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The Patriot (2000 film)
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The Patriot
Theatrical release poster
Directed by
Roland Emmerich
Produced by
Dean Devlin
Mark Gordon
Gary Levinsohn
Written by
Robert Rodat
Starring
Mel Gibson
Heath Ledger
Joely Richardson
Jason Isaacs
Chris Cooper
Tchéky Karyo
René Auberjonois
Tom Wilkinson
Music by
John Williams
Cinematography
Caleb Deschanel
Edited by
David Brenner
Julie Monroe
Production
companies
Centropolis Entertainment
Mutual Film Company
Distributed by
Columbia Pictures
Release date
June 30, 2000 (2000-06-30)
Running time
164 minutes[1]
Country
United States
Language
English
Budget
$110 million[2]
Box office
$215.3 million[2]
The Patriot is a 2000 American epic historical fiction war film directed by Roland Emmerich, written by Robert Rodat, and starring Mel Gibson, Chris Cooper, Heath Ledger, and Jason Isaacs. The film mainly takes place in rural Berkeley County, South Carolina, and depicts the story of an American Colonist, nominally loyal to the British Crown, who is swept into the American Revolutionary War when his family is threatened. Benjamin Martin is a composite figure the scriptwriter claims is based on four factual figures from the American Revolutionary War: Andrew Pickens, Francis Marion, Daniel Morgan, and Thomas Sumter.
The film takes place during the events of the Southern theater of the American Revolutionary War but attracted controversy over its fictional portrayal of historical British figures and atrocities. Professor Mark Glancy, teacher of film history at Queen Mary, University of London has said: "It's horrendously inaccurate and attributes crimes committed by the Nazis in the 1940s to the British in the 1770s."[3] While it is clear that the actions of then-Colonel Banastre Tarleton were certainly despicable, they were nowhere near the atrocities in the film, especially with the infamous "Burning church" scene, of which there is no historical or written record. Australian film critic David Edwards asserts that "this fictional story is set around actual events, but it is not a history of what America was, or even an image of what it has become—it's a dream of what it should be....The Patriot is a grand epic full of action and emotion....But it's also surprisingly insightful in its evaluation of the American ideal—if not the reality."[4] While, as critic Roger Ebert states, "None of it has much to do with the historical reality of the Revolutionary War".[5]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Script
3.2 Casting
3.3 Filming
3.4 Music
4 Reception
4.1 Critical response
4.2 Controversy
4.3 Box office
4.4 Accolades
5 Historical authenticity
5.1 Criticism of Benjamin Martin as based on Francis Marion
5.2 Criticism of Tavington as based on Tarleton
5.3 Depiction of atrocities in the Revolutionary War
5.4 The concept of patriotism
6 Homages
7 Home media
8 References
9 External links
Plot[edit]
During the American Revolution in 1776, Benjamin Martin, a veteran of the French and Indian War and a widower with seven children, is called to Charleston to vote in the South Carolina General Assembly on a levy supporting the Continental Army. Fearing war against Great Britain, Benjamin abstains; the vote is nonetheless passed and, against his father's wishes, Benjamin's eldest son Gabriel joins the Continentals.
Two years later Charleston falls to the British and a wounded Gabriel returns home carrying dispatches. The Martins care for both British and American wounded from a nearby battle, before British Dragoons, led by the ruthless Colonel William Tavington, arrive, arrest Gabriel, and take captive the African American free men and women who work Benjamin's land. When Benjamin's second son Thomas tries to free Gabriel, he is shot and killed by Tavington, who then orders the Martins' house burned, and wounded Americans executed. After the British leave, Benjamin gives his next two eldest sons rifles, and they ambush the British unit escorting a tied Gabriel. Benjamin skillfully, yet brutally, kills many soldiers with his tomahawk. A British survivor tells Tavington of the attack, earning Benjamin the moniker of the "Ghost". Gabriel decides to rejoin the Continentals and Benjamin soon follows, leaving the younger children in the care of Benjamin's sister-in-law, Charlotte. On their way to the Continental Army's camp, they witness the southern Continental Army under General Horatio Gates engaging the British Army. Benjamin recognizes the foolishness of the action; sure enough, the Continentals are decisively routed.
Benjamin meets his former commanding officer, Colonel Harry Burwell, who makes him colonel of the local colonial militia due to his combat experience and also places Gabriel under Benjamin's command. Benjamin is tasked with keeping Lord Cornwallis's regiments pinned south through guerrilla warfare. French Major Jean Villeneuve helps train the militia and promises more French aid.
Gabriel asks why Villeneuve and others often mention Benjamin's role in something called "Fort Wilderness." Benjamin, having been hesitant to answer the question up to now, finally tells his son the story. Benjamin had been fighting in the British Army in the French and Indian War when he and several other soldiers discovered a French atrocity at a fort that Benjamin and his comrades had been trying to reinforce. In a bloodthirsty rage, Benjamin and his comrades caught up with the French at Fort Wilderness, where Benjamin and his unit literally cut the defending French soldiers apart slowly. Benjamin reveals that he has been haunted by guilt ever since.
Benjamin's militia harass British supply lines, even capturing some of Cornwallis' personal effects and his two Great Danes, and burn half the bridges and ferries leading to Charleston. Lord Cornwallis blames Tavington for creating this reaction with his brutal tactics. However, irritated at the lack of progress, and insulted by Benjamin's clever ploy to free some of the captured militia, Cornwallis reluctantly allows Tavington to stop Benjamin by any means necessary.
With the reluctant aid of the Loyalist Captain Wilkins, Tavington learns the identities of some militia members and proceeds to attack their families and burn their homes. Benjamin's family flees Charlotte's plantation as it is burned to live in a Gullah settlement with former black slaves. There, Gabriel marries his betrothed Anne. Tavington's brigade rides into the town that supplies the militia. He assembles all the townspeople, including Anne, into the church promising freedom in exchange for the whereabouts of the rebels. However, after the location is given the doors are barricaded, trapping the people as Tavington orders the church burned, killing them all in a cold-blooded act of mass-murder. After discovering the tragedy, Gabriel and several others race to attack Tavington's encampment. In the ensuing fight, Tavington mortally wounds Gabriel before fleeing. Benjamin arrives soon after, only to have another of his sons die in his arms.
Benjamin mourns and wavers in his commitment to continue fighting, but is resolved when reminded of his son's dedication to the cause by finding an American flag he repaired personally. Martin's militia, along with a larger Continental Army regiment, confronts Cornwallis' regiment in a decisive battle at the Battle of Cowpens. The British appear to have the upper hand until Benjamin rallies the troops forward against their lines and Tavington rushes to personally target him. The two duel and Tavington gains the upper hand, delivering several wounds to Benjamin. A beaten Benjamin slumps to his knees, and Tavington prepares to deliver the coup de grâce. At the last second, however, Benjamin dodges the attack and stabs Tavington to death, avenging his sons' deaths. The battle is a Continental victory and Cornwallis is forced to retreat.
After many eventual retreats, Cornwallis is besieged at Yorktown, Virginia where he surrenders to the surrounding Continental Army and the long-awaited French naval force. After the conflict ends, Benjamin returns with his family and discovers his militia men rebuilding his homestead in their new nation.
