document_title: Governor-General of India

question_text: who was first indian governor general of india

text: Governor-General of India

text: History[edit]

text: Many parts of the Indian subcontinent were governed by the East India Company, which nominally acted as the agent of the Mughal Emperor. In 1773, motivated by corruption in the Company, the British government assumed partial control over the governance of India with the passage of the Regulating Act of 1773. A Governor-General and Supreme Council of Bengal were appointed to rule over the Presidency of Fort William in Bengal. The first Governor-General and Council were named in the Act.

text: The Charter Act 1833 replaced the Governor-General and Council of Fort William with the Governor-General and Council of India. The power to elect the Governor-General was retained by the Court of Directors, but the choice became subject to the Sovereign's approval.

text: After the Indian Rebellion of 1857, the East India Company's territories in India were put under the direct control of the Sovereign. The Government of India Act 1858 vested the power to appoint the Governor-General in the Sovereign. The Governor-General, in turn, had the power to appoint all lieutenant governors in India, subject to the Sovereign's approval.

text: India and Pakistan acquired independence in 1947, but Governors-General continued to be appointed over each nation until republican constitutions were written. Louis Mountbatten, 1st Earl Mountbatten of Burma remained Governor-General of India for some time after independence, but the two nations were otherwise headed by native Governors-General. India became a secular republic in 1950; Pakistan became an Islamic one in 1956...

text: Functions[edit]

text: The Governor-General originally had power only over the Presidency of Fort William in Bengal. The Regulating Act, however, granted them additional powers relating to foreign affairs and defence. The other Presidencies of the East India Company (Madras, Bombay and Bencoolen) were not allowed to declare war on or make peace with an Indian prince without receiving the prior approval of the Governor-General and Council of Fort William.[citation needed]

text: The powers of the Governor-General, in respect of foreign affairs, were increased by the India Act 1784. The Act provided that the other Governors under the East India Company could not declare war, make peace or conclude a treaty with an Indian prince unless expressly directed to do so by the Governor-General or by the Company's Court of Directors.

text: While the Governor-General thus became the controller of foreign policy in India, he was not the explicit head of British India. That status came only with the Charter Act 1833, which granted him "superintendence, direction and control of the whole civil and military Government" of all of British India. The Act also granted legislative powers to the Governor-General and Council.

text: After 1858, the Governor-General (now usually known as the Viceroy) functioned as the chief administrator of India and as the Sovereign's representative. India was divided into numerous provinces, each under the head of a governor, Lieutenant Governor or Chief Commissioner or Administrator. Governors were appointed by the British Government, to whom they were directly responsible; Lieutenant Governors, Chief Commissioners, and Administrators, however, were appointed by and were subordinate to the Viceroy. The Viceroy also oversaw the most powerful princely rulers: the Nizam of Hyderabad, the Maharaja of Mysore, the Maharaja (Scindia) of Gwalior, the Maharaja of Jammu and Kashmir and the Gaekwad (Gaekwar) Maharaja of Baroda. The remaining princely rulers were overseen either by the Rajputana Agency and Central India Agency, which were headed by representatives of the Viceroy, or by provincial authorities.

text: The Chamber of Princes was an institution established in 1920 by a Royal Proclamation of King-Emperor George V to provide a forum in which the princely rulers could voice their needs and aspirations to the government. The chamber usually met only once a year, with the Viceroy presiding, but it appointed a Standing Committee, which met more often.

text: Upon independence in August 1947, the title of Viceroy was abolished. The representative of the British Sovereign became known once again as the Governor-General. C. Rajagopalachari became the only Indian Governor-General. However, once India acquired independence, the Governor-General's role became almost entirely ceremonial, with power being exercised on a day-to-day basis by the Indian cabinet. After the nation became a republic in 1950, the President of India continued to perform the same functions.

text: Council[edit]

text: The Governor-General was always advised by a Council on the exercise of his legislative and executive powers. The Governor-General, while exercising many functions, was referred to as the "Governor-General in Council."

text: The Regulating Act 1773 provided for the election of four counsellors by the East India Company's Court of Directors. The Governor-General had a vote along with the counsellors, but he also had an additional vote to break ties. The decision of the Council was binding on the Governor-General.

text: In 1784, the Council was reduced to three members; the Governor-General continued to have both an ordinary vote and a casting vote. In 1786, the power of the Governor-General was increased even further, as Council decisions ceased to be binding.

text: The Charter Act 1833 made further changes to the structure of the Council. The Act was the first law to distinguish between the executive and legislative responsibilities of the Governor-General. As provided under the Act, there were to be four members of the Council elected by the Court of Directors. The first three members were permitted to participate on all occasions, but the fourth member was only allowed to sit and vote when legislation was being debated.

text: In 1858, the Court of Directors ceased to have the power to elect members of the Council. Instead, the one member who had a vote only on legislative questions came to be appointed by the Sovereign, and the other three members by the Secretary of State for India.

text: The Indian Councils Act 1861 made several changes to the Council's composition. Three members were to be appointed by the Secretary of State for India, and two by the Sovereign. (The power to appoint all five members passed to the Crown in 1869). The Viceroy was empowered to appoint an additional six to twelve members (changed to ten to sixteen in 1892, and to sixty in 1909). The five individuals appointed by the Sovereign or the Indian Secretary headed the executive departments, while those appointed by the Viceroy debated and voted on legislation.

text: In 1919, an Indian legislature, consisting of a Council of State and a Legislative Assembly, took over the legislative functions of the Viceroy's Council. The Viceroy nonetheless retained significant power over legislation. He could authorise the expenditure of money without the Legislature's consent for "ecclesiastical, political [and] defense" purposes, and for any purpose during "emergencies." He was permitted to veto, or even stop debate on, any bill. If he recommended the passage of a bill, but only one chamber cooperated, he could declare the bill passed over the objections of the other chamber. The Legislature had no authority over foreign affairs and defence. The President of the Council of State was appointed by the Viceroy; the Legislative Assembly elected its President, but the election required the Viceroy's approval.

text: Style and title[edit]

text: Until 1833, the title of the position was "Governor-General of Bengal". The Government of India Act 1833 converted the title into "Governor-General of India." The title "Viceroy and Governor-General" was first used in the queen's proclamation appointing Viscount Canning in 1858.[3] It was never conferred by an act of parliament, but was used in warrants of precedence and in the statutes of knightly orders. In usage, "viceroy" is employed where the governor-general's position as the monarch's representative is in view.[4] The viceregal title was not used when the sovereign was present in India. It was meant to indicate new responsibilities, especially ritualistic ones, but it conferred no new statutory authority. The governor-general regularly used the title in communications with the Imperial Legislative Council, but all legislation was made only in the name of the Governor-General-in-Council (or the Government of India).[5]

text: The Governor-General was styled Excellency and enjoyed precedence over all other government officials in India. He was referred to as 'His Excellency' and addressed as 'Your Excellency'. From 1858 to 1947, the Governor-General was known as the Viceroy of India (from the French roi, meaning 'king'), and wives of Viceroys were known as Vicereines (from the French reine, meaning 'queen'). The Vicereine was referred to as 'Her Excellency' and was also addressed as 'Your Excellency'. Neither title was employed while the Sovereign was in India. However, the only reigning British Sovereign to visit India during the period of British rule was King George V, who accompanied by his consort Queen Mary attended the Delhi Durbar in 1911.[citation needed]

text: When the Order of the Star of India was founded in 1861, the Viceroy was made its Grand Master ex officio. The Viceroy was also made the ex officio Grand Master of the Order of the Indian Empire upon its foundation in 1877.

text: Most Governors-General and Viceroys were peers. Frequently, a Viceroy who was already a peer would be granted a peerage of higher rank, as with the granting of a marquessate to Lord Reading and an earldom and later a marquessate to Freeman Freeman-Thomas. Of those Viceroys who were not peers, Sir John Shore was a baronet, and Lord William Bentinck was entitled to the courtesy title 'Lord' because he was the son of a Duke. Only the first and last Governors-General – Warren Hastings and Chakravarti Rajagopalachari – as well as some provisional Governors-General, had no honorific titles at all.

text: Flag[edit]

text: From around 1885, the Viceroy of India was allowed to fly a Union Flag augmented in the centre with the 'Star of India' surmounted by a Crown. This flag was not the Viceroy's personal flag; it was also used by Governors, Lieutenant Governors, Chief Commissioners and other British officers in India. When at sea, only the Viceroy flew the flag from the mainmast, while other officials flew it from the foremast.

text: From 1947 to 1950, the Governor-General of India used a dark blue flag bearing the royal crest (a lion standing on the Crown), beneath which was the word 'India' in gold majuscules. The same design is still used by many other Commonwealth Realm Governors-General. This last flag was the personal flag of the Governor-General only.

text: Residence[edit]

text: The Governor-General of Fort William resided in Belvedere House, Calcutta, until the early nineteenth century, when Government House was constructed. In 1854, the Lieutenant Governor of Bengal took up residence there. Now, the Belvedere Estate houses the National Library of India.

text: Lord Wellesley, who is reputed to have said that ‘India should be governed from a palace, not from a country house’, constructed a grand mansion, known as Government House, between 1799 and 1803. The mansion remained in use until the capital moved from Calcutta to Delhi in 1912. Thereafter, the Lieutenant Governor of Bengal, who had hitherto resided in Belvedere House, was upgraded to a full Governor and transferred to Government House. Now, it serves as the residence of the Governor of the Indian state of West Bengal, and is referred to by its Bengali name Raj Bhavan.

text: After the capital moved from Calcutta to Delhi, the Viceroy occupied the newly built Viceroy's House, designed by Sir Edwin Lutyens. Though construction began in 1912, it did not conclude until 1929; the palace was not formally inaugurated until 1931. The final cost exceeded £877,000 (over £35,000,000 in modern terms) – more than twice the figure originally allocated. Today the residence, now known by the Hindi name of 'Rashtrapati Bhavan', is used by the President of India.

text: Throughout the British administration, Governors-General retreated to the Viceregal Lodge (Rashtrapati Niwas) at Shimla each summer to escape the heat, and the government of India moved with them. The Viceregal Lodge now houses the Indian Institute of Advanced Study.

text: Insignia[edit]

text:
Badge of the Governor-General (1885–1947)

Standard of the Governor-General (1885–1947)

