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Emi Kuroda (Japanese: 黒田エミ, Hepburn: Kuroda Emi) a.k.a. Misuzu Akimoto (秋元美鈴, Akimoto Misuzu) is a Japanese pink film actress who was born in Osaka in 1978. She is best known for playing the title role in director Mitsuru Meike's The Glamorous Life of Sachiko Hanai (2003).
Film career
Emi Kuroda started her AV career in 2000 under the name Misuzu Akimoto. Often playing high school girl roles, she starred in such films as Virtual Sexpot and several volumes of Paradise of Japan With no previous theatrical acting experience, Kuroda was chosen to star in director Mitsuru Meike's 2003 pink film, The Glamorous Life of Sachiko Hanai. The film gained a cult following and became a surprise international hit, playing at 20 film festivals and having a theatrical release in the U.S. in 2006. As part of the film's tour of international film festivals, Kuroda was invited to speak at the PIA Film Festival in July 2005. One reviewer commented that the film was boosted by "Emi Kuroda's skilled erotic contortions (as well as by her ability to rattle off her pseudo-intellectual dialogue as though she understands it)."
Martial arts career
It was Takao Nakano (who also wrote the screenplay for Sachiko Hanai) who introduced Kuroda to cat-fights, and she joined his cat-fight club "Galshocker" under the name "Rolling Thunder". She left her screen and video work to start up a career as a martial arts fighter. Her record for the 2005 season was one win and three losses. In her martial arts career, she attained third-ranking amateur Shoot Boxing Bantamweight.
References
External links
Official website
Emi Kuroda at IMDb
|
place of birth
|
{
"answer_start": [
142
],
"text": [
"Osaka"
]
}
|
Emi Kuroda (Japanese: 黒田エミ, Hepburn: Kuroda Emi) a.k.a. Misuzu Akimoto (秋元美鈴, Akimoto Misuzu) is a Japanese pink film actress who was born in Osaka in 1978. She is best known for playing the title role in director Mitsuru Meike's The Glamorous Life of Sachiko Hanai (2003).
Film career
Emi Kuroda started her AV career in 2000 under the name Misuzu Akimoto. Often playing high school girl roles, she starred in such films as Virtual Sexpot and several volumes of Paradise of Japan With no previous theatrical acting experience, Kuroda was chosen to star in director Mitsuru Meike's 2003 pink film, The Glamorous Life of Sachiko Hanai. The film gained a cult following and became a surprise international hit, playing at 20 film festivals and having a theatrical release in the U.S. in 2006. As part of the film's tour of international film festivals, Kuroda was invited to speak at the PIA Film Festival in July 2005. One reviewer commented that the film was boosted by "Emi Kuroda's skilled erotic contortions (as well as by her ability to rattle off her pseudo-intellectual dialogue as though she understands it)."
Martial arts career
It was Takao Nakano (who also wrote the screenplay for Sachiko Hanai) who introduced Kuroda to cat-fights, and she joined his cat-fight club "Galshocker" under the name "Rolling Thunder". She left her screen and video work to start up a career as a martial arts fighter. Her record for the 2005 season was one win and three losses. In her martial arts career, she attained third-ranking amateur Shoot Boxing Bantamweight.
References
External links
Official website
Emi Kuroda at IMDb
|
country of citizenship
|
{
"answer_start": [
12
],
"text": [
"Japan"
]
}
|
Emi Kuroda (Japanese: 黒田エミ, Hepburn: Kuroda Emi) a.k.a. Misuzu Akimoto (秋元美鈴, Akimoto Misuzu) is a Japanese pink film actress who was born in Osaka in 1978. She is best known for playing the title role in director Mitsuru Meike's The Glamorous Life of Sachiko Hanai (2003).
Film career
Emi Kuroda started her AV career in 2000 under the name Misuzu Akimoto. Often playing high school girl roles, she starred in such films as Virtual Sexpot and several volumes of Paradise of Japan With no previous theatrical acting experience, Kuroda was chosen to star in director Mitsuru Meike's 2003 pink film, The Glamorous Life of Sachiko Hanai. The film gained a cult following and became a surprise international hit, playing at 20 film festivals and having a theatrical release in the U.S. in 2006. As part of the film's tour of international film festivals, Kuroda was invited to speak at the PIA Film Festival in July 2005. One reviewer commented that the film was boosted by "Emi Kuroda's skilled erotic contortions (as well as by her ability to rattle off her pseudo-intellectual dialogue as though she understands it)."
Martial arts career
It was Takao Nakano (who also wrote the screenplay for Sachiko Hanai) who introduced Kuroda to cat-fights, and she joined his cat-fight club "Galshocker" under the name "Rolling Thunder". She left her screen and video work to start up a career as a martial arts fighter. Her record for the 2005 season was one win and three losses. In her martial arts career, she attained third-ranking amateur Shoot Boxing Bantamweight.
References
External links
Official website
Emi Kuroda at IMDb
|
family name
|
{
"answer_start": [
4
],
"text": [
"Kuroda"
]
}
|
Emi Kuroda (Japanese: 黒田エミ, Hepburn: Kuroda Emi) a.k.a. Misuzu Akimoto (秋元美鈴, Akimoto Misuzu) is a Japanese pink film actress who was born in Osaka in 1978. She is best known for playing the title role in director Mitsuru Meike's The Glamorous Life of Sachiko Hanai (2003).
Film career
Emi Kuroda started her AV career in 2000 under the name Misuzu Akimoto. Often playing high school girl roles, she starred in such films as Virtual Sexpot and several volumes of Paradise of Japan With no previous theatrical acting experience, Kuroda was chosen to star in director Mitsuru Meike's 2003 pink film, The Glamorous Life of Sachiko Hanai. The film gained a cult following and became a surprise international hit, playing at 20 film festivals and having a theatrical release in the U.S. in 2006. As part of the film's tour of international film festivals, Kuroda was invited to speak at the PIA Film Festival in July 2005. One reviewer commented that the film was boosted by "Emi Kuroda's skilled erotic contortions (as well as by her ability to rattle off her pseudo-intellectual dialogue as though she understands it)."
Martial arts career
It was Takao Nakano (who also wrote the screenplay for Sachiko Hanai) who introduced Kuroda to cat-fights, and she joined his cat-fight club "Galshocker" under the name "Rolling Thunder". She left her screen and video work to start up a career as a martial arts fighter. Her record for the 2005 season was one win and three losses. In her martial arts career, she attained third-ranking amateur Shoot Boxing Bantamweight.
References
External links
Official website
Emi Kuroda at IMDb
|
given name
|
{
"answer_start": [
0
],
"text": [
"Emi"
]
}
|
Emi Kuroda (Japanese: 黒田エミ, Hepburn: Kuroda Emi) a.k.a. Misuzu Akimoto (秋元美鈴, Akimoto Misuzu) is a Japanese pink film actress who was born in Osaka in 1978. She is best known for playing the title role in director Mitsuru Meike's The Glamorous Life of Sachiko Hanai (2003).
Film career
Emi Kuroda started her AV career in 2000 under the name Misuzu Akimoto. Often playing high school girl roles, she starred in such films as Virtual Sexpot and several volumes of Paradise of Japan With no previous theatrical acting experience, Kuroda was chosen to star in director Mitsuru Meike's 2003 pink film, The Glamorous Life of Sachiko Hanai. The film gained a cult following and became a surprise international hit, playing at 20 film festivals and having a theatrical release in the U.S. in 2006. As part of the film's tour of international film festivals, Kuroda was invited to speak at the PIA Film Festival in July 2005. One reviewer commented that the film was boosted by "Emi Kuroda's skilled erotic contortions (as well as by her ability to rattle off her pseudo-intellectual dialogue as though she understands it)."
Martial arts career
It was Takao Nakano (who also wrote the screenplay for Sachiko Hanai) who introduced Kuroda to cat-fights, and she joined his cat-fight club "Galshocker" under the name "Rolling Thunder". She left her screen and video work to start up a career as a martial arts fighter. Her record for the 2005 season was one win and three losses. In her martial arts career, she attained third-ranking amateur Shoot Boxing Bantamweight.
References
External links
Official website
Emi Kuroda at IMDb
|
name in native language
|
{
"answer_start": [
22
],
"text": [
"黒田エミ"
]
}
|
Steniodes gelliasalis is a moth in the family Crambidae. It was described by Francis Walker in 1859. It is found in Brazil, Colombia and the West Indies, where it has been recorded from Jamaica.The wingspan is 13–15 mm.
== References ==
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Steniodes"
]
}
|
Steniodes gelliasalis is a moth in the family Crambidae. It was described by Francis Walker in 1859. It is found in Brazil, Colombia and the West Indies, where it has been recorded from Jamaica.The wingspan is 13–15 mm.
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Steniodes gelliasalis"
]
}
|
Cho Yoon-je is a South Korean diplomat who served as the South Korean ambassador to the United States between 2017 and 2019. He was appointed as South Korea's ambassador to the U.S. in 2017 by South Korean president Moon Jae-in.
Biography
Cho is known for his deep and wide expertise on the global economy and finance. Cho accumulated his experience in the economic and financial fields by working at such global organizations as the International Bank for Reconstruction and Development, and the International Monetary Fund. Cho served as Ambassador to the United Kingdom from 2005 to 2008 and as an economic adviser to former President Roh Moo-hyun from 2003 to 2005. He also headed Moon Jae-in's policy think tank during the 2017 South Korean presidential election. He is also an honorary professor of international studies at Sogang University.
See also
South Korea–United States relations
== References ==
|
country of citizenship
|
{
"answer_start": [
17
],
"text": [
"South Korea"
]
}
|
Cho Yoon-je is a South Korean diplomat who served as the South Korean ambassador to the United States between 2017 and 2019. He was appointed as South Korea's ambassador to the U.S. in 2017 by South Korean president Moon Jae-in.
Biography
Cho is known for his deep and wide expertise on the global economy and finance. Cho accumulated his experience in the economic and financial fields by working at such global organizations as the International Bank for Reconstruction and Development, and the International Monetary Fund. Cho served as Ambassador to the United Kingdom from 2005 to 2008 and as an economic adviser to former President Roh Moo-hyun from 2003 to 2005. He also headed Moon Jae-in's policy think tank during the 2017 South Korean presidential election. He is also an honorary professor of international studies at Sogang University.
See also
South Korea–United States relations
== References ==
|
native language
|
{
"answer_start": [
23
],
"text": [
"Korean"
]
}
|
Cho Yoon-je is a South Korean diplomat who served as the South Korean ambassador to the United States between 2017 and 2019. He was appointed as South Korea's ambassador to the U.S. in 2017 by South Korean president Moon Jae-in.
Biography
Cho is known for his deep and wide expertise on the global economy and finance. Cho accumulated his experience in the economic and financial fields by working at such global organizations as the International Bank for Reconstruction and Development, and the International Monetary Fund. Cho served as Ambassador to the United Kingdom from 2005 to 2008 and as an economic adviser to former President Roh Moo-hyun from 2003 to 2005. He also headed Moon Jae-in's policy think tank during the 2017 South Korean presidential election. He is also an honorary professor of international studies at Sogang University.
See also
South Korea–United States relations
== References ==
|
occupation
|
{
"answer_start": [
30
],
"text": [
"diplomat"
]
}
|
Cho Yoon-je is a South Korean diplomat who served as the South Korean ambassador to the United States between 2017 and 2019. He was appointed as South Korea's ambassador to the U.S. in 2017 by South Korean president Moon Jae-in.
Biography
Cho is known for his deep and wide expertise on the global economy and finance. Cho accumulated his experience in the economic and financial fields by working at such global organizations as the International Bank for Reconstruction and Development, and the International Monetary Fund. Cho served as Ambassador to the United Kingdom from 2005 to 2008 and as an economic adviser to former President Roh Moo-hyun from 2003 to 2005. He also headed Moon Jae-in's policy think tank during the 2017 South Korean presidential election. He is also an honorary professor of international studies at Sogang University.
See also
South Korea–United States relations
== References ==
|
given name
|
{
"answer_start": [
4
],
"text": [
"Yoon-je"
]
}
|
Cho Yoon-je is a South Korean diplomat who served as the South Korean ambassador to the United States between 2017 and 2019. He was appointed as South Korea's ambassador to the U.S. in 2017 by South Korean president Moon Jae-in.
Biography
Cho is known for his deep and wide expertise on the global economy and finance. Cho accumulated his experience in the economic and financial fields by working at such global organizations as the International Bank for Reconstruction and Development, and the International Monetary Fund. Cho served as Ambassador to the United Kingdom from 2005 to 2008 and as an economic adviser to former President Roh Moo-hyun from 2003 to 2005. He also headed Moon Jae-in's policy think tank during the 2017 South Korean presidential election. He is also an honorary professor of international studies at Sogang University.
See also
South Korea–United States relations
== References ==
|
languages spoken, written or signed
|
{
"answer_start": [
23
],
"text": [
"Korean"
]
}
|
Ernst Volckheim (11 April 1898 – 1 September 1962) was one of the founders of armored and mechanized warfare. A German officer in the First and Second World War, Volkheim rose to the rank of colonel, during World War II in the German Army. Little known outside of professional military and historical circles, Volkheim is considered the foremost military academic influence on German tank war proponent, Heinz Guderian, because both Volkheim's teaching as well as his 1924 professional military articles place him as one of the very earliest theorists of armored warfare and the use of German armored formations including independent tank corps.
Life
Ernst Volckheim joined the Prussian Army in 1915 as a war volunteer and in 1916 he was commissioned as a lieutenant. In 1917 he was given command of a machine gun company and served on the Western Front during the First World War. In April, 1918, as a member of the imperial tank corps, Volckheim fought in the First Battle of Villers-Bretonneux and won the tank battle's armor insignia. Shortly before the end of the war he was severely wounded.
At the end of World War I, Volckheim joined the newly established Reichswehr, and served as a lieutenant in the Kraftfahrtruppe. With his transfer to an inspector of transport troops in 1923, Volckheim also began his theoretical work on the use of armored vehicles as an element of combat leadership. In 1925, Volckheim, still a young lieutenant, was ordered to the officer school in Dresden and there began to teach armored combat theory and operational concepts including in the use of motorized troops. Between 1923 and 1927, he published numerous articles and books on the subject of armored combat in the military journal, Militär Wochenblatt. (Military Weekly). This work caught the attention of retired General Konstantin Altrock, the publisher of the Militär Wochenblatt. Soon after, Volckheim became the magazine's editor in chief and frequent contributor to the monthly magazine. From 1932 to 1933, Volckheim was a tactics instructor, training Soviet military exchange officer instructors at the secret German-Soviet tank school "Kama" in Kazan. There, Volckheim both lectured and gained practical experience with tanks and motorized warfare. In the late 1930s, he worked on the development of the guiding principles of armored combat doctrine for the newly developed and still largely secret German armored forces.
Influence on Heinz Guderian
While the much better known German officer, General Heinz Guderian would claim by the 1930s to be the "Father of Blitzkrieg", and give Volckheim only passing credit, this claim has been challenged in modern times by such military historians as James S. Corum as a gross self-exaggeration. In fact, Guderian's actual publications before 1936 were relatively few in number, and historians such as Corum have claimed that they did not address questions of fundamental armored combat doctrine. Guderian's famous book, Achtung Panzer was an influential early publication on armored warfare, and while forcefully written, when compared to Volckheim's early writings, Guderian's book was not particularly original. Modern historians now see Guderian's true inspiration for German armored doctrine to be the largely unsung Volckheim. Guderian made only passing mention of Volckheim in his memoirs. Nevertheless, no matter how much Volckheim's ideas directly influenced Guderian, Guderian's much higher rank as a general officer and consequent influence within both Army and Nazi Party circles, it would be Guderian who would become one of the driving forces in both the development and wider acceptance of the possibilities of armored and mechanized forces in the German Army.
World War II
At the onset of World War II, Lieutenant Colonel Volckheim served on the staff of the 1st Panzer Division (Wehrmacht) and subsequently commanded the 40th Armored Battalion (Panzer-Abteilung z.b.V. 40) in Norway in 1940. In 1941, he was given command of the armored troops school in Wünsdorf near Berlin.
He was subsequently assigned to the General Staff, where he participated in the planning and execution of the secret tank operations and its tactics.
Awards
Iron Cross of 1914, 1st and 2nd class
Clasp to the Iron Cross, 1st and 2nd Class
Tank Memorial Badge
Wound Badge (1918) in Silver
Honour Cross of the World War 1914/1918 (Ehrenkreuz für Frontkämpfer)
Panzer Badge in Silver
Wehrmacht Long Service Award (Wehrmacht-Dienstauszeichnung)
Works
Books
Ernst Volckheim: Die deutschen Kampfwagen im Weltkriege (German Tanks in the World War), Berlin 1923; later republished under Ernst Volckheim: Deutsche Kampfwagen greifen an! Erlebnisse eines Kampfwagenführers an der Westfront 1918 (German Tanks Attack! - Experiences of a tank commander on the Western front in 1918), Berlin 1937.
Ernst Volckheim: Der Kampfwagen in der heutigen Kriegführung (Tanks in Today's Warfare), Berlin 1924.
Ernst Volckheim: Der Kampfwagen und Abwehr dagegen (The Tank and Anti-tank Defenses), Berlin, 1925.
Articles
Ernst Volckheim: "Über Kampfwagen im Bewegungskrieg" (On tanks in maneuver warfare), Military Maneuver, August 3, 1924, Berlin.
Ernst Volckheim: "Kampfwagenverwendung im Bewegungskrieg" (The use of tanks in maneuver warfare), Military Maneuver, August 10, 1924, Berlin.
Ernst Volckheim: "Raupen oder Räderantrieb bei Kampfwagen" (Propelling tanks with tracks or wheels), Military Maneuver, August 5, 1924, Berlin.
Ernst Volckheim: "Die deutsche Panzerwaffe" (The German armored force), with Georg Wetzell (editors), German Army Magazine. Berlin, 1939, p. 293-338.
References
James S. Corum: The Roots of Blitzkrieg. Hans von Seeckt and German Military Reform. University Press of Kansas, Lawrence 1992.
|
award received
|
{
"answer_start": [
4331
],
"text": [
"Honour Cross of the World War 1914/1918"
]
}
|
Ernst Volckheim (11 April 1898 – 1 September 1962) was one of the founders of armored and mechanized warfare. A German officer in the First and Second World War, Volkheim rose to the rank of colonel, during World War II in the German Army. Little known outside of professional military and historical circles, Volkheim is considered the foremost military academic influence on German tank war proponent, Heinz Guderian, because both Volkheim's teaching as well as his 1924 professional military articles place him as one of the very earliest theorists of armored warfare and the use of German armored formations including independent tank corps.
Life
Ernst Volckheim joined the Prussian Army in 1915 as a war volunteer and in 1916 he was commissioned as a lieutenant. In 1917 he was given command of a machine gun company and served on the Western Front during the First World War. In April, 1918, as a member of the imperial tank corps, Volckheim fought in the First Battle of Villers-Bretonneux and won the tank battle's armor insignia. Shortly before the end of the war he was severely wounded.