Cast[edit]
Mel Gibson as Benjamin Martin
A veteran of the French and Indian War as the hero of the fictional Fort Wilderness and widowed father of seven children, Benjamin does what he can to avoid fighting in the Revolutionary War knowing the implications surrounding it. In addition, he does not want to reveal to his family of what he is capable of in violence. When his oldest son, Gabriel joins up, and his second born son, Thomas is killed, he takes it upon himself to join and fight with the colonial militia. He is nicknamed "The Ghost" by the British. He is based on a composite of historical characters which include Thomas Sumter, Daniel Morgan, Nathanael Greene, Andrew Pickens, and Francis Marion.[6]
Heath Ledger as Gabriel Edward Martin
Benjamin's eldest child, and the husband of Anne Patricia Howard Martin. He decides to join up with the Continental Army against his father's wishes. He is killed during an attack on the Green Dragoons' camp, while seeking revenge against Colonel Tavington for his wife's murder.
Gregory Smith as Thomas Martin
Benjamin's second son, he, like Gabriel, is anxious to fight in the war, but Benjamin says he has to wait because of his age. He is shot and killed by Tavington when he protests against Gabriel's arrest. Tavington rebukes him as a "stupid boy" for his actions afterward. Benjamin takes Thomas's set of toy tin soldiers and, over the course of the film, melts them down into bullets for his pistol.
Trevor Morgan as Nathan Martin
Third son, he and Samuel help around the farm. When Gabriel is taken prisoner and Thomas is killed, he and Samuel help their father on a rescue mission. Unlike Samuel, he is "glad" to kill British soldiers.
Bryan Chafin as Samuel Martin
Fourth son, he is usually seen helping Nathan around the farm. When Gabriel is taken prisoner and Thomas is killed, he helps his father, Benjamin, rescue Gabriel by killing several British soldiers, even though he doesn't want to kill. For a short while, he becomes scared of his father after he witnesses him brutally killing and mutilating, post-mortem, a British soldier with a tomahawk.
Logan Lerman as William Martin: Benjamin's fifth and youngest son. This character was not originally in the script and was only added because Mel Gibson wanted to have seven children in the film (like in real life) rather than six. Though present throughout the film, his only line is during the opening credits.
Mika Boorem as Margaret Martin
Benjamin's older daughter, she is often seen taking care of her younger siblings.
Skye McCole Bartusiak as Susan Martin
The younger daughter and child among Benjamin's seven children, she has a problem with speaking, which may be a post-traumatic reaction to the death of their mother; only later on does she finally open up. Her feelings towards her father change radically as the film progresses, and after Benjamin leaves from the furlough to rejoin his militia, in an extremely emotional scene, she seemingly forgives him and tells him she'll say anything he wants to make him stay, to which Benjamin can only promise to return, which Susan accepts.
Joely Richardson as Charlotte Selton
Benjamin's sister-in-law and love interest in the film. She is the owner of a plantation that is later burned down in the film. She looks after Benjamin's children while he is fighting, eventually she and Benjamin married and expecting a child.
Jason Isaacs as Colonel William Tavington
Colonel of the Green Dragoons, he is portrayed as a charismatic sociopath and a brutal commander. Long ago, his late father wasted away the family money, along with William's inheritance. He suggests to Cornwallis that he be allowed to acquire the Ohio territory as payment after the war since the brutality his commander wants from him sacrifices his social standing in English society. He is nicknamed "The Butcher" by Brigadier General O'Hara. The character is based on Banastre Tarleton.[6]
Chris Cooper as Colonel Harry Burwell
One of Benjamin's commanding officers in the French and Indian War and a colonel of the Continental Army. He fought in the 1775 Battle of Bunker Hill. When his wife gives birth to their firstborn son, they name him after Benjamin's late eldest son, Gabriel. His character is loosely based on[citation needed] Lieutenant Colonel Henry "Light Horse Harry" Lee.
Tchéky Karyo as Major Jean Villeneuve
A French officer who trains Martin's militia, he holds a grudge against Martin for his part in the French and Indian War, but they become close friends by the war's end. He explains in the film that he watched his wife and two daughters, 12-year-old Violette and 10-year-old Pauline (both green-eyed), being burned in the ship that carried them by the British, which explains his hatred for them. He serves as Martin's second-in-command.
René Auberjonois as Reverend Oliver
A minister of Pembroke who volunteers to fight with the militia. He also tries to give spiritual advice to his fellow soldiers. He is one of the eighteen captured men taken to Fort Carolina and released later on by Benjamin. He aides Gabriel in killing Captain Bordon, but is mortally shot by Tavington. Before dying, he courageously tosses his musket to Gabriel so that he may finish off Tavington.
Lisa Brenner as Anne Patricia Howard Martin
Gabriel's childhood friend and love interest, whom he marries later in the film. She is killed in the town church along with the rest of the town on Tavington's orders.
Tom Wilkinson as Lieutenant General Charles Cornwallis, 2nd Earl Cornwallis
A general of the British army. While pompous and arrogant, he is disgusted by Tavington's savage and ungentlemanly-like tactics. Cornwallis is a skilled commander, with Martin calling him a genius, but he sees militia as nothing more than "farmers with pitchforks" and is easily duped by Martin in a key scene. His two Great Danes, Jupiter and Mars, are a gift from king George III.
Peter Woodward as Brigadier General Charles O'Hara
Cornwallis' second-in-command. Like Cornwallis, he does not share Tavington's views on war.
Donal Logue as Dan Scott
One of Benjamin's men. He is a racist and bullies the former slave Occam, but grows to befriend him, especially when saved by him while wounded. In the last part of the film, they stand side by side in the final battle and the raising of Martin's new house.
Leon Rippy as John Billings
One of Benjamin's neighbors and oldest friends who joins the militia. He is one of the 18 captured men taken to Fort Carolina and released later on by Benjamin. Afterward, John helps Charlotte Selton and Benjamin's children escape the burning of the Selton plantation. He commits suicide, in full view of his comrades, after finding that Tavington's men have killed his wife and son. Afterward, Benjamin gives the militia a furlough.
Adam Baldwin as Captain James Wilkins
An officer in the Loyalist Colonial militia recruited into the Green Dragoons by Captain Bordon. He knows everything about Benjamin Martin, and is called upon by Tavington to divulge such information when required. Earlier on, at the South Carolina Assembly in Charleston, he is one of the twelve out of forty to vote against a levy for the Continental Army. He fights alongside Tavington, and also shares these brutal views on how "all those who stand against England deserve to die a traitor's death." When he is forced to burn the church at Pembroke, with town residents inside by Tavington, only then does he regret his own words and realize what kind of man his commanding officer really is. He is last seen fighting alongside the British in the final battle of the movie. His fate is not shown.
Jamieson K. Price as Captain Bordon
Tavington's second-in-command of the Green Dragoons and chief intelligence officer. He is just as ruthless as his commander, "strong-arming" prisoners during interrogations. He is killed by Gabriel in the youth's raid against the Dragoons.
