gem_id stringlengths 20 25 | id stringlengths 24 24 | title stringlengths 3 59 | context stringlengths 151 3.71k | question stringlengths 1 270 | target stringlengths 1 270 | references list | answers dict |
|---|---|---|---|---|---|---|---|
gem-squad_v2-train-12000 | 5ad13e47645df0001a2d137a | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | What began in the 1940s? | What began in the 1940s? | [
"What began in the 1940s?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12001 | 5ad13e47645df0001a2d137b | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | What year was The Man Godfrey made? | What year was The Man Godfrey made? | [
"What year was The Man Godfrey made?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12002 | 5ad13e47645df0001a2d137c | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | What year was My Invisible Man made? | What year was My Invisible Man made? | [
"What year was My Invisible Man made?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12003 | 5ad13e47645df0001a2d137d | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | What year was The Dracula made? | What year was The Dracula made? | [
"What year was The Dracula made?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12004 | 5ad13e47645df0001a2d137e | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The Invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | What year was Mummy made? | What year was Mummy made? | [
"What year was Mummy made?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12005 | 56e1506ee3433e1400422da6 | Universal_Studios | Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations. | What part of Universal's business was terminated while it was in bankruptcy? | What part of Universal's business was terminated while it was in bankruptcy? | [
"What part of Universal's business was terminated while it was in bankruptcy?"
] | {
"text": [
"The theater chain"
],
"answer_start": [
261
]
} |
gem-squad_v2-train-12006 | 56e1506ee3433e1400422da7 | Universal_Studios | Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations. | Along with distribution and studio operations, what part of Universal was retained by Carl Laemmle, Jr. during bankruptcy? | Along with distribution and studio operations, what part of Universal was retained by Carl Laemmle, Jr. during bankruptcy? | [
"Along with distribution and studio operations, what part of Universal was retained by Carl Laemmle, Jr. during bankruptcy?"
] | {
"text": [
"production operations"
],
"answer_start": [
345
]
} |
gem-squad_v2-train-12007 | 5ad13f71645df0001a2d13aa | Universal_Studios | Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations. | What type of chain conglomerate was scrapped? | What type of chain conglomerate was scrapped? | [
"What type of chain conglomerate was scrapped?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12008 | 5ad13f71645df0001a2d13ab | Universal_Studios | Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations. | What did Carl Jr hold fast in addition to the theater chain? | What did Carl Jr hold fast in addition to the theater chain? | [
"What did Carl Jr hold fast in addition to the theater chain?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12009 | 5ad13f71645df0001a2d13ac | Universal_Studios | Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations. | What period did Universal move into high-quality production in? | What period did Universal move into high-quality production in? | [
"What period did Universal move into high-quality production in?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12010 | 56e150d1cd28a01900c677ab | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | In what year was Universal's ill-fated film version of Show Boat released? | In what year was Universal's ill-fated film version of Show Boat released? | [
"In what year was Universal's ill-fated film version of Show Boat released?"
] | {
"text": [
"1936"
],
"answer_start": [
66
]
} |
gem-squad_v2-train-12011 | 56e150d1cd28a01900c677ac | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | In what year had Universal previously made a version of Show Boat? | In what year had Universal previously made a version of Show Boat? | [
"In what year had Universal previously made a version of Show Boat?"
] | {
"text": [
"1929"
],
"answer_start": [
97
]
} |
gem-squad_v2-train-12012 | 56e150d1cd28a01900c677ad | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | What was the amount of the production loan Universal sought to complete Show Boat? | What was the amount of the production loan Universal sought to complete Show Boat? | [
"What was the amount of the production loan Universal sought to complete Show Boat?"
] | {
"text": [
"$750,000"
],
"answer_start": [
570
]
} |
gem-squad_v2-train-12013 | 56e150d1cd28a01900c677ae | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | Who granted Universal the production loan? | Who granted Universal the production loan? | [
"Who granted Universal the production loan?"
] | {
"text": [
"the Standard Capital Corporation"
],
"answer_start": [
600
]
} |
gem-squad_v2-train-12014 | 56e150d1cd28a01900c677af | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | When did the Standard Capital Corporation take control of Universal? | When did the Standard Capital Corporation take control of Universal? | [
"When did the Standard Capital Corporation take control of Universal?"
