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The Raven
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This article is about the narrative poem by American writer Edgar Allan Poe. For other uses, see The Raven (disambiguation).
"The Raven" depicts a mysterious raven's midnight visit to a mourning narrator, as illustrated by John Tenniel (1858).
"The Raven"
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"The Raven" is a narrative poem by American writer Edgar Allan Poe. First published in January 1845, the poem is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a talking raven's mysterious visit to a distraught lover, tracing the man's slow fall into madness. The lover, often identified as being a student,[1][2] is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further instigate his distress with its constant repetition of the word "Nevermore". The poem makes use of a number of folk, mythological, religious, and classical references.
Poe claimed to have written the poem very logically and methodically, intending to create a poem that would appeal to both critical and popular tastes, as he explained in his 1846 follow-up essay, "The Philosophy of Composition". The poem was inspired in part by a talking raven in the novel Barnaby Rudge: A Tale of the Riots of 'Eighty by Charles Dickens.[3] Poe borrows the complex rhythm and meter of Elizabeth Barrett's poem "Lady Geraldine's Courtship", and makes use of internal rhyme as well as alliteration throughout.
"The Raven" was first attributed to Poe in print in the New York Evening Mirror on January 29, 1845. Its publication made Poe widely popular in his lifetime, although it did not bring him much financial success. The poem was soon reprinted, parodied, and illustrated. Critical opinion is divided as to the poem's literary status, but it nevertheless remains one of the most famous poems ever written.[4]
Contents
[hide]
1 Synopsis
2 Analysis
2.1 Allusions
2.2 Poetic structure
3 Publication history
3.1 Illustrators
4 Composition
5 Critical reception
6 See also
7 Notes
8 References
9 External links
Synopsis[edit]
The Raven [5]

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visiter," I muttered, "tapping at my chamber door—
Only this and nothing more."
[show]
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visiter entreating entrance at my chamber door—
Some late visiter entreating entrance at my chamber door;—
This it is and nothing more."

Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!"—
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
'Tis the wind and nothing more!"

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered "Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before."
Then the bird said "Nevermore."

Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of 'Never—nevermore'."

But the Raven still beguiling my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet-violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe, from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven "Nevermore."

"Prophet!" said I, "thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!"
Quoth the Raven "Nevermore."

"Prophet!" said I, "thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven "Nevermore."

"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting—
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
—Edgar Allan Poe
"Not the least obeisance made he", as illustrated by Gustave Doré (1884)
"The Raven" follows an unnamed narrator on a dreary night in December who sits reading "forgotten lore" by a dying fire [6] as a way to forget the death of his beloved Lenore. A "tapping at [his] chamber door"[6] reveals nothing, but excites his soul to "burning".[7] The tapping is repeated, slightly louder, and he realizes it is coming from his window. When he goes to investigate, a raven flutters into his chamber. Paying no attention to the man, the raven perches on a bust of Pallas above the door.
Amused by the raven's comically serious disposition, the man asks that the bird tell him its name. The raven's only answer is "Nevermore".[7] The narrator is surprised that the raven can talk, though at this point it has said nothing further. The narrator remarks to himself that his "friend" the raven will soon fly out of his life, just as "other friends have flown before"[7] along with his previous hopes. As if answering, the raven responds again with "Nevermore".[7] The narrator reasons that the bird learned the word "Nevermore" from some "unhappy master" and that it is the only word it knows.[7]
Even so, the narrator pulls his chair directly in front of the raven, determined to learn more about it. He thinks for a moment in silence, and his mind wanders back to his lost Lenore. He thinks the air grows denser and feels the presence of angels, and wonders if God is sending him a sign that he is to forget Lenore. The bird again replies in the negative, suggesting that he can never be free of his memories. The narrator becomes angry, calling the raven a "thing of evil" and a "prophet".[8] Finally, he asks the raven whether he will be reunited with Lenore in Heaven. When the raven responds with its typical "Nevermore", he is enraged, and, calling it a liar, commands the bird to return to the "Plutonian shore"[8]—but it does not move. Presumably at the time of the poem's recitation by the narrator, the raven "still is sitting"[8] on the bust of Pallas. The narrator's final admission is that his soul is trapped beneath the raven's shadow and shall be lifted "Nevermore".[8]
Analysis[edit]
Poe wrote the poem as a narrative, without intentionally creating an allegory or falling into didacticism.[2] The main theme of the poem is one of undying devotion.[9] The narrator experiences a perverse conflict between desire to forget and desire to remember. He seems to get some pleasure from focusing on loss.[10] The narrator assumes that the word "Nevermore" is the raven's "only stock and store", and, yet, he continues to ask it questions, knowing what the answer will be. His questions, then, are purposely self-deprecating and further incite his feelings of loss.[11] Poe leaves it unclear if the raven actually knows what it is saying or if it really intends to cause a reaction in the poem's narrator.[12] The narrator begins as "weak and weary," becomes regretful and grief-stricken, before passing into a frenzy and, finally, madness.[13] Christopher F. S. Maligec suggests the poem is a type of elegiac paraclausithyron, an ancient Greek and Roman poetic form consisting of the lament of an excluded, locked-out lover at the sealed door of his beloved.[14]
Allusions[edit]
The raven perches on a bust of Pallas Athena, a symbol of wisdom meant to imply the narrator is a scholar. Illustration by Édouard Manet for Stéphane Mallarmé's translation, Le Corbeau (1875).
Poe says that the narrator is a young scholar.[15] Though this is not explicitly stated in the poem, it is mentioned in "The Philosophy of Composition". It is also suggested by the narrator reading books of "lore" as well as by the bust of Pallas Athena, Greek goddess of wisdom.[1]
He is reading in the late night hours from "many a quaint and curious volume of forgotten lore".[6] Similar to the studies suggested in Poe's short story "Ligeia", this lore may be about the occult or black magic. This is also emphasized in the author's choice to set the poem in December, a month which is traditionally associated with the forces of darkness. The use of the raven—the "devil bird"—also suggests this.[16] This devil image is emphasized by the narrator's belief that the raven is "from the Night's Plutonian shore", or a messenger from the afterlife, referring to Pluto, the Roman god of the underworld[10] (also known as Dis Pater in Roman mythology). A direct allusion to Satan also appears: "Whether Tempter sent, or whether tempest tossed thee here ashore..."