Jay Arlen Jones as Occam
An African slave who is sent to fight in his master's place. He is taunted and bullied by the other members of the militia, but is treated as an equal by Benjamin, Gabriel, Jean, and later on by Dan Scott and the others. He gives out information of the captured eighteen militia men at Fort Carolina while escaping Tavington's trap. After serving a year in the Continental Army, he becomes a free man, but nonetheless still serves with the militia until the end of the war, and later aids, alongside his former adversary Dan Scott, in raising a new house for Martin. (See also: African Americans in the Revolutionary War)
Joey D. Vieira as Peter Howard
Anne Howard's father, who lost his left leg and most of his hearing while fighting the French and Indian War. He likens British taxation policies to the British taking his other leg.
Zach Hanner as British field officer.
Terry Layman as General George Washington.
Andy Stahl as General Nathanael Greene.
Grahame Wood as a friendly British Lieutenant at Martin's farm who interacts with both Benjamin Martin and Colonel Tavington. He sees Tavington's orders to kill the Colonial wounded and other prisoners revolting, but remains silent and follows through with the orders without question, largely out of fear for his own life. He dies shortly afterwards in Martin's skirmish to rescue his son, Gabriel.
Production[edit]
Script[edit]
Screenwriter Robert Rodat wrote seventeen drafts of the script before there was an acceptable one. In an early version, Anne is pregnant with Gabriel's child when she dies in the burning church. Rodat wrote the script with Gibson in mind for Benjamin Martin, and gave the Martin character six children to signal this preference to studio executives. After the birth of Gibson's seventh child, the script was changed so that Martin had seven children. Like the character William Wallace, which Gibson portrayed in Braveheart five years earlier, Martin is a man seeking to live his life in peace until revenge drives him to lead a cause against a national enemy after the life of an innocent family member is taken.
Casting[edit]
Joshua Jackson, Elijah Wood, Jake Gyllenhaal and Brad Renfro were considered to play Gabriel Martin. The producers and director narrowed their choices for this role to Ryan Phillippe and Heath Ledger, with the latter chosen because the director thought he possessed "exuberant youth".
Filming[edit]
The film's German director Emmerich said "these were characters I could relate to, and they were engaged in a conflict that had a significant outcome—the creation of the first modern democratic government."[6]
The film was shot entirely on location in South Carolina, including Charleston, Rock Hill—for many of the battle scenes, and Lowrys—for the farm of Benjamin Martin, as well as nearby Fort Lawn.[7] Other scenes were filmed at Mansfield Plantation, an antebellum rice plantation in Georgetown, Middleton Place in Charleston, South Carolina, at the Cistern Yard on the campus of College of Charleston, and Hightower Hall and Homestead House at Brattonsville, South Carolina, along with the grounds of the Brattonsville Plantation in McConnells, South Carolina.[8] Producer Mark Gordon said the production team "tried their best to be as authentic as possible" because "the backdrop was serious history," giving attention to details in period dress.[6] Producer Dean Devlin and the film's costume designers examined actual Revolutionary War uniforms at the Smithsonian Institution prior to shooting.[6]
Music[edit]
Main article: The Patriot (soundtrack)
The musical score for The Patriot was composed by John Williams and was nominated for an Academy Award.[9] David Arnold, who composed the scores to Emmerich's Stargate, Independence Day, and Godzilla, created a demo for The Patriot that was ultimately rejected. As a result, Arnold never returned to compose for any of Emmerich's subsequent films and was replaced by Harald Kloser and Thomas Wanker.
Reception[edit]
Critical response[edit]
The Patriot received mildly favorable reviews from critics. The film scored a "Fresh" rating of 61% rating among all critics on Rotten Tomatoes, based on 134 reviews and with an average rating of 6.1/10, which notes that it "can be entertaining to watch, but it relies too much on formula and melodrama."[10][11] The Patriot is one of two Emmerich films to ever be given a "fresh" rating from that website (the other is Independence Day). Rotten Tomatoes also notes that, "While his hero is conscience-stricken about killing, Emmerich sure enjoys serving it up in generous helpings.[12] " On Metacritic, the film earned a rating of 63 out of 100, based on reviews from 35 critics, indicating "generally favorable reviews". The New York Times critic Elvis Mitchell gave the film a generally negative review, although he praised its casting and called Mel Gibson "an astonishing actor", particularly for his "on-screen comfort and expansiveness". He said the film is a "gruesome hybrid, a mix of sentimentality and brutality".[13] Jamie Malanowski, also writing in The New York Times, said The Patriot "will prove to many a satisfying way to spend a summer evening. It's got big battles and wrenching hand-to-hand combat, a courageous but conflicted hero and a dastardly and totally guilt-free villain, thrills, tenderness, sorrow, rage and a little bit of kissing".[14] The film was nominated for three Academy Awards: Best Original Score, Best Cinematography, and Best Sound.
Controversy[edit]
A highly positive review was purportedly written by a critic named David Manning, who was credited to The Ridgefield Press, a small Connecticut weekly news publication. During an investigation into Manning's quotes, Newsweek reporter John Horn discovered that the newspaper had never heard of him.[15] The story emerged at around the same time as an announcement that Sony had used employees posing as moviegoers in television commercials to praise the film. These occurrences, in tandem, raised questions and controversy about ethics in movie marketing practices.
On June 10, 2001, the episode of Le Show, host Harry Shearer conducted an in-studio interview with Manning, whose "review" of the film was positive. The voice of Manning was provided by a computer voice synthesizer.[16]
On August 3, 2005, Sony made an out-of-court settlement and agreed to refund $5 each to dissatisfied customers who saw this and four other films in American theatres, as a result of Manning's reviews.[17]
Box office[edit]
The Patriot opened in 3,061 venues at #2 with $22,413,710 domestically in its opening weekend, falling slightly short of expectations (predictions had the film opening #1 with roughly $25 million ahead). The film opened behind Warner Bros The Perfect Storm, which opened at #1 with $41,325,042.[18] The film closed on October 16, 2000 with $113,330,342 domestically, which barely recouped its budget of $110 million. It was successful overseas grossing $101,964,000 with a grand total of $215,294,342.[2]
Accolades[edit]
The Patriot was nominated for three Academy Awards: Best Sound Mixing (Kevin O'Connell, Greg P. Russell and Lee Orloff), Best Cinematography, and Best Original Score.[19] It also received several guild awards, including the American Society of Cinematographers award to Caleb Deschanel for Outstanding Achievement in Cinematography[20] and the Hollywood Makeup Artist and Hair Stylist Guild Award for Best Period Makeup and Best Period Hair Styling.[21]
Historical authenticity[edit]
During development, Emmerich and his team consulted with experts at the Smithsonian Institution on set, props, and costumes; advisor Rex Ellis even recommended the Gullah village as an appropriate place for Martin's family to hide.[22] In addition, screenwriter Robert Rodat read through many journals and letters of colonists as part of his preparation for writing the screen play.[23]
Producer Mark Gordon said that in making the film, "while we were telling a fictional story, the backdrop was serious history".[6] Some of the resulting characters and events thus were composites of real characters and events that were designed to serve the fictional narrative without losing the historical flavor. Rodat said of Gibson's character: "Benjamin Martin is a composite character made up of Thomas Sumter, Daniel Morgan, Andrew Pickens, and Francis Marion, and a few bits and pieces from a number of other characters."[6] Rodat also indicated that the fictional Colonel William Tavington is "loosely based on Colonel Banastre Tarleton, who was particularly known for his brutal acts".[6]
While some events, such as Tarleton's pursuit of Francis Marion and his fellow irregular soldiers who escaped by disappearing into the swamps of South Carolina, were loosely based on history,[24] and others were adapted, such as the final battle in the film which combined elements of the Battles of Cowpens and Battle of Guilford Court House, most of the plot events in the film are pure fiction.
