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Fried Green Tomatoes
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Fried Green Tomatoes
Theatrical release poster
Directed by
Jon Avnet
Produced by
Jon Avnet
Norman Lear
Screenplay by
Fannie Flagg
Carol Sobieski
Based on
Fried Green Tomatoes at the Whistle Stop Cafe
by Fannie Flagg
Starring
Kathy Bates
Jessica Tandy
Mary Stuart Masterson
Mary-Louise Parker
Cicely Tyson
Music by
Thomas Newman
Cinematography
Geoffrey Simpson
Edited by
Debra Neil-Fisher
Production
company
Act III Communications
Avnet/Kerner Productions
Electric Shadow Productions
Fried Green Tomatoes Productions
Distributed by
Universal Pictures
Release date
December 27, 1991 (1991-12-27)
Running time
130 minutes
Country
United States
Language
English
Budget
$11 million[1]
Box office
$119.4 million
Fried Green Tomatoes is a 1991 comedy-drama film based on the novel Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg. Directed by Jon Avnet and written by Flagg and Carol Sobieski, it stars Kathy Bates, Jessica Tandy, Mary Stuart Masterson, and Mary-Louise Parker. It tells the story of a Depression-era friendship between two women, Ruth and Idgie, and a 1980s friendship between Evelyn, a middle-aged housewife, and Ninny, an elderly woman. The centerpiece and parallel story concerns the murder of Ruth's abusive husband, Frank, and the accusations that follow. It received a generally positive reception from film critics and was nominated for two Academy Awards.
Contents
[hide]
1 Plot
2 Cast
3 Differences between the film and novel
4 Production
4.1 Conception and casting
4.2 Setting
5 Release
6 Reception
6.1 Box office
6.2 Critical reception
6.3 Awards and honors
7 Soundtrack
7.1 Track listing
8 References
9 External links
Plot[edit]
Evelyn Couch, a timid, unhappy housewife in her forties, meets elderly Ninny Threadgoode in an Anderson, Alabama, nursing home. Over several encounters with Evelyn, Ninny tells her the story of the now abandoned town of Whistle Stop, and the people who lived there. The film's subplot concerns Evelyn's dissatisfaction with her marriage, her life, her growing confidence, and her developing friendship with Ninny. The narrative switches several times between Ninny's story, which is set between World War I and World War II, and Evelyn's life in 1980s Birmingham.
Ninny's story begins with tomboy Idgie Threadgoode, the youngest of the Threadgoode children, whom Ninny describes as her sister-in-law. Idgie's close relationship with her charming older brother, Buddy, is cut short when he is hit by a train and killed. Devastated, she recedes from formal society for much of her childhood and adolescence until Buddy's former girlfriend, the straitlaced Ruth Jamison, intervenes at the request of the concerned Threadgoode family.
Idgie initially resists Ruth's attempts at friendship, but gradually a deep attachment develops between them. Ruth leaves Whistle Stop to marry Frank Bennett and moves to Valdosta, Georgia. Idgie tries to forget her but later visits her house to find her pregnant and subject to physical abuse from Frank. Against his wishes and violent attempts to stop her, she returns to Whistle Stop with Idgie, where her baby, a boy whom she names Buddy, Jr., is born. Papa Threadgoode gives Idgie money to start a business so she can care for Ruth and Buddy, Jr. She and Ruth open the Whistle Stop Cafe, employing the family cook, Sipsey, and her son, Big George, who excel with a barbecue that becomes popular with their patrons.
Frank eventually returns to Whistle Stop to kidnap Buddy, Jr., but his attempt is thwarted by an unseen assailant, and he is later reported missing. Once his truck appears at the bottom of a nearby drying lake without its owner, Idgie is immediately a suspect, as she had publicly threatened violence against him for beating Ruth. She is detained along with Big George for his murder by Grady Kilgore, the local sheriff, who offers to release her and pin the crime solely on Big George; she refuses to sacrifice him. During the subsequent trial, the local minister, Reverend Scroggins, has no problem lying, providing Idgie and Big George with sound alibi for the time of Frank's disappearance. Taking into account his reputation for getting drunk, the judge rules his death an accident and dismisses the case. Idgie and Big George are cleared of all charges.
After the trial, Ruth is diagnosed with cancer, becomes very ill, and eventually dies. Following her death, the café closes. Over time, many Whistle Stop residents eventually move away, bringing Ninny to the end of her story, but not before the revelation of what really happened to Frank. Sipsey killed him with a blow to the head with a heavy cast iron frying pan while trying to prevent him from kidnapping Buddy, Jr. Idgie got Big George to barbecue Frank's body, which was later served to an investigator from Georgia searching for him. The investigator ate with gusto, proclaiming his meal the best pork barbecue he'd ever tasted.
Evelyn discovers that during Ninny's temporary stay at the nursing home, her house was condemned and torn down. Evelyn, having become friends with her, offers her a room in her house which she accepts. As they walk away from the empty lot where her house used to be, they pass Ruth's grave, freshly adorned with a jar of honey, a honeycomb, and a card which reads, "I'll always love you, the Bee Charmer". The Bee Charmer is Ruth's old nickname for Idgie, and the note reveals that she is still alive.
Cast[edit]
Kathy Bates as Evelyn Couch
Mary Stuart Masterson & Nancy Moore Atchison as Imogene "Idgie" Threadgoode
Mary-Louise Parker as Ruth Jamison
Jessica Tandy as Ninny Threadgoode
Cicely Tyson as Sipsey
Chris O'Donnell as Buddy Threadgoode
Stan Shaw as Big George
Gailard Sartain as Ed Couch
Timothy Scott as Smokey Lonesome
Gary Basaraba as Grady Kilgore
Lois Smith as Mama Threadgoode
Danny Nelson as Papa Threadgoode
Jo Harvey Allen as Women's Awareness Teacher
Macon McCalman as Prosecutor
Richard Riehle as Reverend Scroggins
Raynor Scheine as Curtis Smoot
Grace Zabriskie as Eva Bates
Reid Binion as Young Julian
Nick Searcy as Frank Bennett
Constance Shulman as Missy
Differences between the film and novel[edit]
Unlike the novel, the film does not make the lesbian romance between the two central characters explicit, instead leaving the relationship between Idgie and Ruth ambiguous.[2] The DVD contains an audio commentary in which the director acknowledges the relationship and points out that a scene between Idgie and Ruth engaging in a food fight was intended to be seen as symbolic love-making. At the time of the film's debut, it was criticized by reviewers and activists for what was seen as "glossing over" the lesbian relationship.[2][3] However, it won an award from the Gay & Lesbian Alliance Against Defamation for best feature film with lesbian content.[4] It shows examples of discrimination against African Americans, women, and the disabled, but the novel's examination of sexuality-based prejudice through a robust lesbian plot, is made more ambiguous.[5]
Though in the book, Idgie and Ninny are two separate characters, at the end of the film it's largely hinted that they are one and the same, although this runs counter to Ninny's earlier comment that "I was practically adopted by the Threadgoodes; I married her [Idgie's] brother, Cleo".