Poe chose a raven as the central symbol in the story because he wanted a "non-reasoning" creature capable of speech. He decided on a raven, which he considered "equally capable of speech" as a parrot, because it matched the intended tone of the poem.[17] Poe said the raven is meant to symbolize "Mournful and Never-ending Remembrance".[18] He was also inspired by Grip, the raven in Barnaby Rudge: A Tale of the Riots of 'Eighty by Charles Dickens.[19] One scene in particular bears a resemblance to "The Raven": at the end of the fifth chapter of Dickens's novel, Grip makes a noise and someone says, "What was that – him tapping at the door?" The response is, "'Tis someone knocking softly at the shutter."[20] Dickens's raven could speak many words and had many comic turns, including the popping of a champagne cork, but Poe emphasized the bird's more dramatic qualities. Poe had written a review of Barnaby Rudge for Graham's Magazine saying, among other things, that the raven should have served a more symbolic, prophetic purpose.[20] The similarity did not go unnoticed: James Russell Lowell in his A Fable for Critics wrote the verse, "Here comes Poe with his raven, like Barnaby Rudge / Three-fifths of him genius and two-fifths sheer fudge."[21] The Free Library of Philadelphia has on display a taxidermied raven that is reputed to be the very one that Dickens owned and that helped inspire Poe's poem.[22]
Poe may also have been drawing upon various references to ravens in mythology and folklore. In Norse mythology, Odin possessed two ravens named Huginn and Muninn, representing thought and memory.[23] According to Hebrew folklore, Noah sends a white raven to check conditions while on the ark.[17] It learns that the floodwaters are beginning to dissipate, but it does not immediately return with the news. It is punished by being turned black and being forced to feed on carrion forever.[23] In Ovid's Metamorphoses, a raven also begins as white before Apollo punishes it by turning it black for delivering a message of a lover's unfaithfulness. The raven's role as a messenger in Poe's poem may draw from those stories.[23]
Nepenthe, a drug mentioned in Homer's Odyssey, erases memories; the narrator wonders aloud whether he could receive "respite" this way: "Quaff, oh quaff this kind nepenthe and forget this lost Lenore!" Poe also mentions the Balm of Gilead, a reference to the Book of Jeremiah (8:22) in the Bible: "Is there no balm in Gilead; is there no physician there? why then is not the health of the daughter of my people recovered?"[24] In that context, the Balm of Gilead is a resin used for medicinal purposes (suggesting, perhaps, that the narrator needs to be healed after the loss of Lenore). He also refers to "Aidenn", another word for the Garden of Eden, though Poe uses it to ask if Lenore has been accepted into Heaven.
Poetic structure[edit]
The poem is made up of 18 stanzas of six lines each. Generally, the meter is trochaic octameter – eight trochaic feet per line, each foot having one stressed syllable followed by one unstressed syllable.[3] The first line, for example (with / representing stressed syllables and x representing unstressed):
Syllabic structure of a verse[6]
Stress
/ x / x / x / x / x / x / x / x
Syllable
Once up- on a mid- night drear- y, while I pon- dered weak and wear- y
Poe, however, claimed the poem was a combination of octameter acatalectic, heptameter catalectic, and tetrameter catalectic.[15] The rhyme scheme is ABCBBB, or AA,B,CC,CB,B,B when accounting for internal rhyme. In every stanza, the 'B' lines rhyme with the word 'nevermore' and are catalectic, placing extra emphasis on the final syllable. The poem also makes heavy use of alliteration ("Doubting, dreaming dreams ...").[25] 20th-century American poet Daniel Hoffman suggested that the poem's structure and meter is so formulaic that it is artificial, though its mesmeric quality overrides that.[26]
Poe based the structure of "The Raven" on the complicated rhyme and rhythm of Elizabeth Barrett's poem "Lady Geraldine's Courtship".[15] Poe had reviewed Barrett's work in the January 1845 issue of the Broadway Journal[27] and said that "her poetic inspiration is the highest – we can conceive of nothing more august. Her sense of Art is pure in itself."[28] As is typical with Poe, his review also criticizes her lack of originality and what he considers the repetitive nature of some of her poetry.[29] About "Lady Geraldine's Courtship", he said "I have never read a poem combining so much of the fiercest passion with so much of the most delicate imagination."[28]
Publication history[edit]
The Raven and Other Poems, Wiley and Putnam, New York, 1845.
Poe first brought "The Raven" to his friend and former employer George Rex Graham of Graham's Magazine in Philadelphia. Graham declined the poem, which may not have been in its final version, though he gave Poe $15 as charity.[30] Poe then sold the poem to The American Review, which paid him $9 for it,[31] and printed "The Raven" in its February 1845 issue under the pseudonym "Quarles", a reference to the English poet Francis Quarles.[32] The poem's first publication with Poe's name was in the Evening Mirror on January 29, 1845, as an "advance copy".[15] Nathaniel Parker Willis, editor of the Mirror, introduced it as "unsurpassed in English poetry for subtle conception, masterly ingenuity of versification, and consistent, sustaining of imaginative lift ... It will stick to the memory of everybody who reads it."[4] Following this publication the poem appeared in periodicals across the United States, including the New York Tribune (February 4, 1845), Broadway Journal (vol. 1, February 8, 1845), Southern Literary Messenger (vol. 11, March 1845), Literary Emporium (vol. 2, December 1845), Saturday Courier, 16 (July 25, 1846), and the Richmond Examiner (September 25, 1849).[33] It has also appeared in numerous anthologies, starting with Poets and Poetry of America edited by Rufus Wilmot Griswold in 1847.
The immediate success of "The Raven" prompted Wiley and Putnam to publish a collection of Poe's prose called Tales in June 1845; it was his first book in five years.[34] They also published a collection of his poetry called The Raven and Other Poems on November 19 by Wiley and Putnam which included a dedication to Barrett as "the Noblest of her Sex".[35] The small volume, his first book of poetry in 14 years,[36] was 100 pages and sold for 31 cents.[37] In addition to the title poem, it included "The Valley of Unrest", "Bridal Ballad", "The City in the Sea", "Eulalie", "The Conqueror Worm", "The Haunted Palace" and eleven others.[38] In the preface, Poe referred to them as "trifles" which had been altered without his permission as they made "the rounds of the press".[35]
Illustrators[edit]
An illustration by Édouard Manet, from Mallarmé's translation, depicting the first two lines of the poem.
