triplets
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stringlengths 6
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|---|---|---|
[
"Kamose",
"father",
"Seqenenre Tao"
] |
Kamose was the last Pharaoh of the Theban Seventeenth Dynasty. He was possibly the son of Seqenenre Tao and Ahhotep I and the brother of Ahmose I, founder of the Eighteenth Dynasty. His reign fell at the very end of the Second Intermediate Period. Kamose is usually ascribed a reign of three years (his highest attested regnal year), although some scholars now favor giving him a longer reign of approximately five years.His reign is important for the decisive military initiatives he took against the Hyksos, who had come to rule much of Ancient Egypt. His father had begun the initiatives and lost his life in battle with the Hyksos. It is thought that his mother, as regent, continued the campaigns after the death of Kamose, and that his full brother made the final conquest of them and united all of Egypt.
| 1
|
[
"Isputahsu",
"instance of",
"human"
] |
Isputahsu (also transliterated as Išputaḫšu) was a king of Kizzuwatna, probably during the mid 15th century BC (short chronology). He signed a treaty of alliance with the Hittite king Telepinu.
| 0
|
[
"Isputahsu",
"country of citizenship",
"Kizzuwatna"
] |
Isputahsu (also transliterated as Išputaḫšu) was a king of Kizzuwatna, probably during the mid 15th century BC (short chronology). He signed a treaty of alliance with the Hittite king Telepinu.
| 1
|
[
"Vyasa",
"notable work",
"Mahabharata"
] |
Krishna Dvaipayana (Sanskrit: कृष्णद्वैपायन, romanized: Kṛṣṇadvaipāyana), better known as Vyasa (; Sanskrit: व्यासः, romanized: Vyāsaḥ, lit. 'compiler') or Vedavyasa (वेदव्यासः, Veda-vyāsaḥ, "the one who classified the Vedas"), is a revered sage portrayed in most Hindu traditions. He is traditionally regarded as the author of the epic Mahabharata.
Vyasa is also regarded by many Hindus as a partial incarnation (aṃśa-avatāra) of the god Vishnu and the compiler of the mantras of the Vedas into four Vedas, as well as the author of the eighteen Puranas and the Brahma Sutras. He is one of the seven immortal Chiranjeevis, implying he is still alive in the current Kali yuga.Other texts attributed
Puranas
Vyasa is also credited with the writing of the eighteen major Purāṇas, which are works of Indian literature that cover an encyclopedic range of topics covering various scriptures. He narrated the Devi-Bhagavata Purana to Parikshit's son Janamejaya.Notes
References
Sources
Further reading
The Mahabharata of Krishna-Dwaipayana Vyasa, translated by Kisari Mohan Ganguli, published between 1883 and 1896
The Arthashastra, translated by Shamasastry, 1915
The Vishnu-Purana, translated by H. H. Wilson, 1840
The Bhagavata-Purana, translated by A. C. Bhaktivedanta Swami Prabhupada, 1988 copyright Bhaktivedanta Book Trust
The Jataka or Stories of the Buddha's Former Births, edited by E. B. Cowell, 1895
| 0
|
[
"Vyasa",
"mother",
"Satyavati"
] |
Srimad Bhagavatam
In the Mahabharata
Birth
During her youth, Satyavati was a fisherwoman of Kaivartta clan who used to ferry people across river, to help her father. One day, she helped Parashara to cross the river Yamuna. He was enchanted by her beauty and wanted an heir from her. Initially, Satyavati did not agree, telling that if others would see them, then her purity would be questioned. Parashara created a secret place in bushes of a nearby island and a blanket of thick fog. She conceived and immediately gave birth to a son. Parashara named him Krishna Dvaipayana, referring to his dark complexion and birthplace. Dvaipayana became an adult and promised his mother that he would come to her when needed. Parashara restored Satyavati's virginity, gifted her an enchanting smell and left with his son. Satyavati kept this incident a secret, not telling even King Shantanu whom she was married to later.Connection with the Pandavas and Kauravas
When the children of Vichitravirya grew up, Bhishma got them married to different women. Dhritarashtra was married to Gandhari, princess of Gandhara. Pandu married Kunti and Madri. Pandu left the kingdom, leaving Dhritarashtra as the acting king. Gandhari, during her adolescence, received a boon to have a hundred children but her pregnancy was taking a long period of time. After two years of pregnancy, Gandhari aborted her developing fetus, giving birth to a hard mass that looked like an iron ball. Vyasa came to the kingdom and using his knowledge, he asked to divide the mass into one hundred and one-pieces and put them into pots for incubation. After a year, 101 babies were born. Meanwhile Pandu's wives, Kunti and Madri, were blessed with three and two sons respectively.While everybody rejoiced at the news of the birth of the Pandavas and Kauravas, misery took place in the forest. Pandu, who was cursed, died because of his attempt to make love with Madri. Kunti and the Pandavas returned to Hastinapura. Vyasa, feeling sorrow for his mother's fate, asked her to leave the kingdom and come with him to live a peaceful life. Satyavati, along with her two daughters-in-law, went to the forest.
| 1
|
[
"Vyasa",
"sex or gender",
"male"
] |
Krishna Dvaipayana (Sanskrit: कृष्णद्वैपायन, romanized: Kṛṣṇadvaipāyana), better known as Vyasa (; Sanskrit: व्यासः, romanized: Vyāsaḥ, lit. 'compiler') or Vedavyasa (वेदव्यासः, Veda-vyāsaḥ, "the one who classified the Vedas"), is a revered sage portrayed in most Hindu traditions. He is traditionally regarded as the author of the epic Mahabharata.
Vyasa is also regarded by many Hindus as a partial incarnation (aṃśa-avatāra) of the god Vishnu and the compiler of the mantras of the Vedas into four Vedas, as well as the author of the eighteen Puranas and the Brahma Sutras. He is one of the seven immortal Chiranjeevis, implying he is still alive in the current Kali yuga.Disciples
Vyasa had a son named Shuka, who was his spiritual successor and heir. As per Skanda Purana, Vyasa married Vatikā, alias Pinjalā, who was the daughter of a sage named Jābāli. It is described that Vyasa's union with her produced his heir, who repeated everything that he heard, thus receiving the name Shuka (lit. Parrot). Other texts including the Devi Bhagavata Purana also narrate the birth of Shuka but with drastic differences. Vyasa was desiring an heir, when an apsara (celestial damsel) named Ghritachi flew in front of him in form of a beautiful parrot, causing him sexual arousal. He discharges his semen, which fell on some sticks and a son developed. This time, he was named Shuka because of the role of the celestial parrot. Shuka appears occasionally in the story as a spiritual guide to the young Kuru princes.
Besides his heir, Vyasa had four other disciples — Paila, Jaimini, Vaishampayana and Sumantu. Each one of them was given the responsibility to spread one of the four Vedas. Paila was the made the incharge of Rigveda, Jaimini of the Samaveda, Vaishampayana of the Yajurveda and Sumantu of Atharvaveda.Vyasa is believed to have lived on the banks of Ganga in modern-day Uttarakhand. The site was also the ritual home of the sage Vashishta, along with the Pandavas, the five brothers of the Mahabharata.Vyasa is also mentioned in the Sankara Digvijaya. He confronts Adi Shankara, who has written a commentary on the Brahma-Sutras, in the form of an old Brahmana, and asks for an explanation of the first Sutra. This develops into a debate between Shankara and Vyasa which lasts for eight days. Recognizing the old Brahmana to be Vyasa, Shankara makes obeisance and sings a hymn in his praise. Thereupon, Vyasa inspects and approves Shankara's commentary on the Brahma-Sutras. Adi Shankara, who was supposed to die at the end of his sixteenth year, express his desire to leave his body in the presence of Vyasa. Vyasa dissuades him and blesses him that he may live for another sixteen years to complete his work.
| 3
|
[
"Vyasa",
"child",
"Pandu"
] |
Niyoga and birth of Vichitravirya's sons
Shantanu and Satyavati had two sons, named Chitrāngada and Vichitravirya. Both of them died early without leaving an heir, but Vichitravirya had two wives - Ambika and Ambalika. A widowed Satyavati initially asked her stepson, Bhishma, to marry both the queens, but he refused, citing his vow of celibacy. Satyavati revealed her secret past and requested him to bring her firstborn to impregnate the widows under a tradition called Niyoga. By this time, Vyasa had compiled the Vedas.
Sage Vyasa was unkempt because of months of meditation in the forest. Hence upon seeing him, Ambika who was rather scared shut her eyes, resulting in their child, Dhritarashtra, being born blind. The other queen, Ambalika, turned pale upon meeting Vyasa, which resulted in their child, Pandu, being born pale. Alarmed, Satyavati requested that Vyasa meet Ambika again and grant her another son. Ambika instead sent her maid to meet Vyasa. The duty-bound maid was calm and composed; she had a healthy child who was later named Vidura.
| 4
|
[
"Vyasa",
"religion or worldview",
"Hinduism"
] |
Krishna Dvaipayana (Sanskrit: कृष्णद्वैपायन, romanized: Kṛṣṇadvaipāyana), better known as Vyasa (; Sanskrit: व्यासः, romanized: Vyāsaḥ, lit. 'compiler') or Vedavyasa (वेदव्यासः, Veda-vyāsaḥ, "the one who classified the Vedas"), is a revered sage portrayed in most Hindu traditions. He is traditionally regarded as the author of the epic Mahabharata.
Vyasa is also regarded by many Hindus as a partial incarnation (aṃśa-avatāra) of the god Vishnu and the compiler of the mantras of the Vedas into four Vedas, as well as the author of the eighteen Puranas and the Brahma Sutras. He is one of the seven immortal Chiranjeevis, implying he is still alive in the current Kali yuga.
| 7
|
[
"Vyasa",
"notable work",
"Bhagavad Gita"
] |
Krishna Dvaipayana (Sanskrit: कृष्णद्वैपायन, romanized: Kṛṣṇadvaipāyana), better known as Vyasa (; Sanskrit: व्यासः, romanized: Vyāsaḥ, lit. 'compiler') or Vedavyasa (वेदव्यासः, Veda-vyāsaḥ, "the one who classified the Vedas"), is a revered sage portrayed in most Hindu traditions. He is traditionally regarded as the author of the epic Mahabharata.
Vyasa is also regarded by many Hindus as a partial incarnation (aṃśa-avatāra) of the god Vishnu and the compiler of the mantras of the Vedas into four Vedas, as well as the author of the eighteen Puranas and the Brahma Sutras. He is one of the seven immortal Chiranjeevis, implying he is still alive in the current Kali yuga.
| 9
|
[
"Vyasa",
"occupation",
"poet"
] |
Other texts attributed
Puranas
Vyasa is also credited with the writing of the eighteen major Purāṇas, which are works of Indian literature that cover an encyclopedic range of topics covering various scriptures. He narrated the Devi-Bhagavata Purana to Parikshit's son Janamejaya.
| 10
|
[
"Vyasa",
"occupation",
"compiler"
] |
Krishna Dvaipayana (Sanskrit: कृष्णद्वैपायन, romanized: Kṛṣṇadvaipāyana), better known as Vyasa (; Sanskrit: व्यासः, romanized: Vyāsaḥ, lit. 'compiler') or Vedavyasa (वेदव्यासः, Veda-vyāsaḥ, "the one who classified the Vedas"), is a revered sage portrayed in most Hindu traditions. He is traditionally regarded as the author of the epic Mahabharata.
