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During the war, the Navy tested the cannon-armed G series and conducted carrier trials with an H equipped with arresting gear. After World War II, some PBJs stationed at the Navy's rocket laboratory in Inyokern, California, site of the present-day Naval Air Weapons Station China Lake, tested air-to-ground rockets and arrangements. One arrangement was a twin-barrel nose that could fire 10 spin-stabilized five-inch rockets in one salvo. Royal Air Force. The Royal Air Force (RAF) was an early customer for the B-25 via Lend-Lease. The first Mitchells were given the service name Mitchell I by the RAF and were delivered in August 1941, to No. 111 Operational Training Unit based in the Bahamas. These bombers were used exclusively for training and familiarization and never became operational. The B-25Cs and Ds were designated Mitchell II. Altogether, 167 B-25Cs and 371 B-25Ds were delivered to the RAF. The RAF tested the cannon-armed G series but did not adopt the series nor the follow-on H series. By the end of 1942, the RAF had taken delivery of 93 Mitchells, marks I and II. Some served with squadrons of No. 2 Group RAF, the RAF's tactical medium-bomber force, including No. 139 Wing RAF at RAF Dunsfold. The first RAF operation with the Mitchell II took place on 22 January 1943, when six aircraft from No. 180 Squadron RAF attacked oil installations at Ghent. After the invasion of Europe (by which point 2 Group was part of Second Tactical Air Force), all four Mitchell squadrons moved to bases in France and Belgium (Melsbroek) to support Allied ground forces. The British Mitchell squadrons were joined by No. 342 (Lorraine) Squadron of the French Air Force in April 1945.
As part of its move from Bomber Command, No 305 (Polish) Squadron flew Mitchell IIs from September to December 1943 before converting to the de Havilland Mosquito. In addition to No. 2 Group, the B-25 was used by various second-line RAF units in the UK and abroad. In the Far East, No. 3 PRU, which consisted of Nos. 681 and 684 Squadrons, flew the Mitchell (primarily Mk IIs) on photographic reconnaissance sorties. Royal Canadian Air Force. The Royal Canadian Air Force (RCAF) used the B-25 Mitchell for training during the war. Postwar use continued operations with most of the 162 Mitchells received. The first B-25s had been diverted to Canada from RAF orders. These included one Mitchell I, 42 Mitchell IIs, and 19 Mitchell IIIs. No 13 (P) Squadron was formed unofficially at RCAF Rockcliffe in May 1944 and used Mitchell IIs on high-altitude aerial photography sorties. No. 5 Operational Training Unit at Boundary Bay, British Columbia and Abbotsford, British Columbia, operated the B-25D Mitchell in the training role together with B-24 Liberators for Heavy Conversion as part of the BCATP. The RCAF retained the Mitchell until October 1963.
No 418 (Auxiliary) Squadron received its first Mitchell IIs in January 1947. It was followed by No 406 (auxiliary), which flew Mitchell IIs and IIIs from April 1947 to June 1958. No 418 operated a mix of IIs and IIIs until March 1958. No 12 Squadron of Air Transport Command also flew Mitchell IIIs along with other types from September 1956 to November 1960. In 1951, the RCAF received an additional 75 B-25Js from USAF stocks to make up for attrition and to equip various second-line units. Royal Australian Air Force. The Australians received Mitchells by the spring of 1944. The joint Australian-Dutch No. 18 (Netherlands East Indies) Squadron RAAF had more than enough Mitchells for one squadron, so the surplus went to re-equip the RAAF's No. 2 Squadron, replacing their Beauforts. Dutch Air Force. During World War II, the Mitchell served in fairly large numbers with the Air Force of the Dutch government-in-exile. They participated in combat in the East Indies, as well as on the European front. On 30 June 1941, the Netherlands Purchasing Commission, acting on behalf of the Dutch government-in-exile in London, signed a contract with North American Aviation for 162 B-25C aircraft. The bombers were to be delivered to the Netherlands East Indies to help deter any Japanese aggression into the region.
In February 1942, the British Overseas Airways Corporation agreed to ferry 20 Dutch B-25s from Florida to Australia travelling via Africa and India, and an additional 10 via the South Pacific route from California. During March, five of the bombers on the Dutch order had reached Bangalore, India, and 12 had reached Archerfield in Australia. The B-25s in Australia were used as the nucleus of a new squadron, No. 18. This squadron was staffed jointly by Australian and Dutch aircrews plus a smattering of aircrews from other nations and operated under Royal Australian Air Force command for the remainder of the war. The B-25s of No. 18 Squadron were painted with the Dutch national insignia (at that time a rectangular Netherlands flag) and carried NEIAF serials. Discounting the ten "temporary" B-25s delivered to 18 Squadron in early 1942, a total of 150 Mitchells were taken on strength by the NEIAF, 19 in 1942, 16 in 1943, 87 in 1944, and 28 in 1945. They flew bombing raids against Japanese targets in the East Indies. In 1944, the more capable B-25J Mitchells replaced most of the earlier C and D models.
In June 1940, No. 320 (Netherlands) Squadron RAF had been formed from personnel formerly serving with the Royal Dutch Naval Air Service, who had escaped to England after the German occupation of the Netherlands. Equipped with various British aircraft, No. 320 Squadron flew antisubmarine patrols, convoy escort missions, and performed air-sea rescue duties. They acquired the Mitchell II in September 1943, performing operations over Europe against gun emplacements, railway yards, bridges, troops, and other tactical targets. They moved to Belgium in October 1944, and transitioned to the Mitchell III in 1945. No. 320 Squadron was disbanded in August 1945. Following the war, B-25s were used by Dutch forces during the Indonesian National Revolution. Soviet Air Force. The USSR received 862 B-25s (B, C, D, G, and J types) from the United States under Lend-Lease during World War II via the Alaska–Siberia ALSIB ferry route. A total of 870 B-25s were sent to the Soviets, meaning that 8 aircraft were lost during transportation.
Other damaged B-25s arrived or crashed in the Far East of Russia, and one Doolittle Raid aircraft landed there short of fuel after attacking Japan. This lone airworthy Doolittle Raid aircraft to reach the Soviet Union was lost in a hangar fire in the early 1950s while undergoing routine maintenance. In general, the B-25 was operated as a ground-support and tactical day bomber (as similar Douglas A-20 Havocs were used). It saw action in fights from Stalingrad (with B/C/D models) to the German surrender during May 1945 (with G/J types). The B-25s that remained in Soviet Air Force service after the war were assigned the NATO reporting name "Bank". China. Well over 100 B-25Cs and Ds were supplied to the Nationalist Chinese during the Second Sino-Japanese War. In addition, a total of 131 B-25Js were supplied to China under Lend-Lease. The four squadrons of the 1st BG (1st, 2nd, 3rd, and 4th) of the 1st Medium Bomber Group were formed during the war. They formerly operated Russian-built Tupolev SB bombers, then transferred to the B-25. The 1st BG was under the command of Chinese-American Composite Wing while operating B-25s. Following the end of the war in the Pacific, these four bombardment squadrons were established to fight against the Communist insurgency that was rapidly spreading throughout the country. During the Chinese Civil War, Chinese Mitchells fought alongside de Havilland Mosquitos.
In December 1948, the Nationalists were forced to retreat to the island of Taiwan, taking many of their Mitchells with them. However, some B-25s were left behind and were pressed into service with the air force of the new People's Republic of China. Brazilian Air Force. During the war, the Força Aérea Brasileira received a few B-25s under Lend-Lease. Brazil declared war against the Axis powers in August 1942 and participated in the war against the U-boats in the southern Atlantic. The last Brazilian B-25 was finally declared surplus in 1970. Free French. The Royal Air Force issued at least 21 Mitchell IIIs to No 342 Squadron, which was made up primarily of Free French aircrews. Following the liberation of France, this squadron transferred to the newly formed French Air Force ("Armée de l'Air") as GB I/20 Lorraine. The aircraft continued in operation after the war, with some being converted into fast VIP transports. They were struck off charge in June 1947. Biafra. In October 1967, during the Nigerian Civil War, Biafra bought two Mitchells. After a few bombings in November, they were put out of action in December.
Indonesia. Indonesia received 42 Mitchells after the Round Table Conference, one was used for strafing runs against a Dutch warship while two others were used in Maluku. Variants. Trainer variants. Most models of the B-25 were used at some point as training aircraft. Accidents and incidents. Empire State Building crash. At 9:40 on 28 July 1945, a USAAF B-25D crashed in thick fog into the north side of the Empire State Building between the 79th and 80th floors. Fourteen people died — 11 in the building and the three occupants of the aircraft, including the pilot, Colonel William F. Smith. Betty Lou Oliver, an elevator attendant, survived the impact and the subsequent fall of the elevator cage 75 stories to the basement. French general Philippe Leclerc was aboard his North American B-25 Mitchell, Tailly II, when it crashed near Colomb-Béchar in French Algeria on 28 November 1947, killing everyone on board. Lake Erie skydiving disaster. A bit after 16:00 on 27 August 1967, a converted civilian B-25 mistakenly dropped eighteen skydivers over Lake Erie, four or five nautical miles (7.5–9.3 km) from Huron, Ohio. The air traffic controller had confused the B-25 with a Cessna 180 Skywagon that was trailing it to take photographs, causing the B-25 pilot to think he was over the intended drop site at Ortner Airport. Sixteen of the jumpers drowned, while two were rescued. A National Transportation Safety Board report faulted the pilot, and to a lesser extent the skydivers, for executing a jump when they could not see the ground, and faulted the controller for the misidentification. The United States was subsequently held liable for the controller's negligence. Training Mission Incident. On Nov. 1, 1941, just one month before the Japanese attack on Pearl Harbor, a B-25 bomber on a training mission flying out of Wright-Patterson Air Force Base, crashed near Benton Ridge, Ohio. Surviving aircraft. Many B-25s are currently kept in airworthy condition by air museums and collectors.
British Open (disambiguation) The British Open often refers to the Open Championship men's golf tournament. British Open may also refer to:
Bobby Charlton Sir Robert Charlton (11 October 1937 – 21 October 2023) was an English professional footballer who played as an attacking midfielder, left winger or centre-forward. Widely considered one of the greatest players of all time, he was a member of the England team that won the 1966 FIFA World Cup, the year he also won the Ballon d'Or. He finished second in the Ballon d'Or voting in 1967 and 1968. He played almost all of his club football at Manchester United, where he became renowned for his attacking instincts, passing abilities from midfield, ferocious long-range shooting from both left and right foot, fitness, and stamina. He was cautioned only twice in his career: once against Argentina in the 1966 World Cup, and once in a league match against Chelsea. With success at club and international level, he was one of nine players to have won the FIFA World Cup, the European Cup and the Ballon d'Or. His elder brother Jack, who was also in the World Cup–winning team, was a former defender for Leeds United and also for ten years was the manager of the Republic of Ireland.
Born in Ashington, Northumberland, Charlton made his debut for the Manchester United first-team in 1956, aged 18, and soon gained a regular place in the team, during which time he became a Football League First Division champion in 1957 then survived the Munich air disaster of February 1958 after being rescued by teammate Harry Gregg; Charlton was the last survivor of the plane crash from the club. After helping United to win the FA Cup in 1963 and the Football League in 1965 and 1967, he captained the team that won the European Cup in 1968, scoring two goals in the final to help them become the first English club to win the competition. Charlton left Manchester United to become manager of Preston North End for the 1973–74 season. He changed to player-manager the following season. He next accepted a post as a director with Wigan Athletic, then became a member of Manchester United's board of directors in 1984. At international level, Charlton was named in the England squad for four World Cups (1958, 1962, 1966, and 1970), though he did not play in the first. At the time of his retirement from the England team in 1970, he was the nation's most capped player, having turned out 106 times at the highest level; Bobby Moore overtook this in 1973. Charlton was the long-time record goalscorer for both Manchester United and England, and United's long-time record appearance maker – his total of 758 matches for United took until 2008 to be beaten, when Ryan Giggs did so in that year's Champions League final. With 249 goals, he was the club's highest all-time goalscorer for more than 40 years, until his record was surpassed by Wayne Rooney in 2017. He is also the third-highest goalscorer for England; his record of 49 goals was beaten in 2015 by Rooney, and again by Harry Kane in 2022.