Later publications of "The Raven" included artwork by well-known illustrators. Notably, in 1858 "The Raven" appeared in a British Poe anthology with illustrations by John Tenniel, the Alice in Wonderland illustrator (The Poetical Works of Edgar Allan Poe: With Original Memoir, London: Sampson Low). "The Raven" was published independently with lavish woodcuts by Gustave Doré in 1884 (New York: Harper & Brothers). Doré died before its publication.[39] In 1875, a French edition with English and French text, Le Corbeau, was published with lithographs by Édouard Manet and translation by the Symbolist Stéphane Mallarmé.[40] Many 20th-century artists and contemporary illustrators created artworks and illustrations based on "The Raven", including Edmund Dulac, István Orosz,[41][42] and Ryan Price.[43]
Composition[edit]
Main article: The Philosophy of Composition
Poe capitalized on the success of "The Raven" by following it up with his essay "The Philosophy of Composition" (1846), in which he detailed the poem's creation. His description of its writing is probably exaggerated, though the essay serves as an important overview of Poe's literary theory.[44] He explains that every component of the poem is based on logic: the raven enters the chamber to avoid a storm (the "midnight dreary" in the "bleak December"), and its perch on a pallid white bust was to create visual contrast against the dark black bird. No aspect of the poem was an accident, he claims, but is based on total control by the author.[45] Even the term "Nevermore", he says, is used because of the effect created by the long vowel sounds (though Poe may have been inspired to use the word by the works of Lord Byron or Henry Wadsworth Longfellow).[46] Poe had experimented with the long o sound throughout many other poems: "no more" in "Silence", "evermore" in "The Conqueror Worm".[1] The topic itself, Poe says, was chosen because "the death... of a beautiful woman is unquestionably the most poetical topic in the world." Told from "the lips ... of a bereaved lover" is best suited to achieve the desired effect.[2] Beyond the poetics of it, the lost Lenore may have been inspired by events in Poe's own life as well, either to the early loss of his mother, Eliza Poe, or the long illness endured by his wife, Virginia.[10] Ultimately, Poe considered "The Raven" an experiment to "suit at once the popular and critical taste", accessible to both the mainstream and high literary worlds.[2] It is unknown how long Poe worked on "The Raven"; speculation ranges from a single day to ten years. Poe recited a poem believed to be an early version with an alternate ending of "The Raven" in 1843 in Saratoga, New York.[3] An early draft may have featured an owl.[47]
In the summer of 1844, when the poem was likely written, Poe, his wife, and mother-in-law were boarding at the farmhouse of Patrick Brennan. The location of the house, which was demolished in 1888,[48][49] has been a disputed point and, while there are two different plaques marking its supposed location on West 84th Street, it most likely stood where 206 West 84th Street is now.[49][50][51]
Critical reception[edit]
Gustave Doré's illustration of the final lines of the poem accompanies the phrase "And my soul from out that shadow that lies floating on the floor/Shall be lifted--nevermore!"
In part due to its dual printing, "The Raven" made Edgar Allan Poe a household name almost immediately,[52] and turned Poe into a national celebrity.[53] Readers began to identify poem with poet, earning Poe the nickname "The Raven".[54] The poem was soon widely reprinted, imitated, and parodied.[52] Though it made Poe popular in his day, it did not bring him significant financial success.[55] As he later lamented, "I have made no money. I am as poor now as ever I was in my life—except in hope, which is by no means bankable".[36]
The New World said, "Everyone reads the Poem and praises it ... justly, we think, for it seems to us full of originality and power."[4] The Pennsylvania Inquirer reprinted it with the heading "A Beautiful Poem".[4] Elizabeth Barrett wrote to Poe, "Your 'Raven' has produced a sensation, a fit o' horror, here in England. Some of my friends are taken by the fear of it and some by the music. I hear of persons haunted by 'Nevermore'."[56] Poe's popularity resulted in invitations to recite "The Raven" and to lecture – in public and at private social gatherings. At one literary salon, a guest noted, "to hear [Poe] repeat the Raven ... is an event in one's life."[57] It was recalled by someone who experienced it, "He would turn down the lamps till the room was almost dark, then standing in the center of the apartment he would recite ... in the most melodious of voices ... So marvelous was his power as a reader that the auditors would be afraid to draw breath lest the enchanted spell be broken."[58]
Parodies sprung up especially in Boston, New York, and Philadelphia and included "The Craven" by "Poh!", "The Gazelle", "The Whippoorwill", and "The Turkey".[54] One parody, "The Pole-Cat", caught the attention of Andrew Johnston, a lawyer who sent it on to Abraham Lincoln. Though Lincoln admitted he had "several hearty laughs", he had not, at that point read "The Raven".[59] However, Lincoln eventually read and memorized the poem.[60]
"The Raven" was praised by fellow writers William Gilmore Simms and Margaret Fuller,[61] though it was denounced by William Butler Yeats, who called it "insincere and vulgar ... its execution a rhythmical trick".[2] Transcendentalist Ralph Waldo Emerson said, "I see nothing in it."[62] A critic for the Southern Quarterly Review wrote in July 1848 that the poem was ruined by "a wild and unbridled extravagance" and that minor things like a tapping at the door and a fluttering curtain would only affect "a child who had been frightened to the verge of idiocy by terrible ghost stories".[63] An anonymous writer going by the pseudonym "Outis" suggested in the Evening Mirror that "The Raven" was plagiarized from a poem called "The Bird of the Dream" by an unnamed author. The writer showed 18 similarities between the poems and was made as a response to Poe's accusations of plagiarism against Henry Wadsworth Longfellow. It has been suggested Outis was really Cornelius Conway Felton, if not Poe himself.[64] After Poe's death, his friend Thomas Holley Chivers said "The Raven" was plagiarized from one of his poems.[65] In particular, he claimed to have been the inspiration for the meter of the poem as well as the refrain "nevermore".[66]
"The Raven" has influenced many modern works, including Vladimir Nabokov's Lolita in 1955, Bernard Malamud's "The Jewbird" in 1963 and Ray Bradbury's "The Parrot Who Knew Papa" in 1976.[67] The process by which Poe composed "The Raven" influenced a number of French authors and composers, such as Charles Baudelaire and Maurice Ravel, and it has been suggested that Ravel's Boléro may have been deeply influenced by "The Philosophy of Composition."[68] The poem is additionally referenced throughout popular culture in films, television, music, and video games.
See also[edit]
Cultural depictions of ravens
The Raven: The Love Story of Edgar Allan Poe by George Cochrane Hazelton
"The Raven" in popular culture
"Lenore" – an earlier poem by Poe
"Outis" as a pseudonym
Notes[edit]
^ Jump up to: a b c Meyers, 163
^ Jump up to: a b c d e Silverman, 239
^ Jump up to: a b c Kopley & Hayes, 192
^ Jump up to: a b c d Silverman, 237
Jump up ^ "Edgar Allan Poe Society of Baltimore – Works – Poems – The Raven". Edgar Allan Poe Society of Baltimore. December 28, 2007.
^ Jump up to: a b c d Poe, 773
^ Jump up to: a b c d e Poe, 774
^ Jump up to: a b c d Poe, 775
Jump up ^ Cornelius, Kay. "Biography of Edgar Allan Poe" in Bloom's BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadelphia: Chelsea House Publishers, 2002. p. 21 ISBN 0-7910-6173-6
^ Jump up to: a b c Kopley & Hayes, 194
Jump up ^ Hoffman, 74
Jump up ^ Hirsch, 195-6
Jump up ^ Hoffman, 73–74
Jump up ^ Maligec, Christopher F. S. (2009). "'The Raven' as an Elegiac Paraclausithyron". Poe Studies. 42: 87–97. doi:10.1111/j.1947-4697.2009.00015.x.