Vyasa is also regarded by many Hindus as a partial incarnation (aṃśa-avatāra) of the god Vishnu and the compiler of the mantras of the Vedas into four Vedas, as well as the author of the eighteen Puranas and the Brahma Sutras. He is one of the seven immortal Chiranjeevis, implying he is still alive in the current Kali yuga.
| 18
|
[
"Vyasa",
"child",
"Śhukdev"
] |
Disciples
Vyasa had a son named Shuka, who was his spiritual successor and heir. As per Skanda Purana, Vyasa married Vatikā, alias Pinjalā, who was the daughter of a sage named Jābāli. It is described that Vyasa's union with her produced his heir, who repeated everything that he heard, thus receiving the name Shuka (lit. Parrot). Other texts including the Devi Bhagavata Purana also narrate the birth of Shuka but with drastic differences. Vyasa was desiring an heir, when an apsara (celestial damsel) named Ghritachi flew in front of him in form of a beautiful parrot, causing him sexual arousal. He discharges his semen, which fell on some sticks and a son developed. This time, he was named Shuka because of the role of the celestial parrot. Shuka appears occasionally in the story as a spiritual guide to the young Kuru princes.
Besides his heir, Vyasa had four other disciples — Paila, Jaimini, Vaishampayana and Sumantu. Each one of them was given the responsibility to spread one of the four Vedas. Paila was the made the incharge of Rigveda, Jaimini of the Samaveda, Vaishampayana of the Yajurveda and Sumantu of Atharvaveda.Vyasa is believed to have lived on the banks of Ganga in modern-day Uttarakhand. The site was also the ritual home of the sage Vashishta, along with the Pandavas, the five brothers of the Mahabharata.Vyasa is also mentioned in the Sankara Digvijaya. He confronts Adi Shankara, who has written a commentary on the Brahma-Sutras, in the form of an old Brahmana, and asks for an explanation of the first Sutra. This develops into a debate between Shankara and Vyasa which lasts for eight days. Recognizing the old Brahmana to be Vyasa, Shankara makes obeisance and sings a hymn in his praise. Thereupon, Vyasa inspects and approves Shankara's commentary on the Brahma-Sutras. Adi Shankara, who was supposed to die at the end of his sixteenth year, express his desire to leave his body in the presence of Vyasa. Vyasa dissuades him and blesses him that he may live for another sixteen years to complete his work.
| 25
|
[
"This Boy's Life",
"genre",
"coming-of-age fiction"
] |
This Boy's Life is a 1993 American biographical coming-of-age drama film based on the memoir of the same name by author Tobias Wolff. It was directed by Michael Caton-Jones and stars Leonardo DiCaprio as Tobias "Toby" Wolff, Robert De Niro as Toby's stepfather Dwight Hansen, and Ellen Barkin as Toby's mother, Caroline. The movie marked the first time Leonardo DiCaprio and Robert De Niro ever collaborated. The film also features Chris Cooper, Carla Gugino, Eliza Dushku and Tobey Maguire's first credited appearance in a feature-length movie.
It was the first collaboration on-screen between Maguire and DiCaprio, who both later worked in Don's Plum and The Great Gatsby, and also the first collaboration on-screen between DiCaprio and De Niro, who both later worked in Marvin's Room, short film The Audition, and the upcoming film Killers of the Flower Moon.
| 31
|
[
"Zee and Co.",
"country of origin",
"United Kingdom"
] |
Zee and Co (also known as X Y and Zee and Zee and Company) is a 1972 British drama film directed by Brian G. Hutton and starring Elizabeth Taylor, Michael Caine, and Susannah York. Released by Columbia Pictures, it was based upon a novel by Edna O'Brien. The screenplay concerns a middle-aged, bickering couple whose marriage is near its end, and the woman who comes between them.
| 2
|
[
"Zee and Co.",
"instance of",
"film"
] |
Zee and Co (also known as X Y and Zee and Zee and Company) is a 1972 British drama film directed by Brian G. Hutton and starring Elizabeth Taylor, Michael Caine, and Susannah York. Released by Columbia Pictures, it was based upon a novel by Edna O'Brien. The screenplay concerns a middle-aged, bickering couple whose marriage is near its end, and the woman who comes between them.
| 5
|
[
"Zee and Co.",
"production company",
"Columbia Pictures"
] |
Zee and Co (also known as X Y and Zee and Zee and Company) is a 1972 British drama film directed by Brian G. Hutton and starring Elizabeth Taylor, Michael Caine, and Susannah York. Released by Columbia Pictures, it was based upon a novel by Edna O'Brien. The screenplay concerns a middle-aged, bickering couple whose marriage is near its end, and the woman who comes between them.
| 8
|
[
"Zee and Co.",
"distributed by",
"Columbia Pictures"
] |
Zee and Co (also known as X Y and Zee and Zee and Company) is a 1972 British drama film directed by Brian G. Hutton and starring Elizabeth Taylor, Michael Caine, and Susannah York. Released by Columbia Pictures, it was based upon a novel by Edna O'Brien. The screenplay concerns a middle-aged, bickering couple whose marriage is near its end, and the woman who comes between them.
| 9
|
[
"Zee and Co.",
"genre",
"drama film"
] |
Zee and Co (also known as X Y and Zee and Zee and Company) is a 1972 British drama film directed by Brian G. Hutton and starring Elizabeth Taylor, Michael Caine, and Susannah York. Released by Columbia Pictures, it was based upon a novel by Edna O'Brien. The screenplay concerns a middle-aged, bickering couple whose marriage is near its end, and the woman who comes between them.
| 11
|
[
"Zee and Co.",
"director",
"Brian G. Hutton"
] |
Zee and Co (also known as X Y and Zee and Zee and Company) is a 1972 British drama film directed by Brian G. Hutton and starring Elizabeth Taylor, Michael Caine, and Susannah York. Released by Columbia Pictures, it was based upon a novel by Edna O'Brien. The screenplay concerns a middle-aged, bickering couple whose marriage is near its end, and the woman who comes between them.
| 16
|
[
"Term of Trial",
"country of origin",
"United Kingdom"
] |
Term of Trial is a 1962 British drama film written and directed by Peter Glenville and produced by James Woolf for his Romulus Films company, with James H. Ware as associate producer. Its screenplay was based on the 1961 novel of the same name by James Barlow. The music score was by Jean-Michel Damase and the cinematography by Oswald Morris.
The film stars Laurence Olivier, Simone Signoret, Sarah Miles, Terence Stamp, Hugh Griffith, Roland Culver, Dudley Foster and Thora Hird. The film marked the screen debuts of Miles and Stamp.
The film had its world premiere on 16 August 1962 at the Warner Theatre in London's West End.
| 0
|
[
"Term of Trial",
"instance of",
"film"
] |
Term of Trial is a 1962 British drama film written and directed by Peter Glenville and produced by James Woolf for his Romulus Films company, with James H. Ware as associate producer. Its screenplay was based on the 1961 novel of the same name by James Barlow. The music score was by Jean-Michel Damase and the cinematography by Oswald Morris.
The film stars Laurence Olivier, Simone Signoret, Sarah Miles, Terence Stamp, Hugh Griffith, Roland Culver, Dudley Foster and Thora Hird. The film marked the screen debuts of Miles and Stamp.
The film had its world premiere on 16 August 1962 at the Warner Theatre in London's West End.
| 3
|
[
"Term of Trial",
"director",
"Peter Glenville"
] |
Term of Trial is a 1962 British drama film written and directed by Peter Glenville and produced by James Woolf for his Romulus Films company, with James H. Ware as associate producer. Its screenplay was based on the 1961 novel of the same name by James Barlow. The music score was by Jean-Michel Damase and the cinematography by Oswald Morris.
The film stars Laurence Olivier, Simone Signoret, Sarah Miles, Terence Stamp, Hugh Griffith, Roland Culver, Dudley Foster and Thora Hird. The film marked the screen debuts of Miles and Stamp.
The film had its world premiere on 16 August 1962 at the Warner Theatre in London's West End.
| 10
|
[
"Term of Trial",
"composer",
"Jean-Michel Damase"
] |
Term of Trial is a 1962 British drama film written and directed by Peter Glenville and produced by James Woolf for his Romulus Films company, with James H. Ware as associate producer. Its screenplay was based on the 1961 novel of the same name by James Barlow. The music score was by Jean-Michel Damase and the cinematography by Oswald Morris.
The film stars Laurence Olivier, Simone Signoret, Sarah Miles, Terence Stamp, Hugh Griffith, Roland Culver, Dudley Foster and Thora Hird. The film marked the screen debuts of Miles and Stamp.
The film had its world premiere on 16 August 1962 at the Warner Theatre in London's West End.
| 14
|
[
"Kiss Kiss (Bang Bang)",
"country of origin",
"United Kingdom"
] |
Kiss Kiss (Bang Bang) is a 2001 British comedy film written and directed by Stewart Sugg. It features Stellan Skarsgård, Chris Penn, and Paul Bettany.
| 0
|
[
"Kiss Kiss (Bang Bang)",
"genre",
"comedy film"
] |
Kiss Kiss (Bang Bang) is a 2001 British comedy film written and directed by Stewart Sugg. It features Stellan Skarsgård, Chris Penn, and Paul Bettany.
| 3
|
[
"Kiss Kiss (Bang Bang)",
"instance of",
"film"
] |
Kiss Kiss (Bang Bang) is a 2001 British comedy film written and directed by Stewart Sugg. It features Stellan Skarsgård, Chris Penn, and Paul Bettany.
| 4
|
[
"Kiss Kiss (Bang Bang)",
"director",
"Stewart Sugg"
] |
Kiss Kiss (Bang Bang) is a 2001 British comedy film written and directed by Stewart Sugg. It features Stellan Skarsgård, Chris Penn, and Paul Bettany.
| 9
|
[
"Honky Tonk Freeway",
"instance of",
"film"
] |
Filming
The film originally was going to take 83 days to shoot and cost $18 million, with 103 speaking parts. Filming began on 19 February 1980.Spikings later admitted the budget was not set until a week before production. "You can't put a false cap on some pictures," he said. "You've got to allow [the filmmakers] to grow, to break new ground."The budget increased to $23 million due to a combination of factors: the Florida weather, care for the Vietnamese orphans, and various animals in the film.This movie was filmed in the small central Florida town of Mount Dora. The off-ramp filming took place at the I-75 and Palmer Road overpass in Sarasota, Florida. Most of the highway scenes take place on I-75 between Sarasota and Ft. Myers while the highway was still under construction. Dynamite crews blew up a wooden bridge built to look like the southbound lane overpass at I-75 and Palmer Road before the Tampa-to-Miami leg of the highway was completed in 1981. Many portions of Fruitville, Florida, were painted pink to match the sets in Mount Dora and remained pink for decades afterward. Palmer Road never was designated for an I-75 exit because it is not a main thoroughfare. The exit for Fruitville is about two miles north of the filming location. Part of the film was also shot in Salt Lake City, Utah, and New York City.