Production[edit]
Conception and casting[edit]
Avnet first read the novel in 1987.[6] He was introduced to it by producer Lisa Lindstrom, with whom he worked on television films Heat Wave and Breaking Point. Although he wanted her to give him a synopsis of the story, she insisted he read the book and like her, he loved it. He decided to turn the story into a film and pitched the idea to Norman Lear's company, Act III Communications, who were interested and gave him a small budget for a screenwriter.[7] He hired Carol Sobieski who had written the screenplay for 1982's Annie. She wrote a draft for it as a musical, which he was unhappy with.[7] Sobieski left the project and he hired Flagg, who had been surprised that anyone would want to turn the novel into a film, to develop the script. Although she had some screenwriting experience, she found the process of turning her own novel into a script a strange one. The job was made somewhat easier by the work done by Sobieski and Avnet in choosing which characters from the book were going to be featured, but she found it difficult and also left the project, after writing 70 pages of the screenplay. With no money left to hire another writer, Avnet took the script over himself and spent the next 2–3 years developing it. Flagg gave her blessing to the final draft.[7]
Avnet wrote the film with Jessica Tandy in mind; she expressed excitement about making the film.[7] He had worked with Kathy Bates and Chris O'Donnell on the 1990 film Men Don't Leave before offering them the roles of Evelyn Couch and Buddy Threadgoode respectively.[6] When Bates read the script she loved the characters and was particularly keen to work with Tandy.[6] Mary-Louise Parker was casting director David Rubin's first choice for the role of Ruth Jamison. She read for the part several times, initially unhappy with her own tests. When she read along with Mary Stuart Masterson, they – and the producers – agreed that they had good chemistry.
Setting[edit]
Inside the Whistle Stop Cafe, Juliette, Georgia.
Avnet hired Barbara Ling as production designer. Scouting for a location, she found Juliette, Georgia, a town that was, according to Avnet, nearly deserted.[7][8] The building chosen to be the Whistle Stop Café was formerly an antique and hardware store. It was redesigned as a cafe, with a horseshoe shaped counter to allow for optimal camera angles.[7]
After the release of the film, Juliette saw an influx of tourists and, with Jon Avnet's encouragement, locals opened the Whistle Stop Café, recreated to mirror the film set.[9] Although "Whistle Stop Café" is now a registered trademark, other establishments have appeared using that name.[10] While writing the novel, Flagg based Whistle Stop on Irondale, Alabama, and the café on a real-life restaurant, the Irondale Café.[8] She was a frequent visitor there which was formerly owned by her great-aunt.[11]
The scene where Idgie goes to collect honey from a beehive for Ruth was originally intended to be performed by a stunt double. However, after the latter backed out at the last minute, Masterson volunteered to do it herself. The footage of her covered in a swarm of live bees is seen in the final version of the film.[6]
The steam locomotive used in the film is A&WP 290, then in use pulling steam excursions for the New Georgia Railroad.[citation needed]
Release[edit]
The film was given a limited release in the US on December 27, 1991, opening in five theaters.[12] It got a wide release four weeks later on January 24, 1992, in 673 theaters. It ran for 19 weeks in total, with its widest release having been 1,331 theaters.[12]
Reception[edit]
Box office[edit]
The film grossed a total of $82,418,501 in the United States alone, and took in $37,000,000 outside the US, bringing the total to $119,418,501 worldwide.[12] In its opening weekend it earned $105,317, and at its wide release opening weekend it earned $5,235,940, which was 6.4 percent of its total gross.[12] According to Box Office Mojo, it ranked at no. 11 for all films released in the US in 1991, and no. 5 for PG‑13 rated films released that year.[citation needed]
Critical reception[edit]
The film was generally well received by critics. Film review aggregate website Rotten Tomatoes gave it a "fresh" score of 73% based on 41 reviews.[13]
Critics enjoyed the narrative, but found it conventional and predictable.[3][14] The adaptation of the separate narrative of book to the screen was criticised by Time Out as "clumsy", Roger Ebert praised the performances, Janet Maslin praised the costume and production design and Emanuel Levy praised the cinematography and score.[3][15] The cast drew praise for their performances, particularly Masterson and Tandy.[3][15]
Awards and honors[edit]
The film was nominated at the 64th Academy Awards for Best Actress in a Supporting Role (Jessica Tandy) and for Best Writing, Screenplay Based on Material from Another Medium (Fannie Flagg and Carol Sobieski).[16]
At the 46th British Academy Film Awards in 1992, Tandy was nominated for the Best Actress award, and Bates was nominated as Best Actress in a Supporting Role. Both also received Golden Globe nominations for their work, and the film got a Best Picture (Comedy or Musical) nomination.[16] At the 28th Guldbagge Awards in Sweden, it was nominated for the Best Foreign Film award.[17]

The film is recognized by American Film Institute in these lists:
2005: AFI's 100 Years...100 Movie Quotes:
Evelyn Couch: "Face it girls, I'm older and I have more insurance." – Nominated[18]
2006: AFI's 100 Years...100 Cheers – Nominated[19]
Soundtrack[edit]
Fried Green Tomatoes
Studio album by Various Artists
Released
December 31, 1991
Genre
Soundtrack
Length
39:24
Label
MCA
Fried Green Tomatoes: Original Motion Picture Soundtrack is the soundtrack to the film, and featured a new song by Patti LaBelle. For the original score, composed by Thomas Newman, see Fried Green Tomatoes (score).
Track listing[edit]
"I'll Remember You" (Grayson Hugh) – 5:08
"What Becomes of the Brokenhearted" (Paul Young) – 4:34
"Cherish" (Hip Hop Version) (Jodeci) – 3:58
"Danger Heartbreak Dead Ahead" (Taylor Dayne) – 3:20
"Rooster Blues" (Peter Wolf) – 3:15
"Barbecue Bess" (Patti LaBelle) – 2:54
"If I Can Help Somebody" (Aaron Hall) – 3:49
"Cool Down Yonder" (Marion Williams) – 3:10
"Cherish" (Movie Version) (Jodeci) – 2:29
"Ghost Train" (Main Title) (Thomas Newman) – 3:11
"Visiting Ruth" (Newman) – 1:46
"A Charge To Keep I Have" (Newman) – 1:50
References[edit]
Jump up ^ "'Green Tomatoes': Why a Little Film Bloomed: Movies: Film starts slowly at the box office but word of mouth, themes, strong cast ignite interest in the $11-million work". Los Angeles Times. February 10, 1992. Retrieved November 16, 2015.
^ Jump up to: a b Rockler, Naomi R. (March 22, 2001), "A Wall on the Lesbian Continuum: Polysemy and Fried Green Tomatoes", Women's Studies in Communication, 24, retrieved June 15, 2009
^ Jump up to: a b c d Levy, Emanuel (January 6, 2006), Fried Green Tomatoes, Emanuel Levy, retrieved June 15, 2009
Jump up ^ Pryor, Kelli; Isaak, Sharon (February 28, 1992), "Women in Love", Entertainment Weekly, Time, retrieved February 9, 2010
Jump up ^ Vickers, Lu (June 1994), "Fried Green Tomatoes Excuse me, did we see the same movie?", Jump Cut, 39: 25–30, retrieved February 12, 2012
^ Jump up to: a b c d Avnet, Jon (1998), Director's Commentary (DVD)|format= requires |url= (help), Universal Studios
^ Jump up to: a b c d e f Kenny, J. M. (director) (December 15, 1998), Moments of Discovery: The Making of Fried Green Tomatoes (DVD), Universal Studios Home Video, retrieved April 4, 2010
^ Jump up to: a b Park, Irby (May 7, 2003), "Fannie Flagg Captivates Audience at City Book Event", The Chattanoogan, retrieved December 28, 2009
Jump up ^ "Little Town Where Movie was Made Finally Gets Café, Fried Tomatoes", Rome News-Tribune, April 13, 1992, retrieved December 28, 2009
Jump up ^ Zganjar, Leslie (November 1, 2002), "The Whistle Stop name is just too popular", Birmingham Business Journal, retrieved December 28, 2009
Jump up ^ Nolan, Michael (October 20, 2002), "Fried Green Tomatoes At The Irondale Cafe", American Profile, retrieved December 28, 2009
^ Jump up to: a b c d Fried Green Tomatoes (1991), Box Office Mojo, retrieved April 5, 2008
Jump up ^ Fried Green Tomatoes (1991), Rotten Tomatoes, retrieved April 11, 2008
Jump up ^ Ebert, Roger (January 10, 1992), "Fried Green Tomatoes", Chicago Sun-Times, Sun-Times Media Group, retrieved December 28, 2009
^ Jump up to: a b Maslin, Janet (December 27, 1991), "Women Finding Strength In Women", The New York Times, The New York Times Company, retrieved December 28, 2009
^ Jump up to: a b "Fried Green Tomatoes (1991) Awards", The New York Times, The New York Times Company, retrieved June 19, 2009
Jump up ^ "Fried Green Tomatoes (1991)". Swedish Film Institute. March 22, 2014.
