derekwsparks

Oct 30, 2023 Tired of years of endemic corruption, Palestinian women are turning their backs on Fatah and supporting Hamas. But having voted for change, the pressure is now on Hamas to deliver. Subscribe to Journeyman here: http://www.youtube.com/subscription_c... When Nahida Sleibi's husband was injured, Hamas was the only organisation who came to her help. "Hamas is able to reach out to women through financial assistance", explains politician Intisar Al-Wazir. It runs a network of schools and hospitals which have a reputation for being efficient and corruption free. But while its social policies won it the female vote, rumours Hamas plans to implement Sharia Law have alienated some women. Others are worried about the financial implications of its rigid foreign policy. As Nuha states: "We're concerned the international community will reject us and things like petrol will be refused to us." For more information, visit https://www.journeyman.tv/film/xxxx Like us on Facebook: / journeymanpictures Follow us on Twitter: / journeymannews / journeymanvod Follow us on Instagram: / journeymanpictures Visit our subreddit: / journeymanpictures SBS/Dateline- 3060 Transcript https://www.youtube.com/watch?v=WE4QBGXOHwA

Sep 26, 2019 Teachers, nurses, mothers, torturers - under the Islamic State of Iraq and the Levant (ISIL, also known as ISIS) group's rule, women played crucial roles in the organisation, some as willing participants, others as coerced victims. Through a series of rare testimonies, women from Syria and Iraq share what everyday life was like under the armed group. Their accounts reveal an organisation that is both brutal and uncompromising. Women hired as religious police patrolled the streets, looking for people who broke dress codes or committed other moral offences. Teachers taught schoolchildren Islamic lessons beyond their age. Nurses were forced to work at ISIL-controlled hospitals. Schools were closed and repurposed as training centres. Make-up was forbidden. Movement was restricted. And torture was a regular punishment, used for offences as minor as wearing nail polish. In Women of ISIL, we speak to the women fully integrated into the organisation, playing active roles in punishment and torture, as well as those who resisted through everyday acts of defiance, including running a salon, or teaching schoolchildren in private. They recall a time when even the police were policed, spies were surveilled, and women paid the ultimate price for a violent rule of law. - Subscribe to our channel http://bit.ly/AJSubscribe - Follow us on Twitter / ajenglish - Find us on Facebook / aljazeera - Check our website: http://www.aljazeera.com/ https://www.youtube.com/watch?v=9zz5bjFhzdc

Sep 7, 2023 Isis: The British Women Supporters Unveiled follows a 12-month undercover investigation, which penetrates the secret world of the women in the UK who support ISIS, and glorify jihadis, and preach a message of hatred, segregation and extremism. Twitter: / realstoriesdocs Facebook - / realstorieschannel Instagram - @realstoriesdocs Content licensed from [All3Media]. Any queries, please contact us at: owned-enquiries@littledotstudios.com https://www.youtube.com/watch?v=bhcSn7BPzdI

Apr 15, 2019 Four Corners exclusively brings you the story of the Sharrouf children and their grandmother's epic fight to find them and bring them home to Australia. The children of the notorious jihadist Khaled Sharrouf were taken to the self-declared caliphate in 2014. The world learned of them after their father published pictures of his eldest son holding the severed head of an IS prisoner, sending shockwaves around the world. For five years their grandmother, Karen Nettleton, has been trying to reach the children and bring them home. She has mounted several rescue missions, with each one ending in failure. Now, in Syria, she's making a last-ditch effort to save them from the squalid al-Hawl refugee camp. Read more about this story here: https://ab.co/2v70RVu Watch more Four Corners investigations here: https://ab.co/2v70RVu You can also like us on Facebook: / abc4corners Follow us on Twitter: / 4corners And sign up to our newsletter: www.abc.net.au/4corners/newsletter/ https://www.youtube.com/watch?v=6_LPuUEkSQM

Aug 3, 2023 IRAQ It's almost a decade since ISIS militants swept through Iraq and Syria but the legacy of their brutal caliphate remains. While many Iraqis are reclaiming their lives in a period of relative calm, the targets of ISIS’ genocide, the Yazidis, are not at peace. The world was transfixed when this religious minority fled to the mountains of Sinjar. Rescue efforts managed to airlift some to safety and others who escaped on foot and were eventually settled in countries like Australia. But many were trapped and killed, and huge numbers of women and girls were taken as slaves. This week Foreign Correspondent goes in search of what happened to them. Reporter Stephanie March travels to northern Iraq and uncovers incredible stories of survival and hears brave accounts from those who have rescued hundreds of Yazidi women. She also meets the women trafficked by ISIS who allege they were held captive by an Australian. Subscribe: https://ab.co/3yqPOZ5 Foreign Correspondent is the prime-time international public affairs program on Australia's national broadcaster, ABC-TV. We produce half-hour duration in-depth reports for broadcast across the ABC's television channels and digital platforms. Since 1992, our teams have journeyed to more than 170 countries to report on war, natural calamity and social and political upheaval – through the eyes of the people at the heart of it all. Watch more ABC News content ad-free on ABC iview: https://ab.co/2OB7Mk1 For more from ABC News, click here: https://ab.co/2kxYCZY Get breaking news and livestreams from our ABC News channel: / newsonabc Like ABC News on Facebook: / abcnews.au Follow ABC News on Instagram: / abcnews_au Follow ABC News on Twitter: / abcnews Contributions may be removed if they violate ABC’s Online Terms of Use http://www.abc.net.au/conditions.htm (Section 3). This is an official Australian Broadcasting Corporation YouTube channel https://www.youtube.com/watch?v=3FLGkYiI52g

Oct 13, 2023 #dwdocumentary #documentary After two and a half years in ISIS captivity, Imad and his Yazidi family were released. They took shelter in a displaced persons' camp in northern Iraq. But their suffering was far from over. Not yet five, Imad has spent over half his life enduring terror and abuse. His behavior is aggressive and he can only speak Arabic, while his family speaks Kurmanji Kurdish. This poignant film accompanies the little boy on his hard road to recovery and illustrates in painful detail the lasting effects of systematic torture. The family’s experience is shared by thousands of Yazidis. #documentary #dwdocumentary ______ DW Documentary gives you knowledge beyond the headlines. Watch top documentaries from German broadcasters and international production companies. Meet intriguing people, travel to distant lands, get a look behind the complexities of daily life and build a deeper understanding of current affairs and global events. Subscribe and explore the world around you with DW Documentary. Subscribe to: ⮞ DW Documentary (English): / dwdocumentary ⮞ DW Documental (Spanish): / dwdocumental ⮞ DW Documentary وثائقية دي دبليو (Arabic): / dwdocarabia ⮞ DW Doku (German): / dwdoku ⮞ DW Documentary हिन्दी (Hindi): / dwdochindi For more visit: http://www.dw.com/en/tv/docfilm/s-3610 Follow DW Documentary on Instagram: / dwdocumentary Follow DW Documental on Facebook: / dwdocumental We kindly ask viewers to read and stick to the DW netiquette policy on our channel: https://p.dw.com/p/MF1G https://www.youtube.com/watch?v=tEZNiRi5FNk&t=205s

Nov 5, 2023 An intimate look at the children and widows of ISIL who languish in camps, ostracised by their own communities. Tens of thousands of children were born into or lived under ISIL’s (ISIS) reign in Iraq and Syria between 2014 and 2017. Now, many of those young people are languishing in camps or in Iraqi communities where they are social outcasts – some orphaned and some with their widowed mothers. There are several tens of thousands of “children of ISIS”, whose families had pledged allegiance to the caliphate. They’re stigmatized, and their existence is not legally recognized in “Post-ISIS” Iraq. Without I.D., they have no access to medical care, food assistance, nor, above all, to education. This unprecedented investigation offers a voice to those minors, the social outcasts of a new Iraq that only a handful of NGOs are trying to help. Around the Mosul area, in Iraqi Kurdistan and Northeastern Syria, this documentary takes the form of a journey on war-torn lands, to meet this generation who endured the reign of the Islamic State, a war for liberation and its resulting violence, and now tries to find a future, between resilience and revenge. Twitter: / realstoriesdocs Facebook - / realstorieschannel Instagram - @realstoriesdocs Content licensed from [Cinétévé Sales]. Any queries, please contact us at: owned-enquiries@littledotstudios.com https://www.youtube.com/watch?v=NZIqmggV7pM

Jan 27, 2023 Play War Thunder now with my link, and get a massive, free bonus pack including vehicles, boosters and more: https://playwt.link/pastvoiceswt War Thunder is a highly detailed vehicle combat game containing over 2000 playable tanks, aircrafts and ships spanning over 100 years of development. Immerse yourself completely in dynamic battles with an unparalleled combination of realism and approachability. -------------------------------------- Edited and Researched by Manuel Rubio Narrated by David Kelly Thumbnail Art by Ettore Mazza: https://www.instagram.com/ettore.mazz... Art by Alex Stoica and Bilal Erlangga Extracts taken from: Records of the Grand Historian by Sima Qian. Translation by Friedrich Hirth, Journal of the American Oriental Society, vol 37 1917. The Saga of Erik the Red translation in The Discovery of America by the Northmen, in the Tenth Century, with Notices of the Early Settlements of the Irish in the Western Hemisphere by North Ludlow Beamish 1841. Ibn Fadlan on the Rus, translation by James E. Montgomery. Thanks to the Library of Arabic Literature for the use of this translation: https://nyupress.org/9781479899890/mi... Kirishitan Monogatari translation from DEUS DESTROYED The Image of Christianity in Early Modern Japan by George Elison Published by COUNCIL ON EAST ASIAN STUDIES HARVARD UNIVERSITY and distributed by HARVARD UNIVERSITY PRESS 1988 https://www.hup.harvard.edu/catalog.p... James King on Shaka Zulu Nathaniel Isaacs, Travels and Adventures in Eastern Africa, with a Sketch of Natal by Nathaniel Isaacs (2 Volumes, London, 1836), I, pp. 57–63 Researched by historydavid Stock footage from Storyblocks or Artlist, music from Epidemic Sound and Artlist. 00:00 Zhang Qian on The Greeks (125 BC) 04:46 Thorvald Eiriksson In America (1003) 07:50 Ibn Fadlan on the Viking Rus´ (921) 13:50 The First Christians in Japan (1543) 19:49 James King on Shaka Zulu (1825) https://www.youtube.com/watch?v=JAtnWu7xhzA

One American Father’s Journey to Get His Kids Back from the Caliphate Thousands of foreigners answered ISIS’s call to fight in Syria and Iraq, traveling from countries around the world...including the United States. VICE News follows the journey of an American father searching for his missing children in the hands of ISIS. The search reveals that while the physical Islamic State caliphate is gone, the ideology that attracted so many still lives on. Subscribe to VICE News here: http://bit.ly/Subscribe-to-VICE-News Check out VICE News for more: http://vicenews.com Follow VICE News here: Facebook: / vicenews Twitter: / vicenews Tumblr: / vicenews Instagram: / vicenews More videos from the VICE network: https://www.fb.com/vicevideo https://www.youtube.com/watch?v=bCg9mDTjbgg

Jul 26, 2023 #ENDEVR #FreeDocumentary #saudiarabia Inside Saudi Arabia | Complete Series | All Episodes | ENDEVR Documentary Watch 'America's Surveillance State - Complete Series' here: • America's Surveillance State | Comple... Saudi Arabia is well known across the world for its wealth, strict faith, and oppression, but while Crown Prince Mohammad bin Salman has decreed that he wants to reform, the world is shocked by the murder of journalist Khashoggi and other human rights violations. We follow the developments from the inside, through the eyes of the inhabitants themselves. Are they just empty promises or is Saudi Arabia actually able to change? 00:00:00 In Search for Freedom 00:43:10 Under the Control of the Royal Family 01:25:32 The Power of the Holy Cities 02:06:21 Travelling to Reality ▬▬▬▬▬▬▬▬▬ Subscribe to ENDEVR for free: https://bit.ly/3e9YRRG Facebook: https://bit.ly/2QfRxbG Instagram: / endevrdocs ▬▬▬▬▬▬▬▬▬ #FreeDocumentary #ENDEVR #saudiarabia ▬▬▬▬▬▬▬▬▬ ENDEVR explains the world we live in through high-class documentaries, special investigations, explainer videos, and animations. We cover topics related to business, economics, geopolitics, social issues, and everything in between that we think are interesting. https://www.youtube.com/watch?v=2gmpqstL7VQ

Aug 22, 2017 The second HBO stand-up comedy special by Chris Rock. Christopher Julius Rock was born in Andrews, South Carolina and raised in Bedford-Stuyvesant, Brooklyn, New York. https://www.youtube.com/watch?v=coC4t7nCGPs

Aug 7, 2022 #ENDEVR #FreeDocumentary End of Truth - When Negotiations Go Wrong: The ISIS Hostages | ENDEVR Documentary Watch 'Russian Spy Assasins: The Salisbury Attack' here: • Russian Spy Assasins: The Salisbury P... The abductions of John Cantlie and James Foley were the beginning of a hostage taking frenzy which impacted the foreign policy of many countries. Because of media blackouts surrounding the kidnappings, many others unwittingly ventured forth into hostile ISIS territory. Fixers were targeted, causing people who thought they were safe to be captured. These unsuspecting journalists and aid workers were thrown into a dark and desperate situation that ended horribly for those whose countries didn’t pay ransom. These crimes revealed what can happen when truths are obscured – causing negotiations and rescue missions to go horribly wrong. End of Truth is an emotionally powerful investigation into the political and criminal enterprise of kidnappings as ISIS rose to power in war torn Syria. By intercutting exclusive footage with intimate interviews of negotiators, investigators, fixers and even a used car salesman who are caught up in the confusion, we examine the leads that led to lies revealing the terrible consequence of misinformation when lives are at stake. ▬▬▬▬▬▬▬▬▬ Subscribe ENDEVR for free: https://bit.ly/3e9YRRG Facebook: https://bit.ly/2QfRxbG Instagram: / endevrdocs ▬▬▬▬▬▬▬▬▬ #FreeDocumentary #ENDEVR #JohnCantlie ▬▬▬▬▬▬▬▬▬ ENDEVR explains the world we live in through high-class documentaries, special investigations, explainers videos and animations. We cover topics related to business, economics, geopolitics, social issues and everything in between that we think are interesting. https://www.youtube.com/watch?v=7QUKJ_klVmQ

Feb 27, 2022 #VICENews #News ISIS may no longer have a stronghold, but its ideology perseveres in the tens of thousands of women and children who once lived under The Islamic State and are now held at Camp al-Hol. As the situation at the camp spirals out of control, brigades of radicalized ISIS women have started to regroup. VICE correspondent Hind Hassan explores the resurgence of ISIS with rare access to al-Hol camp, as Kurdish security personnel try and contain the growing threat. This segment was filmed in 2020. Help keep VICE News’ fearless reporting free for millions by making a one time or ongoing contribution here. - https://vice.com/contribute Subscribe to VICE News here: http://bit.ly/Subscribe-to-VICE-News Check out VICE News for more: http://vicenews.com Follow VICE News here: Facebook: / vicenews Twitter: / vicenews Tumblr: / vicenews Instagram: / vicenews More videos from the VICE network: https://www.fb.com/vicevideo #VICENews #News https://www.youtube.com/watch?v=WpQ8uTcjqiI&t=101s