The final scene cost $1 million.While the film was in post production, Boyd said, "on the strength of a film that hasn't been released yet and which nobody knows will be a success or a flop, Ed Clinton and I are being buried in movie offers."
| 1
|
[
"The Valley (1976 film)",
"instance of",
"film"
] |
Plot
The Valley is about four prospectors who walk into a valley and unwittingly enter a rift in the time/space continuum. As they journey down the valley, one of the prospectors (Ian Middleton) gets taken away by a harpy. Another prospector (Peter Jackson) falls off a cliff. The two remaining (Ken Hammon and Andrew Neal) have to fight and destroy a cyclops. They build a raft, float across a lake, and see a building in ruins. This ruin, unbeknownst to them, is the Beehive building of Wellington city – they have not travelled back in time but ahead into a post-apocalyptic world taken over by mythical beasts.
| 5
|
[
"The Valley (1976 film)",
"genre",
"fantasy film"
] |
The Valley is a 1976 short film made by a then fifteen-year-old Peter Jackson with his friends. It was strongly influenced by the films of Ray Harryhausen. It was filmed silent on a Super 8 camera and was shown on the children's television show Spot On.Plot
The Valley is about four prospectors who walk into a valley and unwittingly enter a rift in the time/space continuum. As they journey down the valley, one of the prospectors (Ian Middleton) gets taken away by a harpy. Another prospector (Peter Jackson) falls off a cliff. The two remaining (Ken Hammon and Andrew Neal) have to fight and destroy a cyclops. They build a raft, float across a lake, and see a building in ruins. This ruin, unbeknownst to them, is the Beehive building of Wellington city – they have not travelled back in time but ahead into a post-apocalyptic world taken over by mythical beasts.
| 6
|
[
"The Prude's Fall",
"instance of",
"silent film"
] |
The Prude's Fall is a 1925 British silent drama film directed by Graham Cutts and starring Jane Novak, Julanne Johnston and Warwick Ward.The film was shot at Islington Studios, produced by a company that would soon develop into Gainsborough Pictures. It was an adaptation of a play by Rudolph Besier and May Edington with the screenplay written by Alfred Hitchcock. Its German title is Seine zweite Frau. It was also known by the alternative title of Dangerous Virtue.
It was not very well regarded. Iris Barry's review in the Daily Mail ran as follows: "An English picture, not of first-rate quality, but with an interesting cast."
| 8
|
[
"The Blackguard",
"director",
"Graham Cutts"
] |
The Blackguard (German: Die Prinzessin und der Geiger) is a 1925 British-German silent drama film directed by Graham Cutts and starring Jane Novak, Walter Rilla, and Frank Stanmore. The film is set against the backdrop of the Russian Revolution during which a violinist (Rilla) saves a princess (Novak) from execution.
| 27
|
[
"The Passionate Adventure",
"country of origin",
"United Kingdom"
] |
The Passionate Adventure is a 1924 British silent drama film directed by Graham Cutts and starring Clive Brook and Alice Joyce. The film was adapted from a novel by Frank Stayton by Alfred Hitchcock and Michael Morton, with Hitchcock also credited as assistant director to Cutts.The Passionate Adventure is also notable as the first film released under the aegis of Michael Balcon's newly formed Gainsborough Pictures.
| 1
|
[
"The Passionate Adventure",
"instance of",
"film"
] |
The Passionate Adventure is a 1924 British silent drama film directed by Graham Cutts and starring Clive Brook and Alice Joyce. The film was adapted from a novel by Frank Stayton by Alfred Hitchcock and Michael Morton, with Hitchcock also credited as assistant director to Cutts.The Passionate Adventure is also notable as the first film released under the aegis of Michael Balcon's newly formed Gainsborough Pictures.
| 7
|
[
"The Passionate Adventure",
"genre",
"silent film"
] |
The Passionate Adventure is a 1924 British silent drama film directed by Graham Cutts and starring Clive Brook and Alice Joyce. The film was adapted from a novel by Frank Stayton by Alfred Hitchcock and Michael Morton, with Hitchcock also credited as assistant director to Cutts.The Passionate Adventure is also notable as the first film released under the aegis of Michael Balcon's newly formed Gainsborough Pictures.
| 9
|
[
"The Passionate Adventure",
"genre",
"drama film"
] |
The Passionate Adventure is a 1924 British silent drama film directed by Graham Cutts and starring Clive Brook and Alice Joyce. The film was adapted from a novel by Frank Stayton by Alfred Hitchcock and Michael Morton, with Hitchcock also credited as assistant director to Cutts.The Passionate Adventure is also notable as the first film released under the aegis of Michael Balcon's newly formed Gainsborough Pictures.
| 10
|
[
"The Passionate Adventure",
"director",
"Graham Cutts"
] |
The Passionate Adventure is a 1924 British silent drama film directed by Graham Cutts and starring Clive Brook and Alice Joyce. The film was adapted from a novel by Frank Stayton by Alfred Hitchcock and Michael Morton, with Hitchcock also credited as assistant director to Cutts.The Passionate Adventure is also notable as the first film released under the aegis of Michael Balcon's newly formed Gainsborough Pictures.
| 15
|
[
"The Passionate Adventure",
"production company",
"Gainsborough Pictures"
] |
The Passionate Adventure is a 1924 British silent drama film directed by Graham Cutts and starring Clive Brook and Alice Joyce. The film was adapted from a novel by Frank Stayton by Alfred Hitchcock and Michael Morton, with Hitchcock also credited as assistant director to Cutts.The Passionate Adventure is also notable as the first film released under the aegis of Michael Balcon's newly formed Gainsborough Pictures.
| 18
|
[
"The Passionate Adventure",
"producer",
"Michael Balcon"
] |
The Passionate Adventure is a 1924 British silent drama film directed by Graham Cutts and starring Clive Brook and Alice Joyce. The film was adapted from a novel by Frank Stayton by Alfred Hitchcock and Michael Morton, with Hitchcock also credited as assistant director to Cutts.The Passionate Adventure is also notable as the first film released under the aegis of Michael Balcon's newly formed Gainsborough Pictures.
| 19
|
[
"Champagne (1928 film)",
"instance of",
"film"
] |
Champagne is a 1928 British silent comedy film directed by Alfred Hitchcock and starring Betty Balfour, Gordon Harker and Jean Bradin. The screenplay was based on an original story by writer and critic Walter C. Mycroft. The film is about a young woman forced to get a job after her father tells her he has lost all his money.Cast
Betty Balfour – Betty
Jean Bradin – The Boy
Gordon Harker – Mark, Betty's Father
Ferdinand von Alten – The Man (as Theo von Alten)Supporting cast, all uncredited:
| 5
|
[
"Champagne (1928 film)",
"genre",
"comedy film"
] |
Champagne is a 1928 British silent comedy film directed by Alfred Hitchcock and starring Betty Balfour, Gordon Harker and Jean Bradin. The screenplay was based on an original story by writer and critic Walter C. Mycroft. The film is about a young woman forced to get a job after her father tells her he has lost all his money.
| 7
|
[
"Champagne (1928 film)",
"genre",
"silent film"
] |
Champagne is a 1928 British silent comedy film directed by Alfred Hitchcock and starring Betty Balfour, Gordon Harker and Jean Bradin. The screenplay was based on an original story by writer and critic Walter C. Mycroft. The film is about a young woman forced to get a job after her father tells her he has lost all his money.Cast
Betty Balfour – Betty
Jean Bradin – The Boy
Gordon Harker – Mark, Betty's Father
Ferdinand von Alten – The Man (as Theo von Alten)Supporting cast, all uncredited:
| 9
|
[
"The White Shadow (film)",
"country of origin",
"United Kingdom"
] |
The White Shadow, also known as White Shadows in the United States, is a 1923 British drama film directed by Graham Cutts and starring Betty Compson, Clive Brook, and Henry Victor.
| 0
|
[
"The White Shadow (film)",
"instance of",
"film"
] |
The White Shadow, also known as White Shadows in the United States, is a 1923 British drama film directed by Graham Cutts and starring Betty Compson, Clive Brook, and Henry Victor.
| 7
|
[
"The White Shadow (film)",
"genre",
"drama film"
] |
The White Shadow, also known as White Shadows in the United States, is a 1923 British drama film directed by Graham Cutts and starring Betty Compson, Clive Brook, and Henry Victor.
| 9
|
[
"Alexander Nevsky (film)",
"director",
"Sergei Eisenstein"
] |
Alexander Nevsky (Russian: Алекса́ндр Не́вский) is a 1938 Soviet historical drama film directed by Sergei Eisenstein. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263).
Eisenstein made the film in association with Dmitri Vasilyev and with a script co-written with Pyotr Pavlenko; they were assigned to ensure that Eisenstein did not stray into "formalism" and to facilitate shooting on a reasonable timetable. It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev. Alexander Nevsky was the first and most popular of Eisenstein's three sound films. Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize in 1941 for the film.
In 1978, the film was included in the world's 100 best motion pictures according to an opinion poll conducted by the Italian publishing house Arnoldo Mondadori Editore.Russia Beyond considers the film one of the 10 best Russian war films.
| 0
|
[
"Alexander Nevsky (film)",
"instance of",
"film"
] |
Alexander Nevsky (Russian: Алекса́ндр Не́вский) is a 1938 Soviet historical drama film directed by Sergei Eisenstein. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263).
Eisenstein made the film in association with Dmitri Vasilyev and with a script co-written with Pyotr Pavlenko; they were assigned to ensure that Eisenstein did not stray into "formalism" and to facilitate shooting on a reasonable timetable. It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev. Alexander Nevsky was the first and most popular of Eisenstein's three sound films. Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize in 1941 for the film.
In 1978, the film was included in the world's 100 best motion pictures according to an opinion poll conducted by the Italian publishing house Arnoldo Mondadori Editore.Russia Beyond considers the film one of the 10 best Russian war films.Style
Alexander Nevsky is less experimental in its narrative structure than Eisenstein's previous films; it tells one story with a single narrative arc and focuses on one main character. The special effects and cinematography were some of the most advanced at the time.The film climaxes in the half-hour Battle of the Ice, propelled by Prokofiev's ominous, rousing, triumphant musical narrative, a sequence that has served as a model for epic movie battles ever since (e.g., Henry V, Spartacus, The Empire Strikes Back). This climactic set piece was the first to be filmed and, since it was shot during a blazing hot summer on a location outside Moscow, cinematographer Eduard Tisse had to take extraordinary steps to render a wintry landscape, including: use of a filter to suggest winter light, painting all the trees light blue and dusting them with chalk, creating an artificial horizon out of sand, and constructing simulated ice sheets out of asphalt and melted glass, supported by floating pontoons that were deflated on cue so that the ersatz ice sheets would shatter under the weight of the Teutonic knights according to pre-cut patterns.Films
Scenes from the film were later incorporated into the American propaganda film The Battle of Russia (1943)
Love and Death (1975), written and directed by Woody Allen, parodies Russian film and literature. The film used the Alexander Nevsky score.
Wizards (1977) uses stock footage from the film in its battle sequences, which were animated using rotoscoping.