Jump up ^ "AFI's 100 Years...100 Movie Quotes Nominees" (PDF). Retrieved 2016-08-14.
Jump up ^ "AFI's 100 Years...100 Cheers Nominees" (PDF). Retrieved 2016-08-14.
External links[edit]
Wikiquote has quotations related to: Fried Green Tomatoes
Fried Green Tomatoes on IMDb
Fried Green Tomatoes at AllMovie
Fried Green Tomatoes at Rotten Tomatoes
[show]
v
t
e
Films directed by Jon Avnet
Fried Green Tomatoes (1991)
The War (1994)
Up Close & Personal (1996)
Red Corner (1997)
Uprising (2001)
88 Minutes (2007)
Righteous Kill (2008)
Have a Little Faith (2011)
Three Christs (2017)
[show]
v
t
e
GLAAD Media Award for Outstanding Film – Wide Release
Longtime Companion/The Handmaid's Tale (1991)
Fried Green Tomatoes/Frankie and Johnny (1992)
Philadelphia (1994)
Go Fish/The Adventures of Priscilla, Queen of the Desert (1995)
Boys on the Side (1996)
Bound (1997)
In & Out (1998)
Gods and Monsters (1999)
Being John Malkovich (2000)
Billy Elliot (2001)
The Mexican (2002)
The Hours (2003)
Bend It Like Beckham (2004)
Kinsey (2005)
Brokeback Mountain (2006)
Little Miss Sunshine (2007)
Stardust (2008)
Milk (2009)
A Single Man (2010)
The Kids Are All Right (2011)
Beginners (2012)
The Perks of Being a Wallflower (2013)
Philomena (2014)
The Imitation Game (2015)
Carol (2016)
Moonlight (2017)
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text:
Fiddler on the Roof (film)
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Fiddler on the Roof
Theatrical release poster by Ted CoConis
Directed by
Norman Jewison
Produced by
Norman Jewison
Walter Mirisch (Uncredited)
Screenplay by
Joseph Stein
Based on
Tevye and His Daughters
by Sholem Aleichem
Starring
Topol
Norma Crane
Leonard Frey
Molly Picon
Paul Mann
Music by
Jerry Bock (Music)
Sheldon Harnick (Lyrics)
John Williams (Adaptation)
Cinematography
Oswald Morris
Edited by
Antony Gibbs
Robert Lawrence
Production
company
The Mirisch Production Company
Distributed by
United Artists
Release date
November 3, 1971 (1971-11-03)
Running time
179 minutes[1]
Country
United States
Language
English
Hebrew
Russian
Budget
$9 million
Box office
$83.3 million[2]
Fiddler on the Roof is a 1971 American musical comedy-drama film produced and directed by Norman Jewison. It is an adaptation of the 1964 Broadway musical of the same name, with music composed by Jerry Bock, lyrics by Sheldon Harnick, and screenplay by Joseph Stein. Starring Topol, Norma Crane, Leonard Frey, Molly Picon, and Paul Mann, the film centers on Tevye, the father of five daughters, and his attempts to maintain his Jewish religious and cultural traditions as outside influences encroach upon the family's lives. He must cope both with the strong-willed actions of his three older daughters, who wish to marry for love – each one's choice of a husband moves further away from the customs of his faith – and with the edict of the Tsar that evicts the Jews from the town of Anatevka. Throughout the film, Tevye breaks the fourth wall by talking directly to the audience as well as to God. In addition to the difficulties of being poor, Tevye speaks of the Jewish community's constant fear of harassment from their non-Jewish neighbors.
The film was released to critical acclaim and won three Academy Awards, including Best Music, Scoring Adaptation and Original Song Score for arranger-conductor John Williams. It was nominated for several more, including Best Picture, Best Actor for Topol as Tevye, and Best Supporting Actor for Frey, who played Motel Kamzoil the Tailor. Both Topol and Frey had previously performed in stage productions of the musical; Topol as Tevye in the London production and Frey in a minor part as Mendel, the rabbi's son, on Broadway. [3]
Contents
[hide]
1 Plot
1.1 Act 1
1.2 Intermission
1.3 Act 2
2 Cast
3 Musical numbers
4 Production
5 Differences from the Broadway musical
6 Release
6.1 Roadshow presentation
6.2 Reception
7 Awards and honors
8 See also
9 References
10 Sources
11 External links
Plot[edit]
The film's plot largely follows that of the musical from which it is adapted.
Act 1[edit]
In 1905, Tevye, a poor Jewish milkman living in the Ukrainian village of Anatevka, a typical shtetl in the Pale of Settlement of Imperial Russia, compares the lives of the Jews of Anatevka to a fiddler on the roof, using tradition to "scratch out a pleasant, simple tune" without breaking their necks. In town, Tevye meets Perchik, a radical Marxist from Kiev. Tevye invites Perchik to stay with his family, and offers him food in exchange for Perchik tutoring his daughters.
Tevye arranges for his oldest daughter, Tzeitel, to marry Lazar Wolf, a wealthy butcher. Tzeitel is in love with her childhood sweetheart, Motel Kamzoil, and begs her father not to make her marry Lazar Wolf. Although he is initially angry, Tevye realizes that Tzeitel loves Motel and yields to his daughter's demands. In order to convince his wife Golde that Tzeitel should not be married to Lazar Wolf, Tevye claims to have had a nightmare. He says that Golde's deceased grandmother told him Tzeitel is supposed to marry Motel, and that Lazar Wolf's late wife, Fruma-Sarah, threatened to kill Tzeitel if the two are married. Golde concludes that the dream was a message from their ancestors, and Tzeitel and Motel arrange to be married.
Meanwhile, Tevye's second daughter, Hodel, and Perchik begin to fall in love. They argue over the story of Leah and the place of old religious traditions in a changing world. The two dance together, which is considered forbidden by Orthodox Jewish tradition. Perchik tells Hodel that they just changed an old tradition.
At Tzeitel and Motel's wedding, an argument breaks out after Lazar Wolf presents the newlyweds with gifts. When Tevye tries to speak to Lazar about the Torah, Lazar refuses to listen, arguing that the wedding should have been his all along. Minutes later, another argument breaks out over whether a girl should be able to choose her own husband. Perchik addresses the crowd and says that, since they love each other, it should be left for the couple to decide. He creates further controversy by asking Hodel to dance with him. The crowd gradually warms to the idea and Tevye and Golde, then Motel and Tzeitel, join in dancing. The wedding proceeds with great joy. Suddenly, the military presence in the town and the constable arrive and begin a pogrom. The constable stops the attack on the wedding celebration after Perchik is wounded in the scuffle with the Tsar's men; however, he allows the men to continue destroying property in the village. Tevye and the immediate family stand still, until Tevye angrily orders them to clean up instead of standing around. Tevye silently asks why God allowed this to happen to them.