Standard of the Governor-General (1947–50)


document_title: Ferris Bueller's Day Off

question_text: who played title role in ferris buellers day off

question_tokens: who played title role in ferris buellers day off

root

text: Ferris Bueller's Day Off

text: Plot[edit]

text: In suburban Chicago, near the end of the high school year, senior Ferris Bueller fakes sickness to stay home. Throughout the film, Ferris frequently breaks the fourth wall to talk about his friends and give the audience advice on how to skip school. His parents believe him, though his sister Jeannie is not convinced. Dean of Students Edward R. Rooney suspects Ferris is being truant again and commits to catching him. Ferris convinces his friend Cameron Frye, who really is absent due to illness, to help get Ferris' girlfriend Sloane Peterson out of school by reporting that her grandmother has died. To trick Rooney, Ferris sways Cameron to let them use his father's prized 1961 Ferrari 250 GT California Spyder to collect Sloane. Cameron is dismayed when Ferris continues to use the car to drive them into downtown Chicago to spend the day, but Ferris promises they will return it as it was.

tag: p

text: The trio leave the car with parking garage attendants who immediately take the car for a joy ride after they leave. Ferris, Cameron, and Sloane sightsee around the city, including the Art Institute of Chicago, Sears Tower, Chicago Mercantile Exchange, and Wrigley Field, while narrowly dodging sight by Mr. Bueller. Cameron remains disinterested, and Ferris attempts to cheer him up by impromptu joining a parade float during the Von Steuben Day parade and lip-syncing Wayne Newton's cover of "Danke Schoen", as well as a rendition of The Beatles' "Twist and Shout" that excites the gathered crowds.

text: Meanwhile, Rooney investigates the Bueller home to try to prove Ferris' truancy, getting into several pratfalls. At the same time, Jeannie, frustrated that the entire school believes Ferris has come down with a deathly illness, skips class and returns home to confront him, only to hear someone outside trying to break-in. Rooney flees while she calls the police; when they arrive, they arrest her for filing a false report, and contact her mother to collect her. While waiting, she meets a juvenile delinquent, who advises her not to worry so much about Ferris. Mrs. Bueller arrives at the station, upset about having to forgo a house sale, only to find Jeannie kissing the delinquent, infuriating her more.

text: Ferris and his friends collect the Ferrari and depart for home, but shortly discover many miles have been added to the odometer, and Cameron becomes catatonic. Back at Cameron's garage, Ferris sets the car on blocks and runs it in reverse to try to take miles off the odometer without success. Cameron finally snaps, and lets out his anger against his controlling father by repeatedly kicking the car. This causes it to fall off the blocks and race in reverse through the back of the garage and into the ravine below. Ferris offers to take the blame, but Cameron asserts he will stand up against his father.

text: Ferris returns Sloane home and realizes his parents are due home soon. As he races on foot through the neighborhood, he is nearly hit by Jeannie driving their mother home. She speeds off trying to beat Ferris home. Ferris makes it home first, to find Rooney waiting for him outside. Jeannie races into the house as their mother talks to their father about her behavior today. Jeannie discovers Rooney threatening Ferris, and has a change of heart; she tells him that she was just helping to return Ferris from the hospital, and shows Rooney his wallet that she had found from his earlier break-in attempts. Rooney flees while Ferris thanks Jeannie and rushes back to his bedroom to greet his parents while feigning his waning illness. As they leave, Ferris reminds the audience, "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."

text: The defeated Rooney heads home and is picked up by a school bus, further humiliated by the students. In a post-credits scene, Ferris emerges from his room, telling the audience that "It's over" and to "go home".

text: Cast[edit]

text:
Matthew Broderick as Ferris Bueller
Alan Ruck as Cameron Frye
Mia Sara as Sloane Peterson
Jennifer Grey as Jeannie Bueller
Jeffrey Jones as Edward R. Rooney
Lyman Ward as Tom Bueller
Cindy Pickett as Katie Bueller
Edie McClurg as Grace
Ben Stein as Economics Teacher
Del Close as English Teacher
Charlie Sheen as Garth Volbeck

tag: ul

text: Production[edit]

text: Writing[edit]

text: As he was writing the film in 1985, John Hughes kept track of his progress in a spiral-bound logbook. He noted that the basic storyline was developed on February 25. It was successfully pitched the following day to Paramount Studios chief Ned Tanen. Tanen was intrigued by the concept, but wary that the Writers Guild of America was hours away from picketing the studio.[5] Hughes wrote the screenplay in less than a week.[6] Editor Paul Hirsch explained that Hughes had a trance-like concentration to his script-writing process, working for hours on end, and would later shoot the film on essentially what was his first draft of the script. "The first cut of Ferris Bueller's Day Off ended up at two hours, 45 minutes. The shortening of the script had to come in the cutting room", said Hirsch.[7] "Having the story episodic and taking place in one day...meant the characters were wearing the same clothes. I suspect that Hughes writes his scripts with few, if any costume changes just so he can have that kind of freedom in the editing."[7]

text: Hughes intended the movie to be more focused on the characters rather than the plot. "I know how the movie begins, I know how it ends", said Hughes. "I don't ever know the rest, but that doesn't seem to matter. It's not the events that are important, it's the characters going through the event. Therefore, I make them as full and real as I can. This time around, I wanted to create a character who could handle everyone and everything."[8]

text: Casting[edit]

text: Hughes said that he had Broderick in mind when he wrote the screenplay, saying Broderick was the only actor he could think of who could pull off the role, calling him clever and charming.[9] "Certain guys would have played Ferris and you would have thought, 'Where's my wallet?'" Hughes said. "I had to have that look; that charm had to come through. Jimmy Stewart could have played Ferris at 15...I needed Matthew."[9] Other actors who were considered for the role included Jim Carrey, John Cusack, Tom Cruise and Michael J. Fox.[10]

text: Sara surprised Hughes when she auditioned for the role of Sloane Peterson. "It was funny. He didn't know how old I was and said he wanted an older girl to play the 17-year-old. He said it would take someone older to give her the kind of dignity she needed. He almost fell out of his chair when I told him I was only 18."[11] Molly Ringwald had also wanted to play Sloane, but according to Ringwald, "John wouldn't let me do it: he said that the part wasn't big enough for me."[5]

text: Ruck had previously auditioned for the Bender role in The Breakfast Club which went to Judd Nelson, but Hughes remembered Ruck and cast him as the 17-year-old Cameron Frye.[12] According to Hughes, the character of Cameron was largely based on a friend of his in high school. "He was sort of a lost person. His family neglected him, so he took that as license to really pamper himself. When he was legitimately sick, he actually felt good, because it was difficult and tiring to have to invent diseases but when he actually had something, he was relaxed."[13] Ruck said the role of Cameron had originally been offered to Emilio Estevez who turned it down. "Every time I see Emilio, I want to kiss him", said Ruck. "Thank you!"[5] Ruck, then 29, worried about the age difference. "I was worried that I'd be 10 years out of step, and I wouldn't know anything about what was cool, what was hip, all that junk. But when I was going to high school, I didn't know any of that stuff then, either. So I just thought, well, hell—I'll just be me. The character, he's such a loner that he really wouldn't give a damn about that stuff anyway. He'd feel guilty that he didn't know it, but that's it."[12] Ruck was not surprised to find himself cast young. "No, because, really, when I was 18, I sort of looked 12", he said. "Maybe it's a genetic imbalance."[12]

text: Ruck and Broderick had previously acted together in the Broadway production of Biloxi Blues. Cameron's Mr. Peterson voice was an in-joke imitation of their former director Gene Saks.[5] Ruck felt at ease working with Broderick, often crashing in his trailer. "We didn't have to invent an instant friendship like you often have to do in a movie", said Ruck. "We were friends."[5]

text: Jones was cast as Rooney based on his role in Amadeus, where he played the emperor; Hughes thought that character's modern equivalent was Rooney.[13] "My part was actually quite small in the script, but what seemed to be the important part to me was that I was the only one who wasn't swept along by Ferris", recalls Jones.[14] "So I was the only one in opposition, which presented a lot of opportunities, some of which weren't even in the script or were expanded on. John was receptive to anything I had to offer, and indeed got ideas along the way himself. So that was fun, working with him."[14] "Hughes told me at the time — and I thought he was just blowing his own horn — he said, 'You are going to be known for this for the rest of your life.' And I thought, 'Sure'... but he was right."[15] To help Jones study for the part, Hughes took him to meet his old vice principal. "This is the guy I want you to pay close attention to," Jones explained to Hughes' biographer Kirk Honeycutt. While meeting him, the VP's coat momentarily flew open revealing a holster and gun attached to the man's belt. This made Jones realize what Hughes had envisioned."The guy was 'Sign up for the Army quick before I kill you!'" Jones exclaimed.[16]

text: Stein says he got the role of Bueller's Economics teacher through six degrees of separation.[17] "Richard Nixon introduced me to a man named Bill Safire, who's a New York Times columnist. He introduced me to a guy who's an executive at Warner Brothers. He introduced me to a guy who's a casting director. He introduced me to John Hughes. John Hughes and I are among the only Republicans in the picture business, and John Hughes put me in the movie", Stein said.[17] Hughes said that Stein was an easy and early choice for the role of the teacher: "He wasn't a professional actor. He had a flat voice, he looked like a teacher."[13]

text: Filming[edit]

text: "Chicago is what I am," said Hughes.[2] "A lot of Ferris is sort of my love letter to the city. And the more people who get upset with the fact that I film there, the more I'll make sure that's exactly where I film. It's funny—nobody ever says anything to Woody Allen about always filming in New York. America has this great reverence for New York. I look at it as this decaying horror pit. So let the people in Chicago enjoy Ferris Bueller."[2]

text: For the film, Hughes got the chance to take a more expansive look at the city he grew up in. "We took a helicopter up the Chicago River. This is the first chance I'd really had to get outside while making a movie. Up to this point, the pictures had been pretty small. I really wanted to capture as much of Chicago as I could, not just the architecture and the landscape, but the spirit."[2] Shooting began in Chicago on September 9, 1985.[18] In late October 1985, the production moved to Los Angeles, and shooting ended on November 22.[19] The Von Steuben Day Parade scene was filmed on September 28. Scenes were filmed at several locations in downtown Chicago and Winnetka (Ferris's home, his mother's real estate office, etc.).[20] Many of the other scenes were filmed in Northbrook, Illinois, including at Glenbrook North High School, on School Drive, the long, curvy street on which Glenbrook North and neighboring Maple Middle School are situated.[21] The exterior of Ferris's house is located at 4160 Country Club Drive, Long Beach, California.[20]

text: The modernist house of Cameron Frye is located in Highland Park, Illinois. Known as the Ben Rose House,[22] it was designed by architects A. James Speyer, who designed the main building in 1954, and David Haid, who designed the pavilion in 1974. It was once owned by photographer Ben Rose, who had a car collection in the pavilion. In the film Cameron's father is portrayed as owning a Ferrari 250 GT California in the same pavilion.[23] According to Lake Forest College art professor Franz Shulze, during the filming of the scene where the Ferrari crashes out of the window, Haid explained to Hughes that he could prevent the car from damaging the rest of the pavilion.[24] Haid fixed connections in the wall and the building remained intact. Haid said to Hughes afterward, "You owe me $25,000", which Hughes paid.[24] Other scenes were shot in Chicago, River Forest, Oak Park, Northbrook, Highland Park, Glencoe and Winnetka, Lake Forest and Long Beach, California. After Ben Rose's death in 2009 the house was offered for sale and was sold in 2014.