Certain scenes in John Milius's fantasy epic Conan the Barbarian (1982) were influenced by Alexander Nevsky. The introduction of Thulsa Doom and his henchmen after the destruction of Conan's village is reminiscent of the depiction of the Grand Master of the Teutonic Knights and his fellow knights after the conquest of Pskov. With its score and choreography, the final ride and attack of the Riders of Doom against Conan resembles the Teutonic Order's cavalry approaching Nevsky in the Battle of Lake Peipus; also, the Enigma of Steel, a major theme of the Conan film, is already mentioned by Nevsky during the final Battle of the Ice.
In Red Dawn (1984), the marquee at the movie theater in occupied America is showing the film. Red Dawn itself, in some ways, is a variation on the theme of insurgency and rebellion in Alexander Nevsky.
Several additional films have scenes strongly influenced by the depiction of the Battle on the Ice, including:
Doctor Zhivago (1965)
Chimes at Midnight (1965)
Billion Dollar Brain (1967)
The Empire Strikes Back (1980)
Mulan (1998)
King Arthur (2004)
| 5
|
[
"Alexander Nevsky (film)",
"composer",
"Sergei Prokofiev"
] |
Alexander Nevsky (Russian: Алекса́ндр Не́вский) is a 1938 Soviet historical drama film directed by Sergei Eisenstein. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263).
Eisenstein made the film in association with Dmitri Vasilyev and with a script co-written with Pyotr Pavlenko; they were assigned to ensure that Eisenstein did not stray into "formalism" and to facilitate shooting on a reasonable timetable. It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev. Alexander Nevsky was the first and most popular of Eisenstein's three sound films. Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize in 1941 for the film.
In 1978, the film was included in the world's 100 best motion pictures according to an opinion poll conducted by the Italian publishing house Arnoldo Mondadori Editore.Russia Beyond considers the film one of the 10 best Russian war films.Musical score
The film was the first of Eisenstein's dramatic films to use sound. (The earlier Bezhin Meadow had also used sound, but production was shut down and most of the finished scenes were destroyed.) The film's score was composed by Sergei Prokofiev, who later reworked the score into a concert cantata. The creation of Alexander Nevsky was a collaboration in the fullest sense of the word: some of the film was shot to Prokofiev's music and some of Prokofiev's music was composed to Eisenstein's footage. Prokofiev viewed the film's rough cut as the first step in composing its inimitable score. The strong and technically innovative collaboration between Eisenstein and Prokofiev in the editing process resulted in a match of music and imagery that remains a standard for filmmakers. Valery Gergiev, the principal conductor of the London Symphony Orchestra, has stated his opinion that Prokofiev's music for this film is "the best ever composed for the cinema".
| 6
|
[
"Alexander Nevsky (film)",
"film editor",
"Sergei Eisenstein"
] |
Alexander Nevsky (Russian: Алекса́ндр Не́вский) is a 1938 Soviet historical drama film directed by Sergei Eisenstein. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263).
Eisenstein made the film in association with Dmitri Vasilyev and with a script co-written with Pyotr Pavlenko; they were assigned to ensure that Eisenstein did not stray into "formalism" and to facilitate shooting on a reasonable timetable. It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev. Alexander Nevsky was the first and most popular of Eisenstein's three sound films. Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize in 1941 for the film.
In 1978, the film was included in the world's 100 best motion pictures according to an opinion poll conducted by the Italian publishing house Arnoldo Mondadori Editore.Russia Beyond considers the film one of the 10 best Russian war films.
| 7
|
[
"Alexander Nevsky (film)",
"genre",
"historical film"
] |
Alexander Nevsky (Russian: Алекса́ндр Не́вский) is a 1938 Soviet historical drama film directed by Sergei Eisenstein. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263).
Eisenstein made the film in association with Dmitri Vasilyev and with a script co-written with Pyotr Pavlenko; they were assigned to ensure that Eisenstein did not stray into "formalism" and to facilitate shooting on a reasonable timetable. It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev. Alexander Nevsky was the first and most popular of Eisenstein's three sound films. Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize in 1941 for the film.
In 1978, the film was included in the world's 100 best motion pictures according to an opinion poll conducted by the Italian publishing house Arnoldo Mondadori Editore.Russia Beyond considers the film one of the 10 best Russian war films.
| 10
|
[
"Alexander Nevsky (film)",
"production company",
"Mosfilm"
] |
Alexander Nevsky (Russian: Алекса́ндр Не́вский) is a 1938 Soviet historical drama film directed by Sergei Eisenstein. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263).
Eisenstein made the film in association with Dmitri Vasilyev and with a script co-written with Pyotr Pavlenko; they were assigned to ensure that Eisenstein did not stray into "formalism" and to facilitate shooting on a reasonable timetable. It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev. Alexander Nevsky was the first and most popular of Eisenstein's three sound films. Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize in 1941 for the film.
In 1978, the film was included in the world's 100 best motion pictures according to an opinion poll conducted by the Italian publishing house Arnoldo Mondadori Editore.Russia Beyond considers the film one of the 10 best Russian war films.
| 13
|
[
"Alexander Nevsky (film)",
"genre",
"epic film"
] |
Alexander Nevsky (Russian: Алекса́ндр Не́вский) is a 1938 Soviet historical drama film directed by Sergei Eisenstein. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263).
Eisenstein made the film in association with Dmitri Vasilyev and with a script co-written with Pyotr Pavlenko; they were assigned to ensure that Eisenstein did not stray into "formalism" and to facilitate shooting on a reasonable timetable. It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev. Alexander Nevsky was the first and most popular of Eisenstein's three sound films. Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize in 1941 for the film.
In 1978, the film was included in the world's 100 best motion pictures according to an opinion poll conducted by the Italian publishing house Arnoldo Mondadori Editore.Russia Beyond considers the film one of the 10 best Russian war films.
| 15
|
[
"Alexander Nevsky (film)",
"genre",
"medieval film"
] |
Alexander Nevsky (Russian: Алекса́ндр Не́вский) is a 1938 Soviet historical drama film directed by Sergei Eisenstein. It depicts the attempted invasion of Novgorod in the 13th century by the Teutonic Knights of the Holy Roman Empire and their defeat by Prince Alexander, known popularly as Alexander Nevsky (1220–1263).
Eisenstein made the film in association with Dmitri Vasilyev and with a script co-written with Pyotr Pavlenko; they were assigned to ensure that Eisenstein did not stray into "formalism" and to facilitate shooting on a reasonable timetable. It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev. Alexander Nevsky was the first and most popular of Eisenstein's three sound films. Eisenstein, Pavlenko, Cherkasov and Abrikosov were awarded the Stalin Prize in 1941 for the film.
In 1978, the film was included in the world's 100 best motion pictures according to an opinion poll conducted by the Italian publishing house Arnoldo Mondadori Editore.Russia Beyond considers the film one of the 10 best Russian war films.
| 31
|
[
"Strike (1925 film)",
"director",
"Sergei Eisenstein"
] |
Strike (Russian: Стачка, romanized: Stachka) is a 1925 Soviet silent drama film directed and edited by Sergei Eisenstein. Originating as one entry out of a proposed seven-part series titled "Towards Dictatorship of the Proletariat", Strike was a joint collaboration between the Proletcult Theatre and the film studio Goskino. As Eisenstein's first full-length feature film, it marked his transition from theatre to cinema, and his next film Battleship Potemkin emerged from the same film cycle.
Arranged in six parts, the film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. It is best known for a sequence towards the climax, in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered, and similar animal metaphors are used throughout the film to describe of various individuals.
Upon release, Strike received praise from critics, but many audiences were confused by its eccentric style. It received little international distribution until its reappraisal during the 1950s and 1960s. It is now recognized as one of Eisenstein's more accessible works and a major influence on many of his contemporaries.
| 0
|
[
"Strike (1925 film)",
"film editor",
"Sergei Eisenstein"
] |
Strike (Russian: Стачка, romanized: Stachka) is a 1925 Soviet silent drama film directed and edited by Sergei Eisenstein. Originating as one entry out of a proposed seven-part series titled "Towards Dictatorship of the Proletariat", Strike was a joint collaboration between the Proletcult Theatre and the film studio Goskino. As Eisenstein's first full-length feature film, it marked his transition from theatre to cinema, and his next film Battleship Potemkin emerged from the same film cycle.
Arranged in six parts, the film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. It is best known for a sequence towards the climax, in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered, and similar animal metaphors are used throughout the film to describe of various individuals.
Upon release, Strike received praise from critics, but many audiences were confused by its eccentric style. It received little international distribution until its reappraisal during the 1950s and 1960s. It is now recognized as one of Eisenstein's more accessible works and a major influence on many of his contemporaries.
| 3
|
[
"Strike (1925 film)",
"instance of",
"film"
] |
Strike (Russian: Стачка, romanized: Stachka) is a 1925 Soviet silent drama film directed and edited by Sergei Eisenstein. Originating as one entry out of a proposed seven-part series titled "Towards Dictatorship of the Proletariat", Strike was a joint collaboration between the Proletcult Theatre and the film studio Goskino. As Eisenstein's first full-length feature film, it marked his transition from theatre to cinema, and his next film Battleship Potemkin emerged from the same film cycle.
Arranged in six parts, the film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. It is best known for a sequence towards the climax, in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered, and similar animal metaphors are used throughout the film to describe of various individuals.
Upon release, Strike received praise from critics, but many audiences were confused by its eccentric style. It received little international distribution until its reappraisal during the 1950s and 1960s. It is now recognized as one of Eisenstein's more accessible works and a major influence on many of his contemporaries.Style and themes
Strike applies Eisenstein's principle of "montage of attractions". Developed during his work in theatre, the principle stipulates that each moment of a work should be filled with surprise and intensity. His influential essay, Montage of Attractions, was written between production and premiere.Eisenstein's editing is rapid, even compared to other Soviet filmmakers of the era. Strike has an average shot length of 2.5 seconds, less than half that of a typical Hollywood film. Dissolves, traditionally used to indicate the passage of time between shots, are used instead as a visual effect. In some scenes, the aspect ratio is dynamic, with masks in front of the camera being added or removed to change the framing of a shot. The film also makes use of multiple exposures and iris shots.Eisenstein uses multiple visual motifs that, after being established with one side of the conflict, change over the course of the narrative arc. Early on, animal identities distinguish the police spies, and pushing goat in a wheelbarrow is equated to throwing out the factory manager. At the end of the film, shots of a bull being slaughtered are used to symbolize violence against the workers. Images of puddles and swimming link water to the workers early in the film. Later on, a heavy rain appears during the capture of the first leader, and firemen attack the workers with large jets of water. Circular shapes are originally associated with the workers, through images of spinning flywheels and turbines. During the strike the wheels are stopped, and the motif reappears as the barrels in which the provocateurs live and the wheels of the fire truck.
| 4
|
[
"Strike (1925 film)",
"followed by",
"Battleship Potemkin"
] |
Strike (Russian: Стачка, romanized: Stachka) is a 1925 Soviet silent drama film directed and edited by Sergei Eisenstein. Originating as one entry out of a proposed seven-part series titled "Towards Dictatorship of the Proletariat", Strike was a joint collaboration between the Proletcult Theatre and the film studio Goskino. As Eisenstein's first full-length feature film, it marked his transition from theatre to cinema, and his next film Battleship Potemkin emerged from the same film cycle.
Arranged in six parts, the film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. It is best known for a sequence towards the climax, in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered, and similar animal metaphors are used throughout the film to describe of various individuals.