Intermission[edit]
In its original theatrical release, the film was shown with an intermission and entr'acte music. [4]
Act 2[edit]
Months later, Perchik prepares to leave Anatevka for the revolution. He proposes to Hodel, and she accepts. When they tell Tevye, he is furious that they have decided to marry without his permission, but he again relents because they love each other. Tevye tells Golde his reasons for consenting to their daughter's marriage, which leads them to re-evaluate their own arranged marriage. Tevye and Golde ultimately realize that, despite having been paired by a matchmaker, they do love each other.
Weeks later, Perchik is arrested in Kiev and is exiled to Siberia. Hodel decides to join him there. She promises Tevye that she and Perchik will be married under a canopy. Meanwhile, Tzeitel and Motel become parents, and Motel finally buys the sewing machine for which he has long scrimped and saved.
Tevye's third daughter Chava falls in love with a Russian Orthodox Christian named Fyedka. Tevye tells Chava to be distant friends with Fyedka, because of the difference in their religions. When Chava eventually works up the courage to ask Tevye's permission to marry Fyedka, Tevye tells her that marrying outside the family's faith is against tradition. He forbids her from having any contact with Fyedka or from even mentioning his name. The next morning, Fyedka and Chava elope and are married in a Russian Orthodox church. Golde learns of the marriage when she meets up with the priest. When a grief-stricken Golde tells Tevye about the marriage, he tells her that Chava is dead to the family and that they shall forget her altogether. Chava asks Tevye to accept her marriage. In a soliloquy, Tevye concludes that he cannot accept Chava marrying a non-Jew. He accuses her of abandoning the Jewish faith and disowns her.
One winter day, the Jews of Anatevka are notified that they have three days to leave the village or be forced out by the government. Tevye, his family and friends begin packing up to leave, heading for various parts of Europe, Palestine, and the United States. Lazar Wolf plans to emigrate to Chicago, to live with his former brother in law, whom he detests, but has no other living options. Lazar and Tevye share one last embrace before departing. Yente, the Matchmaker, plans to emigrate to Jerusalem, Palestine, and says goodbye to Golde with an embrace before departing. Tevye receives letters from Hodel mentioning that she is working hard while Perchik stays in the Siberian prison. It is hoped that when Perchik is released, they will join the others in the United States. Chava and her husband Fyedka come to Tevye's house and tell the family that they are leaving, being unable to stay in a place that would force innocent people out. They head to Kraków, Poland. Tevye shows signs of forgiving Chava by murmuring under his breath "And God be with you," silently urging Tzeitel to repeat his words to Chava. Golde calls out to Chava and Fyedka, telling them where they will be living in New York.
The Constable silently watches as the mass evacuation of Anatevka takes place. The community forms their circle at a crossroad one last time before scattering in different directions. Tevye spots the fiddler and motions to him to come along, symbolizing that even though he must leave his town, his traditions will always be with him.
Cast[edit]
Chaim Topol as Tevye
Norma Crane as Golde, his wife
Rosalind Harris as Tzeitel, the oldest daughter
Michele Marsh as Hodel, the second daughter
Neva Small as Chava, the third daughter
Molly Picon as Yente, the matchmaker
Paul Mann as Lazar Wolf, the butcher, Tzeitel's older suitor
Leonard Frey as Motel Kamzoil, the tailor, Tzeitel's eventual husband
Michael Glaser as Perchik, the revolutionary, Hodel's eventual husband
Raymond Lovelock as Fyedka, a Christian, Chava's eventual husband
Elaine Edwards as Shprintze, the fourth daughter
Candy Bonstein as Bielke, the fifth daughter
Shimen Rushkin as Mordcha
Zvee Scooler as Rabbi
Louis Zorich as Constable
Alfie Scopp as Avram
Howard Goorney as Nachum
Barry Dennen as Mendel
Ruth Madoc as Fruma-Sarah, the butcher's late wife
Patience Collier as Grandmother Tzeitel
Tutte Lemkow as Fiddler
Marika Rivera as Rifka
Aharon Ipale as Sheftel
Roger Lloyd Pack as Sexton
Vernon Dobtcheff as Russian official
Kenneth Waller (uncredited)[5]
Norman Jewison: (uncredited) as the Rabbi in the "Tevye's Dream" sequence (singing "Mazel Tov")
Musical numbers[edit]
"Prologue / Tradition" – Tevye and Company
"Matchmaker" – Tzeitel, Hodel, Chava, Shprintze, and Bielke
"If I Were a Rich Man" – Tevye
"Sabbath Prayer" – Tevye, Golde, and Chorus
"To Life" – Tevye, Lazar Wolf, and Male Company
"Tevye's Monologue (Tzeitel and Motel)" – Tevye
"Miracle of Miracles" – Motel
"Tevye's Dream" – Tevye, Golde, Grandmother Tzeitel, Rabbi, Fruma-Sarah, and Chorus
"Sunrise, Sunset" – Tevye, Golde, Perchik, Hodel, and Chorus
"Wedding Celebration / The Bottle Dance"
"Entr'acte" – Orchestra
"Tevye's Monologue (Hodel and Perchik)" – Tevye
"Do You Love Me?" – Tevye and Golde
"Far from the Home I Love" – Hodel
"Chava Ballet Sequence (Little Bird, Little Chavaleh)" – Tevye
"Tevye's Monologue (Chava and Fyedka)" – Tevye
"Anatevka" – Tevye, Golde, Lazar Wolf, Yente, Mendel, Mordcha, and Company
Production[edit]
The decision to cast Topol, instead of Zero Mostel, as Tevye was a somewhat controversial one, as the role had originated with Mostel and he had made it famous. Years later, Jewison said he felt Mostel's larger-than-life personality, while fine on stage, would cause film audiences to see him as Mostel, rather than the character of Tevye.[6]
Principal photography was done at Pinewood Studios in Buckinghamshire, England. Most of the exterior shots were done in SFR Yugoslavia—specifically in Mala Gorica, Lekenik, and Zagreb within the Yugoslav constituent republic of Croatia. Though the area was under heavy snow during location scouting in 1969, during the filming the producers had to ship in marble dust to stand in for snow.[7] Three hundred extras conversant in various foreign languages were used, as were flocks of geese and pigs and their handlers.[8] Isaac Stern performed the violin solos.[7]
Director Jewison has a cameo as a rabbi during Tevya's dream sequence.[citation needed]
Differences from the Broadway musical[edit]
The film follows the plot of the stage play very closely, retaining nearly all of the play's dialogue, although it omits the songs "Now I Have Everything" and "The Rumor (I Just Heard)".[9][10] Lyrical portions of "Tevye's Dream (Tailor Motel Kemzoil)", were omitted to avoid repetition. Changes were also made in the song "Tradition," with the film omitting the dialogue between Reb Nachum the beggar (who, in the film, cannot speak) and Lazar Wolf as well as dialogue spoken by Yente and Avram. In addition, in the film, two men argue about whether a horse claimed to be six years old was actually twelve, rather than whether the horse was actually a mule.
Seven additional scenes were added to the film:
The Constable gets orders from his superior for a "demonstration" against the Jews (referred to by the superior as "Christ-killers") in Anatevka.
Perchik is arrested at a workers' rally in Kiev.