May 18, 2022 #VICENews #News Jenin refugee camp in the West Bank is increasingly seen by Palestinians as a symbol of growing resistance against an illegal Israeli occupation. Israel regularly raids the small camp because they say it's a hotbed of "terror" activity but Palestinians say this amounts to collective punishment. Meanwhile, in Jerusalem, Palestinians protest against far right Israelis and Israeli police storm the Al Aqsa compound. VICE News travels from Jerusalem to Jenin gaining access to both Palestinian fighters and Israeli soldiers. Help keep VICE News’ fearless reporting free for millions by making a one time or ongoing contribution here. - https://vice.com/contribute Subscribe to VICE News here: http://bit.ly/Subscribe-to-VICE-News Check out VICE News for more: http://vicenews.com Follow VICE News here: Facebook: / vicenews Twitter: / vicenews Tumblr: / vicenews Instagram: / vicenews More videos from the VICE network: https://www.fb.com/vicevideo #VICENews #News https://www.youtube.com/watch?v=iZ5SZFAhWPk

Nov 7, 2023 #Colombia #Shipwreck #Treasure The president of Colombia is calling for an accelerated recovery of the 300-year-old wreck of the ship San Jose that may hold a $20 billion stash of treasure, but an American company says half of that loot is theirs. » Subscribe to NBC News: http://nbcnews.to/SubscribeToNBC » Watch more NBC video: http://bit.ly/MoreNBCNews NBC News Digital is a collection of innovative and powerful news brands that deliver compelling, diverse and engaging news stories. NBC News Digital features NBCNews.com, MSNBC.com, TODAY.com, Nightly News, Meet the Press, Dateline, and the existing apps and digital extensions of these respective properties. We deliver the best in breaking news, live video coverage, original journalism and segments from your favorite NBC News Shows. Connect with NBC News Online! NBC News App: https://smart.link/5d0cd9df61b80 Breaking News Alerts: https://link.nbcnews.com/join/5cj/bre... Visit NBCNews.Com: http://nbcnews.to/ReadNBC Find NBC News on Facebook: http://nbcnews.to/LikeNBC Follow NBC News on Twitter: http://nbcnews.to/FollowNBC Get more of NBC News delivered to your inbox: nbcnews.com/newsletters #Colombia #Shipwreck #Treasure https://www.youtube.com/watch?v=zM-LRh29WLo

Sep 28, 2019 #Khashoggi #MBS #SaudiArabia One year after the murder of columnist Jamal Khashoggi, FRONTLINE investigates the rise and rule of Crown Prince Mohammed bin Salman (MBS) of Saudi Arabia. In a never before seen or heard conversation featured in the documentary, the Saudi Crown Prince addresses his role in Khashoggi’s murder exclusively to FRONTLINE correspondent Martin Smith. Smith, who has covered the Middle East for FRONTLINE for 20 years, examines MBS's vision for the future, his handling of dissent, and his relationship with the United States. This journalism is made possible by viewers like you. Support your local PBS station here: http://www.pbs.org/donate Love FRONTLINE? Find us on the PBS Video App where there are more than 250 FRONTLINE films available for you to watch any time: https://to.pbs.org/FLVideoApp Subscribe on YouTube: http://bit.ly/1BycsJW #MBS #SaudiArabia #Khashoggi Instagram: / frontlinepbs Twitter: / frontlinepbs Facebook: / frontline FRONTLINE is streaming more than 200 documentaries online, for free, here: http://to.pbs.org/hxRvQP Funding for FRONTLINE is provided through the support of PBS viewers and by the Corporation for Public Broadcasting. Major funding for FRONTLINE is provided by the John D. and Catherine T. MacArthur Foundation and the Ford Foundation. Additional funding is provided by the Abrams Foundation, the Park Foundation, The John and Helen Glessner Family Trust, and the FRONTLINE Journalism Fund with major support from Jon and Jo Ann Hagler on behalf of the Jon L. Hagler Foundation. https://www.youtube.com/watch?v=5IBa88VkM6g

May 11, 2022 In 2011, Sally Evans made a devastating discovery - her eldest son, Thomas aged just 21, had left their home in a Buckinghamshire village and travelled to Somalia join a deadly Islamist terrorist group. Thomas had been recruited to Al Shabaab - an Al Qaeda affiliate, it is the jihadi group behind multiple atrocities in Kenya, including the Westgate shopping attack in which nearly 70 people were killed and 175 injured. Thomas became the only known white British man to join the terror group. This powerful film documents the daily struggle Sally and her youngest son, Micheal face as they try to reconcile the Thomas they knew - a loving mild-mannered ‘normal teenage lad’ with Abdul Hakim, the jihad-preaching Islamist he has become. Absolute Documentaries brings you the best of entertaining and fascinating documentaries for free. Whether you’re into true crime, stories from around the world, family and social life, science or psychology, we’ve got you covered with must-see full-length documentaries every week. Subscribe for more premium documentaries: https://bit.ly/AbsoluteDocumentariesY... From: My Son The Jihadi Content licensed from TVF International to Little Dot Studios. Any queries, please contact us at: owned-enquiries@littledotstudios.com Transcript Follow along using the transcript. https://www.youtube.com/watch?v=rEzYJUBBW60