Early life. Robert Charlton was born on 11 October 1937 in Ashington, Northumberland, England, to coal miner Robert "Bob" Charlton (24 May 1909 – April 1982) and Elizabeth Ellen "Cissie" Charlton ("née" Milburn; 11 November 1912 – 25 March 1996). He was related to several professional footballers on his mother's side of the family: his uncles were Jack Milburn (Leeds United and Bradford City), George Milburn (Leeds United and Chesterfield), Jim Milburn (Leeds United and Bradford Park Avenue) and Stan Milburn (Chesterfield, Leicester City and Rochdale), and legendary Newcastle United and England footballer Jackie Milburn was his mother's cousin. However, Charlton credited much of the early development of his career to his grandfather Tanner and his mother Cissie. His elder brother, Jack, initially worked as a miner before applying to the police, only to also become a professional footballer with Leeds United. Club career. On 9 February 1953, then a Bedlington Grammar School pupil, Charlton was spotted playing for East Northumberland schools by Manchester United chief scout Joe Armstrong. Charlton went on to play for England Schoolboys and the 15-year-old signed amateur forms with United on 1 January 1953 along with Wilf McGuinness, also aged 15. Initially his mother was reluctant to let him commit to an insecure football career, so he began an apprenticeship as an electrical engineer; however, he went on to turn professional in October 1954.
Charlton became one of the famed Busby Babes, the collection of talented footballers who emerged through the system at Old Trafford in the 1940s, 1950s and 1960s as Matt Busby set about a long-term plan of rebuilding the club after the Second World War. He worked his way through the pecking order of teams, scoring regularly for the youth and reserve sides before he was handed his first team debut against Charlton Athletic in October 1956 where he scored two goals in a game that finished 4–2. At the same time, he was doing his National service with the Royal Army Ordnance Corps in Shrewsbury, where Busby had advised him to apply as it meant he could still play for Manchester United at the weekend. Also doing his army service in Shrewsbury at the same time was his United teammate Duncan Edwards. Charlton played 17 times for United in that first season, scoring twice on his debut and managing a total of 12 goals in all competitions, and including a hat-trick in a 5–1 away win over Charlton Athletic in February. United won the league championship but were denied the 20th century's first "double" when they controversially lost the 1957 FA Cup Final to Aston Villa. Charlton, still only 19, was selected for the game, which saw United goalkeeper Ray Wood carried off with a broken cheekbone after a clash with Villa centre forward Peter McParland. Charlton was a candidate to go in goal to replace Wood (in the days before substitutes, and certainly before goalkeeping substitutes), but it was teammate Jackie Blanchflower who ended up playing in goal.
Charlton was an established player by the time the next season was fully underway, which saw United, as current League champions, become the first English team to compete in the European Cup. Previously, the Football Association had scorned the competition, but United made progress, reaching the semi-finals where they lost to holders Real Madrid. Their reputation was further enhanced the next season in the 1957–58 European Cup as they reached the quarter-finals to play Red Star Belgrade. In the first leg at home, United won 2–1. The return in Yugoslavia saw Charlton score twice as United stormed 3–0 ahead, although the hosts came back to earn a 3–3 draw. However, United maintained their aggregate lead to reach the last four and were in jubilant mood as they left to catch their flight home, thinking of an important League game against Wolves at the weekend. Munich air disaster. The aeroplane which took the United players and staff home from Zemun Airport needed to stop in Munich to refuel. This was carried out in worsening weather, and by the time the refuelling was complete and the call was made for the passengers to re-board the aircraft, the wintry showers had taken hold and snow had settled heavily on the runway and around the airport. There were two aborted take-offs which led to concern on board, and the passengers were advised by a stewardess to disembark again while a minor technical error was fixed.
The team were back in the airport terminal for barely ten minutes when the call came to reconvene on the plane, and a number of passengers began to feel nervous. Charlton and teammate Dennis Viollet swapped places with Tommy Taylor and David Pegg, who had decided they would be safer at the back of the plane. The plane clipped the fence at the end of the runway on its next take-off attempt and a wing tore through a nearby house, setting it alight. The wing and part of the tail came off and hit a tree and a wooden hut, the plane spinning along the snow until coming to a halt. It had been cut in half. Charlton, strapped into his seat, had fallen out of the cabin; when United goalkeeper Harry Gregg (who had somehow got through a hole in the plane unscathed and begun a one-man rescue mission) found him, he thought he was dead. Nevertheless, he grabbed both Charlton and Viollet by their trouser waistbands and dragged them away from the plane, in constant fear that it would explode. Gregg returned to the plane to try to help the appallingly injured Busby and Blanchflower, and when he turned around again, he was relieved to see that Charlton and Viollet, both of whom he had presumed to be dead, had got out of their detached seats and were looking into the wreckage.
Charlton suffered cuts to his head and severe shock, and was in hospital for a week. Seven of his teammates had perished at the scene, including Taylor and Pegg, with whom he and Viollet had swapped seats prior to the fatal take-off attempt. Club captain Roger Byrne was also killed, along with Mark Jones, Billy Whelan, Eddie Colman and Geoff Bent. Duncan Edwards died a fortnight later from the injuries he had sustained. In total, the crash claimed 23 lives. Initially, ice on the wings was blamed, but a later inquiry declared that slush on the runway had made a safe take-off almost impossible. Of the 44 passengers and crew (including the 17-strong Manchester United squad), 23 people (eight of them Manchester United players) died as a result of their injuries in the crash. Charlton survived with minor injuries. Of the eight other players who survived, two of them were injured so badly that they never played again. Charlton was the first injured survivor to leave hospital. Harry Gregg and Bill Foulkes were not hospitalised, for they escaped uninjured. He arrived back in England on 14 February 1958, eight days after the crash. As he convalesced with family in Ashington, he spent some time kicking a ball around with local youths, and a famous photograph of him was taken. He was still only 20 years old, yet now there was an expectation that he would help with the rebuilding of the club as Busby's aides tried to piece together what remained of the season.
Between Harry Gregg's death in 2020 and his own in 2023, Charlton was the last living survivor of the crash. Resuming his career. Charlton returned to playing in a kickabout with local youths first and then in a practice match on 25 February. He initially said "I felt as slow as an old cart horse" but then his vigour returned and he then said "I feel fine and would like to play in the cup game at West Brom". This was an FA Cup tie against West Bromwich Albion on 1 March; the game was a draw and United won the replay 1–0. Not unexpectedly, United went out of the European Cup to A.C. Milan in the semi-finals to a 5–2 aggregate defeat and fell behind in the League. Yet somehow they reached their second consecutive FA Cup final, and the big day at Wembley coincided with Busby's return to work. However, Nat Lofthouse scored twice to give Bolton Wanderers a 2–0 win. Further success with Manchester United came at last when they beat Leicester City 3–1 in the FA Cup final of 1963, with Charlton finally earning a winners' medal in his third final. Busby's post-Munich rebuilding programme continued to progress, with two League championships within three seasons, in 1965 and 1967. A successful (though trophyless) season with Manchester United saw him take the honours of Football Writers' Association Footballer of the Year and European Footballer of the Year into the competition.
Manchester United reached the 1968 European Cup Final, ten seasons after Munich. Even though other clubs had taken part in the competition in the intervening decade, the team which got to this final was still the first English side to do so. On a highly emotional night at Wembley, Charlton scored twice in a 4–1 win after extra time against Benfica and, as United captain, lifted the trophy. During the early 1970s, Manchester United were no longer competing among the top teams in England, and at several stages were battling against relegation. At times, Charlton was not on speaking terms with United's other superstars, George Best and Denis Law, and Best refused to play in Charlton's testimonial match against Celtic, saying that "to do so would be hypocritical". Charlton left Manchester United at the end of the 1972–73 season, having scored 249 goals and set a club record of 758 appearances, a record which Ryan Giggs broke in the 2008 UEFA Champions League Final. Charlton's last game for Manchester United was against Chelsea at Stamford Bridge on 28 April 1973. Chelsea won the match 1–0. Coincidentally, this day also marked his brother Jackie's last appearance as well (for Leeds). Charlton's final goal for the club came a month earlier, on 31 March, in a 2–0 win at Southampton, also in the First Division.
Charlton was the subject of an episode of "This Is Your Life" in 1969 when he was surprised by Eamonn Andrews at The Sportsman's Club in central London. International career. Charlton's emergence as the country's leading young football talent was completed when he was called up to join the England squad for a British Home Championship game against Scotland at Hampden Park on 19 April 1958, just over two months after he had survived the Munich air disaster. Charlton was handed his debut as England romped home 4–0, with the new player gaining even more admirers after scoring a magnificent thumping volley dispatched with authority after a cross by the left winger Tom Finney. He scored both goals in his second game as England beat Portugal 2–1 in a friendly at Wembley, and overcame obvious nerves on a return to Belgrade to play his third match against Yugoslavia; England lost that game 5–0 and Charlton played poorly. Charlton was selected for the squad which competed at the 1958 World Cup in Sweden, but he did not play.
In 1959, Charlton scored a hat-trick as England demolished the US 8–1; and his second England hat-trick came in 1961 in an 8–0 thrashing of Mexico. He also managed to score in every British Home Championship tournament he played in except 1963 in an association with the tournament that lasted from 1958 to 1970 and included 16 goals and 10 tournament victories (five shared). 1962 World Cup. Charlton played in qualifiers for the 1962 World Cup in Chile against Luxembourg and Portugal and was named in the squad for the finals themselves. His goal in the 3–1 group win over Argentina was his 25th for England in just 38 appearances, and he was still only 24 years old; but his individual success could not be replicated by that of the team, which was eliminated in the quarter-final by Brazil, who went on to win the tournament. By now, England were coached by Alf Ramsey, who had managed to gain sole control of the recruitment and team selection procedure from the committee-based call-up system which had lasted up to the previous World Cup. Ramsey had already cleared out some of the older players who had been reliant on the loyalty of the committee for their continued selection. A hat-trick in the 8–1 rout of Switzerland in June 1963 took Charlton's England goal tally to 30, equalling the record jointly held by Tom Finney and Nat Lofthouse; Charlton's 31st goal, against Wales in October the same year, gave him the record alone.
Charlton's role was developing from traditional inside-forward to what today would be termed an attacking midfield player, with Ramsey planning to build the team for the 1966 World Cup around him. When England beat the USA 10–0 in a friendly on 27 May 1964, he scored one goal, his 33rd at senior level for England. His goals became a little less frequent, and indeed Jimmy Greaves, playing purely as a striker, overtook his England tally in October 1964. Nevertheless, Charlton was still scoring and creating freely, and as the tournament was about to start he was expected to become one of its stars and galvanise his established reputation as one of the world's best footballers. 1966 World Cup. England drew the opening game of the tournament 0–0 with Uruguay. Charlton scored the first goal in the 2–0 win over Mexico. This was followed by an identical scoreline against France, allowing England to qualify for the quarter-finals, where they defeated Argentina 1–0. The game was the only international match in which Charlton received a caution.
They faced Portugal in the semi-finals. This turned out to be one of Charlton's most important games for England. Charlton opened the scoring with a crisp side-footed finish after a run by Roger Hunt had forced the Portuguese goalkeeper out of his net; his second was a sweetly struck shot after a run and pull-back from Geoff Hurst. Charlton and Hunt were now England's joint-highest scorers in the tournament with three each, and a final against West Germany beckoned. The final turned out to be one of Charlton's quieter days; he and a young Franz Beckenbauer effectively marked each other out of the game. England won 4–2 after extra time, with the scores tied at 2–2 after 90 minutes, and England lifted the World Cup trophy for the first time. Euro 1968. Charlton's next England game was his 75th, as England beat Northern Ireland; after two more appearances he became England's second most-capped player, behind the veteran Billy Wright, who was approaching his 100th match when Charlton was starting out and ended with 105 caps.
Weeks later he scored his 45th England goal in a friendly against Sweden, breaking the record of 44 set the previous year by Jimmy Greaves. He was then in the England team which made it to the semi-finals of the 1968 European Championships, where they were knocked out by Yugoslavia in Florence. During the match Charlton struck a Yugoslav post. England defeated the Soviet Union 2–0 in the third place match. In 1969, Charlton was appointed an OBE for services to football. More milestones followed as he won his 100th England cap on 21 April 1970 against Northern Ireland, and was made captain by Ramsey for the occasion. Inevitably, he scored; this was his 48th goal for his country – his 49th and final goal followed a month later in a 4–0 win over Colombia during a warm-up tour for the 1970 World Cup, designed to get the players adapted to altitude conditions. Charlton's inevitable selection by Ramsey for the tournament made him the first – and still, to date, only – England player to feature in four World Cup squads. 1970 World Cup.
Shortly before the World Cup, Charlton was involved in the Bogotá Bracelet incident in which he and Bobby Moore were accused of stealing a bracelet from a jewellery store. Moore was later arrested and detained for four days before being granted a conditional release, while Charlton was not arrested. England began the tournament with two victories in the group stages, plus a memorable defeat against Brazil. Charlton played in all three, though was substituted for Alan Ball in the final game of the group against Czechoslovakia. Ramsey, confident of victory and progress to the quarter-final, wanted Charlton to rest. England reached the last eight where they again faced West Germany. With England leading 2–1, Ramsey replaced Charlton with Colin Bell in the 69th minute: Germany went on to win 3–2 after extra time. England were eliminated and, after a record 106 caps and 49 goals, Charlton decided to end his international career at the age of 32. On the flight home from Mexico, he asked Ramsey not to consider him again. His brother Jack, two years his senior but 71 caps his junior, did likewise.
