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War and Remembrance (miniseries)
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War and Remembrance
Miniseries DVD Cover
Genre
War
Created by
Herman Wouk
Written by
Dan Curtis
Earl W. Wallace
Herman Wouk
Directed by
Dan Curtis
Starring
Robert Mitchum
Jane Seymour
Hart Bochner
Victoria Tennant
John Gielgud
Narrated by
William Woodson
Composer(s)
Bob Cobert
Country of origin
United States
Original language(s)
English and German, Hebrew, Polish, Russian, Japanese
No. of episodes
12
Production
Executive producer(s)
Dan Curtis
Producer(s)
Barbara Steele
Production location(s)
Auschwitz, Montreal, USS New Jersey, many locations in Europe and United States
Cinematography
Dietrich Lohmann
Editor(s)
John F. Burnett
Peter Zinner
Running time
1620 minutes
Production company(s)
ABC Circle Films
Dan Curtis Productions
Jadran Film
Distributor
Disney-ABC Domestic Television
Release
Original network
ABC
Original release
November 13, 1988 (1988-11-13) – May 14, 1989 (1989-05-14)
Chronology
Preceded by
The Winds of War
War and Remembrance is an American miniseries based on the novel of the same name written by Herman Wouk, which aired from November 13, 1988, to May 14, 1989. It is the sequel to The Winds of War, which was also based on one of Wouk's novels.
Contents
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Casting
3.3 Filming
4 Episodes
5 Broadcast
6 Reception
7 References
8 External links
Plot[edit]
The television mini-series continues the story of the extended Henry family and the Jastrow family starting on December 15, 1941 and ending on August 7, 1945.
Cast[edit]
Opening title
Robert Mitchum as Capt. Victor "Pug" Henry
Jane Seymour as Natalie Henry
Hart Bochner as Byron Henry
Victoria Tennant as Pamela Tudsbury
Polly Bergen as Rhoda Henry
Sami Frey as Avram Rabinovitz
William Schallert as Harry Hopkins
Jeremy Kemp as Brig. Gen. Armin von Roon
Steven Berkoff as Adolf Hitler
Robert Hardy as Winston Churchill
Zevi Wolmark as John Simms
Topol as Berel Jastrow
Ralph Bellamy as Franklin D. Roosevelt
John Gielgud as Aaron Jastrow
David Dukes as Leslie Slote
E. G. Marshall as Dwight D. Eisenhower
Sharon Stone as Janice Henry
Barry Bostwick as Carter "Lady" Aster
Ian McShane as Philip Rule
John Rhys-Davies as Sammy Mutterperl
Robert Morley as Alistair Tudsbury
Peter Graves as Palmer Kirby
Hardy Krüger as Field Marshal Erwin Rommel
Bill Wallis as Werner Beck
Michael Woods as Warren Henry
Robert Stephens as SS Major Karl Rahm
Peter Vaughan as General Kurt Zeitzler
Barry Morse as Col. Gen. Franz Halder
Leslie Hope as Madeline Henry
Eddie Albert as Breckinridge Long
Sky du Mont as Claus Schenk Graf von Stauffenberg
Richard Dysart as Harry S. Truman
Lawrence Dobkin as General George S. Patton
John Dehner as Admiral Ernest King
Pat Hingle as Admiral William "Bull" Halsey
William Prince as Admiral Chester W. Nimitz
Mike Connors as Col. Harrison "Hack" Peters
G. D. Spradlin as Admiral Raymond A. Spruance
Brian Blessed as General Yevlenko
Howard Duff as William Tuttle
G.W. Bailey as Commander Jim Grigg
R. G. Armstrong as General 'Moose' Fitzgerald
Charles Lane as Admiral William Standley
Norman Burton as General George Marshall
Nina Foch as Comtesse de Chambrun
Milton Johns as Adolf Eichmann
Wolfgang Reichmann as Martin Bormann
Geoffrey Whitehead as Albert Speer
John Malcolm as Field Marshal Wilhelm Keitel
Wolfgang Preiss as Field Marshal Walter von Brauchitsch
Anthony Bate as Field Marshal Gerd von Rundstedt
Kenneth Colley as SS Colonel Paul Blobel
Clifford Rose as SS Lt. General Heinz Kammler
Wolf Kahler as SS Major Anton Burger
Michael Sarne as SS Captain Schwarz
William Berger as Consul General Jim Gaither
John Barrard as Oskar Friedman
Jack Ging as Commander William Berscher
Michael Madsen as Lt. 'Foof' Turhall
Production[edit]
Development[edit]
War and Remembrance had a multi-year production timeline. It was the most expensive single-story undertaking in United States television history up to that point, costing $104 million ($213 million in 2017 dollars) and taking over ABC's broadcast schedule for two one-week periods in 1988 and 1989, totaling 30 prime-time hours.
Miniseries had been major events on American television, reserved for "important" stories like Jesus of Nazareth (1977) and The Rise and Fall of the Third Reich (1968). Up to that point, television had been dominated by the Big Three broadcasting networks in the United States, ABC, NBC and CBS. Shortly after, cable television began the fragmentation of the United States broadcasting audience in earnest, leaving War and Remembrance the last of the giant miniseries.
Because Herman Wouk was happy with Dan Curtis's adaptation of The Winds of War, he allowed Curtis to adapt the sequel as well. Paramount Television, the studio behind The Winds of War, decided not to produce the sequel and sold the rights to ABC, which had only aired the original series. ABC first planned a $65 million, 20-hour series, but when they went to Curtis, he said he wanted to make a $100 million, 30-hour series, which they eventually greenlit.[1] There were also contractual restrictions on advertising: Herman Wouk had approval over all ads and refused to allow any advertising for personal care products, foods, or other ABC programming. Two major eventual sponsors were Ford Motors and Nike. In addition, Wouk required that certain Holocaust sequences run uninterrupted by commercials of any kind. ABC's standards and practices division also agreed to an unprecedented waiver allowing frontal nudity during the lengthy Holocaust sequences, running parental advisories before any episodes beginning before 8pm.[1] The series was nearly called off in 1985, just as it was nearing the completion of $16 million in preproduction, when ABC was bought by Capital Cities Communications, which instituted a thrifty executive direction.[2]
Casting[edit]
Several actors were changed between The Winds of War and War and Remembrance. Actor John Houseman played Aaron Jastrow in Winds of War, but was too frail for War and Remembrance's lengthy production schedule. He died of spinal cancer in 1988, the year War and Remembrance was broadcast. He was replaced by John Gielgud. Jane Seymour was cast as Mrs. Natalie Henry in place of Ali MacGraw after Seymour campaigned for the role and made a screen test. Dan Curtis was struck by her performance and immediately cast her in the vital role. Because the miniseries was shot out of sequence, producers could not cut Jane Seymour's hair for the scenes in the concentration camp. Make-up artists took shears to a full scalp wig for her to wear for those scenes instead.
The actor Jan-Michael Vincent, who played Byron Henry in the Winds of War, was busy in the American television series Airwolf as an action lead. It is hinted in the featurette on the Winds of War DVDs that Vincent's drinking made him difficult on set. He was replaced by Hart Bochner. Other major replacements include Sharon Stone as Janice (replacing Deborah Winters), Leslie Hope as Madeline (replacing Lisa Eilbacher), Michael Woods as Warren (replacing Ben Murphy), Robert Morley as Alistair Tudsbury (replacing Michael Logan), Barry Bostwick as Aster (replacing Joseph Hacker), and Steven Berkoff as Adolf Hitler (replacing Günter Meisner). William Woodson again serves as narrator.
Filming[edit]
During preproduction, Dan Curtis lobbied the Polish Communist government tirelessly for permission to film on the grounds of the Auschwitz concentration camp, and after two years was eventually allowed, making War and Remembrance the first major commercial motion picture to film there. His request was aided by the intercession of TVP1, the public Polish TV network, and the support of Poland's preeminent World War II expert, who approved the script.[3] Curtis said that he was allowed to film at Auschwitz on condition that the script not have "one word about Polish anti-Semitism" during the war.[1] Filming on the miniseries began with production at Auschwitz from January to May 1986. When the Chernobyl nuclear disaster happened nearby, causing legitimate fears of fallout spreading across Scandinavia and Eastern Europe, Curtis called in nuclear scientists from the International Atomic Energy Agency in Vienna to give the location a clean bill of health, but allowed any crew members still afraid to wait in Munich for the production to return. The crematoriums were rebuilt adjacent to the original site, from the original German blueprints, because they had been demolished by the Nazis at the end of the war. Both Curtis and star Jane Seymour contracted pneumonia in the brutal sub-zero temperatures there.[4] Several actual Auschwitz-Birkenau survivors were cast as extras for the Auschwitz-Birkenau selection sequence and former Auschwitz internee Branko Lustig, later a two-time Oscar-winning producer, served as assistant director on the series.