At the end of World War I, Volckheim joined the newly established Reichswehr, and served as a lieutenant in the Kraftfahrtruppe. With his transfer to an inspector of transport troops in 1923, Volckheim also began his theoretical work on the use of armored vehicles as an element of combat leadership. In 1925, Volckheim, still a young lieutenant, was ordered to the officer school in Dresden and there began to teach armored combat theory and operational concepts including in the use of motorized troops. Between 1923 and 1927, he published numerous articles and books on the subject of armored combat in the military journal, Militär Wochenblatt. (Military Weekly). This work caught the attention of retired General Konstantin Altrock, the publisher of the Militär Wochenblatt. Soon after, Volckheim became the magazine's editor in chief and frequent contributor to the monthly magazine. From 1932 to 1933, Volckheim was a tactics instructor, training Soviet military exchange officer instructors at the secret German-Soviet tank school "Kama" in Kazan. There, Volckheim both lectured and gained practical experience with tanks and motorized warfare. In the late 1930s, he worked on the development of the guiding principles of armored combat doctrine for the newly developed and still largely secret German armored forces.
Influence on Heinz Guderian
While the much better known German officer, General Heinz Guderian would claim by the 1930s to be the "Father of Blitzkrieg", and give Volckheim only passing credit, this claim has been challenged in modern times by such military historians as James S. Corum as a gross self-exaggeration. In fact, Guderian's actual publications before 1936 were relatively few in number, and historians such as Corum have claimed that they did not address questions of fundamental armored combat doctrine. Guderian's famous book, Achtung Panzer was an influential early publication on armored warfare, and while forcefully written, when compared to Volckheim's early writings, Guderian's book was not particularly original. Modern historians now see Guderian's true inspiration for German armored doctrine to be the largely unsung Volckheim. Guderian made only passing mention of Volckheim in his memoirs. Nevertheless, no matter how much Volckheim's ideas directly influenced Guderian, Guderian's much higher rank as a general officer and consequent influence within both Army and Nazi Party circles, it would be Guderian who would become one of the driving forces in both the development and wider acceptance of the possibilities of armored and mechanized forces in the German Army.
World War II
At the onset of World War II, Lieutenant Colonel Volckheim served on the staff of the 1st Panzer Division (Wehrmacht) and subsequently commanded the 40th Armored Battalion (Panzer-Abteilung z.b.V. 40) in Norway in 1940. In 1941, he was given command of the armored troops school in Wünsdorf near Berlin.
He was subsequently assigned to the General Staff, where he participated in the planning and execution of the secret tank operations and its tactics.
Awards
Iron Cross of 1914, 1st and 2nd class
Clasp to the Iron Cross, 1st and 2nd Class
Tank Memorial Badge
Wound Badge (1918) in Silver
Honour Cross of the World War 1914/1918 (Ehrenkreuz für Frontkämpfer)
Panzer Badge in Silver
Wehrmacht Long Service Award (Wehrmacht-Dienstauszeichnung)
Works
Books
Ernst Volckheim: Die deutschen Kampfwagen im Weltkriege (German Tanks in the World War), Berlin 1923; later republished under Ernst Volckheim: Deutsche Kampfwagen greifen an! Erlebnisse eines Kampfwagenführers an der Westfront 1918 (German Tanks Attack! - Experiences of a tank commander on the Western front in 1918), Berlin 1937.
Ernst Volckheim: Der Kampfwagen in der heutigen Kriegführung (Tanks in Today's Warfare), Berlin 1924.
Ernst Volckheim: Der Kampfwagen und Abwehr dagegen (The Tank and Anti-tank Defenses), Berlin, 1925.
Articles
Ernst Volckheim: "Über Kampfwagen im Bewegungskrieg" (On tanks in maneuver warfare), Military Maneuver, August 3, 1924, Berlin.
Ernst Volckheim: "Kampfwagenverwendung im Bewegungskrieg" (The use of tanks in maneuver warfare), Military Maneuver, August 10, 1924, Berlin.
Ernst Volckheim: "Raupen oder Räderantrieb bei Kampfwagen" (Propelling tanks with tracks or wheels), Military Maneuver, August 5, 1924, Berlin.
Ernst Volckheim: "Die deutsche Panzerwaffe" (The German armored force), with Georg Wetzell (editors), German Army Magazine. Berlin, 1939, p. 293-338.
References
James S. Corum: The Roots of Blitzkrieg. Hans von Seeckt and German Military Reform. University Press of Kansas, Lawrence 1992.
|
Commons category
|
{
"answer_start": [
0
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"text": [
"Ernst Volckheim"
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|
Ernst Volckheim (11 April 1898 – 1 September 1962) was one of the founders of armored and mechanized warfare. A German officer in the First and Second World War, Volkheim rose to the rank of colonel, during World War II in the German Army. Little known outside of professional military and historical circles, Volkheim is considered the foremost military academic influence on German tank war proponent, Heinz Guderian, because both Volkheim's teaching as well as his 1924 professional military articles place him as one of the very earliest theorists of armored warfare and the use of German armored formations including independent tank corps.
Life
Ernst Volckheim joined the Prussian Army in 1915 as a war volunteer and in 1916 he was commissioned as a lieutenant. In 1917 he was given command of a machine gun company and served on the Western Front during the First World War. In April, 1918, as a member of the imperial tank corps, Volckheim fought in the First Battle of Villers-Bretonneux and won the tank battle's armor insignia. Shortly before the end of the war he was severely wounded.
At the end of World War I, Volckheim joined the newly established Reichswehr, and served as a lieutenant in the Kraftfahrtruppe. With his transfer to an inspector of transport troops in 1923, Volckheim also began his theoretical work on the use of armored vehicles as an element of combat leadership. In 1925, Volckheim, still a young lieutenant, was ordered to the officer school in Dresden and there began to teach armored combat theory and operational concepts including in the use of motorized troops. Between 1923 and 1927, he published numerous articles and books on the subject of armored combat in the military journal, Militär Wochenblatt. (Military Weekly). This work caught the attention of retired General Konstantin Altrock, the publisher of the Militär Wochenblatt. Soon after, Volckheim became the magazine's editor in chief and frequent contributor to the monthly magazine. From 1932 to 1933, Volckheim was a tactics instructor, training Soviet military exchange officer instructors at the secret German-Soviet tank school "Kama" in Kazan. There, Volckheim both lectured and gained practical experience with tanks and motorized warfare. In the late 1930s, he worked on the development of the guiding principles of armored combat doctrine for the newly developed and still largely secret German armored forces.
Influence on Heinz Guderian
While the much better known German officer, General Heinz Guderian would claim by the 1930s to be the "Father of Blitzkrieg", and give Volckheim only passing credit, this claim has been challenged in modern times by such military historians as James S. Corum as a gross self-exaggeration. In fact, Guderian's actual publications before 1936 were relatively few in number, and historians such as Corum have claimed that they did not address questions of fundamental armored combat doctrine. Guderian's famous book, Achtung Panzer was an influential early publication on armored warfare, and while forcefully written, when compared to Volckheim's early writings, Guderian's book was not particularly original. Modern historians now see Guderian's true inspiration for German armored doctrine to be the largely unsung Volckheim. Guderian made only passing mention of Volckheim in his memoirs. Nevertheless, no matter how much Volckheim's ideas directly influenced Guderian, Guderian's much higher rank as a general officer and consequent influence within both Army and Nazi Party circles, it would be Guderian who would become one of the driving forces in both the development and wider acceptance of the possibilities of armored and mechanized forces in the German Army.
World War II
At the onset of World War II, Lieutenant Colonel Volckheim served on the staff of the 1st Panzer Division (Wehrmacht) and subsequently commanded the 40th Armored Battalion (Panzer-Abteilung z.b.V. 40) in Norway in 1940. In 1941, he was given command of the armored troops school in Wünsdorf near Berlin.
He was subsequently assigned to the General Staff, where he participated in the planning and execution of the secret tank operations and its tactics.
Awards
Iron Cross of 1914, 1st and 2nd class
Clasp to the Iron Cross, 1st and 2nd Class
Tank Memorial Badge
Wound Badge (1918) in Silver
Honour Cross of the World War 1914/1918 (Ehrenkreuz für Frontkämpfer)
Panzer Badge in Silver
Wehrmacht Long Service Award (Wehrmacht-Dienstauszeichnung)
Works
Books
Ernst Volckheim: Die deutschen Kampfwagen im Weltkriege (German Tanks in the World War), Berlin 1923; later republished under Ernst Volckheim: Deutsche Kampfwagen greifen an! Erlebnisse eines Kampfwagenführers an der Westfront 1918 (German Tanks Attack! - Experiences of a tank commander on the Western front in 1918), Berlin 1937.
Ernst Volckheim: Der Kampfwagen in der heutigen Kriegführung (Tanks in Today's Warfare), Berlin 1924.
Ernst Volckheim: Der Kampfwagen und Abwehr dagegen (The Tank and Anti-tank Defenses), Berlin, 1925.
Articles
Ernst Volckheim: "Über Kampfwagen im Bewegungskrieg" (On tanks in maneuver warfare), Military Maneuver, August 3, 1924, Berlin.
Ernst Volckheim: "Kampfwagenverwendung im Bewegungskrieg" (The use of tanks in maneuver warfare), Military Maneuver, August 10, 1924, Berlin.
Ernst Volckheim: "Raupen oder Räderantrieb bei Kampfwagen" (Propelling tanks with tracks or wheels), Military Maneuver, August 5, 1924, Berlin.
Ernst Volckheim: "Die deutsche Panzerwaffe" (The German armored force), with Georg Wetzell (editors), German Army Magazine. Berlin, 1939, p. 293-338.
References
James S. Corum: The Roots of Blitzkrieg. Hans von Seeckt and German Military Reform. University Press of Kansas, Lawrence 1992.
|
military rank
|
{
"answer_start": [
193
],
"text": [
"colonel"
]
}
|
Ernst Volckheim (11 April 1898 – 1 September 1962) was one of the founders of armored and mechanized warfare. A German officer in the First and Second World War, Volkheim rose to the rank of colonel, during World War II in the German Army. Little known outside of professional military and historical circles, Volkheim is considered the foremost military academic influence on German tank war proponent, Heinz Guderian, because both Volkheim's teaching as well as his 1924 professional military articles place him as one of the very earliest theorists of armored warfare and the use of German armored formations including independent tank corps.
Life
Ernst Volckheim joined the Prussian Army in 1915 as a war volunteer and in 1916 he was commissioned as a lieutenant. In 1917 he was given command of a machine gun company and served on the Western Front during the First World War. In April, 1918, as a member of the imperial tank corps, Volckheim fought in the First Battle of Villers-Bretonneux and won the tank battle's armor insignia. Shortly before the end of the war he was severely wounded.
At the end of World War I, Volckheim joined the newly established Reichswehr, and served as a lieutenant in the Kraftfahrtruppe. With his transfer to an inspector of transport troops in 1923, Volckheim also began his theoretical work on the use of armored vehicles as an element of combat leadership. In 1925, Volckheim, still a young lieutenant, was ordered to the officer school in Dresden and there began to teach armored combat theory and operational concepts including in the use of motorized troops. Between 1923 and 1927, he published numerous articles and books on the subject of armored combat in the military journal, Militär Wochenblatt. (Military Weekly). This work caught the attention of retired General Konstantin Altrock, the publisher of the Militär Wochenblatt. Soon after, Volckheim became the magazine's editor in chief and frequent contributor to the monthly magazine. From 1932 to 1933, Volckheim was a tactics instructor, training Soviet military exchange officer instructors at the secret German-Soviet tank school "Kama" in Kazan. There, Volckheim both lectured and gained practical experience with tanks and motorized warfare. In the late 1930s, he worked on the development of the guiding principles of armored combat doctrine for the newly developed and still largely secret German armored forces.
Influence on Heinz Guderian
While the much better known German officer, General Heinz Guderian would claim by the 1930s to be the "Father of Blitzkrieg", and give Volckheim only passing credit, this claim has been challenged in modern times by such military historians as James S. Corum as a gross self-exaggeration. In fact, Guderian's actual publications before 1936 were relatively few in number, and historians such as Corum have claimed that they did not address questions of fundamental armored combat doctrine. Guderian's famous book, Achtung Panzer was an influential early publication on armored warfare, and while forcefully written, when compared to Volckheim's early writings, Guderian's book was not particularly original. Modern historians now see Guderian's true inspiration for German armored doctrine to be the largely unsung Volckheim. Guderian made only passing mention of Volckheim in his memoirs. Nevertheless, no matter how much Volckheim's ideas directly influenced Guderian, Guderian's much higher rank as a general officer and consequent influence within both Army and Nazi Party circles, it would be Guderian who would become one of the driving forces in both the development and wider acceptance of the possibilities of armored and mechanized forces in the German Army.
World War II
At the onset of World War II, Lieutenant Colonel Volckheim served on the staff of the 1st Panzer Division (Wehrmacht) and subsequently commanded the 40th Armored Battalion (Panzer-Abteilung z.b.V. 40) in Norway in 1940. In 1941, he was given command of the armored troops school in Wünsdorf near Berlin.
He was subsequently assigned to the General Staff, where he participated in the planning and execution of the secret tank operations and its tactics.
Awards
Iron Cross of 1914, 1st and 2nd class
Clasp to the Iron Cross, 1st and 2nd Class
Tank Memorial Badge
Wound Badge (1918) in Silver
Honour Cross of the World War 1914/1918 (Ehrenkreuz für Frontkämpfer)
Panzer Badge in Silver
Wehrmacht Long Service Award (Wehrmacht-Dienstauszeichnung)
Works
Books
Ernst Volckheim: Die deutschen Kampfwagen im Weltkriege (German Tanks in the World War), Berlin 1923; later republished under Ernst Volckheim: Deutsche Kampfwagen greifen an! Erlebnisse eines Kampfwagenführers an der Westfront 1918 (German Tanks Attack! - Experiences of a tank commander on the Western front in 1918), Berlin 1937.
Ernst Volckheim: Der Kampfwagen in der heutigen Kriegführung (Tanks in Today's Warfare), Berlin 1924.
Ernst Volckheim: Der Kampfwagen und Abwehr dagegen (The Tank and Anti-tank Defenses), Berlin, 1925.
Articles
Ernst Volckheim: "Über Kampfwagen im Bewegungskrieg" (On tanks in maneuver warfare), Military Maneuver, August 3, 1924, Berlin.
Ernst Volckheim: "Kampfwagenverwendung im Bewegungskrieg" (The use of tanks in maneuver warfare), Military Maneuver, August 10, 1924, Berlin.
Ernst Volckheim: "Raupen oder Räderantrieb bei Kampfwagen" (Propelling tanks with tracks or wheels), Military Maneuver, August 5, 1924, Berlin.
Ernst Volckheim: "Die deutsche Panzerwaffe" (The German armored force), with Georg Wetzell (editors), German Army Magazine. Berlin, 1939, p. 293-338.
References
James S. Corum: The Roots of Blitzkrieg. Hans von Seeckt and German Military Reform. University Press of Kansas, Lawrence 1992.
|
conflict
|
{
"answer_start": [
209
],
"text": [
"World War I"
]
}
|
Ernst Volckheim (11 April 1898 – 1 September 1962) was one of the founders of armored and mechanized warfare. A German officer in the First and Second World War, Volkheim rose to the rank of colonel, during World War II in the German Army. Little known outside of professional military and historical circles, Volkheim is considered the foremost military academic influence on German tank war proponent, Heinz Guderian, because both Volkheim's teaching as well as his 1924 professional military articles place him as one of the very earliest theorists of armored warfare and the use of German armored formations including independent tank corps.
Life
Ernst Volckheim joined the Prussian Army in 1915 as a war volunteer and in 1916 he was commissioned as a lieutenant. In 1917 he was given command of a machine gun company and served on the Western Front during the First World War. In April, 1918, as a member of the imperial tank corps, Volckheim fought in the First Battle of Villers-Bretonneux and won the tank battle's armor insignia. Shortly before the end of the war he was severely wounded.
At the end of World War I, Volckheim joined the newly established Reichswehr, and served as a lieutenant in the Kraftfahrtruppe. With his transfer to an inspector of transport troops in 1923, Volckheim also began his theoretical work on the use of armored vehicles as an element of combat leadership. In 1925, Volckheim, still a young lieutenant, was ordered to the officer school in Dresden and there began to teach armored combat theory and operational concepts including in the use of motorized troops. Between 1923 and 1927, he published numerous articles and books on the subject of armored combat in the military journal, Militär Wochenblatt. (Military Weekly). This work caught the attention of retired General Konstantin Altrock, the publisher of the Militär Wochenblatt. Soon after, Volckheim became the magazine's editor in chief and frequent contributor to the monthly magazine. From 1932 to 1933, Volckheim was a tactics instructor, training Soviet military exchange officer instructors at the secret German-Soviet tank school "Kama" in Kazan. There, Volckheim both lectured and gained practical experience with tanks and motorized warfare. In the late 1930s, he worked on the development of the guiding principles of armored combat doctrine for the newly developed and still largely secret German armored forces.
Influence on Heinz Guderian
While the much better known German officer, General Heinz Guderian would claim by the 1930s to be the "Father of Blitzkrieg", and give Volckheim only passing credit, this claim has been challenged in modern times by such military historians as James S. Corum as a gross self-exaggeration. In fact, Guderian's actual publications before 1936 were relatively few in number, and historians such as Corum have claimed that they did not address questions of fundamental armored combat doctrine. Guderian's famous book, Achtung Panzer was an influential early publication on armored warfare, and while forcefully written, when compared to Volckheim's early writings, Guderian's book was not particularly original. Modern historians now see Guderian's true inspiration for German armored doctrine to be the largely unsung Volckheim. Guderian made only passing mention of Volckheim in his memoirs. Nevertheless, no matter how much Volckheim's ideas directly influenced Guderian, Guderian's much higher rank as a general officer and consequent influence within both Army and Nazi Party circles, it would be Guderian who would become one of the driving forces in both the development and wider acceptance of the possibilities of armored and mechanized forces in the German Army.
World War II
At the onset of World War II, Lieutenant Colonel Volckheim served on the staff of the 1st Panzer Division (Wehrmacht) and subsequently commanded the 40th Armored Battalion (Panzer-Abteilung z.b.V. 40) in Norway in 1940. In 1941, he was given command of the armored troops school in Wünsdorf near Berlin.
He was subsequently assigned to the General Staff, where he participated in the planning and execution of the secret tank operations and its tactics.
Awards
Iron Cross of 1914, 1st and 2nd class
Clasp to the Iron Cross, 1st and 2nd Class
Tank Memorial Badge
Wound Badge (1918) in Silver
Honour Cross of the World War 1914/1918 (Ehrenkreuz für Frontkämpfer)
Panzer Badge in Silver
Wehrmacht Long Service Award (Wehrmacht-Dienstauszeichnung)
Works
Books
Ernst Volckheim: Die deutschen Kampfwagen im Weltkriege (German Tanks in the World War), Berlin 1923; later republished under Ernst Volckheim: Deutsche Kampfwagen greifen an! Erlebnisse eines Kampfwagenführers an der Westfront 1918 (German Tanks Attack! - Experiences of a tank commander on the Western front in 1918), Berlin 1937.
Ernst Volckheim: Der Kampfwagen in der heutigen Kriegführung (Tanks in Today's Warfare), Berlin 1924.
Ernst Volckheim: Der Kampfwagen und Abwehr dagegen (The Tank and Anti-tank Defenses), Berlin, 1925.
Articles
Ernst Volckheim: "Über Kampfwagen im Bewegungskrieg" (On tanks in maneuver warfare), Military Maneuver, August 3, 1924, Berlin.
Ernst Volckheim: "Kampfwagenverwendung im Bewegungskrieg" (The use of tanks in maneuver warfare), Military Maneuver, August 10, 1924, Berlin.
Ernst Volckheim: "Raupen oder Räderantrieb bei Kampfwagen" (Propelling tanks with tracks or wheels), Military Maneuver, August 5, 1924, Berlin.