text: According to Hughes, the scene at the Art Institute of Chicago was "a self-indulgent scene of mine—which was a place of refuge for me, I went there quite a bit, I loved it. I knew all the paintings, the building. This was a chance for me to go back into this building and show the paintings that were my favorite." The museum had not been shot in, until the producers of the film approached them.[13] "I remember Hughes saying, 'There are going to be more works of art in this movie than there have ever been before,'" recalled Jennifer Grey.[5]

text: According to editor Paul Hirsch, in the original cut, the museum scene fared poorly at test screenings until he switched sequences around and Hughes changed the soundtrack.[25]

text: The piece of music I originally chose was a classical guitar solo played on acoustic guitar. It was nonmetrical with a lot of rubato. I cut the sequence to that music and it also became nonmetrical and irregular. I thought it was great and so did Hughes. He loved it so much that he showed it to the studio but they just went "Ehhh." Then after many screenings where the audience said "The museum scene is the scene we like least", he decided to replace the music. We had all loved it, but the audience hated it. I said, 'I think I know why they hate the museum scene. It's in the wrong place.' Originally, the parade sequence came before the museum sequence, but I realized that the parade was the highlight of the day, there was no way we could top it, so it had to be the last thing before the three kids go home. So that was agreed upon, we reshuffled the events of the day, and moved the museum sequence before the parade. Then we screened it and everybody loved the museum scene! My feeling was that they loved it because it came in at the right point in the sequence of events. John felt they loved it because of the music. Basically, the bottom line is, it worked.[25]

text: The music used for the final version of the museum sequence is an instrumental cover version of The Smiths' "Please, Please, Please, Let Me Get What I Want", performed by The Dream Academy. A passionate Beatles fan, Hughes makes multiple references to them and John Lennon in the script. During filming, Hughes "listened to The White Album every single day for fifty-six days".[26] Hughes also pays tribute to his childhood hero Gordie Howe with Cameron's Detroit Red Wings jersey.[27] "I sent them the jersey", said Howe. "It was nice seeing the No. 9 on the big screen."[28]

text: Car[edit]

text: In the film, Ferris convinces Cameron to borrow his father's rare 1961 Ferrari GT California. "The insert shots of the Ferrari were of the real 250 GT California", Hughes explains in the DVD commentary. "The cars we used in the wide shots were obviously reproductions. There were only 100 of these cars, so it was way too expensive to destroy. We had a number of replicas made. They were pretty good, but for the tight shots I needed a real one, so we brought one in to the stage and shot the inserts with it."[13]

text: Prior to filming, Hughes learned about Modena Design and Development who produced the Modena Spyder California, a replica of the Ferrari 250 GT.[29] Hughes saw a mention of the company in a car magazine and decided to research them. Neil Glassmoyer recalls the day Hughes contacted him to ask about seeing the Modena Spyder:

text: The first time he called I hung up on him because I thought it was a friend of mine who was given to practical jokes. Then he called back and convinced me it really was him, so Mark and I took the car to his office. While we were waiting outside to meet Hughes this scruffy-looking fellow came out of the building and began looking the car over; we thought from his appearance he must have been a janitor or something. Then he looked up at a window and shouted, 'This is it!' and several heads poked out to have a look. That scruffy-looking fellow was John Hughes, and the people in the window were his staff. Turned out it was between the Modena Spyder and a Porsche Turbo, and Hughes chose the Modena.[29]

text: Automobile restorationist Mark Goyette designed the kits for three reproductions used in the film and chronicled the whereabouts of the cars today: [30]

text:
"Built by Goyette and leased to Paramount for the filming. It's the one that jumps over the camera, and is used in almost every shot. At the end of filming, Paramount returned it to Goyette, with the exhaust crushed and cracks in the body. "There was quite a bit of superficial damage, but it held up amazingly well", he said. He rebuilt it, and sold it to a young couple in California. The husband later ran it off the road, and Goyette rebuilt the front end for him. That owner sold it in the mid-90s, and it turned up again around 2000, but hasn't emerged since."[30]
"Sold to Paramount as a kit for them to assemble as their stunt car, they did such a poor job that it was basically unusable, aside from going backwards out the window of Cameron's house. Rebuilt, it ended up at Planet Hollywood in Minneapolis and was moved to Planet Hollywood in Cancun when this one was closed."[30]
"Another kit, supposed to be built as a shell for the out the window scene, it was never completed at all, and disappeared after the film was completed. Goyette thinks he once heard it was eventually completed and sold off, but it could also still be in a back lot at Paramount."[30]

tag: ol

text: One of the "replicars" was sold by Bonhams on April 19, 2010, at the Royal Air Force Museum at Hendon, United Kingdom for £79,600.[31][32]

text: The "replicar" was "universally hated by the crew", said Ruck. "It didn't work right." The scene in which Ferris turns off the car to leave it with the garage attendant had to be shot a dozen times because it would not start.[5] The car was built with a real wheel base, but used a Ford V8 engine instead of a V12.[33] At the time of filming, the original 250 GT California model was worth $350,000.[5] Since the release of the film, it has become one of the most expensive cars ever sold, going at auction in 2008 for $10,976,000 [34] and more recently in 2015 for $16,830,000.[35] The vanity plate of Cameron's dad's Ferrari spells NRVOUS and the other plates seen in the film are homages to Hughes's earlier works, VCTN (National Lampoon's Vacation), TBC (The Breakfast Club), MMOM (Mr. Mom), as well as 4FBDO (Ferris Bueller's Day Off).

text: Economic lecture[edit]

text: Ben Stein's famous monotonous lecture about the Smoot-Hawley Tariff Act was not originally in Hughes's script. Stein, by happenstance, was lecturing off-camera to the amusement of the student cast. "I was just going to do it off camera, but the student extras laughed so hard when they heard my voice that (Hughes) said do it on camera, improvise, something you know a lot about. When I gave the lecture about supply-side economics, I thought they were applauding. Everybody on the set applauded. I thought they were applauding because they had learned something about supply-side economics. But they were applauding because they thought I was boring...It was the best day of my life", Stein said.[17]

text: Parade scene[edit]

text: The parade scene took multiple days of filming; Broderick spent some time practicing the dance moves. "I was very scared", Broderick said. "Fortunately, the sequence was carefully choreographed beforehand. We worked out all the moves by rehearsing in a little studio. It was shot on two Saturdays in the heart of downtown Chicago. The first day was during a real parade, and John got some very long shots. Then radio stations carried announcements inviting people to take part in 'a John Hughes movie'. The word got around fast and 10,000 people showed up! For the final shot, I turned around and saw a river of people. I put my hands up at the end of the number and heard this huge roar. I can understand how rock stars feel. That kind of reaction feeds you."[36][37]

text: Broderick's moves were choreographed by Kenny Ortega (later, of Dirty Dancing fame). Much of it had to be scrapped though as Broderick had injured his knee badly during the scenes of running through neighbors' backyards. "I was pretty sore", Broderick said. "I got well enough to do what you see in the parade there, but I couldn't do most of Kenny Ortega's knee spins and things like that that we had worked on. When we did shoot it, we had all this choreography and I remember John would yell with a megaphone, 'Okay, do it again, but don't do any of the choreography,' because he wanted it to be a total mess." "Danke Schoen" was somewhat choreographed but for "Twist and Shout", Broderick said, "we were just making everything up".[5] Hughes explained that much of the scene was spontaneously filmed. "It just happened that this was an actual parade, which we put our float into—unbeknownst to anybody, all the people on the reviewing stand. Nobody knew what it was, including the governor."[13]

text: Wrigley Field[edit]

text: Wrigley Field is featured in two interwoven and consecutive scenes. In the first scene, Rooney is looking for Ferris at a pizza joint while the voice of Harry Caray announces the action of a ballgame that is being shown on TV. From the play-by-play descriptions, the uniforms, and the player numbers, this game has been identified as the June 5, 1985, game between the Atlanta Braves and the Chicago Cubs.[18][38] The batter rips a foul ball into the left field stands, and as Rooney looks away from the TV briefly, the TV cameras show a close up of Ferris a moment after catching it. The scene in the pizza joint continues as Rooney tries to banter about the game with the guy behind the counter.

text: In the next scene, Sloane, Cameron, and Ferris are in the left field stands inside Wrigley. Ferris flexes his hand in pain after supposedly catching the foul ball. During this scene, the characters enjoy the game and joke about what they would be doing if they had played by the rules. All these "in the park" shots, including the one from the previous scene where Ferris catches the foul ball on TV, were filmed on September 24, 1985, at a game between the Montreal Expos and the Cubs. During the 1985 season, the Braves and the Expos both wore powder blue uniforms during their road games. And so, with seamless editing by Hughes, it is difficult to distinguish that the game being seen and described in the pizza joint is not only a different game but also a different Cubs' opponent than the one filmed inside the stadium.[39]

text: John Hughes had originally wanted to film the scene at the baseball game at Comiskey Park, as Hughes was a Chicago White Sox fan. However, due to time constraints, the location was moved to Wrigley Field at the last minute.