Filmed from January 1986 to September 1987, the 1,492 page script (by Earl W. Wallace, Dan Curtis, and Herman Wouk) contained 2,070 scenes. There were 757 sets: 494 in Europe, including France, Italy, Austria, Yugoslavia, Switzerland, West Germany, England, and Poland, and 263 in the United States (including Hawaii) and Canada. There were 358 speaking parts in the script; 30,310 extras were employed in Europe and 11,410 in the United States.
The series shot in Yugoslavia in Zagreb and Osijek, where the old town district of Tvrđa, a Habsburg star-shaped fortress, was used as a primary location, doubling for the almost identical fortress town of Theresienstadt, in Czechoslovakia, which was converted by the Nazis to a Jewish ghetto. Filming took place in France throughout Paris, including the Paris Opera, where a scene from The Marriage of Figaro was staged with a 42-piece symphony orchestra and 500 extras,[3] and Lourdes, where the production took over the Sanctuary of Our Lady of Lourdes; in West Germany in Baden-Baden and Berchtesgaden, where members of the United States Army, stationed nearby were hired as extras for some of the scenes shot at Hitler's Eagle's Nest; in Rome and Siena, Italy; London and Cambridge, England; and Vienna, Austria. Scenes set in Russia were filmed in Montreal in temperatures reaching 40 degrees below zero Celsius.
In the US, the production shot extensively in and around Los Angeles, as well as in Long Beach, California aboard the USS New Jersey, in Bremerton, Washington, aboard the aircraft carrier USS Lexington, in Pensacola, Florida, in Mobile, Alabama, aboard the USS Alabama, and throughout Hawaii, where a large group of warships were assembled for filming at Waianae.[3]
Episodes[edit]
Parts I–VII
Part
Title
Original air date
I
"December 15–27, 1941" November 13, 1988 (November 13, 1988)
In the aftermath of the attack on Pearl Harbor, Victor "Pug" Henry is assigned the command of a Cruiser (the Task Force Flagship), son Warren is assigned as a fighter pilot on an aircraft carrier, while son Byron is already serving as an officer on a submarine. Pug asks his wife Rhoda to reconsider her divorce plans, even though he knows about her affair with Palmer Kirby, but Pug also gets a message from Pamela Tudsbury that she wants to rekindle their relationship. Berel Jastrow is captured by the Nazis and taken to Auschwitz in Nazi occupied Poland. In Naples, Italy, Natalie Henry, her son Louis, and her Uncle Aaron Jastrow await aboard a refugee boat bound for Palestine. Werner Beck, a German diplomat and Aaron's former student at Yale, convinces them to return to Siena.
II
"January 27, 1942 - May 6, 1942" November 15, 1988 (November 15, 1988)
Leslie Slote, now working at the American Legation, receives secret Nazi documents from the Wannsee Conference, but his contact is killed before providing more authentication. Beck reports to Adolf Eichmann on his plans to get Aaron to make propaganda radio broadcasts favorable to the Axis powers. Natalie makes arrangements for them to escape from Italy with an Italian Jewish family. Berel and other prisoners are forced to prepare Auschwitz for an inspection tour by Heinrich Himmler. During the tour, Himmler observes the gassing of a trainload of Dutch Jews.
III
"May 26 - July 25, 1942" November 16, 1988 (November 16, 1988)
Pug and Warren participate in the Battle of Midway, but Warren is killed during a clean-up mission. Pamela admits to Rhoda that she has feelings for Pug, but in the aftermath of Warren's death, she cannot break his lasting ties to Rhoda. Aaron and Natalie flee Italy.
IV
"July 25 - November 2, 1942" November 17, 1988 (November 17, 1988)
Aaron and Natalie evade Beck and eventually escape to Marseilles, Vichy France. Rhoda tells Palmer that she has decided to stay with Pug. Byron, now serving as a diplomatic courier between Gibraltar and Vichy France, visits the American Consul General in Marseilles, who is arranging exit visas for Aaron and Natalie. Byron and Natalie reunite later that night.
V
"November 2 - December 1, 1942" November 20, 1988 (November 20, 1988)
Byron and Natalie's reunion is brief, as he must return to duty. Still without the proper documents, Natalie decides to wait until it is safer to cross the border. However, Germany invades Vichy France, and Aaron and Natalie are eventually interned with other Jews. In North Africa, Alistair Tudsbury is killed when his jeep hits a landmine. At Auschwitz, Col. Paul Blobel is given a tour of the newly constructed crematoriums, and is then given Berel's work group. At the Battle of Tassafaronga (part of the Guadalcanal Campaign), Pug is forced to abandon his ship after it is heavily damaged by Japanese forces.
VI
"December 20, 1942 - April 3, 1943" November 22, 1988 (November 22, 1988)
President Franklin D. Roosevelt asks Pug to go to Moscow as a military aide. There, Pug tours the Russian Front and observes how the Soviet forces are using materials obtained via the Lend-Lease policy. Aaron and Natalie are eventually moved to Baden-Baden. After Aaron becomes ill, they are rushed to Paris for emergency surgery. While he recuperates, she works at an American library, but is stunned when Beck finds her.
VII
"April 3, 1943 - July 25, 1943" November 23, 1988 (November 23, 1988)
Berel and other prisoners are forced to dig up corpses as part of Col. Paul Blobel's Sonderaktion 1005 operation. In a flashback sequence, Blobel recalls to a lieutenant the events of Babi Yar. Berel eventually escapes. Byron's submarine torpedoes a large Japanese transport, but the sub's commander orders his crew to kill any survivors clinging to the lifeboats or in the water, causing Byron and the other executive officers to question the order. Beck takes Natalie to dinner and the opera, and explains how tenuous their situation is. Natalie tries to arrange to join Americans in Germany being taken under Swiss protection, but Beck stops them. Aaron, Natalie and Louis are sent on a train to Theresienstadt.
Parts VIII–XII: The Final Chapter
Part
Title
Original air date
VIII
"November 25, 1943 - May 16, 1944" May 7, 1989 (May 7, 1989)
Aaron, Natalie and Louis are interned at Theresienstadt, where Adolf Eichmann forces Aaron to become a Jewish Elder of the camp's "Cultural Council". Czech resistance fighters rescue Berel from an SS patrol. Pug and Rhoda eventually decide to divorce. Pug then asks Pamela to marry him.
IX
"May 16, 1944 - June 10, 1944" May 8, 1989 (May 8, 1989)
Leslie Slote, now with the OSS, meets with French resistance leaders to organize uprisings against the Nazis, but is killed leading a raid on a German garrison. The Allies invade Normandy. Karl Rahm, Commandant of Theresienstadt, threatens to have Louis torn in half unless Natalie plays her part as a "happy Jew" during an upcoming Red Cross tour of the camp.
X
"June 22 - October 28, 1944" May 9, 1989 (May 9, 1989)
Aaron and Natalie are forced to act as "happy Jews" during the Red Cross' tour of Theresienstadt. They then fake Louis' death as Berel and other Czech Resistance fighters smuggle him out of the camp. Aaron and Natalie are then put on a train to Auschwitz. Hitler survives an assassination attempt during the 20 July plot.
XI
"October 28, 1944 - March 18, 1945" May 10, 1989 (May 10, 1989)
At Auschwitz, Aaron is sent to the gas chambers, while Natalie is allowed to live as a forced laborer. Byron leads a successful attack on an enemy tanker, but it makes him realize he is not a career officer. As Allied forces advance closer to Germany, Himmler orders all traces of the Holocaust, including Auschwitz, to be destroyed; Natalie is one of the prisoners who are evacuated and forced on a death march. As Nazi SS troops retreat from Czechoslovakia, they loot and burn farms as they go, capturing Berel, Louis, and other resistance fighters. The SS then gun down their prisoners, but Berel manages to shield Louis with his dying body.