^ Jump up to: a b c d Sova, 208
Jump up ^ Granger, 53–54
^ Jump up to: a b Hirsch, 195
Jump up ^ Silverman, 240
Jump up ^ Meyers, 162
^ Jump up to: a b "Cremains / Ravens". palimpsest.stanford.edu. Archived from the original on February 23, 2008. Retrieved April 1, 2007.
Jump up ^ Cornelius, Kay. "Biography of Edgar Allan Poe" in Bloom's BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadelphia: Chelsea House Publishers, 2002. p. 20 ISBN 0-7910-6173-6
Jump up ^ "Poe's Raven Stuffed at Free Library". Philadelphia Magazine. 31 October 2011. Retrieved 30 January 2014.
^ Jump up to: a b c Adams, 53
Jump up ^ Jeremiah 8:22
Jump up ^ Kopley & Hayes, 192–193
Jump up ^ Hoffman, 76
Jump up ^ Thomas & Jackson, 485
^ Jump up to: a b Meyers, 160
Jump up ^ Peeples, 142
Jump up ^ Hoffman, 79
Jump up ^ Ostrom, 5
Jump up ^ Silverman, 530
Jump up ^ "The Poems of Edgar Allan Poe". Edgar Allan Poe Society of Baltimore. April 27, 2007. Retrieved September 20, 2007.
Jump up ^ Meyers, 177
^ Jump up to: a b Thomas & Jackson, 591
^ Jump up to: a b Peeples, 136
Jump up ^ Silverman, 299
Jump up ^ Sova, 209
Jump up ^ Scholnick, Robert J. "In Defense of Beauty: Stedman and the Recognition of Poe in America, 1880–1910", collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, 1990. p. 262. ISBN 0-9616449-2-3
Jump up ^ "Digital Gallery for Édouard Manet illustrations — Le corbeau". New York Public Library Digital Gallery. Retrieved September 20, 2007.
Jump up ^ Orosz, István. "The poet in the mirror". Gallery Diabolus. Archived from the original on September 27, 2007. Retrieved September 20, 2007. —Anamorphic illustration for "The Raven"
Jump up ^ Orosz, István. "The poet in the mirror". Gallery Diabolus. Archived from the original on September 27, 2007. Retrieved September 20, 2007. —the same illustration with a chrome-plated brass cylinder
Jump up ^ Price, Ryan. "Illustrations by Ryan Price". Ingram Gallery. Archived from the original on September 28, 2007. Retrieved September 20, 2007.
Jump up ^ Krutch, 98
Jump up ^ Silverman, 295–296
Jump up ^ Forsythe, 439–452
Jump up ^ Weiss, 185
Jump up ^ Hemstreet, William (1907-12-21). ""Raven" Mantel is in Brooklyn". The New York Times. New York. Retrieved 2017-06-15.
^ Jump up to: a b Wolfe, Theodore F. (1908-01-04). "Poe's Life at the Brennan House". The New York Times. New York. Retrieved 2017-06-15.
Jump up ^ "Edgar Allan Poe Street". Manhattan Past. Retrieved 2017-06-15.
Jump up ^ White, Norval; Willensky, Elliot; Leadon, Fran (2010). AIA Guide to New York City. Oxford University Press. p. 383. ISBN 0195383869.
^ Jump up to: a b Hoffman, 80
Jump up ^ Peeples, 133
^ Jump up to: a b Silverman, 238
Jump up ^ Krutch, 155
Jump up ^ Krutch, 153
Jump up ^ Silverman, 279
Jump up ^ Krutch, 154
Jump up ^ Thomas & Jackson, 635
Jump up ^ Basler, Roy P. and Carl Sandberg. Abraham Lincoln: his speeches and writings. New York: De Capo Press, 2001: 185. ISBN 0-306-81075-1.
Jump up ^ Meyers, 184
Jump up ^ Silverman, 265
Jump up ^ Thomas & Jackson, 739
Jump up ^ Moss, 169
Jump up ^ Moss, 101
Jump up ^ Parks, Edd Winfield. Ante-Bellum Southern Literary Critics. Athens, GA: University of Georgia Press, 1962: 182.
Jump up ^ Kopley & Hayes, 196
Jump up ^ Lanford, 243–265.
References[edit]
Adams, John F. "Classical Raven Lore and Poe's Raven" in Poe Studies. Vol. V, no. 2, December 1972. Available online
Forsythe, Robert. "Poe's 'Nevermore': A Note", as collected in American Literature 7. January, 1936.
Granger, Byrd Howell. "Marginalia — Devil Lore in 'The Raven'" from Poe Studies vol. V, no. 2, December 1972 Available online
Hirsch, David H. "The Raven and the Nightingale" as collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, Inc., 1990. ISBN 0-9616449-2-3
Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972. ISBN 0-8071-2321-8
Kopley, Richard and Kevin J. Hayes. "Two verse masterworks: 'The Raven' and 'Ulalume'", collected in The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. New York: Cambridge University Press, 2002. ISBN 0-521-79727-6
Krutch, Joseph Wood. Edgar Allan Poe: A Study in Genius. New York: Alfred A. Knopf, 1926.
Lanford, Michael (2011). "Ravel and 'The Raven': The Realisation of an Inherited Aesthetic in Boléro." Cambridge Quarterly 40(3), 243–265.
Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992. ISBN 0-8154-1038-7
Moss, Sidney P. Poe's Literary Battles: The Critic in the Context of His Literary Milieu. Southern Illinois University Press, 1969.
Ostrom, John Ward. "Edgar A. Poe: His Income as Literary Entrepreneur", collected in Poe Studies Vol. 5, no. 1. June 1982.
Peeples, Scott. Edgar Allan Poe Revisited. New York: Twayne Publishers, 1998. ISBN 0-8057-4572-6
Poe, Edgar Allan. Edgar Allan Poe: Complete Tales & Poems. Edison, NJ: Castle Books, 2002. ISBN 0-7858-1453-1
Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. ISBN 0-06-092331-8
Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001. ISBN 0-8160-4161-X
Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. New York: G. K. Hall & Co., 1987. ISBN 0-7838-1401-1
Weiss, Susan Archer. The Home Life of Poe. New York: Broadway Publishing Company, 1907.
External links[edit]
Listen to this article (info/dl)

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Data from Wikidata
Edgar Allan Poe at Curlie (based on DMOZ)
The Raven illustrated by Gustave Doré. From the Collections at the Library of Congress
Le Corbeau = The Raven: Poëme avec illustrations par Édouard Manet. From the Collections at the Library of Congress
Text
"The Raven" – Full text of the first printing, from the American Review, 1845
"The Raven" – Full text of the final authorized printing, from the Richmond Semi-Weekly Examiner, 1849
"Le Corbeau" – The French Translation of "The Raven" by Stéphane Mallarmé
"Le Corbeau" – The French Translation of "The Raven" by Charles Baudelaire
"Bela" - The Basque Translation by Jon Mirande, 1950.