Ernst Volckheim: "Die deutsche Panzerwaffe" (The German armored force), with Georg Wetzell (editors), German Army Magazine. Berlin, 1939, p. 293-338.
References
James S. Corum: The Roots of Blitzkrieg. Hans von Seeckt and German Military Reform. University Press of Kansas, Lawrence 1992.
|
given name
|
{
"answer_start": [
0
],
"text": [
"Ernst"
]
}
|
Ernst Volckheim (11 April 1898 – 1 September 1962) was one of the founders of armored and mechanized warfare. A German officer in the First and Second World War, Volkheim rose to the rank of colonel, during World War II in the German Army. Little known outside of professional military and historical circles, Volkheim is considered the foremost military academic influence on German tank war proponent, Heinz Guderian, because both Volkheim's teaching as well as his 1924 professional military articles place him as one of the very earliest theorists of armored warfare and the use of German armored formations including independent tank corps.
Life
Ernst Volckheim joined the Prussian Army in 1915 as a war volunteer and in 1916 he was commissioned as a lieutenant. In 1917 he was given command of a machine gun company and served on the Western Front during the First World War. In April, 1918, as a member of the imperial tank corps, Volckheim fought in the First Battle of Villers-Bretonneux and won the tank battle's armor insignia. Shortly before the end of the war he was severely wounded.
At the end of World War I, Volckheim joined the newly established Reichswehr, and served as a lieutenant in the Kraftfahrtruppe. With his transfer to an inspector of transport troops in 1923, Volckheim also began his theoretical work on the use of armored vehicles as an element of combat leadership. In 1925, Volckheim, still a young lieutenant, was ordered to the officer school in Dresden and there began to teach armored combat theory and operational concepts including in the use of motorized troops. Between 1923 and 1927, he published numerous articles and books on the subject of armored combat in the military journal, Militär Wochenblatt. (Military Weekly). This work caught the attention of retired General Konstantin Altrock, the publisher of the Militär Wochenblatt. Soon after, Volckheim became the magazine's editor in chief and frequent contributor to the monthly magazine. From 1932 to 1933, Volckheim was a tactics instructor, training Soviet military exchange officer instructors at the secret German-Soviet tank school "Kama" in Kazan. There, Volckheim both lectured and gained practical experience with tanks and motorized warfare. In the late 1930s, he worked on the development of the guiding principles of armored combat doctrine for the newly developed and still largely secret German armored forces.
Influence on Heinz Guderian
While the much better known German officer, General Heinz Guderian would claim by the 1930s to be the "Father of Blitzkrieg", and give Volckheim only passing credit, this claim has been challenged in modern times by such military historians as James S. Corum as a gross self-exaggeration. In fact, Guderian's actual publications before 1936 were relatively few in number, and historians such as Corum have claimed that they did not address questions of fundamental armored combat doctrine. Guderian's famous book, Achtung Panzer was an influential early publication on armored warfare, and while forcefully written, when compared to Volckheim's early writings, Guderian's book was not particularly original. Modern historians now see Guderian's true inspiration for German armored doctrine to be the largely unsung Volckheim. Guderian made only passing mention of Volckheim in his memoirs. Nevertheless, no matter how much Volckheim's ideas directly influenced Guderian, Guderian's much higher rank as a general officer and consequent influence within both Army and Nazi Party circles, it would be Guderian who would become one of the driving forces in both the development and wider acceptance of the possibilities of armored and mechanized forces in the German Army.
World War II
At the onset of World War II, Lieutenant Colonel Volckheim served on the staff of the 1st Panzer Division (Wehrmacht) and subsequently commanded the 40th Armored Battalion (Panzer-Abteilung z.b.V. 40) in Norway in 1940. In 1941, he was given command of the armored troops school in Wünsdorf near Berlin.
He was subsequently assigned to the General Staff, where he participated in the planning and execution of the secret tank operations and its tactics.
Awards
Iron Cross of 1914, 1st and 2nd class
Clasp to the Iron Cross, 1st and 2nd Class
Tank Memorial Badge
Wound Badge (1918) in Silver
Honour Cross of the World War 1914/1918 (Ehrenkreuz für Frontkämpfer)
Panzer Badge in Silver
Wehrmacht Long Service Award (Wehrmacht-Dienstauszeichnung)
Works
Books
Ernst Volckheim: Die deutschen Kampfwagen im Weltkriege (German Tanks in the World War), Berlin 1923; later republished under Ernst Volckheim: Deutsche Kampfwagen greifen an! Erlebnisse eines Kampfwagenführers an der Westfront 1918 (German Tanks Attack! - Experiences of a tank commander on the Western front in 1918), Berlin 1937.
Ernst Volckheim: Der Kampfwagen in der heutigen Kriegführung (Tanks in Today's Warfare), Berlin 1924.
Ernst Volckheim: Der Kampfwagen und Abwehr dagegen (The Tank and Anti-tank Defenses), Berlin, 1925.
Articles
Ernst Volckheim: "Über Kampfwagen im Bewegungskrieg" (On tanks in maneuver warfare), Military Maneuver, August 3, 1924, Berlin.
Ernst Volckheim: "Kampfwagenverwendung im Bewegungskrieg" (The use of tanks in maneuver warfare), Military Maneuver, August 10, 1924, Berlin.
Ernst Volckheim: "Raupen oder Räderantrieb bei Kampfwagen" (Propelling tanks with tracks or wheels), Military Maneuver, August 5, 1924, Berlin.
Ernst Volckheim: "Die deutsche Panzerwaffe" (The German armored force), with Georg Wetzell (editors), German Army Magazine. Berlin, 1939, p. 293-338.
References
James S. Corum: The Roots of Blitzkrieg. Hans von Seeckt and German Military Reform. University Press of Kansas, Lawrence 1992.
|
languages spoken, written or signed
|
{
"answer_start": [
114
],
"text": [
"German"
]
}
|
Paul Carafotes (born March 23, 1959) is an American actor, known for playing Harold Dyer in the prime-time television drama Knots Landing. He has starred in films, television, commercials, and on stage.
Early life
Carafotes was born into an American Greek family and raised in Somerville, Massachusetts. He graduated from Somerville High School.
Career
Carafotes began his professional career at the age of 20 in the 20th Century Fox film Headin' for Broadway. In it, he portrayed Ralph Morelli, a talented and soulful street kid from Philadelphia in a performance that Variety called "amazing." He followed that performance with another starring role as a partially deaf football player in the drama "Choices" in which Demi Moore debuted on the screen as his girlfriend. He then appeared in the film All the Right Moves as Vinnie Salvucci, teammate and friend of Stef Djordjevic, played by Tom Cruise.
Carafotes won an L.A. Drama Critics Award for writing the play "Beyond the Ring", in which he also starred and was nominated for best actor. He has won multiple awards including the audience award at the Beverly Hills Film Festival for writing, producing and directing the supernatural fantasy short film, "Club Soda". In 2006 Carafotes wrote, directed and produced the short film, Club Soda, edited into Stories USA. In 2010, Carafotes returned to acting in the Emmy award-winning series Damages.
Carafotes, inspired after the birth of his son Charlie, began writing a series of children's books entitled, "The Adventures of Charlie Bubbles!" The series includes a coloring book and CD of songs that complement the storybooks.
Film credits
Headin' for Broadway (1980) as Ralph Morelli
Choices (1981) as John Carluccio
All the Right Moves (1983) as Vinnie
Clan of the Cave Bear (1986) as Brug
The Ladies Club (1986) as Eddie
Blind Date (1987) as Disco Dancer
Journey to the Center of the Earth (1989) as Richard
Italian Movie (1993) as Phillipo
Fight Club (1999) as Salvador the bartender
Scriptfellas (1999) as Barry Goldberg
Lonely Hearts (2006) as Detective Paco
Club Soda (2006) director, writer, producer
American Breakdown (2008) director
@urFRENZ (2010) as Terry
Mind Hunter (2019) as Rod
Personal life
In 2019, Carafotes alleged that he was the mystery man that Demi Moore slept with the night before her marriage to Freddy Moore in 1981, as detailed in her memoir Inside Out. Carafotes claimed that the two met during an audition for the 1981 film Choices and the two carried on a month long affair.
References
External links
Paul Carafotes at IMDb
www.carafotes.com
|
place of birth
|
{
"answer_start": [
278
],
"text": [
"Somerville"
]
}
|
Paul Carafotes (born March 23, 1959) is an American actor, known for playing Harold Dyer in the prime-time television drama Knots Landing. He has starred in films, television, commercials, and on stage.
Early life
Carafotes was born into an American Greek family and raised in Somerville, Massachusetts. He graduated from Somerville High School.
Career
Carafotes began his professional career at the age of 20 in the 20th Century Fox film Headin' for Broadway. In it, he portrayed Ralph Morelli, a talented and soulful street kid from Philadelphia in a performance that Variety called "amazing." He followed that performance with another starring role as a partially deaf football player in the drama "Choices" in which Demi Moore debuted on the screen as his girlfriend. He then appeared in the film All the Right Moves as Vinnie Salvucci, teammate and friend of Stef Djordjevic, played by Tom Cruise.
Carafotes won an L.A. Drama Critics Award for writing the play "Beyond the Ring", in which he also starred and was nominated for best actor. He has won multiple awards including the audience award at the Beverly Hills Film Festival for writing, producing and directing the supernatural fantasy short film, "Club Soda". In 2006 Carafotes wrote, directed and produced the short film, Club Soda, edited into Stories USA. In 2010, Carafotes returned to acting in the Emmy award-winning series Damages.
Carafotes, inspired after the birth of his son Charlie, began writing a series of children's books entitled, "The Adventures of Charlie Bubbles!" The series includes a coloring book and CD of songs that complement the storybooks.
Film credits
Headin' for Broadway (1980) as Ralph Morelli
Choices (1981) as John Carluccio
All the Right Moves (1983) as Vinnie
Clan of the Cave Bear (1986) as Brug
The Ladies Club (1986) as Eddie
Blind Date (1987) as Disco Dancer
Journey to the Center of the Earth (1989) as Richard
Italian Movie (1993) as Phillipo
Fight Club (1999) as Salvador the bartender
Scriptfellas (1999) as Barry Goldberg
Lonely Hearts (2006) as Detective Paco
Club Soda (2006) director, writer, producer
American Breakdown (2008) director
@urFRENZ (2010) as Terry
Mind Hunter (2019) as Rod
Personal life
In 2019, Carafotes alleged that he was the mystery man that Demi Moore slept with the night before her marriage to Freddy Moore in 1981, as detailed in her memoir Inside Out. Carafotes claimed that the two met during an audition for the 1981 film Choices and the two carried on a month long affair.
References
External links
Paul Carafotes at IMDb
www.carafotes.com
|
occupation
|
{
"answer_start": [
52
],
"text": [
"actor"
]
}
|
Paul Carafotes (born March 23, 1959) is an American actor, known for playing Harold Dyer in the prime-time television drama Knots Landing. He has starred in films, television, commercials, and on stage.
Early life
Carafotes was born into an American Greek family and raised in Somerville, Massachusetts. He graduated from Somerville High School.
Career
Carafotes began his professional career at the age of 20 in the 20th Century Fox film Headin' for Broadway. In it, he portrayed Ralph Morelli, a talented and soulful street kid from Philadelphia in a performance that Variety called "amazing." He followed that performance with another starring role as a partially deaf football player in the drama "Choices" in which Demi Moore debuted on the screen as his girlfriend. He then appeared in the film All the Right Moves as Vinnie Salvucci, teammate and friend of Stef Djordjevic, played by Tom Cruise.
Carafotes won an L.A. Drama Critics Award for writing the play "Beyond the Ring", in which he also starred and was nominated for best actor. He has won multiple awards including the audience award at the Beverly Hills Film Festival for writing, producing and directing the supernatural fantasy short film, "Club Soda". In 2006 Carafotes wrote, directed and produced the short film, Club Soda, edited into Stories USA. In 2010, Carafotes returned to acting in the Emmy award-winning series Damages.
Carafotes, inspired after the birth of his son Charlie, began writing a series of children's books entitled, "The Adventures of Charlie Bubbles!" The series includes a coloring book and CD of songs that complement the storybooks.
Film credits
Headin' for Broadway (1980) as Ralph Morelli
Choices (1981) as John Carluccio
All the Right Moves (1983) as Vinnie
Clan of the Cave Bear (1986) as Brug
The Ladies Club (1986) as Eddie
Blind Date (1987) as Disco Dancer
Journey to the Center of the Earth (1989) as Richard
Italian Movie (1993) as Phillipo
Fight Club (1999) as Salvador the bartender
Scriptfellas (1999) as Barry Goldberg
Lonely Hearts (2006) as Detective Paco
Club Soda (2006) director, writer, producer
American Breakdown (2008) director
@urFRENZ (2010) as Terry
Mind Hunter (2019) as Rod
Personal life
In 2019, Carafotes alleged that he was the mystery man that Demi Moore slept with the night before her marriage to Freddy Moore in 1981, as detailed in her memoir Inside Out. Carafotes claimed that the two met during an audition for the 1981 film Choices and the two carried on a month long affair.
References
External links
Paul Carafotes at IMDb
www.carafotes.com
|
given name
|
{
"answer_start": [
0
],
"text": [
"Paul"
]
}
|
The Oranjestad Reef Islands lie just off the western coast of the island of Aruba, a constituent island nation of the Kingdom of the Netherlands in the Dutch Caribbean, adjacent to the central harbour of the capital Oranjestad. They form a 309 ha site encompassing sand and boulder coral islets, on a substrate of submerged reef, which can vary in size and shape following winter storms and hurricanes. The area has been identified as an Important Bird Area by BirdLife International as a breeding site for Sandwich and common terns.
== References ==
|
country
|
{
"answer_start": [
76
],
"text": [
"Aruba"
]
}
|
The Oranjestad Reef Islands lie just off the western coast of the island of Aruba, a constituent island nation of the Kingdom of the Netherlands in the Dutch Caribbean, adjacent to the central harbour of the capital Oranjestad. They form a 309 ha site encompassing sand and boulder coral islets, on a substrate of submerged reef, which can vary in size and shape following winter storms and hurricanes. The area has been identified as an Important Bird Area by BirdLife International as a breeding site for Sandwich and common terns.
== References ==
|
instance of
|
{
"answer_start": [
66
],
"text": [
"island"
]
}
|
The Oranjestad Reef Islands lie just off the western coast of the island of Aruba, a constituent island nation of the Kingdom of the Netherlands in the Dutch Caribbean, adjacent to the central harbour of the capital Oranjestad. They form a 309 ha site encompassing sand and boulder coral islets, on a substrate of submerged reef, which can vary in size and shape following winter storms and hurricanes. The area has been identified as an Important Bird Area by BirdLife International as a breeding site for Sandwich and common terns.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
4
],
"text": [
"Oranjestad"
]
}
|
The Oranjestad Reef Islands lie just off the western coast of the island of Aruba, a constituent island nation of the Kingdom of the Netherlands in the Dutch Caribbean, adjacent to the central harbour of the capital Oranjestad. They form a 309 ha site encompassing sand and boulder coral islets, on a substrate of submerged reef, which can vary in size and shape following winter storms and hurricanes. The area has been identified as an Important Bird Area by BirdLife International as a breeding site for Sandwich and common terns.
== References ==
|
has part(s)
|
{
"answer_start": [
282
],
"text": [
"coral"
]
}
|
The Oranjestad Reef Islands lie just off the western coast of the island of Aruba, a constituent island nation of the Kingdom of the Netherlands in the Dutch Caribbean, adjacent to the central harbour of the capital Oranjestad. They form a 309 ha site encompassing sand and boulder coral islets, on a substrate of submerged reef, which can vary in size and shape following winter storms and hurricanes. The area has been identified as an Important Bird Area by BirdLife International as a breeding site for Sandwich and common terns.
== References ==
|
area
|
{
"answer_start": [
242
],
"text": [
"9"
]
}
|
Chomle is a municipality and village in Rokycany District in the Plzeň Region of the Czech Republic. It has about 70 inhabitants.
Chomle lies approximately 14 kilometres (9 mi) north of Rokycany, 23 km (14 mi) north-east of Plzeň, and 62 km (39 mi) south-west of Prague.
== References ==
|
country
|
{
"answer_start": [
85
],
"text": [
"Czech Republic"
]
}
|
Chomle is a municipality and village in Rokycany District in the Plzeň Region of the Czech Republic. It has about 70 inhabitants.
Chomle lies approximately 14 kilometres (9 mi) north of Rokycany, 23 km (14 mi) north-east of Plzeň, and 62 km (39 mi) south-west of Prague.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
0
],
"text": [
"Chomle"
]
}
|
Chomle is a municipality and village in Rokycany District in the Plzeň Region of the Czech Republic. It has about 70 inhabitants.
Chomle lies approximately 14 kilometres (9 mi) north of Rokycany, 23 km (14 mi) north-east of Plzeň, and 62 km (39 mi) south-west of Prague.
== References ==
|
official name
|
{
"answer_start": [
0
],
"text": [
"Chomle"
]
}
|
Chomle is a municipality and village in Rokycany District in the Plzeň Region of the Czech Republic. It has about 70 inhabitants.
Chomle lies approximately 14 kilometres (9 mi) north of Rokycany, 23 km (14 mi) north-east of Plzeň, and 62 km (39 mi) south-west of Prague.
== References ==
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Chomle"
]
}
|
Chomle is a municipality and village in Rokycany District in the Plzeň Region of the Czech Republic. It has about 70 inhabitants.
Chomle lies approximately 14 kilometres (9 mi) north of Rokycany, 23 km (14 mi) north-east of Plzeň, and 62 km (39 mi) south-west of Prague.
== References ==
|
population
|
{
"answer_start": [
114
],
"text": [
"70"
]
}
|
Oxyna utahensis is a species of fruit fly in the family Tephritidae.
Distribution
USA & Canada.
== References ==
|
taxon rank
|
{
"answer_start": [
21
],
"text": [
"species"
]
}
|
Oxyna utahensis is a species of fruit fly in the family Tephritidae.
Distribution
USA & Canada.
== References ==
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Oxyna"
]
}
|
Oxyna utahensis is a species of fruit fly in the family Tephritidae.
Distribution
USA & Canada.
== References ==
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Oxyna utahensis"
]
}
|
Syburg is a borough (Stadtbezirk) of the city of Dortmund in the Ruhr district of North Rhine-Westphalia, Germany. Since 1929, it has been a borough of Dortmund, located in the city's south. It is part of the Hörde district.
Geschichte
Syburg was an independent settlement, part of the Amt Westhofen. In 1929, it became a borough of Dortmund, as part of the Wellinghofen district. From 1 January 1975 it was part of the Hörde district.Syburg has been an excursion destination of Dortmund's citizens. It was connected to Hörde since the beginning of the 20th century by the Hörder Kreisbahn tram.
Syburg features several sites and monuments including:
St. Peter, Syburg, a Romanesque church
Hohensyburg, a ruined castle
Kaiser-Wilhelm-Denkmal, a monument to Wilhelm I
Vincketurm
Spielbank Hohensyburg
Naturbühne Hohensyburg, an open-air stage
Syburger Bergbauweg, a trail connecting mining sites
Burg Husen
Haus HusenThe Hohensyburg is above the Hengsteysee, a dam of the Ruhr. Syburg features a golf course, the Wannebach valley, several restaurants and Dortmund's only campground.