XII
"April 12 - August 7, 1945" May 14, 1989 (May 14, 1989)
Allied troops advance further into Germany. An American squad finds Natalie barely alive. Hitler commits suicide and Germany surrenders. Pug and Pamela marry. The Americans successfully test an atomic bomb. Byron visits Natalie, who is recuperating at a Paris hospital. Byron then searches for Louis throughout Europe, eventually locating him at an orphanage in England. On the day after the atomic bombings of Hiroshima, Byron reunites Natalie and Louis.
Broadcast[edit]
The miniseries was originally intended to run on consecutive nights in 1989, but the 1988 Writers Guild of America strike caused ABC to move the first half, chapters I–VII, up to air in the fall of 1988, with the episodes no longer airing on consecutive nights.[2] The miniseries underperformed ABC's ratings expectations, with the first chapter averaging an 18.6 Nielsen rating and a 29% viewer share.[5] Dan Curtis blamed the lower ratings partly on the confusing airdates, saying in a 2002 interview that ABC "skipped Saturdays and Mondays, the viewers lost the thread, and they didn't even put up a sign saying 'To Be Continued' at the end of the first half."[2] NBC also mocked ABC's airing strategy in a promo for their November sweeps programming, comparing their schedule of various regular series, television premieres of acquired films, the Vanna White telefilm Goddess of Love and a Comedy Store special against ABC's "eighteen hours of a war story that doesn't end".[6]
Due to the lower than expected ratings for the first half, the second half, chapters VIII–XII (marketed by ABC as "The Final Chapter"), had several hours cut before airing.[2] The second half was also mixed and aired in mono, instead of the stereo used on the first half. This was not a cost-cutting measure, but the result of a technical issue encountered with airing the stereo mix on the first half.[7]
Capital Cities/ABC lost an estimated $30-$40 million on the production.[2]
Reception[edit]
War and Remembrance received 15 Emmy Award nominations and won for best miniseries, special effects and single-camera production editing. The miniseries was nominated for Emmy Awards for best actor (John Gielgud), actress (Jane Seymour) and supporting actress (Polly Bergen). John Gielgud and Barry Bostwick both won Golden Globe awards.
References[edit]
^ Jump up to: a b c Haithman, Diane (November 10, 1988). "The Long March of 'War and Remembrance'". Los Angeles Times.
^ Jump up to: a b c d e Meisler, Andy (November 3, 2002). "TELEVISION/RADIO; The Epic That Sank A Genre". The New York Times.
^ Jump up to: a b c "New Straits Times - Google News Archive Search". news.google.com.
Jump up ^ Kaufman, Michael T. (June 2, 1986). "For A Tv 'Miniseries,' Cameras Roll At Auschwitz". The New York Times.
Jump up ^ Sharbutt, Jay (November 29, 1988). "'War' Proves a Ratings Misfire". Los Angeles Times. Retrieved 1 October 2013.
Jump up ^ "Various TV Newscast Opens, Promos, and Station IDs, Part 130 (NBC November 1988 promotion, 7:42)". NBC & WTWO via YouTube. November 1988. Retrieved 16 June 2017.
Jump up ^ ""Winds of War" & "War and Remembrance"". hometheaterforum.com.
External links[edit]
War and Remembrance on IMDb
War and Remembrance at AllMovie
War and Remembrance television film trailer at YouTube
War and Remembrance article ("Waging Wouk's War and Remembrance") by Aljean Harmetz at The New York Times (November 6, 1988)
War and Remembrance article ("At Last, A Long War Is Ending Six Years Ago") by Ken Tucker at Philly.com (May 7, 1989)
show
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The Norliss Tapes (1973)
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Trilogy of Terror (1975)
The Kansas City Massacre (1975)
Burnt Offerings (1976)
Curse of the Black Widow (1977)
Dead of Night (1977)
When Every Day Was the Fourth of July (1978)
The Last Ride of the Dalton Gang (1979)
The Long Days of Summer (1980)
The Winds of War (1983)
War and Remembrance (1988-1989)
Intruders (1992)
Me and the Kid (1993)
Trilogy of Terror II (1996)
The Love Letter (1998)
Saving Milly (2005)
Our Fathers (2005)
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Awards for War and Remembrance
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Primetime Emmy Award for Outstanding Limited Series
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Columbo: Double Exposure (1974)
Benjamin Franklin (1975)
Upstairs, Downstairs (1976)
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The Jewel in the Crown (1985)
Peter the Great (1986)
A Year in the Life (1987)
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War and Remembrance (1989)
Drug Wars: The Camarena Story (1990)
Separate but Equal (1991)
A Woman Named Jackie (1992)
Prime Suspect II (1993)
Prime Suspect III (1994)
Joseph (1995)
Gulliver's Travels (1996)
Prime Suspect: Errors of Judgement (1997)
From the Earth to the Moon (1998)
Hornblower ("The Even Chance" / "The Examination for Lieutenant" / "The Duchess and the Devil" / "The Frogs and the Lobsters") (1999)
The Corner (2000)
Anne Frank: The Whole Story (2001)
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Taken (2003)
Angels in America (2004)
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Elizabeth I (2006)
Broken Trail (2007)
John Adams (2008)
Little Dorrit (2009)
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Bill (1981)
Brideshead Revisited (1982)
The Thorn Birds (1983)
Something About Amelia (1984)
The Jewel in the Crown (1985)
Promise (1986)
Escape from Sobibor (1987)
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Lonesome Dove (1989)
Decoration Day (1990)
One Against the Wind (1991)
Sinatra (1992)
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The Burning Season (1994)
Indictment: The McMartin Trial (1995)
Rasputin: Dark Servant of Destiny (1996)
George Wallace (1997)
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RKO 281 (1999)
Dirty Pictures (2000)
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The Gathering Storm (2002)
Angels in America (2003)
The Life and Death of Peter Sellers (2004)
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Elizabeth I (2006)
Longford (2007)
John Adams (2008)
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Game Change (2012)
Behind the Candelabra (2013)
Fargo, season 1 (2014)
Wolf Hall (2015)
The People v. O. J. Simpson: American Crime Story (2016)
Big Little Lies (2017)
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Jerry Fielding
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the American politician, see Jerry L. Fielding.
This biography of a recently-deceased person needs additional citations for verification, as it includes attribution to IMDb. IMDb may not be a reliable source for biographical information. Please help by adding additional, reliable sources for verification. (December 2015) (Learn how and when to remove this template message)
Jerry Fielding
Birth name
Joshua Itzhak Feldman
Also known as
Gerald Feldman,[1] credited as Jerry Feldman prior to June, 1947 [2][3][4]
Born
(1922-06-17)June 17, 1922
Pittsburgh, United States
Origin
Pittsburgh, Pennsylvania
Died
February 17, 1980(1980-02-17) (aged 57)
Toronto, Canada
Occupation(s)
Radio, record, film and television composer, conductor, bandleader and musical director
Joshua Itzhak Feldman (June 17, 1922 – February 17, 1980),[5] known professionally as Jerry Fielding, was an American jazz musician, arranger, band leader, and film composer who emerged in the 1960s after a decade on the blacklist to create boldly diverse and evocative Oscar-nominated scores, primarily for gritty, often brutally savage, western and crime action genres, including the Sam Peckinpah movies, The Wild Bunch (1969) and Straw Dogs (1971).
Contents
[hide]
1 Childhood and education
2 Freelance arranger
3 Radio work: from Feldman to Fielding
4 Exiled by anti-Communist paranoia, but welcomed in Vegas
5 The end of the blacklist
6 Composing for the screen
7 Popular television themes
8 Personal life
9 Awards and honors
10 Film scores
11 References
12 External links
Childhood and education[edit]
Jerry Fielding was born as Joshua Itzhak Feldman in Pittsburgh,[5] to Hiram Harris Feldman and Esther Feldman, both American Jews. After trying the trombone, he took up the clarinet and joined the Taylor Allderdice High School band.[6] He was offered a scholarship to the Carnegie Institute for Instrumentalists. After a short attendance, because of ill health he was bedridden for two years with an undiagnosed ailment. While housebound, he listened to the radio, and became a fan of the big band sound and Bernard Herrmann's music for Orson Welles's radio dramas.