Charlton's caps record lasted until 1973, when Bobby Moore overtook him; as of October 2023, he lies seventh in the all-time England appearances list behind Moore, Wayne Rooney, Ashley Cole, Steven Gerrard, David Beckham and Peter Shilton, whose own England career began in the first game after Charlton's had ended. Charlton's goalscoring record was surpassed by Wayne Rooney on 8 September 2015, when Rooney scored a penalty in a 2–0 win over Switzerland in a qualifying match for UEFA Euro 2016. Style of play. In his early years as a winger who played on the outside left, Charlton possessed great speed and agility. As he matured, Charlton was placed in an offensive midfield role where he flourished as a player. In his prime, Charlton was considered to be one of the greatest players in the world, being able to dictate a game with his accurate passing, and possessing a powerful shot with either foot, often scoring goals from a distance. Charlton also stood out for his stamina, mentality, leadership and modesty, never arguing with referees or opponents.
Longtime Manchester United manager Matt Busby said of Charlton: "There has never been a more popular footballer. He was as near perfection as man and player as it is possible to be." England national team coach Alf Ramsey remarked: "He was one of the greatest players I have ever seen, very much the linchpin of the 1966 team. Early in my management, I knew I had to find a role suitable to Bobby’s unique talents. He wasn’t just a great goalscorer, with a blistering shot using either foot. Bobby was a player who could also do his share of hard work." Management career and directorships. Charlton became the manager of Preston North End in 1973, signing his former United and England teammate Nobby Stiles as player-coach. His first season ended in relegation, and although he began playing again, he left Preston early in the 1975–76 season after a disagreement with the board over the transfer of John Bird to Newcastle United. He was appointed a CBE that year and began a casual association with BBC for punditry on matches, which continued for many years. In early 1976, he scored once in three league appearances for Waterford United. He also made a handful of appearances for Australian clubs Newcastle KB United, Perth Azzurri and Blacktown City.
Charlton joined Wigan Athletic as a director, and was briefly caretaker manager there in 1983. He then spent some time playing in South Africa. He also built up several businesses in areas such as travel, jewellery and hampers, and ran soccer schools in the UK, the US, Canada, Australia and China. In 1984, he was invited to become member of the board of directors at Manchester United, partly because of his football knowledge and partly because it was felt that the club needed a "name" on the board after the resignation of Sir Matt Busby. In June 2005, when the American Glazer family bought Manchester United amidst fan opposition, Charlton apologised to the new owners: "I tried to explain they couldn't ignore the fans, who are so emotionally involved in the club, but who sometimes do go a bit too far." Personal life and retirement. Charlton met his wife, Norma Ball, at an ice rink in Manchester in 1959 and they married in 1961. They had two daughters, Suzanne and Andrea. Suzanne was a weather forecaster for the BBC during the 1990s. They went on to have grandchildren, including Suzanne's son Robert, who is named in honour of his grandfather.
In 2007, while publicising his forthcoming autobiography, Charlton revealed that he had a long-running feud with his brother Jack. They rarely spoke to each other after a falling-out between his wife Norma and his mother Cissie (who died in 1996 at the age of 83). Bobby Charlton did not see his mother after 1992 as a result of the feud. Jack presented him with his BBC Sports Personality of the Year Lifetime Achievement Award on 14 December 2008. He said that he was "knocked out" as he was presented the award by his brother. He received a standing ovation as he stood waiting for his prize. Charlton helped to promote Manchester's bids for the 1996 and 2000 Olympic Games and the 2002 Commonwealth Games, England's bid for the 2006 World Cup and London's successful bid for the 2012 Summer Olympics. He received a knighthood in 1994 and was an Inaugural Inductee to the English Football Hall of Fame in 2002. On accepting his award, he commented: "I'm really proud to be included in the National Football Museum's Hall of Fame. It's a great honour. If you look at the names included I have to say I couldn't argue with them. They are all great players and people I would love to have played with." He was also the (honorary) president of the National Football Museum, an organisation about which he said: "I can't think of a better museum anywhere in the world."
On 2 March 2009, Charlton was given the freedom of the city of Manchester. He stated: "I'm just so proud, it's fantastic. It's a great city. I have always been very proud of it." Charlton was involved in a number of charitable activities, including fund raising for cancer hospitals. After visits to Bosnia and Cambodia, Charlton became involved in the cause of land mine clearance, and supported the Mines Advisory Group as well as founding his own charity, The Sir Bobby Charlton Foundation (formerly Find a Better Way), which funds research into improved civilian landmine clearance. In January 2011, Charlton was voted the fourth-greatest Manchester United player of all time by the readers of "Inside United" and ManUtd.com, behind Ryan Giggs (who topped the poll), Eric Cantona and George Best. He was a member of the Laureus World Sports Academy. On 6 February 2012, Charlton was taken to hospital after falling ill, and subsequently had a gallstone removed. This prevented him from collecting a Lifetime Achievement Award at the Laureus World Sports Awards.
On 15 February 2016, Manchester United announced the South Stand of Old Trafford would be renamed in honour of Sir Bobby Charlton. The unveiling took place at the home game against Everton on 3 April 2016. In 2015, he received a Honorary Doctorate from the University of Bath. In October 2017, Charlton had a pitch named after him at St George's Park National Football Centre in Burton-upon-Trent. In November 2020, it was revealed that Charlton had been diagnosed with dementia and as a result, he withdrew from public life. Death. Charlton died at Macclesfield District General Hospital in Macclesfield, Cheshire, on 21 October 2023, at the age of 86, from complications of a fall he sustained at the nursing home where he resided; at the subsequent inquest, the coroner recorded his cause of death as "trauma in the lungs, a fall and dementia". His death leaves Sir Geoff Hurst as the last surviving English player of the 1966 World Cup final. Manchester United paid tribute to Charlton at their Champions League match against Copenhagen at Old Trafford three days later in a number of ways. First, United's players wore black armbands, and manager Erik ten Hag was flanked by Alex Stepney and U-21 captain Dan Gore before ten Hag laid a wreath and a minute's silence was observed before the match began. Another wreath was also laid in Charlton's seat in the director's box. In addition, the cover of United's match programme, the "United Review", featured Charlton on the front, and supporters laid flowers and scarves at the United Trinity.
The funeral took place on 13 November. The main ceremony was at Manchester Cathedral but the procession called first at the Old Trafford stadium before going to the city centre. Crowds lined the streets and there were about a thousand guests at the service, including Prince William, Alex Ferguson and many others associated with the club. Elegies were read by David Gill and Charlton's grandson William Balderston and there was a musical tribute of "How Great Thou Art" sung by Russell Watson. Honours. Manchester United Youth Manchester United England Individual Orders and special awards
Barry Lyndon Barry Lyndon is a 1975 epic historical drama film written, directed, and produced by Stanley Kubrick, based on the 1844 novel "The Luck of Barry Lyndon" by William Makepeace Thackeray. Narrated by Michael Hordern, and starring Ryan O'Neal, Marisa Berenson, Patrick Magee, Leonard Rossiter and Hardy Krüger, the film recounts the early exploits and later unravelling of an 18th-century Anglo-Irish rogue and gold digger who marries a rich widow to climb the social ladder and assume her late husband's aristocratic position. Kubrick began production on "Barry Lyndon" after his 1971 film "A Clockwork Orange". He had originally intended to direct a biopic on Napoleon, but lost his financing because of the commercial failure of the similar 1970 Dino De Laurentiis-produced "Waterloo". Kubrick eventually directed "Barry Lyndon", set partially during the Seven Years' War, utilising his research from the Napoleon project. Filming began in December 1973 and lasted roughly eight months, taking place in England, Ireland, and Germany.
The film's cinematography has been described as ground-breaking. Especially notable are the long double shots, usually ended with a slow backwards zoom, the scenes shot entirely in candlelight, and the settings based on William Hogarth paintings. The exteriors were filmed on location in England, Ireland, and Germany, with the interiors shot mainly in London. The production had problems related to logistics, weather, and politics (Kubrick feared that he might be an IRA hostage target). "Barry Lyndon" received seven nominations at the 48th Academy Awards, including Best Picture, winning four: Best Original Score, Best Cinematography, Best Art Direction, and Best Costume Design. Although some critics took issue with the film's slow pace and restrained emotion, its reputation, like that of many of Kubrick's works, has grown over time, and it is now widely considered one of the greatest films of all time. In the 2022 "Sight & Sound" Greatest Films of All Time poll, "Barry Lyndon" placed 12th in the directors' poll and 45th in the critics' poll.
Plot. Part I: "By What Means Redmond Barry Acquired the Style and Title of Barry Lyndon". In the 1750s Kingdom of Ireland, Redmond Barry's father is killed in a duel. Barry becomes infatuated with his cousin Nora Brady, and shoots her suitor, British Army captain John Quin, in a duel. He flees but is robbed by highwaymen on his way to Dublin. Penniless, Barry enlists in the British Army. Family friend Captain Grogan informs him that Quin is not dead: the duel was staged so that Nora's family could get rid of Barry and improve their finances through her marriage to Quin. Barry serves with his regiment in Germany during the Seven Years' War, but deserts after Grogan dies in combat against the French Royal Army. Absconding with a lieutenant's horse and uniform, Barry has a brief affair with Frau Lieschen, a married German peasant woman. On his way to Bremen, he encounters Captain Potzdorf, who sees through the ruse and impresses him into the Prussian Army. Barry later saves Potzdorf's life and receives a commendation from Frederick the Great.
At the end of the war, Barry is recruited by Captain Potzdorf's uncle into the Prussian Ministry of Police. The Prussians suspect that the Chevalier de Balibari, an Austrian diplomat and professional gambler, is in fact an Irishman and a spy for Empress Maria Theresa, and assign Barry to become his manservant. An emotional Barry confides everything to the Chevalier and they become confederates. After they win an enormous sum from the Prince of Tübingen at cards, the Prince deduces that he has been cheated and refuses to pay his debt; the Chevalier in turn threatens to demand satisfaction. To avoid a scandal, the Ministry of Police pays off the debt and quietly escorts the Chevalier outside Prussian borders, which allows Barry, disguised as the Chevalier, to leave the country as well. Barry and the Chevalier travel across Europe, perpetrating similar gambling scams, with Barry forcing payment from debtors with sword duels. In Spa, he encounters the beautiful, wealthy, and visibly depressed Lady Lyndon. He seduces her, and goads her elderly husband Sir Charles Lyndon to death with verbal repartee.
Part II: "Containing an Account of the Misfortunes and Disasters Which Befell Barry Lyndon". In 1773, Barry marries Lady Lyndon, takes her last name and settles in England. The Countess bears Barry a son, Bryan Patrick, whom Barry spoils. The marriage is unhappy: Barry is openly unfaithful and squanders his wife's wealth while keeping her in seclusion. Lord Bullingdon, Lady Lyndon's son by Sir Charles, still grieves for his father and sees Barry as a gold digger who does not love his mother. Barry responds with years of escalating emotional and physical abuse. Barry's mother comes to live with him and warns him that if Lady Lyndon dies, Bullingdon will inherit everything. She advises her son to obtain a title. To this end, Barry cultivates the influential Lord Wendover and spends even larger sums of Lady Lyndon's money to ingratiate himself with high society. Bullingdon, now a young adult, interrupts a society party Barry throws. He publicly accuses his stepfather of infidelity, abuse, and financial mismanagement, and announces that he will leave the Lyndon estate for as long as Barry remains there. Barry responds by brutally assaulting Bullingdon until they are physically separated by the party attendees. In the aftermath, Barry is ostracised by high society and plunges further into financial ruin.
Barry arranges to gift Bryan a full-grown horse for his ninth birthday. An impatient Bryan rides the horse unaccompanied and dies in a riding accident. Barry sinks into alcoholism, while Lady Lyndon seeks religious counseling from clergyman Samuel Runt, who had been tutor to Bullingdon and Bryan and a longtime companion of Lady Lyndon. When Barry's mother dismisses Runt to keep her son from losing control, Lady Lyndon attempts suicide. Runt and Graham, the family's steward, write to Bullingdon, who returns to the estate and challenges his stepfather to a duel. When the duel takes place, Bullingdon accidentally misfires the first shot, but Barry then deliberately fires into the ground, refusing to exploit his stepson's mistake. Bullingdon refuses to accept this as satisfaction and fires again, shooting Barry in the leg. This wound forces Barry to have an amputation below the knee. While Barry is recovering, Bullingdon takes control of the Lyndon estate. Through Graham, he reminds Barry that his credit is exhausted and offers him 500 guineas a year to leave Lady Lyndon, her estates, and England forever. Barry grudgingly accepts and resumes his former gambling profession, but without any real success. In December 1789, Lady Lyndon signs Barry's annuity cheque as her son looks on.