text: On October 1, 2011, Wrigley Field celebrated the 25th anniversary of the film by showing it on three giant screens on the infield.[40]

text: Deleted scenes[edit]

text: Several scenes were cut from the final film; one lost scene entitled "The Isles of Langerhans" has the three teenagers trying to order in the French restaurant, shocked to discover pancreas on the menu (although in the finished film, Ferris still says, "We ate pancreas", while recapping the day). This is featured on the Bueller, Bueller Edition DVD. Other scenes were never made available on any DVD version.[41] These scenes included additional screen time with Jeanie in a locker room, Ferris' younger brother and sister (both of whom were completely removed from the film), and additional/alternate lines of dialogue throughout the film, all of which can be seen in the original theatrical trailer. Hughes had also wanted to film a scene where Ferris, Sloane, and Cameron go to a strip club. Paramount executives told him there were only so many shooting days left, so the scene was scrapped.[5]

text: Music[edit]

text: Limited edition fan club soundtrack[edit]

text: An official soundtrack was not originally released for the film, as director John Hughes felt the songs would not work well together as a continuous album.[42] However, according to an interview with Lollipop Magazine, Hughes noted that he had sent 100,000 7" vinyl singles containing two songs featured in the film to members of his fan mailing list.[43]

text: Hughes gave further details about his refusal to release a soundtrack in the Lollipop interview:

text: The only official soundtrack that Ferris Bueller's Day Off ever had was for the mailing list. A&M was very angry with me over that; they begged me to put one out, but I thought "who'd want all of these songs?" I mean, would kids want "Danke Schoen" and "Oh Yeah" on the same record? They probably already had "Twist and Shout", or their parents did, and to put all of those together with the more contemporary stuff, like the (English) Beat—I just didn't think anybody would like it. But I did put together a seven-inch of the two songs I owned the rights to—"Beat City" on one side, and... I forget, one of the other English bands on the soundtrack... and sent that to the mailing list. By '86, '87, it was costing us $30 a piece to mail out 100,000 packages. But it was a labor of love.[43]

text: Songs in the film[edit]

text: Songs featured in the film include:

text:
"Love Missile F1-11" (Extended Version) by Sigue Sigue Sputnik
"Jeannie" (Theme from I Dream of Jeannie)
"Beat City" by The Flowerpot Men
"Main Title" by John Williams (From Star Wars)
"Please, Please, Please, Let Me Get What I Want" (instrumental) by The Dream Academy (a cover of a song by The Smiths)
"The Celebrated Minuet" by Luigi Boccherini (Performed by the Zagreb Philharmonic Chamber Studio)
"Danke Schoen" by Wayne Newton
"Twist and Shout" by The Beatles
"Radio People" by Zapp
"I'm Afraid" by Blue Room
"Taking the Day Off" by General Public
"The Edge of Forever" by The Dream Academy
"March of the Swivelheads" (a remix of "Rotating Head") by The (English) Beat
"Oh Yeah" by Yello
"BAD" by Big Audio Dynamite
"Go Down Moses" credited to the Fisk Jubilee Singers in 1871 (The dirge-like song that Cameron sings to himself while lying in his sick bed)

text: "Danke Schoen" is one of the recurring motifs in the film and is sung by Ferris, Ed Rooney, and Jeanie. Hughes called it the "most awful song of my youth. Every time it came on, I just wanted to scream, claw my face. I was taking German in high school—which meant that we listened to it in school. I couldn't get away from it."[13] According to Broderick, Ferris's singing "Danke Schoen" in the shower was his idea. "Although it's only because of the brilliance of John's deciding that I should sing "Danke Schoen" on the float in the parade. I had never heard the song before. I was learning it for the parade scene. So we're doing the shower scene and I thought, 'Well, I can do a little rehearsal.' And I did something with my hair to make that Mohawk. And you know what good directors do: they say, 'Stop! Wait till we roll.' And John put that stuff in."[44]

text: 2016 soundtrack[edit]

text:
Ferris Bueller's Day Off

Soundtrack album by various artists

Released
September 13, 2016

Genre
new wave

Length
76:47

Label
La-La Land Records

tag: table

text: The soundtrack for the film, limited to 5,000 copies, was released on September 13, 2016 by La-La Land Records. The album includes new wave and pop songs featured in the film, as well as Ira Newborn's complete score, including unused cues.[45] Due to licensing restrictions, "Twist and Shout," "Taking The Day Off," and "March of the Swivelheads" were not included, but are available elsewhere. The Flowerpot Men's "Beat City" makes its first official release on CD with a new mix done by The Flowerpot Men's Ben Watkins and Adam Peters that differs from the original 7" fan club release.[45][46]

text:
No.
Title
Performer
Length

1.
"Love Missile F1-11 (Ultraviolence Mix)"
Sigue Sigue Sputnik
6:58

2.
"Oh Yeah"
Yello
3:08

3.
"Beat City"
The Flowerpot Men
3:37

4.
"B.A.D."
Big Audio Dynamite
5:47

5.
"Please, Please, Please, Let Me Get What I Want"
The Dream Academy
3:09

6.
"Danke Schoen"
Wayne Newton
2:35

7.
"Radio People"
Zapp
5:40

8.
"I'm Afraid"
Blue Room
4:51

9.
"The Edge of Forever"
The Dream Academy
4:21

text:
Original Score by Ira Newborn

No.
Title
{{{extra_column}}}
Length

10.
"Ferris in Bed"

0:57

11.
"Cameron in Bed/Ferris Goes Hawaiian"

1:44

12.
"I’ll Go (unused)"

1:02

13.
"Nurse"

0:11

14.
"Ferris on Line 2"

0:43

15.
"Bueller, Ferris Bueller"

0:08

16.
"Mom Checks on Ferris"

1:40

17.
"Jeannie Turns Ugly"

0:34

18.
"Rooney on Patrol"

1:26

19.
"Save It, Ferris (unused)"

0:40

20.
"Rooney Sneaks Around/Star Wars (Main Title)"

2:25

21.
"Going to Take a Stand (unused)"

3:30

22.
"Cameron Takes the Heat"

0:55

23.
"Oh Shauna Jeannie"

0:46

24.
"He’s Gonna Marry Me (unused)"

1:22

25.
"Dog Food Rooney/Ferris Goes to Bed"
Hollywood Studio Symphony
0:59

26.
"Mom, Dad and Ferris"

1:34

27.
"Ferris on Line 2 (alternate)"

0:41

text:
Alternate Score Cues

No.
Title
Length

28.
"Theme from Star Trek (unused)"
0:30

29.
"Cameron Takes the Heat (alternate)"
0:57

text:
Source Cues

No.
Title
{{{extra_column}}}
Length

30.
"Coughlin Bros. Mortuary"
Hollywood Studio Symphony
0:27

31.
"Celebrated Minuet"
Hollywood Studio Symphony
1:37

32.
"Ballpark Baloney"
Hollywood Studio Symphony
1:10

33.
"Polka Medley"
Hollywood Studio Symphony
3:18

text:
Bonus Tracks

No.
Title
Performer
Length

34.
"I’m Afraid (Instrumental Film Version)"
Blue Room
4:51

35.
"Twist and Shout (Marching Band Overlay)"

2:35

text: Reception[edit]

text: Critical[edit]

text: The film largely received positive reviews from critics. It is "Certified Fresh" on Rotten Tomatoes, having an aggregated score of 81% (based on 62 critics' reviews), and an average rating of 7.7/10. The site's consensus reads "Matthew Broderick charms in Ferris Bueller's Day Off, a light and irrepressibly fun movie about being young and having fun."[47] Roger Ebert gave it three out of four stars, calling it "one of the most innocent movies in a long time,” and “a sweet, warm-hearted comedy."[48] Richard Roeper called the film "one of my favorite movies of all time. It has one of the highest 'repeatability' factors of any film I've ever seen ... I can watch it again and again. There's also this, and I say it in all sincerity: Ferris Bueller's Day Off is something of a suicide prevention film, or at the very least a story about a young man trying to help his friend gain some measure of self-worth ... Ferris has made it his mission to show Cameron that the whole world in front of him is passing him by, and that life can be pretty sweet if you wake up and embrace it. That's the lasting message of Ferris Bueller's Day Off."[49] Roeper pays homage to the film with a license plate that reads "SVFRRIS".[50] Conservative columnist George Will hailed Ferris as "the moviest movie," a film "most true to the general spirit of the movies, the spirit of effortless escapism."[51]

text: Essayist Steve Almond called Ferris "the most sophisticated teen movie [he] had ever seen," adding that while Hughes had made a lot of good movies, Ferris was the "one film [he] would consider true art, [the] only one that reaches toward the ecstatic power of teendom [sic] and, at the same time, exposes the true, piercing woe of that age." Almond also applauded Ruck's performance, going so far as saying he deserved the Academy Award for Best Supporting Actor of 1986: "His performance is what elevates the film, allows it to assume the power of a modern parable."[52] The New York Times reviewer Nina Darnton criticized Mia Sara's portrayal of Sloane for lacking "the specific detail that characterized the adolescent characters in Hughes's other films", asserting she "created a basically stable but forgettable character."[53][54] Conversely, Darnton praised Ruck and Grey's performances: "The two people who grow in the movie—Cameron, played with humor and sensitivity by Alan Ruck, and Ferris's sister Jeanie, played with appropriate self-pity by Jennifer Grey—are the most authentic. Grey manages to play an insufferably sulky teen-ager who is still attractive and likable."[53]

text: National Review writer Mark Hemingway lauded the film's celebration of liberty. "If there's a better celluloid expression of ordinary American freedom than Ferris Bueller's Day Off, I have yet to see it. If you could take one day and do absolutely anything, piling into a convertible with your best girl and your best friend and taking in a baseball game, an art museum, and a fine meal seems about as good as it gets," wrote Hemingway.[55]

text: Others were less enamored with Ferris, many taking issue with the film's "rebel without a cause" hedonism. David Denby of New York Magazine, called the film "a nauseating distillation of the slack, greedy side of Reaganism."[56] Author Christina Lee agreed, adding it was a “splendidly ridiculous exercise in unadulterated indulgence,” and the film “encapsulated the Reagan era's near solipsist worldview and insatiable appetite for immediate gratification—of living in and for the moment....”[57] Gene Siskel panned the film from a Chicago-centric perspective saying “Ferris Bueller doesn't do anything much fun ... [t]hey don't even sit in the bleachers where all the kids like to sit when they go to Cubs games.”[58] Siskel did enjoy the chemistry between Jennifer Grey and Charlie Sheen. Ebert thought Siskel was too eager to find flaws in the film's view of Chicago.[58]

text: Accolades[edit]

text: Broderick was nominated for a Golden Globe Award in 1986 for Best Actor – Motion Picture Musical or Comedy.

text: American Film Institute recognition:

text:
AFI's 100 Years... 100 Laughs - Nominated
AFI's 100 Years... 100 Movie Quotes “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” - Nominated.