References
External links
Official website
|
country
|
{
"answer_start": [
106
],
"text": [
"Germany"
]
}
|
Syburg is a borough (Stadtbezirk) of the city of Dortmund in the Ruhr district of North Rhine-Westphalia, Germany. Since 1929, it has been a borough of Dortmund, located in the city's south. It is part of the Hörde district.
Geschichte
Syburg was an independent settlement, part of the Amt Westhofen. In 1929, it became a borough of Dortmund, as part of the Wellinghofen district. From 1 January 1975 it was part of the Hörde district.Syburg has been an excursion destination of Dortmund's citizens. It was connected to Hörde since the beginning of the 20th century by the Hörder Kreisbahn tram.
Syburg features several sites and monuments including:
St. Peter, Syburg, a Romanesque church
Hohensyburg, a ruined castle
Kaiser-Wilhelm-Denkmal, a monument to Wilhelm I
Vincketurm
Spielbank Hohensyburg
Naturbühne Hohensyburg, an open-air stage
Syburger Bergbauweg, a trail connecting mining sites
Burg Husen
Haus HusenThe Hohensyburg is above the Hengsteysee, a dam of the Ruhr. Syburg features a golf course, the Wannebach valley, several restaurants and Dortmund's only campground.
References
External links
Official website
|
located in the administrative territorial entity
|
{
"answer_start": [
49
],
"text": [
"Dortmund"
]
}
|
Syburg is a borough (Stadtbezirk) of the city of Dortmund in the Ruhr district of North Rhine-Westphalia, Germany. Since 1929, it has been a borough of Dortmund, located in the city's south. It is part of the Hörde district.
Geschichte
Syburg was an independent settlement, part of the Amt Westhofen. In 1929, it became a borough of Dortmund, as part of the Wellinghofen district. From 1 January 1975 it was part of the Hörde district.Syburg has been an excursion destination of Dortmund's citizens. It was connected to Hörde since the beginning of the 20th century by the Hörder Kreisbahn tram.
Syburg features several sites and monuments including:
St. Peter, Syburg, a Romanesque church
Hohensyburg, a ruined castle
Kaiser-Wilhelm-Denkmal, a monument to Wilhelm I
Vincketurm
Spielbank Hohensyburg
Naturbühne Hohensyburg, an open-air stage
Syburger Bergbauweg, a trail connecting mining sites
Burg Husen
Haus HusenThe Hohensyburg is above the Hengsteysee, a dam of the Ruhr. Syburg features a golf course, the Wannebach valley, several restaurants and Dortmund's only campground.
References
External links
Official website
|
located in or next to body of water
|
{
"answer_start": [
65
],
"text": [
"Ruhr"
]
}
|
Syburg is a borough (Stadtbezirk) of the city of Dortmund in the Ruhr district of North Rhine-Westphalia, Germany. Since 1929, it has been a borough of Dortmund, located in the city's south. It is part of the Hörde district.
Geschichte
Syburg was an independent settlement, part of the Amt Westhofen. In 1929, it became a borough of Dortmund, as part of the Wellinghofen district. From 1 January 1975 it was part of the Hörde district.Syburg has been an excursion destination of Dortmund's citizens. It was connected to Hörde since the beginning of the 20th century by the Hörder Kreisbahn tram.
Syburg features several sites and monuments including:
St. Peter, Syburg, a Romanesque church
Hohensyburg, a ruined castle
Kaiser-Wilhelm-Denkmal, a monument to Wilhelm I
Vincketurm
Spielbank Hohensyburg
Naturbühne Hohensyburg, an open-air stage
Syburger Bergbauweg, a trail connecting mining sites
Burg Husen
Haus HusenThe Hohensyburg is above the Hengsteysee, a dam of the Ruhr. Syburg features a golf course, the Wannebach valley, several restaurants and Dortmund's only campground.
References
External links
Official website
|
different from
|
{
"answer_start": [
0
],
"text": [
"Syburg"
]
}
|
Maßbach is a market town and municipality in the district of Bad Kissingen in Bavaria in Germany.
Geography
Maßbach lies between the biosphere reserve of the Bavarian Rhön Mountains and Haßberge.
Neighboring municipalities
Münnerstadt
Thundorf
Üchtelhausen in the district of Schweinfurt
Rannungen
Divisions of the municipality
The following towns belong to the municipality:
Maßbach
Rannungen
Thundorf (including the Theinfeld und Rothhausen)Maßbach includes the following villages:
Poppenlauer
Volkershausen
Weichtungen
History
The town was first documented in 770. Beginning in the mid-19th century many residents of Massbach and the surrounding area emigrated to the United States and settled in Jo Daviess County, Illinois. They named their settlement in Derinda Township "Massbach" after their home village.
Coat of arms
A red and silver shield divided into alternating stripes emanating from a point at the top.
Sister cities
Bretteville-sur-Laize, near Caen France
Culture
The Fränkisches Theater Schloss Maßbach is a private theater which presents an ambitious program. The Heimatmuseum is housed in the palace in Maßbach-Poppenlauer
Transport
There is public bus service to Schweinfurt, Bad Kissingen, and Bad Neustadt. The nearest train station is in Münnerstadt on the Schweinfurt-Erfurt line. The municipality has its own exit from the Autobahn A71.
References
External links
Official website
|
country
|
{
"answer_start": [
89
],
"text": [
"Germany"
]
}
|
Maßbach is a market town and municipality in the district of Bad Kissingen in Bavaria in Germany.
Geography
Maßbach lies between the biosphere reserve of the Bavarian Rhön Mountains and Haßberge.
Neighboring municipalities
Münnerstadt
Thundorf
Üchtelhausen in the district of Schweinfurt
Rannungen
Divisions of the municipality
The following towns belong to the municipality:
Maßbach
Rannungen
Thundorf (including the Theinfeld und Rothhausen)Maßbach includes the following villages:
Poppenlauer
Volkershausen
Weichtungen
History
The town was first documented in 770. Beginning in the mid-19th century many residents of Massbach and the surrounding area emigrated to the United States and settled in Jo Daviess County, Illinois. They named their settlement in Derinda Township "Massbach" after their home village.
Coat of arms
A red and silver shield divided into alternating stripes emanating from a point at the top.
Sister cities
Bretteville-sur-Laize, near Caen France
Culture
The Fränkisches Theater Schloss Maßbach is a private theater which presents an ambitious program. The Heimatmuseum is housed in the palace in Maßbach-Poppenlauer
Transport
There is public bus service to Schweinfurt, Bad Kissingen, and Bad Neustadt. The nearest train station is in Münnerstadt on the Schweinfurt-Erfurt line. The municipality has its own exit from the Autobahn A71.
References
External links
Official website
|
located in the administrative territorial entity
|
{
"answer_start": [
61
],
"text": [
"Bad Kissingen"
]
}
|
Maßbach is a market town and municipality in the district of Bad Kissingen in Bavaria in Germany.
Geography
Maßbach lies between the biosphere reserve of the Bavarian Rhön Mountains and Haßberge.
Neighboring municipalities
Münnerstadt
Thundorf
Üchtelhausen in the district of Schweinfurt
Rannungen
Divisions of the municipality
The following towns belong to the municipality:
Maßbach
Rannungen
Thundorf (including the Theinfeld und Rothhausen)Maßbach includes the following villages:
Poppenlauer
Volkershausen
Weichtungen
History
The town was first documented in 770. Beginning in the mid-19th century many residents of Massbach and the surrounding area emigrated to the United States and settled in Jo Daviess County, Illinois. They named their settlement in Derinda Township "Massbach" after their home village.
Coat of arms
A red and silver shield divided into alternating stripes emanating from a point at the top.
Sister cities
Bretteville-sur-Laize, near Caen France
Culture
The Fränkisches Theater Schloss Maßbach is a private theater which presents an ambitious program. The Heimatmuseum is housed in the palace in Maßbach-Poppenlauer
Transport
There is public bus service to Schweinfurt, Bad Kissingen, and Bad Neustadt. The nearest train station is in Münnerstadt on the Schweinfurt-Erfurt line. The municipality has its own exit from the Autobahn A71.
References
External links
Official website
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Maßbach"
]
}
|
Maßbach is a market town and municipality in the district of Bad Kissingen in Bavaria in Germany.
Geography
Maßbach lies between the biosphere reserve of the Bavarian Rhön Mountains and Haßberge.
Neighboring municipalities
Münnerstadt
Thundorf
Üchtelhausen in the district of Schweinfurt
Rannungen
Divisions of the municipality
The following towns belong to the municipality:
Maßbach
Rannungen
Thundorf (including the Theinfeld und Rothhausen)Maßbach includes the following villages:
Poppenlauer
Volkershausen
Weichtungen
History
The town was first documented in 770. Beginning in the mid-19th century many residents of Massbach and the surrounding area emigrated to the United States and settled in Jo Daviess County, Illinois. They named their settlement in Derinda Township "Massbach" after their home village.
Coat of arms
A red and silver shield divided into alternating stripes emanating from a point at the top.
Sister cities
Bretteville-sur-Laize, near Caen France
Culture
The Fränkisches Theater Schloss Maßbach is a private theater which presents an ambitious program. The Heimatmuseum is housed in the palace in Maßbach-Poppenlauer
Transport
There is public bus service to Schweinfurt, Bad Kissingen, and Bad Neustadt. The nearest train station is in Münnerstadt on the Schweinfurt-Erfurt line. The municipality has its own exit from the Autobahn A71.
References
External links
Official website
|
said to be the same as
|
{
"answer_start": [
0
],
"text": [
"Maßbach"
]
}
|
This is a list of the National Register of Historic Places listings in Anne Arundel County, Maryland.
This is intended to be a complete list of the properties and districts on the National Register of Historic Places in Anne Arundel County, Maryland, United States. Latitude and longitude coordinates are provided for many National Register properties and districts; these locations may be seen together in a map.There are 106 properties and districts listed on the National Register in the county, including 12 National Historic Landmarks.
This National Park Service list is complete through NPS recent listings posted May 26, 2023.
Current listings
Former listing
See also
List of National Historic Landmarks in Maryland
National Register of Historic Places listings in Maryland
== References ==
|
is a list of
|
{
"answer_start": [
22
],
"text": [
"National Register of Historic Places"
]
}
|
This is a list of the National Register of Historic Places listings in Anne Arundel County, Maryland.
This is intended to be a complete list of the properties and districts on the National Register of Historic Places in Anne Arundel County, Maryland, United States. Latitude and longitude coordinates are provided for many National Register properties and districts; these locations may be seen together in a map.There are 106 properties and districts listed on the National Register in the county, including 12 National Historic Landmarks.
This National Park Service list is complete through NPS recent listings posted May 26, 2023.
Current listings
Former listing
See also
List of National Historic Landmarks in Maryland
National Register of Historic Places listings in Maryland
== References ==
|
Commons category
|
{
"answer_start": [
180
],
"text": [
"National Register of Historic Places in Anne Arundel County, Maryland"
]
}
|
Monomorium is a genus of ants in the subfamily Myrmicinae. As of 2013 it contains about 396 species. It is distributed around the world, with many species native to the Old World tropics. It is considered to be "one of the more important groups of ants," considering its widespread distribution, its diversity, and its variety of morphological and biological characteristics. It also includes several familiar pest species, such as the pharaoh ant (M. pharaonis) and the flower ant (M. floricola).
Description
This genus is very diverse in morphology, with species of many shapes and sizes that "do not necessarily even remotely resemble one another" at first glance.In certain species, the worker caste is monomorphic, whereas in others, it is polymorphic. In some species the workers are minute, in others they are rather large. Large, multifaceted eyes are common, but M. inusuale has much reduced eyes, as do some species from Africa. The sting is always functional.
Taxonomy
By the early 20th century Monomorium was already a large genus, with 10 subgenera. It was further expanded in 2007, when the genera Nothidris, Epelysidris, and Phacota were synonymized with Monomorium. The small genera Anillomyrma, Megalomyrmex, and perhaps Bondroita should possibly also be included in Monomorium.The exact boundaries of the genus are still to be determined: it has no distinct morphological traits that set it apart from other genera in the tribe Solenopsidini. If cladistics were strictly applied, all Solenopsidini would be grouped in the single genus Solenopsis, but the tribe lacks a strong synapomorphy. As with the genera Camponotus and Leptothorax, Monomorium as it currently stands is paraphyletic.Subsequent studies using molecular techniques have suggested ways to break up the genus. A 2015 study resurrected the previously-synonomised genus Syllophopsis (including Ireneidris) from within Monomorium. Epelysidris was also resurrected to contain the species E. brocha. In 2019 the genus Chelaner was resurrected for 53 Australasian and Pacific species, including the common New Zealand species Chelaner antipodum.
Biology
Most ants of this genus nest in rotting wood, under rocks, or in the soil. Some species are scavengers, while others are seed collectors. Many species have venom containing alkaloids, which they use as a defense from predators. Besides its morphological variation, the genus is also variable in chromosome number, with 2n of 16 to 70 recorded.
Distribution
As of 2006, 36 species are described from Madagascar, 19 of which were described in that year alone. About 43 species are known from Australia and 30 from Arabia.
Selected species
References
External links
Monomorium. Japanese Ant Image Database.
Further reading
Mashaly, Ashraf Mohamed Ali (2010). "Monomorium ant's trail pheromones: Glandular source, optimal concentration, longevity and specificity" (PDF). Journal of Asia-Pacific Entomology. 13: 23–26. doi:10.1016/j.aspen.2009.11.001. Archived from the original (PDF) on 2013-11-13.
Mayr, G. (1855). Formicina austriaca. Beschreibung der bisher im oesterreichischen Kaiserstaate aufgefundenen Ameisen nebst Hinzufuegung jener in Deutschland, in der Schweiz und in Italien vorkommenden Ameisen. Verhandlungen des Zoologisch-Botanischen Vereins in Wien 5, 273-478.
|
taxon rank
|
{
"answer_start": [
16
],
"text": [
"genus"
]
}
|
Monomorium is a genus of ants in the subfamily Myrmicinae. As of 2013 it contains about 396 species. It is distributed around the world, with many species native to the Old World tropics. It is considered to be "one of the more important groups of ants," considering its widespread distribution, its diversity, and its variety of morphological and biological characteristics. It also includes several familiar pest species, such as the pharaoh ant (M. pharaonis) and the flower ant (M. floricola).
Description
This genus is very diverse in morphology, with species of many shapes and sizes that "do not necessarily even remotely resemble one another" at first glance.In certain species, the worker caste is monomorphic, whereas in others, it is polymorphic. In some species the workers are minute, in others they are rather large. Large, multifaceted eyes are common, but M. inusuale has much reduced eyes, as do some species from Africa. The sting is always functional.
Taxonomy
By the early 20th century Monomorium was already a large genus, with 10 subgenera. It was further expanded in 2007, when the genera Nothidris, Epelysidris, and Phacota were synonymized with Monomorium. The small genera Anillomyrma, Megalomyrmex, and perhaps Bondroita should possibly also be included in Monomorium.The exact boundaries of the genus are still to be determined: it has no distinct morphological traits that set it apart from other genera in the tribe Solenopsidini. If cladistics were strictly applied, all Solenopsidini would be grouped in the single genus Solenopsis, but the tribe lacks a strong synapomorphy. As with the genera Camponotus and Leptothorax, Monomorium as it currently stands is paraphyletic.Subsequent studies using molecular techniques have suggested ways to break up the genus. A 2015 study resurrected the previously-synonomised genus Syllophopsis (including Ireneidris) from within Monomorium. Epelysidris was also resurrected to contain the species E. brocha. In 2019 the genus Chelaner was resurrected for 53 Australasian and Pacific species, including the common New Zealand species Chelaner antipodum.
Biology
Most ants of this genus nest in rotting wood, under rocks, or in the soil. Some species are scavengers, while others are seed collectors. Many species have venom containing alkaloids, which they use as a defense from predators. Besides its morphological variation, the genus is also variable in chromosome number, with 2n of 16 to 70 recorded.
Distribution
As of 2006, 36 species are described from Madagascar, 19 of which were described in that year alone. About 43 species are known from Australia and 30 from Arabia.
Selected species
References
External links
Monomorium. Japanese Ant Image Database.
Further reading
Mashaly, Ashraf Mohamed Ali (2010). "Monomorium ant's trail pheromones: Glandular source, optimal concentration, longevity and specificity" (PDF). Journal of Asia-Pacific Entomology. 13: 23–26. doi:10.1016/j.aspen.2009.11.001. Archived from the original (PDF) on 2013-11-13.
Mayr, G. (1855). Formicina austriaca. Beschreibung der bisher im oesterreichischen Kaiserstaate aufgefundenen Ameisen nebst Hinzufuegung jener in Deutschland, in der Schweiz und in Italien vorkommenden Ameisen. Verhandlungen des Zoologisch-Botanischen Vereins in Wien 5, 273-478.
|
parent taxon
|
{
"answer_start": [
1448
],
"text": [
"Solenopsidini"
]
}
|
Monomorium is a genus of ants in the subfamily Myrmicinae. As of 2013 it contains about 396 species. It is distributed around the world, with many species native to the Old World tropics. It is considered to be "one of the more important groups of ants," considering its widespread distribution, its diversity, and its variety of morphological and biological characteristics. It also includes several familiar pest species, such as the pharaoh ant (M. pharaonis) and the flower ant (M. floricola).
Description
This genus is very diverse in morphology, with species of many shapes and sizes that "do not necessarily even remotely resemble one another" at first glance.In certain species, the worker caste is monomorphic, whereas in others, it is polymorphic. In some species the workers are minute, in others they are rather large. Large, multifaceted eyes are common, but M. inusuale has much reduced eyes, as do some species from Africa. The sting is always functional.
Taxonomy
By the early 20th century Monomorium was already a large genus, with 10 subgenera. It was further expanded in 2007, when the genera Nothidris, Epelysidris, and Phacota were synonymized with Monomorium. The small genera Anillomyrma, Megalomyrmex, and perhaps Bondroita should possibly also be included in Monomorium.The exact boundaries of the genus are still to be determined: it has no distinct morphological traits that set it apart from other genera in the tribe Solenopsidini. If cladistics were strictly applied, all Solenopsidini would be grouped in the single genus Solenopsis, but the tribe lacks a strong synapomorphy. As with the genera Camponotus and Leptothorax, Monomorium as it currently stands is paraphyletic.Subsequent studies using molecular techniques have suggested ways to break up the genus. A 2015 study resurrected the previously-synonomised genus Syllophopsis (including Ireneidris) from within Monomorium. Epelysidris was also resurrected to contain the species E. brocha. In 2019 the genus Chelaner was resurrected for 53 Australasian and Pacific species, including the common New Zealand species Chelaner antipodum.
Biology
Most ants of this genus nest in rotting wood, under rocks, or in the soil. Some species are scavengers, while others are seed collectors. Many species have venom containing alkaloids, which they use as a defense from predators. Besides its morphological variation, the genus is also variable in chromosome number, with 2n of 16 to 70 recorded.
Distribution
As of 2006, 36 species are described from Madagascar, 19 of which were described in that year alone. About 43 species are known from Australia and 30 from Arabia.
Selected species
References
External links
Monomorium. Japanese Ant Image Database.
Further reading
Mashaly, Ashraf Mohamed Ali (2010). "Monomorium ant's trail pheromones: Glandular source, optimal concentration, longevity and specificity" (PDF). Journal of Asia-Pacific Entomology. 13: 23–26. doi:10.1016/j.aspen.2009.11.001. Archived from the original (PDF) on 2013-11-13.