Cast. Critic Tim Robey suggests that the film "makes you realise that the most undervalued aspect of Kubrick's genius could well be his way with actors." He adds that the supporting cast is a "glittering procession of cameos, not from star names but from vital character players." The cast featured Leon Vitali as the older Lord Bullingdon, who then became Kubrick's personal assistant, working as the casting director on his following films, and supervising film-to-video transfers for Kubrick. Their relationship lasted until Kubrick's death. The film's cinematographer, John Alcott, appears at the men's club in the non-speaking role of the man asleep in a chair near the title character when Lord Bullingdon challenges Barry to a duel. Kubrick's daughter Vivian also appears (in an uncredited role) as a guest at Bryan's birthday party. Other Kubrick featured regulars were Leonard Rossiter (""), Steven Berkoff, Patrick Magee, Godfrey Quigley, Anthony Sharp, and Philip Stone ("A Clockwork Orange"). Stone went on to feature in "The Shining".
Thematic analysis. A main theme explored in Barry Lyndon is one of fate and destiny. Barry is pushed through life by a series of key events, some of which seem unavoidable. As Roger Ebert says, "He is a man to whom things happen." He declines to eat with the highwayman Captain Feeney, where he would most likely have been robbed, but is robbed anyway farther down the road. The narrator repeatedly emphasizes the role of fate as he announces events before they unfold on screen, like Bryan's death and Bullingdon seeking satisfaction. This theme of fate is also developed in the recurring motif of the painting. Just like the events featured in the paintings, Barry is participating in events which always were. Another major theme is between father and son. Barry lost his father at a young age and throughout the film he seeks and attaches himself to father-figures. Examples include his uncle, Grogan, and the Chevalier. When given the chance to be a father, Barry loves his son to the point of spoiling him. This contrasts with his role as a (step)father to Lord Bullingdon, whom he disregards and punishes.
Production. Development. After completing post production on "", Kubrick resumed planning a film about Napoleon. During pre-production, Sergei Bondarchuk and Dino De Laurentiis's "Waterloo" was released, and failed at the box office. Reconsidering, Kubrick's financiers pulled funding, and he turned his attention towards a film adaptation of Anthony Burgess's 1962 novel "A Clockwork Orange". Subsequently, Kubrick showed an interest in Thackeray's "Vanity Fair" but dropped the project when a serialised version for television was produced. He told an interviewer, "At one time, "Vanity Fair" interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film ... as soon as I read "Barry Lyndon" I became very excited about it." Having earned Oscar nominations for "Dr. Strangelove", "2001: A Space Odyssey" and "A Clockwork Orange", Kubrick's reputation in the early 1970s was that of "a perfectionist auteur who loomed larger over his movies than any concept or star". His studio—Warner Bros.—was therefore "eager to bankroll" his next project, which Kubrick kept "shrouded in secrecy" from the press partly due to the furore surrounding the controversially violent "A Clockwork Orange" (particularly in the UK) and partly due to his "long-standing paranoia about the tabloid press." Kubrick was initially rumored to be developing an adaptation of Arthur Schnitzler's 1926 novella "Dream Story", which would serve as the source material for his later film "Eyes Wide Shut" (1999).
In 1972 Kubrick finally set his sights on Thackeray's 1844 "satirical picaresque about the fortune-hunting of an Irish rogue," "The Luck of" "Barry Lyndon", the setting of which allowed Kubrick to take advantage of the copious period research he had done for the now-aborted "Napoleon". At the time, Kubrick merely announced that his next film would star Ryan O'Neal (deemed "a seemingly un-Kubricky choice of leading man") and Marisa Berenson, a former "Vogue" and "Time" magazine cover model, and be shot largely in Ireland. So heightened was the secrecy surrounding the film that "Even Berenson, when Kubrick first approached her, was told only that it was to be an 18th-century costume piece [and] she was instructed to keep out of the sun in the months before production, to achieve the period-specific pallor he required." Screenplay. Kubrick based his adapted screenplay on William Makepeace Thackeray's "The Luck of Barry Lyndon" (republished as the novel "Memoirs of Barry Lyndon, Esq.)," a picaresque tale written and published in serial form in 1844.
The film departs from the novel in several ways. In Thackeray's writings, events are related in the first person by Barry himself. A comic tone pervades the work, as Barry proves both a raconteur and an unreliable narrator. Kubrick's film, by contrast, presents the story objectively. Though the film contains voice-over (by actor Michael Hordern), the comments expressed are not Barry's, but those of an omniscient narrator. Kubrick felt that using a first-person narrative would not be useful in a film adaptation: Kubrick made several changes to the plot, including the addition of the final duel. Principal photography. Principal photography lasted 300 days, from spring 1973 through to early 1974, with a break for Christmas. Kubrick initially wished to film the entire production near his home in Borehamwood, but Ken Adam convinced him to relocate the shoot to Ireland. The crew arrived in Dublin in May 1973. Jan Harlan recalls that Kubrick "loved his time in Ireland – he rented a lovely house west of Dublin, he loved the scenery and the culture and the people".
Many of the exteriors were shot in Ireland, playing "itself, England, and Prussia during the Seven Years' War." Kubrick and cinematographer Alcott drew inspiration from "the landscapes of Watteau and Gainsborough," and also relied on the art direction of Ken Adam and Roy Walker. Alcott, Adam and Walker were among those who would win Oscars for their work on the film. Several of the interior scenes were filmed in Powerscourt House, an 18th-century mansion in County Wicklow. The house was destroyed in an accidental fire several months after filming (November 1974), so the film serves as a record of the lost interiors, particularly the "Saloon" which was used for more than one scene. The Wicklow Mountains are visible, for example, through the window of the saloon during a scene set in Berlin. Other locations included Kells Priory, County Kilkenny (the English Redcoat encampment); Huntington Castle, County Carlow (exterior) and Dublin Castle, County Dublin (the chevalier's home). Some exterior shots were also filmed at Waterford Castle, County Waterford (now a luxury hotel and golf course) and Little Island, Waterford. Moorstown Castle in County Tipperary also featured. Several scenes were filmed at Castletown House in Celbridge, County Kildare; outside Carrick-on-Suir, County Tipperary, and at Youghal, County Cork.
The filming took place in the backdrop of some of the most intense years of the Troubles in Ireland, during which the Provisional Irish Republican Army (Provisional IRA) was waging an armed campaign in order to unite the island. On 30 January 1974, while filming in Dublin City's Phoenix Park, shooting had to be cancelled due to the chaos caused by 14 bomb threats. One day a phone call was received and Kubrick was given 24 hours to leave the country; he left within 12 hours. The phone call alleged that the Provisional IRA had him on a hit list and Harlan recalls "Whether the threat was a hoax or it was real, almost doesn't matter ... Stanley was not willing to take the risk. He was threatened, and he packed his bag and went home." Production of the film was one-third completed when this occurred, and it was rumored that the film would be abandoned. Nonetheless, Kubrick continued shooting the remainder of the film at locations in England, mainly southern England, Scotland, West Germany, and East Germany. Locations in England include Blenheim Palace, Oxfordshire; Castle Howard, North Yorkshire (exteriors of the Lyndon estate, "Castle Hickham"); Corsham Court, Wiltshire (various interiors and the music room scene); Petworth House, West Sussex (chapel); Stourhead, Wiltshire (lake and temple); Longleat, Wiltshire; Wilton House, Wiltshire (interior and exterior) and Lavenham Guildhall at Lavenham in Suffolk (amputation scene). Filming took place at Dunrobin Castle (exterior and garden as Spa) in Sutherland, Scotland. Locations in West Germany include Ludwigsburg Palace in Ludwigsburg and Hohenzollern Castle in Hechingen, both near Stuttgart. Frederick II of Prussia's Neues Palais at Potsdam near Berlin, at the time East Germany, was also used as a location (suggesting Berlin's main street Unter den Linden as construction in Potsdam had just begun in 1763).
Cinematography. The film, as with "almost every Kubrick film", is a "showcase for [a] major innovation in technique." While "2001: A Space Odyssey" had featured "revolutionary effects," and "The Shining" would later feature heavy use of the Steadicam, "Barry Lyndon" saw a considerable number of sequences shot "without recourse to electric light." The film's cinematography was overseen by director of photography John Alcott (who won an Oscar for his work), and is particularly noted for the technical innovations that made some of its most spectacular images possible. To achieve photography without electric lighting "[f]or the many densely furnished interior scenes … meant shooting by candlelight," which is known to be difficult in still photography, "let alone with moving images." Kubrick was "determined not to reproduce the set-bound, artificially lit look of other costume dramas from that time." After "tinker[ing] with different combinations of lenses and film stock," the production obtained three super-fast 50mm lenses (Carl Zeiss Planar 50mm "f"/0.7) developed by Zeiss for use by NASA in the Apollo Moon landings, which Kubrick had discovered. These super-fast lenses "with their huge aperture (the film actually features the lowest f-stop in film history) and fixed focal length" were problematic to mount, and were extensively modified into three versions by Cinema Products Corp. for Kubrick to gain a wider angle of view, with input from optics expert Richard Vetter of Todd-AO. The rear element of the lens had to be 2.5 mm away from the film plane, requiring special modification to the rotating camera shutter. This allowed Kubrick and Alcott to shoot scenes lit in candlelight to an average lighting volume of only three candela, "recreating the huddle and glow of a pre-electrical age." In addition, Kubrick had the entire film push-developed by one stop.
Although Kubrick and Alcott sought to avoid electric lighting where possible, most shots were achieved with conventional lenses and lighting, but were lit to deliberately mimic natural light rather than for compositional reasons. In addition to potentially seeming more realistic, these methods also gave a particular period look to the film which has often been likened to 18th-century paintings (which of course depict a world devoid of electric lighting), in particular owing "a lot to William Hogarth, with whom Thackeray had always been fascinated." The film is widely regarded as having a stately, static, painterly quality, mostly due to its lengthy, wide-angle long shots. To illuminate the more notable interior scenes, artificial lights called "Mini-Brutes" were placed outside and aimed through the windows, which were covered in a diffuse material to scatter the light evenly through the room rather than being placed inside for maximum use as most conventional films do. In some instances, the natural daylight was allowed to come through, which when recorded on the film stock used by Kubrick showed up as blue-tinted compared to the incandescent electric light.
Despite such slight tinting effects, this method of lighting not only gave the look of natural daylight coming in through the windows, but it also protected the historic locations from the damage caused by mounting the lights on walls or ceilings and the heat from the lights. This helped the film "fit ... perfectly with Kubrick's gilded-cage aesthetic – the film is consciously a museum piece, its characters pinned to the frame like butterflies." Music. The film's period setting allowed Kubrick to indulge his penchant for using classical music, and the film score includes pieces by Vivaldi, Bach, Handel, Paisiello, Mozart, and Schubert. The piece most associated with the film, however, is the main title music, Handel's Sarabande from the Keyboard suite in D minor (HWV 437). Originally for solo harpsichord, the versions for the main and end titles are performed with strings, timpani, and continuo. The score also includes Irish folk music, including Seán Ó Riada's song "Women of Ireland", arranged by Paddy Moloney and performed by The Chieftains. "The British Grenadiers" also features in scenes with Redcoats marching.
Reception. Contemporaneous. The film "was not the commercial success Warner Bros. had been hoping for" within the United States, although it fared better in Europe. In the US it earned $9.1 million. Ultimately, the film grossed a worldwide total of $31.5 million on an $11 million budget. This mixed reaction saw the film (in the words of one retrospective review) "greeted, on its release, with dutiful admiration – but not love. Critics ... rail[ed] against the perceived coldness of Kubrick's style, the film's self-conscious artistry and slow pace. Audiences, on the whole, rather agreed". Roger Ebert gave the film three and a half stars out of four and wrote that it "is almost aggressive in its cool detachment. It defies us to care, it forces us to remain detached about its stately elegance." He added, "This must be one of the most beautiful films ever made." Vincent Canby of "The New York Times" called the film "another fascinating challenge from one of our most remarkable, independent-minded directors." Gene Siskel of the "Chicago Tribune" gave the film three and a half stars out of four and wrote "I found "Barry Lyndon" to be quite obvious about its intentions and thoroughly successful in achieving them. Kubrick has taken a novel about a social class and has turned it into an utterly comfortable story that conveys the stunning emptiness of upper-class life only 200 years past." He ranked the film fifth on his year-end list of the best films of 1975.
Charles Champlin of the "Los Angeles Times" called it "the motion picture equivalent of one of those very large, very heavy, very expensive, very elegant and very dull books that exist solely to be seen on coffee tables. It is ravishingly beautiful and incredibly tedious in about equal doses, a succession of salon quality still photographs—as often as not very still indeed." "The Washington Post" wrote, "It's not inaccurate to describe 'Barry Lyndon' as a masterpiece, but it's a deadend masterpiece, an objet d'art rather than a movie. It would be more at home, and perhaps easier to like, on the bookshelf, next to something like 'The Age of the Grand Tour,' than on the silver screen." Pauline Kael of "The New Yorker" wrote that "Kubrick has taken a quick-witted story" and "controlled it so meticulously that he's drained the blood out of it," adding, "It's a coffee-table movie; we might as well be at a three-hour slide show for art-history majors." This "air of disappointment" affected Kubrick's choice for his next film, an adaption of Stephen King's "The Shining", a project that would not only please him artistically, but was more likely to succeed financially.