text: Box office[edit]

text: The film opened in 1,330 theaters in the United States and had a total weekend gross of $6,275,647, opening at #2. Ferris Bueller's Day Off's total gross in the United States was approximately $70,136,369, making it a box office success.[1] It subsequently became the 10th-highest-grossing film of 1986.[59]

text: Rankings[edit]

text: As an influential and popular film, Ferris Bueller's Day Off has been included in many film rating lists. The film is number 54 on Bravo's "100 Funniest Movies", came 26th in the British 50 Greatest Comedy Films and ranked number 10 on Entertainment Weekly's list of the "50 Best High School Movies".[60]

text: Cultural impact[edit]

text: First Lady Barbara Bush paraphrased the film in her 1990 commencement address at Wellesley College: "Find the joy in life, because as Ferris Bueller said on his day off, 'Life moves pretty fast; if you don't stop and look around once in a while, you could miss it!'" Responding to the audience's enthusiastic applause, she added "I'm not going to tell George ya clapped more for Ferris than ya clapped for George."[61]

text: Other phrases from Ferris Bueller's Day Off such as Stein's nasally-voiced "Bueller? ...Bueller? ...Bueller?" (while taking roll call in class), and "Anyone? Anyone?" (trying to probe the students for answers) as well as Kristy Swanson's cheerful "No problem whatsoever!" also permeated popular culture.[62] In fact, Stein's monotone performance launched his acting career.[63] In 2016, Stein reprised the attendance scene in a campaign ad[64] for Iowa Senator Charles Grassley; Stein intoned the last name of Grassley's opponent (Patty Judge), to silence, while facts about her missed votes and absences from state board meetings were listed. Stein then calls out "Grassley," which gets a response; Stein mutters, "He's always here."[65]

text: Broderick said of the Ferris Bueller role, "It eclipsed everything, I should admit, and to some degree it still does."[5] Later at the 2010 Oscar tribute to Hughes, he said, "For the past 25 years, nearly every day someone comes up to me, taps me on the shoulder and says, 'Hey, Ferris, is this your day off?'"[66]

text: Ruck says that with Cameron Frye, Hughes gave him "the best part I ever had in a movie, and any success that I've had since 1985 is because he took a big chance on me. I'll be forever grateful."[67] "While we were making the movie, I just knew I had a really good part", Ruck says. "My realization of John's impact on the teen-comedy genre crept in sometime later. Teen comedies tend to dwell on the ridiculous, as a rule. It's always the preoccupation with sex and the self-involvement, and we kind of hold the kids up for ridicule in a way. Hughes added this element of dignity. He was an advocate for teenagers as complete human beings, and he honored their hopes and their dreams. That's what you see in his movies."[67]

text: Lyman Ward and Cindy Pickett, who play the parents, met on the set in 1986 and were married a short time after that. The two again played parents in the 1992 horror film Sleepwalkers.

text: Broderick starred in a television advertisement prepared by Honda promoting its CR-V for the 2012 Super Bowl XLVI. The ad pays homage to Ferris Bueller, featuring Broderick (as himself) faking illness to skip out of work to enjoy sightseeing around Los Angeles. Several elements, such as the use of the song "Oh Yeah", and a valet monotonously calling for "Broderick... Broderick...", appear in the ad. A teaser for the ad had appeared two weeks prior to the Super Bowl, which had created rumors of a possible film sequel.[68] It was produced by Santa Monica-based RPA and directed by Todd Phillips.[69] AdWeek's Tim Nudd called the ad "a great homage to the original 1986 film, with Broderick this time calling in sick to a film shoot and enjoying another day of slacking."[69] On the other hand, Jalopnik's Matt Hardigree called the spot "sacrilegious".[70][71]

text: The 2016 movie Deadpool's post-credit scene is an homage to Ferris Bueller's post-credit scene. Deadpool is dressed in a robe and talks directly to the audience in a hallway that looks similar to the one in the movie. Similar to Ferris, Deadpool says "You're still here? It's over. Go home." At the end of the scene, Deadpool leans back into the frame from behind a doorway, and makes the "Chicka-chickahhhh" sound from Ferris Bueller.[72]

text: An episode titled "Brian Finch’s Black Op" of the 2016 TV series Limitless paid homage to the movie.[73]

text: In March 2017, Domino's Pizza began an advertising campaign parodying the film, featuring actor Joe Keery in the lead role.[74]

text: The 2017 movie "Spider-Man: Homecoming also pays tribute to "Ferris Bueller".The scene involving Spider-Man chasing Herman Schultz and Jackson Brice has Spidey jumping and running through backyards to catch the criminals.One can also see "Ferris Bueller's Day Off" being played.

text: Music[edit]

text:
Yello – Oh Yeah excerpt

An excerpt from "Oh Yeah"

Problems playing this file? See media help.

text: The film's influence in popular culture extends beyond the film itself to how musical elements of the film have been received as well, for example, Yello's song "Oh Yeah". As Jonathan Bernstein explains, "Never a hit, this slice of Swiss-made tomfoolery with its varispeed vocal effects and driving percussion was first used by John Hughes to illustrate the mouthwatering must-haveness of Cameron's dad's Ferrari. Since then, it has become synonymous with avarice. Every time a movie, TV show or commercial wants to underline the jaw-dropping impact of a hot babe or sleek auto, that synth-drum starts popping and that deep voice rumbles, 'Oh yeah . . .'"[76] Concerning the influence of another song used in the film, Roz Kaveney writes that some "of the finest moments in later teen film draw on Ferris's blithe Dionysian fervour — the elaborate courtship by song in 10 Things I Hate About You (1999) draws usefully on the "Twist and Shout" sequence in Ferris Bueller's Day Off".[77] The bands Save Ferris and Rooney were named in allusion to Ferris Bueller's Day Off.[78][79]

text: "Twist and Shout" charted again, 16 years after the Beatles broke up, as a result of its prominent appearance in both this film and Back To School (where Rodney Dangerfield performs a cover version) which was released the same weekend as Ferris Bueller's Day Off. The re-released single reached #23 in the U.S; a US-only compilation album containing the track The Early Beatles, re-entered the album charts at #197. The version heard in the film includes brass overdubbed onto the Beatles' original recording, which did not go down well with Paul McCartney. "I liked [the] film but they overdubbed some lousy brass on the stuff! If it had needed brass, we'd had stuck it on ourselves!"[75] Upon hearing McCartney's reaction, Hughes felt bad for "offend[ing] a Beatle. But it wasn't really part of the song. We saw a band [onscreen] and we needed to hear the instruments."[13]

text: Sequel[edit]

text: Broderick and Hughes stayed in touch for a while after production. "We thought about a sequel to Ferris Bueller, where he'd be in college or at his first job, and the same kind of things would happen again. But neither of us found a very exciting hook to that. The movie is about a singular time in your life."[44] "Ferris Bueller is about the week before you leave school, it's about the end of school—in some way, it doesn't have a sequel. It's a little moment and it's a lightning flash in your life. I mean, you could try to repeat it in college or something but it's a time that you don't keep. So that's partly why I think we couldn't think of another", Broderick added. "But just for fun", said Ruck, "I used to think why don't they wait until Matthew and I are in our seventies and do Ferris Bueller Returns and have Cameron be in a nursing home. He doesn't really need to be there, but he just decided his life is over, so he committed himself to a nursing home. And Ferris comes and breaks him out. And they go to, like, a titty bar and all this ridiculous stuff happens. And then, at the end of the movie, Cameron dies."[5]

text: Academic analysis[edit]

text: Many scholars have discussed at length the film's depiction of academia and youth culture. For Martin Morse Wooster, the film "portrayed teachers as humorless buffoons whose only function was to prevent teenagers from having a good time".[80] Regarding not specifically teachers, but rather a type of adult characterization in general, Art Silverblatt asserts that the "adults in Ferris Bueller's Day Off are irrelevant and impotent. Ferris's nemesis, the school disciplinarian, Mr. Rooney, is obsessed with 'getting Bueller.' His obsession emerges from envy. Strangely, Ferris serves as Rooney's role model, as he clearly possesses the imagination and power that Rooney lacks. ... By capturing and disempowering Ferris, Rooney hopes to ... reduce Ferris's influence over other students, which would reestablish adults, that is, Rooney, as traditional authority figures."[81] Nevertheless, Silverblatt concludes that "Rooney is essentially a comedic figure, whose bumbling attempts to discipline Ferris are a primary source of humor in the film".[81] Thomas Patrick Doherty writes that "the adult villains in teenpics such as ... Ferris Bueller's Day Off (1986) are overdrawn caricatures, no real threat; they're played for laughs".[82] Yet Silverblatt also remarks that casting "the principal as a comic figure questions the competence of adults to provide young people with effective direction—indeed, the value of adulthood itself".[81]

text: Adults are not the stars or main characters of the film, and Roz Kaveney notes that what "Ferris Bueller brings to the teen genre, ultimately, is a sense of how it is possible to be cool and popular without being rich or a sports hero. Unlike the heroes of Weird Science, Ferris is computer savvy without being a nerd or a geek — it is a skill he has taken the trouble to learn."[83]

text: In 2010, English comedian Dan Willis performed his show "Ferris Bueller's Way Of..." at the Edinburgh Festival, delving into the philosophy of the movie and looking for life answers within.[84]

text: Home media[edit]

text: The film was first released on VHS and Laserdisc in 1987, and then re-released on VHS in 1996. The film has been released on DVD three times; including the original DVD release October 19, 1999, the Bueller... Bueller edition January 2006, and the I Love the '80s edition August 19, 2008.[85] The original DVD, like most Paramount Pictures films released on DVD for the first time, has very few bonus features, but it does feature a commentary by Hughes. Though this is no longer available for sale, the director's commentary is available here.[86] The Bueller... Bueller re-release has several more bonus features, but does not contain the commentary track of the original DVD release. The I Love the '80s edition is identical to the first DVD release (no features aside from commentary), but includes a bonus CD with songs from the 1980s. The songs are not featured in the film. The Bueller... Bueller edition has multiple bonus features such as interviews with the cast and crew, along with a clip of Stein's commentaries on the film's philosophy and impact. The Blu-ray Disc release (which is a part of the Bueller... Bueller edition, with the same bonus material) was first released on May 5, 2009. A 25th anniversary edition for DVD and Blu-ray were both released on August 2, 2011.[85]

text: Television series[edit]

text: In 1990, a series called Ferris Bueller started for NBC, starring Charlie Schlatter as Ferris Bueller, Jennifer Aniston as Jeanie Bueller, and Ami Dolenz as Sloane Peterson. The series served as a prequel to the film. In the pilot episode, the audience sees Schlatter cutting up a cardboard cutout of Matthew Broderick, saying that he hated Broderick's performance as him. It was produced by Maysh, Ltd. Productions in association with Paramount Television. In part because of competition of the similar series on the Fox Television Network, Parker Lewis Can't Lose,[87] the series was canceled after the first thirteen episodes aired. Both Schlatter and Aniston later had success on other TV shows, Schlatter on Diagnosis: Murder and Aniston on Friends.