Night of the Living Dead is a 1968 American independent horror film that introduced the flesh-eating ghouls that would become synonymous with the term "zombie". The story follows seven people trapped in a farmhouse in rural Pennsylvania, under assault by reanimated corpses. The movie was directed, photographed, and edited by George A. Romero, written by Romero and John Russo, and produced by Russell Streiner and Karl Hardman. It stars Duane Jones and Judith O'Dea. Having gained experience creating television commercials, industrial films, and Mister Rogers' Neighborhood segments at their production company The Latent Image, Romero, Russo, and Streiner decided to make a feature film. They elected to make a horror film to capitalize on interest in the genre. Their script drew from Richard Matheson's 1954 novel I Am Legend. Principal photography took place between July 1967 and January 1968, mainly on location in Evans City, Pennsylvania. Romero used guerrilla filmmaking techniques he had honed in his commercial and industrial work to complete the film on a budget of approximately US$100,000. Without the budget for a proper set, they rented a condemned farmhouse to destroy during the course of filming. Night of the Living Dead premiered in Pittsburgh on October 1, 1968. It grossed US$12 million domestically and US$18 million internationally, earning more than 250 times its budget and making it one of the most profitable film productions ever made at the time. Released shortly before the adoption of the Motion Picture Association of America rating system, the film's explicit violence and gore were considered groundbreaking, leading to controversy and negative reviews. It eventually garnered a cult following and critical acclaim and has appeared on lists of the greatest and most influential films by such outlets as Empire, The New York Times, and Total Film. Frequently identified as a touchstone in the development of the horror genre, retrospective scholarly analysis has focused on its reflection of the social and cultural changes in the United States during the 1960s, with particular attention towards the casting of Jones, an African-American, in the leading role.[5] In 1999, the film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the National Film Registry.[6][7][8] Night of the Living Dead created a successful franchise that includes five sequels released between 1978 and 2009, all directed by Romero. Due to an error when titling the original film, it entered the public domain upon release,[9] resulting in numerous adaptations, remakes, and a lasting legacy in the horror genre. An official remake, written by Romero and directed by Tom Savini, was released in 1990. Plot Duration: 1 hour, 35 minutes and 53 seconds.1:35:53Subtitles available.CC Night of the Living Dead (full film) Siblings Barbra and Johnny drive to a cemetery in rural Pennsylvania to visit their father's grave, where a pale man in a tattered suit kills Johnny and attacks Barbra. She flees to a nearby farmhouse but finds the resident's corpse lying half-eaten on the stairs. A growing horde of ghouls soon surround the house as a stranger, Ben, arrives and initially mistakes Barbra for the homeowner. After driving back several ghouls, he boards the windows and doors. While searching the home for supplies, he locates a lever-action rifle. A nearly catatonic Barbra is surprised to find people already taking shelter in the home's cellar. Harry, his wife Helen, and their young daughter Karen fled there after a group of the same monsters overturned their car and bit Karen on the arm, leaving her seriously ill. A couple, Tom and Judy, took shelter after hearing an emergency broadcast about a series of brutal killings. Tom and Ben secure the farmhouse while Harry protests that it is unsafe aboveground before returning to the cellar. Ghouls continue to besiege the farmhouse in increasing numbers. The refugees listen to radio and television reports of an army of cannibalistic corpses committing mass murder across the East Coast of the United States and of the posses of armed men patrolling the countryside to exterminate the living dead. Reports confirm that the ghouls can die again from heavy blows to the head, bullets to the brain, or being burned. Various rescue centers offer refuge and safety, and scientists theorize that radiation from an exploding space probe returning from Venus caused the reanimations. Judy peers from an open truck window. Judith Ridley as Judy, near the gas pump Ben devises a plan to obtain medical supplies for Karen and transport the group to a rescue center by refueling his truck at a pump on the farm. Ben, Tom, and Judy drive there together, holding the ghouls off with torches and Molotov cocktails. However, the gas from the pump spills and causes the truck to catch fire and explode, killing Tom and Judy. Ben returns and breaks down the door when Harry does not let him in. The remaining survivors attempt to figure a way out. They pause their discussion to watch the 3 a.m. news update until the power cuts out. The ghouls soon break through the doors and windows of the unlit home. In the chaos, Harry grabs Ben's gun but is disarmed and shot by Ben. Harry staggers down to the cellar and dies next to his daughter. Karen dies from her injuries, becomes a ghoul, and eats her father's remains. She stabs her mother to death with a masonry trowel. Barbra tries to help Ben keep the ghouls out, but a reanimated Johnny drags her away. As the horde breaks in, Ben takes refuge in the cellar, where he shoots Harry's and Helen's ghouls. In the morning, an armed posse arrives to dispatch the remaining ghouls. Awoken by their gunfire and sirens, Ben emerges from the cellar, but they shoot him, mistaking Ben for a ghoul. His body is thrown onto a bonfire and burned with the rest of the ghouls. Cast Ben holds a rifle in the farmhouse living room. Ben, played by Duane Jones The low-budget film included no well-known actors,[10] but propelled the careers of some cast members.[11] Two independent film companies from Pittsburgh—Hardman Associates and director George A. Romero's The Latent Image—combined to form a production company chartered only to create Night of the Living Dead.[12] The cast consisted of members of the production company, actors previously cast for their commercials, acquaintances of Romero, and Pittsburgh stage actors.[13] Duane Jones as Ben. The casting was potentially controversial in 1968 when it was rare for a black man to be cast as the hero of an American film primarily composed of white actors, but Romero said that Jones performed the best in his audition.[14] Jones went on to appear in other films, including Ganja & Hess (1973) and Beat Street (1984),[15] but worried that people only recognized him as Ben.[16] Judith O'Dea as Barbra. A 23-year-old commercial and stage actress, O'Dea previously worked for Hardman and Eastman in Pittsburgh. O'Dea was in Hollywood seeking entry to the movie business when contacted about the role.[17] O'Dea expressed surprise at the film's cultural impact and the renown it brought her.[18] Karl Hardman as Harry Cooper. President of Hardman Associates, Karl Hardman, played the hostile father. Cooper's wife was played by Hardman's real-life business and romantic partner Marilyn Eastman.[19][20] Marilyn Eastman as Helen Cooper.[21] Vice president of Hardman Associates, Marilyn Eastman played the doomed mother Helen Cooper and the unnamed, bug-eating zombie. She later appeared in Santa Claws (1996), directed by John Russo.[20][22] Kyra Schon as Karen Cooper. Hardman's daughter in real life,[23] 9-year-old Schon also portrayed the mangled corpse on the house's upstairs floor that Ben drags away.[24] Keith Wayne as Tom. "Keith Wayne" was Ronald Keith Hartman's stage name.[24] After this lone acting role, Wayne went on to work as a singer, dancer, musician, and night-club owner.[25][24] Wayne became a successful chiropractor in North Carolina.[25] Wayne explained the change in careers during a 1992 interview, "I am not that person anymore. [...] I got to a point in my life where I wanted to have some control. I didn't want to wake up at 40 or 50 and not be in control."[26] In 1995, he took his own life at age 50.[27][28] Judith Ridley as Judy. The 19-year-old receptionist from Hardman Associates auditioned for Barbra without any acting experience and was given the less-demanding role of Judy.[29] Ridley starred in Romero's unsuccessful second feature There's Always Vanilla (1971).[30] Bill Hinzman, who played the first ghoul encountered by Barbra and Johnny in the cemetery, went on to work on a number of horror films including The Majorettes (1986) and Flesheater (1988).[31][32] George Kosana as Sheriff McClelland. Kosana also served as the film's production manager.[33] Bill "Chilly Billy" Cardille as himself.[34] Cardille was well known in Pittsburgh as a TV presenter who hosted a horror film anthology series, Chiller Theatre.[35] Production Development and pre-production External videos video icon The Calgon Story The creation of a high-budget television commercial for Calgon brand detergent spurred the film's producers to create a horror movie.[36] George Romero embarked upon his career in the film industry while attending Carnegie Mellon University in Pittsburgh.[37] He directed and produced television commercials and industrial films for The Latent Image, a company he co-founded with his friend Russell Streiner.[38] The Latent Image started small, but after producing a high-budget Calgon commercial spoofing Fantastic Voyage (1966), Romero felt that The Latent Image had the experience and equipment to produce a feature film.[36] They wanted to capitalize on the film industry's "thirst for the bizarre", according to Romero.[39] He, Streiner, and John A. Russo contacted Karl Hardman and Marilyn Eastman, president, and vice president respectively, of a Pittsburgh-based industrial film firm called Hardman Associates, Inc. The Latent Image pitched their idea for a then-untitled horror film.[40] These discussions led to the creation of Image Ten, a production company chartered to produce a single feature film. The initial budget was $6,000;[12] each member of the production company invested $600 for a share of the profits.[41][b] Ten more investors contributed another $6,000, but this was still insufficient.[42] Production stopped multiple times during filming while Romero used early footage to persuade additional investors.[43] Image Ten eventually raised approximately $114,000 for the budget ($959,000 today).[44][42] Writing A group of actors in zombie makeup shamble across the unlit lawn of the farmhouse. Ghouls swarm around the house, searching for living human flesh. The script was co-written by Russo and Romero. They abandoned an early horror comedy concept about adolescent aliens,[45] after realizing they would not have the budget to create a convincing spaceship.[46] Russo proposed a more constrained narrative where a young man runs away from home and discovers aliens harvesting human corpses for food in a cemetery.[47][48] Romero combined this idea with an unpublished short story about flesh-eating ghouls,[49] and they began filming with an incomplete script.[43][45] According to Russo, the screenplay written prior to filming only covered events up to the emergence of the Cooper family.[50] Russo completed the script while filming and Romero later expanded the final pages of his short story into the sequels Dawn of the Dead (1978) and Day of the Dead (1985).[51] Romero drew inspiration from Richard Matheson's I Am Legend (1954),[52][c] a horror novel about a plague that ravages a futuristic Los Angeles. The infected in I Am Legend become vampire-like creatures and prey on the uninfected.[53][42][54] Matheson described Romero's interpretation as "kind of cornball",[55] and more theft than homage.[56] In an interview, Romero contrasted Night of the Living Dead with I Am Legend. He explained that Matheson wrote about the aftermath of a complete global upheaval; Romero wanted to explore how people would respond to that kind of disaster as it developed.[57] Much of the dialogue was altered, rewritten, or improvised by the cast.[58] Lead actress Judith O'Dea told an interviewer, "I don't know if there was an actual working script! We would go over what basically had to be done, then just did it the way we each felt it should be done".[18] One example offered by O'Dea concerns a scene where Barbra tells Ben about Johnny's death. O'Dea said that the script vaguely had Barbra talk about riding in the car with Johnny before they were attacked. She described Barbra's dialogue for the scene as entirely improv.[59] Eastman modified the scenes written for Helen and Harry Cooper in the cellar.[40] Karl Hardman attributed Ben's lines to lead actor Duane Jones. Ben was an uneducated truck driver in the script until Jones began to rewrite his character.[60][40] The lead role was initially written for a white actor, but upon casting black actor Duane Jones, Romero intentionally did not alter the script to reflect this.[61] The film appeared in theaters at a time when very few black actors played leading roles. The rare exceptions, like the consciously black heroes played by Sidney Poitier, were written as subservient to make those characters palatable to white audiences.[62][63] Asked in 2013 if he took inspiration from the assassination of Martin Luther King Jr. in the same year that the movie was made, Romero responded in the negative, noting that he only heard about the shooting when he was on his way to find distribution for the finished film.[61] Filming Principal photography Color photograph of tombstones from the film. Evans City Cemetery in 2007 Color photograph of the cemetery chapel seen in the film, now with all windows boarded over. Cemetery Chapel in 2009 The small budget dictated much of the production process.[40][64] Scenes were filmed near Evans City, Pennsylvania, 30 miles (48 km) north of Pittsburgh in rural Butler County;[65] the opening sequence was shot at the Evans City Cemetery on Franklin Road, south of the borough.[66][d] Lacking the money to build or purchase a house for the main set, the filmmakers rented a nearby farmhouse scheduled for demolition. Though it lacked running water, some crew members slept there during the shooting, taking baths in a nearby creek.[69] The building's neglected cellar was not a viable location for filming, so the few basement scenes were shot beneath The Latent Image offices.[70] The basement door shown in the film was cut into a wall by the production team and led nowhere.[71] Props and special effects were simple and limited by the budget. The blood, for example, was Bosco Chocolate Syrup drizzled over cast members' bodies.[72] The human flesh consumed by ghouls consisted of meat and offal donated by an investor's butcher shop.[73][74] Zombie makeup varied during the film. Initially, makeup was limited to white skin with blackened eyes. As filming progressed, mortician's wax simulated wounds and decaying flesh.[75] Filming took place between July 1967 and January 1968 under various titles. Work began under the generic working title Monster Flick, was changed to Night of Anubis after Romero's short story that provided the basis for the script, and was completed as Night of the Flesh Eaters, a title not used in the final release due to a potential conflict with a similarly named film.[76][77][78] The small budget led Romero to shoot on 35 mm black-and-white film. The completed film ultimately benefited from the decision, as film historian Joseph Maddrey describes the black-and-white filming as "guerrilla-style", resembling "the unflinching authority of a wartime newsreel". He found the exploitation film to resemble a documentary on social instability.[79] Directing Karen Cooper leans over her father's bloody corpse holding two handfuls of meat in a still from the film. Living dead Karen Cooper, eating her father's corpse Night of the Living Dead was the first feature-length film directed by George A. Romero. His initial work involved filming advertisements, industrial films, and shorts for Pittsburgh public broadcaster WQED's children's series Mister Rogers' Neighborhood.[80][81][82] Romero's decision to direct Night of the Living Dead launched his career as a horror director. He took the helm of the sequels as well as Season of the Witch (1972), The Crazies (1973), Martin (1978), Creepshow (1982) and The Dark Half (1993).[83][84] Critics saw the influence of the horror and science-fiction films of the 1950s in Romero's directorial style. Stephen Paul Miller, for instance, witnessed "a revival of fifties schlock shock ... and the army general's television discussion of military operations in the film echoes the often inevitable calling-in of the army in fifties horror films". Miller admits that "Night of the Living Dead takes greater relish in mocking these military operations through the general's pompous demeanor" and the government's inability to source the zombie epidemic or protect the citizenry.[85] Romero described the film's intended mood as a downward arc from near hopelessness to complete tragedy. Film historian Carl Royer praised the film's sophistication—especially considering Romero's limited experience—and noted the use of chiaroscuro (film noir style) lighting to create a mood of increasing alienation.[86] While some critics dismissed Romero's film because of the graphic scenes, writer R. H. W. Dillard claimed that the "open-eyed detailing" of taboo heightened the film's success. He asked, "What girl has not, at one time or another, wished to kill her mother? And Karen, in the film, offers a particularly vivid opportunity to commit the forbidden deed vicariously."[87] Romero featured social taboos as key themes, especially cannibalism. Film historian Robin Wood interprets the flesh-eating scenes of Night of the Living Dead as a late-1960s critique of American capitalism. Wood argues that the zombies' consumption of people represents the logical endpoint of human interactions under capitalism.[88] Post-production Members of Image Ten were involved in filming and post-production, participating in loading camera magazines, gaffing, constructing props, recording sounds and editing.[89] Production stills were shot and printed by Karl Hardman, assisted by a "production line" of other cast members.[40] Upon completion of post-production, Image Ten found it difficult to secure a distributor willing to show the film with the gruesome scenes intact. Columbia rejected the film for its lack of color, and American International Pictures declined after requests to soften it and re-shoot the final scene were rejected by producers.[43] The Walter Reade Organization agreed to show the film uncensored but changed the title from Night of the Flesh Eaters to Night of the Living Dead because of an existing film with a similar title. While changing the title, the copyright notice was accidentally deleted from the early releases of the film.[9][90] Soundtrack Duration: 14 minutes and 27 seconds.14:27 Drawn from pre-existing recordings, the music in Night of the Living Dead appears in many other films. The composition from the end credits previously appeared during this 1959 nuclear fallout public service video.[91] The film's music consisted of existing pieces that were mixed or modified for the film. Much of the soundtrack had been used by previous films.[e] Romero selected tracks from the Hi-Q music library, and Hardman cut them to match the scenes and augmented them with electronic effects.[92][40] A soundtrack album featuring music and dialogue cues from the film was compiled and released on LP by Varèse Sarabande in 1982. In 2008, the recording group 400 Lonely Things released the album Tonight of the Living Dead, an instrumental album with music and sounds sampled from the 1968 film.[93] Side one No. Title Writer(s) Length 1. "Driveway to the Cemetery (Main Theme)" Spencer Moore 02:19 2. "At the Gravesite/Flight/Refuge" William Loose/Loose—Seely/W. Loose 03:42 3. "Farmhouse/First Approach" Geordie Hormel 01:16 4. "Ghoulash (J.R.'s Demise)" Ib Glindemann 03:30 5. "Boarding Up" G. Hormel/Loose—Seely/Glindemann 03:00 6. "First Radio Report/Torch on the Porch" Phil Green/G. Hormel 02:27 7. "Boarding Up 2/Discovery: Gun 'n Ammo" G. Hormel 02:07 8. "Cleaning House" S. Moore 01:36 Side two No. Title Writer(s) Length 9. "First Advance" Ib Glindemann 02:43 10. "Discovery of TV/Preparing to Escape/Tom & Judy" (All the samples of the track were composed by Geordie Hormel) G. Hormel/J. Meakin/J. Meakin 04:20 11. "Attempted Escape" G. Hormel 01:29 12. "Truck on Fire/Ben Attacks Harry/Leg of Leg*" (*electronic sound effects by Karl Hardman) G. Hormel 03:41 13. "Beat 'Em or Burn 'Em/Final Advance" (Final Advance was composed by Harry Bluestone and Emil Cadkin) G. Hormel 02:50 14. "Helen's Death*/Dawn/Posse in the Fields/Ben Awakes" (*electronic sound effects by Karl Hardman) S. Moore 03:05 15. "O.K. Vince/Funeral Pyre (End Title)" S. Moore 01:10 Release Premiere controversy Duration: 1 minute and 50 seconds.1:50 Night of the Living Dead trailer highlighting the film's gore and violence Night of the Living Dead premiered on October 1, 1968, at the Fulton Theater in Pittsburgh.[21] Nationally, it was a Saturday afternoon matinée—typical for horror films at the time—and attracted the usual horror film audience of mainly pre-teens and adolescents.[94][95][96] The MPAA film rating system was not in place until the following month, so children were able to purchase tickets. Roger Ebert of the Chicago Sun-Times chided theater owners and parents who allowed children access to a film they were entirely unprepared for. Ebert noted that the children in the audience initially displayed typical reactions to '60s horror films, including shouting when ghouls appeared on the screen. He said that the atmosphere in the theater shifted to grim silence as the protagonists each began to fail, die, and be consumed—either by fire or the undead.[96] The deaths of Ben, Barbra, and the supporting cast showed audiences an uncomfortable, nihilistic outlook that was unusual for the genre.[97] According to Ebert: The kids in the audience were stunned. There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying ... It's hard to remember what sort of effect this movie might have had on you when you were six or seven. But try to remember. At that age, kids take the events on the screen seriously, and they identify fiercely with the hero. When the hero is killed, that's not an unhappy ending but a tragic one: Nobody got out alive. It's just over, that's all.[96] A review in Variety denounced the movie as a moral failing of the film's makers, the horror genre, and regional cinema. The reviewer claimed that the "unrelieved orgy of sadism" was effectively pornography due to its extreme violence.[98] These early denouncements would not limit the film's commercial success or later critical recognition.[99] Critical reception The neon marquee of a theater lists several notable cult films including Donnie Darko, Reanimator, and Night of the Living Dead. Decades after its initial release, a theater runs a midnight showing of the cult classic Despite the controversy, five years after the premiere Paul McCullough of Take One observed that Night of the Living Dead was the "most profitable horror film ever ... produced outside the walls of a major studio".[100] In the decade after its release, the film grossed over $15 million at the U.S. box office. It was translated into over 25 languages.[101] The Wall Street Journal reported that it was the top-grossing film in Europe in 1968.[87][87] In a 1971 Newsweek article, Paul D. Zimmerman noted that the film had "become a bona fide cult movie for a burgeoning band of blood-lusting cinema buffs".[102] Decades after its release, the film enjoys a reputation as a classic and still receives positive reviews.[103][104][105] In 2008, the film was ranked by Empire magazine No. 397 of The 500 Greatest Movies of All Time.[106] The New York Times also placed the film on their Best 1000 Movies Ever list.[107] In January 2010, Total Film included the film on its list of The 100 Greatest Movies of All Time.[108] Rolling Stone named Night of the Living Dead one of The 100 Maverick Movies in the Last 100 Years.[109] Reader's Digest found it to be the 12th scariest movie of all time.[110] On the review aggregator website Rotten Tomatoes, 95% of 84 critics' reviews are positive, with an average rating of 8.9/10. The website's consensus reads: "George A. Romero's debut set the template for the zombie film, and features tight editing, realistic gore, and a sly political undercurrent."[111] Metacritic, which uses a weighted average, assigned the film a score of 89 out of 100, based on 17 critics, indicating "universal acclaim".[112] Night of the Living Dead was awarded two distinguished honors decades after its debut. The Library of Congress added the film to the National Film Registry in 1999 with other films deemed "culturally, historically or aesthetically significant".[6][33][113][114] In 2001, the film was ranked No. 93 by the American Film Institute on their AFI's 100 Years ... 100 Thrills list, a list of America's most heart-pounding movies.[115] The zombies in the picture were also a candidate for AFI's AFI's 100 Years ... 100 Heroes & Villains, in the villains category, but failed to make the official list.[116] The Chicago Film Critics Association named it the 5th scariest film ever made.[117] The film also ranked No. 9 on Bravo's The 100 Scariest Movie Moments.[118] New Yorker critic Pauline Kael called the film "one of the most gruesomely terrifying movies ever made – and when you leave the theatre you may wish you could forget the whole horrible experience. ... The film's grainy, banal seriousness works for it – gives it a crude realism".[119] A Film Daily critic commented, "This is a pearl of a horror picture that exhibits all the earmarks of a sleeper."[120] While Roger Ebert criticized the matinée screening, he admitted that he "admires the movie itself".[96] Critic Rex Reed wrote, "If you want to see what turns a B movie into a classic ... don't miss Night of the Living Dead. It is unthinkable for anyone seriously interested in horror movies not to see it."[121] Copyright status and home media In the United States, Night of the Living Dead was mistakenly released into the public domain because the original distributor failed to replace the copyright notice when changing the film's name.[9][122] Image Ten displayed a notice on the title frames of the film beneath the original title, Night of the Flesh Eaters, but the Walter Reade Organization removed it when changing the title.[9][123] At that time, United States copyright law held that public dissemination required copyright notice to maintain a copyright.[124] Several years after the film's release, its creators discovered that the original prints distributed to theaters had no copyright protection.[122] Because Night of the Living Dead was not copyrighted, it has received hundreds of home video releases on VHS, Betamax, DVD, Blu-ray, and other formats.[125] Over two hundred distinct versions of the film have been released on tapes alone.[126] Numerous versions of the film have appeared on DVD, Blu-ray, and LaserDisc with varying quality.[127] The original film is available to view or download for free on many websites.[f] As of October 2023, it is the Internet Archive's second most-downloaded film, with over 3.5 million downloads.[136] The film received a VHS release in 1993 through Tempe Video.[137] The next year, a THX certified 25th anniversary Laserdisc was released by Elite Entertainment. It features special features, including commentary, trailers, gallery files, and more.[138] In 1999, Russo's revised version of the film, Night of the Living Dead: 30th Anniversary Edition, was released on VHS and DVD by Anchor Bay Entertainment.[137] In 2002, Elite Entertainment released a special edition DVD featuring the original cut.[137] Dimension Extreme released a restored print of the film on DVD.[137] This was followed by a 4K restoration Blu-ray released by The Criterion Collection on February 13, 2018, sourced from a print owned by the Museum of Modern Art and acquired by Janus Films.[139][140] This release also features a workprint edit of the film under the title of Night of Anubis, in addition to various bonus materials.[141] In February 2020, Netflix took down Night of the Living Dead from its streaming service in Germany following a legal request in 2017 because "a version of the film is banned in that country."[142][143] Revisions There are numerous revised versions of the film with content added, deleted, rearranged, or more heavily modified. From its initial release into the public domain, Night of the Living Dead was widely screened from inferior prints in grindhouse theaters, a trend that continued among the bottom-tier home video companies. The first major revisions of Night of the Living Dead involved colorization by home video distributors. Hal Roach Studios released a colorized version in 1986 that featured ghouls with pale green skin.[144][145] Another colorized version appeared in 1997 from Anchor Bay Entertainment with grey-skinned zombies.[146] In 2009, Legend Films co-produced a colorized 3D version of the film with PassmoreLab, a company that converts 2-D film into 3-D format.[147] The film was theatrically released on October 14, 2010.[148] According to Legend Films founder Barry Sandrew, Night of the Living Dead is the first entirely live action 2-D film to be converted to 3-D.[149] In 1999, co-writer Russo released a modified version called Night of the Living Dead: 30th Anniversary Edition.[150] He filmed additional scenes and recorded a revised soundtrack composed by Scott Vladimir Licina. In an interview with Fangoria magazine, Russo explained that he wanted to "give the movie a more modern pace".[151] Russo took liberties with the original script. The additions are neither clearly identified nor even listed. Entertainment Weekly reported "no bad blood" between Russo and Romero. The magazine quoted Romero as saying, "I didn't want to touch Night of the Living Dead".[152] Critics disliked the revised film, notably Harry Knowles of Ain't It Cool News, who promised to permanently ban anyone from his publication who offered positive criticism of the film.[153][154] A collaborative animated project known as Night of the Living Dead: Reanimated was screened at several film festivals[155] and was released onto DVD on July 27, 2010, by Wild Eye Releasing.[156][157] This project aims to "reanimate" the 1968 film by replacing Romero's celluloid images with animation done in a wide variety of styles by artists from around the world, laid over the original audio from Romero's version.[158] Night of the Living Dead: Reanimated was nominated in the category of Best Independent Production (film, documentary or short) for the 8th Annual Rondo Hatton Classic Horror Awards.[159] Starting in 2015, and working from the original camera negatives and audio track elements, a 4K digital restoration of Night of the Living Dead was undertaken by the Museum of Modern Art (MoMA) and The Film Foundation.[160] The fully restored version was shown in November 2016 as part of To Save and Project: The 14th MoMA International Festival of Film Preservation.[161][162] This same restoration was released on Blu-ray by The Criterion Collection on February 13, 2018,[139] and on Ultra HD Blu-ray on October 4, 2022.[163] Related works Romero's Dead films Main article: Night of the Living Dead (film series) An album with illustrations of hands bursting through the ground, above the words "When there's no more room in hell, the dead will walk the earth." Cover for Dawn of the Dead album Night of the Living Dead is the first of six ... of the Dead films directed by George Romero. Following the 1968 film, Romero released Dawn of the Dead, Day of the Dead, Land of the Dead, Diary of the Dead and Survival of the Dead.[164] Each film traces the evolution of the living dead epidemic in the United States and humanity's desperate attempts to cope with it. As in Night of the Living Dead, Romero peppered the other films in the series with critiques specific to the periods in which they were released.[165][166][167] Romero died with several "Dead" projects unfinished, including the posthumously completed novel The Living Dead[168] and the upcoming film The Twilight of the Dead.[169] Return of the Living Dead series Main article: Return of the Living Dead (film series) The Return of the Living Dead series takes place in an alternate continuity where both the original film and the titular living dead exist. The series has a complicated relationship with Romero's Dead films.[170] Co-writer John Russo wrote the novel Return of the Living Dead (1978) as a sequel to the original film and collaborated with Night alumni Russ Streiner and Rudy Ricci on a screenplay under the same title. In 1981, investment banker Tom Fox bought the rights to the story. Fox brought in Dan O'Bannon to direct and rewrite the script, changing nearly everything but the title.[171][172] O'Bannon's The Return of the Living Dead arrived in theaters in 1985 alongside Day of the Dead. Romero and his associates attempted to block Fox from marketing his film as a sequel and demanded the name be changed. In a previous court case, Dawn Associates v. Links (1978), they had prevented Illinois-based film distributor William Links from re-releasing an unrelated film under the title Return of the Living Dead. Fox was forced to cease his advertising campaign but allowed to retain the title.[173][172][174][175] Rise of the Living Dead George Cameron Romero, the son of director George A. Romero, wrote a prequel to his father's classic, under the working titles Origins and Rise of the Living Dead. George Cameron Romero said that he created Rise of the Living Dead as an homage to his father's work, a glimpse into the political turmoil of the mid-to-late 1960s, and a bookend piece to his father's original story. Despite raising funds for the film on Indiegogo in 2014,[176] as of 2023 the film has yet to go into production.[177] In April 2021, Heavy Metal magazine published the first issue of a graphic novel adaptation of the story titled The Rise from Romero's script and with art by Diego Yapur.[178][179] Remakes and other related films Many remakes have attempted to reimagine the original film's story, most notably the 1990 remake written by Romero and directed by special effects artist Tom Savini. Savini had planned to work on the 1968 film before being drafted into the Vietnam War,[180][181] and, after the war, worked with Romero on the sequels.[182] The remake was based on the original screenplay but included a revised plot that portrayed Barbra (Patricia Tallman) as a capable and active heroine.[183] Film historian Barry Grant interprets the new Barbra as a reversal of the original film's portrayal of feminine passivity.[184] He explores how the 1990 Barbra embodies—arguably masculine—virtuous professionalism, as depicted in the works of classic Hollywood director Howard Hawks, a major influence on Romero.[185] Grant describes her as the film's only Hawksian professional. After changing from a mousy outfit that mirrors the original into the visually militaristic clothing she discovers in the farmhouse, Barbra is the lone character able to separate her emotions from the objective necessity to exterminate the living dead.[186] According to Grant, Romero is able to offer one of the most important feminist outlooks in horror because the undead disrupt all traditional values including patriarchy.[187] The second remake was in 3-D and released in September 2006 under the title Night of the Living Dead 3D, directed by Jeff Broadstreet. Unlike Savini's film, Broadstreet's project was not affiliated with Romero.[188] Broadstreet's film was followed in 2012 by a prequel, Night of the Living Dead 3D: Re-Animation.[189] On September 15, 2009, it was announced that Simon West was producing a 3D animated retelling of the original film, originally titled Night of the Living Dead: Origins 3D and later re-titled Night of the Living Dead: Darkest Dawn.[190][191] The movie is written and directed by Zebediah de Soto. The voice cast includes Tony Todd as Ben, Danielle Harris as Barbra, Joseph Pilato as Harry Cooper, Alona Tal as Helen Cooper, Bill Moseley as Johnny, Tom Sizemore as Chief McClellan and newcomers Erin Braswell as Judy and Michael Diskint as Tom.[192][193][194][195][196][197] Director Doug Schulze's 2011 film Mimesis: Night of the Living Dead relates the story of a group of horror film fans who become involved in a "real-life" version of the 1968 film.[198][199] Due to its public domain status, several independent producers have created remakes. Night of the Living Dead: Resurrection (2012): British filmmaker James Plumb directed this Wales-set remake.[200] A Night of the Living Dead (2014): Shattered Images Films and Cullen Park Productions released a remake with new twists and characters, written and directed by Chad Zuver.[201] Rebirth (formerly Night of the Living Dead: Rebirth) (2021):[202] Rising Pulse Productions' updated take on the classic film was released in June 2021 and brings to light present issues that impact modern society such as religious bigotry, homophobia and the influence of social media.[203] Night of the Animated Dead (2021): Warner Bros. Home Entertainment announced in June 2021 that they were in production of an animated adaptation. Directed by Jason Axinn (To Your Last Death) and featuring the voices of Dulé Hill (Ben), Katharine Isabelle (Barbra), Josh Duhamel (Harry Cooper), James Roday Rodriguez (Tom), Katee Sackhoff (Judy), Will Sasso (Sheriff McClelland), Jimmi Simpson (Johnny) and Nancy Travis (Helen Cooper), it was released via video on demand on September 21, 2021.[204] Night of the Living Dead II: In June 2021, director Marcus Slabine debuted his secretly filmed sequel.[205] The film stars Lori Cardille, Terry Alexander and Jarlath Conroy of Day of the Dead.[206] A Night of the Undead (2022) was released to select theaters in October 2022.[207] In January 2023, the film saw wider release. Directed by Kenny Scott Guffey, Jake C. Young and stars Denny Kidd, Briana Phipps-Stotts, and Mason Johnson.[208] Festival of the Living Dead: In May 2023, the Soska sisters announced an in-universe followup taking place half a century after the events of the 1968 film, starring Ashley Moore and Camren Bicondova. It was set to be released on Tubi in fall 2023.[209][210] In other media At the suggestion of Bill Hinzman (the actor who played the zombie that first attacks Barbra in the graveyard and kills her brother Johnny at the beginning of the original film), composers Todd Goodman and Stephen Catanzarite composed an opera Night of the Living Dead based on the film.[211] The Microscopic Opera Company produced its world premiere, which was performed at the Kelly-Strayhorn Theater in Pittsburgh, in October 2013.[212] The opera was awarded the American Prize for Theater Composition in 2014.[213] A play called Night of the Living Dead Live! was published in 2017[214] and has been performed in major cities including Toronto, Leeds and Auckland.[215][216][217] Legacy See also: Zombie A packed crowd in zombie makeup hold a banner reading, "World Record Zombie Walk, Pittsburgh, Pennsylvania, October 26, 2006, The It's Alive Show, Pittsburgh East Nissan, Monroeville Mall" A zombie walk in Monroeville Mall, the setting of Romero's Dawn of the Dead Romero revolutionized the horror film genre with Night of the Living Dead; according to Almar Haflidason of the BBC, the film represented "a new dawn in horror film-making".[218] The film ushered in the splatter film subgenre. Earlier horror films had largely involved rubber masks, costumes, cardboard sets, and mysterious figures lurking in the shadows. They were set in locations far removed from rural and suburban America.[219] Romero revealed the power behind exploitation and setting horror in ordinary, unexceptional locations and offered a template for making an effective film on a small budget.[220] Night spawned countless imitators in cinema, television, and video gaming.[7] According to author Barry Keith Grant, the slasher films of the 1970s and 1980s such as John Carpenter's Halloween (1978), Sean S. Cunningham's Friday the 13th (1980), and Wes Craven's A Nightmare on Elm Street (1984) are indebted to Romero's use of gore in a familiar setting.[221] The film is regarded as one of the launching pads for the modern zombie movie,[222] and effectively redefined the "zombie".[223] Before the film's release, the term "zombie" described a concept from Haitian folklore whereby a bokor could reanimate a corpse into an insensate slave.[224] Early zombie films like White Zombie (1932) combined this with racial and postcolonial anxieties.[225] Romero never used the word "zombie" in the 1968 film or its script—using instead, ghoul—because he said that his flesh-eaters were something new.[21][226][227][61] The term "zombie" was retroactively applied to Night after its cannibalistic undead became the dominant zombie concept in the United States,[228] to such an extent that zombie has become a byword for concepts that failed to "die".[229] According to professor of religious studies Kim Paffenroth, Romero's antagonists broke with earlier traditions of "voodoo zombies" by having no human villain in control of the zombie and thus no potential to ever restore the monsters' humanity.[230] Compared to the vampires and Haitian zombies that served as inspiration, Romero's antagonists derive more horror from abjection, the disgust that arises from an inability to separate clean from corrupt. While the vampire myth offers a potential escape from mundane life, the zombie offers an infinite decay more abject than conventional death.[231] Cultural critic Steven Shaviro has remarked that—unlike with other movie characters—audiences cannot identify with the zombies because there is no identity left within their bodies, and that they instead provide audiences a combination of disgust and fascinated attraction.[223][232] Critical analysis Ben crouches to give shoes to Barbra who is sitting on the couch barefoot Barbra and Ben after their first meeting Since its release, many critics and film historians have interpreted Night of the Living Dead as a subversive film that critiques 1960s American society, international Cold War politics and domestic racism.[63] Film historian Robin Wood organized "The American Nightmare"—a sixty-film retrospective combining screenings and director interviews to frame horror in terms of oppression and repression—for the 1979 Toronto International Film Festival. His essay from the program notes, "An Introduction to the American Horror Film", was highly influential, especially in film criticism where horror as a genre had not previously been considered a topic for serious analysis.[233][234] Wood interprets notable horror films including Night through a psychoanalytic framework.[235] He discusses how traits deemed unacceptable are repressed on the personal level or when not repressed, oppressed on the societal level.[235] He identifies repressed taboos and othered groups as the psychological basis for horror monsters.[235] Wood and later critics used this framework to discuss Night as a commentary on repressed sexuality, the marginalized groups of 1960s America, and the disruption to societal norms resulting from the civil rights movement and the Vietnam War.[236][237] Elliot Stein of The Village Voice sees the film as an ardent critique of American involvement in the Vietnam War, arguing that it "was not set in Transylvania, but Pennsylvania – this was Middle America at war, and the zombie carnage seemed a grotesque echo of the conflict then raging in Vietnam".[238] Film historian Sumiko Higashi concurs, arguing that Night of the Living Dead draws from the visual vocabulary the media used to report on the war, noting especially that the photographs of the napalm girl and the execution of Nguyễn Văn Lém would be fresh in the minds of the film's creators and audience.[239] She points to aspects of the Vietnam War paralleled in the film: grainy black-and-white newsreels, search and destroy operations, helicopters, and graphic carnage.[240] In 1968, the news was still broadcast in black and white, and the graphic photographs that appear during the closing credits resemble the contemporary Vietnam War photojournalism.[63] Critics have compared the shooting of the film's black protagonist to the assassination of Martin Luther King Jr.[63][241][242] Stein explains, "In this first-ever subversive horror movie, the resourceful black hero survives the zombies only to be surprised by a redneck posse".[238] In 2018, on the film's 50th anniversary, Mark Lager of CineAction noted a clear parallel between the killing and destruction of Ben's body by white police and the violence directed at African Americans during the civil rights movement. Lager described it as a more honest exploration of 1960s America than anything produced by Hollywood.[243] Film historian Gregory Waller identifies broad-ranging critiques of American institutions including the nuclear family, private homes, media, government, and "the entire mechanism of civil defense".[244] Film historian Linda Badley explains that the film was so horrifying because the monsters were not creatures from outer space or some exotic environment, but rather that "They're us."[245] In the 2009 documentary film Nightmares in Red, White and Blue, the zombies in the film are compared to the "silent majority" of the U.S. in the late 1960s.[246