Golde goes to the priest to look for Chava (described by her in the stage production).
Motel gets dressed for his upcoming wedding to Tzeitel.
The Rabbi and his students inside the synagogue receive news of the arrival of Motel's new sewing machine.
The Rabbi takes the Torah out of the ark inside the synagogue for the last time. He weeps and chants quietly about having to abandon the synagogue.
Tevye feeds his animals in the barn for the final time. He tells his lame horse to take care of his leg and to treat his new owner and master well.
The scene with Hodel and Perchik, where he plans to leave to start a revolution, was extended in the film. A new song intended to be sung by Perchik was recorded ("Any Day Now"), but was omitted from the final print; however, it was included in the 2004 re-released soundtrack. When the film was re-released in 1979, 32 minutes were cut, including the songs "Far from the Home I Love" and "Anatevka".
In the film, Tevye and Lazar Wolf discuss Wolf's proposed marriage to Tzeitel in Wolf's home, while in the stage version, the two meet in a tavern. The film shows Wolf's home as filled with golden artifacts. Prior to Wolf entering the scene, Tevye speaks to a female servant, who tells him not to touch anything.
Although a faithful adaptation of the original stage version, Fiddler scholar Jan Lisa Huttner has noted several differences between stage and screen.[9][11] She argues that changes in American culture and politics and developments in Israel led the filmmakers to portray certain characters differently and to offer a different version of Anatevka.[9] For example, the Broadway production cast Bea Arthur as a tall, booming Yente, while the film portrays Yente as tiny and timid. Huttner also notes that the "Chagall color palette" of the original Broadway production was exchanged for a grittier, more realistic depiction of the village of Anatevka.[9]
Release[edit]
Roadshow presentation[edit]
Because the film follows the stage musical so closely, and the musical did not have an overture, the filmmakers chose to eliminate the customary film overture played before the beginning of most motion pictures shown in a roadshow-style presentation. However, there is a solo by the Fiddler played over the opening credits (after the conclusion of "Tradition"), there is an intermission featuring entr'acte music, and exit music is played at the end after the closing credits.
Reception[edit]
The film was a success, earning United Artists profits of $6.1 million, plus distribution profits of $8 million.[12]
On review aggregator website Rotten Tomatoes, the film holds an 81% rating based on 37 reviews, with an average of 7.7/10.[13]
Awards and honors[edit]
Year
Award
Category
Recipient(s) and nominee(s)
Result
1972 Academy Awards Best Picture Norman Jewison Nominated
Best Actor Chaim Topol Nominated
Best Supporting Actor Leonard Frey Nominated
Best Director Norman Jewison Nominated
Best Art Direction Art Direction: Robert F. Boyle and Michael Stringer; Set Decoration: Peter Lamont Nominated
Best Music, Scoring Adaptation and Original Song Score John Williams Won
Best Cinematography Oswald Morris Won
Best Sound Gordon K. McCallum and David Hildyard Won
Golden Globe Awards Best Motion Picture - Musical or Comedy Won
Best Actor in a Motion Picture - Musical or Comedy Topol Won
Best Supporting Actor in a Motion Picture Paul Mann Nominated
Best Director Norman Jewison Nominated
BAFTA Awards Best Cinematography Oswald Morris Nominated
Best Editing Antony Gibbs, Robert Lawrence Nominated
Best Sound Track Les Wiggins, David Hildyard, Gordon K. McCallum Nominated
American Cinema Editors Best Edited Feature Film Antony Gibbs, Robert Lawrence Nominated
British Society of Cinematographers Oswald Morris Won
David di Donatello Best Foreign Actor Topol Won
Motion Picture Sound Editors Best Sound Editor - Dialogue Won
Sant Jordi Awards Best Performance in a Foreign Film Topol Won
Writers Guild of America Award Best Comedy Adapted from Another Medium Joseph Stein Nominated
2007 Satellite Awards Best DVD Extras (for the collector's edition) Nominated
American Film Institute recognition
AFI's 100 Years...100 Songs:
Sunrise, Sunset - Nominated
If I Were a Rich Man - Nominated
AFI's 100 Years...100 Cheers - #82
See also[edit]
List of American films of 1971
References[edit]
Jump up ^ "Fiddler on the Roof (U)". British Board of Film Classification. August 19, 1971. Retrieved April 21, 2013.
Jump up ^ Movie Box Office Figures. LDS Film. Retrieved April 15, 2013.
Jump up ^ https://www.nytimes.com/1988/08/25/obituaries/leonard-frey-actor-dies-at-49-was-in-fiddler-and-other-films.html
Jump up ^ http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=54251, AFI.com, accessed October 17, 2016
Jump up ^ Walker, Craig (2011). On The Buses: The Complete Story. Andrews UK Limited. ISBN 9781908382849.
Jump up ^ Bial 2005, pp. 78–79.
^ Jump up to: a b Isenberg 2014, p. ix.
Jump up ^ Isenberg 2014, pp. ix, 124.
^ Jump up to: a b c d Huttner, Jan Lisa. "Fiddler: Stage versus Screen", JUF.org, November 14, 2011, accessed September 7, 2015
Jump up ^ Fiddler on the Roof, AFI.com, accessed September 7, 2015
Jump up ^ "My Kinda Town - Second City Tzivi". September 11, 2014.
Jump up ^ Tino Balio, United Artists: The Company That Changed the Film Industry, University of Wisconsin Press, 1987, p. 194.
Jump up ^ "Fiddler on the Roof (1971)". Rotten Tomatoes. Flixster. Retrieved November 29, 2016.
Sources[edit]
Bial, Henry (2005). Acting Jewish: Negotiating Ethnicity on the American Stage & Screen. University of Michigan Press. ISBN 047206908X.
Isenberg, Barbara (2014). Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World's Most Beloved Musical. St. Martin's Press. p. ix. ISBN 1466862521.
External links[edit]
Wikiquote has quotations related to: Fiddler on the Roof (film)
Fiddler on the Roof on IMDb
Fiddler on the Roof at the TCM Movie Database
Fiddler on the Roof at Box Office Mojo
Fiddler on the Roof at Rotten Tomatoes
[show]
v
t
e
Fiddler on the Roof
Characters
Tevye
Inspiration
Sholem Aleichem's Tevye and his Daughters
Adaptations
Fiddler on the Roof (1964 musical)
Fiddler on the Roof (1971 film)
Songs
Act 1
Tradition
Matchmaker, Matchmaker
If I Were a Rich Man
Sabbath Prayer
To Life
Miracle of Miracles
Tevye's Dream
Sunrise, Sunset
Act 2
Now I Have Everything
Do You Love Me?