Mayr, G. (1855). Formicina austriaca. Beschreibung der bisher im oesterreichischen Kaiserstaate aufgefundenen Ameisen nebst Hinzufuegung jener in Deutschland, in der Schweiz und in Italien vorkommenden Ameisen. Verhandlungen des Zoologisch-Botanischen Vereins in Wien 5, 273-478.
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Monomorium"
]
}
|
Monomorium is a genus of ants in the subfamily Myrmicinae. As of 2013 it contains about 396 species. It is distributed around the world, with many species native to the Old World tropics. It is considered to be "one of the more important groups of ants," considering its widespread distribution, its diversity, and its variety of morphological and biological characteristics. It also includes several familiar pest species, such as the pharaoh ant (M. pharaonis) and the flower ant (M. floricola).
Description
This genus is very diverse in morphology, with species of many shapes and sizes that "do not necessarily even remotely resemble one another" at first glance.In certain species, the worker caste is monomorphic, whereas in others, it is polymorphic. In some species the workers are minute, in others they are rather large. Large, multifaceted eyes are common, but M. inusuale has much reduced eyes, as do some species from Africa. The sting is always functional.
Taxonomy
By the early 20th century Monomorium was already a large genus, with 10 subgenera. It was further expanded in 2007, when the genera Nothidris, Epelysidris, and Phacota were synonymized with Monomorium. The small genera Anillomyrma, Megalomyrmex, and perhaps Bondroita should possibly also be included in Monomorium.The exact boundaries of the genus are still to be determined: it has no distinct morphological traits that set it apart from other genera in the tribe Solenopsidini. If cladistics were strictly applied, all Solenopsidini would be grouped in the single genus Solenopsis, but the tribe lacks a strong synapomorphy. As with the genera Camponotus and Leptothorax, Monomorium as it currently stands is paraphyletic.Subsequent studies using molecular techniques have suggested ways to break up the genus. A 2015 study resurrected the previously-synonomised genus Syllophopsis (including Ireneidris) from within Monomorium. Epelysidris was also resurrected to contain the species E. brocha. In 2019 the genus Chelaner was resurrected for 53 Australasian and Pacific species, including the common New Zealand species Chelaner antipodum.
Biology
Most ants of this genus nest in rotting wood, under rocks, or in the soil. Some species are scavengers, while others are seed collectors. Many species have venom containing alkaloids, which they use as a defense from predators. Besides its morphological variation, the genus is also variable in chromosome number, with 2n of 16 to 70 recorded.
Distribution
As of 2006, 36 species are described from Madagascar, 19 of which were described in that year alone. About 43 species are known from Australia and 30 from Arabia.
Selected species
References
External links
Monomorium. Japanese Ant Image Database.
Further reading
Mashaly, Ashraf Mohamed Ali (2010). "Monomorium ant's trail pheromones: Glandular source, optimal concentration, longevity and specificity" (PDF). Journal of Asia-Pacific Entomology. 13: 23–26. doi:10.1016/j.aspen.2009.11.001. Archived from the original (PDF) on 2013-11-13.
Mayr, G. (1855). Formicina austriaca. Beschreibung der bisher im oesterreichischen Kaiserstaate aufgefundenen Ameisen nebst Hinzufuegung jener in Deutschland, in der Schweiz und in Italien vorkommenden Ameisen. Verhandlungen des Zoologisch-Botanischen Vereins in Wien 5, 273-478.
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Monomorium"
]
}
|
Monomorium is a genus of ants in the subfamily Myrmicinae. As of 2013 it contains about 396 species. It is distributed around the world, with many species native to the Old World tropics. It is considered to be "one of the more important groups of ants," considering its widespread distribution, its diversity, and its variety of morphological and biological characteristics. It also includes several familiar pest species, such as the pharaoh ant (M. pharaonis) and the flower ant (M. floricola).
Description
This genus is very diverse in morphology, with species of many shapes and sizes that "do not necessarily even remotely resemble one another" at first glance.In certain species, the worker caste is monomorphic, whereas in others, it is polymorphic. In some species the workers are minute, in others they are rather large. Large, multifaceted eyes are common, but M. inusuale has much reduced eyes, as do some species from Africa. The sting is always functional.
Taxonomy
By the early 20th century Monomorium was already a large genus, with 10 subgenera. It was further expanded in 2007, when the genera Nothidris, Epelysidris, and Phacota were synonymized with Monomorium. The small genera Anillomyrma, Megalomyrmex, and perhaps Bondroita should possibly also be included in Monomorium.The exact boundaries of the genus are still to be determined: it has no distinct morphological traits that set it apart from other genera in the tribe Solenopsidini. If cladistics were strictly applied, all Solenopsidini would be grouped in the single genus Solenopsis, but the tribe lacks a strong synapomorphy. As with the genera Camponotus and Leptothorax, Monomorium as it currently stands is paraphyletic.Subsequent studies using molecular techniques have suggested ways to break up the genus. A 2015 study resurrected the previously-synonomised genus Syllophopsis (including Ireneidris) from within Monomorium. Epelysidris was also resurrected to contain the species E. brocha. In 2019 the genus Chelaner was resurrected for 53 Australasian and Pacific species, including the common New Zealand species Chelaner antipodum.
Biology
Most ants of this genus nest in rotting wood, under rocks, or in the soil. Some species are scavengers, while others are seed collectors. Many species have venom containing alkaloids, which they use as a defense from predators. Besides its morphological variation, the genus is also variable in chromosome number, with 2n of 16 to 70 recorded.
Distribution
As of 2006, 36 species are described from Madagascar, 19 of which were described in that year alone. About 43 species are known from Australia and 30 from Arabia.
Selected species
References
External links
Monomorium. Japanese Ant Image Database.
Further reading
Mashaly, Ashraf Mohamed Ali (2010). "Monomorium ant's trail pheromones: Glandular source, optimal concentration, longevity and specificity" (PDF). Journal of Asia-Pacific Entomology. 13: 23–26. doi:10.1016/j.aspen.2009.11.001. Archived from the original (PDF) on 2013-11-13.
Mayr, G. (1855). Formicina austriaca. Beschreibung der bisher im oesterreichischen Kaiserstaate aufgefundenen Ameisen nebst Hinzufuegung jener in Deutschland, in der Schweiz und in Italien vorkommenden Ameisen. Verhandlungen des Zoologisch-Botanischen Vereins in Wien 5, 273-478.
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Commons gallery
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Monomorium is a genus of ants in the subfamily Myrmicinae. As of 2013 it contains about 396 species. It is distributed around the world, with many species native to the Old World tropics. It is considered to be "one of the more important groups of ants," considering its widespread distribution, its diversity, and its variety of morphological and biological characteristics. It also includes several familiar pest species, such as the pharaoh ant (M. pharaonis) and the flower ant (M. floricola).
Description
This genus is very diverse in morphology, with species of many shapes and sizes that "do not necessarily even remotely resemble one another" at first glance.In certain species, the worker caste is monomorphic, whereas in others, it is polymorphic. In some species the workers are minute, in others they are rather large. Large, multifaceted eyes are common, but M. inusuale has much reduced eyes, as do some species from Africa. The sting is always functional.
Taxonomy
By the early 20th century Monomorium was already a large genus, with 10 subgenera. It was further expanded in 2007, when the genera Nothidris, Epelysidris, and Phacota were synonymized with Monomorium. The small genera Anillomyrma, Megalomyrmex, and perhaps Bondroita should possibly also be included in Monomorium.The exact boundaries of the genus are still to be determined: it has no distinct morphological traits that set it apart from other genera in the tribe Solenopsidini. If cladistics were strictly applied, all Solenopsidini would be grouped in the single genus Solenopsis, but the tribe lacks a strong synapomorphy. As with the genera Camponotus and Leptothorax, Monomorium as it currently stands is paraphyletic.Subsequent studies using molecular techniques have suggested ways to break up the genus. A 2015 study resurrected the previously-synonomised genus Syllophopsis (including Ireneidris) from within Monomorium. Epelysidris was also resurrected to contain the species E. brocha. In 2019 the genus Chelaner was resurrected for 53 Australasian and Pacific species, including the common New Zealand species Chelaner antipodum.
Biology
Most ants of this genus nest in rotting wood, under rocks, or in the soil. Some species are scavengers, while others are seed collectors. Many species have venom containing alkaloids, which they use as a defense from predators. Besides its morphological variation, the genus is also variable in chromosome number, with 2n of 16 to 70 recorded.
Distribution
As of 2006, 36 species are described from Madagascar, 19 of which were described in that year alone. About 43 species are known from Australia and 30 from Arabia.
Selected species
References
External links
Monomorium. Japanese Ant Image Database.
Further reading
Mashaly, Ashraf Mohamed Ali (2010). "Monomorium ant's trail pheromones: Glandular source, optimal concentration, longevity and specificity" (PDF). Journal of Asia-Pacific Entomology. 13: 23–26. doi:10.1016/j.aspen.2009.11.001. Archived from the original (PDF) on 2013-11-13.
Mayr, G. (1855). Formicina austriaca. Beschreibung der bisher im oesterreichischen Kaiserstaate aufgefundenen Ameisen nebst Hinzufuegung jener in Deutschland, in der Schweiz und in Italien vorkommenden Ameisen. Verhandlungen des Zoologisch-Botanischen Vereins in Wien 5, 273-478.
|
Australian Faunal Directory ID
|
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Monomorium is a genus of ants in the subfamily Myrmicinae. As of 2013 it contains about 396 species. It is distributed around the world, with many species native to the Old World tropics. It is considered to be "one of the more important groups of ants," considering its widespread distribution, its diversity, and its variety of morphological and biological characteristics. It also includes several familiar pest species, such as the pharaoh ant (M. pharaonis) and the flower ant (M. floricola).
Description
This genus is very diverse in morphology, with species of many shapes and sizes that "do not necessarily even remotely resemble one another" at first glance.In certain species, the worker caste is monomorphic, whereas in others, it is polymorphic. In some species the workers are minute, in others they are rather large. Large, multifaceted eyes are common, but M. inusuale has much reduced eyes, as do some species from Africa. The sting is always functional.
Taxonomy
By the early 20th century Monomorium was already a large genus, with 10 subgenera. It was further expanded in 2007, when the genera Nothidris, Epelysidris, and Phacota were synonymized with Monomorium. The small genera Anillomyrma, Megalomyrmex, and perhaps Bondroita should possibly also be included in Monomorium.The exact boundaries of the genus are still to be determined: it has no distinct morphological traits that set it apart from other genera in the tribe Solenopsidini. If cladistics were strictly applied, all Solenopsidini would be grouped in the single genus Solenopsis, but the tribe lacks a strong synapomorphy. As with the genera Camponotus and Leptothorax, Monomorium as it currently stands is paraphyletic.Subsequent studies using molecular techniques have suggested ways to break up the genus. A 2015 study resurrected the previously-synonomised genus Syllophopsis (including Ireneidris) from within Monomorium. Epelysidris was also resurrected to contain the species E. brocha. In 2019 the genus Chelaner was resurrected for 53 Australasian and Pacific species, including the common New Zealand species Chelaner antipodum.
Biology
Most ants of this genus nest in rotting wood, under rocks, or in the soil. Some species are scavengers, while others are seed collectors. Many species have venom containing alkaloids, which they use as a defense from predators. Besides its morphological variation, the genus is also variable in chromosome number, with 2n of 16 to 70 recorded.
Distribution
As of 2006, 36 species are described from Madagascar, 19 of which were described in that year alone. About 43 species are known from Australia and 30 from Arabia.
Selected species
References
External links
Monomorium. Japanese Ant Image Database.
Further reading
Mashaly, Ashraf Mohamed Ali (2010). "Monomorium ant's trail pheromones: Glandular source, optimal concentration, longevity and specificity" (PDF). Journal of Asia-Pacific Entomology. 13: 23–26. doi:10.1016/j.aspen.2009.11.001. Archived from the original (PDF) on 2013-11-13.
Mayr, G. (1855). Formicina austriaca. Beschreibung der bisher im oesterreichischen Kaiserstaate aufgefundenen Ameisen nebst Hinzufuegung jener in Deutschland, in der Schweiz und in Italien vorkommenden Ameisen. Verhandlungen des Zoologisch-Botanischen Vereins in Wien 5, 273-478.
|
AntWiki article ID
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The Whately Center Historic District encompasses the historic rural village center of Whately, Massachusetts. Located in the hills west of the Connecticut River and north of Northampton, the district consists of a stretch of Chestnut Plain Road, the main north-south route through the village, and a short stretch of Haydenville Road, which is roughly at the center of the district. There are many fine homes from the Federal period, although they often have embellishments from later periods. Greek Revival architecture is also a major presence, with numerous houses, as well as the town's civic centerpieces, the town hall (c. 1844) and Second Congregational Church (c. 1843), showing that style. There are only a modest number of 20th century structures in the district bounds. The district was listed on the National Register of Historic Places in 2003.The area that is now Whately was Native American land until its purchase by English colonists from Hatfield in the late 17th century. Some farming took place then, but settlement was delayed by King Philip's War (1675–78). A land division in 1684 included provision for what is now Chestnut Plain Road, but settlement remained slow, with many early homes surrounded by wooden palisades. The archaeological remains of one such palisaded homestead remain in Whately Center. The town was separately incorporated in 1771, the date the center cemetery and its surviving animal pound were established. Only one house, the c. 1760 Morton House at 207 Chestnut Plain Road, predates the town's incorporation.
See also
National Register of Historic Places listings in Franklin County, Massachusetts
West Whately Historic District
== References ==
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located in the administrative territorial entity
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Maztica Campaign Set is an accessory for the 2nd edition of the Advanced Dungeons & Dragons fantasy role-playing game. The campaign set was co-authored by Douglas Niles and Tim Beach and published by TSR, Inc. in 1991.
Contents
The campaign set is based on the Maztica books Ironhelm, Viperhand, and Feathered Dragon. The campaign set comprises three main volumes. The first is a 96-page book called Journey to the True World with Maztican history and setting reference information. The second volume, Maztica Alive!, has additional information such as "terrain and climate, regions of Maztica, passage from the Sword Coast to Maztica, the afterlife, a short adventure, and four new monsters". The final 32-page book, Gods and Battles, includes rules and information on the Maztican gods as well as maps.The Maztica setting is part of the Forgotten Realms, the "default" setting of Dungeons & Dragons. It is based "loosely" upon the ancient Aztec and Mayan civilizations, with "Maztica" being another name for the Aztecs. It includes two new kinds of magic that are independent from arcane and Faerunian holy magic, Pluma, which was created by the god Qotal the god of creation and freedom, and Hishna, created by Zaltec, the god of jaguars and war.
A Journey to the True World gives character generation rules for Maztican player characters. Races include desert dwarves, halflings, and humans. There are two warrior kits, the Eagle Knight and the Jaguar Knight, which receive special armor, and access to low-level Pluma and Hishna spells, respectively. Priests who receive access to Pluma or Hishna can use them, but only artisans, one of two new rogue classes, Plumaweavers and Hishnashapers, may learn the highest level of each. Also included are a description of Maztican currency, armor, weapons, and spells.
Publication history
Douglas Niles and Tim Beach co-authored the campaign set. While the Forgotten Realms Campaign Set (1987) had mentioned other continents existed in Abeir-Toril, there were no additional details. Douglas Niles had "been working to get a Mesoamerican Realms supplement on the TSR schedule for a while. It was entirely in line with his previous development work for the Realms, when he'd created the Celtic-themed Moonshae Islands as one of the first additions the Realms. It took him two years, but he finally got the OK. First up he wrote a new trilogy of novels detailing the discovery of the new world: Ironhelm (1990), Viperhand (1990), and Feathered Dragon (1991). The Maztica Campaign Set then followed three months after the conclusion of the Maztica Trilogy".The setting describes the new continent Maztica — the name "is a portmanteau of two Mesoamerican peoples: the Maya and the Aztec". On the development of the book, Niles said it is "thoroughly researched and historically accurate". Niles' research included tours of "numerous archaeological sites such as the Pyramids of the Sun and the Moon, Tchitchin Itza, and Uxmal" and "multiple trips to Mexico's National Museum of Archaeology". It was important to Niles to include crusaders from Faerûn as a fictional version of conquistadors – Niles said "I'd always thought the conquistadors were the closest-thing to a real-life D&D story. I just wanted to give the story a better ending".
In 2016, a PDF edition of the Maztica Campaign Set was released on the DMsGuild. In July 2020, Wizards of the Coast added a sensitivity disclaimer to legacy products for sale digitally. The disclaimer states:We (Wizards) recognize that some of the legacy content available on this website does not reflect the values of the Dungeons & Dragons franchise today. Some older content may reflect ethnic, racial, and gender prejudice that were commonplace in American society at that time. These depictions were wrong then and are wrong today. This content is presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed. Dungeons & Dragons teaches that diversity is a strength, and we strive to make our D&D products as welcoming and inclusive as possible. This part of our work will never end.The disclaimer "appears twice on descriptions of D&D books that include content that resembles real-world cultures and races" such as the Maztica Campaign Set and Al-Qadim: Arabian Adventure books.
Reception
Keith H. Eisenbeis reviewed the Maztica Campaign Set in the February 1992 issue of White Wolf Magazine, giving the set an overall rating of 3 of 5. He remarked on TSR's trend of building campaigns based on its novels, noting that the set "succeeds admirably" in allowing those who have read them to continue to explore the setting. Eisenbeis also commented favorably on the description of the religious aspects of the setting (e.g., gods, priests, and afterlife). He noted as a potential problem the relatively little magic in the Maztica setting: a "group of low to mid level adventurers" imported from outside the continent could "wreak havoc". Eisenbeis concluded that the set "score[d] high for the role-player, moderately well for the problem solver and action seeker, and poorly for the power seekers".In a retrospective review of Maztica Campaign Set in Black Gate, Scott Taylor said "Niles was challenged in this project to create a Mesoamerican world that mingles with the fantasy setting of the Forgotten Realms. In my opinion, after several so-so attempts at reading this set, he fails to deliver on what would make such a setting uniquely cool, ala demi-humans! The work tends to bog down in a kind of repetition of real-world conquistadors waging a campaign against indigenous peoples of the far south continents where the only change in the story line is that the priests actually had working magic."
== References ==
|
publisher
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C (Cyril) Rollins "Rollo" Hanlon, MD, FACS (February 8, 1915 – May 3, 2011) was an American pioneering cardiac surgeon. Hanlon was born in Baltimore, Maryland. He attended Loyola High School and Loyola College Baltimore, now Loyola University Maryland. He received his MD from Johns Hopkins where he interned. He did his residency in Cincinnati. In 1950, he became Chairman of Surgery at St. Louis University.
In 1956, while at St. Louis University Hanlon led a 12-person team in performing the first open heart surgery in the state of Missouri or the lower Midwest region of the United States.
He served in the U.S. Navy in the China-Burma-India Theater and aboard the hospital ship Repose. He died after a long battle with lymphoma.
== References ==
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occupation
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Oscar Bonini (born 13 July 1959) is an Argentine rower. He competed in the men's quadruple sculls event at the 1984 Summer Olympics.
== References ==
|
occupation
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Oscar Bonini (born 13 July 1959) is an Argentine rower. He competed in the men's quadruple sculls event at the 1984 Summer Olympics.
== References ==
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family name
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Oscar Bonini (born 13 July 1959) is an Argentine rower. He competed in the men's quadruple sculls event at the 1984 Summer Olympics.