Cairo is a 1942 musical comedy film made by MGM and Loew's, and directed by W. S. Van Dyke. The screenplay was written by John McClain, based on an idea by Ladislas Fodor about a news reporter shipwrecked in a torpedo attack, who teams up with a Hollywood singer and her maid to foil Nazi spies. The music score is by Herbert Stothart. This film was Jeanette MacDonald's last film on her MGM contract.[3] The film was poorly received upon its initial release.[4] Plot [icon] This section needs expansion. You can help by adding to it. (January 2014) American Homer Smith is the star reporter of a small newspaper, which is named the best small town newspaper in the country. As a reward for his contributions, he is sent to North Africa to report on the war. In the Mediterranean, however, his ship is sunk; he and one other survivor, Philo Cobson, make it to shore. Cobson reveals that he is a member of British Intelligence and asks Smith to give a coded message to a Mrs. Morrison in Cairo. Mrs. Morrison tells him that motion picture star Marcia Warren is a Nazi spy. Smith, a big fan of Warren, has trouble believing it, but finds Warren's behavior suspect. He gets a job as her butler as Juniper Jones. Meanwhile, the innocent Warren begins to think that Smith is an enemy agent. Despite their mutual suspicions, they start to fall in love. Eventually, the real spies are unmasked: Cobson and Mrs. Morrison. Cast Jeanette MacDonald as Marcia Warren Robert Young as Homer Smith, aka Juniper Jones Ethel Waters as Cleona Jones, Marcia's Maid Reginald Owen as Philo Cobson Grant Mitchell as Mr. O.H.P. Boggs Lionel Atwill as Teutonic gentleman Eduardo Ciannelli as Ahmed Ben Hassan Mitchell Lewis as Ludwig Dooley Wilson as Hector Larry Nunn as Bernie Dennis Hoey as Col. Woodhue Mona Barrie as Mrs. Morrison Rhys Williams as Strange man Cecil Cunningham as Mme. Laruga Harry Worth as Viceroy Hotel bartender Frank Richards as Alfred Faten Hamama as Amina Reception According to MGM records. the film earned $616,000 in the U.S. and Canada and $581,000 elsewhere, meaning the studio recorded a profit of $273,000.[2] https://en.wikipedia.org/wiki/Cairo_(1942_film)