The Rumor/I Just Heard
Far From the Home I Love
Chavaleh (Little Bird)
Anatevka
Any Day Now
Miscellaneous
List of awards and nominations for the musical Fiddler on the Roof
A Shoggoth on the Roof (parody musical)
[show]
v
t
e
Films directed by Norman Jewison
40 Pounds of Trouble (1962)
The Thrill of It All (1963)
Send Me No Flowers (1964)
The Art of Love (1965)
The Cincinnati Kid (1965)
The Russians Are Coming, the Russians Are Coming (1966)
In the Heat of the Night (1967)
The Thomas Crown Affair (1968)
Gaily, Gaily (1969)
Fiddler on the Roof (1971)
Jesus Christ Superstar (1973)
Rollerball (1975)
F.I.S.T. (1978)
...And Justice for All (1979)
Best Friends (1982)
A Soldier's Story (1984)
Agnes of God (1985)
Moonstruck (1987)
In Country (1989)
Other People's Money (1991)
Only You (1994)
Bogus (1996)
The Hurricane (1999)
Dinner with Friends (2001)
The Statement (2003)
[show]
v
t
e
Golden Globe Award for Best Motion Picture – Musical or Comedy
An American in Paris (1951)
With a Song in My Heart (1952)
Carmen Jones (1954)
Guys and Dolls (1955)
The King and I (1956)
Les Girls (1957)
Gigi / Auntie Mame (1958)
Porgy and Bess / Some Like It Hot (1959)
Song Without End / The Apartment (1960)
West Side Story / A Majority of One (1961)
The Music Man / That Touch of Mink (1962)
Tom Jones (1963)
My Fair Lady (1964)
The Sound of Music (1965)
The Russians Are Coming, the Russians Are Coming (1966)
The Graduate (1967)
Oliver! (1968)
The Secret of Santa Vittoria (1969)
MASH (1970)
Fiddler on the Roof (1971)
Cabaret (1972)
American Graffiti (1973)
The Longest Yard (1974)
The Sunshine Boys (1975)
A Star Is Born (1976)
The Goodbye Girl (1977)
Heaven Can Wait (1978)
Breaking Away (1979)
Coal Miner's Daughter (1980)
Arthur (1981)
Tootsie (1982)
Yentl (1983)
Romancing the Stone (1984)
Prizzi's Honor (1985)
Hannah and Her Sisters (1986)
Hope and Glory (1987)
Working Girl (1988)
Driving Miss Daisy (1989)
Green Card (1990)
Beauty and the Beast (1991)
The Player (1992)
Mrs. Doubtfire (1993)
The Lion King (1994)
Babe (1995)
Evita (1996)
As Good as It Gets (1997)
Shakespeare in Love (1998)
Toy Story 2 (1999)
Almost Famous (2000)
Moulin Rouge! (2001)
Chicago (2002)
Lost in Translation (2003)
Sideways (2004)
Walk the Line (2005)
Dreamgirls (2006)
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Vicky Cristina Barcelona (2008)
The Hangover (2009)
The Kids Are All Right (2010)
The Artist (2011)
Les Misérables (2012)
American Hustle (2013)
The Grand Budapest Hotel (2014)
The Martian (2015)
La La Land (2016)
Lady Bird (2017)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Fiddler_on_the_Roof_(film)&oldid=812858461"
Categories:
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Watchman (law enforcement)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Watchmen (disambiguation).
Watchman
A Night Watchman. By Thomas Dekker from The Belman of London (1608).
Description
Competencies
public safety, fire watch, crime prevention, crime detection, criminal apprehension, recovery of stolen goods
Fields of
employment
Law enforcement
Related jobs
thief-taker, security guard, police officer, fire lookout
Watchmen were organized groups of men, usually authorized by a state, government, city, or society, to deter criminal activity and provide law enforcement as well as traditionally perform the services of public safety, fire watch, crime prevention, crime detection, recovery of stolen goods. Watchmen have existed since earliest recorded times in various guises throughout the world and were generally succeeded by the emergence of formally organized professional policing.
Contents
[hide]
1 Early origins
2 Watchmen in England
2.1 The Problem of the Night
2.2 Formation of Watchmen
2.3 Duties
2.4 Reputation
2.5 Watch houses
2.6 Policing the Night Streets
3 Watchmen in the United States of America
4 Watchmen and modern police
5 See also
6 References
7 Further reading
8 Bibliography
9 External links
Early origins[edit]
An early reference to a watch can be found in the Bible where the Prophet Ezekiel states that it was the duty of the watch to blow the horn and sound the alarm. (Ezekiel 33:1-6)
The existence of watchmen has also been found[specify] in the Ottoman, Greek and Egyptian Empires.[citation needed]
The Roman Empire turned the role of a watchman into a profession by creating two organizations:
the Praetorian Guard thus establishing a rank and file system with a Captain of the Guard.
Vigiles, literally the watch.
Watchmen in England[edit]
The Problem of the Night[edit]
The streets in London were dark and had a shortage of and poor quality artificial light.[1] It had been recognized for centuries that the coming of darkness to the unlit streets of a town brought a heightened threat of danger, and that the night provided cover to the disorderly and immoral, and to those bent on robbery or burglary or who in other ways threatened physical harm to people in the streets and in their houses.[2]
The anxieties that darkness gave rise to had been met by the formation of a night watch in the 13th century, and by the rules about who could use the streets after dark. These rules had for long been underpinned in London and other towns by the curfew, the time (announced by the ringing of a bell) at which the gates closed and the streets were cleared. Only people with good reason to be abroad could then travel through the City.[1] Anyone outside at night without reason or permission was suspicious and potentially criminal.[3]
Allowances were usually made for people who had some social status on their side. Lord Fielding clearly expected to pass through London's streets untroubled at 1 am one night in 1641, and he quickly became piqued when his coach was stopped by the watch, shouting huffily that it was a 'disgrace' to stop someone of such high standing as he, and telling the constable in charge of the watch that he would box him on the ears if he did not let his coach carry on back to his house. 'It is impossible' to 'distinguish a lord from another man by the outside of a coach', the constable said later in his defence, 'especially at unreasonable times'.[4]
Formation of Watchmen[edit]
The Ordinance of 1233 required the appointment of watchmen.[5][6] The Assize of Arms of 1252, which required the appointment of constables to summon men to arms, quell breaches of the peace, and to deliver offenders to the sheriff, is cited as one of the earliest creations of an English police force, as was the Statute of Winchester of 1285.[7][8][9] In 1252 a royal writ established a Watch and Ward with royal officers appointed as Shire Reeves:
By order of the King of England the Winchester Act Mandating The Watch. Part Four and the King commandth that from henceforth all Watches be made as it hath been used in past times that was to wit from the day of Ascension unto the day of St. Michael[10] in every city by six men at every gate in every borough by twelve men in every town by six or four according to the number of inhabitants of the town. They shall keep the Watch all night from sun setting unto sun rising. And if any stranger do pass them by them he shall be arrested until morning and if no suspicion be found he shall go quit.
Later in 1279 King Edward I formed a special guard of 20 sergeants at arms who carried decorated battle maces as a badge of official office. By 1415 a watch was appointed to the Parliament of England and in 1485 King Henry VII established a household watch that became known as the Beefeaters.