Criticism of Benjamin Martin as based on Francis Marion[edit]
The film was harshly criticized in the British press in part because of its connection to Francis Marion, a militia leader in South Carolina known as the "Swamp Fox". After the release of The Patriot, the British newspaper The Guardian denounced Marion as "a serial rapist who hunted Red Indians for fun.[25] Historian Christopher Hibbert said of Marion:
"The truth is that people like Marion committed atrocities as bad, if not worse, than those perpetrated by the British."[26]
The Patriot does not depict the American character Benjamin Martin as innocent of atrocities; a key plot point revolves around the character's guilt over acts he engaged in, such as torturing, killing, and mutilating prisoners during the French and Indian War, while not mentioning his crimes against fellow colonists during the Revolutionary War. In Hibbert's book Redcoats and Rebels: The American Revolution Through British Eyes, written before The Patriot was released, Hibbert included no criticism of Marion. Conservative radio host Michael Graham rejected Hibbert's criticism of Marion in a commentary published in National Review:
"Was Francis Marion a slave owner? Was he a determined and dangerous warrior? Did he commit acts in an 18th century war that we would consider atrocious in the current world of peace and political correctness? As another great American film hero might say: 'You're damn right.' "That's what made him a hero, 200 years ago and today."[27]
Graham also refers to what he describes as "the unchallenged work of South Carolina's premier historian" Dr. Walter Edgar, who claimed in his 1998 South Carolina: A History that Marion's partisans were "a ragged band of both black and white volunteers".[27]
Amy Crawford, in Smithsonian magazine, stated that modern historians such as William Gilmore Simms and Hugh Rankin have written accurate biographies of Marion, including Simms' The Life of Francis Marion.[28] The introduction to the 2007 edition of Simms' book was written by Sean Busick, a professor of American history at Athens State University in Alabama, who wrote:
"Marion deserves to be remembered as one of the heroes of the War for Independence....Francis Marion was a man of his times: he owned slaves, and he fought in a brutal campaign against the Cherokee Indians...Marion's experience in the French and Indian War prepared him for more admirable service."[28]
During pre-production, the producers debated on whether Martin would own slaves, ultimately deciding not to make him a slave owner. This decision received criticism from Spike Lee, who in a letter to The Hollywood Reporter accused the film's portrayal of slavery as being "a complete whitewashing of history".[29] Lee wrote that after he and his wife went to see the film, "we both came out of the theatre fuming. For three hours The Patriot dodged around, skirted about or completely ignored slavery." Gibson himself remarked: "I think I would have made him a slave holder. Not to seems kind of a cop-out."[30]
Criticism of Tavington as based on Tarleton[edit]
After release, several British voices criticized the film for its depiction of the film's villain Tavington and defended the historical character of Banastre Tarleton. Ben Fenton, commenting in the Daily Telegraph, wrote:
"There is no evidence that Tarleton, called 'Bloody Ban' or 'The Butcher' in rebel pamphlets, ever broke the rules of war and certainly did not ever shoot a child in cold blood."[31]
Although Tarleton gained the reputation among Americans as a butcher for his involvement in the Waxhaw massacre in South Carolina, he was a hero in Liverpool, England. Liverpool City Council, led by Mayor Edwin Clein, called for a public apology for what they viewed as the film's "character assassination" of Tarleton.[32] What happened during the Battle of The Waxhaws, known to the Americans as the Buford Massacre or as the Waxhaw massacre, is the subject of debate. According to an American field surgeon named Robert Brownfield who witnessed the events, the Continental Army Col. Buford raised a white flag of surrender, "expecting the usual treatment sanctioned by civilized warfare". While Buford was calling for quarter, Tarleton's horse was struck by a musket ball and fell. This gave the Loyalist cavalrymen the impression that the Continentals had shot at their commander while asking for mercy. Enraged, the Loyalist troops charged at the Virginians. According to Brownfield, the Loyalists attacked, carrying out "indiscriminate carnage never surpassed by the most ruthless atrocities of the most barbarous savages".
In Tarleton's own account, he stated that his horse had been shot from under him during the initial charge in which he was knocked out for several minutes and that his men, thinking him dead, engaged in "a vindictive asperity not easily restrained".[33]
Tarleton's role in the Revolutionary War in the Carolinas is examined by Ben Rubin who shows that historically, while the actual events of the Battle of the Waxhaws were presented differently according to which side was recounting them, the story of Tarleton's atrocities at Waxhaws and on other occasions became a rallying cry, particularly at the Battle of King's Mountain.[34] The tales of Tarleton's atrocities were a part of standard U.S. accounts of the war and were described by Washington Irving and by Christopher Ward in his 1952 history, The War of the Revolution, where Tarleton is described as "cold-hearted, vindictive, and utterly ruthless. He wrote his name in letters of blood all across the history of the war in the South."[35] Not until Anthony Scotti's 2002 book, Brutal Virtue: The Myth and Reality of Banastre Tarleton, were Tarleton's actions fully reexamined. Scotti challenged the factual accounts of atrocities and stressed the "propaganda value that such stories held for the Americas both during and after the war".[36] Scotti's book, however, did not come out until two years after The Patriot. Screenwriters consulting American works to build the character Tavington based on Tarleton would have commonly found descriptions of him as barbaric and accounts of his name being used for recruiting and motivation during the Revolutionary War itself.[37]
Whereas Tavington is depicted as aristocratic but penniless, Tarleton came from a wealthy Liverpool merchant family. Tarleton did not die in battle or from impalement, as Tavington did in the film. Tarleton died on January 16, 1833, in Leintwardine, Herefordshire, England, at the age of 78, nearly 50 years after the war ended. He outlived Col. Francis Marion who died in 1795, by 38 years. Before his death, Tarleton had achieved the military rank of General, equal to that held by the overall British Commanders during the American Revolution, and became a baronet and a member of the British Parliament.