"Ha-orev" - Hebrew translation by Vladimir Jabotinsky, 1914.
"Der Raab" - Yiddish translation by Vladimir Jabotinsky.
Commentary
The Poe Decoder – Essay on the symbols, words and composition of "The Raven"
The Raven. With Literary and Historical Commentary by John H. Ingram. London G. Redway. 1885.
Illustrated
Illustrations from The Raven, Gustave Doré illustrations from the University at Buffalo Libraries’ Rare & Special Books collection
The Raven illustrated by Édouard Manet' at Project Gutenberg
The Raven illustrated by Gustave Doré' at Project Gutenberg
Audio
Reading of 'The Raven' and text by Classic Poetry Aloud (MP3)
The Raven public domain audiobook at LibriVox
[hide]
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Edgar Allan Poe's "The Raven" (1845)
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The Raven (Lou Reed album)
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Edgar Allan Poe: Once Upon a Midnight (play)
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[show]
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Edgar Allan Poe (works)
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WorldCat Identities
LCCN: n82225090
BNF: cb12038661v (data)
BNE: XX2135733
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Raven&oldid=813807527"
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Pete's Dragon (2016 film)
From Wikipedia, the free encyclopedia
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Pete's Dragon
Theatrical release poster
Directed by
David Lowery
Produced by
James Whitaker
Screenplay by
David Lowery
Toby Halbrooks
Based on
Pete's Dragon
by Malcolm Marmorstein
"Pete's Dragon"
by Seton I. Miller
S.S. Field
Starring
Bryce Dallas Howard
Oakes Fegley
Wes Bentley
Karl Urban
Oona Laurence
Robert Redford
Music by
Daniel Hart
Cinematography
Bojan Bazelli
Edited by
Lisa Zeno Churgin
Production
companies
Walt Disney Pictures
Whitaker Entertainment
Distributed by
Walt Disney Studios Motion Pictures
Release date
August 8, 2016 (2016-08-08) (El Capitan Theatre)
August 12, 2016 (2016-08-12) (United States)
Running time
102 minutes[1]
Country
United States
Language
English
Budget
$65 million[2]
Box office
$143.7 million[2]
Pete's Dragon is a 2016 American fantasy comedy-drama adventure film directed by David Lowery, written by Lowery and Toby Halbrooks, and produced by James Whitaker. The film is a live-action reworking of the 1977 live-action/animated musical film of the same name written by Malcolm Marmorstein. The film stars Bryce Dallas Howard, Oakes Fegley, Wes Bentley, Karl Urban, Oona Laurence, and Robert Redford.[3] The film tells the story of an orphaned feral boy who befriends a dragon in the Pacific Northwest, and the ensuing repercussions of their discovery by the town's local residents.
Pete's Dragon premiered at the El Capitan Theatre on August 8, 2016 and was theatrically distributed by Walt Disney Pictures in the United States in 2D, Disney Digital 3-D, and RealD 3D formats on August 12, 2016.[4] The film received positive reviews from critics and has grossed $143 million worldwide against a $65 million production budget.[2]
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Soundtrack
4.1 Track listing
5 Reception
5.1 Box office
5.2 Critical response
5.3 Accolades
6 Home media
7 References
8 External links
Plot[edit]
In 1977, Pete Healy, a five-year-old boy, is on a road trip with his parents when their car flips off the road following a near-collision with a deer. Pete’s mom and dad are killed, but Pete survives the accident and is chased into the forest by a pack of wolves. He is rescued by a huge dragon with green fur, yellow eyes, and wings. The dragon quickly bonds with Pete and becomes protective of the boy. Pete names the dragon "Elliot" after the character of a lost puppy from his favorite book.
Six years later, Pete, now 11, spots a lumberjack crew chopping down trees near his home. Natalie, the daughter of the ethical site foreman Jack, spots and chases him. When Natalie accidentally falls from a tree, her screams attract her father Jack and his girlfriend, park ranger Grace Meacham. Pete tries to run away, but Gavin, Jack's pragmatic brother, accidentally knocks him unconscious. After realizing that Pete has vanished, Elliot stumbles around looking for him and ends up knocking over a tree near the lumber camp, leading Gavin to organize a hunting party to find him. Meanwhile, Pete wakes up in a local hospital, which he escapes in an effort to return to the forest. Before the police can catch the boy, Grace finds Pete and asks him to come to her home and promises to take him to the forest the next day.
Gavin and his men locate Pete and Elliot's treehouse, but when they try to search it, Elliot reveals himself and scares them away. He follows them to town trying to find Pete. After seeing Pete settling in with Grace's family, he leaves. After Pete gives Grace a drawing of Elliot, she shows her father, Mr. Meacham. He says that he discovered the same dragon as a young man. He advises her to trust Pete, and to find Elliot.
The next day, Pete, Grace, Natalie, and Mr. Meacham travel to the forest to meet Elliot. A group of hunters led by Gavin surprise Elliot and shoot him with tranquilizer darts, then lock him up in Jack's warehouse. Before the authorities can inspect the dragon, Pete and Natalie free him from his chains and escape on a lumber truck with Mr. Meacham.
Angered, Gavin sets up a roadblock at the bridge to stop them. When Elliot tries to fly, he crashes into the truck, damaging its brakes and it goes through the barricade. Confused and frightened, Elliot perches on top of the bridge and starts breathing fire at the police. The bridge begins to collapse under the intense heat, causing Grace and Jack's truck to fall through. Gavin tries to save the pair from falling to their deaths. Elliot emerges from the ravine with Grace and Jack riding safely on his back. With a firefighting helicopter approaching, Pete decides to flee with Elliot back to the woods.
Pete pleads with Elliot to let him stay so he can protect him from his attackers, just as Elliot protected him. However, Elliot concludes that as long as they stay close together, Pete will always be in danger. He points out Pete's book to encourage him to return to stay with Grace and Jack. Pete is reluctant & worried for Elliott's safety, but ultimately trusts the dragon's judgment. After a very tearful hug, Elliot returns to the mountains and Pete returns to live with Grace and Jack as his new family.
In the years that follow, Grace and Jack marry and adopt Pete as their son. Not only has Elliot slowly faded from the town's memory, but Gavin has learned to be more scrupulous and has moved on from the experience. Pete and his family eventually go on vacation, and see that Elliot is finally reunited with his fellow dragons.
Cast[edit]
Bryce Dallas Howard as Grace Meacham, a forest ranger.
Oakes Fegley as Pete Healy, a young orphan who lives in the forest with Elliot the Dragon.
Levi Alexander as 5-year-old Pete
Wes Bentley as Jack Magary, a widowed lumber mill owner who is Natalie's father and Grace's boyfriend. He has a moral compass and tries to restrain his brother Gavin's more unethical tendencies.