Upon release, Strike received praise from critics, but many audiences were confused by its eccentric style. It received little international distribution until its reappraisal during the 1950s and 1960s. It is now recognized as one of Eisenstein's more accessible works and a major influence on many of his contemporaries.
| 6
|
[
"Strike (1925 film)",
"genre",
"silent film"
] |
Strike (Russian: Стачка, romanized: Stachka) is a 1925 Soviet silent drama film directed and edited by Sergei Eisenstein. Originating as one entry out of a proposed seven-part series titled "Towards Dictatorship of the Proletariat", Strike was a joint collaboration between the Proletcult Theatre and the film studio Goskino. As Eisenstein's first full-length feature film, it marked his transition from theatre to cinema, and his next film Battleship Potemkin emerged from the same film cycle.
Arranged in six parts, the film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. It is best known for a sequence towards the climax, in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered, and similar animal metaphors are used throughout the film to describe of various individuals.
Upon release, Strike received praise from critics, but many audiences were confused by its eccentric style. It received little international distribution until its reappraisal during the 1950s and 1960s. It is now recognized as one of Eisenstein's more accessible works and a major influence on many of his contemporaries.
| 9
|
[
"Strike (1925 film)",
"country of origin",
"Soviet Union"
] |
Strike (Russian: Стачка, romanized: Stachka) is a 1925 Soviet silent drama film directed and edited by Sergei Eisenstein. Originating as one entry out of a proposed seven-part series titled "Towards Dictatorship of the Proletariat", Strike was a joint collaboration between the Proletcult Theatre and the film studio Goskino. As Eisenstein's first full-length feature film, it marked his transition from theatre to cinema, and his next film Battleship Potemkin emerged from the same film cycle.
Arranged in six parts, the film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. It is best known for a sequence towards the climax, in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered, and similar animal metaphors are used throughout the film to describe of various individuals.
Upon release, Strike received praise from critics, but many audiences were confused by its eccentric style. It received little international distribution until its reappraisal during the 1950s and 1960s. It is now recognized as one of Eisenstein's more accessible works and a major influence on many of his contemporaries.
| 10
|
[
"Strike (1925 film)",
"genre",
"propaganda film"
] |
Strike (Russian: Стачка, romanized: Stachka) is a 1925 Soviet silent drama film directed and edited by Sergei Eisenstein. Originating as one entry out of a proposed seven-part series titled "Towards Dictatorship of the Proletariat", Strike was a joint collaboration between the Proletcult Theatre and the film studio Goskino. As Eisenstein's first full-length feature film, it marked his transition from theatre to cinema, and his next film Battleship Potemkin emerged from the same film cycle.
Arranged in six parts, the film depicts a strike in 1903 by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. It is best known for a sequence towards the climax, in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered, and similar animal metaphors are used throughout the film to describe of various individuals.
Upon release, Strike received praise from critics, but many audiences were confused by its eccentric style. It received little international distribution until its reappraisal during the 1950s and 1960s. It is now recognized as one of Eisenstein's more accessible works and a major influence on many of his contemporaries.
| 20
|
[
"Battleship Potemkin",
"director",
"Sergei Eisenstein"
] |
Battleship Potemkin (Russian: Бронено́сец «Потёмкин», Bronenosets Potyomkin), sometimes rendered as Battleship Potyomkin, is a 1925 Soviet silent
drama film produced by Mosfilm. Directed and co-written by Sergei Eisenstein, it presents a dramatization of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against its officers.
In 1958, the film was voted number 1 on the prestigious Brussels 12 list at the 1958 World Expo. Battleship Potemkin is widely considered one of the greatest films of all time. In the most recent Sight and Sound critics' poll in 2022, it was voted the fifty-fourth-greatest film of all time, and it placed in the top 10 in many previous editions.
| 0
|
[
"Battleship Potemkin",
"creator",
"Sergei Eisenstein"
] |
Battleship Potemkin (Russian: Бронено́сец «Потёмкин», Bronenosets Potyomkin), sometimes rendered as Battleship Potyomkin, is a 1925 Soviet silent
drama film produced by Mosfilm. Directed and co-written by Sergei Eisenstein, it presents a dramatization of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against its officers.
In 1958, the film was voted number 1 on the prestigious Brussels 12 list at the 1958 World Expo. Battleship Potemkin is widely considered one of the greatest films of all time. In the most recent Sight and Sound critics' poll in 2022, it was voted the fifty-fourth-greatest film of all time, and it placed in the top 10 in many previous editions.
| 3
|
[
"Battleship Potemkin",
"instance of",
"film"
] |
Plot
The film is set in June 1905; the protagonists of the film are the members of the crew of the Potemkin, a battleship of the Imperial Russian Navy's Black Sea Fleet. Eisenstein divided the plot into five acts, each with its own title:
| 5
|
[
"Battleship Potemkin",
"color",
"black and white"
] |
Production
On the 20th anniversary of the first Russian revolution, the commemorative commission of the All-Russian Central Executive Committee decided to stage a number of performances dedicated to the revolutionary events of 1905. As part of the celebrations, it was suggested that a "... grand film [be] shown in a special program, with an oratory introduction, musical (solo and orchestral) and a dramatic accompaniment based on a specially written text". Nina Agadzhanova was asked to write the script and direction of the picture was assigned to 27-year-old Sergei Eisenstein.In the original script, the film was to highlight a number of episodes from the 1905 revolution: the Russo-Japanese War, Armenian–Tatar massacres of 1905–1907, revolutionary events in St. Petersburg and the Moscow uprising. Filming was to be conducted in a number of cities within the USSR.Eisenstein hired many non-professional actors for the film; he sought people of specific types instead of famous stars.Shooting began on 31 March 1925. Eisenstein began filming in Leningrad and had time to shoot the railway strike episode, horsecar, city at night and the strike crackdown on Sadovaya Street. Further shooting was prevented by deteriorating weather, with fog setting in. At the same time, the director faced tight time constraints: the film needed to be finished by the end of the year, although the script was approved only on 4 June. Eisenstein decided to give up the original script consisting of eight episodes, to focus on just one, the uprising on the battleship Potemkin, which involved just a few pages (41 frames) from Agadzhanova's script. Eisenstein and Grigori Aleksandrov essentially recycled and extended the script. In addition, during the progress of making the film, some episodes were added that had existed neither in Agadzhanova's script nor in Eisenstein's scenic sketches, such as the storm scene with which the film begins. As a result, the content of the film was far removed from Agadzhanova's original script.
The film was shot in Odessa, at that time a center of film production where it was possible to find a suitable warship for shooting.
The first screening of the film took place on 21 December 1925 at a ceremonial meeting dedicated to the anniversary of the 1905 revolution at the Bolshoi Theatre. The premiere was held in Moscow on 18 January 1926, in the 1st Goskinoteatre (now called the Khudozhestvenny).The silent film received a voice dubbing in 1930, was restored in 1950 (composer Nikolai Kryukov) and reissued in 1976 (composer Dmitri Shostakovich) at Mosfilm with the participation of the USSR State Film Fund and the Museum of S.M. Eisenstein under the artistic direction of Sergei Yutkevich.
In 1925, after sale of the film's negatives to Germany and reediting by director Phil Jutzi, Battleship Potemkin was released internationally in a different version from that originally intended. The attempted execution of sailors was moved from the beginning to the end of the film. Later it was subjected to censorship, and in the USSR some frames and intermediate titles were removed. The words of Leon Trotsky in the prologue were replaced with a quote from Lenin. In 2005, under the overall guidance of the Foundation Deutsche Kinemathek, with the participation of the State Film Fund and the Russian State Archive of Literature and Art, the author's version of the film was restored, including the music by Edmund Meisel.The battleship Kniaz Potemkin Tarritcheski, later renamed Panteleimon and then Boretz Za Svobodu, was derelict and in the process of being scrapped at the time of the film shoot. It is usually stated that the battleship Dvenadsat Apostolov was used instead, but she was a very different design of vessel from that of the Potemkin, and the film footage matches the battleship Rostislav more closely. The Rostislav had been scuttled in 1920, but her superstructure remained completely above water until 1930. Interior scenes were filmed on the cruiser Komintern. Stock footage of Potemkin was used to show her at sea, and stock footage of the French fleet depicted the waiting Russian Black Sea fleet. Anachronistic footage of triple-gun-turret Russian dreadnoughts was also included.In the film, the rebels raise a red flag on the battleship, but the orthochromatic black-and-white film stock of the period made the color red look black, so a white flag was used instead. Eisenstein hand-tinted the flag in red in 108 frames for the premiere at the Grand Theatre, which was greeted with thunderous applause by the Bolshevik audience.
| 15
|
[
"Battleship Potemkin",
"genre",
"silent film"
] |
Battleship Potemkin (Russian: Бронено́сец «Потёмкин», Bronenosets Potyomkin), sometimes rendered as Battleship Potyomkin, is a 1925 Soviet silent
drama film produced by Mosfilm. Directed and co-written by Sergei Eisenstein, it presents a dramatization of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against its officers.
In 1958, the film was voted number 1 on the prestigious Brussels 12 list at the 1958 World Expo. Battleship Potemkin is widely considered one of the greatest films of all time. In the most recent Sight and Sound critics' poll in 2022, it was voted the fifty-fourth-greatest film of all time, and it placed in the top 10 in many previous editions.
| 20
|
[
"Battleship Potemkin",
"composer",
"Nikolay Kryukov"
] |
Production
On the 20th anniversary of the first Russian revolution, the commemorative commission of the All-Russian Central Executive Committee decided to stage a number of performances dedicated to the revolutionary events of 1905. As part of the celebrations, it was suggested that a "... grand film [be] shown in a special program, with an oratory introduction, musical (solo and orchestral) and a dramatic accompaniment based on a specially written text". Nina Agadzhanova was asked to write the script and direction of the picture was assigned to 27-year-old Sergei Eisenstein.In the original script, the film was to highlight a number of episodes from the 1905 revolution: the Russo-Japanese War, Armenian–Tatar massacres of 1905–1907, revolutionary events in St. Petersburg and the Moscow uprising. Filming was to be conducted in a number of cities within the USSR.Eisenstein hired many non-professional actors for the film; he sought people of specific types instead of famous stars.Shooting began on 31 March 1925. Eisenstein began filming in Leningrad and had time to shoot the railway strike episode, horsecar, city at night and the strike crackdown on Sadovaya Street. Further shooting was prevented by deteriorating weather, with fog setting in. At the same time, the director faced tight time constraints: the film needed to be finished by the end of the year, although the script was approved only on 4 June. Eisenstein decided to give up the original script consisting of eight episodes, to focus on just one, the uprising on the battleship Potemkin, which involved just a few pages (41 frames) from Agadzhanova's script. Eisenstein and Grigori Aleksandrov essentially recycled and extended the script. In addition, during the progress of making the film, some episodes were added that had existed neither in Agadzhanova's script nor in Eisenstein's scenic sketches, such as the storm scene with which the film begins. As a result, the content of the film was far removed from Agadzhanova's original script.
The film was shot in Odessa, at that time a center of film production where it was possible to find a suitable warship for shooting.