] | {
"text": [
"April 2, 1936"
],
"answer_start": [
971
]
} |
gem-squad_v2-train-12015 | 5ad140ec645df0001a2d13dc | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | Who was forced to seek a $300,000 loan? | Who was forced to seek a $300,000 loan? | [
"Who was forced to seek a $300,000 loan?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12016 | 5ad140ec645df0001a2d13dd | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | What production went $750,000 over budget? | What production went $750,000 over budget? | [
"What production went $750,000 over budget?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12017 | 5ad140ec645df0001a2d13de | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | What did Standard Corporation Capital issue Universal? | What did Standard Corporation Capital issue Universal? | [
"What did Standard Corporation Capital issue Universal?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12018 | 5ad140ec645df0001a2d13df | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | What happened on April 2, 1935? | What happened on April 2, 1935? | [
"What happened on April 2, 1935?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12019 | 56e15143cd28a01900c677b5 | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | Who became president of Universal after the Standard Capital takeover? | Who became president of Universal after the Standard Capital takeover? | [
"Who became president of Universal after the Standard Capital takeover?"
] | {
"text": [
"J. Cheever Cowdin"
],
"answer_start": [
469
]
} |
gem-squad_v2-train-12020 | 56e15143cd28a01900c677b6 | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | What notable female star left Universal after the Standard Capital takeover? | What notable female star left Universal after the Standard Capital takeover? | [
"What notable female star left Universal after the Standard Capital takeover?"
] | {
"text": [
"Margaret Sullavan"
],
"answer_start": [
745
]
} |
gem-squad_v2-train-12021 | 56e15143cd28a01900c677b7 | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | Who was Universal's chairman of the board of directors after the Standard Captial takeover? | Who was Universal's chairman of the board of directors after the Standard Captial takeover? | [
"Who was Universal's chairman of the board of directors after the Standard Captial takeover?"
] | {
"text": [
"J. Cheever Cowdin"
],
"answer_start": [
469
]
} |
gem-squad_v2-train-12022 | 56e15143cd28a01900c677b8 | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | Along with Margaret Sullavan, what notable film talent left Universal after the Standard Capital takeover? | Along with Margaret Sullavan, what notable film talent left Universal after the Standard Capital takeover? | [
"Along with Margaret Sullavan, what notable film talent left Universal after the Standard Capital takeover?"
] | {
"text": [
"William Wyler"
],
"answer_start": [
727
]
} |
gem-squad_v2-train-12023 | 56e15143cd28a01900c677b9 | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | In what year was Show Boat released? | In what year was Show Boat released? | [
"In what year was Show Boat released?"
] | {
"text": [
"1936"
],
"answer_start": [
12
]
} |
gem-squad_v2-train-12024 | 5ad14301645df0001a2d143e | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | Who was ceremoniously removed from the company? | Who was ceremoniously removed from the company? | [
"Who was ceremoniously removed from the company?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12025 | 5ad14301645df0001a2d143f | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | What position did J. Cowdin Cheever hold? | What position did J. Cowdin Cheever hold? | [
"What position did J. Cowdin Cheever hold?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12026 | 5ad14301645df0001a2d1440 | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | What position on the board did J. Cowdin Cheever take over? | What position on the board did J. Cowdin Cheever take over? | [
"What position on the board did J. Cowdin Cheever take over?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12027 | 5ad14301645df0001a2d1441 | Universal_Studios | Universal's 1936 Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | What did William Sullavan and Margaret Wyler do? | What did William Sullavan and Margaret Wyler do? | [
"What did William Sullavan and Margaret Wyler do?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12028 | 56e1531ccd28a01900c677d1 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | Who produced the film Three Smart Girls? | Who produced the film Three Smart Girls? | [
"Who produced the film Three Smart Girls?"
] | {
"text": [
"Joe Pasternak"
],
"answer_start": [
20
]
} |
gem-squad_v2-train-12029 | 56e1531ccd28a01900c677d2 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | Who starred in the film Three Smart Girls? | Who starred in the film Three Smart Girls? | [
"Who starred in the film Three Smart Girls?"