Depiction of atrocities in the Revolutionary War[edit]
The Patriot was criticized for misrepresenting atrocities during the Revolutionary War, including the killing of prisoners of war and wounded soldiers and burning a church filled with townsfolk. While atrocities occurred during the war, the most striking of the film's depictions of British atrocities—the burning of a church full of unarmed colonial civilians—had virtually no factual basis nor parallel in the American or European 18th century wars, with the exception of the Massacre at Lucs-sur-Boulogne in 1794. The New York Post film critic Jonathan Foreman was one of several focusing on this distortion in the film and wrote the following in an article at Salon.com:
"The most disturbing thing about The Patriot is not just that German director Roland Emmerich (director of Independence Day) and his screenwriter Robert Rodat (who was criticized for excluding the roles played by British, Canadian (Juno Beach) and other Allied troops in the Normandy landings from his script for Saving Private Ryan) depicted British troops as committing savage atrocities, but that those atrocities bear such a close resemblance to war crimes carried out by German troops—particularly the SS in World War II. It's hard not to wonder if the filmmakers have some kind of subconscious agenda....They have made a film that will have the effect of inoculating audiences against the unique historical horror of Oradour—and implicitly rehabilitating the Nazis while making the British seem as evil as history's worst monsters....So it's no wonder that the British press sees this film as a kind of blood libel against the British people."[38]
The Washington Post film critic Stephen Hunter, a historian of the era, said: "Any image of the American Revolution which represents you Brits as Nazis and us as gentle folk is almost certainly wrong. It was a very bitter war, a total war, and that is something that I am afraid has been lost to history....[T]he presence of the Loyalists (colonists who did not want to join the fight for independence from Britain) meant that the War of Independence was a conflict of complex loyalties."[39] The historian Richard F. Snow, editor of American Heritage magazine, said of the church-burning scene: "Of course it never happened—if it had do you think Americans would have forgotten it? It could have kept us out of World War I."[40][41]
The concept of patriotism[edit]
Slate columnist Michael Lind criticized the identification of the leading character's actions with patriotism. Specifically, Lind stated that "this movie is deeply subversive patriotism. Indeed, patriotism is a concept that neither the screenwriter...nor the director...seems to understand". He further wrote that "the message of The Patriot is that country is an abstraction, family is everything. It should have been called The Family Man".[42]
In contrast, historian Ben Rubin argues that because the American Revolution was a conflict that as often pitted neighbor against neighbor—Whigs (advocates of Revolution) against Tories (loyalists to Britain)—as it pitted nascent Americans against the British, many people stayed neutral until goaded into taking a stand in reaction to perceived atrocities.[43] From this perspective, Benjamin Martin's joining of the militia becomes, according to commentator Jon Roland, a deep patriotism that "shows them being called up, not as an act of an official, but by private persons aware of a common threat...[reacting to a] militia duty to defend one another".[44]
Homages[edit]
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In the film, Gibson's character asks, "Why should I trade one tyrant three thousand miles away for three thousand tyrants one mile away?" "They Call me a brainless Tory," said (Doctor) Reverend Mather Byles while watching three thousand Sons of Liberty parading the streets of Boston, "but tell me my young friend, which is better, to be ruled by one tyrant three thousand miles away or three thousand tyrants not a mile away".[45]
Paul Revere And The World He Lived In by Ester Forbes Riverside Press Cambridge, Massachusetts 1942
The Patriot: The Official Companion by Suzanne Fritz and Rachel Aberly
The Patriot: A Novel by Stephen Molstad
Home media[edit]
The Patriot was released on DVD on October 24, 2000, a Blu-Ray release followed on July 3, 2007.[46] The Patriot was later released on 4K UHD Blu-Ray on May 22, 2018.[47]
References[edit]
Jump up ^ "The Patriot (15)". British Board of Film Classification. June 22, 2000. Retrieved December 10, 2016.
^ Jump up to: a b c "The Patriot (2000)". Box Office Mojo. Amazon.com. October 16, 2000. Retrieved December 10, 2016.
Jump up ^ Bettridge, Daniel (April 13, 2012). "How accurate is Hollywood history? We asked an expert which films got their facts wrong". Yahoo Movies, U.K. & Ireland. Retrieved April 13, 2012.
Jump up ^ Edwards, David. "The Patriot"[review]. Urban Cinefile. July 2000. [1]
Jump up ^ Ebert, Roger. "The Patriot". Retrieved May 12, 2014.
^ Jump up to: a b c d e f g h The Patriot (DVD). Columbia Pictures. 2000. ISBN 0-7678-5846-8. Special features – True Patriots featurette
Jump up ^ "The Patriot on TNT". TNT (TV network). 2009. Retrieved March 28, 2009.
Jump up ^ "Movies Filmed in South Carolina – The Patriot". South Carolina Information Highway. SCIway.net. 2009. Retrieved March 28, 2009.
Jump up ^ "Filmtracks: The Patriot (John Williams)". Filmtracks.com. June 22, 2008. Retrieved November 28, 2012.
Jump up ^ "The Patriot Movie Reviews, Pictures". Rotten Tomatoes. Retrieved March 25, 2018.
Jump up ^ "Reviews for The Patriot". Rotten Tomatoes. Retrieved March 25, 2018.
Jump up ^ The Patriot, retrieved October 20, 2017
Jump up ^ Mitchell, Elvis (June 28, 2000). "Film Review; A Gentle Farmer Who's Good at Violence". The New York Times. Retrieved November 20, 2014.
Jump up ^ Malanowski, Jamie (July 2, 2000). "The Revolutionary War Is Lost on Hollywood". The New York Times. Retrieved May 31, 2009.
Jump up ^ Horn, John (June 2, 2001). "The Reviewer Who Wasn't There". MSNBC. Newsweek. Archived from the original on June 9, 2001. Retrieved October 3, 2014.
Jump up ^ Shearer, Harry (June 10, 2001). "le Show". HarryShearer.com. Archived from the original on May 30, 2008. Retrieved January 5, 2009.
Jump up ^ "Sony to pay $1.5m for film hoax," Irish Independent, August 5, 2005.
Jump up ^ "Weekend Box Office Results for June 30 – July 2, 2000". Box Office Mojo. Amazon.com. July 3, 2000. Retrieved December 10, 2016.
Jump up ^ "The 73rd Academy Awards (2001) Nominees and Winners". oscars.org. Retrieved November 19, 2011.
Jump up ^ "15th Annual ASC Awards – 2000". ASC Roster. American Society of Cinematographers. 2000. Archived from the original on May 6, 2012.
Jump up ^ Hollywood Makeup Artist and Hair Stylist Guild Awards, 2001, IMDb: Internet Movie Database
Jump up ^ Moore, Lucinda (July 2000). "Capturing America's Fight for Freedom". Smithsonian.
Jump up ^ Malanowski, Jamie (July 2, 2000). "Film: The Revolutionary War is Lost on Hollywood". The New York Times. Retrieved July 7, 2012.
Jump up ^ Crawford, Amy (July 1, 2007). "The Swamp Fox – Elusive and crafty, Francis Marion outwitted British troops during the American Revolution". Smithsonian. Retrieved June 10, 2012.
Jump up ^ "Spike Lee slams Patriot". The Guardian. London. July 6, 2000. Retrieved January 2, 2010.
Jump up ^ ‘Mel Gibson's latest hero: a rapist who hunted Indians for fun’, Guardian Unlimited, June 15, 2000. Retrieved October 31, 2007.
^ Jump up to: a b Graham, Michael (June 26, 2000). "The British Are Crying, the British Are Crying (guest column)". National Review. Archived from the original on February 5, 2009. Retrieved May 31, 2009.
^ Jump up to: a b Crawford, Amy (July 1, 2007). "The Swamp Fox". Smithsonian. Retrieved December 6, 2008.
Jump up ^ "Spike Lee slams Patriot", Guardian Unlimited, July 6, 2000. Retrieved October 31, 2007.
Jump up ^ Dunkel, Tom (June 2000). "Mel Gibson Pops an American Myth". George.
Jump up ^ Fenton, Ben (June 19, 2000). "Truth is first casualty in Hollywood's war". The Telegraph. London. Retrieved April 17, 2017.
Jump up ^ "Patriotic Liverpool up in arms over Gibson's blockbuster". Guardian Unlimited. London. June 30, 2000. Retrieved October 31, 2007.