After 1660 it seems that large numbers of men had avoided night-time service by paying for a substitute well before 1660. Substitution had become so common by the late 17th century that the night watch was virtually by then a fully paid force.[11]
In October 1663 was promulgated an act of Common Council, known as 'Robinson's Act' from the name of the sitting lord mayor, that confirmed the duty of all householders in the City to take their turn at watching in order 'to keep the peace and apprehend night-walkers, malefactors and suspected persons'. For the most part the Common Council Act of 1663 reiterated the rules and obligations that had long existed. The number of watchmen required for each ward, it declared, was to be the number 'established by custom' – in fact, by an act of 1621. Even though it had been true before the civil war that the watch had already become a body of paid men, supported by what were in effect the fines collected from those with an obligation to serve, the Common Council did not acknowledge this in the confirming Act of 1663.[12]
The act of 1663 confirmed that watch on its old foundations, and left its effective management to the ward authorities. The important matter to be arranged in the wards was who was going to serve and on what basis. How the money was to be collected to support a force of paid constables, and by whom, were crucial issues. The 1663 act left it to the ward beadle or a constable and it seems to have been increasingly the case that rather than individuals paying directly for a substitute, when their turn came to serve, the eligible householders were asked to contribute to a watch fund that supported hired man.[13]
From the mid-1690s the City authorities made several attempts to replace Robinson's Act and establish the watch on a new footing. Though they did not say it directly, the overwhelming requirement was to get quotas adjusted to reflect the reality that the watch consisted of hired men rather than citizens doing their civic duty—the assumption upon which the 1663 act, and all previous acts, had been based.[14]
The implications and consequences of changes in the watch were worked out in practice and in legislation in two stages between the Restoration and the middle decades of the 18th century. The first involved the gradual recognition that a paid (and full-time) watch needed to be differently constituted from one made up of unpaid citizens, a point accepted in practice in legislation passed by the Common Council in 1705, though it was not articulated in as direct a way.[15]
The fact that the 1705 act called for watchmen to be strong and able-bodied men seems further confirmation that the watch was now expected to be made up of hired hands rather than every male house holder serving in turn. The act of 1705 laid out the new quotas of watchmen and the disposition of watch-stands agreed to each ward. To discourage the corruption that had been blamed for earlier under-manning, it forbade constables to collect and disturbs the money paid in for hired watchmen: that was now supposed to be the responsibility of the deputy and common councilmen of the ward.[16]
The second stage was the recognition that watchmen could not be sustained without a major shift in the way local services were financed. This led to the City's acquisition of taxing power by means of an act of parliament in 1737 which changed the obligation to serve in person into an obligation to pay to support a force of salaried man.[15] Under the new act, the ward authorities also continued to hire their own watchmen and to make whatever local rules seemed appropriate—establishing, for example, the places in their wards where the watchmen would stand and the beats they would patrol. But the implementation of the new Watch Act did have the effect of imposing some uniformity on the watch over the whole City, making in the process some modest incursions into the local autonomy of the wards. One of the leading elements in the regime that emerged from the implementation of the new act was an agreement that every watchman would be paid the same amount and that the wages should be raised to thirteen pounds a year.[17]
From 1485 to the 1820s, in the absence of a police force, it was the parish-based watchmen who were responsible for keeping order in London's streets.[1]
Duties[edit]
Night watchmen patrolled the streets between 9 or 10 pm until sunrise, and were expected to examine all suspicious characters.[18] Such controls continued to be exercised in the late 17th century. Guarding the streets to prevent crime, to watch out for fires, and – despite the absence of a formal curfew – to ensure that suspicious and unauthorized people did not prowl around under cover of darkness was still the duty of night watch and the constables who were supposed to command them.[19]
The principal task of the watch in 1660 and for long after continued to be the control of the streets at night imposing a form of moral or social curfew that aimed to prevent those without legitimate reason to be abroad from wandering the streets at night. That task was becoming increasingly difficult in the 17th century because of the growth of the population and variety of ways in which the social and cultural life was being transformed. The shape of the urban day was being altered after the Restoration by the development of shops, taverns and coffee-houses, theatres, the opera and other places of entertainment. All these placed remained open in the evening and extended their hours of business and pleasure into the night.[20]
The watch was affected by this changing urban world since policing the night streets become more complicated when larger number of people were moving around. And what was frequently thought to be poor quality of the watchman—and in time, the lack of effective lighting—came commonly to be blamed when street crimes and night-time disorders seemed to be growing out of control.[20]
Traditionally, householders served in the office of constable by appointment or rotation. During their year of office they performed their duties part-time alongside their normal employment. Similarly, householders were expected to serve by rotation on the nightly watch. From the late seventeenth century, however, many householders avoided these obligations by hiring deputies to serve in their place. As this practice increased, some men were able to make a living out of acting as deputy constables or as paid night watchmen. In the case of the watch, this procedure was formalized in many parts of London by the passage of "Watch Acts", which replaced householders' duty of service by a tax levied specifically for the purpose of hiring full-time watchmen. Some voluntary prosecution societies also hired men to patrol their areas.[18]
Reputation[edit]
While the societies for the reformation of manners showed there was a good deal of support for the effective policing of morality, they also suggested that the existing mechanisms of crime control were regarded by some as ineffective.[21]
Constable Dogberry's men from Much Ado About Nothing by Shakespeare would 'rather sleep than talk' may be dismissed as merely a dramatic device or a caricature, but successful dramatists nevertheless work with characters who strike a chord with their audience. A hundred years later such complaints were still commonplace. Daniel Defoe wrote four pamphlets and a broadsheet on the issue of street crime in which, among other things, he roundly attacked the efficacy of the watch and called for measures to ensure it 'be compos'd of stout, able-body'd Men, and of those a sufficient Number'.[22]
Watchmen on roads leading to London had a reputation for clumsiness in the late 1580s. It was a temptation on cold winter nights to slip away early from watching stations to catch some sleep. Constables in charge sometimes let watches go home early. 'The late placing and early dischargering' of night-watches concerned Common Council in 1609 and again 3 decades later when someone sent out to spy on watches reported that they 'break up longe before they ought'. 'The greatest parte of constables' broke up watches 'earlie in the morninge' at exactly the time 'when most danger' was 'feared' in the long night, leaving the dark streets to thieves.[23]
We can imagine watchmen on chilly nights counting off the hours until sunrise. Alehouses offered some warmth, even after curfew bells told people to drink up. A group of watchmen sneaked into a 'vitlers' house one night in 1617 and stayed 'drinking and taking tobacco all night longe'.[24] Like other officers, watchmen could become the focus for trouble themselves, adding to the hullabaloo at night instead of ordering others to keep the noise down and go to bed. And as by day, there were more than a few crooked officers policing the streets at night, quite happy to turn a blind eye to trouble for a bribe. Watchman Edward Gardener was taken before the recorder with 'a common nightwalker' – Mary Taylor – in 1641 after he 'tooke 2s to lett' her 'escape' when he was escorting her to Bridewell late at night. Another watchman from over the river in Southwark took advantage of the tricky situation people suddenly found themselves in if they stumbled into the watch, 'demanding money [from them] for passing the watch'.[24]
Common complaint in the 1690s was that watchmen were inadequately armed. This was another aspect of the watch in the process of being transformed. The Common Council acts required watchmen to carry halberds essentially, a pike with an axe-blade attached—and some were still doing so in the late seventeenth century. But it seems clear that few did, because the halberd was no longer suitable for the work they were being called upon to do. It was more often observed that watchmen failed to carry them, and it is surely the case that the halberd was no longer a useful weapon for a watch that was supposed to be mobile. By the second quarter of the 18th century, watchmen were equipped with a staff, along with their lantern.[25]
Watch houses[edit]
A rare and unusually fine Georgian Watchman's Box of about 1810. Bath, UK
Another step in the right direction was building 'watch howses' as the country lurched towards revolution after 1640. A City committee was asked to look into the question 'what watchhouses are necessary' and where 'for the safety of this cittye' in 1642. Workmen began building watch houses in strategic spots soon after. They provided assembly-points for watchmen to gather to hear orders for the night ahead, somewhere to shelter from 'extremitye of wind and weather', and holding-places for suspects until morning when justices examined the night's catch. There were watch houses next to Temple Bar (1648), 'neere the Granaryes' by Bridewell (1648), 'neere Moregate' (1648), and next to St Paul's south door (1649). They were not big; the one on St. Paul's side was 'a small house or shed'. This was a time of experimentation, and people (including those in authority) were learning how to make best use of these new structures in their midst.[26]
Policing the Night Streets[edit]
The watchmen patrolled the streets at night, calling out the hour, keeping a lookout for fires, checking that doors were locked and ensuring that drunks and other vagrants were delivered to the watch constable.[27] However, their low wages and the uncongenial nature of the job attracted a fairly low standard of person, and they acquired a possibly-exaggerated reputation for being old, ineffectual, feeble, drunk or asleep on the job.[28]
London had a system of night policing in place before 1660, although it was improved over the next century through better lighting, administrations, finances, and better and more regular salaries. But the essential elements of the night-watch were performing completely by the middle of the seventeenth century.[29]
During the 1820s, mounting crime levels and increasing political and industrial disorder prompted calls for reform, led by Sir Robert Peel, which culminated in the demise of the watchmen and their replacement by a uniformed metropolitan police force.[30][31]
Watchmen in the United States of America[edit]
The first form of societal protection in the United States was based on practices developed in England. The City of Boston was the first settlement in the 13 colonies to establish a night watch in 1631.[2] New York (then New Amsterdam) and Jamestown followed in 1658.