document_title: USS Enterprise (NCC-1701)

question_text: what does ncc mean on the starship enterprise

text: USS Enterprise (NCC-1701)

text: Origin and design[edit]

text: Television[edit]

text: Star Trek art director Matt Jefferies was the primary designer of the original Enterprise, which was originally named Yorktown in series creator Gene Roddenberry's first outline drafts of the series.[8] Jefferies' experience with aviation led to his Enterprise designs being imbued with what he called "aircraft logic".[9]

text: The ship's "NCC-1701" registry number stemmed from "NC" being one of the international aircraft registration codes assigned to the United States; the second "C" was added as Soviet aircraft used "CCCC" and Matt Jeffries combined the two as he believed a venture into space would be a joint operation by the United States and Russia.[10] According to The Making of Star Trek, "NCC" is the Starfleet abbreviation for "Naval Construction Contract", comparable to what the U.S. Navy would call a hull number.[11] The "1701" was chosen to avoid any possible ambiguity; according to Jefferies, the numbers 3, 6, 8, and 9 are "too easily confused".[12] Other sources cite it as a reference to the house across the street from where Roddenberry grew up,[13] while another account gives it as the street address of Linwood Dunn.[14] Jefferies' own sketches provide the explanation that it was his 17th cruiser design with the first serial number of that series: 1701.[15] The Making of Star Trek explains that "USS" should mean "United Space Ship" and that "Enterprise is a member of the Starship Class".[11] The ship's class was officially changed to Constitution Class with the release of the Star Trek Star Fleet Technical Manual in 1975, even though all previous references identify it as Starship Class.[1]

text: The first miniature built for the pilot episode "The Cage" (1965) was unlit and approximately 33 inches (0.8 m) long, commonly referred to as "the three foot model". This model was constructed almost entirely of wood and was made by Richard C. Datin in his shop. It was eventually modified during the course of the series to match the changes made to the larger model before and after shooting of the second pilot, and appears on-set in "Requiem for Methuselah" (1969) after some damage sustained in storage had been partially repaired. The second miniature built for the original pilot measures 11 feet 2 inches (3.4 m) long and was built by a small crew of model makers (Volmer Jensen, Mel Keys and Vernon Sion) supervised by Richard C. Datin, working out of Jensen's model shop in Burbank, California (although the larger base components were subcontracted to a shop with a large lathe). It was initially filmed by both Howard A. Anderson and Linwood G. Dunn at Dunn's Film Effects of Hollywood facility, who also re-filmed later more-elaborate models of the ship, generating a variety of stock footage that was used in later episodes.[citation needed]

text: Initially, the models were static and had no electronics. For the second pilot, "Where No Man Has Gone Before" (1966), various details of the 11-foot model were altered, and the starboard window ports and running lights were internally illuminated. When the series was picked up and went into production, the model was altered yet again. These alterations included the addition of translucent domes and blinking lights at the forward ends of the engine nacelles, smaller domes at the stern end of the engine nacelles, a shorter bridge dome, and a smaller deflector/sensor dish. Save for re-used footage from the two pilot episodes, this was the appearance of the ship throughout the series, except for some detail added to nacelles for shots used in "The Trouble with Tribbles".

text: Two small (3") models were also made for the episode "Catspaw", one embedded in a block of lucite, bringing the total number of models used to represent Enterprise during the original series to four.

text: While the three-foot model was lost during construction of a new model (the refurbished version seen in the first movie), the 11 feet (3.4 m) model has undergone a historic restoration,[16] having previously been displayed in the Gift Shop downstairs at the Smithsonian Institution's National Air and Space Museum in Washington, D.C.,[17] and was unveiled in its new display position in the lobby of the Milestones of Flight Hall at NASM's 40th anniversary celebration on July 1, 2016, which also roughly coincides with Star Trek's 50th anniversary.

text: Greg Jein created a model of the original Enterprise for the Star Trek: Deep Space Nine episode "Trials and Tribble-ations" (1996). Jein's model was built to be exactly half the size of the larger of the two original models, and later appeared in the 1998 Star Trek wall calendar. In addition, a CGI model of the ship makes a brief cameo appearance at the end of the final episode of Star Trek: Enterprise, "These Are the Voyages..." (2005), and another CGI version was created for remastered episodes of the original Star Trek, based on the model in the Smithsonian.[citation needed]

text: 1979 Motion Picture refit[edit]

text: The "refit" Enterprise that appears in the first three Star Trek films was designed by Richard Taylor. Michael Minor, Gene Roddenberry, Joe Jennings, Andrew Probert, Douglas Trumbull, Harold Michaelson, and Jim Dow contributed in part to the final and finished look of Enterprise, while Jim Dow was in charge of building the model and created all the molds and structural processes.[8][18] The ship was based on conceptual sketches done by Jeffries for the scrapped Star Trek: Phase II TV series. Paul Olsen[19] painted the distinct "Aztec" paint scheme to provide an additional level of detail for the film screen, and to suggest the notion of interlocking panels providing tensile strength to the hull.[20] The 8-foot (2.4 m) model was re-used as the USS Enterprise-A in the fourth, fifth, and sixth Star Trek films. Foundation Imaging created a CGI model of the ship for the "Director's Edition" release of Star Trek: The Motion Picture to add footage envisioned but never shot by director Robert Wise.

text: 2009 reboot[edit]

text:
USS Enterprise

The re-conceptualized, "alternate universe" Enterprise in the 2009 Star Trek film

First appearance
Star Trek (2009)

Affiliation
United Federation of Planets
Starfleet

Launched
2258

General characteristics

Class
Constitution

Registry
NCC-1701

Maximum speed
Warp 8[21]

Auxiliary craft
Shuttlecraft

Armaments
Photon torpedoes
Phasers

Defenses
Deflector shields

Propulsion
Impulse engines
Warp drive

Power
Matter/antimatter

Length
725m[22]

text: Enterprise was redesigned for the 2009 Star Trek film. Director J. J. Abrams wanted Enterprise to have a "hot rod" look while retaining the traditional shape, but otherwise afforded Industrial Light & Magic (ILM) "tremendous" leeway in creating the ship. Perhaps the most notable change was in the large engine cells, seen attached to the main body. The change applied a sleeker finish and shape to the otherwise simple cells of the previous ship.[23] Concept artist Ryan Church's initial designs were modeled and refined by set designer Joseph Hiura. This design was then given to ILM for further refinement and developed into photo-realistic models by Alex Jaeger's team.[24] ILM's Roger Guyett recalled the original Enterprise being "very static", and added moving components to the film's model.[23] ILM retained subtle geometric forms and patterns to allude to the original Enterprise.[23] The computer model's digital paint recreates the appearance of "interference paint", which contains small particles of mica to alter the apparent color, used on the first three films' model.[23] Original design of Enterprise was notably bigger than the original Enterprise and was projected to be 367 meters length and between 170 and 180 meters wide but finally in the films it was upscaled to be at least 700 meters length and 330–350 meters wide.

text: Depiction[edit]

text: Built between 2243 and 2245 in the Prime Star Trek timeline, Starfleet commissioned Enterprise in 2245.[25] In Star Trek, the ship's dedication plaque lists it as "Starship Class"; later Expanded Universe and episode dialogue in "Relics", a Next Generation episode, establish the vessel as a Constitution-class starship. But according to Stephen Whitfield's The Making of Star Trek, "Enterprise-class starships have been in existence for about forty years" at the time of the original series. The ship's components were built at the Starfleet Division of the San Francisco Navy Yards and assembled in orbit.[11]

text: Star Trek: The Animated Series states that Robert April is Enterprise's first commanding officer. After April, Captain Christopher Pike (Jeffrey Hunter) commands Enterprise for about a decade, and Pike is the commanding officer in the (originally un-aired) pilot "The Cage". Throughout the first Star Trek television series, Captain James T. Kirk commands the ship on a five-year mission of exploration. Before the events of Star Trek: The Motion Picture (1979), Enterprise undergoes an 18-month refit overseen by its new commanding officer, Willard Decker (Stephen Collins). In early scenes of the film, Decker describes the refit to Admiral Kirk as "an almost totally new Enterprise". Star Trek novels and the semi-official fan-produced internet series Star Trek: New Voyages (and the abortive planned TV series Star Trek: Phase II) depict a second five-year exploratory mission under Kirk's command between the events of the first and second films.

text: Spock (Leonard Nimoy) commands Enterprise, serving as a training ship, at the beginning of Star Trek II: The Wrath of Khan (1982), but Kirk assumes command when the ship investigates problems with Project Genesis. USS Reliant, hijacked by Khan Noonien Singh (Ricardo Montalbán), inflicts substantial damage to Enterprise; Spock sacrifices his life to save the ship. Shortly after returning to spacedock at the beginning of Star Trek III: The Search for Spock (1984), Enterprise is marked for decommissioning. Kirk leads his officers in stealing the ship in an attempt to restore Spock's life. In the process, they are attacked by Klingons inflicting mortal damage on the ship; to even the odds and gain a tactical advantage, Kirk is forced to destroy Enterprise by activating its self-destruct system.

text: Star Trek IV: The Voyage Home (1986) opens with Kirk and his officers agreeing to return to Earth to face judgment for their actions in the previous film. En route (in the Klingon vessel they had commandeered), they travel back in time to stop a probe threatening to destroy Earth. Upon the success of their mission and return to the 23rd century, the charges against the crew are dismissed. Admiral Kirk is "punished" with a demotion in rank to captain and is given command of Enterprise's successor, USS Enterprise, NCC-1701-A.

text: In the 2009 film Star Trek, Enterprise makes its first appearance in an altered timeline while it is still under construction in a planetside yard in Riverside, Iowa in 2255. Captain Christopher Pike (Bruce Greenwood) commands Enterprise on its maiden voyage in 2258 to respond to a distress call from Vulcan although command later shifts to Commander Spock (Zachary Quinto) and, by film's conclusion, Kirk (Chris Pine) is promoted to captain and receives command of the Federation's flagship as his first assignment out of the academy. This version of the ship, like the movies it appeared in, was controversial for being a radical departure from the original.[citation needed] The re-imagined Enterprise appears in both 2013's Star Trek Into Darkness and 2016's Star Trek Beyond, where it is destroyed.

text: A ship with matching hull number (NCC 1701) is depicted in the 2015 Star Trek fanfilm Prelude to Axanar. In this film its portrayed to have been built in shipyard's orbiting the planet Axanar during the Klingon Federation war.