== References ==
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given name
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Matej Kazár (born 10 May 1983) is a Slovak biathlete. He competed in the 2006, the 2014 Winter Olympics, and the 2018 Winter Olympics for Slovakia where he finished 37th in the 2014 sprint.
References
External links
Matej Kazár at IBU BiathlonWorld.com Matej Kazár at IBU BiathlonResults.com
Matej Kazár at Olympedia
Matej Kazár at Olympics.com
Matej Kazár at Olympic.sk (in Slovak)
|
country of citizenship
|
{
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Matej Kazár (born 10 May 1983) is a Slovak biathlete. He competed in the 2006, the 2014 Winter Olympics, and the 2018 Winter Olympics for Slovakia where he finished 37th in the 2014 sprint.
References
External links
Matej Kazár at IBU BiathlonWorld.com Matej Kazár at IBU BiathlonResults.com
Matej Kazár at Olympedia
Matej Kazár at Olympics.com
Matej Kazár at Olympic.sk (in Slovak)
|
occupation
|
{
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Matej Kazár (born 10 May 1983) is a Slovak biathlete. He competed in the 2006, the 2014 Winter Olympics, and the 2018 Winter Olympics for Slovakia where he finished 37th in the 2014 sprint.
References
External links
Matej Kazár at IBU BiathlonWorld.com Matej Kazár at IBU BiathlonResults.com
Matej Kazár at Olympedia
Matej Kazár at Olympics.com
Matej Kazár at Olympic.sk (in Slovak)
|
Commons category
|
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Matej Kazár (born 10 May 1983) is a Slovak biathlete. He competed in the 2006, the 2014 Winter Olympics, and the 2018 Winter Olympics for Slovakia where he finished 37th in the 2014 sprint.
References
External links
Matej Kazár at IBU BiathlonWorld.com Matej Kazár at IBU BiathlonResults.com
Matej Kazár at Olympedia
Matej Kazár at Olympics.com
Matej Kazár at Olympic.sk (in Slovak)
|
given name
|
{
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0
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Matej Kazár (born 10 May 1983) is a Slovak biathlete. He competed in the 2006, the 2014 Winter Olympics, and the 2018 Winter Olympics for Slovakia where he finished 37th in the 2014 sprint.
References
External links
Matej Kazár at IBU BiathlonWorld.com Matej Kazár at IBU BiathlonResults.com
Matej Kazár at Olympedia
Matej Kazár at Olympics.com
Matej Kazár at Olympic.sk (in Slovak)
|
participant in
|
{
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Matej Kazár (born 10 May 1983) is a Slovak biathlete. He competed in the 2006, the 2014 Winter Olympics, and the 2018 Winter Olympics for Slovakia where he finished 37th in the 2014 sprint.
References
External links
Matej Kazár at IBU BiathlonWorld.com Matej Kazár at IBU BiathlonResults.com
Matej Kazár at Olympedia
Matej Kazár at Olympics.com
Matej Kazár at Olympic.sk (in Slovak)
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languages spoken, written or signed
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In plant biology, Vavilovian mimicry (also crop mimicry or weed mimicry) is a form of mimicry in plants where a weed evolves to share one or more characteristics with a domesticated plant through generations of artificial selection. It is named after Nikolai Vavilov, a prominent Russian plant geneticist. Selection against the weed may occur by killing a young or adult weed, separating its seeds from those of the crop (winnowing), or both. This has been done manually since Neolithic times, and in more recent years by agricultural machinery.
Vavilovian mimicry is a good illustration of unintentional selection by humans. Although the human selective agents might be conscious of their impact on the local weed gene pool, such effects go against the goals of those growing crops. Weeders do not want to select for weeds that are increasingly similar to the cultivated plant, yet the only other option is to let the weeds grow and compete with crops for sunlight and nutrients. Similar situations include antibiotic resistance and, also in agricultural crops, herbicide resistance. Having acquired many desirable qualities by being subjected to similar selective pressures, Vavilovian mimics may eventually be domesticated themselves. Vavilov called these weeds-become-crops secondary crops.
Classification and comparisons
Vavilovian mimicry can be classified as reproductive, aggressive (parasitic) and, in the case of secondary crops, mutualistic. It is a form of disjunct mimicry with the model agreeable to the dupe. In disjunct mimicry complexes, three different species are involved as model, mimic and dupe—the weed, mimicking a protected crop model, with humans as signal receivers. Vavilovian mimicry bears considerable similarity to Batesian mimicry (where a harmless organism mimics a harmful species) in that the weed does not share the properties that give the model its protection, and both the model and the dupe (in this case humans) are negatively affected by it. There are some key differences, though; in Batesian mimicry the model and signal receiver are enemies (the predator would eat the protected species if it could), whereas here the crop and its human growers are in a mutualistic relationship: the crop benefits from being dispersed and protected by people, despite being eaten by them. In fact, the crop's only 'protection' relevant here is its usefulness to humans. Secondly, the weed is not eaten, but simply killed (either directly or by not planting the seed). The only motivation for killing the weed is its effect on crop yields. Farmers would prefer to have no weeds at all, but a predator would die if it had no prey to eat, even if they might be difficult to identify. Finally, there is no known equivalent of Vavilovian mimicry in ecosystems unaltered by humans.
Delbert Wiens has argued that secondary crops cannot be classified as mimics, because they result from artificial as opposed to natural selection, and because the selective agent is a machine. On this first point, Georges Pasteur points out that "indirect artificial selection" is involuntary and thus no different from natural selection. That the signal receiver is an inanimate object certainly deviates from the normal case of a dupe perceiving the signal, but the result is no different from that of manual selection that has been occurring since the Neolithic Revolution.
Examples
One case of Vavilovian mimicry is the gold-of-pleasure or false flax (Camelina sativa linicola), which looks much like the flax plant Linum usitatissimum, and occurs with it in the field. The gold-of-pleasure is a descendant of Camelina gabrata, a wild species; its subspecific name linicola means "the one that lives with flax". Weeding of the adult plant is impractical; instead they are separated based on properties of the seed. This is done by a winnowing machine, which in this case acts as an inanimate signal receiver. Seeds that are thrown the same distance as flax seeds have thus been selected for, making it near impossible to separate the seeds of these two species.
Another example is rye (Secale cereale), a grass which is derived from wild rye (Secale montanum), a widely distributed Mediterranean species. Rye was originally just a weed growing with wheat and barley, but came under similar selective pressures to the crops. Like wheat, it came to have larger seeds and more rigid spindles to which the seeds are attached. However, wheat is an annual plant, while wild rye is a perennial. At the end of each growing season wheat produces seeds, while wild rye does not and is thus destroyed as the post-harvest soil is tilled. However, there are occasional mutants that do set seed. These have been protected from destruction, and rye has thus evolved to become an annual plant.Rye is a hardier plant than wheat, surviving in harsher conditions. Having become preadapted as a crop through wheat mimicry, rye was then positioned to become a cultivated plant in areas where soil and climatic conditions favored its production, such as mountainous terrain.This fate is shared by oats (Avena sativa and Avena byzantina), which also tolerate poorer conditions, and like rye, grow as a weed alongside wheat and barley. Derived from a wild species (Avena sterilis), it has thus come to be a crop in its own right. Once again paralleling wheat, rye and other cereals, oats have developed tough spindles which prevent seeds from easily dropping off, and other characteristics which also help in natural dispersal have become vestigial, including the awns which allow them to self bury.The flax-dodder (Cuscuta epilinum) is a creeper that grows around flax and linseed plants. Much like the other cases, its seeds have become larger. A mutant double-seeded variety has become prevalent, as seed size has once again been the character upon which selection has acted.Selection can also occur on the vegetative stage, through hand weeding. Weeding often takes place when the crop plant is very young, and most vulnerable. Echinochloa oryzoides, a species of grass which is found as a weed in rice (Oryza sativa) fields, looks similar to rice and its seeds are often mixed in rice and difficult to separate. This close similarity was enhanced by the weeding process which is a selective force that increases the similarity of the weed in each subsequent generation.
See also
Threshing
Notes
References
Sources
Barrett, S. (1983). "Crop Mimicry in Weeds". Economic Botany. 37 (3): 255–282. doi:10.1007/BF02858881. S2CID 33048581. One of the most extensive articles on the topic.
Wiens, D. (1978). "Mimicry in Plants". Evolutionary Biology. 11: 365–403. Discussion of crop mimicry among many other plant cases.
Barrett, S. (1983). "Mimicry in Plants". Scientific American. No. 257. pp. 76–83. A significant portion discusses weeds.
Radosevich, S. R.; Holt, J. S.; Ghersa, C. (1997). Weed Ecology: Implications for Management (2nd ed.). Wiley. ISBN 0-471-11606-8.
Further reading
Vavilov, N. I. (1951). Translated by K. S. Chester. "The origin, variation, immunity and breeding of cultivated plants". Chronica Botanica. 13 (6): 1–366. Bibcode:1951SoilS..72..482V. doi:10.1097/00010694-195112000-00018.
Vavilov, Nickolay Ivanovich; Löve, Doris, trans. (1992). Origin and Geography of Cultivated Plants. Cambridge, England, UK: Cambridge University Press.
|
named after
|
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|
In plant biology, Vavilovian mimicry (also crop mimicry or weed mimicry) is a form of mimicry in plants where a weed evolves to share one or more characteristics with a domesticated plant through generations of artificial selection. It is named after Nikolai Vavilov, a prominent Russian plant geneticist. Selection against the weed may occur by killing a young or adult weed, separating its seeds from those of the crop (winnowing), or both. This has been done manually since Neolithic times, and in more recent years by agricultural machinery.
Vavilovian mimicry is a good illustration of unintentional selection by humans. Although the human selective agents might be conscious of their impact on the local weed gene pool, such effects go against the goals of those growing crops. Weeders do not want to select for weeds that are increasingly similar to the cultivated plant, yet the only other option is to let the weeds grow and compete with crops for sunlight and nutrients. Similar situations include antibiotic resistance and, also in agricultural crops, herbicide resistance. Having acquired many desirable qualities by being subjected to similar selective pressures, Vavilovian mimics may eventually be domesticated themselves. Vavilov called these weeds-become-crops secondary crops.
Classification and comparisons
Vavilovian mimicry can be classified as reproductive, aggressive (parasitic) and, in the case of secondary crops, mutualistic. It is a form of disjunct mimicry with the model agreeable to the dupe. In disjunct mimicry complexes, three different species are involved as model, mimic and dupe—the weed, mimicking a protected crop model, with humans as signal receivers. Vavilovian mimicry bears considerable similarity to Batesian mimicry (where a harmless organism mimics a harmful species) in that the weed does not share the properties that give the model its protection, and both the model and the dupe (in this case humans) are negatively affected by it. There are some key differences, though; in Batesian mimicry the model and signal receiver are enemies (the predator would eat the protected species if it could), whereas here the crop and its human growers are in a mutualistic relationship: the crop benefits from being dispersed and protected by people, despite being eaten by them. In fact, the crop's only 'protection' relevant here is its usefulness to humans. Secondly, the weed is not eaten, but simply killed (either directly or by not planting the seed). The only motivation for killing the weed is its effect on crop yields. Farmers would prefer to have no weeds at all, but a predator would die if it had no prey to eat, even if they might be difficult to identify. Finally, there is no known equivalent of Vavilovian mimicry in ecosystems unaltered by humans.
Delbert Wiens has argued that secondary crops cannot be classified as mimics, because they result from artificial as opposed to natural selection, and because the selective agent is a machine. On this first point, Georges Pasteur points out that "indirect artificial selection" is involuntary and thus no different from natural selection. That the signal receiver is an inanimate object certainly deviates from the normal case of a dupe perceiving the signal, but the result is no different from that of manual selection that has been occurring since the Neolithic Revolution.
Examples
One case of Vavilovian mimicry is the gold-of-pleasure or false flax (Camelina sativa linicola), which looks much like the flax plant Linum usitatissimum, and occurs with it in the field. The gold-of-pleasure is a descendant of Camelina gabrata, a wild species; its subspecific name linicola means "the one that lives with flax". Weeding of the adult plant is impractical; instead they are separated based on properties of the seed. This is done by a winnowing machine, which in this case acts as an inanimate signal receiver. Seeds that are thrown the same distance as flax seeds have thus been selected for, making it near impossible to separate the seeds of these two species.
Another example is rye (Secale cereale), a grass which is derived from wild rye (Secale montanum), a widely distributed Mediterranean species. Rye was originally just a weed growing with wheat and barley, but came under similar selective pressures to the crops. Like wheat, it came to have larger seeds and more rigid spindles to which the seeds are attached. However, wheat is an annual plant, while wild rye is a perennial. At the end of each growing season wheat produces seeds, while wild rye does not and is thus destroyed as the post-harvest soil is tilled. However, there are occasional mutants that do set seed. These have been protected from destruction, and rye has thus evolved to become an annual plant.Rye is a hardier plant than wheat, surviving in harsher conditions. Having become preadapted as a crop through wheat mimicry, rye was then positioned to become a cultivated plant in areas where soil and climatic conditions favored its production, such as mountainous terrain.This fate is shared by oats (Avena sativa and Avena byzantina), which also tolerate poorer conditions, and like rye, grow as a weed alongside wheat and barley. Derived from a wild species (Avena sterilis), it has thus come to be a crop in its own right. Once again paralleling wheat, rye and other cereals, oats have developed tough spindles which prevent seeds from easily dropping off, and other characteristics which also help in natural dispersal have become vestigial, including the awns which allow them to self bury.The flax-dodder (Cuscuta epilinum) is a creeper that grows around flax and linseed plants. Much like the other cases, its seeds have become larger. A mutant double-seeded variety has become prevalent, as seed size has once again been the character upon which selection has acted.Selection can also occur on the vegetative stage, through hand weeding. Weeding often takes place when the crop plant is very young, and most vulnerable. Echinochloa oryzoides, a species of grass which is found as a weed in rice (Oryza sativa) fields, looks similar to rice and its seeds are often mixed in rice and difficult to separate. This close similarity was enhanced by the weeding process which is a selective force that increases the similarity of the weed in each subsequent generation.
See also
Threshing
Notes
References
Sources
Barrett, S. (1983). "Crop Mimicry in Weeds". Economic Botany. 37 (3): 255–282. doi:10.1007/BF02858881. S2CID 33048581. One of the most extensive articles on the topic.
Wiens, D. (1978). "Mimicry in Plants". Evolutionary Biology. 11: 365–403. Discussion of crop mimicry among many other plant cases.
Barrett, S. (1983). "Mimicry in Plants". Scientific American. No. 257. pp. 76–83. A significant portion discusses weeds.
Radosevich, S. R.; Holt, J. S.; Ghersa, C. (1997). Weed Ecology: Implications for Management (2nd ed.). Wiley. ISBN 0-471-11606-8.
Further reading
Vavilov, N. I. (1951). Translated by K. S. Chester. "The origin, variation, immunity and breeding of cultivated plants". Chronica Botanica. 13 (6): 1–366. Bibcode:1951SoilS..72..482V. doi:10.1097/00010694-195112000-00018.
Vavilov, Nickolay Ivanovich; Löve, Doris, trans. (1992). Origin and Geography of Cultivated Plants. Cambridge, England, UK: Cambridge University Press.
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In plant biology, Vavilovian mimicry (also crop mimicry or weed mimicry) is a form of mimicry in plants where a weed evolves to share one or more characteristics with a domesticated plant through generations of artificial selection. It is named after Nikolai Vavilov, a prominent Russian plant geneticist. Selection against the weed may occur by killing a young or adult weed, separating its seeds from those of the crop (winnowing), or both. This has been done manually since Neolithic times, and in more recent years by agricultural machinery.
Vavilovian mimicry is a good illustration of unintentional selection by humans. Although the human selective agents might be conscious of their impact on the local weed gene pool, such effects go against the goals of those growing crops. Weeders do not want to select for weeds that are increasingly similar to the cultivated plant, yet the only other option is to let the weeds grow and compete with crops for sunlight and nutrients. Similar situations include antibiotic resistance and, also in agricultural crops, herbicide resistance. Having acquired many desirable qualities by being subjected to similar selective pressures, Vavilovian mimics may eventually be domesticated themselves. Vavilov called these weeds-become-crops secondary crops.
Classification and comparisons
Vavilovian mimicry can be classified as reproductive, aggressive (parasitic) and, in the case of secondary crops, mutualistic. It is a form of disjunct mimicry with the model agreeable to the dupe. In disjunct mimicry complexes, three different species are involved as model, mimic and dupe—the weed, mimicking a protected crop model, with humans as signal receivers. Vavilovian mimicry bears considerable similarity to Batesian mimicry (where a harmless organism mimics a harmful species) in that the weed does not share the properties that give the model its protection, and both the model and the dupe (in this case humans) are negatively affected by it. There are some key differences, though; in Batesian mimicry the model and signal receiver are enemies (the predator would eat the protected species if it could), whereas here the crop and its human growers are in a mutualistic relationship: the crop benefits from being dispersed and protected by people, despite being eaten by them. In fact, the crop's only 'protection' relevant here is its usefulness to humans. Secondly, the weed is not eaten, but simply killed (either directly or by not planting the seed). The only motivation for killing the weed is its effect on crop yields. Farmers would prefer to have no weeds at all, but a predator would die if it had no prey to eat, even if they might be difficult to identify. Finally, there is no known equivalent of Vavilovian mimicry in ecosystems unaltered by humans.
Delbert Wiens has argued that secondary crops cannot be classified as mimics, because they result from artificial as opposed to natural selection, and because the selective agent is a machine. On this first point, Georges Pasteur points out that "indirect artificial selection" is involuntary and thus no different from natural selection. That the signal receiver is an inanimate object certainly deviates from the normal case of a dupe perceiving the signal, but the result is no different from that of manual selection that has been occurring since the Neolithic Revolution.
Examples
One case of Vavilovian mimicry is the gold-of-pleasure or false flax (Camelina sativa linicola), which looks much like the flax plant Linum usitatissimum, and occurs with it in the field. The gold-of-pleasure is a descendant of Camelina gabrata, a wild species; its subspecific name linicola means "the one that lives with flax". Weeding of the adult plant is impractical; instead they are separated based on properties of the seed. This is done by a winnowing machine, which in this case acts as an inanimate signal receiver. Seeds that are thrown the same distance as flax seeds have thus been selected for, making it near impossible to separate the seeds of these two species.
Another example is rye (Secale cereale), a grass which is derived from wild rye (Secale montanum), a widely distributed Mediterranean species. Rye was originally just a weed growing with wheat and barley, but came under similar selective pressures to the crops. Like wheat, it came to have larger seeds and more rigid spindles to which the seeds are attached. However, wheat is an annual plant, while wild rye is a perennial. At the end of each growing season wheat produces seeds, while wild rye does not and is thus destroyed as the post-harvest soil is tilled. However, there are occasional mutants that do set seed. These have been protected from destruction, and rye has thus evolved to become an annual plant.Rye is a hardier plant than wheat, surviving in harsher conditions. Having become preadapted as a crop through wheat mimicry, rye was then positioned to become a cultivated plant in areas where soil and climatic conditions favored its production, such as mountainous terrain.This fate is shared by oats (Avena sativa and Avena byzantina), which also tolerate poorer conditions, and like rye, grow as a weed alongside wheat and barley. Derived from a wild species (Avena sterilis), it has thus come to be a crop in its own right. Once again paralleling wheat, rye and other cereals, oats have developed tough spindles which prevent seeds from easily dropping off, and other characteristics which also help in natural dispersal have become vestigial, including the awns which allow them to self bury.The flax-dodder (Cuscuta epilinum) is a creeper that grows around flax and linseed plants. Much like the other cases, its seeds have become larger. A mutant double-seeded variety has become prevalent, as seed size has once again been the character upon which selection has acted.Selection can also occur on the vegetative stage, through hand weeding. Weeding often takes place when the crop plant is very young, and most vulnerable. Echinochloa oryzoides, a species of grass which is found as a weed in rice (Oryza sativa) fields, looks similar to rice and its seeds are often mixed in rice and difficult to separate. This close similarity was enhanced by the weeding process which is a selective force that increases the similarity of the weed in each subsequent generation.