Karl Urban as Gavin Magary, a hunter and lumberjack who is Jack's brother and Natalie's uncle. He is a pragmatic man who chafes under his brother's scruples.[5]
Oona Laurence as Natalie Magary, Jack's daughter and Gavin's niece.
Robert Redford as Mr. Meacham, Grace's father
Isiah Whitlock Jr. as Sheriff Gene Dentler
Marcus Henderson as Woodrow, a lumberjack
Aaron Jackson as Abner, a lumberjack
Phil Grieve as Bobby, a lumberjack
Jim McLarty as Ranger Wentworth
Ian Harcourt as Deputy West
Steve Barr as Deputy Smalls
John Kassir as the voice of Elliot the Dragon
Production[edit]
In March 2013, Walt Disney Pictures announced it would remake Pete's Dragon, as non-musical, dramatic film to be written by David Lowery and Toby Halbrooks, and directed by Lowery. Disney intended to rework the core story as a dramatic story, rather than a musical. It set the new work in the Pacific Northwest of the early 1980s, rather than the Northern New England of the early 1900s in the 1977 film.[6][7]
The film was shot in live-action using Panavision Panaflex cameras. The dragon, Elliot, was entirely animated by Weta Digital in CGI, instead of the original hand-drawn animation.[8][9]
On September 19, 2014, Disney cast Oakes Fegley and Oona Laurence to star as Pete and Natalie.[10] On October 2, Barrie M. Osborne was set to be the executive producer for the film.[11] On October 16, Robert Redford was in early talks to play a local storyteller who remembers seeing a dragon in the woods.[8] On November 20, Bryce Dallas Howard was in talks for the female lead role, a forest ranger who finds the boy and does not believe his stories about a dragon.[12] On January 7, 2015, Wes Bentley joined the cast of the film.[13] On January 9, Michael C. Hall was also added to the cast.[14] On January 29, Karl Urban replaced Hall.[15]
Principal photography commenced in January 2015 in New Zealand, with Lowery directing.[16] Rehearsals began early January 2015,[17] while news reported the beginning of the shooting on January 26, 2015, set to last through April.[8][18] Live-action filming locations included Bay of Plenty, Taupo and Wellington, while CGI was done at Stone Street Studios.[19] On February 10, 2015, a press release confirmed that principal photography had commenced.[9] Shooting took place in and around Wellington and Rotorua, before transferring to Tapanui, where the old Blue Mountain Lumber mill was used as the mill in the film, and the main street became Millhaven for two weeks.[20][21] Production concluded on April 30, 2015.[22]
Soundtrack[edit]
Pete's Dragon (Original Motion Picture Soundtrack)
Soundtrack album / Film score by Daniel Hart
Released
August 12, 2016
Recorded
2016
Studio
Air Studios
British Grove Studios
Genre
Soundtrack, Film score
Length
75:29
Label
Walt Disney
Producer
Daniel Hart
Jake Jackson
David Lowery (exec.)
Jim Whitaker (exec.)
Adam Borba (exec.)
Daniel Hart film scores chronology
Lost in the Sun
(2015)Lost in the Sun2015 Pete's Dragon
(2016) Half the Perfect World
(2016)Half the Perfect World2016
Academy Award-winning composer Howard Shore was originally chosen to write the music for the film. He was replaced during post-production by Daniel Hart, who had previously worked with director Lowery on other films, most notably Ain't Them Bodies Saints (2013).[23] The soundtrack was released on August 12, 2016 by Walt Disney Records. Candle on the Water was the only original song to be featured on the 2016 soundtrack from the 1977 soundtrack. Though the song was not used in the film, it was re-recorded by Okkervil River for the 2016 soundtrack. The original version, performed by Australian singer Helen Reddy (who played Nora in the original film), was nominated for the Academy Award for Best Song in 1977.
Track listing[edit]
No.
Title
Performer(s)
Length
1. "The Dragon Song" Bonnie “Prince” Billy 2:28
2. "Something Wild" Lindsey Stirling and Andrew McMahon in the Wilderness 3:43
3. "Nobody Knows" The Lumineers 3:08
4. "Something on Your Mind" St. Vincent 2:59
5. "So Long, Marianne" Leonard Cohen 5:38
6. "Gina Anne" Bosque Brown 2:40
7. "An Adventure" 3:04
8. "Are You Gonna Eat Me?" 2:31
9. "Brown Bunny" 1:01
10. "Reverie" 2:52
11. "Tree Fort" 1:03
12. "North Star" 1:25
13. "Bedtime Compass" 2:15
14. "Timber" 1:19
15. "Breathe" 2:27
16. "Gavin Knows What He's Doing" 3:42
17. "You Are Not Alone" 1:58
18. "Elliot Gets Lost" 4:26
19. "Takedown" 1:44
20. "It'll Be Just Like It Used to Be" 2:03
21. "Follow That Dragon" 3:01
22. "Elliot at the Bridge" 2:19
23. "Abyss" 1:35
24. "Go North" 1:44
25. "Saying Goodbye" 5:03
26. "The Bravest Boy I've Ever Met" 2:46
27. "The Dragon Song Revisited" Bonnie “Prince” Billy 2:34
28. "Candle on the Water" Okkervil River 4:01
Total length: 75:29
Reception[edit]
Box office[edit]
Pete's Dragon grossed $76.2 million in North America and $67.5 million in other territories, for a worldwide total of $143.7 million, against a budget of $65 million.[2]
In the United States and Canada, Pete's Dragon opened on August 12, 2016, across 3,702 theaters, of which 2,884 were in 3D, and 150 were premium large-format screens, as well as in 57 D-Box and 16 Dolby Cinema sites.[24] It was projected to gross $20–25 million in its opening weekend.[25] The film did not have Thursday night previews, and made $7 million on its first day, Friday.[26] In its opening weekend, it earned $21.5 million, finishing third at the box office, behind Suicide Squad and Sausage Party.[27] The opening was reminiscent of Disney's July release The BFG, which also carried strong reviews into the weekend only to deliver $18.7 million in its first three days,[28] and far from the $67–116 million debuts of other Disney live action-adaptations, such as Cinderella, Maleficent, Oz: The Great and Powerful, The Jungle Book and Alice in Wonderland. However, many box office critics did not worry about the opening figure, given the film's modest budget, and the fact that the film is not anywhere near as well known as those films' respective source material.[26][29] Disney’s distribution chief Dave Hollis was optimistic that film would become profitable by saying, "People who are coming out of the theater are just loving it and their advocacy is going to help us put together a nice, solid run."[30] Forbes noted that the film did not have any box office draws other than the stellar reviews and the notion of another Disney "live-action fairy tale."[26] Although the film witnessed a steep decline on its second Friday (-55%), it fell just by 47.2% on its second weekend, grossing $11.3 million.[31] On its third weekend, it fell just by 35%, grossing $7.3 million.[32] The following weekend, Pete's Dragon declined only 14.7%, grossing $6.5 million and moved up to fourth place.[33][34]