Re-evaluation. Over time, the film has gained a more positive reaction. On review aggregator Rotten Tomatoes, the film holds an approval rating of 78% based on 143 reviews, with an average rating of 8.2/10. The website's critical consensus reads, "Visually astonishing and placid as a pond in the English countryside, Stanley Kubrick's maddening and masterful "Barry Lyndon" renders a hollow life with painterly poise." On Metacritic, the film has a weighted average score of 89 out of 100 based on reviews from 21 critics, indicating "universal acclaim". Roger Ebert added the film to his 'Great Movies' list on 9 September 2009 and increased his original rating from three and a half stars to four, writing, "Stanley Kubrick's "Barry Lyndon", received indifferently in 1975, has grown in stature in the years since and is now widely regarded as one of the master's best. It is certainly in every frame a Kubrick film: technically awesome, emotionally distant, remorseless in its doubt of human goodness." "The Village Voice" ranked the film at number 46 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. Director Martin Scorsese has named "Barry Lyndon" as his favourite Kubrick film, and it is also one of Lars von Trier's favourite films. "Barry Lyndon" was included on "Time"s All-Time 100 best movies list. In the 2012 "Sight & Sound" Greatest Films of All Time poll, "Barry Lyndon" placed 19th in the directors' poll and 59th in the critics' poll. The film ranked 27th in BBC's 2015 list of the 100 greatest American films. In the 2022 "Sight & Sound" Greatest Films of All Time poll, "Barry Lyndon" placed 12th in the directors' poll and 45th in the critics' poll. In a list compiled by "The Irish Times" critics Tara Brady and Donald Clarke in 2020, "Barry Lyndon" was named the greatest Irish film of all time. The Japanese filmmaker Akira Kurosawa cited the movie as one of his 100 favorite films.
Cell (biology) The cell is the basic structural and functional unit of all forms of life. Every cell consists of cytoplasm enclosed within a membrane; many cells contain organelles, each with a specific function. The term comes from the Latin word meaning 'small room'. Most cells are only visible under a microscope. Cells emerged on Earth about 4 billion years ago. All cells are capable of replication, protein synthesis, and motility. Cells are broadly categorized into two types: eukaryotic cells, which possess a nucleus, and prokaryotic cells, which lack a nucleus but have a nucleoid region. Prokaryotes are single-celled organisms such as bacteria, whereas eukaryotes can be either single-celled, such as amoebae, or multicellular, such as some algae, plants, animals, and fungi. Eukaryotic cells contain organelles including mitochondria, which provide energy for cell functions, chloroplasts, which in plants create sugars by photosynthesis, and ribosomes, which synthesise proteins. Cells were discovered by Robert Hooke in 1665, who named them after their resemblance to cells inhabited by Christian monks in a monastery. Cell theory, developed in 1839 by Matthias Jakob Schleiden and Theodor Schwann, states that all organisms are composed of one or more cells, that cells are the fundamental unit of structure and function in all living organisms, and that all cells come from pre-existing cells.
Cell types. Cells are broadly categorized into two types: eukaryotic cells, which possess a nucleus, and prokaryotic cells, which lack a nucleus but have a nucleoid region. Prokaryotes are single-celled organisms, whereas eukaryotes can be either single-celled or multicellular. Prokaryotic cells. Prokaryotes include bacteria and archaea, two of the three domains of life. Prokaryotic cells were the first form of life on Earth, characterized by having vital biological processes including cell signaling. They are simpler and smaller than eukaryotic cells, and lack a nucleus, and other membrane-bound organelles. The DNA of a prokaryotic cell consists of a single circular chromosome that is in direct contact with the cytoplasm. The nuclear region in the cytoplasm is called the nucleoid. Most prokaryotes are the smallest of all organisms, ranging from 0.5 to 2.0 μm in diameter. A prokaryotic cell has three regions: Eukaryotic cells. Plants, animals, fungi, slime moulds, protozoa, and algae are all eukaryotic. These cells are about fifteen times wider than a typical prokaryote and can be as much as a thousand times greater in volume. The main distinguishing feature of eukaryotes as compared to prokaryotes is compartmentalization: the presence of membrane-bound organelles (compartments) in which specific activities take place. Most important among these is a cell nucleus, an organelle that houses the cell's DNA. This nucleus gives the eukaryote its name, which means "true kernel (nucleus)". Some of the other differences are:
Many groups of eukaryotes are single-celled. Among the many-celled groups are animals and plants. The number of cells in these groups vary with species; it has been estimated that the human body contains around 37 trillion (3.72×1013) cells, and more recent studies put this number at around 30 trillion (~36 trillion cells in the male, ~28 trillion in the female). Subcellular components. All cells, whether prokaryotic or eukaryotic, have a membrane that envelops the cell, regulates what moves in and out (selectively permeable), and maintains the electric potential of the cell. Inside the membrane, the cytoplasm takes up most of the cell's volume. Except red blood cells, which lack a cell nucleus and most organelles to accommodate maximum space for hemoglobin, all cells possess DNA, the hereditary material of genes, and RNA, containing the information necessary to build various proteins such as enzymes, the cell's primary machinery. There are also other kinds of biomolecules in cells. This article lists these primary cellular components, then briefly describes their function.
Cell membrane. The cell membrane, or plasma membrane, is a selectively permeable biological membrane that surrounds the cytoplasm of a cell. In animals, the plasma membrane is the outer boundary of the cell, while in plants and prokaryotes it is usually covered by a cell wall. This membrane serves to separate and protect a cell from its surrounding environment and is made mostly from a double layer of phospholipids, which are amphiphilic (partly hydrophobic and partly hydrophilic). Hence, the layer is called a phospholipid bilayer, or sometimes a fluid mosaic membrane. Embedded within this membrane is a macromolecular structure called the porosome the universal secretory portal in cells and a variety of protein molecules that act as channels and pumps that move different molecules into and out of the cell. The membrane is semi-permeable, and selectively permeable, in that it can either let a substance (molecule or ion) pass through freely, to a limited extent or not at all. Cell surface membranes also contain receptor proteins that allow cells to detect external signaling molecules such as hormones.
Cytoskeleton. The cytoskeleton acts to organize and maintain the cell's shape; anchors organelles in place; helps during endocytosis, the uptake of external materials by a cell, and cytokinesis, the separation of daughter cells after cell division; and moves parts of the cell in processes of growth and mobility. The eukaryotic cytoskeleton is composed of microtubules, intermediate filaments and microfilaments. In the cytoskeleton of a neuron the intermediate filaments are known as neurofilaments. There are a great number of proteins associated with them, each controlling a cell's structure by directing, bundling, and aligning filaments. The prokaryotic cytoskeleton is less well-studied but is involved in the maintenance of cell shape, polarity and cytokinesis. The subunit protein of microfilaments is a small, monomeric protein called actin. The subunit of microtubules is a dimeric molecule called tubulin. Intermediate filaments are heteropolymers whose subunits vary among the cell types in different tissues. Some of the subunit proteins of intermediate filaments include vimentin, desmin, lamin (lamins A, B and C), keratin (multiple acidic and basic keratins), and neurofilament proteins (NF–L, NF–M).
Genetic material. Two different kinds of genetic material exist: deoxyribonucleic acid (DNA) and ribonucleic acid (RNA). Cells use DNA for their long-term information storage. The biological information contained in an organism is encoded in its DNA sequence. RNA is used for information transport (e.g., mRNA) and enzymatic functions (e.g., ribosomal RNA). Transfer RNA (tRNA) molecules are used to add amino acids during protein translation. Prokaryotic genetic material is organized in a simple circular bacterial chromosome in the nucleoid region of the cytoplasm. Eukaryotic genetic material is divided into different, linear molecules called chromosomes inside a discrete nucleus, usually with additional genetic material in some organelles like mitochondria and chloroplasts (see endosymbiotic theory). A human cell has genetic material contained in the cell nucleus (the nuclear genome) and in the mitochondria (the mitochondrial genome). In humans, the nuclear genome is divided into 46 linear DNA molecules called chromosomes, including 22 homologous chromosome pairs and a pair of sex chromosomes. The mitochondrial genome is a circular DNA molecule distinct from nuclear DNA. Although the mitochondrial DNA is very small compared to nuclear chromosomes, it codes for 13 proteins involved in mitochondrial energy production and specific tRNAs.
Foreign genetic material (most commonly DNA) can also be artificially introduced into the cell by a process called transfection. This can be transient, if the DNA is not inserted into the cell's genome, or stable, if it is. Certain viruses also insert their genetic material into the genome. Organelles. Organelles are parts of the cell that are adapted and/or specialized for carrying out one or more vital functions, analogous to the organs of the human body (such as the heart, lung, and kidney, with each organ performing a different function). Both eukaryotic and prokaryotic cells have organelles, but prokaryotic organelles are generally simpler and are not membrane-bound. There are several types of organelles in a cell. Some (such as the nucleus and Golgi apparatus) are typically solitary, while others (such as mitochondria, chloroplasts, peroxisomes and lysosomes) can be numerous (hundreds to thousands). The cytosol is the gelatinous fluid that fills the cell and surrounds the organelles. Structures outside the cell membrane.
Many cells also have structures which exist wholly or partially outside the cell membrane. These structures are notable because they are not protected from the external environment by the cell membrane. In order to assemble these structures, their components must be carried across the cell membrane by export processes. Cell wall. Many types of prokaryotic and eukaryotic cells have a cell wall. The cell wall acts to protect the cell mechanically and chemically from its environment, and is an additional layer of protection to the cell membrane. Different types of cell have cell walls made up of different materials; plant cell walls are primarily made up of cellulose, fungi cell walls are made up of chitin and bacteria cell walls are made up of peptidoglycan. Prokaryotic. Capsule. A gelatinous capsule is present in some bacteria outside the cell membrane and cell wall. The capsule may be polysaccharide as in pneumococci, meningococci or polypeptide as "Bacillus anthracis" or hyaluronic acid as in streptococci. Capsules are not marked by normal staining protocols and can be detected by India ink or methyl blue, which allows for higher contrast between the cells for observation.
Flagella. Flagella are organelles for cellular mobility. The bacterial flagellum stretches from cytoplasm through the cell membrane(s) and extrudes through the cell wall. They are long and thick thread-like appendages, protein in nature. A different type of flagellum is found in archaea and a different type is found in eukaryotes. Fimbriae. A fimbria (plural fimbriae also known as a pilus, plural pili) is a short, thin, hair-like filament found on the surface of bacteria. Fimbriae are formed of a protein called pilin (antigenic) and are responsible for the attachment of bacteria to specific receptors on human cells (cell adhesion). There are special types of pili involved in bacterial conjugation. Cellular processes. Replication. Cell division involves a single cell (called a "mother cell") dividing into two daughter cells. This leads to growth in multicellular organisms (the growth of tissue) and to procreation (vegetative reproduction) in unicellular organisms. Prokaryotic cells divide by binary fission, while eukaryotic cells usually undergo a process of nuclear division, called mitosis, followed by division of the cell, called cytokinesis. A diploid cell may also undergo meiosis to produce haploid cells, usually four. Haploid cells serve as gametes in multicellular organisms, fusing to form new diploid cells.
DNA replication, or the process of duplicating a cell's genome, always happens when a cell divides through mitosis or binary fission. This occurs during the S phase of the cell cycle. In meiosis, the DNA is replicated only once, while the cell divides twice. DNA replication only occurs before meiosis I. DNA replication does not occur when the cells divide the second time, in meiosis II. Replication, like all cellular activities, requires specialized proteins for carrying out the job. DNA repair. Cells of all organisms contain enzyme systems that scan their DNA for damage and carry out repair processes when it is detected. Diverse repair processes have evolved in organisms ranging from bacteria to humans. The widespread prevalence of these repair processes indicates the importance of maintaining cellular DNA in an undamaged state in order to avoid cell death or errors of replication due to damage that could lead to mutation. "E. coli" bacteria are a well-studied example of a cellular organism with diverse well-defined DNA repair processes. These include: nucleotide excision repair, DNA mismatch repair, non-homologous end joining of double-strand breaks, recombinational repair and light-dependent repair (photoreactivation).