About this Item Title The Memphis Belle: A Story of a Flying Fortress Names United States Army Eighth Air Force Wyler, William Paramount Pictures, inc. Kern, Ed Created / Published 1944 Headings - Documentary Genre Documentary Notes - Summary: Documentary about the 25th and last bombing mission of the B-17 bomber, Memphis Belle. - Credits: Narrated by Ed Kern. Medium Film, Video Call Number/Physical Location Mavis identifier: 9301 Source Collection Copyright Collection Repository Motion Picture, Broadcasting And Recorded Sound Division https://www.loc.gov/item/mbrs00009301/

His Girl Friday is a 1940 American screwball comedy film directed by Howard Hawks, starring Cary Grant and Rosalind Russell and featuring Ralph Bellamy and Gene Lockhart. It was released by Columbia Pictures. The plot centers on a newspaper editor named Walter Burns who is about to lose his ace reporter and ex-wife, Hildy Johnson, newly engaged to another man. Burns suggests they cover one more story together, getting themselves entangled in the case of murderer Earl Williams as Burns desperately tries to win back his wife. The screenplay was adapted from the 1928 play The Front Page by Ben Hecht and Charles MacArthur. This was the second time the play had been adapted for the screen, the first occasion being the 1931 film which kept the original title The Front Page. The script was written by Charles Lederer and Ben Hecht, who is not credited for his contributions. The major change in this version, introduced by Hawks, is that the role of Hildy Johnson is a woman. Filming began in September 1939 and finished in November, seven days behind schedule. Production was delayed because the frequent improvisation and numerous ensemble scenes required many retakes. Hawks encouraged his actors to be aggressive and spontaneous. His Girl Friday has been noted for its surprises, comedy, and rapid, overlapping dialogue. Hawks was determined to break the record for the fastest film dialogue, at the time held by The Front Page. He used a sound mixer on the set to increase the speed of dialogue and held a showing of the two films next to each other to prove how fast his film was. His Girl Friday was #19 on American Film Institute's 100 Years ... 100 Laughs and was selected in 1993 for preservation in the United States National Film Registry of the Library of Congress as "culturally, historically, or aesthetically significant".[2][3] The film is in the public domain because the copyright was not renewed, though the play it was based on is still under copyright.[4] Plot Walter Burns, the hard-boiled editor for The Morning Post, learns his ex-wife and former star reporter, Hildegard "Hildy" Johnson, is about to marry insurance man Bruce Baldwin and settle down as a housewife in Albany. Walter, determined to sabotage these plans, entices a reluctant Hildy to cover one last story: the upcoming execution of Earl Williams, a shy bookkeeper convicted of murdering a policeman. Hildy agrees on the condition that Walter buy a $100,000 life insurance policy from Bruce so he can receive a $1,000 commission. In the meantime, she bribes the warden to let her interview Williams in jail. Williams says he shot the police officer by accident. Walter does everything he can to keep Hildy from leaving, first accusing Bruce of stealing a watch, forcing Hildy to bail him out of jail. Exasperated, Hildy quits, but when Williams escapes, her journalistic instincts take over. Walter frames Bruce again, and he is immediately sent back to jail. Hildy realizes that Walter is behind the shenanigans, but she prioritizes covering the rapidly escalating Williams story over bailing Bruce out again. Williams sneaks into the deserted press room and holds Hildy at gunpoint; the lure of a big scoop proves too tempting for her to resist. Williams's friend Mollie comes looking for him. When the other reporters return, Hildy hides the fugitive in a rolltop desk. Mrs. Baldwin, Hildy's future mother-in-law, enters and berates her for the way she is treating Bruce. Upon being harassed for Williams's whereabouts by the reporters, Mollie jumps out of the window to escape. The reporters rush out, saving Williams from being found. Walter arrives and has his henchman Louie kidnap Mrs. Baldwin. Bruce comes into the press room, having wired Albany for his bail and asking for his mother's whereabouts. Hildy is so consumed with writing the story that she hardly notices; Bruce realizes his cause is hopeless and leaves. A disheveled Louie returns, revealing that he had hit a police car while driving away with Mrs. Baldwin and is unsure if she survived in the accident. Meanwhile, the crooked mayor and sheriff need the publicity from the execution to keep their jobs in an upcoming election, so when a messenger brings them a reprieve from the governor, they try to bribe the man to go away and return later, after it is too late. After Williams is discovered in the desk, Walter and Hildy are handcuffed by the sheriff. However, the messenger returns with the reprieve, just in time to save Williams from the gallows. Walter uses the messenger's statements to blackmail the mayor and sheriff into releasing him and Hildy. Hildy receives a call from Bruce, again in jail because of counterfeit money that was unknowingly transferred to him by Hildy from Walter. Hildy breaks down and admits to Walter that she was afraid that he was going to let her marry Bruce without a fight. After bailing Bruce out of jail again, Walter asks Hildy to remarry him and promises to take her on the honeymoon they never had in Niagara Falls. Then Walter learns that there is a strike in Albany, which is on the way to Niagara Falls. Hildy agrees to honeymoon in Albany, accepting that Walter will never change. Cast Cary Grant as Walter Burns Rosalind Russell as Hildy Johnson Ralph Bellamy as Bruce Baldwin Gene Lockhart as Sheriff Hartwell Porter Hall as Murphy Ernest Truex as Bensinger Cliff Edwards as Endicott Clarence Kolb as the Mayor Roscoe Karns as McCue Frank Jenks as Wilson Regis Toomey as Sanders Abner Biberman as Louie Frank Orth as Duffy John Qualen as Earl Williams Helen Mack as Mollie Malloy Alma Kruger as Mrs. Baldwin Billy Gilbert as Joe Pettibone Pat West as Warden Cooley Edwin Maxwell as Dr. Eggelhoffer Marion Martin as Evangeline (uncredited) Production Director Howard Hawks Development and writing While producing Only Angels Have Wings (1939), Howard Hawks tried to pitch a remake of The Front Page to Harry Cohn of Columbia Pictures. Cary Grant was almost immediately cast in the film, but Cohn initially intended Grant to play the reporter, with radio commentator Walter Winchell as the editor.[5] Hawks' production that became His Girl Friday was originally intended to be a straightforward adaptation of The Front Page, with both the editor and reporter being male.[a] During auditions, Howard Hawks' secretary, a woman, read reporter Hildy Johnson's lines. Hawks liked the way the dialogue sounded coming from a woman, resulting in the script being rewritten to make Hildy female and the ex-wife of editor Walter Burns played by Cary Grant.[7] Cohn purchased the rights for The Front Page in January 1939.[8] Although Hawks considered the dialogue of The Front Page to be "the finest modern dialogue that had been written", more than half of it was replaced with what Hawks believed to be better lines.[9] Some of the original dialogue was left the same, as were all of the characters' names with two exceptions: Hildy's fiancé (now no longer a fiancée) was given the name Bruce Baldwin,[8] and the name of the comic messenger bringing the pardon from the governor was changed from Pincus to Pettibone.[10] Harry Cohn of Columbia Pictures approved Hawks' idea for the film project. Ben Hecht and Charles MacArthur, the writers of the original play, were unavailable for screenwriting. Consequently, Hawks considered Gene Fowler as the screenwriter, but he declined the job because he disliked the changes to the screenplay Hawks intended to make.[8] Hawks instead recruited Charles Lederer, who had worked on the adaptation for The Front Page, to work on the screenplay.[11] Though he was not credited, Hecht assisted Lederer in the adaptation.[12] Additions were made at the beginning of the screenplay by Lederer to give the characters a convincing backstory; it was decided that Hildy and Walter would be divorced with Hildy's intentions of remarriage serving as Walter's motivation to win her back.[13] During writing, Hawks was in Palm Springs directing Only Angels Have Wings, but stayed in close contact with Lederer and Hecht.[8] Hecht helped Lederer with some organizational revisions, and Lederer finished the script on May 22. After two more drafts completed by July, Hawks called Morrie Ryskind to revise the dialogue and make it more interesting. Ryskind revised the script throughout the summer and finished by the end of September before filming began. More than half of the original dialogue was rewritten.[8] The film lacks one of the well-known final lines of the play, "the son-of-a-bitch stole my watch!", because films of the time were more censored than Pre-Code Hollywood films, and Hawks felt that the line was too overused. Ryskind developed a new ending in which Walter and Hildy start fighting immediately after saying "I do" in the wedding they hold in the newsroom, with one of the characters stating, "I think it's gonna turn out all right this time." However, after revealing the ending to a few writers at Columbia one evening, Ryskind was surprised to hear that his ending was filmed on another set a few days later.[14] Forced to create another ending, Ryskind ended up thanking the anonymous Columbia writer, because he felt that his ending and one of his final lines, "I wonder if Bruce can put us up", were better than what he had written originally.[14] After reviewing the screenplay, the Hays Office saw no issues with the film, besides a few derogatory comments towards newsmen and some illegal behavior of the characters. During some rewrites for censors, Hawks focused on finding a lead actress for his film.[15] Casting Cary Grant, Rosalind Russell, and Ralph Bellamy in a promotional picture for the film. Hawks had difficulty casting His Girl Friday. While the choice of Cary Grant was almost instantaneous, the casting of Hildy was a more extended process. At first, Hawks wanted Carole Lombard, whom he had directed in the screwball comedy Twentieth Century (1934), but the cost of hiring Lombard in her new status as a freelancer proved to be far too expensive, and Columbia could not afford her. Katharine Hepburn, Claudette Colbert, Margaret Sullavan, Ginger Rogers, and Irene Dunne were offered the role, but turned it down. Dunne rejected the role because she felt the part was too small and needed to be expanded. Jean Arthur was suspended by the studio when she refused to take it. Joan Crawford reportedly was considered.[16] Hawks then turned to Rosalind Russell, who had just finished MGM's The Women (1939).[17] Russell was upset when she discovered from a New York Times article that Cohn was "stuck" with her after attempting to cast many other actresses. Before Russell's first meeting with Hawks, to show her apathy, she took a swim and entered his office with wet hair, causing him to do a "triple take". Russell confronted him about this casting issue; he dismissed her quickly and asked her to go to wardrobe.[17] Filming John Qualen's character is discovered hiding in a rolltop desk. After makeup, wardrobe, and photography tests, filming began on 27 September 1939. The film had the working title of The Bigger They Are.[18] The film is noted for its rapid-fire repartee, using overlapping dialogue to make conversations sound more realistic, with one character speaking before another finishes. Although overlapping dialogue is specified and cued in the 1928 play script by Hecht and MacArthur,[19] Hawks told Peter Bogdanovich: I had noticed that when people talk, they talk over one another, especially people who talk fast or who are arguing or describing something. So we wrote the dialogue in a way that made the beginnings and ends of sentences unnecessary; they were there for overlapping.[20] Left to right: Cary Grant, Frank Jenks, Roscoe Karns, Gene Lockhart, Pat Flaherty, Porter Hall, Alma Kruger, and Rosalind Russell in one of the final scenes of the film. To get the effect he wanted, as multi-track sound recording was not yet available at the time, Hawks had the sound mixer on the set turn the various overhead microphones on and off as required for the scene, as many as 35 times.[18] Reportedly, the film was sped up because of a challenge Hawks took upon himself to break the record for the fastest dialogue on screen, at the time held by The Front Page.[21] Hawks arranged a showing for newsmen of the two films next to each other to prove how fast his dialogue was.[22] Hawks gave the actors the freedom to improvise some of their lines and actions, as he did with his comedies more than his dramas.[21] In her autobiography Life Is a Banquet, Russell wrote that she thought she did not have as many good lines as Grant, so she hired her own writer to "punch up" her dialogue. With Hawks encouraging ad-libbing, she was able to slip her writer's work into the movie. Only Grant was wise to this tactic and greeted her each morning with "What have you got today?"[23] Her ghostwriter gave her some of the lines for the restaurant scene, which is unique[clarification needed] to His Girl Friday. It was one of the most complicated scenes to film; because of the rapidity of the dialogue the actors actually ate very little during the scene. Hawks shot this scene with one camera a week and a half into production, and it took four days to film instead of the intended two.[24] The improvisations made it difficult for the cinematographers to know what the characters were going to do. Russell was also difficult to film because her lack of a sharp jawline required makeup artists to paint and blend a dark line under her jawline while shining a light on her face to simulate a more youthful appearance.[22] Hawks encouraged aggressiveness and unexpectedness in the acting, breaking the fourth wall a few times in the film. At one point, Grant broke character because of something unscripted that Russell did and looked directly at the camera, saying "Is she going to do that?" Hawks decided to leave this scene in, although it does not appear in the final cut.[22] Owing to the numerous ensemble scenes, many retakes were necessary. Having learned from Bringing Up Baby (1938), Hawks added some straight supporting characters in order to balance out the leading characters.[24] Arthur Rosson worked for three days on second unit footage at Columbia Ranch. Filming was completed on 21 November1939, seven days past schedule. Unusually for the time period, the film contains no music except for the music that leads to the final fade out of the film.[25] Ad-libs by Grant Grant's character describes Bellamy's character by saying "He looks like that fellow in the movies, you know ... Ralph Bellamy!" According to Bellamy, the remark was ad-libbed by Grant.[16] Columbia studio head Harry Cohn thought it was too cheeky and ordered it removed, but Hawks insisted that it stay. Grant makes several other "inside" remarks in the film. When his character is arrested for kidnapping, he describes the horrendous fate suffered by the last person who crossed him: Archie Leach (Grant's birth name).[26] Another line that people think is an inside remark is when Earl Williams attempts to get out of the rolltop desk he's been hiding in, Grant says, "Get back in there, you Mock Turtle." The line is a "cleaned-up" version of a line from the stage version of The Front Page ("Get back in there, you God damned turtle!") and Grant also played "The Mock Turtle" in the 1933 film version of Alice in Wonderland.[18] Release Release of the film was rushed by Cohn and a sneak preview of the film was held in December, with a press screening on January 3, 1940.[25] His Girl Friday premiered in New York City at Radio City Music Hall on January 11, 1940, and went into general American release a week later.[27][28] Reception Cary Grant and Rosalind Russell Contemporary reviews from critics were very positive. Critics were particularly impressed by the gender change of the reporter.[25] Frank S. Nugent of The New York Times wrote "Except to add that we've seen The Front Page under its own name and others so often before we've grown a little tired of it, we don't mind conceding His Girl Friday is a bold-faced reprint of what was once—and still remains—the maddest newspaper comedy of our times."[29] The Variety reviewer wrote "The trappings are different—even to the extent of making reporter Hildy Johnson a femme—but it is still Front Page and Columbia need not regret it. Charles Leder (sic) has done an excellent screenwriting job on it and producer-director Howard Hawks has made a film that can stand alone almost anywhere and grab healthy grosses."[30] Harrison's Reports wrote "Even though the story and its development will be familiar to those who saw the first version of The Front Page, they will be entertained just the same, for the action is so exciting that it holds one in tense suspense throughout."[31] Film Daily wrote "Given a snappy pace, a top flight cast, good production and able direction, the film has all the necessary qualities for first-rate entertainment for any type of audience."[32] John Mosher of The New Yorker wrote that after years of "feeble, wispy, sad imitations" of The Front Page, he found this authentic adaptation of the original to be "as fresh and undated and bright a film as you could want".[33] Louis Marcorelles called His Girl Friday "le film américain par excellence".[34] On Rotten Tomatoes, the film holds an approval rating of 99% based on 100 reviews, with an average rating of 9.00/10. The website's critics consensus reads: "Anchored by stellar performances from Cary Grant and Rosalind Russell, His Girl Friday is possibly the definitive screwball romantic comedy."[35] In the 2012 Sight & Sound poll of the greatest films of all time, His Girl Friday appeared on several lists, including those of critic David Thomson[36] and director Quentin Tarantino.[37] Interpretation Story Left to right: Ralph Bellamy, Cary Grant and Rosalind Russell Irving Bacon, Cary Grant, Ralph Bellamy and Rosalind Russell Rosalind Russell, Cary Grant, Billy Gilbert, Clarence Kolb and Gene Lockhart Cary Grant with Rosalind Russell; Russell wears a costume designed by Robert Kalloch The title His Girl Friday is an ironic title, because a girl "Friday" represents a servant of a master, but Hildy is not a servant in the film, but rather the equal to Walter. The world in this film is not determined by gender, but rather by intelligence and capability. At the beginning of the film, Hildy says that she wants to be "treated like a woman", but her return to her profession reveals her true desire to live a different life.[38] In His Girl Friday, even though the characters remarry, Hawks displays an aversion to marriage, home, and family through his approach to the film. Specific, exclusionary camera work and character control of the frame and the dialogue portray a subtle criticism of domesticity. [39] The subject of domesticity is fairly absent throughout the film. Even among the relationships between Grant and Russell and Bellamy and Russell, the relationships are positioned within a larger frame of the male-dominated newsroom.[39] The film, like many comedies, celebrates difficult, tumultuous love rather than secure, suburban love through its preference for movement and argument rather than silent poise.[40] Film critic Molly Haskell wrote that the scene near the end of the film when Hildy sheds tears was not included to expose her femininity, but to express the confusion she felt due to the collision of her professional and feminine natures. The feminine side of Hildy desires to be subservient and sexually desirable to men, while the other side of Hildy desires assertion and to forfeit the stereotypical duties of a woman. Her tears represent her emotional helplessness and inability to express anger to a male authority figure.[41] A commonality in many Howard Hawks films is the revelation of the amorality of the main character and a failure of that character to change or develop. In His Girl Friday, Walter Burns manipulates, acts selfishly, frames his ex-wife's fiancé, and orchestrates the kidnapping of an elderly woman. Even at the end of the film, Burns convinces Hildy Johnson to remarry him despite how much she loathes him and his questionable actions. Upon the resumption of their relationship, there is no romance visible between them. They do not kiss, embrace, or even gaze at each other. It is evident that Burns is still the same person he was in their previous relationship as he quickly waves off the plans for the honeymoon that they never had in pursuit of a new story. Additionally, he walks in front of her when exiting the room, forcing her to carry her own suitcase despite Johnson already having criticized this at the beginning of the film. This hints that the marriage is fated to face the same problems that ended it previously.[42] Hawks is known for his use of repeated or intentional gestures in his films. In His Girl Friday, the cigarette in the scene between Hildy and Earl Williams serves several symbolic roles in the film. First, the cigarette establishes a link between the characters when Williams accepts the cigarette even though he does not smoke. However, the fact that he doesn't smoke, and they don't share the cigarette shows the difference between and separation of the worlds in which the two characters live.[43] The film contains two main plots: the romantic and the professional. Walter and Hildy work together to attempt to release wrongly convicted Earl Williams, while the concurrent plot is Walter attempting to win back Hildy. The two plots do not resolve at the same time, but they are interdependent because although Williams is released before Walter and Hildy get back together, he is the reason for their reconciliation.[44] The speed of the film results in snappy and overlapping dialogue among interruptions and rapid speech. Gesture, character and camera movement, as well as editing, serve to complement the dialogue in increasing the pace of the film. There is a clear contrast between the fast-talking Hildy and Walter and slow-talking Bruce and Earl, which serves to emphasize the gap between the intelligent and the unintelligent in the film. The average word per minute count of the film is 240 while the average American speech is around 140 words per minute. There are nine scenes with at least four words per second and at least two with more than five words per second.[45] Hawks attached verbal tags before and after specific script lines so the actors would be able to interrupt and talk over each other without making the necessary dialogue incomprehensible.[46] Film theorist and historian David Bordwell explained the ending of His Girl Friday as a "closure effect" rather than a closure. The ending of the film is rather circular, and there is no development of characters, specifically Walter Burns, and the film ends similarly to the way in which it starts. Additionally, the film ends with a brief epilogue in which Walter announces their remarriage and reveals their intention to go cover a strike in Albany on the way to their honeymoon. The fates of the main characters and even some of the minor characters such as Earl Williams are revealed, although there are minor flaws in the resolution. For example, they do not discuss what happened to Molly Malloy after the conflict is resolved. However, the main characters’ endings were wrapped up so neatly that it overshadows the need for the minor characters' endings to be wrapped up. This creates a "closure effect" or an appearance of closure.[47] Editing style This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. Find sources: "His Girl Friday" – news · newspapers · books · scholar · JSTOR (August 2022) (Learn how and when to remove this template message) This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (August 2022) (Learn how and when to remove this template message) Magazine ad for the film Frank Jenks, Roscoe Karns, Rosalind Russell, Porter Hall, Gene Lockhart, Regis Toomey, and Cliff Edwards Roscoe Karns, Cliff Edwards, Porter Hall, Regis Toomey, and Frank Jenks His Girl Friday is a movie intentioned for speed: it set the record on fastest words spoken per minute in a movie.[48] A second to appreciate the moment is a foregone luxury in the whirlwind nature of the publishing business. Dissecting one of the scenes from the movie to best display the editing style, consider the specific scene where Earl Williams escapes. Howard Hawks emphasizes the pace difference between Hildy’s two possible lives, by having plot elements and staging mirror the editing, where slow and languid moments are interspersed with sub-second shots of newsworthy freneticism. To emphasize the contrast of rhythm between Hildy’s domestic life with Bruce versus her dynamic life with Walter, the director mirrors with editing techniques like lengthier contemplative shots versus rapid fire shots, matches on action versus elliptical shots with continuous diegetic sound, and scenes with one element of focus versus several different objects and sounds splitting our attention.[49] The scene opens with two lengthy (10 second) shots of Hildy describing her life outside the newsroom—the shots reinforce the idea that the life with Bruce will be predictable and slowly paced. As Hildy looks off away from the camera for the first time, literally turning her back on the newspaper life for just an instant, her attention is snapped back to newsroom as shots are fired. Immediately, the editing reflects the newfound fast pace: from slow pans to static shots with the only movement as Hildy’s slow walking, the movie immediately shifts to dynamic shots with several people’s movements on the street, as well as gunshots, ducking, spotlight-exaggerated lighting shifts, and shouting with the men in the window. The medium shots of the frantic news reporters are in contrast with a now obscured long shot of Hildy—while previously she was the main character and source of sound, the director makes it clear that she will be suddenly relegated to the background when the action is happening: her background presence is obscured by a frosted window, and her sounds obscured by the frenzy of the gunshots and shouting.[50] Upon hearing Earl Williams escaped, the movie then shifts from multi-second shots to sub-second shots as the news editors enter maximum monkey mode. As gunshots provide a diegetic backdrop of time, ellipses shots become more obvious; the first reporter immediately cuts from reaching the table to talking on the phone. The next 5 shots are also sub-second close-ups of newsmen yelling into phones. As she is slowly drawn into this world again, Hildy begins to occupy more of the frame—going from a long shot to a medium shot as the newsmen stream past her. Once the men are gone, the longest shot of the sequence ensues: 16 seconds as she closes the distance she created from her old life, shedding her coat, symbolizing her chilly life in Albany, to reveal the reporter-ready dress underneath, the person she truly is. She fully reunites with it as she picks up the phone to talk to Walter, then rushes out of the room with the same fervor as the news folk. The camera cements this final switch as the dolly moves out, and a crossfade ensues on her running out, unlike all the prior cuts.[51] Finally it concludes on shots of gates opening, cars streaming out, and people running. Here, Hawks’ shots are not just fast—they are explicit about being faster than time. A diegetic siren delineates unit seconds as cars screech, but the film shows the abbreviated ellipses shot of the gate closing, skipping the time with a shot of guards running. This sequence is faster than real time, and the contrast with the siren shows how time in the news reporters world is faster paced than the world around them. Hildy joins the chaos shouting ‘HEY!’, providing a final contrast to the start of the scene where she described the idyllic and calm city life she was originally headed for.[52] Throughout this sequence, Hawks is explicit about the passage of time and focus of characters through his edits and mocks the slow Albany life Hildy begins with by showcasing the romantic frenzy of news life through shot timing, continuity of action, and shifting attention-grabbing elements.[53] Women reporters According to Pauline Kael, all female reporters in newspaper films are based on Adela Rogers St. Johns.[54] Legacy His Girl Friday (often along with Bringing Up Baby and Twentieth Century) is cited as an archetype of the screwball comedy genre.[55] In 1993, the Library of Congress selected His Girl Friday for preservation in the United States National Film Registry.[56] The film ranked 19th on the American Film Institute's 100 Years ... 100 Laughs, a 2000 list of the funniest American comedies.[57] Prior to His Girl Friday, the play The Front Page had been adapted for the screen once before, in the 1931 film, also called The Front Page, produced by Howard Hughes, with Adolphe Menjou and Pat O'Brien in the starring roles.[58] In this first film adaptation of the Broadway play of the same title (written by former Chicago newsmen Ben Hecht and Charles MacArthur), Hildy Johnson was male.[29] His Girl Friday was dramatized as a one-hour radio play on the September 30, 1940, broadcast of Lux Radio Theatre, with Claudette Colbert, Fred MacMurray and Jack Carson.[59] It was dramatized again with a half-hour version on The Screen Guild Theater on March 30, 1941, with Grant and Russell reprising their film roles.[60][61] The Front Page was remade in a 1974 Billy Wilder movie starring Walter Matthau as Walter Burns, Jack Lemmon as Hildy Johnson, and Susan Sarandon as his fiancée.[62][63] His Girl Friday and the original Hecht and MacArthur play were adapted into another stage play His Girl Friday by playwright John Guare. This was presented at the National Theatre in London from May to November 2003, with Alex Jennings as Burns and Zoë Wanamaker as Hildy.[64][65] The 1988 film Switching Channels was loosely based on His Girl Friday, with Burt Reynolds in the Walter Burns role, Kathleen Turner in the Hildy Johnson role, and Christopher Reeve in the role of Bruce.[66] In December 2017, Montreal-based independent theatre company, Snowglobe Theatre's Artistic Director, Peter Giser, adapted the script for the stage, expanded some characters, and made the play more accessible to modern audiences. It was performed that December after Snowglobe obtained copyright status of this adapted version.[67] Director Quentin Tarantino has named His Girl Friday as one of his favorite movies.[68] In the 2004 French film Notre musique, the film is used by Godard as he explains the basic of filmmaking, specifically the shot reverse shot. As he explains this concept, two stills from His Girl Friday are shown with Cary Grant in one photo and Rosalind Russell in the other. He explains that upon looking closely, the two shots are actually the same shot, "because the director is incapable of seeing the difference between a man and a woman."[69] Rosalind Russell's performance as Hildy Johnson was cited[citation needed] as the model for the character of Lois Lane in the Superman franchise. https://archive.org/details/HisGirlFriday-1940