Jump up ^ Hickman, Kennedy. "American Revolution: Battle of Waxhaws". About.com. Retrieved December 8, 2012.
Jump up ^ Rubin, Ben. "The Rhetoric of Revenge: Atrocity and Identity in Revolutionary Carolinas". Journal of Backcountry Studies, vol. 5, No. 2, 2010. Retrieved June 7, 2012.
Jump up ^ Rubin, 2010, p. 17
Jump up ^ Scotti, Anthony, Jr. (July 2002). Brutal Virtue: The Myth and Reality of Banastre Tarleton. Boise, MD: Heritage Books. ISBN 978-0788420993. CS1 maint: Multiple names: authors list (link)
Jump up ^ Rubin, 2010, p. 21.
Jump up ^ Jonathan Foreman, 'The Nazis, er, the Redcoats are coming!', Salon.com, July 3, 2000. Retrieved October 2, 2016.
Jump up ^ Fenton, Ben (June 19, 2000). "Truth is first casualty in Hollywood's war". The Daily Telegraph. London.
Jump up ^ "The Patriot: more flag-waving rot with Mel Gibson". The Guardian. London. July 23, 2009.
Jump up ^ "Tony Parsons Column: Danger in Mel's deceit". The Free Library. Farlex.
Jump up ^ Lind, Michael (July 28, 2000). "Unpatriotic: Gibson's patriot is Sonny Corleone, not Sgt. York". Slate. Retrieved January 21, 2012.
Jump up ^ Rubin, Ben (2010). "The Rhetoric of Revenge: Atrocity and Identity in Revolutionary Carolinas" (PDF). Journal of Backcountry Studies. 102 (84). Retrieved June 7, 2012.
Jump up ^ "The Patriot not just about the American Revolution, Review by Jon Roland". July 4, 2000. Retrieved June 7, 2012.
Jump up ^ Smith, John Howard (Fall 2001). "The Irrepressible Rev. Mather Byles, Sr.: Loyalist Wit". DLAR News: The Newsletter of the David Library of the American Revolution. 5 (2).
Jump up ^ "The Patriot DVD Release Date October 24, 2000". DVDs Release Dates. Retrieved 2018-05-23.
Jump up ^ "High Def Digest | Blu-ray and Games News and Reviews in High Definition". ultrahd.highdefdigest.com. Retrieved 2018-05-23.
External links[edit]
Wikiquote has quotations related to: The Patriot (2000 film)
The Patriot on IMDb
The Patriot at Box Office Mojo
The Patriot at Rotten Tomatoes
The Patriot at Metacritic
Government info on Southern Campaign, Banastre Tarleton, and Benjamin Martin
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text:
The Italian Job
From Wikipedia, the free encyclopedia
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For other uses, see The Italian Job (disambiguation).
The Italian Job
Original theatrical release poster
Directed by
Peter Collinson
Produced by
Michael Deeley
Written by
Troy Kennedy Martin
Starring
Michael Caine
Noël Coward
Benny Hill
Raf Vallone
Tony Beckley
Music by
Quincy Jones
Cinematography
Douglas Slocombe
Edited by
John Trumper
Production
company
Oakhurst Productions
Distributed by
Paramount Pictures
Release date
5 June 1969 (1969-06-05)
[1]
Running time
99 minutes
Country
United Kingdom
Language
English
The Italian Job is a 1969 British comedy caper film, written by Troy Kennedy Martin, produced by Michael Deeley and directed by Peter Collinson. Subsequent television showings and releases on video have made it well known in the United Kingdom.
Its soundtrack was composed by Quincy Jones, and includes "On Days Like These" sung by Matt Monro over the opening credits, and "Getta Bloomin' Move On" (usually referred to as "The Self-Preservation Society", after its chorus) during the climactic car chase. Lead actor Michael Caine is among its singers.[2]
In 1999, it was ranked #36 on the BFI Top 100 British films by the British Film Institute. In November 2004, Total Film named The Italian Job the 27th greatest British film of all time.[3] The line "You're only supposed to blow the bloody doors off!" by Caine was voted favourite film one-liner in a 2003 poll of 1,000 film fans.[4] The popularity of the film has led to parodies and allusions in other films and productions, including a 2003 remake[5][6][7] and inspired a charity event[8] that has taken place annually since 1990 and involves Minis and other vehicles featured in the original film, driving from the UK to northern Italy and back, visiting Grand Prix circuits, historic Italian cities and the locations in Turin featured in the film, while fundraising for children's charities. The event has raised nearly £2,600,000 so far.
Contents
1 Plot
2 Cast
3 Ending
4 Locations
5 Vehicles
6 Music
7 Release
8 Reception and legacy
9 See also
10 References
11 External links
Plot[edit]
Charlie Croker is released from prison with the intention of doing a "big job" in Italy. He soon meets with the widow of his friend and fellow thief Roger Beckermann, who was killed by the Mafia while driving a Lamborghini Miura in the Italian Alps. Mrs Beckermann gives Croker her husband's plans for the robbery that attracted the hostile attention of his killers, which detail a way to steal $4 million in the city of Turin and escape to Switzerland.
Croker breaks back into his former prison to convince powerful crime lord Mr. Bridger to finance the plan. Bridger, who has bribed almost all of the prison guards to work for him, initially rejects the plan, but changes his mind after he learns Fiat is set to build a new factory in China.
With Bridger's backing, Croker recruits computer expert Professor Peach, his girlfriend Lorna and a team of thieves and drivers. The plan calls for Peach to replace the programme in the computer controlling Turin's traffic control system, creating a paralysing traffic jam that will allow the thieves to escape with the gold in three Mini Cooper S getaway cars.[9]
After planning and training, Croker and crew set out for Turin. Mafia boss Altabani and his underlings are waiting in the Alps at the same pass where they killed Beckermann. Altabani warns Croker that the Mafia are aware of the gang's intentions and smashes their Jaguar E-Type cars, sending Croker's personal Aston Martin DB4 drophead off a cliff. Just as Altabani is about to give the order to shoot the gang, Croker tells him that Mr. Bridger will avenge their deaths by attacking the Italian community in Britain. Altabani lets them go, ordering them to return to England. Instead, they proceed with the plan, replacing the traffic control system's magnetic tape data storage reels. On the day of the robbery, Croker sends gang member Birkinshaw, disguised as a football fan, to jam the closed circuit television cameras that monitor traffic. The substitute data reel then causes widespread traffic chaos. The gang converge on the gold convoy, overpower the guards, and tow the armoured car into the entrance hall of the Museo Egizio. There, the gang transfer the gold to the Minis.
Altabani recognises that "If they planned this jam, they must have planned a way out." Pursued by the Turin police, the three Minis race through the shopping arcades of the city, speed down stairs, jump between rooftops, and finally escape the traffic jams by a pre-planned route across a weir. The getaway is timed perfectly, and they throw off the police by driving through a large sewer pipe. As Mr. Bridger receives the cheers and adulation of his fellow prison inmates, the gang drive the Minis into the back of a moving customised coach. They then unload the gold and dispose of the Minis by pushing them off the mountainside.