Watchmen and modern police[edit]
With the unification of laws and centralization of state power (e.g. the Municipal Police Act of 1844 in New York City, United States), such formations became increasingly incorporated into state-run police force (see metropolitan police and municipal police).
Watchmen still exist under Florida statutes and are recognised / given special dispensation in law.[32][33]
See also[edit]
City watch
Constable
Dogberry
Security Officer
Nightwalker Statute
Watch committee
References[edit]
^ Jump up to: a b Beattie, J. M. (2001). Policing and Punishment in London 1660–1750. Oxford University Press. p. 169. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 169. ISBN 0-19-820867-7.
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550–1660. Cambridge University Press. p. 333. ISBN 978-0-521-17411-4.
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime and Control in the Capital City, 1550–1660. Cambridge University Press. p. 335. ISBN 978-0-521-17411-4.
Jump up ^ Pollock, Frederick; Maitland, Frederic William (1898). The History of English Law Before the Time of Edward I. 1 (2 ed.). p. 565. ISBN 978-1-58477-718-2.
Jump up ^ Rich, Robert M. (1977). Essays on the Theory and Practice of Criminal Justice. p. 50. ISBN 978-0-8191-0235-5. The origin of the exception goes back in English history to the Ordinance of 1233 which instituted night-watchmen, and directed them 'to arrest those who enter vills at night and go about armed.' Later the Ordinance of 1252 mentions 'disturbers of our peace.'
Jump up ^ Clarkson, Charles Tempest; Richardson, J. Hall (1889). Police!. pp. 1–2. OCLC 60726408.
Jump up ^ Delbrück, Hans (1990). Renfroe, Walter J., Jr, ed. Medieval Warfare. History of the Art of War. 3. p. 177. ISBN 0-8032-6585-9.
Jump up ^ Critchley, Thomas Alan (1978). A History of Police in England and Wales. The Statute of Winchester was the only general public measure of any consequence enacted to regulate the policing of the country between the Norman Conquest and the Metropolitan Police Act, 1829…
Jump up ^ That is, from the Thursday 39 days after Easter Sunday to the 29th of September.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London 1660'1750. Great Britain: Oxford University Press. p. 172. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 175. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 177. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Brirain: Oxford University Press. p. 182. ISBN 0-19-820867-7.
^ Jump up to: a b Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 173. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 186. ISBN 0-19-820867-7.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 196. ISBN 0-19-820867-7.
^ Jump up to: a b "Constables and the Night Watch". oldbaileyonline.org.
Jump up ^ Beattie, J.M. (2001). Polocing and Punishment in London 1660-1750. Great Britain: Oxford University Press. p. 170. ISBN 0198208677.
^ Jump up to: a b Beattie, J.M. (2001). Policing and Punishment in London in 1660-1750. Great Britain: Oxford University Press. p. 172. ISBN 0198208677.
Jump up ^ Rawlings, Philip (2002). Policing A Short History. USA: Willan Publishing. p. 64. ISBN 1-903240-26-3.
Jump up ^ Rawlings, Philip (2002). Policing A Short History. USA: Willan Publishing. p. 65. ISBN 1-903240-26-3.
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550–1660. New York: Cambridge University Press. pp. 354–355. ISBN 978-0-521-17411-4.
^ Jump up to: a b Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550–1660. New York: Cambridge University Press. p. 355. ISBN 978-0-521-17411-4.
Jump up ^ Beattie, J.M. (2001). Policing and Punishment in London in 1660–1750. Great Britain: Oxford University Press. p. 181. ISBN 0-19-820867-7.
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550–1660. New York: Cambridge University Press. p. 359. ISBN 978-0-521-17411-4.
Jump up ^ A. Roger Ekirch, At Day’s Close: A History of Nighttime, London: Weidenfeld and Nicolson, 2001
Jump up ^ Philip McCouat, "Watchmen, goldfinders and the plague bearers of the night", Journal of Art in Society, http://www.artinsociety.com/watchmen-goldfinders-and-the-plague-bearers-of-the-night.html
Jump up ^ Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550-1660. New York: Cambridge University Press. p. 359. ISBN 9780521174114.
Jump up ^ Philip Rawlings, Policing: A Short History, Willan Publishing, 2002
Jump up ^ McCouat, op. cit.
Jump up ^ "Statutes & Constitution :View Statutes : Online Sunshine". Leg.state.fl.us. Retrieved 2015-03-27.
Jump up ^ "Statutes & Constitution :View Statutes : Online Sunshine". Leg.state.fl.us. Retrieved 2015-03-27.
^ This can be verified by England's Old Bailey court records.
Further reading[edit]
David Barrie, Police in the Age of Improvement: Police Development and the Civic Tradition in Scotland, 1775-1865, Willan Publishing, 2008, ISBN 1-84392-266-5. Chapter "Watching and Warding", Google Print, p.34-41
Second Thoughts are Best
Augusta Triumphans
Bibliography[edit]
Beattie, J. M. (2001). Policing and Punishment in London 1660-1750. Oxford University Press. ISBN 0-19-820867-7
Ekirch A. R. (2001). At Day’s Close: A History of Nighttime, London: Weidenfeld and Nicolson.
Clarkson, Charles Tempest; Richardson, J. Hall (1889). Police!. OCLC 60726408
"Constables and the Night Watch". .oldbaileyonline,retrieved 22 November 2015, http://www.oldbaileyonline.org/static/Policing.jsp
Critchley, Thomas Alan (1978). A History of Police in England and Wales.
Griffiths, Paul (2010). Lost Londons Change, Crime, and Control in the Capital City, 1550-1660. Cambridge University Press. ISBN 9780521174114.
Delbrück, Hans (1990). Renfroe, Walter J., Jr, ed. Medieval Warfare. History of the Art of War 3. ISBN 0-8032-6585-9.
Philip McCouat, "Watchmen, goldfinders and the plague bearers of the night", Journal of Art in Society, retrieved 22 October 2015, http://www.artinsociety.com/watchmen-goldfinders-and-the-plague-bearers-of-the-night.html
Pollock, Frederick; Maitland, Frederic William (1898). The History of English Law Before the Time of Edward I. 1 (2 ed.). ISBN 978-1-58477-718-2.
Rawlings, Philip (2002). Policing A Short History. USA: Willan Publishing. ISBN 1903240263.
Rich, Robert M. (1977). Essays on the Theory and Practice of Criminal Justice. ISBN 978-0-8191-0235-5.
External links[edit]
The Proceedings of the Old Bailey, 1674-1913
Biblical Watchman News Reporters
Constables and the Night Watch
"Watchmen, goldfinders and the plague bearers of the night"
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