Freelance arranger[edit]
Somewhat recuperated, he worked at Pittsburgh's Stanley Theater (where his fellow players included Erroll Garner, Billy May and Henry Mancini),[7] learning composition and arranging there from the theater's pit orchestra conductor, Max Adkins (as did Mancini and another notable Pittsburgh native, Billy Strayhorn).[8] In June 1941, shortly before his nineteenth birthday, Fielding left Pittsburgh to work for Alvino Rey's swing band.[9] His arrangement of Picnic in Purgatory in 1942 became highly popular.[10][11]
This job ended when most of the band was drafted. He was too frail for service. He became vocal arranger for Lucy Ann Polk's Town Criers [12] and then joined Kay Kyser's band. He became their chief arranger in 1945.[13] He also arranged for the big bands of Mitchell Ayres,[14] Claude Thornhill, Jimmie Lunceford, Tommy Dorsey, Charlie Barnet and Les Brown.
Radio work: from Feldman to Fielding[edit]
Feldman arranged for Kyser's Kollege of Musical Knowledge radio program, and then became the band leader for several radio programs: The Jack Paar Program (1947–1949), The Hardy Family 1952–1953, as well as work on The Fitch Bandwagon,[15] The Life of Riley, and the Sweeney and March Show.
In the spring of 1947, having suitably impressed prospective employer, radio emcee Jack Paar (and his production team), Feldman was compelled to change his name as a prerequisite to securing the position of providing live on-air music (records were still not allowed on the air in 1947). He chose the name Jerry Fielding, and he would recount this transformation with some bitterness almost 25 years later:
"They told me I was not going on with any name as Jewish as Feldman. I don't think there's any lessening of prejudice today. There's just more politeness about where and when it happens now. I think it's going to be the downfall of Homo sapiens."[4]
In 1948, Fielding replaced Billy May as musical director on Groucho Marx's radio program "You Bet Your Life." In 1951, the famous comedian brought Fielding along for the same musical directing job when he moved "You Bet Your Life" to television, one of the first hit shows of the new medium, and a job Fielding would hold until 1953.[16] In June 1952, drawing on the same musicians Fielding employed regularly during his radio and television work, he formed the Jerry Fielding Orchestra for live performing and recording his music while the television season was in its annual summer hiatus.[17][18]
Fielding later recalled the reasons for doing this: "So a couple of [professional jazz] guys formed little bands, not to go in buses on the road, but to record with, do a few weekends at the Palladium, just rehearse, and keep the thing going. We were doing it for each other, really. And the first records I made—that's what they were. Frank had put a band together for the Palladium: and I said: "If he can do it, I can do it." I had five radio shows at the time: so we put this bunch together, and we started to do some wild things. [...] In that band were Conrad Gozzo, Sam Donahue, Shelly Manne, Johnny Williams, Buddy Collette, Red Callender—everybody. I knew what these guys could do, and I wrote to the absolute limit of their abilities, which no one else did. We did some spectacular performances. Albert Marks recorded us a couple of times, and those are the early Trend records which are such collector's items now. I think they were collector's items the day they went in the store; they never really sold well."[18]
The group would be featured on Fielding's own short-lived but well-received all-music TV series, the JF TV Show,[14] and by the following summer, had released its debut LP, Jerry Fielding and His Great New Orchestra {Trend, 1953}.[19])
Exiled by anti-Communist paranoia, but welcomed in Vegas[edit]
Though never a Communist, Fielding was called before the House Un-American Activities Committee in December 1953 during the anti-Communist hysteria which gripped the rightwing Republicans, particularly in Congress, and the FBI, who were in the throes of punishing the many talented FDR supporters in entertainment who had helped to defeat the pro-Fascist isolationists before Pearl Harbor. This was done by smearing them with innuendo and charges of Communism. Fielding's sin appeared to be his Radio Union membership (which was obligatory for all nationally broadcast radio performers) which was in turn one of a dozen or more unions in the Hollywood Writers Mobilization which was founded in 1941 to promote show business efforts against Nazism and in support of the American war effort. However, Fielding later joked that all the committee really wanted was to get him to name Groucho Marx as a communist, which he refused, of course, to do. He also believed he was being singled out for his integrated bands, using African-American jazz performers in his radio and television music, which was carried live at the time. All integration and equal rights to black performers were deeply offensive to the notoriously racist HUAC members,[citation needed] and to FBI head, J. Edgar Hoover.[citation needed]
Fielding took the Fifth Amendment, refusing to divulge the names of any colleagues who might be suspected of "Communism", doing so knowing that pleading the Fifth would damage his thriving radio and television career, as it did. He was blacklisted by the national television and radio networks, who were being pressed by these same forces with a similar fate if they 'failed to cooperate."
The blacklist destroyed Fielding's embryonic career as an on-screen television host, but the talented musician survived what would be a decade-long exile from broadcasting by returning to his live performing and recording careers, both as a featured artist and a freelance arranger. In Las Vegas, Nevada he led a band at the Royal Las Vegas Hotel; in addition, he toured for the only time with his name orchestra, which also released several albums during this period, first for a little-known independent label, with Jerry Fielding Plays a Dance Concert (Trend, 1954), followed by Sweet with a Beat (1955), Fielding's Formula (1957), and Hollywoodwind Jazztet (1958), all on Decca. His jazz and pop background allowed him to survive while the blacklist destroyed the concert and film-based careers of musicians such as Schoenberg champion and film composer Louis Gruenberg and the first black Broadway and film star, Paul Robeson.
The end of the blacklist[edit]
In 1959, musical star Betty Hutton insisted that the still-blacklisted Jerry Fielding direct her new series, The Betty Hutton Show, a television series for CBS, having gotten to know him while they were both working the music circuit in Las Vegas.[20] Television had been a surreptitious haven for the blacklisted writers, directors and composers for many years, and it was Desilu Productions, founded by Lucille Ball, who'd briefly been a member of the Communist Party and also dragged before HUAC in the early '50's, who backed Hutton's choice. With her own career hanging by a thread, Hutton – along with Desilu and CBS – made a brave stand against the blacklist in television, but the show unfortunately failed.
Fielding's career as a film composer did not begin until 1962, when leading Hollywood director Otto Preminger, himself a refugee of Nazism, hired him to compose the score for his all-star, Washington, D.C.-based adaptation of the best-selling novel, Advise and Consent. Preminger was grateful to the liberal and left-wing Americans in his adopted country who had helped defeat the rightwing homegrown Fascists who sought to allow Hitler's triumph by staying out of the war in Europe. Preminger deliberately violated and thus finally ended the blacklist in American filmmaking – he released Man with the Golden Arm in 1955 without the Production Code's seal of approval and named blacklisted screenwriter Dalton Trumbo in his first onscreen film credit since his blacklisting fifteen years before, in Exodus (1960), his hiring of blacklisted actor Franchot Tone and composer Fielding for Advise and Consent was particularly fitting for a film which attempted to expose the evil of innuendo and blacklisting in political Washington.[21] It was his friend, prolific and long-suffering blacklistee Dalton Trumbo, who had suggested Fielding to Preminger for the job.
Composing for the screen[edit]
Preminger had used the great jazz leader, Duke Ellington and his band for an all-jazz score for his pioneering realist trial drama Anatomy of a Murder (1959) – unusual at a time when most film scores were still lush symphonic orchestrations and even more unusually in that he featured the African-American Ellington and other band members in the film itself. Thus Fielding was given permission to employ his own wide-ranging and eclectic musical skills for the film. It was a remarkable debut score[citation needed], the first to contain Fielding's signature ability to bring dark irony to his themes.
Fielding was now also free to write television scores for hit 1960 shows, Mission Impossible (1966) (though not the best known theme, which is by Lalo Schifrin) and Star Trek in second and third seasons. It was his composing for a contemporary made-for-TV Western, Noon Wine, directed by then-unknown Sam Peckinpah, that led to Fielding's breakthrough score for Peckinpah's first critical and box-office hit, The Wild Bunch (1969) as well as a volatile but ultimately fruitful collaboration between the two men. A neo-Noir Western with a wordless, staggeringly violent final shootout still imitated to this day, The Wild Bunch's quartet of taciturn, bitter gunmen, led by Bill Holden, are given power, humor and voice largely through Fielding's brilliant score. The composer "caught the weariness, dust, dirt and blood of a vanishing West in a rich underscore that interspersed sprightly action cues with wistful Mexican folk melodies and nostalgic, bittersweet dirges", writes British film composer Heathcliff Blair [22] The soundtrack brought his first nomination for an Oscar for Best Dramatic Score.