document_title: Paul Hipp

question_text: who plays reverend tim tom in the middle

text: Paul Hipp

text: Biography[edit]

text: Paul Hipp was born in Philadelphia but grew up in Warminster.[1] Hipp left Pennsylvania for New York City immediately after high school, starting his career playing guitar and singing for tips on the streets of Greenwich Village while studying acting with legendary acting coach Mira Rostova and at HB Studio with William Hickey.

text: Paul soon found employment as a musician at various clubs in the Village. At the same time he started landing roles on TV shows and commercials. He made his New York stage debut in the off-broadway show “Rockabilly Road” at The West Bank Theater.

text: New York filmmaker Abel Ferrara spotted Hipp during one of his shows on Bleeker Street and asked Paul to audition for the Role of Nino Valacci in his upcoming film China Girl, Hipp landed the role and a decades long collaboration was born as he became a mainstay in Ferrara’s core group of actors that includes Christopher Walken, Harvey Keitel and Willem Dafoe. It was during filming of “China Girl” in Little Italy that Hipp wrote the song “Midnight For You” that would be used as the films end credit theme song and mark his first published track.

text: Hipp then co-starred in the off-Broadway show A Minor Incident with legendary songwriter Carole King, who was making her stage acting debut in the play. During a break in rehearsal Paul played “Midnight For You”. King later credited this song for inspiring her to come out of musical retirement. The two started writing songs together and King could often be found sitting in with Hipp at his gigs on Bleeker Street. The two collaborated on songs for her Capitol Records release City Streets, including the song "I Can't Stop Thinking About You", which Hipp co-wrote and plays guitar and performs backing vocals on. A tour followed the LP release which featured Hipp joining King onstage for a duet on "I Can't Stop Thinking About You”. It was on stage with Carole King at London's Royal Albert Hall that Hipp was spotted by the producers of a new West End musical Buddy: The Buddy Holly Story.

text: Hipp was invited to stay in London to audition for the role of rock legend Buddy Holly. He beat out hundreds of other hopefuls to land the role. Buddy opened to rave reviews on 12 October 1989, at The Victoria Palace Theater. Hipp's turn in the title role of Buddy Holly earned him a nomination for the Laurence Olivier Award for Outstanding Performance by an Actor in a Musical. The following year, Hipp opened as Buddy at Broadway's Shubert Theater in New York. He was nominated for a Tony Award for his performance, as well as winning the Theater World Award for Best Broadway Debut. “Buddy” went on to become one of the most successful and longest running musicals in West End history with each successive ‘Buddy’ staying true to Hipp’s original choreography. Hipp appeared in the films Fathers & Sons, with Jeff Goldblum, and as Jesus Christ opposite Harvey Keitel in Abel Ferrara's Bad Lieutenant, for which he also performed the title song, "Bad Lieutenant" with Ferrara. Hipp also appeared as Gene Vincent opposite Donal Logue (as Eddie Cochran) in the play Be-Bop-A-Lula at Hollywood's famed Theater/Theater before returning to the London stage for the 25th anniversary revival of Hair at the Old Vic, in the role of Berger opposite John Barrowman as Claude. After the show closed Hipp stayed in London, living in Notting Hill, studying painting, writing songs and performing at various venues in and around London.

text: Subsequent feature film roles include John Woo's Face Off, Waking The Dead with Billy Crudup and Jennifer Connelly, More Dogs Than Bones (in which Hipp and Joe Mantegna play a pair of bungling hit men), and Joe Odom in Clint Eastwood's Midnight in the Garden of Good and Evil, opposite Kevin Spacey, Jude Law, and John Cusack. TV roles included appearances on many shows and TV pilots. He was a series regular on NBC's Three Sisters, the short-lived ABC remake of Fantasy Island, starring Malcolm McDowell as Mr. Rourke, and an appearance in the 2002/2003 season finale/premiere of ER. In 2000, Hipp made his feature film directorial debut with Death of a Dog, which stars Julie Kessler and Edie Falco and executive produced by Abel Ferrara. Hipp wrote both the script for the film, as well as the soundtrack and score.

text: In 2005 Paul played the half man-half woman circus performer Bert/Bertha Hagenbach on the second season of the HBO series Carnivàle. In 2006, Hipp was invited by Arianna Huffington to blog for her new venture called The Huffington Post, for which Hipp created satirical musical parodies like his take on Johnny Cash's "Folsom Prison Blues" (with Dick Cheney singing about his hunting mishap) and the Beatles' "I Am the Walrus" (a take-off of George W. Bush's "I’m the Decider" quote).[2] Many of the videos created for The Huffington Post became viral sensations and were picked up by major news outlets all over the country. While continuing with occasional parody, Hipp started writing and performing original "blogs"— topical songs sung live in the kitchen to a laptop computer in simple fashion with acoustic guitar a la Woody Guthrie.

text: Hipp wrote and produced several songs sung by Hilary Duff for the John Cusack and Ben Kingsley vehicle War, Inc.. He co-starred in Two Tickets to Paradise (2006), along with writer/director D. B. Sweeney and John C. McGinley, and Ed Harris and appeared in director Ernst Gossner's South of Pico (2007). He also co-starred in the Showtime pilot Manchild alongside Kevin Smith, John Corbett and James Purefoy. He was guest star on the TV shows Scrubs, CSI: NY, CSI: Miami, The Closer, Without a Trace and Ugly Betty.

text: Hipp wrote and recorded an album of songs culled from his work for The Huffington Post, called Blog of War. During the U.S. health care debate, a video clip of Hipp's song, We're Number 37 circulated widely via email, YouTube, and other social networking sites and became a viral sensation leading to 'talking head' appearances on several topical shows including MSNBC's "The Dylan Ratigan Show".[3] Paul had a recurring role in the F/X series Terriers. He was reunited with Bad Lieutenant co-star Harvey Keitel for the gangster comedy The Last Godfather.

text: Hipp continued his long collaboration with director Abel Ferrara, who directed him and Willem Dafoe in 4:44 Last Day on Earth as well as 2015's Welcome to New York starring Gérard Depardieu. Hipp also contributed the opening and closing credit themes to "Welcome To New York".

text: Hipp currently guest-stars as Guitar slinging minister Reverend TimTom in the ABC's comedy The Middle. He is currently in post production on the Argentine-American film No Somos Animales (originally titled Dictablanda), in which he costars with John Cusack and Al Pacino. Hipp and Cusack also co-wrote the film with Kevin Morris and director Alejandro Agresti. Other film projects include his ongoing feature documentary Burn Out, which features appearances by John Cusack, Nick Nolte, Larry Clark, Laird Hamilton, and Malcolm McLaren. On the musical front Hipp released a CD of original music called "The Remote Distance" as well as a CD of songs from and inspired by the film "No Somos Animales" called "Buenos Aires" in the fall of 2015.

text: Filmography[edit]

text:
China Girl (1987) as Nino
Liberace: Behind the Music (1988) as Elvis Presley
Sticky Fingers (1988) as Michael
Lethal Weapon 3 (1992) as Doctor
Bad Channels (1992) as Dan O'Dare
Bad Lieutenant (1992) as Jesus
Fathers & Sons (1992) as Doogy
The Last Shot (1993) as Peter Tullis
The Funeral (1996) as Ghouly
Another Day in Paradise (1997) as Richard Johnson
Face/Off (1997) as Fitch
Midnight in the Garden of Good and Evil (1997) as Joe Odom
Waking the Dead (2000) as Danny Pierce
Carnivàle (2005) as Bert/Bertha
Three Sisters (2001–2002) as Elliot
Teenage Caveman (2002) (TV) as Shaman
ER (2002) as Craig Turner
Two Tickets to Paradise (2006) as Jason Klein
South of Pico (2007) as Comma
Ugly Betty (2008) as Phil Roth
Numb3rs (2009) as Gray McClaughlin
Terriers (2010) as Barry
The Last Godfather (2010) as Rocco
The Middle (2010–present) as Reverend Tim-Tom
4:44 Last Day on Earth (2011) as Noah
No Somos Animales (formerly titled Dictablanda, 2013)[4]


document_title: Hunter Street (TV series)

question_text: where does the show hunter street take place

text: Hunter Street (TV series)

text: Plot[edit]

text: Five foster children in Amsterdam attempt to find out what happened to their missing foster parents.[2]

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
20
March 11, 2017 (2017-03-11)
April 7, 2017 (2017-04-07)

2
20
January 29, 2018 (2018-01-29)
February 23, 2018 (2018-02-23)

text: Cast and characters[edit]

text: Main[edit]

text:
Stony Blyden as Max
Mae Mae Renfrow as Tess
Kyra Smith as Anika
Thomas Jansen as Daniel
Daan Creyghton as Sal
Wilson Radjou-Pujalte as Jake (season 2)
Kate Bensdorp as Evie (season 2)

text: Recurring[edit]

text:
Ronald Top as Erik Hunter
Tooske Ragas as Kate Hunter
Yootha Wong-Loi-Sing as Simone
Zoë Harding as Sophie
Barnaby Savage as Tim
Alyssa Guerrouche as Jennie (season 2)
Mark Wijsman as Jerry (season 2)

text: Production[edit]

text: The series is produced in the Netherlands[1] by Blooming Media, and was co-developed with the Nickelodeon Netherlands television series De Ludwigs.[2] Nickelodeon made it known that the series' first season would contain 20 episodes on March 2, 2017.[3] The series was renewed for a second season of 20 episodes on April 25, 2017.[4]

text: Ratings[edit]

text:
Season
Episodes
First aired
Last aired
Avg. viewers
(millions)

Date
Viewers
(millions)
Date
Viewers
(millions)

1
20
March 11, 2017 (2017-03-11)
1.82[5]
April 7, 2017 (2017-04-07)
1.55[6]
1.32

2
20
January 29, 2018 (2018-01-29)
0.81[7]
February 23, 2018 (2018-02-23)
0.89[8]
0.96


document_title: Far from the Madding Crowd

question_text: who does ms everdeen end up with in far from the madding crowd

text: Far from the Madding Crowd

text: Plot[edit]

text: Gabriel Oak is a young shepherd. With the savings of a frugal life, and a loan, he has leased and stocked a sheep farm. He falls in love with a newcomer six years his junior, Bathsheba Everdene, a proud beauty who arrives to live with her aunt, Mrs. Hurst. Over time, Bathsheba and Gabriel grow to like each other well enough, and Bathsheba even saves his life once. However, when he makes her an unadorned offer of marriage, she refuses; she values her independence too much, and him too little. Feeling betrayed and embarrassed, Gabriel offers blunt protestations that only foster her haughtiness. After a few days, she moves to Weatherbury, a village some miles off.

