locality characters, too. James Anderson and Collin Wilcox as Southern bigots are almost caricatures. But those are minor shortcomings in a rewarding film."

text: Roger Ebert of the Chicago Sun-Times criticized the film for focusing less on the blacks, denouncing the cliché of the honest, white man standing for a helpless black:[8]

text: "It expresses the liberal pieties of a more innocent time, the early 1960s, and it goes very easy on the realities of small-town Alabama in the 1930s. One of the most dramatic scenes shows a lynch mob facing Atticus, who is all by himself on the jailhouse steps the night before Tom Robinson's trial. The mob is armed and prepared to break in and hang Robinson, but Scout bursts onto the scene, recognizes a poor farmer who has been befriended by her father, and shames him (and all the other men) into leaving. Her speech is a calculated strategic exercise, masked as the innocent words of a child; one shot of her eyes shows she realizes exactly what she's doing. Could a child turn away a lynch mob at that time, in that place? Isn't it nice to think so."

text: Gregory Peck's performance became synonymous with the role and character of Atticus Finch. Producer Alan J. Pakula remembered hearing from Peck when he was first approached with the role: "He called back immediately. No maybes. […] I must say the man and the character he played were not unalike".[9] Peck later said in an interview that he was drawn to the role because the book reminded him of growing up in La Jolla, California.[10] "Hardly a day passes that I don't think how lucky I was to be cast in that film", Peck said in a 1997 interview. "I recently sat at a dinner next to a woman who saw it when she was 14 years old, and she said it changed her life. I hear things like that all the time".[11]

text: Gregory Peck[edit]

text: The 1962 softcover edition of the novel opens with the following: The Southern town of Maycomb, Alabama, reminds me of the California town I grew up in. The characters of the novel are like people I knew as a boy. I think perhaps the great appeal of the novel is that it reminds readers everywhere of a person or a town they have known. It is to me a universal story – moving, passionate and told with great humor and tenderness. Gregory Peck.

text: Harper Lee, in liner notes written for the film's DVD re-release by Universal, wrote: "When I learned that Gregory Peck would play Atticus Finch in the film production of To Kill a Mockingbird, I was of course delighted: here was a fine actor who had made great films – what more could a writer ask for? ...The years told me his secret. When he played Atticus Finch, he had played himself, and time has told all of us something more: when he played himself, he touched the world".[12] Upon Peck's death in 2003, Brock Peters, who played Tom Robinson in the film version, quoted Harper Lee at Peck's eulogy, saying, "Atticus Finch gave him an opportunity to play himself". Peters concluded his eulogy stating, "To my friend Gregory Peck, to my friend Atticus Finch, vaya con Dios".[13] Peters remembered the role of Tom Robinson when he recalled, "It certainly is one of my proudest achievements in life, one of the happiest participations in film or theater I have experienced".[14] Peters remained friends not only with Peck but with Mary Badham throughout his life.

text: Peck himself admitted that many people have reminded him of this film more than any other film he has ever done.[15]

text: Awards and honors[edit]

text: In 1995 To Kill a Mockingbird was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[16] It is also Robert Duvall's big-screen debut, as the misunderstood recluse Boo Radley. Duvall was cast on the recommendation of screenwriter Horton Foote, who met him at Neighborhood Playhouse in New York City where Duvall starred in a 1957 production of Foote's play, The Midnight Caller.[17]

text: The American Film Institute named Atticus Finch the greatest movie hero of the 20th century.[18] Additionally, the AFI ranked the movie second on their 100 Years... 100 Cheers list, behind It's a Wonderful Life.[19] The film was ranked number 34 on AFI's list of the 100 greatest movies of all time, but moved up to number 25 on the 10th Anniversary list.[20] In June 2008, the AFI revealed its "Ten top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. To Kill a Mockingbird was acknowledged as the best film in the courtroom drama genre.[21]

text: In 2007 Hamilton was honored by the Harlem community for her part in the movie. She was the last surviving African-American adult who had a speaking part in the movie. When told of the award, she said, "I think it is terrific. I'm very pleased and very surprised".[22]

text:
AFI's 100 Years...100 Movies – #34
AFI's 100 Years...100 Heroes & Villains:

Atticus Finch – #1 Hero

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

"Miss Jean Louise, stand up. Your father's passing." – Nominated[23]
"You never really understand a person until you consider things from his point of view, until you climb inside of his skin and walk around in it." – Nominated[23]

AFI's 100 Years of Film Scores – #17
AFI's 100 Years...100 Cheers – #2
AFI's 100 Years...100 Movies: 10th Anniversary Edition– #25
AFI's 10 Top 10 – #1 Courtroom Drama

text: Academy Awards[edit]

text: The film won three Academy Awards out of the eight for which it was nominated.[24]

text:
Academy Award for Best Actor — Gregory Peck (The award was presented to Peck by Sophia Loren)
Academy Award for Best Adapted Screenplay – Horton Foote
Academy Award for Best Art Direction – Set Decoration, Black-and-White — (Henry Bumstead, Alexander Golitzen, and Oliver Emert)

text: Other nominations were for

text:
Best Picture (Producer, Alan J. Pakula)
Best Director (Robert Mulligan)
Best Cinematography, Black-and-White (Russell Harlan),
Best Actress in a Supporting Role (Mary Badham)
Best Music, Score — Substantially Original (Elmer Bernstein)

text: Its main competition was Lawrence of Arabia, which won the Oscar for Best Picture, Best Director and Best Original Score. Peter O'Toole had been nominated for Best Actor for his performance as T. E. Lawrence, but Peck won for Mockingbird. The Longest Day claimed the award for Best Cinematography, while Patty Duke was awarded Best Supporting Actress for her work in The Miracle Worker.

text: Golden Globe Awards[edit]

text:
Golden Globe Award for Best Actor – Motion Picture Drama — Gregory Peck
Golden Globe Award for Best Original Score — Motion Picture — Elmer Bernstein
Golden Globe Award for Best Film Promoting International Understanding — To Kill a Mockingbird

text: Cannes Film Festival[edit]

text: The film was selected for the 1963 Cannes Film Festival in feature film category, winning the Gary Cooper Award.[25][26]

text: Restoration[edit]

text: The film was restored and released on Blu-ray and DVD in 2012 as part of the 100th anniversary of Universal Pictures.[27]