] | {
"text": [
"Deanna Durbin"
],
"answer_start": [
189
]
} |
gem-squad_v2-train-12030 | 56e1531ccd28a01900c677d3 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | In what year was Three Smart Girls made? | In what year was Three Smart Girls made? | [
"In what year was Three Smart Girls made?"
] | {
"text": [
"1936"
],
"answer_start": [
266
]
} |
gem-squad_v2-train-12031 | 56e1531ccd28a01900c677d4 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | Prior to his work in America, where was Joe Pasternak employed? | Prior to his work in America, where was Joe Pasternak employed? | [
"Prior to his work in America, where was Joe Pasternak employed?"
] | {
"text": [
"Universal's German subsidiary"
],
"answer_start": [
110
]
} |
gem-squad_v2-train-12032 | 56e1531ccd28a01900c677d5 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | What type of films did Joe Pasternak produce in Germany? | What type of films did Joe Pasternak produce in Germany? | [
"What type of films did Joe Pasternak produce in Germany?"
] | {
"text": [
"light musicals"
],
"answer_start": [
71
]
} |
gem-squad_v2-train-12033 | 5ad14404645df0001a2d1482 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | What film was released in 1963? | What film was released in 1963? | [
"What film was released in 1963?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12034 | 5ad14404645df0001a2d1483 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | Who produced the 1963 film Three Smart Girls? | Who produced the 1963 film Three Smart Girls? | [
"Who produced the 1963 film Three Smart Girls?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12035 | 5ad14404645df0001a2d1484 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | What did Deanna Pasternak star in? | What did Deanna Pasternak star in? | [
"What did Deanna Pasternak star in?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12036 | 5ad14404645df0001a2d1485 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | What did the 1963 film to for the studio? | What did the 1963 film to for the studio? | [
"What did the 1963 film to for the studio?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12037 | 56e15399cd28a01900c677db | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | How old was Gloria Jean in 1939? | How old was Gloria Jean in 1939? | [
"How old was Gloria Jean in 1939?"
] | {
"text": [
"13"
],
"answer_start": [
138
]
} |
gem-squad_v2-train-12038 | 56e15399cd28a01900c677dc | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | Along with Donald O'Connor and Bing Crosby, with whom did Gloria Jean star? | Along with Donald O'Connor and Bing Crosby, with whom did Gloria Jean star? | [
"Along with Donald O'Connor and Bing Crosby, with whom did Gloria Jean star?"
] | {
"text": [
"Bing Crosby"
],
"answer_start": [
239
]
} |
gem-squad_v2-train-12039 | 56e15399cd28a01900c677dd | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | Who played Destry in Destry Rides Again? | Who played Destry in Destry Rides Again? | [
"Who played Destry in Destry Rides Again?"
] | {
"text": [
"James Stewart"
],
"answer_start": [
370
]
} |
gem-squad_v2-train-12040 | 56e15399cd28a01900c677de | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | Prior to working at Universal, what studio employed Marlene Dietrich? | Prior to working at Universal, what studio employed Marlene Dietrich? | [
"Prior to working at Universal, what studio employed Marlene Dietrich?"
] | {
"text": [
"Paramount Studios"
],
"answer_start": [
450
]
} |
gem-squad_v2-train-12041 | 56e15399cd28a01900c677df | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | In what year was Destry Rides again produced? | In what year was Destry Rides again produced? | [
"In what year was Destry Rides again produced?"
] | {
"text": [
"1939"
],
"answer_start": [
208
]
} |
gem-squad_v2-train-12042 | 5ad144d6645df0001a2d149c | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | What year did the studio sign Gloria Durbin? | What year did the studio sign Gloria Durbin? | [
"What year did the studio sign Gloria Durbin?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12043 | 5ad144d6645df0001a2d149d | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | What did Gloria Durbin star in? | What did Gloria Durbin star in? | [
"What did Gloria Durbin star in?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12044 | 5ad144d6645df0001a2d149e | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | Who did Gloria Durbin star with? | Who did Gloria Durbin star with? | [
"Who did Gloria Durbin star with?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12045 | 5ad144d6645df0001a2d149f | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | What 1930 film starred James Stewart? | What 1930 film starred James Stewart? | [
"What 1930 film starred James Stewart?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12046 | 5ad144d6645df0001a2d14a0 | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | What woman starred in the 1930 film Destry Rides Again? | What woman starred in the 1930 film Destry Rides Again? | [
"What woman starred in the 1930 film Destry Rides Again?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12047 | 56e156e7cd28a01900c677ef | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | During what period were the Little Tough Guys films produced? | During what period were the Little Tough Guys films produced? | [
"During what period were the Little Tough Guys films produced?"