Nov 4, 2023 #dwdocumentary #documentary #Afghanistan 15 August 2021 marked a turning point for Afghanistan. That was the day of the final withdrawal of western troops. It’s also when the Taliban entered Kabul. Protest movements were crushed. Twenty years of hope and effort - gone, in one fell swoop. After the 9/11 attacks on the United States and the ensuing "war on terrorism" declared by George W. Bush, Afghanistan had changed. Now, the Taliban are back in charge and the country has slipped back into the past. As the undisputed rulers of the country, the Taliban satisfy their thirst for revenge and behave as "victors" over the U.S., the "greatest military power" in the world. Their goals can be summed up in a few words: Restoration of the "Islamic Emirate of Afghanistan" and the introduction of "genuine Sharia law." The new Taliban leaders continue to rely on international donors. As a result, they are trying not to offend them too openly. But they are tightening the noose. The few protest movements that have started have been nipped in the bud. Reprisals are handled discreetly. Civil society, which has been abandoned by the West and no longer receives financial resources, is helpless in the face of the new circumstances. Twenty years of hopes and efforts have been dashed. What do the Taliban want for their country? "The future is in Allah's hands," says the new refugee minister, Chalil Hakkani, on whom the U.S. has meanwhile placed a five-million-dollar bounty. Patrick de Saint-Exupéry and Pedro Brito da Fonseca toured Afghanistan in 2021 before, during and after the arrival of the Taliban. This film documents what they saw. #documentary #dwdocumentary #Afghanistan ______ DW Documentary gives you knowledge beyond the headlines. Watch top documentaries from German broadcasters and international production companies. Meet intriguing people, travel to distant lands, get a look behind the complexities of daily life and build a deeper understanding of current affairs and global events. Subscribe and explore the world around you with DW Documentary. Subscribe to: ⮞ DW Documentary (English): / dwdocumentary ⮞ DW Documental (Spanish): / dwdocumental ⮞ DW Documentary وثائقية دي دبليو (Arabic): / dwdocarabia ⮞ DW Doku (German): / dwdoku ⮞ DW Documentary हिन्दी (Hindi): / dwdochindi For more visit: http://www.dw.com/en/tv/docfilm/s-3610 Follow DW Documentary on Instagram: / dwdocumentary Follow DW Documental on Facebook: / dwdocumental We kindly ask viewers to read and stick to the DW netiquette policy on our channel: https://p.dw.com/p/MF1G https://www.youtube.com/watch?v=c2Q2NvX_BsI