See also
Threshing
Notes
References
Sources
Barrett, S. (1983). "Crop Mimicry in Weeds". Economic Botany. 37 (3): 255–282. doi:10.1007/BF02858881. S2CID 33048581. One of the most extensive articles on the topic.
Wiens, D. (1978). "Mimicry in Plants". Evolutionary Biology. 11: 365–403. Discussion of crop mimicry among many other plant cases.
Barrett, S. (1983). "Mimicry in Plants". Scientific American. No. 257. pp. 76–83. A significant portion discusses weeds.
Radosevich, S. R.; Holt, J. S.; Ghersa, C. (1997). Weed Ecology: Implications for Management (2nd ed.). Wiley. ISBN 0-471-11606-8.
Further reading
Vavilov, N. I. (1951). Translated by K. S. Chester. "The origin, variation, immunity and breeding of cultivated plants". Chronica Botanica. 13 (6): 1–366. Bibcode:1951SoilS..72..482V. doi:10.1097/00010694-195112000-00018.
Vavilov, Nickolay Ivanovich; Löve, Doris, trans. (1992). Origin and Geography of Cultivated Plants. Cambridge, England, UK: Cambridge University Press.
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"King Arthur and King Cornwall" is an English ballad surviving in fragmentary form in the 17th-century Percy Folio manuscript. An Arthurian story, it was collected by Francis James Child as Child Ballad 30. Unlike other Child Ballads, but like the Arthurian "The Boy and the Mantle" and "The Marriage of Sir Gawain", it is not a folk ballad but a professional minstrel's song. It is notable for containing the Green Knight, a character known from the medieval poems The Greene Knight and the more famous Sir Gawain and the Green Knight; he appears as "Bredbeddle", the character's name in The Greene Knight.
Synopsis
"King Arthur and King Cornwall" occurs in a damaged section of the Percy Folio; about half of each page was ripped out to start fires. As such, the ballad is missing about half of its content, though some of the missing material can be deduced from context. Apparently after bragging about the excellence of his famed Round Table, King Arthur is told by Guinevere that another king has an even better one. Arthur and his company leave their kingdom (here Brittany rather than Great Britain) in disguise searching for this king, and eventually come to Cornwall, where the resident monarch offends them with a series of boasts about his magical items, the child he fathered on Guinevere, and Arthur's comparative mediocrity. All go off to bed, and the Knights of the Round Table make a series of vows against Cornwall's boasts, such as Gawain's declaration that he will make off with Cornwall's daughter.
Arthur's men discover Cornwall has sent a seven-headed monster, a sprite named Burlow Beanie, to spy on them. Sir Bredbeddle, the Green Knight, wages a long battle against him with a sword from Cologne, a Milanese knife, a Danish axe, and finally a sacred page from the Christian Bible gives him the upper hand. As a test of his control over the creature, he orders him to fetch a horse. Though Burlow Beanie obeys, he rebels when another knight, Marramile, tries to control him, and the Green Knight is called in to help. A missing section likely described Arthur's men taking possession of Cornwall's other magical objects and learning the secret of their use from the sprite. The remaining text describes Arthur beheading King Cornwall with his own sword; the final missing half page likely described his triumph.
Analysis
The story resembles Geoffrey Chaucer's "The Squire's Tale" from the Canterbury Tales, the English romance Sir Launfal and especially the Carolingian romance Pèlerinage de Charlemagne, in which Charlemagne and his paladins visit the Byzantine Emperor, superior to Charlemagne in looks according to Charlemagne's wife. They make a series of boasts about their abilities, and are called out on them by the emperor's spy, but are eventually able to fulfill them with help from God. Making chivalric vows is a central theme in the medieval English tale The Avowing of Arthur, while the importance of keeping one's pledges is important to tales like Sir Gawain and the Green Knight and The Wedding of Sir Gawain and Dame Ragnelle.
"King Arthur and King Cornwall" may be a version of a lost medieval story, but it is also possible that it is a product of the 17th century, taking hints from older chivalric romance. The character of Bredbeddle makes the author's knowledge of The Greene Knight obvious; whether made in the 16th century or before, the ballad relies on the audience's knowledge of the Gawain romances popular since the 12th century. Gawain's promise to have his way with Cornwall's daughter is in accordance with his womanizing portrayal in certain Old French works.
The magician-king of Cornwall does not appear in other Arthurian romance. In other stories, Cornwall is ruled by either Arthur's cousin Cador, or by King Mark, the uncle of Tristan and husband of Iseult. Equally unique is Cornwall's daughter, whom he had fathered on Guinevere behind Arthur's back. Several Arthurian staple characters do make appearances, such as Guinevere, Gawain, and Tristan.
See also
List of the Child Ballads
Notes
References
Child, Francis James (1965). The English and Scottish Popular Ballads. Dover Publications, New York 1965
(Modern English translation) Bodenhemier, Lou (12 July 2020). "The Ballad of King Arthur and the King of Cornwall" (PDF). Medieval Literature in Translation. Retrieved 2 August 2020.{{cite web}}: CS1 maint: date and year (link)
Hahn, Thomas, ed. (1995). "King Arthur and King Cornwall". Sir Gawain: Eleven Romances and Tales. TEAMS Middle English Text Series. Kalamazoo: Medieval Institute Publications. pp. 419–432. ISBN 1-879288-59-1.
Noble, James (1991). "King Arthur and King Cornwall". In Norris J. Lacy (Ed.), The New Arthurian Encyclopedia, p. 262. New York: Garland. ISBN 0-8240-4377-4.
== External links ==
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"King Arthur and King Cornwall" is an English ballad surviving in fragmentary form in the 17th-century Percy Folio manuscript. An Arthurian story, it was collected by Francis James Child as Child Ballad 30. Unlike other Child Ballads, but like the Arthurian "The Boy and the Mantle" and "The Marriage of Sir Gawain", it is not a folk ballad but a professional minstrel's song. It is notable for containing the Green Knight, a character known from the medieval poems The Greene Knight and the more famous Sir Gawain and the Green Knight; he appears as "Bredbeddle", the character's name in The Greene Knight.
Synopsis
"King Arthur and King Cornwall" occurs in a damaged section of the Percy Folio; about half of each page was ripped out to start fires. As such, the ballad is missing about half of its content, though some of the missing material can be deduced from context. Apparently after bragging about the excellence of his famed Round Table, King Arthur is told by Guinevere that another king has an even better one. Arthur and his company leave their kingdom (here Brittany rather than Great Britain) in disguise searching for this king, and eventually come to Cornwall, where the resident monarch offends them with a series of boasts about his magical items, the child he fathered on Guinevere, and Arthur's comparative mediocrity. All go off to bed, and the Knights of the Round Table make a series of vows against Cornwall's boasts, such as Gawain's declaration that he will make off with Cornwall's daughter.
Arthur's men discover Cornwall has sent a seven-headed monster, a sprite named Burlow Beanie, to spy on them. Sir Bredbeddle, the Green Knight, wages a long battle against him with a sword from Cologne, a Milanese knife, a Danish axe, and finally a sacred page from the Christian Bible gives him the upper hand. As a test of his control over the creature, he orders him to fetch a horse. Though Burlow Beanie obeys, he rebels when another knight, Marramile, tries to control him, and the Green Knight is called in to help. A missing section likely described Arthur's men taking possession of Cornwall's other magical objects and learning the secret of their use from the sprite. The remaining text describes Arthur beheading King Cornwall with his own sword; the final missing half page likely described his triumph.
Analysis
The story resembles Geoffrey Chaucer's "The Squire's Tale" from the Canterbury Tales, the English romance Sir Launfal and especially the Carolingian romance Pèlerinage de Charlemagne, in which Charlemagne and his paladins visit the Byzantine Emperor, superior to Charlemagne in looks according to Charlemagne's wife. They make a series of boasts about their abilities, and are called out on them by the emperor's spy, but are eventually able to fulfill them with help from God. Making chivalric vows is a central theme in the medieval English tale The Avowing of Arthur, while the importance of keeping one's pledges is important to tales like Sir Gawain and the Green Knight and The Wedding of Sir Gawain and Dame Ragnelle.
"King Arthur and King Cornwall" may be a version of a lost medieval story, but it is also possible that it is a product of the 17th century, taking hints from older chivalric romance. The character of Bredbeddle makes the author's knowledge of The Greene Knight obvious; whether made in the 16th century or before, the ballad relies on the audience's knowledge of the Gawain romances popular since the 12th century. Gawain's promise to have his way with Cornwall's daughter is in accordance with his womanizing portrayal in certain Old French works.
The magician-king of Cornwall does not appear in other Arthurian romance. In other stories, Cornwall is ruled by either Arthur's cousin Cador, or by King Mark, the uncle of Tristan and husband of Iseult. Equally unique is Cornwall's daughter, whom he had fathered on Guinevere behind Arthur's back. Several Arthurian staple characters do make appearances, such as Guinevere, Gawain, and Tristan.
See also
List of the Child Ballads
Notes
References
Child, Francis James (1965). The English and Scottish Popular Ballads. Dover Publications, New York 1965
(Modern English translation) Bodenhemier, Lou (12 July 2020). "The Ballad of King Arthur and the King of Cornwall" (PDF). Medieval Literature in Translation. Retrieved 2 August 2020.{{cite web}}: CS1 maint: date and year (link)
Hahn, Thomas, ed. (1995). "King Arthur and King Cornwall". Sir Gawain: Eleven Romances and Tales. TEAMS Middle English Text Series. Kalamazoo: Medieval Institute Publications. pp. 419–432. ISBN 1-879288-59-1.
Noble, James (1991). "King Arthur and King Cornwall". In Norris J. Lacy (Ed.), The New Arthurian Encyclopedia, p. 262. New York: Garland. ISBN 0-8240-4377-4.
== External links ==
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"King Arthur and King Cornwall" is an English ballad surviving in fragmentary form in the 17th-century Percy Folio manuscript. An Arthurian story, it was collected by Francis James Child as Child Ballad 30. Unlike other Child Ballads, but like the Arthurian "The Boy and the Mantle" and "The Marriage of Sir Gawain", it is not a folk ballad but a professional minstrel's song. It is notable for containing the Green Knight, a character known from the medieval poems The Greene Knight and the more famous Sir Gawain and the Green Knight; he appears as "Bredbeddle", the character's name in The Greene Knight.
Synopsis
"King Arthur and King Cornwall" occurs in a damaged section of the Percy Folio; about half of each page was ripped out to start fires. As such, the ballad is missing about half of its content, though some of the missing material can be deduced from context. Apparently after bragging about the excellence of his famed Round Table, King Arthur is told by Guinevere that another king has an even better one. Arthur and his company leave their kingdom (here Brittany rather than Great Britain) in disguise searching for this king, and eventually come to Cornwall, where the resident monarch offends them with a series of boasts about his magical items, the child he fathered on Guinevere, and Arthur's comparative mediocrity. All go off to bed, and the Knights of the Round Table make a series of vows against Cornwall's boasts, such as Gawain's declaration that he will make off with Cornwall's daughter.
Arthur's men discover Cornwall has sent a seven-headed monster, a sprite named Burlow Beanie, to spy on them. Sir Bredbeddle, the Green Knight, wages a long battle against him with a sword from Cologne, a Milanese knife, a Danish axe, and finally a sacred page from the Christian Bible gives him the upper hand. As a test of his control over the creature, he orders him to fetch a horse. Though Burlow Beanie obeys, he rebels when another knight, Marramile, tries to control him, and the Green Knight is called in to help. A missing section likely described Arthur's men taking possession of Cornwall's other magical objects and learning the secret of their use from the sprite. The remaining text describes Arthur beheading King Cornwall with his own sword; the final missing half page likely described his triumph.
Analysis
The story resembles Geoffrey Chaucer's "The Squire's Tale" from the Canterbury Tales, the English romance Sir Launfal and especially the Carolingian romance Pèlerinage de Charlemagne, in which Charlemagne and his paladins visit the Byzantine Emperor, superior to Charlemagne in looks according to Charlemagne's wife. They make a series of boasts about their abilities, and are called out on them by the emperor's spy, but are eventually able to fulfill them with help from God. Making chivalric vows is a central theme in the medieval English tale The Avowing of Arthur, while the importance of keeping one's pledges is important to tales like Sir Gawain and the Green Knight and The Wedding of Sir Gawain and Dame Ragnelle.
"King Arthur and King Cornwall" may be a version of a lost medieval story, but it is also possible that it is a product of the 17th century, taking hints from older chivalric romance. The character of Bredbeddle makes the author's knowledge of The Greene Knight obvious; whether made in the 16th century or before, the ballad relies on the audience's knowledge of the Gawain romances popular since the 12th century. Gawain's promise to have his way with Cornwall's daughter is in accordance with his womanizing portrayal in certain Old French works.
The magician-king of Cornwall does not appear in other Arthurian romance. In other stories, Cornwall is ruled by either Arthur's cousin Cador, or by King Mark, the uncle of Tristan and husband of Iseult. Equally unique is Cornwall's daughter, whom he had fathered on Guinevere behind Arthur's back. Several Arthurian staple characters do make appearances, such as Guinevere, Gawain, and Tristan.
See also
List of the Child Ballads
Notes
References
Child, Francis James (1965). The English and Scottish Popular Ballads. Dover Publications, New York 1965
(Modern English translation) Bodenhemier, Lou (12 July 2020). "The Ballad of King Arthur and the King of Cornwall" (PDF). Medieval Literature in Translation. Retrieved 2 August 2020.{{cite web}}: CS1 maint: date and year (link)
Hahn, Thomas, ed. (1995). "King Arthur and King Cornwall". Sir Gawain: Eleven Romances and Tales. TEAMS Middle English Text Series. Kalamazoo: Medieval Institute Publications. pp. 419–432. ISBN 1-879288-59-1.
Noble, James (1991). "King Arthur and King Cornwall". In Norris J. Lacy (Ed.), The New Arthurian Encyclopedia, p. 262. New York: Garland. ISBN 0-8240-4377-4.
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Okinai Dam (Japanese: 沖内ダム) is an earthfill dam located in Hokkaido Prefecture in Japan. The dam is used for flood control and irrigation. The catchment area of the dam is 16.4 km2. The dam impounds about 14 ha of land when full and can store 1189 thousand cubic meters of water. The construction of the dam was started on 1976 and completed in 1995.
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Okinai Dam (Japanese: 沖内ダム) is an earthfill dam located in Hokkaido Prefecture in Japan. The dam is used for flood control and irrigation. The catchment area of the dam is 16.4 km2. The dam impounds about 14 ha of land when full and can store 1189 thousand cubic meters of water. The construction of the dam was started on 1976 and completed in 1995.
== References ==
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Okinai Dam (Japanese: 沖内ダム) is an earthfill dam located in Hokkaido Prefecture in Japan. The dam is used for flood control and irrigation. The catchment area of the dam is 16.4 km2. The dam impounds about 14 ha of land when full and can store 1189 thousand cubic meters of water. The construction of the dam was started on 1976 and completed in 1995.
== References ==
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Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
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instance of
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Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
|
composer
|
{
"answer_start": [
7587
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"text": [
"Emilio Kauderer"
]
}
|
Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
|
genre
|
{
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92
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"text": [
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|
Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
|
cast member
|
{
"answer_start": [
203
],
"text": [
"Ricardo Darín"
]
}
|
Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
|
director of photography
|
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Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
|
original language of film or TV show
|
{
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|
Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
|
narrative location
|
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Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
|
title
|
{
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31
],
"text": [
"El mismo amor, la misma lluvia"
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|
Same Love, Same Rain (Spanish: El mismo amor, la misma lluvia) is a 1999 Argentine-American romantic comedy film directed by Juan José Campanella and written by Campanella and Fernando Castets. It stars Ricardo Darín, Soledad Villamil, Ulises Dumont and Eduardo Blanco.
Plot
In 1980, Jorge Pellegrini (Ricardo Darín), a young and talented Argentine writer, upon returning from a trip to Europe, is forced to write short love stories for "Cosas", a local, light-themed magazine, to aid his dire financial situation. His boss and best friend, Roberto (Eduardo Blanco), constantly censors Jorge's stories, by deciding which parts to take out or which stories not to print. Jorge's friend and mentor, Mastronardi, often visits the magazine HQ asking Roberto for work, but due to his history of courageous confrontation against the last military dictatorship in Argentina, he finds himself blacklisted and therefore cannot find work.
In the showing of a short film, based on a story by Jorge, he meets Laura (Soledad Villamil), a passionate, beautiful and charming young girl who works as a waitress in a restaurant. He is instantly smitten by her, and she gives him the custom matchbook of the restaurant she works at, saying is her card. Days after, he receives news of the death of Mastronardi, and begins to write a story about his deceased friend. However, he experiences writer's block, and cannot get around to finish it. Jorge then finds the matchbook Laura gave him and decides to go the restaurant where she is a waitress. They go on a date to a bar, and they display chemistry and understanding, and Laura reveals that she has a boyfriend, an artist on a tour in Uruguay. Things go awry when the police raid the place and take Laura and a group of people who could not show their documents to jail, to be investigated as part of the military operations to maintain the social order during Argentina's dirty war. Jorge is taken to jail himself after trying to help Laura. Upon their release, Laura and Jorge spend more and more time together, and Jorge reveals his feelings for Laura. She then tells him that she currently does not reciprocate, but she will call him if she "figures out any context" in which she could.
Months go by and Jorge buries himself in his work, starts a diary (which he then throws away) and loses hope of receiving Laura's phone call. However, she then calls him and they arrange a date, at which she reveals that she wanted to be sure of not waiting for her boyfriend anymore before starting a new relationship. They kiss, make love and start a relationship. The first months are full of romance and passion; however, when Laura decides to quit her job to work for free at a local radio station, Jorge begins to lose interest in her, and is constantly bothered by the monotony of their relationship. To make matters worse, Laura has decided to make a great writer out of Jorge, and constantly pressures him to stop writing the short and simple-minded love stories and focus on a powerful book.
When Jorge reaches the breaking point and cannot stand the current status of his relationship with Laura, he cheats on her with a girl he meets at the magazine (Carola). Laura finds out and leaves him immediately. Jorge, once again, buries himself in his work for two years, until he receives news from Roberto that, due to a new format, the magazine will no longer publish his stories. However, he is offered a job as the movie and theatre critic of the magazine, which he angrily refuses. He then finds the inspiration to finish Mastronardi's story and take it to the theatre. However, the play is a failure, and because of the effort and money he put in it, Jorge is heartbroken. Laura goes to see the play, but he avoids her. After the closing of the play, Jorge receives an emotional visit from Mastronardi's spirit in a dream, who asks him to look after his son, Sebastián.
In 1987, things have changed: Jorge has accepted the job offer as the movie and theatre critic, and Roberto is engaged to Marita, a friend of Laura's whom he met in a double date set by Jorge and Laura years before. Jorge is in a relationship with a new girl; however, he finds himself shocked when he receives news that Laura is to be married to her old boyfriend. This prompts Jorge to track Laura and, after spending a day together, they make love, and Laura then decides that she will get married anyway.