] | {
"text": [
"1938–43"
],
"answer_start": [
326
]
} |
gem-squad_v2-train-12048 | 56e156e7cd28a01900c677f0 | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | Over what span were the Baby Sandy films made? | Over what span were the Baby Sandy films made? | [
"Over what span were the Baby Sandy films made?"
] | {
"text": [
"1938–41"
],
"answer_start": [
379
]
} |
gem-squad_v2-train-12049 | 56e156e7cd28a01900c677f1 | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | In what period did Universal produce Hugh Herbert comedies? | In what period did Universal produce Hugh Herbert comedies? | [
"In what period did Universal produce Hugh Herbert comedies?"
] | {
"text": [
"1938–42"
],
"answer_start": [
417
]
} |
gem-squad_v2-train-12050 | 56e156e7cd28a01900c677f2 | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | When did Universal make Tom Mix westerns? | When did Universal make Tom Mix westerns? | [
"When did Universal make Tom Mix westerns?"
] | {
"text": [
"1932–33"
],
"answer_start": [
578
]
} |
gem-squad_v2-train-12051 | 56e156e7cd28a01900c677f3 | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | In what span did Universal produce westerns with Kirby Grant? | In what span did Universal produce westerns with Kirby Grant? | [
"In what span did Universal produce westerns with Kirby Grant?"
] | {
"text": [
"1946–47"
],
"answer_start": [
700
]
} |
gem-squad_v2-train-12052 | 5ad145ef645df0001a2d14d6 | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | When did The Dead End Guys run? | When did The Dead End Guys run? | [
"When did The Dead End Guys run?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12053 | 5ad145ef645df0001a2d14d7 | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | When did Little Touch Kids run? | When did Little Touch Kids run? | [
"When did Little Touch Kids run?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12054 | 5ad145ef645df0001a2d14d8 | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | When did comedies with Sandy Herbert run? | When did comedies with Sandy Herbert run? | [
"When did comedies with Sandy Herbert run?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12055 | 5ad145ef645df0001a2d14d9 | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | Who preformed in the 1932-33 musicals? | Who preformed in the 1932-33 musicals? | [
"Who preformed in the 1932-33 musicals?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12056 | 5ad145ef645df0001a2d14da | Universal_Studios | By the early 1940s, the company was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials and sequels to the studio's horror pictures, the latter now solely B pictures. The studio fostered many series: The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron (1944–45), and Kirby Grant (1946–47). | When did westerns with Johnny Rod Brown run? | When did westerns with Johnny Rod Brown run? | [
"When did westerns with Johnny Rod Brown run?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12057 | 56e15ca6cd28a01900c6780d | Universal_Studios | Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were two of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) gave the former burlesque comedians a national and international profile. | What two performers were known as the team Abbott and Costello? | What two performers were known as the team Abbott and Costello? | [
"What two performers were known as the team Abbott and Costello?"
] | {
"text": [
"Bud Abbott and Lou Costello"
],
"answer_start": [
403
]
} |
gem-squad_v2-train-12058 | 56e15ca6cd28a01900c6780e | Universal_Studios | Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were two of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) gave the former burlesque comedians a national and international profile. | What military comedy did Bud Abbott and Lou Costello star in? | What military comedy did Bud Abbott and Lou Costello star in? | [
"What military comedy did Bud Abbott and Lou Costello star in?"