The first screening of the film took place on 21 December 1925 at a ceremonial meeting dedicated to the anniversary of the 1905 revolution at the Bolshoi Theatre. The premiere was held in Moscow on 18 January 1926, in the 1st Goskinoteatre (now called the Khudozhestvenny).The silent film received a voice dubbing in 1930, was restored in 1950 (composer Nikolai Kryukov) and reissued in 1976 (composer Dmitri Shostakovich) at Mosfilm with the participation of the USSR State Film Fund and the Museum of S.M. Eisenstein under the artistic direction of Sergei Yutkevich.
In 1925, after sale of the film's negatives to Germany and reediting by director Phil Jutzi, Battleship Potemkin was released internationally in a different version from that originally intended. The attempted execution of sailors was moved from the beginning to the end of the film. Later it was subjected to censorship, and in the USSR some frames and intermediate titles were removed. The words of Leon Trotsky in the prologue were replaced with a quote from Lenin. In 2005, under the overall guidance of the Foundation Deutsche Kinemathek, with the participation of the State Film Fund and the Russian State Archive of Literature and Art, the author's version of the film was restored, including the music by Edmund Meisel.The battleship Kniaz Potemkin Tarritcheski, later renamed Panteleimon and then Boretz Za Svobodu, was derelict and in the process of being scrapped at the time of the film shoot. It is usually stated that the battleship Dvenadsat Apostolov was used instead, but she was a very different design of vessel from that of the Potemkin, and the film footage matches the battleship Rostislav more closely. The Rostislav had been scuttled in 1920, but her superstructure remained completely above water until 1930. Interior scenes were filmed on the cruiser Komintern. Stock footage of Potemkin was used to show her at sea, and stock footage of the French fleet depicted the waiting Russian Black Sea fleet. Anachronistic footage of triple-gun-turret Russian dreadnoughts was also included.In the film, the rebels raise a red flag on the battleship, but the orthochromatic black-and-white film stock of the period made the color red look black, so a white flag was used instead. Eisenstein hand-tinted the flag in red in 108 frames for the premiere at the Grand Theatre, which was greeted with thunderous applause by the Bolshevik audience.Soundtracks
In order to retain its relevance as a propaganda film for each new generation, Eisenstein hoped the score would be rewritten every 20 years. The original score was composed by Edmund Meisel. A salon orchestra performed the Berlin premiere in 1926. The instruments were flute/piccolo, trumpet, trombone, harmonium, percussion and strings without viola. Meisel wrote the score in twelve days because of the late approval of film censors. As time was so short Meisel repeated sections of the score. Composer/conductor Mark-Andreas Schlingensiepen has reorchestrated the original piano score to fit the version of the film available today.
Nikolai Kryukov composed a new score in 1950 for the 25th anniversary. In 1985, Chris Jarrett composed a solo piano accompaniment for the movie. In 1986 Eric Allaman wrote an electronic score for a showing that took place at the 1986 Berlin International Film Festival. The music was commissioned by the organizers, who wanted to commemorate the 60th anniversary of the film's German premiere. The score was played only at this premiere and has not been released on CD or DVD. Contemporary reviews were largely positive apart from negative comment because the music was electronic. Allaman also wrote an opera about Battleship Potemkin, which is musically separate from the film score.
In commercial format, on DVD for example, the film is usually accompanied by classical music added for the "50th anniversary edition" released in 1975. Three symphonies from Dmitri Shostakovich have been used, with No. 5, beginning and ending the film, being the most prominent. A version of the film offered by the Internet Archive has a soundtrack that also makes heavy use of the symphonies of Shostakovich, including his Fourth, Fifth, Eighth, Tenth, and Eleventh.
In 2007, Del Rey & The Sun Kings also recorded this soundtrack. In an attempt to make the film relevant to the 21st century, Neil Tennant and Chris Lowe (of the Pet Shop Boys) composed a soundtrack in 2004 with the Dresden Symphonic Orchestra. Their soundtrack, released in 2005 as Battleship Potemkin, premiered in September 2004 at an open-air concert in Trafalgar Square, London. There were four further live performances of the work with the Dresdner Sinfoniker in Germany in September 2005, and one at the Swan Hunter shipyard in Newcastle upon Tyne in 2006.
The avant-garde jazz ensemble Club Foot Orchestra has also re-scored the film, and performed live accompanying the film with a score by Richard Marriott, conducted by Deirdre McClure. For the 2005 restoration of the film, under the direction of Enno Patalas in collaboration with Anna Bohn, released on DVD and Blu-ray, the Deutsche Kinemathek - Museum fur Film und Fernsehen, commissioned a re-recording of the original Edmund Meisel score, performed by the Babelsberg Orchestra, conducted by Helmut Imig. In 2011 the most recent restoration was completed with an entirely new soundtrack by members of the Apskaft group. Contributing members were AER20-200, awaycaboose, Ditzky, Drn Drn, Foucault V, fydhws, Hox Vox, Lurholm, mexicanvader, Quendus, Res Band, -Soundso- and speculativism. The entire film was digitally restored to a sharper image by Gianluca Missero (who records under the name Hox Vox). The new version is available at the Internet Archive.A new score for Battleship Potemkin was composed in 2011 by Michael Nyman, and is regularly performed by the Michael Nyman Band. The Berklee Silent Film Orchestra also composed a new score for the film in 2011, and performed it live to picture at the John F. Kennedy Center for the Performing Arts, in Washington, D.C. A new electroacoustic score by the composers collective Edison Studio was first performed live in Naples at Cinema Astra for Scarlatti Contemporanea Festival on 25 October 2017 and published on DVD in 5.1 surround sound by Cineteca di Bologna in the "L'Immagine Ritrovata" series, along with a second audio track with a recording of the Meisel's score conducted by Helmut Imig.
| 24
|
[
"Battleship Potemkin",
"production company",
"Mosfilm"
] |
Battleship Potemkin (Russian: Бронено́сец «Потёмкин», Bronenosets Potyomkin), sometimes rendered as Battleship Potyomkin, is a 1925 Soviet silent
drama film produced by Mosfilm. Directed and co-written by Sergei Eisenstein, it presents a dramatization of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against its officers.
In 1958, the film was voted number 1 on the prestigious Brussels 12 list at the 1958 World Expo. Battleship Potemkin is widely considered one of the greatest films of all time. In the most recent Sight and Sound critics' poll in 2022, it was voted the fifty-fourth-greatest film of all time, and it placed in the top 10 in many previous editions.
| 37
|
[
"Glumov's Diary",
"director",
"Sergei Eisenstein"
] |
Glumov's Diary (Russian: Дневник Глумова, romanized: Dnevnik Glumova) is a 1923 Soviet short silent film, which was the first film directed by Sergei Eisenstein. It was conceived as a part of the theatre production of Alexander Ostrovsky’s 1868 comedy Enough Stupidity in Every Wise Man (Na vsyakovo mudretsa dovolno prostoty) and it marks Eisenstein's transition from theatre stage director to film director.
| 0
|
[
"Glumov's Diary",
"film editor",
"Sergei Eisenstein"
] |
Glumov's Diary (Russian: Дневник Глумова, romanized: Dnevnik Glumova) is a 1923 Soviet short silent film, which was the first film directed by Sergei Eisenstein. It was conceived as a part of the theatre production of Alexander Ostrovsky’s 1868 comedy Enough Stupidity in Every Wise Man (Na vsyakovo mudretsa dovolno prostoty) and it marks Eisenstein's transition from theatre stage director to film director.
| 3
|
[
"Glumov's Diary",
"instance of",
"film"
] |
Glumov's Diary (Russian: Дневник Глумова, romanized: Dnevnik Glumova) is a 1923 Soviet short silent film, which was the first film directed by Sergei Eisenstein. It was conceived as a part of the theatre production of Alexander Ostrovsky’s 1868 comedy Enough Stupidity in Every Wise Man (Na vsyakovo mudretsa dovolno prostoty) and it marks Eisenstein's transition from theatre stage director to film director.
| 4
|
[
"Glumov's Diary",
"country of origin",
"Soviet Union"
] |
Glumov's Diary (Russian: Дневник Глумова, romanized: Dnevnik Glumova) is a 1923 Soviet short silent film, which was the first film directed by Sergei Eisenstein. It was conceived as a part of the theatre production of Alexander Ostrovsky’s 1868 comedy Enough Stupidity in Every Wise Man (Na vsyakovo mudretsa dovolno prostoty) and it marks Eisenstein's transition from theatre stage director to film director.
| 5
|
[
"Glumov's Diary",
"genre",
"silent film"
] |
Glumov's Diary (Russian: Дневник Глумова, romanized: Dnevnik Glumova) is a 1923 Soviet short silent film, which was the first film directed by Sergei Eisenstein. It was conceived as a part of the theatre production of Alexander Ostrovsky’s 1868 comedy Enough Stupidity in Every Wise Man (Na vsyakovo mudretsa dovolno prostoty) and it marks Eisenstein's transition from theatre stage director to film director.
| 10
|
[
"Romance sentimentale",
"director",
"Sergei Eisenstein"
] |
Romance sentimentale is a 1930 French film directed by Grigori Aleksandrov and Sergei M. Eisenstein. The film is also known as Sentimental Romance (International English title).
| 1
|
[
"Romance sentimentale",
"director",
"Grigori Aleksandrov"
] |
Romance sentimentale is a 1930 French film directed by Grigori Aleksandrov and Sergei M. Eisenstein. The film is also known as Sentimental Romance (International English title).
| 5
|
[
"Romance sentimentale",
"instance of",
"short film"
] |
Romance sentimentale is a 1930 French film directed by Grigori Aleksandrov and Sergei M. Eisenstein. The film is also known as Sentimental Romance (International English title).
| 11
|
[
"Yojimbo",
"director",
"Akira Kurosawa"
] |
Yojimbo (Japanese: 用心棒, Hepburn: Yōjinbō, lit. 'Bodyguard') is a 1961 Japanese samurai film co-written, produced, edited, and directed by Akira Kurosawa. The film stars Toshiro Mifune, Tatsuya Nakadai, Yoko Tsukasa, Isuzu Yamada, Daisuke Katō, Takashi Shimura, Kamatari Fujiwara, and Atsushi Watanabe. In the film, a rōnin arrives in a small town where competing crime lords vie for supremacy. The two bosses each try to hire the newcomer as a bodyguard.
Based on the success of Yojimbo, Kurosawa's next film, Sanjuro (1962), was altered to incorporate the lead character of this film. In both films, the character wears a rather dilapidated dark kimono bearing the same family mon.The film was released and produced by Toho on April 25, 1961. Yojimbo received highly positive reviews, and, over the years, became widely regarded as one of the best films by Kurosawa and one of the greatest films ever made. The film grossed an estimated $2.5 million worldwide with a budget of ¥90.87 million. It was unofficially remade by Sergio Leone as the Spaghetti Western film A Fistful of Dollars (1964), leading to a lawsuit by Toho.
| 0
|
[
"Yojimbo",
"nominated for",
"Academy Award for Best Costume Design, Black-and-White"
] |
Critical response
Yojimbo ranked at #95 in Empire magazine's list of the 500 Greatest Films of All Time. A 1968 screening in the planned community of Columbia, Maryland was considered too violent for viewers, causing the hosts to hide in the bathroom to avoid the audience. The film was nominated for the Academy Award for Best Costume Design at the 34th Academy Awards. Toshiro Mifune won the Volpi Cup for Best Actor at the 22nd Venice Film Festival.