"The Wild Bunch gave me a chance to illustrate to the public, and the entertainment industry, that if a composer is given real freedom to create, he can produce a score that is unlike any other ever written", Fielding said later. In his next film outing, the quaint English countryside is blown apart by sadistic violence in Peckinpah's second masterpiece, Straw Dogs (1971) in which Fielding for the first time used Stravinsky-influenced "sound clusters", another highly-influential score whose echoes can be heard, for example, in the following year's French Connection which has a brittle quarter-tone score by jazz composer Don Ellis. Straw Dogs was also followed by an Oscar nomination; and together, in the Peckinpah canon, these first two collaborations certainly demonstrate the truth that all great films have equally great music[ambiguous].
The following year, in Peckinpah's The Getaway (1972), a troubled production starring Steve McQueen and Ali McGraw, Fielding's score was removed from the final picture. It was replaced by music of Quincy Jones, much to Fielding's shock and dismay, an ordeal documented in a short film by his wife, Camille and daughter Elizabeth Fielding in 2007.[23] Peckinpah then asked Fielding to compose around songs by Bob Dylan, for Pat Garrett and Billy the Kid (1973). While already lionized for his protest and rock music by 1972, Dylan had no formal musical training whatsoever and Fielding eventually backed out in frustration. Despite this, Fielding returned to score Peckinpah's surreal anti-Western, Bring Me the Head of Alfredo Garcia (1974). In this black comedy Fielding again expresses the despairing subtext and unspoken whimsy of his frequently inchoate collaborator. This time in a film whose exercise in futility seems a personal statement by Peckinpah indeed. "In many ways, Sam doesn't know what the hell he's talking about", Fielding said of the director, whom he considered a close friend. "In other ways, he's a fantastically gifted man." Fielding claimed the two used to sort out their differences in fist fights.[22]
Fielding had fruitful and rather less stressful relationships with two other leading 1970's action directors. For Michael Winner he demonstrated his versatility through six films, from the first jazz-tinged score for a Western in Lawman (1971) to the Gothic period melodrama The Nightcomers (1971), where Fielding delighted in creating a neo-Baroque orchestral score of which he was most proud. Winner would go on to team with Charles Bronson in Death Wish. His last film for Winner was the 1978 remake of The Big Sleep, starring Robert Mitchum and considered a classic[citation needed] of 1970's neo-LA Noir.
His collaboration with the famously jazz-loving Clint Eastwood began when Eastwood chose Fielding to compose the score to The Outlaw Josey Wales. Fielding presumably didn't know that the author of the original novel, Forrest Carter, was a Klansman and segregationist.[24] Fielding, assuming he was scoring a popular young people's Western novel, researched and included Irish folk tunes from the Civil War, creating another newly explored direction for period films and winning his third and final Oscar nomination. On that Oscar night, Fielding was up against Jerry Goldsmith's The Omen, Lalo Schifrin's Voyage of the Damned, and the two final scores by his former hero in 1930s radio, prolific Hitchcock favorite Bernard Herrmann, for Scorsese's Taxi Driver and de Palma's Obsession. (Goldsmith won.)[25]
In his next two films for Eastwood, Fielding employed urban scores featuring living jazz musicians for The Enforcer (1976) and The Gauntlet (1977). Other notable scores were for Demon Seed (1977), that included electronic instruments and atonal passages; and The Bad News Bears (1976), inspired by the 19th century opera Carmen by French composer, Bizet.
Funeral Home (1980) was the film he was scoring at the time of his death.
Popular television themes[edit]
Fielding combined his film scores with television work, not an unusual combination at the time, particularly since the theme song for a hit television series could go on paying dividends for years, paying royalties every time it was played on the air. He scored two episodes of the first Star Trek television series: cult classic The Trouble With Tribbles and Spectre of the Gun. He also wrote the title themes for what became enduring 1960's shows of the network era: Hogan's Heroes; Run, Buddy, Run; He & She and The Bionic Woman. His last television theme tune was for the 1970 situation comedy The Tim Conway Show.[26] He also did notable work with Kolchak: The Night Stalker (1974). His last television soundtrack, for the mini-series High Midnight, won an Emmy.
Personal life[edit]
Fielding married twice, first to Kay Kyser band production assistant, Ann Parks(d), in December 1946 in Tijuana. They raised two children, Georgia (d) and Hillary. This marriage ended in the spring of 1963. His second marriage took place on August 6, 1963, to Camille J. Williams, a Las Vegas dancer. They had two children.
He died, at the age of 57, from a heart attack followed by congestive heart failure, while in Toronto where he was scoring the motion picture Funeral Home (aka: Cries In The Night.) He was survived by wife Camille and two daughters: Claudia and Elizabeth; and former wife Ann(d) and daughter Hillary. He is interred in Crypt 30 at Glen Haven Memorial Park in Los Angeles.[27]
Awards and honors[edit]
Year
Award
Result
Category
Film or series
1970 Academy Award Nominated Best Music, Original Score for a Motion Picture (not a Musical) The Wild Bunch
1972 Best Music, Original Dramatic Score Straw Dogs
1977 Best Music, Original Score The Outlaw Josey Wales
1980 Emmy Award Won Outstanding Achievement in Music Composition for a Limited Series or a Special (Dramatic Underscore) High Midnight
On Thursday November 12, 2009, Jerry Fielding was awarded a lifetime achievement award for his composition in "The Wild Bunch" which celebrated its 40th anniversary. It was received by his daughter Claudia Fielding.
Film scores[edit]
The Nun and the Sergeant (1962)
Advise & Consent (1962)
For Those Who Think Young (1964)
McHale's Navy (1964)
McHale's Navy Joins the Air Force (1965)
The Wild Bunch (1969)
Suppose They Gave a War and Nobody Came (1970)
Lawman (1971)
Johnny Got His Gun (1971)
The Nightcomers (1971)
Straw Dogs (1971)
Chato's Land (1972)
Junior Bonner (1972)
The Mechanic (1972)
Scorpio (1973)
The Outfit (1973)
The Super Cops (1974)
Bring Me the Head of Alfredo Garcia (1974)
The Gambler (1974)
The Killer Elite (1975)
The Black Bird (1975)
The Bad News Bears (1976)
The Outlaw Josey Wales (1976)
The Enforcer (1976)
Demon Seed (1977)
The Gauntlet (1977)
Gray Lady Down (1978)
The Big Sleep (1978)
Mr. Horn (1979)
Beyond the Poseidon Adventure (1979)
Escape from Alcatraz (1979)
Funeral Home (1980)
References[edit]
Jump up ^ Martin Harry Greenberg (1 November 1979). The Jewish lists: physicists and generals, actors and writers, and hundreds of other lists of accomplished Jews. Schocken Books.
Jump up ^ "Music Popularity Chart: New Records". Billboard. June 15, 1946. Retrieved 2014-04-14.
Jump up ^ Lohman, Sidney. "Radio Row: One Thing and Another". The New York Times. April 27, 1947. Retrieved 2014-04-14 via ProQuest. "Jack Paar, comedian, will occupy jack Benny's time spot (Sunday, 7 P.M., NBC), beginning June 1. Music will be provided by the Page Cavanaugh Trio and Jerry Fielding's Orchestra."
^ Jump up to: a b Blank, Edward L.. "Fielding Mercurial Over Film Music; Changed Name". Pittsburgh Post-Gazette. May 14, 1972. Retrieved 2014-04-15. "He worked for Kay Kyser under the name Feldman but had to change it when he was 23 to get a job on a Jack Paar show."
^ Jump up to: a b Thedeadrockstarsclub.com - accessed January 2010
Jump up ^ Cohen, Harold V. (March 7, 1953). "The Drama Desk: Local Scrappings". The Pittsburgh Post-Gazette. Retrieved November 26, 2017.
Jump up ^ "The Gambler". Focus on Film. Volume 19. 1974. Retrieved 2014-04-15. "In his youth, he played in the local theater's orchestra pit alongside, at times, Henry Mancini, Billy May and Errol (sic) Garner."
Jump up ^ "Composers / Arrangers". Pittsburgh Music History. Retrieved 2014-04-15.
Jump up ^ Cohen Harold V.. "The Drama Desk; Local Scrappings". Pittsburgh Post-Gazette. June 12, 1941. Retrieved 2014-04-14.
Jump up ^ "'I'm Glad There Is You': fox trot (Music, 1942)". WorldCat. Retrieved 2014-04-14.