The rest of the gang, having sneaked out of the city in a minibus while disguised as football supporters, rendezvous with the coach in the Alps. On the looping mountain roads, driver "Big" William loses control of the coach. The back of the bus is left teetering over a cliff and the gold slides towards the rear doors. As Croker attempts to reach the gold, it slips further. The film finishes on a literal cliffhanger with Croker announcing: "Hang on a minute lads, I've got a great idea".[10]
Cast[edit]
Michael Caine as Charlie Croker
Noël Coward as Mr. Bridger
Benny Hill as Professor Simon Peach
Raf Vallone as Altabani
Tony Beckley as Camp Freddie
Rossano Brazzi as Roger Beckermann
Maggie Blye as Lorna
Irene Handl as Miss Peach
John Le Mesurier as the Prison Governor
Fred Emney as Birkinshaw
John Clive as Garage manager
Graham Payn as Keats
Michael Standing as Arthur
Stanley Caine as Coco
Barry Cox as Chris
Harry Baird as Big William
George Innes as Bill Bailey
John Forgeham as Frank
Robert Powell as Yellow
Derek Ware as Rozzer
Frank Jarvis as Roger
David Salamone as Dominic
Richard Essame as Tony
Mario Valgoi as Manzo
Renato Romano(in Italian) as Cosca
Franco Norvelli as Altabani's driver
Robert Rietti as Police chief
Timothy Bateson as Dentist
David Kelly as Vicar
Arnold Diamond as Senior computer room official
Simon Dee as Shirtmaker
Alistair Hunter as Warder (cinema)
Lana Gatto as Mrs. Cosca
John Morris as Standin
Louis Mansi as Computer room official
Henry McGee as Tailor
Lelia Goldoni as Mrs Beckermann
Valerie Leon as Hotel Receptionist
Noël Coward, who played Bridger, was godfather of the director, Peter Collinson. Bridger's fellow convict and confidant, Keats, was played by Graham Payn, Coward's long-time partner. Lana Gatto was the nom de crédit of Hazel Collinson, otherwise known as Mrs. Peter Collinson. Michael Caine's brother Stanley Caine also appears as one of Croker's gang. The gang also included Robert Powell, in his first film role. Frank Kelly appears as an uncredited prison officer, also in his first film role. American distributors Paramount wanted Robert Redford to play the lead.
Ending[edit]
The artwork Hang On A Minute Lads, I've Got A Great Idea by Richard Wilson on the De La Warr Pavilion, Bexhill-on-Sea
According to a "Making Of" documentary,[11] producer Deeley was unsatisfied with the four written endings and conceived the current ending as a literal cliffhanger appropriate to an action film which left an opportunity for a sequel. The documentary describes how helicopters would save the bus seen on the cliff at the end of the first film. The grateful gang would soon discover that it is the Mafia that has saved them, and the sequel would have been about stealing the gold bullion back from them.
In interviews in 2003 and 2008, Michael Caine revealed that the ending would have had Croker "crawl up, switch on the engine and stay there for four hours until all the petrol runs out... The van bounces back up so we can all get out, but then the gold goes over."[12] The bus containing the gold would crash at the bottom of the hill where the Mafia would pick it up. The sequel would then have Croker and his men trying to get it back.
In 2008, the Royal Society of Chemistry held a competition for a solution that had a basis in science, was to take not more than 30 minutes and did not use a helicopter.[13] The idea was to promote greater understanding of science, and to highlight the 100th anniversary of the periodic table, on which gold is one of the 118 elements.[12] The winning entry, by John Godwin of Surrey, was: Break and remove two large side windows just aft of the pivot point and let the glass fall outside to lose its weight; break two windows over the two front axles, keeping the broken glass on board to keep its weight for balance; let a man out on a rope through the front broken windows (not to rest his weight on the ground) who deflates all the bus's front tyres, to reduce the bus's rocking movement about its pivot point; drain the fuel tank, which is aft of the pivot point, which changes the balance enough to let a man get out and gather heavy rocks to load the front of the bus. Unload the bus. Wait until a suitable vehicle passes on the road, hijack it, and carry the gold away in it.[14] MIT physicist Mike Follows claims to have come up with a more practical ending.[15]
Locations[edit]
The opening sequence of the film featuring Beckermann driving his Lamborghini Miura through The Alps was filmed on the Great St Bernard Pass, Aosta, Italy, with the opening scene featuring the Dardanelli Viaduct, which was constructed in 1961. The large house featured momentarily during the sequence is the Maison de Refuge.
The tunnel in which Beckermann abruptly meets his demise at the hands of the Mafia was shot at La Thuile on road SS26, Italy.
The interior of the prison that held Bridger was Kilmainham Gaol in Dublin, Ireland. The exterior, seen when Croker leaves, is HM Prison Wormwood Scrubs in west London.
Upon his release, Croker stays at the Royal Lancaster Hotel in Bayswater, London. Denbigh Close, Notting Hill, W11, was used as the location for Croker's (Michael Caine) home.[16]
The highrise apartment where the Turin job is planned was the penthouse flat at Alembic House (now known as Peninsula Heights) on the Albert Embankment. The property was later seen in films such as Theatre of Blood (1973), A Touch of Class (1973), and Sweeney! (1977). It became the London home of novelist Jeffrey Archer.[citation needed]
The training sessions shown for the Mini drivers were at the Crystal Palace race track in Upper Norwood, South London. The attempt to blow the doors off the bullion van, which led to its destruction and Croker's famous line, took place at Crystal Palace Sports Centre. The Crystal Palace transmitter can be seen in the background.
The meeting at the misty funeral was filmed in Cruagh Cemetery, in the foothills of the Dublin Mountains.
The office block that doubled as the Turin traffic control centre was Apex House, the Hanworth, Middlesex head office of the television rental chain DER.[11]
A display of a Mini emerging from a sewer tunnel in Coventry Transport Museum
The chase sequences were filmed in Turin, except for the chase through the sewer tunnel, which was shot in the Sowe Valley Sewer Duplication system in the Stoke Aldermoor district of Coventry in the English Midlands, filmed from the back of a Mini Moke.[11] The person on the far side who closes the gate at the end of sewer tunnel is the director, Peter Collinson. Collinson also appeared in the scene on the highway when the ramps get jettisoned, clinging to the right-hand rear door of the coach as the Minis enter at speed.[11]
During the getaway the Minis are pursued by police around the rooftop test track of what was then a Fiat factory in the Lingotto building in Turin. The weir the Minis cross in the car chase is just down river from the Ponte Vittorio Emanuele I at the end of Via Po in central Turin.
A portion of the car chase was filmed as a dance between the Minis and police cars inside Pier Luigi Nervi's Exhibition Building, with a full orchestra playing "The Blue Danube".[11] It was cut from the final version and appears as an extra on the DVD.
The final escape from Turin was filmed on the road to Ceresole Reale via Lago Agnel and Colle del Nivolet (the highway does not lead to France or Switzerland because it is a dead end). The bus was left hanging off this corner[17] in the climatic ending.
Vehicles[edit]
Minis from The Italian Job on display at Bardney Heritage Centre
Roger Beckermann's orange Lamborghini Miura in the opening scene is actually two cars. The first was a Miura P400 that was sold as new afterwards. In 2015 it was found and verified, and now belongs to Cheshire Classic Cars.[18] The car tumbled down the chasm by the Mafia bulldozer was another Miura that had been in a serious accident and was not roadworthy.