Outside North America, Pete's Dragon received a scattered release pattern.[35] The film was released day-and-date in conjucture with its U.S. premiere in 12 markets (roughly 30% of the overseas market), including the United Kingdom, Italy, and Russia.[24] It earned a total of $5.3 million, with Russia ($1.5 million), Italy ($1.4 million) and the U.K. ($1.1 million) representing its largest takings.[35] Moreover, it also opened in France ($1.8 million).[36] It had just a 1% drop in attendance in the U.K. in its second weekend.[36] It expanded to Germany the following weekend and continued its roll out in Australia, Mexico, Brazil and Korea throughout September, and finally Japan on December 23.[25][35]
Critical response[edit]
Review aggregator Rotten Tomatoes gives the film an approval rating of 88%, based on 216 reviews, with an average rating of 7.3/10. The website's critical consensus reads, "Pete's Dragon continues Disney's current live-action winning streak with an update that gives the original a visual overhaul without overwhelming its sweet, soulful charm."[37] On Metacritic, the film has a score of 71 out of 100, based on 42 critics, indicating "generally favorable reviews".[38] Audiences polled by CinemaScore gave the film an average grade of "A".[39]
The movie was given three-and-a-half out of four stars in The New York Post by Kyle Smith who called it, "A cinematic enchantment" as well as, "one of the year’s best movies."[40] Peter Travers of Rolling Stone gave the film 3 out of 4 stars and wrote, "Thanks to director David Lowery's humanizing magic, this tale of an orphan boy and a dragon is that rare family film you really can take to heart."[41] Nancy Churnin of The Dallas Morning News gave the film a "B+" and said that while the remake, "may owe more to E.T. the Extra-Terrestrial, along with a dash of The Jungle Book than it does to the original Pete's Dragon," she overall concluded that "this story of two vulnerable souls who help each other find their way works, too."[42] Barry Hertz of The Globe and Mail praised the film for its sincerity as well as its "honest effort to entertain and enthrall" audiences rather than simply being a cash grab.[43]
Glenn Kenny of The New York Times felt mixed about the film in his review saying, "It is slightly unfair to say that this reboot of Pete's Dragon is middling on a larger scale, but it's not entirely inaccurate either."[44] Michael O'Sullivan of The Washington Post gave the film two out of four stars and wrote, "While Pete's Dragon does a fine job of evoking the delight one might feel at flying over hill and dale on the back of a mythological creature, it is less successful in rendering real human emotion."[45]
Accolades[edit]
Award
Date of Ceremony
Category
Recipient(s)
Result
Ref(s)
Golden Tomato Awards January 12, 2017 Best Kids/Family Movie 2016 Pete's Dragon 4th Place [46]
Heartland Film Festival October 30, 2016 Truly Moving Picture Award David Lowery, Walt Disney Pictures and Walt Disney Studios Motion Pictures Won [47]
Nickelodeon Kids' Choice Awards March 11, 2017 Favorite Movie Pete's Dragon Nominated [48]
Saturn Awards June 28, 2017 Best Fantasy Film Pete's Dragon Nominated [49]
Home media[edit]
Pete's Dragon was released on Blu-ray, DVD and digital download on November 29, 2016.[50] The film topped the home video sales charts for the week ending on December 4, 2016.[51]
The movie is available on Netflix "watch instantly" as of March 15, 2017.[52]
References[edit]
Jump up ^ "Pete's Dragon (R)". British Board of Film Classification. July 28, 2016. Retrieved July 28, 2016.
^ Jump up to: a b c d "Pete's Dragon (2016)". Box Office Mojo. Retrieved January 30, 2016.
Jump up ^ Bulbeck, Pip (August 17, 2015). "New Zealand Merges Film Agencies". The Hollywood Reporter. Retrieved August 18, 2015.
Jump up ^ Lesnick, Silas (January 13, 2015). "Pete's Dragon for Set for 2016, Ghost in the Shell for 2017". comingsoon.net. Retrieved January 14, 2015.
Jump up ^ "Karl Urban replaces Michael C. Hall". Retrieved 30 July 2016.
Jump up ^ Guerrasio, Jason (August 11, 2016). "How this director went from making small indie movies to Disney's $65 million new blockbuster". Business Insider. Retrieved August 19, 2016.
Jump up ^ "After Gritty Sundance Debut On ‘Ain’t Them Bodies Saints’, David Lowery To Reinvent ‘Pete’s Dragon’ For Disney." Deadline Hollywood (March 19, 2013).
^ Jump up to: a b c Ford, Rebecca (October 16, 2014). "Robert Redford in Talks for Disney's 'Pete's Dragon'". The Hollywood Reporter. Retrieved October 17, 2014.
^ Jump up to: a b Evry, Max (February 10, 2015). "Filming Begins on PETE'S DRAGON Remake; Karl Urban and Wes Bentley Join Cast". comingsoon.net. Retrieved February 11, 2015.
Jump up ^ Kroll, Justin (September 19, 2014). "Disney Finds Its Pete For 'Pete's Dragon' Remake". Variety. Retrieved September 20, 2014.
Jump up ^ Caranicas, Peter (October 2, 2014). "Below the Line Bookings". Variety. Retrieved October 3, 2014.
Jump up ^ Kit, Borys (November 20, 2014). "Bryce Dallas Howard in Talks to Join 'Pete's Dragon'". The Hollywood Reporter. Retrieved November 21, 2014.
Jump up ^ Ge, Linda; Sneider, Jeff (January 7, 2015). "Wes Bentley Joins Robert Redford in Disney Remake 'Pete's Dragon'". TheWrap. Retrieved January 12, 2015.
Jump up ^ Kroll, Justin (January 9, 2015). "Michael C. Hall Joins Disney's 'Pete's Dragon' Remake". Variety. Retrieved January 12, 2015.
Jump up ^ Sneider, Jeff (January 29, 2015). "Karl Urban to Replace Michael C. Hall in Disney's 'Pete's Dragon' Remake". TheWrap. Retrieved January 30, 2015.
Jump up ^ "Casting call for Disney feature film Pete’s Dragon lead role." Archived August 19, 2014, at the Wayback Machine.
Jump up ^ "David Patrick Lowery - Instagram". instagram.com. Retrieved January 13, 2015.
Jump up ^ "On the Set for 1/26/15: Michael Fassbender Begins Steve Jobs Biopic, Ryan Coogler Starts Rocky Spinoff & More". ssninsider.com. January 26, 2015. Archived from the original on March 3, 2016. Retrieved January 30, 2015.