Casablanca is a 1942 American romantic drama film directed by Michael Curtiz and starring Humphrey Bogart, Ingrid Bergman, and Paul Henreid. Filmed and set during World War II, it focuses on an American expatriate (Bogart) who must choose between his love for a woman (Bergman) and helping her husband (Henreid), a Czechoslovak resistance leader, escape from the Vichy-controlled city of Casablanca to continue his fight against the Germans. The screenplay is based on Everybody Comes to Rick's, an unproduced stage play by Murray Burnett and Joan Alison. The supporting cast features Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson. Warner Bros. story editor Irene Diamond convinced producer Hal B. Wallis to purchase the film rights to the play in January 1942. Brothers Julius and Philip G. Epstein were initially assigned to write the script. However, despite studio resistance, they left to work on Frank Capra's Why We Fight series early in 1942. Howard Koch was assigned to the screenplay until the Epsteins returned a month later. Principal photography began on May 25, 1942, ending on August 3; the film was shot entirely at Warner Bros. Studios in Burbank, California, with the exception of one sequence at Van Nuys Airport in Los Angeles. Although Casablanca was an A-list film with established stars and first-rate writers, no one involved with its production expected it to stand out among the many pictures produced by Hollywood yearly.[7] Casablanca was rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier.[8] It had its world premiere on November 26, 1942, in New York City and was released nationally in the United States on January 23, 1943. The film was a solid if unspectacular success in its initial run. Exceeding expectations, Casablanca went on to win the Academy Award for Best Picture, while Curtiz was selected as Best Director and the Epsteins and Koch were honored for Best Adapted Screenplay. Its reputation has gradually grown, to the point that its lead characters,[9] memorable lines,[10] and pervasive theme song[11] have all become iconic, and it consistently ranks near the top of lists of the greatest films in history. In 1989, the United States Library of Congress selected the film as one of the first for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant". Plot Black-and-white film screenshot of several people in a nightclub. A man on the far left is wearing a suit and has a woman standing next to him wearing a hat and dress. A man at the center is looking at the man on the left. A man on the far right is wearing a suit and looking at the other people. Left to right: Henreid, Bergman, Rains and Bogart Duration: 2 minutes and 15 seconds.2:15 Original trailer In December 1941, American expatriate Rick Blaine owns a nightclub and gambling den in Casablanca. "Rick's Café Américain" attracts a varied clientele, including Vichy French and Nazi German officials, refugees desperate to reach the neutral United States, and those who prey on them. Although Rick professes to be neutral in all matters, he ran guns to Ethiopia in 1935 and fought on the Loyalist side in the Spanish Civil War. Petty crook Ugarte boasts to Rick of letters of transit obtained by murdering two German couriers. The papers allow the bearers to travel freely around German-occupied Europe and to neutral Portugal. Ugarte plans to sell them at the club and persuades Rick to hold them. Before he can meet his contact, Ugarte is arrested by the local police under Captain Louis Renault, the unabashedly corrupt prefect of police. Ugarte dies in custody without revealing that Rick has the letters. Then the reason for Rick's cynical nature—former lover Ilsa Lund—enters his establishment. Spotting Rick's friend and house pianist, Sam, Ilsa asks him to play "As Time Goes By". Rick storms over, furious that Sam disobeyed his order never to perform that song again, and is stunned to see Ilsa. She is accompanied by her husband, Victor Laszlo, a renowned fugitive Czechoslovak Resistance leader. A flashback reveals Ilsa left Rick without explanation when the couple were planning to flee as the German army neared Paris, embittering Rick. Laszlo and Ilsa need the letters to escape, while German Major Strasser arrives in Casablanca to prevent just that. When Laszlo makes inquiries, Signor Ferrari, an underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters. Laszlo returns to Rick's cafe that night and tries to buy them. Rick refuses to sell, telling Laszlo to ask his wife why. They are interrupted when Strasser leads a group of German officers in singing "Die Wacht am Rhein". Laszlo orders the house band to play "La Marseillaise". When the bandleader looks to Rick, the latter nods, and Laszlo begins to sing. Patriotic fervor grips the crowd, and everyone joins in, drowning out the Germans. Afterwards, Strasser has Renault close the club on a flimsy pretext. Black-and-white film screenshot of a man and woman as seen from the shoulders up. The two are close to each other as if about to kiss. Bogart and Bergman Later, Ilsa confronts Rick in the deserted café; when he refuses to give her the letters, she threatens him with a gun but then confesses that she still loves him. She explains that when they met and fell in love in Paris in 1940, she believed her husband had been killed attempting to escape from a concentration camp. Then she learned that Laszlo was alive and hiding near Paris. She left Rick without explanation to nurse her sick husband. Rick's bitterness dissolves. He agrees to help, letting her believe she will stay with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl spirit Ilsa away. Laszlo, aware of Rick's love for Ilsa, tries to persuade him to use the letters to take her to safety. When the police arrest Laszlo on a trumped-up charge, Rick persuades Renault to release him by promising to set him up for a much more serious crime: possession of the letters. To allay Renault's suspicions, Rick explains that he and Ilsa will use the letters to leave for America. When Renault tries to arrest Laszlo as arranged, however, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon with Laszlo, telling her that she would regret it if she stayed, "Maybe not today, maybe not tomorrow, but soon and for the rest of your life." Strasser, tipped off by Renault, drives up alone. When Strasser attempts to stop the plane, Rick shoots him dead. Policemen arrive. Renault pauses, then orders them to "round up the usual suspects." He suggests to Rick that they join the Free French in Brazzaville. As they walk away into the fog, Rick says, "Louis, I think this is the beginning of a beautiful friendship." Cast Black-and-white film screenshot of two men, both wearing suits. The man on the left is older and is nearly bald; the man on the right has black hair. In the background several bottles of alcohol can be seen. Greenstreet and Bogart The play's cast consisted of 16 speaking parts and several extras; the film script enlarged it to 22 speaking parts and hundreds of extras.[12] The cast is notably international: only three of the credited actors were born in the United States (Bogart, Dooley Wilson, and Joy Page). The top-billed actors are:[13] Humphrey Bogart as Rick Blaine Ingrid Bergman as Ilsa Lund. Bergman's official website calls Ilsa her "most famous and enduring role".[14] The Swedish actress's Hollywood debut in Intermezzo had been well received, but her subsequent films were not major successes until Casablanca. Film critic Roger Ebert called her "luminous", and commented on the chemistry between her and Bogart: "she paints his face with her eyes".[15] Other actresses considered for the role of Ilsa included Ann Sheridan, Hedy Lamarr, Luise Rainer, and Michèle Morgan. Producer Hal Wallis obtained the services of Bergman, who was contracted to David O. Selznick, by lending Olivia de Havilland in exchange.[16] Paul Henreid as Victor Laszlo. Henreid, an Austrian actor who had emigrated in 1935, was reluctant to take the role (it "set [him] as a stiff forever", according to Pauline Kael[17]), until he was promised top billing along with Bogart and Bergman. Henreid did not get on well with his fellow actors; he considered Bogart "a mediocre actor"; Bergman called Henreid a "prima donna".[18] The second-billed actors are: Claude Rains as Captain Louis Renault Conrad Veidt as Major Heinrich Strasser. Veidt was a refugee German actor who had fled the Nazis with his Jewish wife, but frequently played Nazis in American films. He was the highest paid member of the cast despite his second billing.[19] Sydney Greenstreet as Signor Ferrari Peter Lorre as Signor Ugarte Also credited are: Curt Bois as the pickpocket. Bois had one of the longest careers in cinema, spanning over 80 years. Leonid Kinskey as Sascha, the Russian bartender infatuated with Yvonne. Kinskey told Aljean Harmetz, author of Round Up the Usual Suspects: The Making of Casablanca, that he was cast because he was Bogart's drinking buddy. He was not the first choice for the role; he replaced Leo Mostovoy, who was deemed not funny enough.[20] Madeleine Lebeau as Yvonne, Rick's soon-discarded girlfriend. Lebeau was a French refugee who had left Nazi-occupied Europe with her husband Marcel Dalio, who was a fellow Casablanca performer. She was the last surviving cast member until her death on May 1, 2016.[21] Joy Page, the step-daughter of studio head Jack L. Warner, as Annina Brandel, the young Bulgarian refugee John Qualen as Berger, Laszlo's Resistance contact S. Z. Sakall (credited as S. K. Sakall) as Carl, the waiter Dooley Wilson as Sam. Wilson was one of the few American-born members of the cast. A drummer, he had to fake playing the piano. Even after shooting had been completed, producer Wallis considered dubbing over Wilson's voice for the songs.[22] Notable uncredited actors are: Marcel Dalio as Emil the croupier. Dalio had been a star in French cinema, appearing in Jean Renoir's La Grande Illusion and La Règle du Jeu Helmut Dantine as Jan Brandel, the Bulgarian roulette player married to Annina Brandel Gregory Gaye as the German banker who is refused entry to the casino by Rick Torben Meyer as the Dutch banker who runs "the second largest banking house in Amsterdam" Corinna Mura as the guitar player who sings "Tango Delle Rose" (or "Tango de la Rosa") and later accompanies the crowd on "La Marseillaise" Frank Puglia as a Moroccan rug merchant Richard Ryen as Colonel Heinze, Strasser's aide Dan Seymour as Abdul the doorman Gerald Oliver Smith as the Englishman whose wallet is stolen Norma Varden as the Englishwoman whose husband has his wallet stolen Much of the emotional impact of the film, for the audience in 1942, has been attributed to the large proportion of European exiles and refugees who were extras or played minor roles (in addition to leading actors Paul Henreid, Conrad Veidt and Peter Lorre), such as Louis V. Arco, Trude Berliner, Ilka Grünig, Ludwig Stössel, Hans Heinrich von Twardowski, and Wolfgang Zilzer. A witness to the filming of the "duel of the anthems" sequence said he saw many of the actors crying and "realized that they were all real refugees".[23] Harmetz argues that they "brought to a dozen small roles in Casablanca an understanding and a desperation that could never have come from Central Casting".[24] Even though many were Jewish or refugees from the Nazis (or both), they were frequently cast as Nazis in various war films, because of their accents. Jack Benny may have appeared in an unbilled cameo, as was claimed by a contemporary newspaper advertisement and in the Casablanca press book.[25][26][27] When asked in his column "Movie Answer Man", critic Roger Ebert first replied, "It looks something like him. That's all I can say."[26] In a later column, he responded to a follow-up commenter, "I think you're right. The Jack Benny Fan Club can feel vindicated".[28] Writing The film was based on Murray Burnett and Joan Alison's unproduced play Everybody Comes to Rick's.[29] The Warner Bros. story analyst who read the play, Stephen Karnot, called it (approvingly) "sophisticated hokum"[30] and story editor Irene Diamond, who had discovered the script on a trip to New York in 1941, convinced Hal Wallis to buy the rights in January 1942 for $20,000 (equivalent to $290,000 in 2021),[31] the most anyone in Hollywood had ever paid for an unproduced play.[32] The project was renamed Casablanca, apparently in imitation of the 1938 hit Algiers.[33] Casablanca also shares many narrative and thematic similarities with Algiers (1938), which itself is a remake of the acclaimed 1937 French film Pépé le Moko, directed and co-written by Julien Duvivier.[34] The original play was inspired by a trip to Europe made by Murray Burnett and his wife in 1938, during which they visited Vienna shortly after the Anschluss and were affected by the antisemitism they saw. In the south of France, they went to a nightclub that had a multinational clientele, among them many exiles and refugees, and the prototype of Sam.[35] In The Guardian, Paul Fairclough wrote that Cinema Vox in Tangier "was Africa's biggest when it opened in 1935, with 2,000 seats and a retractable roof. As Tangier was in Spanish territory [sic], the theatre's wartime bar heaved with spies, refugees and underworld hoods, securing its place in cinematic history as the inspiration for Rick's Cafe in Casablanca."[36][37] The scene of the singing of "La Marseillaise" in the bar is attributed by the film scholar Julian Jackson as an adaptation of a similar scene from Jean Renoir's film La Grande Illusion five years prior.[38] The first writers assigned to the script were twins Julius and Philip Epstein[39] who, against the wishes of Warner Bros., left at Frank Capra's request early in 1942 to work on the Why We Fight series in Washington, D.C.[40][41] While they were gone, the other credited writer, Howard Koch, was assigned; he produced thirty to forty pages.[41] When the Epstein brothers returned after about a month, they were reassigned to Casablanca and—contrary to what Koch claimed in two published books—his work was not used.[41] The Epstein brothers and Koch never worked in the same room at the same time during the writing of the script. In the final budget for the film, the Epsteins were paid $30,416, (equivalent to $398,552 in 2021) and Koch earned $4,200 (equivalent to $55,797 in 2021).[42] In the play, the Ilsa character is an American named Lois Meredith; she does not meet Laszlo until after her relationship with Rick in Paris has ended. Rick is a lawyer. The play (set entirely in the cafe) ends with Rick sending Lois and Laszlo to the airport. To make Rick's motivation more believable, Wallis, Curtiz, and the screenwriters decided to set the film before the attack on Pearl Harbor.[43] The possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Casey Robinson wrote to Wallis before filming began, the ending of the film "set up for a swell twist when Rick sends her away on the plane with Laszlo. For now, in doing so, he is not just solving a love triangle. He is forcing the girl to live up to the idealism of her nature, forcing her to carry on with the work that in these days is far more important than the love of two little people."[44] It was certainly impossible for Ilsa to leave Laszlo for Rick, as the Motion Picture Production Code forbade showing a woman leaving her husband for another man. The concern was not whether Ilsa would leave with Laszlo, but how this outcome would be engineered.[45] According to Julius Epstein, he and Philip were driving when they simultaneously came up with the idea for Renault to order the roundup of "the usual suspects", after which all the details needed for resolution of the story, including the farewell between Bergman and "a suddenly noble Bogart", were rapidly worked out.[46] The uncredited Casey Robinson assisted with three weeks of rewrites, including contributing the series of meetings between Rick and Ilsa in the cafe.[47][48] Koch highlighted the political and melodramatic elements,[49][50] and Curtiz seems to have favored the romantic parts, insisting on retaining the Paris flashbacks.[51] In a telegram to film editor Owen Marks on August 7, 1942, Wallis suggested two possible final lines of dialogue for Rick: "Louis, I might have known you'd mix your patriotism with a little larceny" or "Louis, I think this is the beginning of a beautiful friendship".[52] Two weeks later, Wallis settled on the latter, which Bogart was recalled to dub a month after shooting had finished.[51] Bogart's line "Here's looking at you, kid", said four times, was not in the draft screenplays, but has been attributed to a comment he made to Bergman as she played poker with her English coach and hairdresser between takes.[53] Despite the many writers, the film has what Ebert describes as a "wonderfully unified and consistent" script. Koch later claimed it was the tension between his own approach and Curtiz's that had accounted for this. "Surprisingly, these disparate approaches somehow meshed, and perhaps it was partly this tug of war between Curtiz and me that gave the film a certain balance."[54] Julius Epstein later noted the screenplay contained "more corn than in the states of Kansas and Iowa combined. But when corn works, there's nothing better".[55] The film ran into some trouble with Joseph Breen of the Production Code Administration (the Hollywood self-censorship body), who opposed the suggestions that Captain Renault extorted sexual favors from visa applicants, and that Rick and Ilsa had slept together.[56][57] Extensive changes were made, with several lines of dialogue removed or altered. All direct references to sex were deleted; Renault's selling of visas for sex, and Rick and Ilsa's previous sexual relationship were implied elliptically rather than referenced explicitly.[58] Also, in the original script, when Sam plays "As Time Goes By", Rick exclaims, "What the —— are you playing?" This line was altered to "Sam, I thought I told you never to play ..." to conform to Breen's objection to an implied swear word.[59] Production Bogart in the airport scene Although an initial filming date was selected for April 10, 1942, delays led to production starting on May 25.[60] Filming was completed on August 3. It went $75,000 over budget for a total cost of $1,039,000 (equivalent to $13,803,000 in 2021),[61] above average for the time.[62] Unusually, the film was shot in sequence, mainly because only the first half of the script was ready when filming began.[63] The entire picture was shot in the studio except for the sequence showing Strasser's arrival and close-ups of the Lockheed Electra (filmed at Van Nuys Airport) and a few short clips of stock footage views of Paris.[64] The street used for the exterior shots had recently been built for another film, The Desert Song,[65] and redressed for the Paris flashbacks. The film critic Roger Ebert called Wallis the "key creative force" for his attention to the details of production (down to insisting on a real parrot in the Blue Parrot bar).[15] The difference between Bergman's and Bogart's height caused some problems. She was two inches (5 cm) taller than Bogart, and claimed Curtiz had Bogart stand on blocks or sit on cushions in their scenes together.[66] Later, there were plans for a further scene, showing Rick, Renault and a detachment of Free French soldiers on a ship, to incorporate the Allies' 1942 invasion of North Africa. It proved too difficult to get Claude Rains for the shoot, and the scene was finally abandoned after David O. Selznick judged "it would be a terrible mistake to change the ending".[67][19] The background of the final scene, which shows a Lockheed Model 12 Electra Junior airplane with personnel walking around it, was staged using little person extras and a proportionate cardboard plane.[68] Fog was used to mask the model's unconvincing appearance.[69] Direction Wallis's first choice for director was William Wyler, but he was unavailable, so Wallis turned to his close friend Michael Curtiz.[70][19] Roger Ebert has commented that in Casablanca "very few shots ...are memorable as shots", as Curtiz wanted images to express the story rather than to stand alone.[15] He contributed relatively little to development of the plot. Casey Robinson said Curtiz "knew nothing whatever about story ...he saw it in pictures, and you supplied the stories".[71] Critic Andrew Sarris called the film "the most decisive exception to the auteur theory",[72] of which Sarris was the most prominent proponent in the United States. Aljean Harmetz has responded, "...nearly every Warner Bros. picture was an exception to the auteur theory".[70] Other critics give more credit to Curtiz. Sidney Rosenzweig, in his study of the director's work, sees the film as a typical example of Curtiz's highlighting of moral dilemmas.[73] Some of the second unit montages, such as the opening sequence of the refugee trail and the invasion of France, were directed by Don Siegel.[74] Cinematography The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. Particular attention was paid to photographing Bergman. She was shot mainly from her preferred left side, often with a softening gauze filter and with catch lights to make her eyes sparkle; the whole effect was designed to make her face seem "ineffably sad and tender and nostalgic".[15] Bars of shadow across the characters and in the background variously imply imprisonment, the crucifix, the symbol of the Free French Forces and emotional turmoil.[15] Dark film noir and expressionist lighting was used in several scenes, particularly towards the end of the picture. Rosenzweig argues these shadow and lighting effects are classic elements of the Curtiz style, along with the fluid camera work and the use of the environment as a framing device.[75] Soundtrack The music was written by Max Steiner, who wrote scores for King Kong and Gone with the Wind. The song "As Time Goes By" by Herman Hupfeld had been part of the story from the original play; Steiner wanted to write his own composition to replace it, but Bergman had already cut her hair short for her next role (María in For Whom the Bell Tolls) and could not reshoot the scenes that incorporated the song,[a] so Steiner based the entire score on it and "La Marseillaise", the French national anthem, transforming them as leitmotifs to reflect changing moods.[76] Even though Steiner disliked "As Time Goes By", he admitted in a 1943 interview that it "must have had something to attract so much attention".[77] Dooley Wilson, who played Sam, was a drummer but not a pianist, so his piano playing was performed by Jean Plummer.[78] Particularly memorable is the "duel of the anthems" between Strasser and Laszlo at Rick's cafe.[19] In the soundtrack, "La Marseillaise" is played by a full orchestra. Originally, the opposing piece for this iconic sequence was to be the "Horst Wessel Lied", a Nazi anthem but this was still under international copyright in non-Allied countries. Instead "Die Wacht am Rhein" was used.[79] The "Deutschlandlied", the national anthem of Germany, is used several times in minor mode as a leitmotif for the German threat, e.g. in the scene in Paris as it is announced that the German army will reach Paris the next day. It is featured in the final scene, giving way to "La Marseillaise" after Strasser is shot.[80][19] Other songs include: "It Had to Be You", music by Isham Jones, lyrics by Gus Kahn "Shine", music by Ford Dabney, lyrics by Cecil Mack and Lew Brown "Avalon", music and lyrics by Al Jolson, Buddy DeSylva and Vincent Rose "Perfidia", by Alberto Dominguez "The Very Thought of You", by Ray Noble "Knock on Wood", music by M. K. Jerome, lyrics by Jack Scholl, the only original song. Very few films in the early 1940s had portions of the soundtrack released on 78 rpm records, and Casablanca was no exception. In 1997, almost 55 years after the film's premiere, Turner Entertainment in collaboration with Rhino Records issued the film's first original soundtrack album for release on compact disc, including original songs and music, spoken dialogue, and alternate takes.[81] The piano featured in the Paris flashback sequences was sold in New York City on December 14, 2012, at Sotheby's for more than $600,000 to an anonymous bidder.[82] The piano Sam "plays" in Rick's Café Américain, put up for auction with other film memorabilia by Turner Classic Movies at Bonhams in New York on November 24, 2014, sold for $3.4 million.[83][84] Release Although an initial release date was anticipated for early 1943,[85] the film premiered at the Hollywood Theater in New York City on November 26, 1942, to capitalize on Operation Torch (the Allied invasion of French North Africa) and the capture of Casablanca.[8][86] It went into general release on January 23, 1943, to take advantage of the Casablanca Conference, a high-level meeting in the city between British Prime Minister Winston Churchill and American President Franklin D. Roosevelt. The Office of War Information prevented screening of the film to troops in North Africa, believing it would cause resentment among Vichy supporters in the region.[87] Irish and German cuts On March 19, 1943, the film was banned in Ireland for infringing on the Emergency Powers Order preserving wartime neutrality, by portraying Vichy France and Nazi Germany in a "sinister light". It was passed with cuts on June 15, 1945, shortly after the EPO was lifted. The cuts were made to dialogue between Rick and Ilsa referring to their love affair.[88] A version with only one scene cut was passed on July 16, 1974; Irish national broadcaster RTÉ inquired about showing the film on TV, but found it still required a dialogue cut to Ilsa expressing her love for Rick.[89] Warner Brothers released a heavily edited version of Casablanca in West Germany in 1952. All scenes with Nazis were removed, along with most references to World War II. Important plot points were altered when the dialogue was dubbed into German. Victor Laszlo was no longer a Resistance fighter who escaped from a Nazi concentration camp. Instead, he became a Norwegian atomic physicist who was being pursued by Interpol after he "broke out of jail". The West German version was 25 minutes shorter than the original cut. A German version of Casablanca with the original plot was not released until 1975.[90] Reception Initial response Casablanca received "consistently good reviews".[91] Bosley Crowther of The New York Times wrote, "The Warners ... have a picture which makes the spine tingle and the heart take a leap." He applauded the combination of "sentiment, humor and pathos with taut melodrama and bristling intrigue." Crowther noted its "devious convolutions of the plot" and praised the screenplay quality as "of the best" and the cast's performances as "all of the first order".[92] The trade paper Variety commended the film's "combination of fine performances, engrossing story and neat direction" and the "variety of moods, action, suspense, comedy and drama that makes Casablanca an A-1 entry at the b.o."[93] The review observed that the "[f]ilm is splendid anti-Axis propaganda, particularly inasmuch as the propaganda is strictly a by-product of the principal action and contributes to it instead of getting in the way".[93] Variety also applauded the performances of Bergman and Henreid and noted, "Bogart, as might be expected, is more at ease as the bitter and cynical operator of a joint than as a lover, but handles both assignments with superb finesse."[93] Some reviews were less enthusiastic. The New Yorker rated Casablanca only "pretty tolerable" and said it was "not quite up to Across the Pacific, Bogart's last spyfest".[94] At the 1,500-seat Hollywood Theater, the film grossed $255,000 over ten weeks (equivalent to $3.4 million in 2021).[95] In its initial American release, Casablanca was a substantial but not spectacular box-office success, earning $3.7 million (equivalent to $49 million in 2021).[95][96] A 50th-anniversary re-release grossed $1.5 million in 1992.[97] According to Warner Bros. records, the film earned $3,398,000 domestically and $3,461,000 in foreign markets.[4] Enduring popularity In the decades since its release, the film has grown in reputation. Murray Burnett called it "true yesterday, true today, true tomorrow".[98] By 1955, the film had brought in $6.8 million, making it the third-most-successful of Warners' wartime movies, behind Shine On, Harvest Moon and This Is the Army.[99] On April 21, 1957, the Brattle Theater of Cambridge, Massachusetts, showed the film as part of a season of old movies. It proved so popular that a tradition began in which Casablanca would be screened during the week of final exams at Harvard University. Todd Gitlin, a professor of sociology who had attended one of these screenings, has said that the experience was "the acting out of my own personal rite of passage".[100] The tradition helped the film remain popular while other films that had been famous in the 1940s have faded from popular memory. By 1977, Casablanca had become the most frequently broadcast film on American television.[101] Ingrid Bergman's portrayal of Ilsa Lund in Casablanca became one of her best-known roles.[102] In later years she said, "I feel about Casablanca that it has a life of its own. There is something mystical about it. It seems to have filled a need, a need that was there before the film, a need that the film filled."[103] On the film's 50th anniversary, the Los Angeles Times called Casablanca's great strength "the purity of its Golden Age Hollywoodness [and] the enduring craftsmanship of its resonantly hokey dialogue". Bob Strauss wrote in the newspaper that the film achieved a "near-perfect entertainment balance" of comedy, romance, and suspense.[104] Roger Ebert, wrote of Casablanca in 1992, "There are greater movies. More profound movies. Movies of greater artistic vision or artistic originality or political significance. ... But [it is] one of the movies we treasure the most ... This is a movie that has transcended the ordinary categories."[105] In his opinion, the film is popular because "the people in it are all so good" and it is "a wonderful gem".[15] Ebert said that he had never heard of a negative review of the film, even though individual elements can be criticized, citing unrealistic special effects and the stiff character of Laszlo as portrayed by Paul Henreid.[71] The critic Leonard Maltin considers Casablanca "the best Hollywood movie of all time".[106] According to Rudy Behlmer, the character of Rick is "not a hero ... not a bad guy" because he does what is necessary to appease the authorities and "sticks his neck out for nobody". Behlmer feels that the other characters are "not cut and dried" and come into their goodness over the course of the film. Renault begins as a collaborator with the Nazis who extorts sexual favors from refugees and has Ugarte killed. Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. By the end, however, "everybody is sacrificing".[71] Behlmer also emphasized the variety in the picture. "It's a blend of drama, melodrama, comedy [and] intrigue."[71] A remembrance written for the film's 75th anniversary published by The Washington Free Beacon said, "It is no exaggeration to say Casablanca is one of the greatest films ever made," making special note of the "intellectual nature of the film" and saying that "while the first time around you might pay attention to only the superficial love story, by the second and third and fourth viewings the sub-textual politics [of communitarianism and anti-isolationism] have moved to the fore".[107] A few reviewers have expressed reservations. To Pauline Kael, "It's far from a great film, but it has a special appealingly schlocky romanticism ..."[108] Umberto Eco wrote that "by any strict critical standards ... Casablanca is a very mediocre film". He viewed the changes that the characters manifest as inconsistent rather than complex. "It is a comic strip, a hotchpotch, low on psychological credibility, and with little continuity in its dramatic effects." However, he added that because of the presence of multiple archetypes that allow "the power of Narrative in its natural state without Art intervening to discipline it", it is a film reaching "Homeric depths" as a "phenomenon worthy of awe".[109] On the review aggregator website Rotten Tomatoes, 99% of 127 critics' reviews are positive, with an average rating of 9.4/10. The website's consensus reads, "An undisputed masterpiece and perhaps Hollywood's quintessential statement on love and romance, Casablanca has only improved with age, boasting career-defining performances from Humphrey Bogart and Ingrid Bergman."[110] On Metacritic, the film has a perfect score of 100 out of 100, based on 18 critics, indicating "universal acclaim".[111] It is one of the few films in the site's history to achieve a perfect aggregate score.[112] In the November/December 1982 issue of Film Comment, Chuck Ross wrote that he retyped the Casablanca screenplay, reverting the title to Everybody Comes to Rick's and changing the name of Sam the piano player to Dooley (after Dooley Wilson, who played the character), and submitted it to 217 agencies. The majority of agencies returned the script unread (often because of policies regarding unsolicited screenplays) or did not respond. However, of those which did respond, only 33 specifically recognized it as Casablanca. Eight others observed that it was similar to Casablanca, and 41 agencies rejected the screenplay outright, offering comments such as "Too much dialogue, not enough exposition, the story line was weak, and in general didn't hold my interest." Three agencies offered to represent the screenplay, and one suggested turning it into a novel.[113][114][115] Influence on later works Many subsequent films have drawn on elements of Casablanca. Passage to Marseille (1944) reunited actors Bogart, Rains, Greenstreet, and Lorre and director Curtiz in 1944,[116] and there are similarities between Casablanca and a later Bogart film, To Have and Have Not (also 1944).[117] Parodies have included the Marx Brothers' A Night in Casablanca (1946), Neil Simon's The Cheap Detective (1978), and Out Cold (2001). Indirectly, it provided the title for the 1995 neo-noir film The Usual Suspects.[118] Woody Allen's Play It Again, Sam (1972) appropriated Bogart's Casablanca character as the fantasy mentor for Allen's character.[119] The film was a plot device in the science-fiction television movie Overdrawn at the Memory Bank (1983), based on John Varley's story. It was referred to in Terry Gilliam's dystopian Brazil (1985). Warner Bros. produced its own parody in the homage Carrotblanca, a 1995 Bugs Bunny cartoon.[120] The film critic Roger Ebert pointed out the plot of the film Barb Wire (1996) was identical to that of Casablanca.[121] In Casablanca, a novella by Argentine writer Edgar Brau, the protagonist somehow wanders into Rick's Café Américain and listens to a strange tale related by Sam.[122] The 2016 musical film La La Land contains allusions to Casablanca in the imagery, dialogue, and plot.[123] Robert Zemeckis, director of Allied (2016), which is also set in 1942 Casablanca, studied the film to capture the city's elegance.[124] The 2017 Moroccan drama film Razzia, directed by Nabil Ayouch, is mostly set in the city of Casablanca, and its characters frequently discuss the 1942 film.[125]