Jump up ^ "Just Released - B11501 'I'm Glad There Is You' and 'Picnic in Purgatory'". Billboard. April 18, 1942. Retrieved 2014-04-14.
Jump up ^ Johnson, Erskine. "In Hollywood". The Courier News. January 17, 1945. Retrieved 2014-04-15. "Cradle row has something new to crow about, Hollywood's "hottest" singing group, The Town Criers, average 19 years of age [...] Their arranger is a baby, too – 22-year-old Jerry Feldman."
Jump up ^ "Arranger for Band". The Jewish Criterion. March 9, 1945. Retrieved 2014-04-15. "Jerry Feldman, son of Mr. and Mrs. H. H. Feldman, of Wightman Street, is now head arranger for the Kay Kyser Band."
^ Jump up to: a b Ames, Walter. "Frustrated Jerry Fielding Scoring On Own Video Show". The Los Angeles Times. October 17, 1952. Retrieved 2014-04-16 via ProQuest.
Jump up ^ Rodack, Jaine (1980). "LA Years". Be Of Good Cheer: Memories Of Harmonica Legend Pete Pedersen. Bloomington, Indiana: AuthorHouse. ISBN 978-1-4259-6006-3.
Jump up ^ You Bet Your Life (quiz, with Groucho Marx). ClassicThemes. Retrieved 2014-04-16.
Jump up ^ Ames, Walter. "Television, Radio, News and Programs: Radio and TV Tidbits". The Los Angeles Times. June 25, 1952. Retrieved 2014-04-16 via ProQuest. "Jerry Fielding, Groucho Marx's musical director, has organized a band for recording sessions during the summer lull."
^ Jump up to: a b Tomkins, Les. "Jerry Fielding Interview One: From the Bands to the Films". Jazz Professional. !974. Retrieved 2014-04-16.
Jump up ^ “Album and LP Reviews”. Billboard. August 15, 1953. Retrieved 2014-04-17.
Jump up ^ Cook, Howard. "Fielding Inked by Signature". Billboard. October 26, 1959. Retrieved 2014-04-16.
Jump up ^ Publisher's Weekly, Oct. 21, 2007, https://www.amazon.com/Otto-Preminger-The-Would-King/dp/0375413731
^ Jump up to: a b http://www.imdb.com/name/nm0006076/bio?ref_=nm_ov_bio_sm
Jump up ^ http://www.imdb.com/title/tt0972389/?ref_=ttfc_fc_tt
Jump up ^ NY Times, Oct. 4, 1991 https://www.nytimes.com/1991/10/04/opinion/the-transformation-of-a-klansman.html
Jump up ^ http://filmscoremonthly.com/board/posts.cfm?threadID=47512&forumID=1&archive=0
Jump up ^ cctva.com The Tim Conway Show (1970)
Jump up ^ The Jerry Fielding Papers 1950-1977 at Brigham Young University in the L. Tom Perry Special Collections. Archived 2006-09-02 at the Wayback Machine.
Bibliography
Gelfand, Steve. Television Theme Recordings: An Illustrated Discography, 1951–1994. Ann Arbor, Michigan: Popular Culture, Ink., 1994
"Jerry Fielding, Writer of Scores for Movies; Named for 3 Oscars" New York Times, February 19, 1980, page B4.
Redman, Nick. "Jerry Fielding" Dictionary of American Biography, Supplement 10: 1976–1980. Charles Scribner's Sons, 1995. Reproduced in Biography Resource Center, Gale, 2008.
Terrace, Vincent. Radio Programs, 1924–1984. Jefferson, North Carolina: McFarland, 1999.
External links[edit]
Jerry Fielding on IMDb
Jerry Fielding at Memory Alpha (a Star Trek wiki)
Demon Seed score on compact disc
Jerry Fielding, From the Bands to the Films - interview by Les Tomkins in 1974
Jerry Fielding, Speak the Truth - interview #2 by Les Tomkins in 1974
Jerry Fielding/Dan Carlin interview conducted by Jonathan Rosenbaum and Peter Lehman; Originally published in Wide Angle, vol. 4, no. 3, 1979
Jerry Fielding Interview - a conversation with David Raksin; Originally published in Soundtrack Magazine No.58, 1980
Jerry Fielding Biography and LP Discography
Film Discography from Soundtrack Collector
A portrait of Jerry fielding ( in French)
Finding aid author: James V. D'Arc (2008). "Jerry Fielding papers". Prepared for the L. Tom Perry Special Collections, Provo, Utah. Retrieved May 13, 2016.
Authority control
WorldCat Identities
BNE: XX1420987
BNF: cb138939152 (data)
GND: 13523719X
ISNI: 0000 0001 1041 6868
LCCN: no92022726
MusicBrainz: ea25057a-8bc6-43ec-b1ba-be663f20af82
SNAC: w6dn8nzj
SUDOC: 058606696
VIAF: 17407334
Retrieved from "https://en.wikipedia.org/w/index.php?title=Jerry_Fielding&oldid=841899387"
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Donkey Kong Country Returns
From Wikipedia, the free encyclopedia
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Donkey Kong Country Returns
Developer(s)
Retro Studios
Publisher(s)
Nintendo
Director(s)
Bryan Walker
Producer(s)
Kensuke Tanabe
Designer(s)
Kynan Pearson
Mike Wikan
Tom Ivey
Artist(s)
Vince Joly
Composer(s)
Minako Hamano
Masaru Tajima
Shinji Ushiroda
Daisuke Matsuoka
Kenji Yamamoto[1]
Series
Donkey Kong Country,
Donkey Kong
Platform(s)
Wii, Nintendo 3DS
Release
Wii
NA: November 21, 2010
AU: December 2, 2010
EU: December 3, 2010
JP: December 9, 2010
Nintendo 3DS
NA: May 24, 2013
EU: May 24, 2013
AU: May 25, 2013
JP: June 13, 2013
Wii U
Nintendo eShop
JP: January 21, 2015
PAL: January 22, 2015[2]
NA: September 22, 2016
Genre(s)
Platformer
Mode(s)
Single-player, multiplayer
Donkey Kong Country Returns is a side-scrolling platformer video game developed by Retro Studios and published by Nintendo for the Wii console. The game was released first in North America in November 2010, and in PAL regions and Japan the following month. A stereoscopic port of the game, titled Donkey Kong Country Returns 3D, was released for the Nintendo 3DS in May 2013, and in Japan the following month.
The game's story focuses on a group of evil creatures called Tikis known as the Tiki Tak Tribe that arrive on Donkey Kong Island, and hypnotize the island's animals to steal Donkey Kong's bananas. This forces him to retrieve the hoard with the help of his friend Diddy Kong. Donkey Kong Country Returns was the first traditional home console Donkey Kong game since the release of Donkey Kong Jungle Beat in 2005, and also the first Donkey Kong Country entry not to involve video game developer Rare. The game was positively received from critics, it has sold 6.53 million copies worldwide, making it one of the best-selling games on the Wii. A sequel, Donkey Kong Country: Tropical Freeze, was released for the Wii U in February 2014 and later ported to the Nintendo Switch in May 2018.
Contents
[hide]
1 Gameplay
2 Plot
3 Development
3.1 Donkey Kong Country Returns 3D
4 Reception
5 Sales
6 References
7 External links
Gameplay[edit]
Donkey Kong and Diddy Kong riding a rocket barrel. Donkey Kong Country Returns combines 2D gameplay with 3D graphics such as the character models and this train in the foreground.