Jump up ^ Bulbeck, Pip (November 20, 2014). "Disney Confirms New Zealand Shoot for 'Pete's Dragon'". Hollywood Reporter. Retrieved January 14, 2015.
Jump up ^ "Production on Disney's Pete'S Dragon Underway in New Zealand". broadwayworld.com. February 10, 2015. Retrieved February 10, 2015.
Jump up ^ "Disney's Pete's Dragon Filming Locations". newzealand.com. Retrieved August 16, 2016.
Jump up ^ Bernstein, Paula. "David Lowery's Production Diary for 'Pete's Dragon': Transitioning from Indie to Hollywood". Indiewire. Retrieved June 5, 2016.
Jump up ^ "Daniel Hart Scoring Disney's 'Pete's Dragon'". Film Music Reporter. May 2, 2016. Retrieved June 5, 2016.
^ Jump up to: a b Anthony D'Alessandro (August 9, 2016). "'Suicide Squad' Secures Record Monday Haul For August, Eyes $51M-$54M In 2nd Weekend – B.O. Preview". Deadline Hollywood. Retrieved August 10, 2016.
^ Jump up to: a b Dave McNarry (August 9, 2016). "Box Office: 'Suicide Squad' to Easily Keep Top Spot Over 'Pete's Dragon,' 'Sausage Party'". Variety. Retrieved August 10, 2016.
^ Jump up to: a b c Scott Mendelson (August 13, 2016). "Friday Box Office: 'Sausage Party' Cooks 'Suicide Squad,' 'Pete's Dragon' Opens Just Okay". Forbes. Retrieved August 13, 2016.
Jump up ^ Scott Mendelson (August 14, 2016). "Weekend Box Office: 'Sausage Party' Sizzles With $33M, 'Pete's Dragon' Fails To Soar". Forbes. Retrieved August 14, 2016.
Jump up ^ Brad Brevet (August 14, 2016). "'Suicide Squad' Drops Big, But Remains #1 as 'Sausage Party' Eats Up the Box Office". Box Office Mojo. Retrieved August 15, 2016.
Jump up ^ Anthony D'Alessandro (August 13, 2016). "'Sausage Party' Loud In 2nd With $32M+ As 'Suicide Squad' Drops Its Guns: Saturday Update". Deadline Hollywood. Retrieved August 13, 2016.
Jump up ^ Brent Lang (August 28, 2016). "Box Office: 'Sausage Party' Scores With $33.6 Million, 'Suicide Squad' Plunges in Second Weekend". Variety. Retrieved August 29, 2016.
Jump up ^ Scott Mendelson (August 20, 2016). "Friday Box Office: 'Sausage Party' And 'Pete's Dragon' Drop Off, 'Bad Moms' Hangs Tough". Forbes. Retrieved August 21, 2016.
Jump up ^ Scott Mendelson (August 28, 2016). "Weekend Box Office: 'Suicide Squad' Tops $600M Worldwide, 'Jason Bourne' Nets $50M In China". Forbes. Retrieved August 31, 2016.
Jump up ^ "September 2-4, 2016". Box Office Mojo. September 4, 2016. Retrieved September 6, 2016.
Jump up ^ Anthony D'Alessandro (September 6, 2016). "How Much Oxygen Is Left For 'Don't Breathe' At Box Office? – Final Tuesday Update". Deadline Hollywood. Retrieved September 7, 2016.
^ Jump up to: a b c Nancy Tartaglione (August 14, 2016). "'Suicide Squad' Tops $243M Offshore & Rises To $466M Global; Will It Hang Onto #1 In 3rd Frame?- Intl Box Office Final". Deadline Hollywood. Retrieved August 14, 2016.
^ Jump up to: a b Nancy Tartaglione (August 22, 2016). "Universal Pictures 'Pets' Collars $674M WW; 'Suicide Squad' Necks $575M Through Sunday – Intl B.O. Final". Deadline Hollywood. Retrieved August 24, 2016.
Jump up ^ "Pete's Dragon (2016)". Rotten Tomatoes. Fandango Media. Retrieved April 23, 2018.
Jump up ^ "Pete's Dragon Reviews". Metacritic. CBS Interactive. Retrieved August 21, 2016.
Jump up ^ "CinemaScore". cinemascore.com.
Jump up ^ Kyle Smith (August 11, 2016). "'Pete's Dragon' is surprisingly one of the year's best movies". New York Post. Retrieved September 11, 2016.
Jump up ^ Peter Travers (August 11, 2016). "'Pete's Dragon' Review: Finally, a Summer-Movie Remake That Works". Rolling Stone. Retrieved September 11, 2016.
Jump up ^ Nancy Churnin (August 11, 2016). "Realistic 'Pete's Dragon' reboot owes more to 'E.T.' than the original, but that's OK (B+)". The Dallas Morning News. Retrieved September 11, 2016.
Jump up ^ Barry Hertz (August 12, 2016). "Pete's Dragon asks its audience to side with magic over cynicism". Globe and Mail. Retrieved September 11, 2016.
Jump up ^ Glenn Kenny (August 11, 2016). "Review: In 'Pete's Dragon,' a Magical Bond in Peril Again". The New York Times. Retrieved September 11, 2016.
Jump up ^ Michael O'Sullivan (August 11, 2016). "'Pete's Dragon' gets a technological upgrade, but is a storytelling throwback". The Washington Post. Retrieved September 11, 2016.
Jump up ^ "Golden Tomato Awards - Best of 2016". Rotten Tomatoes. 12 January 2017.
Jump up ^ "Disney's Pete's Dragon Honored with the Truly Moving Picture Award". August 12, 2016. Retrieved 19 August 2016.
Jump up ^ Levy, Dani (February 2, 2017). "Justin Timberlake and Kevin Hart Lead Nickelodeon's Kids' Choice Awards Nominations". Variety. Retrieved March 3, 2017.
Jump up ^ McNary, Dave (March 2, 2017). "Saturn Awards Nominations 2017: 'Rogue One,' 'Walking Dead' Lead". Variety. Retrieved March 3, 2017.
Jump up ^ Silas Lesnick (November 29, 2016). "November 29, 2016: This Week on Blu-ray, DVD & Digital HD". Comingsoon.net.
Jump up ^ Thomas K. Arnold (December 8, 2016). "'Pete's Dragon' Tops Disney Trio of Best-Selling Discs". Variety.
Jump up ^ Sam Axmaker (February 27, 2017). "New on Netflix in March: 'Iron Fist,' 'The Discovery,' 'Pete's Dragon'". The Seattle Times.
External links[edit]
Wikiquote has quotations related to: Pete's Dragon (2016 film)
Official website
Pete's Dragon on IMDb
Pete's Dragon at Box Office Mojo
Disney's Pete's Dragon film locations and information from "The Home of Disney's Pete's Dragon" - New Zealand.
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values: Pete's Dragon (2016 movie) – Simple English

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