Once again, years go by, and in the 1990s, a bitter and disillusioned Jorge, still works as a critic. However, due to his failures and disappointments, and to the loss of his spirit and morals, we learn that he now asks for money in return for writing favorable reviews. This works against him when Laura, one of the producers of the movie he asked money to write a favorable review for, personally delivers him the money, and looks at him with disgust.
One day at the office, due to a disagreement, veteran political journalist Márquez (Ulises Dumont) has a heated exchange with his boss, young Micky (Rodrigo de la Serna) and is fired. This then prompts Sebastián, Mastronardi's son, to blame Jorge for his father's death. Unable to cope with guilt, and after realizing how much he has changed, Jorge attempts suicide. This attempt, however, is frustrated by Roberto, who arrives just in time to save him. After the suicide attempt, there is a surprise party, at which the employees of Cosas decide to donate one twelfth of their salaries to Márquez. Laura and Jorge meet once again, and share a long talk about their lives, hopes and crushed dreams.
The movie ends with a hint that Jorge and Laura will give their relationship one last chance. Jorge, reinvigorated, and looking like a happy man for the first time in years, watches her taxi depart with a broad smile. He is then greeted by his friends, Márquez, Sebastián and Roberto, and tells them of the new love story he is planning to write.
Cast
Ricardo Darín as Jorge Pellegrini
Soledad Villamil as Laura Ramallo
Ulises Dumont as Márquez
Eduardo Blanco as Roberto
Graciela Tenenbaum as Marita
Alfonso De Grazia as Mastronardi
Alicia Zanca as Sonia
Mariana Richaudeau as Leticia
Alejandro Buzzoni as Sebastián
Rodrigo de la Serna as Micky
Background
The film is the first of a trilogy that follows protagonist (Ricardo Darín) and his best friend (Eduardo Blanco) through a series of reevaluations regarding their lives. The films include: El hijo de la novia (2001) and Luna de Avellaneda (2004).
Distribution
The film was wide released in Argentina on September 16, 1999.
It was screened at various film festivals, including: the Valladolid International Film Festival, Spain; the Gramado Film Festival, Brazil; the Oslo Films from the South Festival, Norway; the San Diego Latino Film Festival, San Diego, United States; and others.
Awards
Wins
Valladolid International Film Festival: Youth Jury Award Meeting Point Section, Juan José Campanella; 1999.
Argentine Film Critics Association Awards: Silver Condor; Best Actor, Ricardo Darín; Best Actress, Soledad Villamil; Best Art Direction/Production Design, María Julia Bertotto; Best Cinematography, Daniel Shulman; Best Director, Juan José Campanella; Best Film, Best Original Screenplay, Juan José Campanella and Fernando Castets; Best Supporting Actor, Eduardo Blanco; 2000.
Gramado Film Festival: Golden Kikito; Best Supporting Actor, Ulises Dumont; 2000.
Oslo Films from the South Festival: Audience Award, Juan José Campanella; 2000.
Nominations
Argentine Film Critics Association Awards: Silver Condor, Best Editing, Camilo Antolini; Best Music, Emilio Kauderer; Best New Actor, Eduardo Blanco; Best New Actress, Graciela Tenenbaum; Best Supporting Actor, Ulises Dumont; 2000.
Gramado Film Festival: Golden Kikito, Best Film, Juan José Campanella; 2000.
22nd Moscow International Film Festival: Golden St. George, Juan José Campanella; 2000.
References
External links
El mismo amor, la misma lluvia at IMDb
El mismo amor, la misma lluvia at the cinenacional.com (in Spanish)
El mismo amor, la misma lluvia review at La Butaca by Tònia Pallejà (in Spanish)
El mismo amor, la misma lluvia review at Cieismo by Guillermo Ravaschino (in Spanish)
El mismo amor, la misma lluvia film trailer on YouTube
|
art director
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|
Hash House Blues, also spelled Hash-House Blues in some reissues, is a 1931 short animated from Columbia Pictures, and one of many in the long-running series of films featuring Krazy Kat.
Plot
The film opens with Krazy who appears to be riding a luxury car, and wearing a top hat like a high class individual. Moments later, it turns out he is actually walking in the sidewalk, and not riding the vehicle which moves forward past the screen. Krazy proceeds to a fancy restaurant.
Krazy enters the restaurant not as a patron as his outfit suggest, but as a waiter. In the kitchen, the chef assigns him to fix a few things, but a pesky fly causes him to mess up a bit. Krazy is able to take down the fly by opening a wheel of limburger whose scent causes the insect to collapse.
Krazy enters the dining area to tend the customers. Some acts of assistance include giving goggles to a client eating grapefruit, and helping a piglet get some food from a platter being hogged by other swine at the table. He finds his spaniel girlfriend, who is the entertainer, playing piano. The piano is animated and is having a painful key like someone having a toothache. Krazy is able to extract the painful key. The spaniel resumes playing her instrument as normal despite one key missing. Krazy continues tending and even entertaining the customers with a dance. When he serves a roasted bird to a plump lady, that lady is unsatisfied for some reason, and tears the bill to pieces. The lady strikes Krazy with the food, causing Krazy to roll back and bump a small table where a fish bowl falls and covers his head.
References
External links
Hash House Blues at The Big Cartoon DataBase
|
instance of
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"text": [
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|
KJMA (89.7 MHz) is a non-commercial FM radio station licensed to Floresville, Texas, and serving the southern suburbs of the San Antonio metropolitan area. It broadcasts a Catholic radio format.It is affiliated with the Guadalupe Radio Network and is owned by the La Promesa Foundation. Some of the programming comes from the EWTN Radio Network.
The transmitter is off County Road 239 in Wilson County, Texas.
History
The station was assigned the call sign KWCB on January 17, 1992. On July 16, 2007, the station changed its call sign to the current KJMA.
Translators
In addition to the main station, KJMA is relayed by a translator station to widen its broadcast area.
References
External links
KJMA in the FCC FM station database
KJMA on Radio-Locator
KJMA in Nielsen Audio's FM station database
|
instance of
|
{
"answer_start": [
39
],
"text": [
"radio station"
]
}
|
KJMA (89.7 MHz) is a non-commercial FM radio station licensed to Floresville, Texas, and serving the southern suburbs of the San Antonio metropolitan area. It broadcasts a Catholic radio format.It is affiliated with the Guadalupe Radio Network and is owned by the La Promesa Foundation. Some of the programming comes from the EWTN Radio Network.
The transmitter is off County Road 239 in Wilson County, Texas.
History
The station was assigned the call sign KWCB on January 17, 1992. On July 16, 2007, the station changed its call sign to the current KJMA.
Translators
In addition to the main station, KJMA is relayed by a translator station to widen its broadcast area.
References
External links
KJMA in the FCC FM station database
KJMA on Radio-Locator
KJMA in Nielsen Audio's FM station database
|
located in the administrative territorial entity
|
{
"answer_start": [
78
],
"text": [
"Texas"
]
}
|
KJMA (89.7 MHz) is a non-commercial FM radio station licensed to Floresville, Texas, and serving the southern suburbs of the San Antonio metropolitan area. It broadcasts a Catholic radio format.It is affiliated with the Guadalupe Radio Network and is owned by the La Promesa Foundation. Some of the programming comes from the EWTN Radio Network.
The transmitter is off County Road 239 in Wilson County, Texas.
History
The station was assigned the call sign KWCB on January 17, 1992. On July 16, 2007, the station changed its call sign to the current KJMA.
Translators
In addition to the main station, KJMA is relayed by a translator station to widen its broadcast area.
References
External links
KJMA in the FCC FM station database
KJMA on Radio-Locator
KJMA in Nielsen Audio's FM station database
|
licensed to broadcast to
|
{
"answer_start": [
65
],
"text": [
"Floresville"
]
}
|
A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
original language of film or TV show
|
{
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A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
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A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
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A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
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A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
title
|
{
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32
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"text": [
"倩女幽魂"
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}
|
A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
after a work by
|
{
"answer_start": [
342
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"text": [
"Pu Songling"
]
}
|
A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
duration
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A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
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A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
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A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
genre
|
{
"answer_start": [
144
],
"text": [
"horror film"
]
}
|
A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
based on
|
{
"answer_start": [
356
],
"text": [
"Strange Stories from a Chinese Studio"
]
}
|
A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
cast member
|
{
"answer_start": [
165
],
"text": [
"Leslie Cheung"
]
}
|
A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
producer
|
{
"answer_start": [
244
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"text": [
"Tsui Hark"
]
}
|
A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
production company
|
{
"answer_start": [
4445
],
"text": [
"Film Workshop"
]
}
|
A Chinese Ghost Story (Chinese: 倩女幽魂; Wade–Giles: Ch'ien-nü Yu-hun; lit. 'The Ethereal Spirit of a Beauty') is a 1987 Hong Kong romantic comedy horror film starring Leslie Cheung, Joey Wong and Wu Ma, directed by Ching Siu-tung and produced by Tsui Hark. The plot is loosely based on a short story about Nie Xiaoqian from Qing dynasty writer Pu Songling's Strange Stories from a Chinese Studio and is also inspired by the 1960 Shaw Brothers Studio film The Enchanting Shadow. The film was popular in Hong Kong and several Asian countries, including South Korea and Japan. Although the film could not gain access to movie theaters in mainland China when it was first released, it became a cult film among young people in the mainland. At that time the film generated a phenomenal cult following among audiences, especially the generation born in the 1980s. In 2011, the Hong Kong producers screened a restored version officially in mainland China.Most notably it boosted the stardom of Joey Wong, won Leslie Cheung popularity in Japan, and sparked a trend of folklore ghost films in the Hong Kong film industry, including two sequels, an animated film, a television series and a 2011 remake. The film was ranked number 50 of the Best 100 Chinese Motion Pictures presented at the 24th Hong Kong Film Awards, the Special Jury Special Award of the 16th French Science Fiction Film Festival and the Best Film Award of the Portuguese Science Fiction Film Festival.
Plot
Ning Choi-san, a timid tax collector, goes to a rural town to collect taxes but fails and runs out of money. He has no choice but to take shelter in a deserted temple in the forest on the outskirts of the town. That night, he meets a beautiful and alluring young maiden, Nip Siu-sin, and falls in love with her. In the morning, however, after he recalls that night's events, he becomes increasingly fearful and superstitious because Yin Chik-ha, a Taoist priest, told him that the people he saw in the temple are ghosts. That night, he returns to the temple and confirms his theory that Nip is actually a ghost.
Nip tells Ning her story of how she became eternally bound to the servitude of a sinister Tree Demoness. She explains that as long as her remains are buried at the foot of the tree, her spirit will be forever enslaved by the Tree Demoness. Ning attempts to free her from her suffering so he seeks help from Yin Chik-ha. Yin fights with the Tree Demoness and attempts to free Nip's soul but fails. As punishment for betraying her master, Nip's soul is banished to the Underworld.
Ning is unwilling to give up on Nip and he insists that Yin help him. Yin reluctantly opens a temporary portal into the Underworld and brings Ning along to search for Nip. As the Underworld is full of spirits, they have a hard time finding her. Ning and Nip are eventually able to see each other briefly near dawn when they manage to leave the Underworld. When sunlight shines on the urn containing Nip's cremated remains, Ning uses a curtain to shield the urn to prevent Nip's soul from being destroyed by exposure to sunlight. Before leaving for good, she tells him that the only way to save her soul is to rebury her remains at a more auspicious burial site. Ning follows her instructions and, acting on Yin's advice, he buries her remains near the crest of a hill. He burns a joss stick for her and prays for her soul while Yin watches solemnly behind him.
Ning and Yin are then seen riding off seeking a new adventure, with rainbow visible in the sky above them.
Cast
Leslie Cheung as Ning Choi-san
Joey Wong as Nip Siu-sin
Wu Ma as Yin Chik-ha
Lau Siu-ming as the Tree Demoness
Lam Wai as Hsia-hou
Xue Zhilun as Siu-ching
Wong Jing as the magistrate
David Wu as Secretary Chiu
Production
Producer Tsui Hark was interested in creating A Chinese Ghost Story as early as 1978, where he suggested it as a television production at TVB. The producer turned it down, feeling it would not be suitable for television. A Chinese Ghost Story uses elements of several stories from Pu Songling's 17th century collection Strange Stories from a Chinese Studio. Tsui Hark stated that they changed a lot of the stories for their adaptation as they found out the stories were against their initial interpretation. On developing the film, Tsui Hark noted that director Ching Siu-tung wanted to work with him. Ching Siu-tung had previously worked as a director and an action choreographer on various Film Workshop productions such as Peking Opera Blues and A Better Tomorrow II. Hark suggested developing A Chinese Ghost Story, describing it as a love story which Siu-tung was not as interested in developing as either a romance film or a non-horror based ghost story. Hark noted that his higher up approached him to develop the film into being about a female cop, not being aware that it was based on a book or that it was a period film. While working on the film, Hark and Siu-tung did not really know what it would end up being like, as Siu-tung was still apprehensive on creating a romance film and desired to add horror film elements. Rumours persist around the production suggesting that Tsui Hark effectively directed the film. British critic Tony Rayns stated that effectively, most Film Workshop productions were "redirected or hijacked by Tsui Hark" Joey Wong was a professional basketball player and model before starting her film career. Prior to working on the film, she appeared in films such as the Taiwanese production It'll Be Very Cold at the Lakeside This Year. She would show up in a few Shaw Brothers produced Hong Kong films and Tsui Hark's film Working Class.Actors in the film include Leslie Cheung who was also a cantopop singer. Cheung had previously worked with Tsui Hark productions such as A Better Tomorrow and A Better Tomorrow II. Cheung also sung the films theme song. Wu Ma had previously appeared in several Hong Kong horror film productions such as Spooky Encounters, The Dead and the Deadly and Mr. Vampire. The film used the services of Cinefex Workshop, Hong Kong's first proper special effects studio who had previously worked on Hark's film Zu Warriors from the Magic Mountain. The film script called for a giant slithering tongue and zombies, which were developed by Cinefex technician Man Xian Liang, who taught himself stop motion animation in order to make the effects happen. James Wong contributed to the score of the film. Wong was primarily known for writing songs for pop stars and television programs and completed his first score for Hark's Shanghai Blues.
Release
A Chinese Ghost Story opened on July 18, 1987. The film received theatrical release throughout Asia and Europe. The film also received international recognition when it won the special Jury Prize at the Avoriaz festival in France and the Best Film Award at the Opporto Festival in Portugal in 1987.
Box office
A Chinese Ghost Story performed well at the Hong Kong box office, earning HK$18,831,638 (US$2,414,932) and becoming 1987's fifteenth highest-grossing film in Hong Kong. In Taiwan, it was the 11th highest-grossing film of 1987, selling 187,654 tickets and earning NT$12,684,540 (US$443,515). In South Korea, the film sold 31,639 tickets in Seoul upon release in December 1987, equivalent to an estimated ₩110,736,500 (US$134,623).In the United Kingdom, the film sold 1,045 tickets in 1996, equivalent to an estimated £3,867 (US$6,042). In China, the film grossed US$328,204 in 2008 and ¥2.95 million RMB (US$456,553) in 2011, for a total of US$784,860 grossed in China. This adds up to an estimated total of US$3,783,972 grossed worldwide (equivalent to an estimated US$10 million adjusted for inflation).
2011 re-release and remake
In memory of the late Leslie Cheung, director Ching Siu-tung and producer Ng See-yuen re-released the film in cinemas across mainland China on 30 April 2011. China Radio International reported that the film was remastered with color timing that took about half a year. In addition, premieres took place in both Beijing and Shanghai. Ching Siu-tung, Ng See-yuen and Lau Siu-ming were present. However, Wu Ma and Joey Wong, who were invited, did not attend the premiere. Ching Siu-tung had difficulty tracking down Joey Wong and had to contact her through her family in Taiwan. He received a telephone call at the last minute from Wong's father, stating that the actress was in poor health and not in good condition to attend the premiere. Wong's father also quoted her daughter saying that acting in the film were her best memories. That same year, a remake of the film was released. It starred Louis Koo and Crystal Liu and was directed by Wilson Yip.
Reception and legacy
From contemporary reviews, Walter Goodman (The New York Times) noted poor subtitling on the print he viewed, opining that "If there are any Eastern profundities emanating from the temple, this Westerner did not recognize them." and that "The kick you get from all this will depend on how exciting you find explosive exhibitions of extraterrestrial exercises." Kim Newman (Monthly Film Bulletin) described the film as "an excellent example of the distinctive type of ghost/horror film that has been coming out of Hong Kong for many years" and that the film "affords an insight into a movie mythos at least as highly developed and ritualized as the Universal horror cycle of the 30s or the Hammer films of the 50s and 60s". The film was reviewed by a critic credited as "Mel" in Variety who praised the film, stating that "Cinema City is to be congratulated for searching original Chinese material. The art direction, costumes, cinematography and soundtrack music are all exceptional." The review went on to state that the "storyline portray the beauty and grafility of life on earth" which led to "an entertaining love story with a tantalizing horror background, mixed with fantasy escapism that won't insult adult viewers."From retrospective reviews, The Guardian described the film as "one of the breakthrough films of modern Hong Kong cinema" and that it was "dubious knockabout comedy [...] spiced with frantic set piece stunts (mid-air fights, thousand-foot tongues); not for those who value comprehensibility over panache." Empire gave the film four stars out of five, noting "gorgeous imagery" and that it was not "quite as completely demented as Mr Vampire, but it is truly strange." Donald C Willis wrote in his book Horror and Science Fiction Film IV that A Chinese Ghost Story was "an entertaining fantasy extravaganza" and that "the movie is very inventive, occasionally even poetic, but not quite moving". John Charles gave the film an eight out of ten rating, noting that some horror elements in the film were in debt to the film The Evil Dead, but noted that the "cinematography and art direction are superb, the action is invigorating, and the love story surprisingly touching, making this one of the most captivating and enjoyable fantasies of the post-New Wave period."In mainland China, before the film was officially released in 2011, it was already widely circulated through unofficial channels- including smuggled videocassettes, pirated VCDs and DVDs, and later, video-sharing websites- and celebrated as a cult classic. The Chinese generation born in the 1980s, aka. the "post-80s" (balinghou), are among the most devout fans of this film, which they see as an embodiment of idealism, rebellion, nostalgia, and social criticism. Some scholars consider its comic nature, or "half-seriousness," to be the main reason for this cult following.The modern reception of the film in Hong Kong and Taiwan is positive. At the 24th Hong Kong Film Awards various Asian film critics, film makers and actors voted for the top Chinese films from Hong Kong, Taiwan and China. A Chinese Ghost Story was listed at 50th place on the list. In 2011, the Tapei Golden Horse Film Festival had 122 industry professionals take part in the survey. The voters included film scholars, festival programmers, film directors, actors and producers to vote for the 100 Greatest Chinese-Language Films. A Chinese Ghost Story tied with Jia Zhangke's Xiao Wu (1997) and Zhang Yimou's The Story of Qiu Ju (1992) for 35th place on the list.
Awards and nominations
See also
Qian Nü You Hun
List of ghost films
References
Footnotes
Sources
External links
A Chinese Ghost Story at IMDb
A Chinese Ghost Story at AllMovie
lovehkfilm entry
Film review at The Illuminated Lantern
A Chinese Ghost Story at Rotten Tomatoes
|
performer
|
{
"answer_start": [
165
],
"text": [
"Leslie Cheung"
]
}
|
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