] | {
"text": [
"Buck Privates"
],
"answer_start": [
471
]
} |
gem-squad_v2-train-12059 | 56e15ca6cd28a01900c6780f | Universal_Studios | Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were two of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) gave the former burlesque comedians a national and international profile. | Along with Abbott and Costello and Edgar Bergen, what radio star appeared in Universal films? | Along with Abbott and Costello and Edgar Bergen, what radio star appeared in Universal films? | [
"Along with Abbott and Costello and Edgar Bergen, what radio star appeared in Universal films?"
] | {
"text": [
"W. C. Fields"
],
"answer_start": [
345
]
} |
gem-squad_v2-train-12060 | 5ad14694645df0001a2d14fe | Universal_Studios | Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were two of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) gave the former burlesque comedians a national and international profile. | What entertainment medium did Edgar Fields and W.C. Bergen come from? | What entertainment medium did Edgar Fields and W.C. Bergen come from? | [
"What entertainment medium did Edgar Fields and W.C. Bergen come from?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12061 | 5ad14694645df0001a2d14ff | Universal_Studios | Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were two of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) gave the former burlesque comedians a national and international profile. | What comedy came out in 1914? | What comedy came out in 1914? | [
"What comedy came out in 1914?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12062 | 5ad14694645df0001a2d1500 | Universal_Studios | Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan, and Bing Crosby were two of the major names that made a couple of pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello (Bud Abbott and Lou Costello). Abbott and Costello's military comedy Buck Privates (1941) gave the former burlesque comedians a national and international profile. | Who starred in the 1914 Buck Privates comedy? | Who starred in the 1914 Buck Privates comedy? | [
"Who starred in the 1914 Buck Privates comedy?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12063 | 56e15d98e3433e1400422e0c | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | Who was the directorial partner of Walter Wanger? | Who was the directorial partner of Walter Wanger? | [
"Who was the directorial partner of Walter Wanger?"
] | {
"text": [
"Fritz Lang"
],
"answer_start": [
122
]
} |
gem-squad_v2-train-12064 | 56e15d98e3433e1400422e0d | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | In what period did Basil Rathbone star in a series of Sherlock Holmes films? | In what period did Basil Rathbone star in a series of Sherlock Holmes films? | [
"In what period did Basil Rathbone star in a series of Sherlock Holmes films?"
] | {
"text": [
"1942–46"
],
"answer_start": [
418
]
} |
gem-squad_v2-train-12065 | 56e15d98e3433e1400422e0e | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | In what period did film versions of Inner Sanctum Mysteries appear? | In what period did film versions of Inner Sanctum Mysteries appear? | [
"In what period did film versions of Inner Sanctum Mysteries appear?"
] | {
"text": [
"1943–45"
],
"answer_start": [
586
]
} |
gem-squad_v2-train-12066 | 56e15d98e3433e1400422e0f | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | What was the studio that Alfred Hitchcock normally worked for? | What was the studio that Alfred Hitchcock normally worked for? | [
"What was the studio that Alfred Hitchcock normally worked for?"
] | {
"text": [
"Selznick International Pictures"
],
"answer_start": [
650
]
} |
gem-squad_v2-train-12067 | 56e15d98e3433e1400422e10 | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | In what year was Shadow of a Doubt produced? | In what year was Shadow of a Doubt produced? | [
"In what year was Shadow of a Doubt produced?"
] | {
"text": [
"1943"
],
"answer_start": [
586
]
} |
gem-squad_v2-train-12068 | 5ad14958645df0001a2d1576 | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | Who partnered with Walter Lang and Fritz Wanger during the war years? | Who partnered with Walter Lang and Fritz Wanger during the war years? | [
"Who partnered with Walter Lang and Fritz Wanger during the war years?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12069 | 5ad14958645df0001a2d1577 | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | What did Basil Bruce and Nigel Rathbone star in? | What did Basil Bruce and Nigel Rathbone star in? | [
"What did Basil Bruce and Nigel Rathbone star in?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12070 | 5ad14958645df0001a2d1578 | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | What type of productions did Gloria Ryan and Peggy Jean star in? | What type of productions did Gloria Ryan and Peggy Jean star in? | [
"What type of productions did Gloria Ryan and Peggy Jean star in?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12071 | 5ad14958645df0001a2d1579 | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | Who was borrowed for two films from Selznick Pictures International? | Who was borrowed for two films from Selznick Pictures International? | [
"Who was borrowed for two films from Selznick Pictures International?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12072 | 5ad14958645df0001a2d157a | Universal_Studios | During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theaters, and the studio continued to please the public with low- to medium-budget films. Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943). | Who starred in Inner Mysteries Sanctum? | Who starred in Inner Mysteries Sanctum? | [
"Who starred in Inner Mysteries Sanctum?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12073 | 56e1604bcd28a01900c67831 | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | What was the first Universal film to use the three-strip Technicolor process? | What was the first Universal film to use the three-strip Technicolor process? | [
"What was the first Universal film to use the three-strip Technicolor process?"