text: When next they meet, their circumstances have changed drastically. An inexperienced new sheepdog drives Gabriel's flock over a cliff, ruining him. After selling off everything of value, he manages to settle all his debts but emerges penniless. He seeks employment at a hiring fair in the town of Casterbridge. When he finds none, he heads to another such fair in Shottsford, a town about ten miles from Weatherbury. On the way, he happens upon a dangerous fire on a farm and leads the bystanders in putting it out. When the veiled owner comes to thank him, he asks if she needs a shepherd. She uncovers her face and reveals herself to be none other than Bathsheba. She has recently inherited her uncle's estate and is now wealthy. Though somewhat uncomfortable, she employs him.

text: Bathsheba's valentine to Boldwood[edit]

text: Meanwhile, Bathsheba has a new admirer: the lonely and repressed William Boldwood. Boldwood is a prosperous farmer of about forty, whose ardour Bathsheba unwittingly awakens when – her curiosity piqued because he has never bestowed on her the customary admiring glance – she playfully sends him a valentine sealed with red wax on which she has embossed the words, "Marry me". Boldwood, not realising the valentine was a jest, becomes obsessed with Bathsheba and soon proposes marriage. Although she does not love him, she toys with the idea of accepting his offer; he is, after all, the most eligible bachelor in the district. However, she postpones giving him a definite answer. When Gabriel rebukes her for her thoughtlessness regarding Boldwood, she dismisses him.

text: When Bathsheba's sheep begin dying from bloat, she discovers to her chagrin that Gabriel is the only man who knows how to cure them. Her pride delays the inevitable, but finally she is forced to beg him for help. Afterwards, she offers him back his job and their friendship is restored.

text: Sergeant Troy returns[edit]

text: At this point, the dashing Sergeant Francis "Frank" Troy returns to his native Weatherbury and by chance encounters Bathsheba one night. Her initial dislike turns to infatuation after he excites her with a private display of swordsmanship. Gabriel observes Bathsheba's interest in the young soldier and tries to discourage it, telling her she would be better off marrying Boldwood. Boldwood becomes aggressive towards Troy, and Bathsheba goes to Bath to prevent Troy returning to Weatherbury, as she fears Troy may be harmed on meeting Boldwood. On their return, Boldwood offers his rival a large bribe to give up Bathsheba. Troy pretends to consider the offer, then scornfully announces they are already married. Boldwood withdraws, humiliated, and vows revenge.

text: Bathsheba soon discovers that her new husband is an improvident gambler with little interest in farming. Worse, she begins to suspect he does not love her. In fact, Troy's heart belongs to her former servant, Fanny Robin. Before meeting Bathsheba, Troy had promised to marry Fanny; on the wedding day, however, the luckless girl went to the wrong church. She explained her mistake, but Troy, humiliated at being left at the altar, angrily called off the wedding. When they parted, unbeknownst to Troy, Fanny was pregnant with his child.

text: Fanny Robin[edit]

text: Some months later, Troy and Bathsheba encounter Fanny on the road, destitute, as she painfully makes her way toward the Casterbridge workhouse. Troy sends his wife onward with the horse and gig before she can recognise the girl, then gives Fanny all the money in his pocket, telling her he will give her more in a few days. Fanny uses up the last of her strength to reach her destination. A few hours later, she dies in childbirth, along with the baby. Mother and child are then placed in a coffin and sent home to Weatherbury for interment. Gabriel, who has long known of Troy's relationship with Fanny, tries to conceal the child's existence – but Bathsheba agrees that the coffin can be left in her house overnight, from her sense of duty towards a former servant of the household.[2] Her new servant, Liddy, repeats the rumour that Fanny had a child; when all the servants are in bed, Bathsheba unscrews the lid and sees the two bodies inside.

text: Troy then comes home from Casterbridge, where he had gone to keep his appointment with Fanny. Seeing the reason for her failure to meet him, he gently kisses the corpse and tells the anguished Bathsheba, "This woman is more to me, dead as she is, than ever you were, or are, or can be". The next day he spends all his money on a marble tombstone with the inscription: "Erected by Francis Troy in beloved memory of Fanny Robin ..." Then, loathing himself and unable to bear Bathsheba's company, he leaves. After a long walk he bathes in the sea, leaving his clothes on the beach. A strong current carries him away, but he is rescued by a rowing boat.

text: Climax[edit]

text: A year later, with Troy presumed drowned, Boldwood renews his suit. Burdened with guilt over the pain she has caused him, Bathsheba reluctantly consents to marry him in six years, long enough to have Troy declared dead.

text: Troy, however, is not dead. When he learns that Boldwood is again courting Bathsheba, he returns to Weatherbury on Christmas Eve to claim his wife. He goes to Boldwood's house, where a party is under way, and orders Bathsheba to come with him; when she shrinks back in surprise, he seizes her arm, and she screams. At this, Boldwood shoots Troy dead and tries unsuccessfully to turn the gun on himself. Although Boldwood is condemned to hang for murder, his friends petition the Home Secretary for mercy, citing insanity. This is granted, and Boldwood's sentence is changed to "confinement during Her Majesty's pleasure". Bathsheba, profoundly chastened by guilt and grief, buries her husband in the same grave as Fanny and the child, and adds a suitable inscription.

text: Ending[edit]

text: Throughout her tribulations, Bathsheba comes to rely increasingly on her oldest and, as she admits to herself, only real friend, Gabriel. When he gives notice that he is leaving her employ, she realises how important he has become to her well-being. That night, she goes alone to visit him in his cottage, to find out why he is deserting her. Pressed, he reluctantly reveals that it is because people have been injuring her good name by gossiping that he wants to marry her. She exclaims that it is "... too absurd – too soon – to think of, by far!" He bitterly agrees that it is absurd, but when she corrects him, saying that it is only "too soon", he is emboldened to ask once again for her hand in marriage. She accepts, and the two are quietly wed.

text: Title[edit]

text: Hardy took the title from Thomas Gray's poem Elegy Written in a Country Churchyard (1751).

text:
Far from the madding crowd's ignoble strife
Their sober wishes never learn'd to stray;
Along the cool sequester'd vale of life
They kept the noiseless tenor of their way.

text: "Madding" here means "frenzied".[3]

text: Lucasta Miller points out that the title is an ironic literary joke as Gray is idealising the noiselessness and sequestered calm whereas Hardy "disrupts the idyll, and not just by introducing the sound and fury of an extreme plot ... he is out to subvert his readers' complacency".[4]

text: Hardy's Wessex[edit]

text: Far from the Madding Crowd offers in ample measure the details of English rural life that Hardy so relished.[5]

text: Hardy first employed the term "Wessex" in Far from the Madding Crowd to describe the "partly real, partly dream-country" that unifies his novels of South West England. He found the word in the pages of early English history as a designation for an extinct, pre-Norman conquest kingdom, the Wessex from which Alfred the Great established England.[6] In the first edition, the word "Wessex" is used only once, in chapter 50; Hardy extended the reference for the 1895 edition.[7] The village of Puddletown, near Dorchester, is the inspiration for the novel's Weatherbury. Dorchester, in turn, inspired Hardy's Casterbridge.[8]

text: In The Mayor of Casterbridge, Hardy briefly mentions two characters from Far from the Madding Crowd – Farmer Everdene and Farmer Boldwood, both in happier days.

text: Honours[edit]

text: In 2003, the novel was listed at number 48 on the BBC's survey The Big Read.[9] In 2007, the book finished 10th on the Guardian's list of greatest love stories of all time.[10]

text: Adaptations[edit]

text: Radio[edit]

text: The novel was adapted by Graham White in 2012 into a three-part series on BBC Radio 4's Classic Serial. The production was directed by Jessica Dromgoole and featured Alex Tregear as Bathsheba, Shaun Dooley as Gabriel, Toby Jones as Boldwood and Patrick Kennedy as Troy.

text: Comics[edit]

text: Tamara Drewe is a comic strip serial based upon a modern reworking of the novel by Posy Simmonds. It was itself adapted into a film, Tamara Drewe (2010), directed by Stephen Frears.

text: Film[edit]

text:
Far from the Madding Crowd (1915) directed by Laurence Trimble, starring Florence Turner and Henry Edwards.
Far from the Madding Crowd (1967) directed by John Schlesinger, starring Julie Christie as Bathsheba Everdene, Terence Stamp as Sergeant Troy, Peter Finch as Mr Boldwood, and Alan Bates as Farmer Oak.
Far from the Madding Crowd (1998) directed by Nicholas Renton, starring Paloma Baeza, Nathaniel Parker, Jonathan Firth and Nigel Terry.
Far from the Madding Crowd (2015) directed by Thomas Vinterberg, screenplay by David Nicholls, with Carey Mulligan as Bathsheba Everdene, Matthias Schoenaerts as Farmer Oak, Michael Sheen as Mr Boldwood, Tom Sturridge as Sergeant Troy and Juno Temple as Fanny Robin.[11][12]

text: Stage productions[edit]

text: Dance[edit]

text: Far from the Madding Crowd (1996) is a ballet by David Bintley for the Birmingham Royal Ballet[citation needed]

text: Musical[edit]

text: Far from the Madding Crowd (2000), a musical with music by Gary Schocker, based on the novel

text: Opera[edit]

text: Far from the Madding Crowd (2006) is an opera by Andrew Downes

text: Plays[edit]

text:
Hardy wrote an 1882 stage adaptation with J. Comyns Carr, which starred Marion Terry
In autumn 2008, English Touring Theatre (ETT) toured Britain with a new stage adaptation of Far from the Madding Crowd directed by Kate Saxon[13]
In March 2013 Myriad Theatre & Film toured South-East England with their original stage adaptation of Far from the Madding Crowd for five actors. The show also incorporated some of Hardy's poetry.

text: Other[edit]

text: In October 2016, the first episode of a web series transmedia modernisation of the novel, Away from it All, was released.[14] Based around the antics and video blogs of a group of twenty-somethings working at a village pub, the series was created by Hazel Jeffs.

text: References in popular culture[edit]

text: Anime[edit]

text: Episode 20 of the anime Kill la Kill, is titled "Far from the Madding Crowd".

text: Music[edit]

text:
British musician Nick Bracegirdle, better known as Chicane, released Far from the Maddening Crowds, a studio album, in 1997.
In 2000, the New York rock band Nine Days titled their debut The Madding Crowd to express their allegiance to modernity in opposition to Hardy.[15]
The Danish metal band Wuthering Heights released a studio album, Far From the Madding Crowd in 2004.
Nanci Griffith included the lyric "You're a Saturday night, Far from the madding crowd" in the song On Grafton Street on her 1994 release Flyer.