Michael Wood writing for the London Review of Books found the film to span several genres and compared it to films such as Seven Samurai, A Fistful of Dollars, High Noon, The Outlaw Josey Wales, and Rashomon, stating, "(The film contains) comedy, satire, folk tale, action movie, Western, samurai film, and something like a musical without songs. As everyone says, this work is not as deep as Rashomon or as immediately memorable as Seven Samurai. But it is funnier than any Western from either side of the world, and its only competition, in a bleaker mode, would be Clint Eastwood’s The Outlaw Josey Wales (1976)." In 2009 the film was voted at No. 23 on the list of The Greatest Japanese Films of All Time by Japanese film magazine Kinema Junpo.
| 39
|
[
"The Hidden Fortress",
"country of origin",
"Japan"
] |
Release
The Hidden Fortress was released theatrically in Japan on December 28, 1958. The film was the highest-grossing film for Toho in 1958, ranking as the fourth highest-grossing film overall in Japan that year. In box-office terms, The Hidden Fortress was Kurosawa’s most successful film, until the 1961 release of Yojimbo.The film was released theatrically in the United States by Toho International Col. with English subtitles. It was screened in San Francisco on November 1959 and received a wider release on October 6, 1960 with a 126-minute running time. The film was re-issued in the United States in 1962 with a 90-minute running time. The film was compared unfavorably to Rashomon (1950) and Seven Samurai (1954), and performed poorly at the U.S. box office.
| 3
|
[
"The Hidden Fortress",
"instance of",
"film"
] |
The Hidden Fortress (Japanese: 隠し砦の三悪人, Hepburn: Kakushi Toride no San Akunin, lit. 'The Three Villains of the Hidden Fortress') is a 1958 Japanese jidaigeki adventure film directed by Akira Kurosawa. It tells the story of two peasants who agree to escort a man and a woman across enemy lines in return for gold without knowing that he is a general and the woman is a princess. The film stars Toshiro Mifune as General Makabe Rokurōta and Misa Uehara as Princess Yuki while the role of the peasants, Tahei and Matashichi, are portrayed by Minoru Chiaki and Kamatari Fujiwara respectively.
The Hidden Fortress was the fourth highest-grossing film of the year in Japan, and Kurosawa's most successful film up to that point. It was a significant influence on the 1977 American film Star Wars.
| 6
|
[
"The Hidden Fortress",
"film editor",
"Akira Kurosawa"
] |
The Hidden Fortress (Japanese: 隠し砦の三悪人, Hepburn: Kakushi Toride no San Akunin, lit. 'The Three Villains of the Hidden Fortress') is a 1958 Japanese jidaigeki adventure film directed by Akira Kurosawa. It tells the story of two peasants who agree to escort a man and a woman across enemy lines in return for gold without knowing that he is a general and the woman is a princess. The film stars Toshiro Mifune as General Makabe Rokurōta and Misa Uehara as Princess Yuki while the role of the peasants, Tahei and Matashichi, are portrayed by Minoru Chiaki and Kamatari Fujiwara respectively.
The Hidden Fortress was the fourth highest-grossing film of the year in Japan, and Kurosawa's most successful film up to that point. It was a significant influence on the 1977 American film Star Wars.
| 17
|
[
"The Hidden Fortress",
"award received",
"Silver Bear for Best Director"
] |
Awards
The film won the Silver Bear for Best Director at the 9th Berlin International Film Festival in 1959. Kinema Junpo awarded Shinobu Hashimoto the award for Best Screenwriter for his work on the film and for Tadashi Imai's Night Drum and Yoshitaro Nomura's Harikomi.
| 22
|
[
"The Hidden Fortress",
"production company",
"Toho"
] |
Release
The Hidden Fortress was released theatrically in Japan on December 28, 1958. The film was the highest-grossing film for Toho in 1958, ranking as the fourth highest-grossing film overall in Japan that year. In box-office terms, The Hidden Fortress was Kurosawa’s most successful film, until the 1961 release of Yojimbo.The film was released theatrically in the United States by Toho International Col. with English subtitles. It was screened in San Francisco on November 1959 and received a wider release on October 6, 1960 with a 126-minute running time. The film was re-issued in the United States in 1962 with a 90-minute running time. The film was compared unfavorably to Rashomon (1950) and Seven Samurai (1954), and performed poorly at the U.S. box office.
| 24
|
[
"Rashomon",
"creator",
"Akira Kurosawa"
] |
Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller-crime film directed and written by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. Starring Toshiro Mifune, Machiko Kyō, Masayuki Mori, and Takashi Shimura as various people who describe how a samurai was murdered in a forest, the plot and characters are based upon Ryunosuke Akutagawa’s short story "In a Grove", with the title and framing story being based on "Rashōmon", another short story by Akutagawa. Every element is largely identical, from the murdered samurai speaking through a Shinto psychic to the bandit in the forest, the monk, the assault of the wife and the dishonest retelling of the events in which everyone shows their ideal self by lying.The film is known for a plot device that involves various characters providing subjective, alternative and contradictory versions of the same incident. Rashomon was the first Japanese film to receive a significant international reception; it won the Golden Lion at the Venice Film Festival in 1951, was given an Academy Honorary Award at the 24th Academy Awards in 1952, and is considered one of the greatest films ever made. The Rashomon effect is named after the film.
| 2
|
[
"Rashomon",
"film editor",
"Akira Kurosawa"
] |
Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller-crime film directed and written by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. Starring Toshiro Mifune, Machiko Kyō, Masayuki Mori, and Takashi Shimura as various people who describe how a samurai was murdered in a forest, the plot and characters are based upon Ryunosuke Akutagawa’s short story "In a Grove", with the title and framing story being based on "Rashōmon", another short story by Akutagawa. Every element is largely identical, from the murdered samurai speaking through a Shinto psychic to the bandit in the forest, the monk, the assault of the wife and the dishonest retelling of the events in which everyone shows their ideal self by lying.The film is known for a plot device that involves various characters providing subjective, alternative and contradictory versions of the same incident. Rashomon was the first Japanese film to receive a significant international reception; it won the Golden Lion at the Venice Film Festival in 1951, was given an Academy Honorary Award at the 24th Academy Awards in 1952, and is considered one of the greatest films ever made. The Rashomon effect is named after the film.
| 26
|
[
"Rashomon",
"main subject",
"crime"
] |
Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller-crime film directed and written by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. Starring Toshiro Mifune, Machiko Kyō, Masayuki Mori, and Takashi Shimura as various people who describe how a samurai was murdered in a forest, the plot and characters are based upon Ryunosuke Akutagawa’s short story "In a Grove", with the title and framing story being based on "Rashōmon", another short story by Akutagawa. Every element is largely identical, from the murdered samurai speaking through a Shinto psychic to the bandit in the forest, the monk, the assault of the wife and the dishonest retelling of the events in which everyone shows their ideal self by lying.The film is known for a plot device that involves various characters providing subjective, alternative and contradictory versions of the same incident. Rashomon was the first Japanese film to receive a significant international reception; it won the Golden Lion at the Venice Film Festival in 1951, was given an Academy Honorary Award at the 24th Academy Awards in 1952, and is considered one of the greatest films ever made. The Rashomon effect is named after the film.
| 28
|
[
"Rashomon",
"composer",
"Fumio Hayasaka"
] |
Music
The film was scored by Fumio Hayasaka, who is among the most respected of Japanese composers. At the director's request, he included a bolero during the woman's story.Due to setbacks and some lost audio, the crew took the urgent step of bringing Mifune back to the studio after filming to record another line. Recording engineer Iwao Ōtani added it to the film along with the music, using a different microphone.
| 30
|
[
"Rashomon",
"based on",
"In a Grove"
] |
Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller-crime film directed and written by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. Starring Toshiro Mifune, Machiko Kyō, Masayuki Mori, and Takashi Shimura as various people who describe how a samurai was murdered in a forest, the plot and characters are based upon Ryunosuke Akutagawa’s short story "In a Grove", with the title and framing story being based on "Rashōmon", another short story by Akutagawa. Every element is largely identical, from the murdered samurai speaking through a Shinto psychic to the bandit in the forest, the monk, the assault of the wife and the dishonest retelling of the events in which everyone shows their ideal self by lying.The film is known for a plot device that involves various characters providing subjective, alternative and contradictory versions of the same incident. Rashomon was the first Japanese film to receive a significant international reception; it won the Golden Lion at the Venice Film Festival in 1951, was given an Academy Honorary Award at the 24th Academy Awards in 1952, and is considered one of the greatest films ever made. The Rashomon effect is named after the film.
| 31
|
[
"Rashomon",
"genre",
"film based on literature"
] |
Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller-crime film directed and written by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. Starring Toshiro Mifune, Machiko Kyō, Masayuki Mori, and Takashi Shimura as various people who describe how a samurai was murdered in a forest, the plot and characters are based upon Ryunosuke Akutagawa’s short story "In a Grove", with the title and framing story being based on "Rashōmon", another short story by Akutagawa. Every element is largely identical, from the murdered samurai speaking through a Shinto psychic to the bandit in the forest, the monk, the assault of the wife and the dishonest retelling of the events in which everyone shows their ideal self by lying.The film is known for a plot device that involves various characters providing subjective, alternative and contradictory versions of the same incident. Rashomon was the first Japanese film to receive a significant international reception; it won the Golden Lion at the Venice Film Festival in 1951, was given an Academy Honorary Award at the 24th Academy Awards in 1952, and is considered one of the greatest films ever made. The Rashomon effect is named after the film.
| 41
|
[
"Rashomon",
"main subject",
"storytelling"
] |
Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller-crime film directed and written by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. Starring Toshiro Mifune, Machiko Kyō, Masayuki Mori, and Takashi Shimura as various people who describe how a samurai was murdered in a forest, the plot and characters are based upon Ryunosuke Akutagawa’s short story "In a Grove", with the title and framing story being based on "Rashōmon", another short story by Akutagawa. Every element is largely identical, from the murdered samurai speaking through a Shinto psychic to the bandit in the forest, the monk, the assault of the wife and the dishonest retelling of the events in which everyone shows their ideal self by lying.The film is known for a plot device that involves various characters providing subjective, alternative and contradictory versions of the same incident. Rashomon was the first Japanese film to receive a significant international reception; it won the Golden Lion at the Venice Film Festival in 1951, was given an Academy Honorary Award at the 24th Academy Awards in 1952, and is considered one of the greatest films ever made. The Rashomon effect is named after the film.
| 45
|
[
"Rashomon",
"award received",
"Golden Lion"
] |
Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller-crime film directed and written by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. Starring Toshiro Mifune, Machiko Kyō, Masayuki Mori, and Takashi Shimura as various people who describe how a samurai was murdered in a forest, the plot and characters are based upon Ryunosuke Akutagawa’s short story "In a Grove", with the title and framing story being based on "Rashōmon", another short story by Akutagawa. Every element is largely identical, from the murdered samurai speaking through a Shinto psychic to the bandit in the forest, the monk, the assault of the wife and the dishonest retelling of the events in which everyone shows their ideal self by lying.The film is known for a plot device that involves various characters providing subjective, alternative and contradictory versions of the same incident. Rashomon was the first Japanese film to receive a significant international reception; it won the Golden Lion at the Venice Film Festival in 1951, was given an Academy Honorary Award at the 24th Academy Awards in 1952, and is considered one of the greatest films ever made. The Rashomon effect is named after the film.
| 47
|
[
"Rashomon",
"main subject",
"subjectivity"
] |
Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller-crime film directed and written by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa. Starring Toshiro Mifune, Machiko Kyō, Masayuki Mori, and Takashi Shimura as various people who describe how a samurai was murdered in a forest, the plot and characters are based upon Ryunosuke Akutagawa’s short story "In a Grove", with the title and framing story being based on "Rashōmon", another short story by Akutagawa. Every element is largely identical, from the murdered samurai speaking through a Shinto psychic to the bandit in the forest, the monk, the assault of the wife and the dishonest retelling of the events in which everyone shows their ideal self by lying.The film is known for a plot device that involves various characters providing subjective, alternative and contradictory versions of the same incident. Rashomon was the first Japanese film to receive a significant international reception; it won the Golden Lion at the Venice Film Festival in 1951, was given an Academy Honorary Award at the 24th Academy Awards in 1952, and is considered one of the greatest films ever made. The Rashomon effect is named after the film.
| 58
|
[
"Ikiru",
"director",
"Akira Kurosawa"
] |
Ikiru (生きる, "To Live") is a 1952 Japanese drama film directed and co-written (with Shinobu Hashimoto and Hideo Oguni) by Akira Kurosawa. The film examines the struggles of a terminally ill Tokyo bureaucrat (played by Takashi Shimura) and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy's 1886 novella The Death of Ivan Ilyich.