] | {
"text": [
"Arabian Nights"
],
"answer_start": [
208
]
} |
gem-squad_v2-train-12074 | 56e1604bcd28a01900c67832 | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | What actress starred in Arabian Nights? | What actress starred in Arabian Nights? | [
"What actress starred in Arabian Nights?"
] | {
"text": [
"Maria Montez"
],
"answer_start": [
253
]
} |
gem-squad_v2-train-12075 | 56e1604bcd28a01900c67833 | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | Along with Nelson Eddy, who starred in the Phantom of the Opera? | Along with Nelson Eddy, who starred in the Phantom of the Opera? | [
"Along with Nelson Eddy, who starred in the Phantom of the Opera?"
] | {
"text": [
"Claude Rains"
],
"answer_start": [
393
]
} |
gem-squad_v2-train-12076 | 56e1604bcd28a01900c67834 | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | When was Universal's first version of the Phantom of the Opera made? | When was Universal's first version of the Phantom of the Opera made? | [
"When was Universal's first version of the Phantom of the Opera made?"
] | {
"text": [
"1925"
],
"answer_start": [
344
]
} |
gem-squad_v2-train-12077 | 56e1604bcd28a01900c67835 | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | In what year was Arabian Nights produced? | In what year was Arabian Nights produced? | [
"In what year was Arabian Nights produced?"
] | {
"text": [
"1942"
],
"answer_start": [
224
]
} |
gem-squad_v2-train-12078 | 5ad14ab5645df0001a2d15bc | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | Who was Universal first to have a contract with? | Who was Universal first to have a contract with? | [
"Who was Universal first to have a contract with?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12079 | 5ad14ab5645df0001a2d15bd | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | What 1925 film was the first that made use of the three-strip Technicolor process? | What 1925 film was the first that made use of the three-strip Technicolor process? | [
"What 1925 film was the first that made use of the three-strip Technicolor process?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12080 | 5ad14ab5645df0001a2d15be | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | What remake used technicolor in 1942? | What remake used technicolor in 1942? | [
"What remake used technicolor in 1942?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12081 | 5ad14ab5645df0001a2d15bf | Universal_Studios | As Universal's main product had always been low-budget film, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed. | Who starred in the 1942 version of Phantom of the Opera? | Who starred in the 1942 version of Phantom of the Opera? | [
"Who starred in the 1942 version of Phantom of the Opera?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12082 | 56e161c3e3433e1400422e30 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | In what year was United World Pictures founded? | In what year was United World Pictures founded? | [
"In what year was United World Pictures founded?"
] | {
"text": [
"1945"
],
"answer_start": [
3
]
} |
gem-squad_v2-train-12083 | 56e161c3e3433e1400422e31 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | What producer was involved in the founding of United World Pictures? | What producer was involved in the founding of United World Pictures? | [
"What producer was involved in the founding of United World Pictures?"
] | {
"text": [
"Kenneth Young"
],
"answer_start": [
197
]
} |
gem-squad_v2-train-12084 | 56e161c3e3433e1400422e32 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | How long did United World Pictures last? | How long did United World Pictures last? | [
"How long did United World Pictures last?"
] | {
"text": [
"one year"
],
"answer_start": [
291
]
} |
gem-squad_v2-train-12085 | 56e161c3e3433e1400422e33 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | Who was the head of production at Universal-International Pictures? | Who was the head of production at Universal-International Pictures? | [
"Who was the head of production at Universal-International Pictures?"