May 18, 2022 #AlJazeeraWorld #Islamophobia #Austria Dawn police raids on nearly 70 private homes and organisations across Austria in November 2020 shocked waking Muslim communities. The authorities claimed they were part of an important "anti-terrorist" operation but many believed Operation Luxor was indicative of a growing Islamophobic culture in Austria and across Europe. This film goes to Austria to examine what happened on November 9, 2020. The raids may have been a response to a lone attacker who had killed four people the week before. But there is evidence that the raids had been planned for months, so some suggest they were part of an intelligence sting targeting the Muslim Brotherhood and other leading Islamic figures. Connect with Al Jazeera World: ‣ YouTube: https://aje.me/AJWplaylist ‣ Twitter: / aljazeeraworld ‣ Facebook: / aljazeeraworld ‣ Instagram: / _aljazeeraworld ‣ Website: https://www.aljazeera.com/program/al-... #AlJazeeraWorld #Austria #Islamophobia https://www.youtube.com/watch?v=C8sziWnAdMI

About this Item Title Popeye the Sailor Meets Sindbad the Sailor Names Paramount Pictures, inc. Nolan, Edward Germanetti, George Fleischer, Dave Created / Published 1936 Headings - Animated films Genre Animated films Notes - Summary: The legendary sailors Popeye and Sindbad do battle to see which one is the greatest. - Credits: Voices: Jack Mercer (Popeye), Mae Questal (Olive Oyl), Gus Wickie (Sinbad), Lou Fleischer (Wimpy). Music: Sammy Timberg, Bob Rothberg, Sammy Lerner. Medium Film, Video Call Number/Physical Location Mavis identifier: 68306 Source Collection Husemann (Steve) Collection Repository Motion Picture, Broadcasting And Recorded Sound Division https://www.loc.gov/item/mbrs00068306/