The major themes of the film include learning how to live, the inefficiency of bureaucracy, and decaying family life in Japan, which have been the subject of analysis by academics and critics. Ikiru has received widespread critical acclaim, and won awards for Best Film at the Kinema Junpo and Mainichi Film Awards. It was remade as a television film in 2007, and adapted into English as Living in 2022.Production
The film marked the first collaboration between director Akira Kurosawa and screenwriter Hideo Oguni. According to Oguni, the genesis of the film was Kurosawa's desire to make a film about a man who knows he is going to die and who wants a reason to live for a short time. Oguni was an experienced writer and was offered ¥500,000, and co-writer Shinobu Hashimoto was offered ¥150,000. Initially, Kurosawa told Hashimoto that a man who was set to die in 75 days had to be the theme and that the character's career was less important, with the director saying criminal, homeless man or government minister would be acceptable.The screenwriters consulted Leo Tolstoy's novella The Death of Ivan Ilyich, and Oguni envisioned placing Watanabe's death halfway through the film. Kurosawa dictated the scene where Watanabe is on the swing and mentioned the beginning lyrics of "Gondola no Uta." Because none of the men were familiar with the song, they consulted their eldest receptionist on the rest of the lyrics and the song title.Kurosawa renamed the draft The Life of Kanji Watanabe to Ikiru, which Hashimoto found pretentious, but Oguni supported. The screenplay was completed on 5 February 1952.
| 0
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[
"Ikiru",
"country of origin",
"Japan"
] |
Ikiru (生きる, "To Live") is a 1952 Japanese drama film directed and co-written (with Shinobu Hashimoto and Hideo Oguni) by Akira Kurosawa. The film examines the struggles of a terminally ill Tokyo bureaucrat (played by Takashi Shimura) and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy's 1886 novella The Death of Ivan Ilyich.
The major themes of the film include learning how to live, the inefficiency of bureaucracy, and decaying family life in Japan, which have been the subject of analysis by academics and critics. Ikiru has received widespread critical acclaim, and won awards for Best Film at the Kinema Junpo and Mainichi Film Awards. It was remade as a television film in 2007, and adapted into English as Living in 2022.
| 2
|
[
"Ikiru",
"instance of",
"film"
] |
Ikiru (生きる, "To Live") is a 1952 Japanese drama film directed and co-written (with Shinobu Hashimoto and Hideo Oguni) by Akira Kurosawa. The film examines the struggles of a terminally ill Tokyo bureaucrat (played by Takashi Shimura) and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy's 1886 novella The Death of Ivan Ilyich.
The major themes of the film include learning how to live, the inefficiency of bureaucracy, and decaying family life in Japan, which have been the subject of analysis by academics and critics. Ikiru has received widespread critical acclaim, and won awards for Best Film at the Kinema Junpo and Mainichi Film Awards. It was remade as a television film in 2007, and adapted into English as Living in 2022.
| 7
|
[
"Ikiru",
"film editor",
"Akira Kurosawa"
] |
Ikiru (生きる, "To Live") is a 1952 Japanese drama film directed and co-written (with Shinobu Hashimoto and Hideo Oguni) by Akira Kurosawa. The film examines the struggles of a terminally ill Tokyo bureaucrat (played by Takashi Shimura) and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy's 1886 novella The Death of Ivan Ilyich.
The major themes of the film include learning how to live, the inefficiency of bureaucracy, and decaying family life in Japan, which have been the subject of analysis by academics and critics. Ikiru has received widespread critical acclaim, and won awards for Best Film at the Kinema Junpo and Mainichi Film Awards. It was remade as a television film in 2007, and adapted into English as Living in 2022.
| 10
|
[
"Ikiru",
"genre",
"drama film"
] |
Ikiru (生きる, "To Live") is a 1952 Japanese drama film directed and co-written (with Shinobu Hashimoto and Hideo Oguni) by Akira Kurosawa. The film examines the struggles of a terminally ill Tokyo bureaucrat (played by Takashi Shimura) and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy's 1886 novella The Death of Ivan Ilyich.
The major themes of the film include learning how to live, the inefficiency of bureaucracy, and decaying family life in Japan, which have been the subject of analysis by academics and critics. Ikiru has received widespread critical acclaim, and won awards for Best Film at the Kinema Junpo and Mainichi Film Awards. It was remade as a television film in 2007, and adapted into English as Living in 2022.
| 13
|
[
"Ikiru",
"based on",
"The Death of Ivan Ilyich"
] |
Ikiru (生きる, "To Live") is a 1952 Japanese drama film directed and co-written (with Shinobu Hashimoto and Hideo Oguni) by Akira Kurosawa. The film examines the struggles of a terminally ill Tokyo bureaucrat (played by Takashi Shimura) and his final quest for meaning. The screenplay was partly inspired by Leo Tolstoy's 1886 novella The Death of Ivan Ilyich.
The major themes of the film include learning how to live, the inefficiency of bureaucracy, and decaying family life in Japan, which have been the subject of analysis by academics and critics. Ikiru has received widespread critical acclaim, and won awards for Best Film at the Kinema Junpo and Mainichi Film Awards. It was remade as a television film in 2007, and adapted into English as Living in 2022.Production
The film marked the first collaboration between director Akira Kurosawa and screenwriter Hideo Oguni. According to Oguni, the genesis of the film was Kurosawa's desire to make a film about a man who knows he is going to die and who wants a reason to live for a short time. Oguni was an experienced writer and was offered ¥500,000, and co-writer Shinobu Hashimoto was offered ¥150,000. Initially, Kurosawa told Hashimoto that a man who was set to die in 75 days had to be the theme and that the character's career was less important, with the director saying criminal, homeless man or government minister would be acceptable.The screenwriters consulted Leo Tolstoy's novella The Death of Ivan Ilyich, and Oguni envisioned placing Watanabe's death halfway through the film. Kurosawa dictated the scene where Watanabe is on the swing and mentioned the beginning lyrics of "Gondola no Uta." Because none of the men were familiar with the song, they consulted their eldest receptionist on the rest of the lyrics and the song title.Kurosawa renamed the draft The Life of Kanji Watanabe to Ikiru, which Hashimoto found pretentious, but Oguni supported. The screenplay was completed on 5 February 1952.
| 15
|
[
"Seven Samurai",
"director",
"Akira Kurosawa"
] |
Seven Samurai (Japanese: 七人の侍, Hepburn: Shichinin no Samurai) is a 1954 Japanese epic samurai film co-written, edited, and directed by Akira Kurosawa. Taking place in 1586 in the Sengoku period of Japanese history, it follows the story of a village of desperate farmers who seek to hire rōnin (masterless samurai) to combat bandits who will return after the harvest to steal their crops.
At the time, the film was the most expensive film made in Japan. It took a year to shoot and faced many difficulties. It was the second-highest-grossing domestic film in Japan in 1954. Many reviews compared the film to westerns.Seven Samurai is regarded as one of the greatest and most influential films in cinema history. Since its release, it has consistently ranked highly in critics' lists of greatest films, such as the BFI's Sight & Sound and Rotten Tomatoes polls. It was also voted the greatest foreign-language film of all time in BBC's 2018 international critics' poll. Its influence on the film industry has been unprecedented, and it is often regarded today as one of the most "remade, reworked, and referenced" films in cinema.
| 0
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[
"Seven Samurai",
"instance of",
"film"
] |
Production
Writing
Akira Kurosawa had originally wanted to direct a film about a single day in the life of a samurai. Later, in the course of his research, he discovered a story about samurai defending farmers. According to actor Toshiro Mifune, the film was originally going to be called Six Samurai, with Mifune playing the role of Kyūzō. During the six-week scriptwriting process, Kurosawa and his screenwriters realized that "six sober samurai were a bore—they needed a character that was more off-the-wall". Kurosawa recast Mifune as Kikuchiyo and gave him creative license to improvise actions in his performance. During the six-week scriptwriting process, the screenwriters were not allowed visitors or phone calls.Kurosawa and the writers were innovative in refining the theme of the assembly of heroic characters to perform a mission. According to Michael Jeck's DVD commentary, Seven Samurai was among the first films to use the now-common plot element of the recruiting and gathering of heroes into a team to accomplish a specific goal, a device used in later films such as The Guns of Navarone, Sholay, the western remake The Magnificent Seven, and Pixar's animated film A Bug's Life. Film critic Roger Ebert speculates in his review that the sequence introducing the leader Kambei (in which the samurai shaves off his topknot, a sign of honor among samurai, in order to pose as a monk to rescue a boy from a kidnapper) could be the origin of the practice, now common in action movies, of introducing the main hero with an undertaking unrelated to the main plot.Other plot devices such as the reluctant hero, romance between a local woman and the youngest hero, and the nervousness of the common citizenry, had appeared in other films before this but were combined in this film.Legacy
Seven Samurai was a technical and creative watershed that became Japan's highest-grossing movie and set a new standard for the industry. It has remained highly influential, often seen as one of the most "remade, reworked, referenced" films in cinema.There have been pachinko machines based on Seven Samurai in Japan. Seven Samurai pachinko machines have sold 94,000 units in Japan as of March 2018, equivalent to an estimated $470 million in gross revenue.
| 8
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[
"High and Low (1963 film)",
"director",
"Akira Kurosawa"
] |
High and Low (Japanese: 天国と地獄, Hepburn: Tengoku to Jigoku, literally "Heaven and Hell") is a 1963 Japanese police procedural crime film directed by Akira Kurosawa, starring Toshiro Mifune, Tatsuya Nakadai and Kyōko Kagawa. The film is loosely based on the 1959 novel King's Ransom by Ed McBain (Evan Hunter).
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