] | {
"text": [
"William Goetz"
],
"answer_start": [
438
]
} |
gem-squad_v2-train-12086 | 56e161c3e3433e1400422e34 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | Who was William Goetz's father-in-law? | Who was William Goetz's father-in-law? | [
"Who was William Goetz's father-in-law?"
] | {
"text": [
"Louis B. Mayer"
],
"answer_start": [
689
]
} |
gem-squad_v2-train-12087 | 5ad14c29645df0001a2d1642 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | Who bought into a four-way merger with Universal in 1954? | Who bought into a four-way merger with Universal in 1954? | [
"Who bought into a four-way merger with Universal in 1954?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12088 | 5ad14c29645df0001a2d1643 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | When did Arthur J. Rank buy into a four-way merger? | When did Arthur J. Rank buy into a four-way merger? | [
"When did Arthur J. Rank buy into a four-way merger?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12089 | 5ad14c29645df0001a2d1644 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | What combine did Kenneth Young found? | What combine did Kenneth Young found? | [
"What combine did Kenneth Young found?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12090 | 5ad14c29645df0001a2d1645 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | What position was given to William Mayer? | What position was given to William Mayer? | [
"What position was given to William Mayer?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12091 | 5ad14c29645df0001a2d1646 | Universal_Studios | In 1945, the British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. William Goetz, a founder of International, was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary, and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer decided to bring "prestige" to the new company. He stopped the studio's low-budget production of B movies, serials and curtailed Universal's horror and "Arabian Nights" cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc. | What did Louis B. Goetz rename United World Pictures as? | What did Louis B. Goetz rename United World Pictures as? | [
"What did Louis B. Goetz rename United World Pictures as?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12092 | 56e16233e3433e1400422e3a | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | In what year was the Olivier version of Hamlet made? | In what year was the Olivier version of Hamlet made? | [
"In what year was the Olivier version of Hamlet made?"
] | {
"text": [
"1948"
],
"answer_start": [
238
]
} |
gem-squad_v2-train-12093 | 56e16233e3433e1400422e3b | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | Who directed 1946's Great Expectations? | Who directed 1946's Great Expectations? | [
"Who directed 1946's Great Expectations?"
] | {
"text": [
"David Lean"
],
"answer_start": [
168
]
} |
gem-squad_v2-train-12094 | 56e16233e3433e1400422e3c | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | In 1947, what company did Universal buy a stake in? | In 1947, what company did Universal buy a stake in? | [
"In 1947, what company did Universal buy a stake in?"
] | {
"text": [
"Castle Films"
],
"answer_start": [
398
]
} |
gem-squad_v2-train-12095 | 56e16233e3433e1400422e3d | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | Who ran Realart Pictures? | Who ran Realart Pictures? | [
"Who ran Realart Pictures?"
] | {
"text": [
"Jack Broeder"
],
"answer_start": [
668
]
} |
gem-squad_v2-train-12096 | 56e16233e3433e1400422e3e | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | In what year did Universal-International take over Castle Films? | In what year did Universal-International take over Castle Films? | [
"In what year did Universal-International take over Castle Films?"
] | {
"text": [
"1951"
],
"answer_start": [
460
]
} |
gem-squad_v2-train-12097 | 5ad14d7a645df0001a2d16a4 | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | What year was Laurence Olivier's Great Expectations produced? | What year was Laurence Olivier's Great Expectations produced? | [
"What year was Laurence Olivier's Great Expectations produced?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12098 | 5ad14d7a645df0001a2d16a5 | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | What year was David Lean's Hamlet produced? | What year was David Lean's Hamlet produced? | [
"What year was David Lean's Hamlet produced?"
] | {
"text": [],
"answer_start": []
} |
gem-squad_v2-train-12099 | 5ad14d7a645df0001a2d16a6 | Universal_Studios | Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films in 1947, and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors. Goetz licensed Universal's pre–Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television. | What company did Universal-International buy a major stake in during 1946? | What company did Universal-International buy a major stake in during 1946? | [
"What company did Universal-International buy a major stake in during 1946?"
] | {
"text": [],
"answer_start": []
} |
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