Growth and metabolism. Between successive cell divisions, cells grow through the functioning of cellular metabolism. Cell metabolism is the process by which individual cells process nutrient molecules. Metabolism has two distinct divisions: catabolism, in which the cell breaks down complex molecules to produce energy and reducing power, and anabolism, in which the cell uses energy and reducing power to construct complex molecules and perform other biological functions. Complex sugars can be broken down into simpler sugar molecules called monosaccharides such as glucose. Once inside the cell, glucose is broken down to make adenosine triphosphate (ATP), a molecule that possesses readily available energy, through two different pathways. In plant cells, chloroplasts create sugars by photosynthesis, using the energy of light to join molecules of water and carbon dioxide. Protein synthesis. Cells are capable of synthesizing new proteins, which are essential for the modulation and maintenance of cellular activities. This process involves the formation of new protein molecules from amino acid building blocks based on information encoded in DNA/RNA. Protein synthesis generally consists of two major steps: transcription and translation.
Transcription is the process where genetic information in DNA is used to produce a complementary RNA strand. This RNA strand is then processed to give messenger RNA (mRNA), which is free to migrate through the cell. mRNA molecules bind to protein-RNA complexes called ribosomes located in the cytosol, where they are translated into polypeptide sequences. The ribosome mediates the formation of a polypeptide sequence based on the mRNA sequence. The mRNA sequence directly relates to the polypeptide sequence by binding to transfer RNA (tRNA) adapter molecules in binding pockets within the ribosome. The new polypeptide then folds into a functional three-dimensional protein molecule. Motility. Unicellular organisms can move in order to find food or escape predators. Common mechanisms of motion include flagella and cilia. In multicellular organisms, cells can move during processes such as wound healing, the immune response and cancer metastasis. For example, in wound healing in animals, white blood cells move to the wound site to kill the microorganisms that cause infection. Cell motility involves many receptors, crosslinking, bundling, binding, adhesion, motor and other proteins. The process is divided into three steps: protrusion of the leading edge of the cell, adhesion of the leading edge and de-adhesion at the cell body and rear, and cytoskeletal contraction to pull the cell forward. Each step is driven by physical forces generated by unique segments of the cytoskeleton.
Navigation, control and communication. In August 2020, scientists described one way cells—in particular cells of a slime mold and mouse pancreatic cancer-derived cells—are able to navigate efficiently through a body and identify the best routes through complex mazes: generating gradients after breaking down diffused chemoattractants which enable them to sense upcoming maze junctions before reaching them, including around corners. Multicellularity. Cell specialization/differentiation. Multicellular organisms are organisms that consist of more than one cell, in contrast to single-celled organisms. In complex multicellular organisms, cells specialize into different cell types that are adapted to particular functions. In mammals, major cell types include skin cells, muscle cells, neurons, blood cells, fibroblasts, stem cells, and others. Cell types differ both in appearance and function, yet are genetically identical. Cells are able to be of the same genotype but of different cell type due to the differential expression of the genes they contain.
Most distinct cell types arise from a single totipotent cell, called a zygote, that differentiates into hundreds of different cell types during the course of development. Differentiation of cells is driven by different environmental cues (such as cell–cell interaction) and intrinsic differences (such as those caused by the uneven distribution of molecules during division). Origin of multicellularity. Multicellularity has evolved independently at least 25 times, including in some prokaryotes, like cyanobacteria, myxobacteria, actinomycetes, or "Methanosarcina". However, complex multicellular organisms evolved only in six eukaryotic groups: animals, fungi, brown algae, red algae, green algae, and plants. It evolved repeatedly for plants (Chloroplastida), once or twice for animals, once for brown algae, and perhaps several times for fungi, slime molds, and red algae. Multicellularity may have evolved from colonies of interdependent organisms, from cellularization, or from organisms in symbiotic relationships. The first evidence of multicellularity is from cyanobacteria-like organisms that lived between 3 and 3.5 billion years ago. Other early fossils of multicellular organisms include the contested "Grypania spiralis" and the fossils of the black shales of the Palaeoproterozoic Francevillian Group Fossil B Formation in Gabon.
The evolution of multicellularity from unicellular ancestors has been replicated in the laboratory, in evolution experiments using predation as the selective pressure. Origins. The origin of cells has to do with the origin of life, which began the history of life on Earth. Origin of life. Small molecules needed for life may have been carried to Earth on meteorites, created at deep-sea vents, or synthesized by lightning in a reducing atmosphere. There is little experimental data defining what the first self-replicating forms were. RNA may have been the earliest self-replicating molecule, as it can both store genetic information and catalyze chemical reactions. Cells emerged around 4 billion years ago. The first cells were most likely heterotrophs. The early cell membranes were probably simpler and more permeable than modern ones, with only a single fatty acid chain per lipid. Lipids spontaneously form bilayered vesicles in water, and could have preceded RNA. First eukaryotic cells.
History of research. In 1665, Robert Hooke examined a thin slice of cork under his microscope, and saw a structure of small enclosures. He wrote "I could exceeding plainly perceive it to be all perforated and porous, much like a Honey-comb, but that the pores of it were not regular". To further support his theory, Matthias Schleiden and Theodor Schwann both also studied cells of both animal and plants. What they discovered were significant differences between the two types of cells. This put forth the idea that cells were not only fundamental to plants, but animals as well.
Buffy the Vampire Slayer (film) Buffy the Vampire Slayer is a 1992 American comedy vampire film directed by Fran Rubel Kuzui and written by Joss Whedon. It stars Kristy Swanson as the eponymous Buffy Summers, a Valley Girl cheerleader who learns it is her fate to hunt vampires. Donald Sutherland, Paul Reubens, Rutger Hauer, and Luke Perry appear in supporting roles. The film received mixed reviews from critics and grossed $16.6 million on a $7 million budget. It also took a different direction from what Whedon intended, leading him to create a television series of the same name to critical acclaim. Plot. Buffy Summers is a cheerleader at Hemery High School in Los Angeles. Her main concerns are shopping and spending time with her rich, snooty friends and her boyfriend, Jeffrey. While at school one day, she is approached by a man who calls himself Merrick. He informs her that she is The Slayer, or Chosen One, destined to kill vampires and his duty is to guide and train her. She initially rejects his claim, but realizes he's right when he vividly describes a recurring dream of hers. Additionally, Buffy is exhibiting abilities not known to her, including heightened agility, senses, and endurance; yet she repeatedly tries Merrick's patience with her frivolous nature, indifference to slaying, and sharp-tongued remarks.
Conflict starts with local vampire king, Lothos, and his acolyte, Amilyn. Two young men, Oliver Pike and Benny, are out drinking when they're attacked by Amilyn. Benny is turned, but Pike is saved by Merrick. As a vampire, Benny visits his friend Pike and tries to get him to join him. Amilyn also abducts Cassandra, a girl from Buffy's class, and sacrifices her to Lothos. Pike decides to leave town when he realizes he is no longer safe. His plan is thwarted when he encounters Amilyn and his gang of vampires, and Buffy and Merrick rescue him. After this encounter, Buffy and Pike start a friendship that eventually becomes romantic, and Pike becomes Buffy's vampire hunting partner. Buffy discovers her friend Grueller is a vampire. Shortly after he is dispatched, Buffy encounters Lothos and Amilyn. The vampire king puts Buffy into a hypnotic trance. Merrick intervenes, but he is killed by Lothos when he attempts to stake him. As Merrick dies, he tells Buffy to do things her own way rather than live by the rules of others.
At school, Buffy attempts to explain things to her friends, but they refuse to understand her, as they are more concerned with an upcoming school dance. Buffy falls out with them as she realizes she has outgrown their immature, selfish behavior. At the senior dance, Buffy is dismayed to find Jeffrey has dumped her (via a message on her answering machine) and had come to the dance with her friend Jenny. She meets with Pike, and dances with him instead. Lothos sends his army of vampire minions to the school to attack the dance (among which is Cassandra, though it's unknown what became of her later). During the attack, students and attendants try to fight off the vampires in the gym. Pike kills Benny with high voltage of electricity after they fight, while Buffy confronts Amilyn and Lothos in the school's basement. She kills Amilyn, but Lothos starts to hypnotize her again. The trance is broken when Buffy is reminded of Merrick's last words and she defends herself against Lothos. Buffy returns to the gym, and Lothos suddenly emerges with a sword; the Slayer and vampire king duel, and Buffy manages to defeat him. The survivors leave, Buffy and Pike share another dance and the couple ride away on a motorcycle.
Cast. Appearing in uncredited roles are Ben Affleck as a basketball player, Ricki Lake as Charlotte, Seth Green as a vampire, and Alexis Arquette as the vampire DJ. Production. Writer Whedon sold the film to country singer Dolly Parton's production company, Sandollar, in the fall of 1991. Production was limited to five weeks to accommodate Luke Perry's "Beverly Hills, 90210" filming schedule. Whedon was inspired by "Night of the Comet" for the film's story. Whedon was involved in an advisory role early in the production but departed after becoming dissatisfied with the direction the film was taking. Executives at 20th Century Fox removed many of Whedon's jokes, believing the humor to be too abstract for audiences. They also disliked the darker elements in Whedon's original script, wanting to make it a lighter comedy. Merrick's suicide was replaced with his being killed by Lothos, and Buffy's burning down her high school gym to kill all the vampires was eliminated altogether. All this led Whedon to finally walk off the set. He has been highly critical of actor Donald Sutherland's behavior on set, describing him as entitled and difficult to work with. Sutherland had a penchant for improvising or altering his lines in the script, which director Rubel Kuzui allowed him to do freely because he was the film's most high-profile star. Whedon felt this made Merrick's dialogue in the film disjointed and unintelligible.
Filming in Los Angeles included the ballroom of the Park Plaza Hotel, where Merrick lives and trains Buffy, John Marshall High School in Los Feliz, and the gymnasium of University High School in West Los Angeles, where the high school dance and vampire attack was filmed. Reception. Box office. The film debuted at #5 at the North American box office and eventually grossed $16,624,456 against a $7 million production budget. Critical reception. On review aggregator website Rotten Tomatoes, the film has an approval rating of 36%, based on 53 reviews, with an average rating of 4.4/10. The consensus reads, ""Buffy the Vampire Slayer"s supernatural coming of age tale is let down by poor directing and even poorer plotting -- though Kristy Swanson and Paul Reubens' game performances still manage to slay." On Metacritic, the film has a weighted average score of 48 out of 100, based on 17 critics, indicating "mixed or average reviews". Home media. The film was released on VHS and Laserdisc in the U.S. in November 1992 and in the U.K. in April 1993 by Fox Video and re-released in 1995 under the Twentieth Century Fox Selections banner. It was released on DVD in the U.S. in 2001 and on Blu-ray in 2011.
Television. The film was taken in a different direction from what one of its writers Joss Whedon intended, and five years later, he created the darker and acclaimed TV series of the same name. Many of the details given in the film differ from those of the later television series. For example, Buffy's age and history are dissimilar; she is a senior in high school in the film, but the series starts with her as a sophomore. The film does portray who the Buffy of the TV series was before she learned of her destiny as the Slayer: a popular but selfish and superficial cheerleader. In the film, her parents are wealthy but negligent socialites who care little for her and spend their time at parties and golf tournaments; in the TV series, Buffy has a caring, newly divorced mother named Joyce. The supernatural abilities of both vampires and the Slayer are depicted differently. The vampires in the film die like humans; in the TV series, they turn to dust. Unlike the TV series, their faces remain human albeit pale, fanged, and with notched ears, whereas in the TV series, they take on a demonic aspect, especially when newly raised. The TV series suggests that new vampires must consciously learn to maintain a human appearance. In the film, Merrick has been reincarnated many times, to train many Slayers; in the TV series, Watchers are mortal and specially trained for their role and mission. Merrick's British accent and the manner of his death are different when he appears in flashbacks in the TV series.
Joss Whedon has expressed his dissatisfaction with the film's interpretation of the script, stating, "I finally sat down and had written it and somebody had made it into a movie, and I felt like — well, that's not quite her. It's a start, but it's not quite the girl." According to the "Official Buffy Watcher's Guide", Whedon wrote the pilot to the TV series as a sequel to his original script, which is why the TV series makes references to events that did not occur in the film. In 1999, Dark Horse Comics released a graphic novel adaptation of Whedon's original script under the title "The Origin". Whedon stated: "The "Origin" comic, though I have issues with it, CAN pretty much be accepted as canonical. They did a cool job of combining the movie script with the series, that was nice, and using the series Merrick and not a certain OTHER thespian who shall remain hated." Soundtrack. Other songs featured in the film but not the soundtrack album include: "Everybody Hurts" by R.E.M., "In the Wind" by War Babies, and "Inner Mind" by Eon.