Players take control of the series's protagonist Donkey Kong, as well as his friend Diddy Kong in certain situations,[3] with many traditional elements of the Donkey Kong Country series returning, including mine cart levels, the ability to swing between vines and collect bananas, and the golden "KONG" puzzle pieces.[4] New gameplay elements include levels in which the characters and foreground environments appear as silhouettes, spawning several new gameplay mechanics.[5] In single-player mode, players can only play as Donkey Kong, although Diddy Kong rides on Donkey Kong's back, and Donkey Kong can use Diddy's jetpack to jump further. Multiplayer mode enables a second player to control Diddy Kong.[5] If a player's character dies in two-player mode, it can be brought back by using the other character to hit a "DK Barrel" that floats into view, a mechanic similar to the one used in New Super Mario Bros. Wii. To avoid problems arising from differences in the players' skills, Diddy can hop on Donkey's back to take on a more passive role, while his jetpack can be used to make his partner's jumps easier.[5] Both Donkey and Diddy can pound the ground to defeat enemies and unveil secret items.[5]
The game has two control schemes, with the standard system using the Wii Remote in conjunction with the Nunchuk, while a more classical approach requires that the Wii Remote be held sideways. Both methods use motion controls for the "Ground Pound" move.[3] In addition to common series elements like secrets and unlockables, there is also an optional time attack mode.[5] Two animal buddies, Rambi and Squawks, appear and assist Donkey Kong at certain points in the game.[6] The game also utilises the "Super Guide" feature that previously appeared in New Super Mario Bros. Wii and Super Mario Galaxy 2. If the player loses eight lives in a single level, he or she is given the option to allow a white-colored Donkey Kong named Super Kong to take over and complete the level for them. However, Super Kong will not look for collectible items, nor will he show the player where they are. He also keeps anything he happens to collect, so the player is not rewarded for these items.[7]
After beating Tiki Tong, an additional stage called "The Golden Temple" is unlocked. In order to play the stage, the player has to find objects called "Rare orbs" hidden in each world's temple. Upon competing the Golden Temple, a new mode is unlocked known as the Mirror Mode. In this mode, the stages are flipped, Donkey Kong only has one unit of health, he cannot use items bought from Cranky Kong, and he cannot get any help from Diddy Kong.
Plot[edit]
The game's story revolves around creatures known as Tikis, which are new to the series. The different types of Tikis fill the role of the antagonists in the story, replacing the Kremlings from Donkey Kong Country.[3][5] Cranky Kong, who owns shops throughout the island, is the only Kong family member that appears other than Donkey and Diddy.[8] The story begins when a group of evil Tikis known as the Tiki Tak Tribe arrive on Donkey Kong Island after being awoken by a volcanic eruption,[8] and play music to hypnotize the animals on the island into stealing Donkey Kong's bananas. Since Donkey Kong is resistant to the Tikis' music, he works with Diddy Kong to retrieve his hoard of bananas from the Tikis. Throughout the game, the pair travel through eight worlds to recover their stolen bananas: the Jungle, the Beach, the Ruins, the Cave, the Forest, the Cliff, the Factory, and the Volcano.[9] In each world, they must defeat a Tiki Tak Tribe leader: Kalimba, the Maraca Gang, Gong-Oh, Banjo Bottom, Wacky Pipes, Xylobone, Cordian (who hypnotizes other animals in the jungle to fight the Kongs), and Tiki Tong, the king of the Tiki Tak Tribe. After Tiki Tong is defeated, the Kongs are launched into space where they punch down on the Moon, crushing Tiki Tong's base and sending bananas flying everywhere.
Development[edit]
Kensuke Tanabe was the producer for Returns. He is shown here at the 2011 Game Developers Conference.
Development on Donkey Kong Country Returns started in April 2008, soon after key personnel of Retro Studios had left the company.[3][10] At that time, Shigeru Miyamoto wanted to create a new Donkey Kong game and, at his request, producer Kensuke Tanabe recommended Michael Kelbaugh, the CEO of Retro Studios, who had previously worked on the Donkey Kong Country series while he was employed at Nintendo of America.[3][10] Satoru Iwata frequently referred to this turn of events as "fate" in his meetings with Retro Studios, which is why Kelbaugh suggested the homophonous project codename F8 for the game.[3][10]
Similar to New Super Mario Bros., the game was developed with the intention to invoke nostalgic feelings in players with its art style and sound, while trying to provide them with new gameplay experiences.[10] Retro tried to make the game "accessible to all players", but with a "kind of difficulty that made players want to try it again".[1] The game employs fully polygonal 3D graphics with levels containing three times the amount of textures and polygons that Retro's Metroid Prime 3: Corruption offered in a single room.[3] Though Miyamoto initially opposed the idea, simultaneous two-player gameplay was eventually implemented, contrary to the tag-team system of the original series.[10] Tanabe said a partial inspiration for the feature was to make Returns "stand out" compared to the New Play Control! re-release of Donkey Kong Jungle Beat.[10] Over the course of six months, two-thirds of the game's tools and engine had to be rewritten by the programmers, the animation and collision systems being subject to the most changes,[3] and while experiments were conducted with underwater levels, they were ultimately omitted as they felt too slow and unfitting to the overall gameplay.[11] Two levels in the game, "Tidal Terror" and "Mangoruby Run", proved to be the most difficult levels to design and program, each requiring several months of development time.[1][12] In Returns, Retro tried to use the same camera engine used for the Morph Ball in Metroid Prime, but found it unable to handle the quick and complex movements of the characters, particularly after the implementation of two-player gameplay.[13]
Development accelerated in early 2010, and the project was "beginning to cohere as a game" around the time of E3.[1] Donkey Kong Country Returns was officially announced at Nintendo's press conference held on June 15, with four playable levels available on the show floor. Although the game was set for release later that year, the team still had 70 levels to create or refine.[12] Around the end of development, Tanabe had lower back pain and needed to take a week off. During that time, assistant producer Risa Tabata took over his duties, and Tanabe decided to keep her in charge for the rest of production.[1] The music, which was inspired by David Wise and Eveline Fischer's score for the Super NES games in the series,[3] was co-written by Kenji Yamamoto, who had worked on the Prime trilogy. Yamamoto wrote songs to fit the mood of certain levels, and some songs were rewritten if their matching levels were heavily redesigned.[1] Takashi Nagasako voiced both Donkey Kong and Cranky Kong, while Katsumi Suzuki voiced Diddy Kong.
In the January 2015 Nintendo Direct, it was announced that the Wii version of Donkey Kong Country Returns and other Wii games would be released for download on Wii U via Nintendo eShop. Donkey Kong Country Returns was made available on the Nintendo eShop on January 21, 2015 in Japan,[14] January 22, 2015 in Europe,[15] and January 23, 2015 in Australia and New Zealand.[16] Between March 31 and June 30, 2016 inclusively, the digital re-release of Donkey Kong Country Returns was made available for North American Wii U users exclusively as a My Nintendo reward. The title has since been made commercially available on the North American Nintendo eShop starting September 22, 2016.
Donkey Kong Country Returns 3D[edit]
On February 14, 2013, Nintendo announced in its Nintendo Direct conference that a port for the Nintendo 3DS, titled Donkey Kong Country Returns 3D, was in development and was released on May 24, 2013. The port was developed from the ground up by Monster Games and features stereoscopic 3D graphics.[17][18] The 3DS version includes two modes, "Original Mode" which plays the same as the original Wii version, and "New Mode" which introduces a handful of new items to make the game easier, including extra health. The 3DS version also contains an extra world with eight new levels not present in the original Wii version.[19]
Reception[edit]
Donkey Kong Country Returns
Aggregate scores
Aggregator
Score
GameRankings (Wii) 87.87%[20]
(3DS) 83.51%[21]
Metacritic (Wii) 87/100[22]
(3DS) 83/100[23]
Review scores
Publication
Score
1UP.com A
Destructoid 10/10[24]
Eurogamer 9/10
Game Informer 9.5/10[25]
Game Revolution A-
GamesRadar+ [26]
GameTrailers 9/10[27]
Giant Bomb [28]
IGN 9/10[29]
Nintendo Life 10/10[31]
Nintendo World Report 9.5/10[32]
ONM 91%
X-Play [30]
Donkey Kong Country Returns received generally favorable reviews.[22][23] For its awards for games released in 2010, IGN gave Returns awards for "Best Retro Design" and "Most Challenging",[33][34] then selected the game as the 5th best on the console.[35] Game Informer named it Game of the Month for December 2010, with reviewer Dan Ryckert hailing it as "one of the best platformers [they'd] ever played".[25] The publication later picked it as the "Best Platformer" and "Best Wii Exclusive" of 2010.[36]
IGN's Craig Harris awarded the game an Editor's Choice award, stating, "This is an incredibly challenging, old-school throwback that might not set the genre afire with innovation, but in my book, it's better than the awesome game that inspired it. [...] Rare should be proud that its design is in the right hands. Or just insanely jealous. Either works."[29] Video game talk show Good Game's two presenters gave the game a 9 and 8.5 out of 10, praising how true the music kept to the style of the original tracks, and that it managed to keep from becoming too complex while still avoiding being over-simplified, saying "If you're a fan of the old Donkeys, or you just want a great platforming experience, this is worth at least as much as Kong's golden banana hoard."[37] X-Play praised the similarity of Returns to previous games in the series, the game's replay value, and its graphics, but the review criticized the motion controls "that force you to react quickly at bad times, a button press would suffice" and the co-op game play, saying, "If your partner has a penchant for dying, look forward to some short games as he or she will most likely drain the number of lives you both share."[30] GamesRadar complimented the title for its standout levels and fan service, while criticizing it for levels that are "frustrating, unclear and often misleading way that is unlike any prior Donkey Kong adventure", and motion controls that make them "question the controls in a platformer".[26] GameTrailers praised the game's gameplay and the diversity of the levels,[27] while Giant Bomb claimed, "Retro recaptures most of Donkey Kong's venerated platforming roots in this fine Wii sequel."[28]
Sales[edit]
The game debuted third on the Japanese video game charts, with 163,310 units sold,[38] and it has sold 638,305 copies in Japan as of January 2, 2011.[39] In North America, the game debuted at sixth place on the charts,[40] with 430,470 units sold.[41] By the end of March 2011, the game had sold 4.96 million copies worldwide.[42] On September 12, 2013 Nintendo announced that the 3DS version has sold 268,000 units in the United States.[43] As of December 31, 2013, it has worldwide sales of 1.43 million.[44]
Both versions of this game, along with its sequel, were added to the Nintendo Selects label on March 11, 2016 in North America.[45]
References[edit]
^ Jump up to: a b c d e f "Iwata Asks: Donkey Kong Country Returns". Nintendo. 2010. Retrieved 2012-02-10.