Possible remake. On May 25, 2009, "The Hollywood Reporter" reported that Roy Lee and Doug Davison of Vertigo Entertainment were working with Fran Rubel Kuzui and Kaz Kuzui on a re-envisioning or relaunch of the "Buffy" film for the big screen. The film would not be a sequel nor prequel to the existing film or television franchise, and Joss Whedon would have no involvement in the project. None of the characters, cast, or crew from the television series would be featured. Television series executive producer Marti Noxon later reflected that this story might have been produced by the studio in order to frighten Whedon into taking the reins of the project. On November 22, 2010, "The Hollywood Reporter" confirmed that Warner Bros. had picked up the movie rights to the remake. The film was set for release sometime in 2012. 20th Century Fox, which usually holds the rights to both "Buffy" and "Angel" television series, would retain merchandising and some distribution rights. The idea of the remake caused wrath among fans of the TV series, since Whedon was not involved. The project did not have any connection with the show and would not conform to the continuity maintained with the "Buffy the Vampire Slayer Season Eight" and "Season Nine" comic book titles. Not only the fandom, but the main cast members of both the "Buffy" and "Angel" series expressed disagreement with the report on Twitter and in recent interviews. Sarah Michelle Gellar said, "I think it's a horrible idea. To try to do a "Buffy" without Joss Whedon... to be incredibly non-eloquent: that's the dumbest idea I've ever heard." Proposed shooting locations included Black Wood and other areas in rural England, due to budgetary constraints and the potential setting being outside of the city, an unusual change for the franchise.
In December 2011, more than a year after the official reboot announcement, the "Los Angeles Times" site reported that Whit Anderson, the writer picked for the new "Buffy" movie, had her script rejected by the producers behind the project, and that a new writer was being sought. Sources also stated that "If you're going to bring it back, you have to do it right. [Anderson] came in with some great ideas and she had reinvented some of the lore and it was pretty cool but in the end there just wasn't enough on the page." As of July 2018, Joss Whedon announced at San Diego Comic-Con that he was working on a sequel of the TV series and that it might feature a slayer of color.
Barter In trade, barter (derived from "bareter") is a system of exchange in which participants in a transaction directly exchange goods or services for other goods or services without using a medium of exchange, such as money. Economists usually distinguish barter from gift economies in many ways; barter, for example, features immediate reciprocal exchange, not one delayed in time. Barter usually takes place on a bilateral basis, but may be multilateral (if it is mediated through a trade exchange). In most developed countries, barter usually exists parallel to monetary systems only to a very limited extent. Market actors use barter as a replacement for money as the method of exchange in times of monetary crisis, such as when currency becomes unstable (such as hyperinflation or a deflationary spiral) or simply unavailable for conducting commerce. No ethnographic studies have shown that any present or past society has used barter without any other medium of exchange or measurement, and anthropologists have found no evidence that money emerged from barter. Nevertheless, economists since the times of Adam Smith (1723–1790) often imagined pre-modern societies as examples to use the inefficiency of barter to explain the emergence of money, of "the" economy, and hence of the discipline of economics itself.
Economic theory. Adam Smith on the origin of money. Adam Smith sought to demonstrate that markets (and economies) pre-existed the state. He argued that money was not the creation of governments. Markets emerged, in his view, out of the division of labour, by which individuals began to specialize in specific crafts and hence had to depend on others for subsistence goods. These goods were first exchanged by barter. Specialization depended on trade but was hindered by the "double coincidence of wants" which barter requires, i.e., for the exchange to occur, each participant must want what the other has. To complete this hypothetical history, craftsmen would stockpile one particular good, be it salt or metal, that they thought no one would refuse. This is the origin of money according to Smith. Money, as a universally desired medium of exchange, allows each half of the transaction to be separated. Barter is characterized in Adam Smith's "The Wealth of Nations" by a disparaging vocabulary: "haggling, swapping, dickering". It has also been characterized as negative reciprocity, or "selfish profiteering".
David Graeber's theory. Anthropologists such as David Graeber have argued, in contrast, "that when something resembling barter "does" occur in stateless societies it is almost always between strangers." Barter occurred between strangers, not fellow villagers, and hence cannot be used to naturalistically explain the origin of money without the state. Since most people engaged in trade knew each other, exchange was fostered through the extension of credit. Marcel Mauss, author of 'The Gift', argued that the first economic contracts were to "not" act in one's economic self-interest, and that before money, exchange was fostered through the processes of reciprocity and redistribution, not barter. Everyday exchange relations in such societies are characterized by generalized reciprocity, or a non-calculative familial "communism" where each takes according to their needs, and gives as they have. Features of bartering. Often the following features are associated with barter transactions: There is a demand focus for things of a different kind.
The parties of the barter transaction are both equal and free. The transaction happens simultaneously. The transaction is transformative. There is no criterion of value. Advantages. Since direct barter does not require payment in money, it can be utilized when money is in short supply, when there is little information about the credit worthiness of trade partners, or when there is a lack of trust between those trading. Barter is an option to those who cannot afford to store their small supply of wealth in money, especially in hyperinflation situations where money devalues quickly. Limitations. The limitations of barter are often explained in terms of its inefficiencies in facilitating exchange in comparison to money. It is said that barter is 'inefficient' because: History. Silent trade. Other anthropologists have questioned whether barter is typically between "total" strangers, a form of barter known as "silent trade". Silent trade, also called silent barter, dumb barter ("dumb" here used in its old meaning of "mute"), or depot trade, is a method by which traders who cannot speak each other's language can trade without talking. However, Benjamin Orlove has shown that while barter occurs through "silent trade" (between strangers), it occurs in commercial markets as well. "Because barter is a difficult way of conducting trade, it will occur only where there are strong institutional constraints on the use of money or where the barter symbolically denotes a special social relationship and is used in well-defined conditions. To sum up, multipurpose money in markets is like lubrication for machines - necessary for the most efficient function, but not necessary for the existence of the market itself."
In his analysis of barter between coastal and inland villages in the Trobriand Islands, Keith Hart highlighted the difference between highly ceremonial gift exchange between community leaders, and the barter that occurs between individual households. The haggling that takes place between strangers is possible because of the larger temporary political order established by the gift exchanges of leaders. From this, he concludes that barter is "an atomized interaction predicated upon the presence of society" (i.e. that social order established by gift exchange), and not typical between strangers. Times of monetary crisis. As Orlove noted, barter may occur in commercial economies, usually during periods of monetary crisis. During such a crisis, currency may be in short supply, or highly devalued through hyperinflation. In such cases, money ceases to be the universal medium of exchange or standard of value. Money may be in such short supply that it becomes an item of barter itself rather than the means of exchange. Barter may also occur when people cannot afford to keep money (as when hyperinflation quickly devalues it).
An example of this would be during the Crisis in Bolivarian Venezuela, when Venezuelans resorted to bartering as a result of hyperinflation. The increasingly low value of bank notes, and their lack of circulation in suburban areas, meant that many Venezuelans, especially those living outside of larger cities, took to trading over their own goods for even the most basic of transactions. Additionally, in the wake of the 2008 financial crisis, barter exchanges reported a double-digit increase in membership, due to the scarcity of fiat money, and the degradation of monetary system sentiment. Exchanges. Economic historian Karl Polanyi has argued that where barter is widespread, and cash supplies limited, barter is aided by the use of credit, brokerage, and money as a unit of account (i.e. used to price items). All of these strategies are found in ancient economies including Ptolemaic Egypt. They are also the basis for more recent barter exchange systems. While one-to-one bartering is practised between individuals and businesses on an informal basis, organized barter exchanges have developed to conduct third party bartering which helps overcome some of the limitations of barter. A barter exchange operates as a broker and bank in which each participating member has an account that is debited when purchases are made, and credited when sales are made.
Modern barter and trade has evolved considerably to become an effective method of increasing sales, conserving cash, moving inventory, and making use of excess production capacity for businesses around the world. Businesses in a barter earn trade credits (instead of cash) that are deposited into their account. They then have the ability to purchase goods and services from other members utilizing their trade credits – they are not obligated to purchase from those whom they sold to, and vice versa. The exchange plays an important role because they provide the record-keeping, brokering expertise and monthly statements to each member. Commercial exchanges make money by charging a commission on each transaction either all on the buy side, all on the sell side, or a combination of both. Transaction fees typically run between 8 and 15%. A successful example is International Monetary Systems, which was founded in 1985 and is one of the first exchanges in North America opened after the TEFRA Act of 1982. Organized barter (retail barter).
Since the 1930s, organized barter has been a common type of barter where company's join a barter organization (barter company) which serves as a hub to exchange goods and services without money as a medium of exchange. Similarly to brokerage houses, barter company facilitates the exchange of goods and services between member companies, allowing members to acquire goods and services by providing their own as payment. Member companies are required to sign a barter agreement with the barter company as a condition of their membership. In turn, the barter company provides each member with the current levels of supply and demand for each good and service which can be purchased or sold in the system. These transactions are mediated by barter authorities of the member companies. The barter member companies can then acquire their desired goods or services from another member company within a predetermined time. Failure to deliver the good or service within the fixed time period results in the debt being settled in cash. Each member company pays an annual membership fee and purchase and sales commission outlined in the contract. Organized barter increases liquidity for member companies as it mitigates the requirement of cash to settle transactions, enabling sales and purchases to be made with excess capacity or surplus inventory. Additionally, organized barter facilitates competitive advantage within industries and sectors. Considering the quantity of transactions depending on the supply-demand balance of the goods and services within the barter organization, member companies tend to face minimal competition within their own operating sector.
Corporate barter. Producers, wholesalers and distributors tend to engage in corporate barter as a method of exchanging goods and services with companies they are in business with. These bilateral barter transactions are targeted towards companies aiming to convert stagnant inventories into receivable goods or services, to increase market share without cash investments, and to protect liquidity. However, issues arise as to the imbalance of supply and demand of desired goods and services and the inability to efficiently match the value of goods and services exchanged in these transactions. Labour notes. The Owenite socialists in Britain and the United States in the 1830s were the first to attempt to organize barter exchanges. Owenism developed a "theory of equitable exchange" as a critique of the exploitative wage relationship between capitalist and labourer, by which all profit accrued to the capitalist. To counteract the uneven playing field between employers and employed, they proposed "schemes of labour notes based on labour time, thus institutionalizing Owen's demand that human labour, not money, be made the standard of value." This alternate currency eliminated price variability between markets, as well as the role of merchants who bought low and sold high. The system arose in a period where paper currency was an innovation. Paper currency was an IOU circulated by a bank (a promise to pay, not a payment in itself). Both merchants and an unstable paper currency created difficulties for direct producers.
An alternate currency, denominated in labour time, would prevent profit taking by middlemen; all goods exchanged would be priced only in terms of the amount of labour that went into them as expressed in the maxim 'Cost the limit of price'. It became the basis of exchanges in London, and in America, where the idea was implemented at the New Harmony communal settlement by Josiah Warren in 1826, and in his Cincinnati 'Time store' in 1827. Warren ideas were adopted by other Owenites and currency reformers, even though the labour exchanges were relatively short lived. In England, about 30 to 40 cooperative societies sent their surplus goods to an "exchange bazaar" for direct barter in London, which later adopted a similar labour note. The British Association for Promoting Cooperative Knowledge established an "equitable labour exchange" in 1830. This was expanded as the National Equitable Labour Exchange in 1832 on Grays Inn Road in London. These efforts became the basis of the British cooperative movement of the 1840s. In 1848, the socialist and first self-designated anarchist Pierre-Joseph Proudhon postulated a system of "time chits".
Michael Linton this originated the term "local exchange trading system" (LETS) in 1983 and for a time ran the Comox Valley LETSystems in Courtenay, British Columbia. LETS networks use interest-free local credit so direct swaps do not need to be made. For instance, a member may earn credit by doing childcare for one person and spend it later on carpentry with another person in the same network. In LETS, unlike other local currencies, no scrip is issued, but rather transactions are recorded in a central location open to all members. As credit is issued by the network members, for the benefit of the members themselves, LETS are considered mutual credit systems. Local currencies. The first exchange system was the Swiss WIR Bank. It was founded in 1934 as a result of currency shortages after the stock market crash of 1929. "WIR" is both an abbreviation of Wirtschaftsring (economic circle) and the word for "we" in German, reminding participants that the economic circle is also a community. In Australia and New Zealand, the largest barter exchange is Bartercard, founded in 1991, with offices in the United Kingdom, United States, Cyprus, UAE, Thailand, and most recently, South Africa. Other than its name suggests, it uses an electronic local currency, the trade dollar. Since its inception, Bartercard has amassed a trading value of over US$10 billion, and increased its customer network to 35,000 cardholders.
Bartering in business. In business, barter has the benefit that one gets to know each other, one discourages investments for rent (which is inefficient) and one can impose trade sanctions on dishonest partners. According to the International Reciprocal Trade Association, the industry trade body, more than 450,000 businesses transacted $10 billion globally in 2008 – and officials expect trade volume to grow by 15% in 2009. It is estimated that over 450,000 businesses in the United States were involved in barter exchange activities in 2010. There are approximately 400 commercial and corporate barter companies serving all parts of the world. There are many opportunities for entrepreneurs to start a barter exchange. Several major cities in the U.S. and Canada do not currently have a local barter exchange. There are two industry groups in the United States, the National Association of Trade Exchanges (NATE) and the International Reciprocal Trade Association (IRTA). Both offer training and promote high ethical standards among their members. Moreover, each has created its own currency through which its member barter companies can trade. NATE's currency is known as the BANC and IRTA's currency is called Universal Currency (UC).