Jump up ^ Garbutt, Lee (January 23, 2015). "Video: Donkey Kong Country Returns...To Wii U". Nintendo Life. Retrieved August 11, 2015.
^ Jump up to: a b c d e f g h i Craig Harris (17 June 2010). "E3 2010: Kensuke Tanabe and the Metroid Palm Tree". IGN. IGN. Retrieved 18 June 2010.
Jump up ^ Simon Bramble (15 June 2010). "Donkey Kong Country Returns revealed". Official Nintendo Magazine. Future plc. Retrieved 15 June 2010.
^ Jump up to: a b c d e f "E3 2010: Reviving DKC Interview". GameTrailers. MTV Networks. 18 June 2010. Retrieved 18 June 2010.
Jump up ^ Craig Harris (22 September 2010). "Monkeying Around in Donkey Kong Country Returns". IGN. IGN. Retrieved 22 September 2010.
Jump up ^ Kristine Steimer (8 November 2010). "Donkey Kong Country Returns: Diddy's Day Out". IGN. IGN. Retrieved 8 November 2010.
^ Jump up to: a b Chris Slate. "The Boys are Back!". Nintendo Power. Future Publishing Limited (December 2010): 48–56.
Jump up ^ Troup, Christina (2010-11-19). "Donkey Kong Country Returns Review". 1UP. Archived from the original on 2013-10-16. Retrieved 2012-02-12.
^ Jump up to: a b c d e f "Iwata Asks: DKCR". Nintendo E3 Network. Nintendo. 16 June 2010. Archived from the original on 20 June 2010. Retrieved 16 June 2010.
Jump up ^ "Their Orders Are To 'Make A Better Donkey Kong Country'". Kotaku. Gawker Media. 25 June 2010. Retrieved 28 June 2010.
^ Jump up to: a b Claiborn, Samuel (3 March 2011). "GDC: 10 Things You Didn't Know About Donkey Kong Country Returns and Retro Studios". IGN. Retrieved 2012-02-10.
Jump up ^ Fletcher, JC (2011-03-04). "Retro reflects on Donkey Kong Country Returns, denies sequel plans". Joystiq. Retrieved 2011-08-23.
Jump up ^ "Wiiディスクソフト（ダウンロード版について）". Nintendo (in Japanese). Nintendo. Retrieved 15 January 2015.
Jump up ^ Phillips, Tom (2015-01-14). "Mario Galaxy 2, Metroid Prime Trilogy headed to Wii U eShop". Eurogamer. Gamer Network. Retrieved 2015-01-14.
Jump up ^ Salter, Ben (January 14, 2015). "Wii games coming to Wii U as downloads - Australian pricing includes launch sale". MMGN. Archived from the original on 2 February 2015. Retrieved 15 January 2015.
Jump up ^ "Donkey Kong Country Returns Is... Returning and Heading to the 3DS". Kotaku. Retrieved 2013-10-11.
Jump up ^ McFerran, Damien (2013-03-07). "Nintendo Outsourcing Development Of Donkey Kong Country Returns 3D". Nintendo Life. Retrieved 2013-03-08.
Jump up ^ "Donkey Kong Country Returns 3D adds more than 3D to the barrel". vooks.net. 2013-04-17. Retrieved 2013-04-18.
Jump up ^ "Donkey Kong Country Returns". GameRankings. Retrieved November 21, 2010.
Jump up ^ "Donkey Kong Country Returns 3D Score". Game Rankings. Retrieved 2015-12-26.
^ Jump up to: a b "Donkey Kong Country Returns". Metacritic. Retrieved November 21, 2010.
^ Jump up to: a b "Donkey Kong Country Returns 3D Score". Metacritic. Retrieved 2015-12-26.
Jump up ^ "Review: Donkey Kong Country Returns". Destructoid. Retrieved 2011-01-11.
^ Jump up to: a b CVG Staff (2010-11-13). "Donkey Kong Country Returns review". Game Informer. Retrieved 2012-02-10.
^ Jump up to: a b Elston, Brett (2010-11-19). "Donkey Kong Country Returns review". GamesRadar. Retrieved 2012-02-10.
^ Jump up to: a b "Donkey Kong Country Returns". GameTrailers. 2010-11-19. Retrieved 2012-02-10.
^ Jump up to: a b Shoemaker, Brad (2010-11-19). "Donkey Kong Country Returns Reviews". Giant Bomb. Retrieved 2012-02-10.
^ Jump up to: a b Harris, Craig (2010-11-19). "Donkey Kong Country Returns Review". IGN. Retrieved 2012-02-10.
^ Jump up to: a b ""Donkey Kong Country Returns" Review". X-Play. 2010-12-08. Retrieved 2012-02-10.
Jump up ^ "Donkey Kong Country Returns". NintendoLife. Retrieved 2015-12-26.
Jump up ^ "Donkey Kong Country Returns review". Nintendo World Report. Retrieved 2013-12-03.
Jump up ^ "Best Retro Design". IGN. Retrieved 2012-02-10.
Jump up ^ "Most Challenging". IGN. Retrieved 2012-02-10.
Jump up ^ "The Top 25 Wii Games". IGN. Retrieved 2012-07-26.
Jump up ^ "Donkey Kong Country Returns". Game Informer. February 2011: 40–41.
Jump up ^ Bendixsen, O'Donnell (29 November 2010). "Donkey Kong Country Returns Review". Good Game. Season 5. Episode 42. Transcript. ABC Television.
Jump up ^ Sinclair, Brendan (2010-12-17). "Big in Japan December 6–12: Monster Hunter Portable 3". GameSpot. Retrieved 2012-02-10.
Jump up ^ Ishaan (January 6, 2011). "This Week In Sales: Coming Out Of The Holidays". Siliconera. Retrieved 2011-01-10.
Jump up ^ Fletcher, JC (2010-12-09). "November NPD: Best month ever for retail, Xbox". Joystiq. Retrieved 2010-12-25.
Jump up ^ Invisible Walls, Episode 139. GameTrailers. 2010-12-24. Event occurs at 15:22. Retrieved 2010-01-10.
Jump up ^ "Supplementary Information about Earnings Release" (PDF). Nintendo. 2011-04-26. p. 10. Retrieved 2011-04-26.
Jump up ^ Makuch, Eddie (12 September 2013). "Pikmin 3 US sales reach 115,000 units". GameSpot. CBS Interactive. Retrieved 4 October 2013.
Jump up ^ "Supplementary Information about Earnings Release" (PDF). Nintendo. 2014-01-29. Retrieved 2014-01-29.
Jump up ^ "Nintendo of America Officially Announces New Nintendo Select Titles". February 29, 2016. Retrieved March 13, 2016.
External links[edit]
Wikiquote has quotations related to: Donkey Kong Country
Book: Mario video games
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Official website (in Japanese)
Donkey Kong Country Returns at MobyGames
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