In Canada, barter continues to thrive. The largest b2b barter exchange is International Monetary Systems (IMS Barter), founded in 1985. P2P bartering has seen a renaissance in major Canadian cities through Bunz - built as a network of Facebook groups that went on to become a stand-alone bartering based app in January 2016. Within the first year, Bunz accumulated over 75,000 users in over 200 cities worldwide. Corporate barter focuses on larger transactions, which is different from a traditional, retail oriented barter exchange. Corporate barter exchanges typically use media and advertising as leverage for their larger transactions. It entails the use of a currency unit called a "trade-credit". The trade-credit must not only be known and guaranteed but also be valued in an amount the media and advertising could have been purchased for had the "client" bought it themselves (contract to eliminate ambiguity and risk). Soviet bilateral trade is occasionally called "barter trade", because although the purchases were denominated in U.S. dollars, the transactions were credited to an international clearing account, avoiding the use of hard cash.
Tax implications. In the United States, Karl Hess used bartering to make it harder for the IRS to seize his wages and as a form of tax resistance. Hess explained how he turned to barter in an op-ed for "The New York Times" in 1975. However the IRS now requires barter exchanges to be reported as per the Tax Equity and Fiscal Responsibility Act of 1982. Barter exchanges are considered taxable revenue by the IRS and must be reported on a 1099-B form. According to the IRS, "The fair market value of goods and services exchanged must be included in the income of both parties." Other countries, though, do not have the reporting requirement that the U.S. does concerning proceeds from barter transactions, but taxation is handled the same way as a cash transaction. If one barters for a profit, one pays the appropriate tax; if one generates a loss in the transaction, they have a loss. Bartering for business is also taxed accordingly as business income or business expense. Many barter exchanges require that one register as a business.
In countries like Australia and New Zealand, barter transactions require the appropriate tax invoices declaring the value of the transaction and its reciprocal GST component. All records of barter transactions must also be kept for a minimum of five years after the transaction is made. Recent developments. In Spain (particularly the Catalonia region) there is a growing number of exchange markets. These barter markets or swap meets work without money. Participants bring things they do not need and exchange them for the unwanted goods of another participant. Swapping among three parties often helps satisfy tastes when trying to get around the rule that money is not allowed. Other examples are El Cambalache in San Cristobal de las Casas, Chiapas, Mexico and post-Soviet societies. The recent blockchain technologies are making it possible to implement decentralized and autonomous barter exchanges that can be used by crowds on a massive scale. BarterMachine is an Ethereum smart contract based system that allows direct exchange of multiple types and quantities of tokens with others. It also provides a solution miner that allows users to compute direct bartering solutions in their browsers. Bartering solutions can be submitted to BarterMachine which will perform collective transfer of tokens among the blockchain addresses that belong to the users. If there are excess tokens left after the requirements of the users are satisfied, the leftover tokens will be given as reward to the solution miner.
Berthe Morisot Berthe Marie Pauline Morisot (; 14 January 1841 – 2 March 1895) was a French painter and a member of the circle of painters in Paris who became known as the Impressionists. In 1864, Morisot exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government and judged by Academicians, the Salon was the official, annual exhibition of the in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions (15 April – 15 May 1874), which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir and Alfred Sisley. It was held at the studio of the photographer Nadar. Morisot went on to participate in all but one of the following eight impressionist exhibitions, between 1874 and 1886. Morisot was married to Eugène Manet, the brother of her friend and colleague Édouard Manet. She was described by art critic Gustave Geffroy in 1894 as one of "les trois grandes dames" (The three great ladies) of Impressionism alongside Marie Bracquemond and Mary Cassatt.
Early life. Morisot was born 14 January 1841, in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect (senior administrator) of the department of Cher. He also studied architecture at École des Beaux Arts. Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard, one of the most prolific Rococo painters of the ancien régime. She had two older sisters, Yves (1838–1893) and Edma (1839–1921), plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child. It was commonplace for daughters of bourgeois families to receive art education, so Berthe and her sisters Yves and Edma were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. Morisot and her sisters initially started taking lessons so that they could each make a drawing for their father for his birthday. In 1857 Guichard, who ran a school for girls in Rue des Moulins, introduced Berthe and Edma to the Louvre gallery where from 1858 they learned by copying paintings. The Morisots were not only forbidden to work at the museum unchaperoned, but they were also totally barred from formal training. Guichard also introduced them to the works of Gavarni.
As art students, Berthe and Edma worked closely together until 1869, when Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, and had less time to paint. Letters between the sisters show a loving relationship, underscored by Berthe's regret at the distance between them and Edma's withdrawal from painting. Edma wholeheartedly supported Berthe's continued work and their families always remained close. Edma wrote "... I am often with you in thought, dear Berthe. I'm in your studio and I like to slip away, if only for a quarter of an hour, to breathe that atmosphere that we shared for many years...". Her sister Yves married Théodore Gobillard, a tax inspector, in 1866 and was painted by Edgar Degas as "Madame Théodore Gobillard" (Metropolitan Museum of Art, New York City). As a copyist at the Louvre, Morisot met and befriended other artists such as Manet and Monet. In 1861 she was introduced to Jean-Baptiste-Camille Corot, the pivotal landscape painter of the Barbizon school who also excelled in figure painting. Under Corot's influence, she took up the plein air (outdoors) method of working. By 1863 she was studying under , another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, but none of her sculptures is known to survive.
Main periods of Morisot's work. Training, 1857–1870. It is hard to trace the stages of Morisot's training and to tell the exact influence of her teachers because she was never pleased with her work and she destroyed nearly all of the artworks she produced before 1869. Her first teacher, Geoffroy-Alphonse Chocarne, taught her the basics of drawing. After several months, Morisot began to take classes taught by Guichard. During this period, she drew mostly ancient classical figures. When Morisot expressed her interests in plein-air painting, Guichard sent her to follow Corot and Oudinot. Painting outdoors, she used watercolors which are easy to carry. At that time, Morisot also became interested in pastel. Watercolorist, 1870–1874. During this period, Morisot still found oil painting difficult, and worked mostly in watercolor. Her choice of colors is rather restrained; however, the delicate repetition of hues renders a balanced effect. Due to specific characteristics of watercolors as a medium, Morisot was able to create a translucent atmosphere and feathery touch, which contribute to the freshness in her paintings.
Impressionism, 1875–1885. Having become more confident about oil painting, Morisot worked in oil, watercolor and pastel at the same time, as Degas did. She painted very quickly but did much sketching as preparation, so she could paint "a mouth, eyes, and a nose with a single brushstroke." She made countless studies of her subjects, which were drawn from her life so she became quite familiar with them. When it became inconvenient to paint outdoors, the highly finished watercolors done in the preparatory stages allowed her to continue painting indoors later. Turning, 1885–1887. After 1885, drawing began to dominate in Morisot's works. Morisot actively experimented with charcoals and color pencils. Her reviving interest in drawing was motivated by her Impressionist friends, who are known for blurring forms. Morisot put her emphasis on the clarification of the form and lines during this period. In addition, she was influenced by photography and Japonisme. She adopted the style of placing objects away from the center of the composition from Japanese prints of the time.
Synthesis, 1887–1895. Morisot started to use the technique of squaring and the medium of tracing paper to transcribe her drawing to the canvas exactly. By employing this new method, Morisot was able to create compositions with more complicated interaction between figures. She stressed the composition and the forms while her Impressionist brushstrokes still remained. Her original synthesis of the Impressionist touch with broad strokes and light reflections, and the graphic approach featured by clear lines, made her late works distinctive. Style and technique. Because she was a female artist, Morisot's paintings were often labeled as being full of "feminine charm" by male critics, for their elegance and lightness. In 1890, Morisot wrote in a notebook about her struggles to be taken seriously as an artist: "I don't think there has ever been a man who treated a woman as an equal and that's all I would have asked for, for I know I'm worth as much as they." Her light brushstrokes often led to critics using the verb "effleurer" (to touch lightly, brush against) to describe her technique. In her early life, Morisot painted in the open air as other Impressionists to look for truths in observation. Around 1880 she began painting on unprimed canvases—a technique Manet and Eva Gonzalès also experimented with at the time—and her brushwork became looser. In 1888–89, her brushstrokes transitioned from short, rapid strokes to long, sinuous ones that define form. The outer edges of her paintings were often left unfinished, allowing the canvas to show through and increasing the sense of spontaneity. After 1885, she worked mostly from preliminary drawings before beginning her oil paintings. She often worked in oil paint, watercolors, and pastel simultaneously, and sketched using various drawing media. Morisot's works are almost always small in scale.
Morisot creates a sense of space and depth through the use of color. Although her color palette was somewhat limited, her fellow impressionists regarded her as a "virtuoso colorist". She typically made expansive use of white to create a sense of transparency, whether used as a pure white or mixed with other colors. In her large painting "The Cherry Tree", the colors are more vivid but still emphasize the form. Inspired by Manet's drawings, she kept the use of color to a minimum when constructing a motif. Responding to the experiments conducted by Manet and Edgar Degas, Morisot used barely tinted whites to harmonize the paintings. Like Degas, she played with three media simultaneously in one painting: watercolor, pastel, and oil paints. In the second half of her career, she learned from Renoir by mimicking his motifs. She also shared an interest in keeping a balance between the density of figures and the atmospheric traits of light with Renoir in her later works. Subjects.
Impressionism. Morisot's first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two landscape paintings. She continued to show regularly in the Salon, to generally favorable reviews, until 1873, the year before the First Impressionist Exhibition. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1879 due to illness when her daughter Julie was born at the end of 1878. </ref> Impressionism's alleged attachment to brilliant color, sensual surface effects, and fleeting sensory perceptions led a number of critics to assert in retrospect that this style, once primarily the battlefield of insouciant, combative males, was inherently feminine and best suited to women's weaker temperaments, lesser intellectual capabilities, and greater sensibility. During Morisot's 1874 exhibition with the Impressionists, such as Monet and Manet, Le Figaro critic Albert Wolff noted that the Impressionists consisted of "five or six lunatics of which one is a woman...[whose] feminine grace is maintained amid the outpourings of a delirious mind."
Morisot's mature career began in 1872. She found an audience for her work with Durand-Ruel, the private dealer, who bought twenty-two paintings. In 1877, she was described by the critic for "Le Temps" as the "one real Impressionist in this group." She chose to exhibit under her full maiden name instead of using a pseudonym or her married name. As her skill and style improved, many began to rethink their opinion toward Morisot. In the 1880 exhibition, many reviews judged Morisot among the best, even including "Le Figaro" critic Albert Wolff. Personal life. Morisot came from an eminent family, the daughter of a senior government official and the great-niece of Rococo artist Jean-Honoré Fragonard. She met her longtime friend and colleague, Édouard Manet, in 1868 and married his brother, Eugène Manet, in 1874. On 14 November 1878, she gave birth to her only child, Julie, who posed frequently for her mother and other Impressionist artists, including Renoir and her uncle Édouard. Correspondence between Morisot and Édouard Manet shows warm affection, and Manet gave her an easel as a Christmas present. Morisot often posed for Manet and there are several portrait paintings of Morisot such as "Repose (Portrait of Berthe Morisot)" and "Berthe Morisot with a Bouquet of Violets". Morisot died on 2 March 1895, in Paris, of pneumonia contracted while attending to her daughter Julie's similar illness, thus making Julie an orphan at the age of 16. The day before she died, Berthe wrote to Julie: Berthe Morisot was interred in the Cimetière de Passy.
It has been speculated that there was a repressed love between Manet and Morisot, exemplified by the numerous portraits he did of her before she married his brother. Works. Selection of works. This limited selection is based in part on the book "Berthe Morisot" by Charles F. Stuckey, William P. Scott and Susan G. Lindsay, which is in turn drawn from the 1961 catalogue by Marie-Louise Bataille, Denis Rouart, and Georges Wildenstein. There are variations between the dates of execution, first showing and purchase. Titles may vary between sources. Art market. Morisot's work sold comparatively well. She achieved the two highest prices at a Hôtel Drouot auction in 1875, the "Interior (Young Woman with Mirror)" sold for 480 francs, and her pastel "On the Lawn" sold for 320 francs. Her works averaged 250 francs, the best relative prices at the auction. In February 2013, Morisot became the highest priced female artist, when "After Lunch" (1881), a portrait of a young redhead in a straw hat and purple dress, sold for $10.9 million at a Christie's auction. The painting achieved roughly three times its upper estimate, and it exceeded the 2012 record of $10.7 million for a sculpture by Louise Bourgeois.