According to the director's commentary on the DVD, despite the publicity the film would give to the Mini, the car's maker, BMC, only provided a token fleet of Minis and the production company had to buy the rest at trade price. Fiat offered the production as many super-charged Fiat cars as they needed, several sports cars for the Mafia confrontation scene, plus $50,000, but the producers turned down the offer because it would have meant replacing the Minis with Fiats.
The Minis seen on screen carry registration numbers HMP 729G (Red), GPF 146G (White) and LGW 809G (Blue). As at July 2012, a DVLA query indicates that two of these plates may still be registered; these, however, are not the cars used in the film as the film cars had "future dated" plates to make them current with the release date of the film, and as such would not be road legal. There were also numerous detail differences between the Minis used during filming and the launch of the "G" year suffix. According to the "making of" DVD extra, the Minis used in the chase scenes were all destroyed in accidents while filming the sewer sequence.
As Croker walks through the garage where the Minis are being prepared, viewers hear that "Rozzer's having trouble with his differential", and the back of the red Mini Cooper is jacked up where Rozzer is working. This is an inside joke since the Mini has front-wheel drive and does not have a rear differential. In the early 1960s, front-wheel-drive cars were new and asking a car mechanic to repair a Mini's rear differential was a popular snipe hunt.
Gold cost $38.69 per troy ounce in 1968,[19] so four million dollars in gold bars would have weighed about 3200 kg (7000 lb), requiring each of the three Minis to carry about 1070 kg (2300 lb) in addition to the driver and passenger. Since a 1968 Mini only weighs 630 kg (1400 lb),[20] each of these vehicles would have had to carry 1½ times its own weight in gold.
The coach at the end of the film was a 1964 Bedford VAL with Harrington Legionnaire Body, distinctive for its twin front steering axles. The most famous coach ever? ALR 453B which was delivered new to Battens coaches of London, then eventually into the hands of the production team and it was converted especially for the film. After its epic use in the film ALR did go back to being a coach and was scrapped about 1990 after being in service with several operators, mainly in the Scotland area. The coach had to be reinforced behind the driver's seat so that when the Coopers came into the back they didn't crush the driver. Even though plating had been secured, the driver's seat was still pushed forward several inches, enough for the driver to be touching the steering wheel with his stomach.
When the Legionnaire was on its way to Turin, it has London-Turin on the destination display above the windscreen; on the way back it had been changed to Turin-London. It also proudly displayed 'Charlie Croker's Coach Tours' logos on the rear and both flanks. Following the filming, the coach had its improvised rear doors welded and was used on a Scottish school bus route until the mid-1980s when, according to the Legionnaire register, it was scrapped. However, it can be found on the roadside at New Invention, Willenhall, West Midlands.
Charlie Croker picks up his Aston Martin DB4 convertible from a garage after release from prison. The scene was mostly improvised, which caused visible lighting irregularities since the crew did not know where the actors would be. The location of the underground carpark and lift is now part of Park Lane BMW, London.
The original DB4 belongs today to a private English collection. According to several sources, the "Aston" pushed off the cliff was a Vignale Lancia Flaminia mocked up as an Aston. The two E-type Jaguars that suffered from the Mafia's revenge were restored to original condition, the red one of which is owned by Phillip Porter, the founder of the Jaguar E-type owners club.
The black Fiat Dino coupé of Mafia boss Altabani was bought by Peter Collinson but became so rusty that only its doors remain. The Italian police cars seen around Turin were Alfa Romeo Giulias. The Italian police armoured car which escorts the gold convoy is a conversion of a former Second World War American M8 Greyhound armoured car. The original 37mm gun was removed and replaced with a water cannon.
A Land Rover Series IIa Station Wagon, registration BKO 686C, was used to get to the convoy before attacking and was modified with window bars and a towbar.
A Ford Thames 400E van was used for the football fans' decorated van; this was referred to as the Dormobile, the name of a common camper-van conversion coachbuilder.
The cross-Channel ferry featured in one scene is the MS Free Enterprise I. The ship spent many years as a day cruise ship in Greek waters before being scrapped in 2013.
The "Chinese" plane delivering the gold to Turin is a rare Douglas C-74 Globemaster, of which only 14 were built and only four passed into private ownership. It had been abandoned in Milan by its owners and was moved to Turin for filming. It was destroyed by fire in 1970.[21]
Music[edit]
Main article: The Italian Job (soundtrack)
Matt Monro – On Days Like These excerpt
An excerpt from Matt Monro's On Days Like These
Problems playing this file? See media help.
The music for the soundtrack was written by Quincy Jones. The opening theme, "On Days Like These", had lyrics by Don Black and was sung by Matt Monro. The closing theme, "Get a Bloomin' Move On" (AKA "The Self Preservation Society"), was performed by the cast and had lyrics featuring Cockney Rhyming Slang. Many incidental themes are based on British patriotic songs, such as "Rule, Britannia!", "The British Grenadiers" and "God Save the Queen".
Release[edit]
The film opened at the Plaza Cinema in London on 5th June 1969.[1]
Reception and legacy[edit]
Poster for the American release of the film. The relative lack of success for the film in the United States was blamed partially on what was seen as an unattractive and misleading advertising campaign.
The film has received generally positive reviews. On Rotten Tomatoes, it holds an approval rating of 85% and an average rating of 7.3/10, based on 26 reviews. The website's critical consensus reads, "The Italian Job is a wildly fun romp that epitomizes the height of Britannia style."[22] Most positive reviews focus on the climactic car chase and the acting of both Michael Caine and Noël Coward, complimenting Peter Collinson's directing. It is considered highly evocative of 1960s London and the era in Britain as a whole.[23] In a modern review Nik Higgins of Future Movies claims that the film makes Austin Powers's wardrobe appear 'drab and grey'. He compliments Michael Caine's ability to effectively portray the character of Charlie [24] and also praises the music of Quincy Jones. Higgins particularly highlights how the music 'hops between smooth lounges' like the opener "On Days Like These" and the latter "Get a Bloomin' Move On" ('The Self Preservation Society'), which plays near the film's end.
It has also received some negative reviews, focusing on what is perceived as a predictable chase[25] and a lack of real emotion.[26] Vincent Canby, writing at the time of the film's release, felt that the caper film had been made before and much better as well. He complimented the film's technological sophistication, only criticising what he saw as an 'emotionally retarded' plot. Canby also expressed concern that Coward's appearance in the film, although intended to be kind, 'exploits him in vaguely unpleasant ways' by surrounding his character with images of the royal family, which had not knighted him at the time. A contemporary review in Time magazine felt that the film spent too much time focusing on the film's caper as opposed to building the characters; it also criticised the car chases as 'dull and deafening'.[27]
Although it received a Golden Globe nomination for "Best English-Language Foreign Film", the film was not a success in America. Caine blamed its failure on unattractive and misleading advertising.[28] As a result, plans for a sequel were shelved.
The movie was the 14th most popular at the UK box office in 1969.[29]
The film remains popular, however, and is considered one of the greatest British films in modern polls.[30] James Travers of Films de France believes that the film's enduring appeal rests in the 'improbable union' of Michael Caine, Noël Coward and Benny Hill, whom he considers "three of the best known [British] performers... in the late 1960s". He states that the film has a cult status and stands as a 'classic of its genre'.[23]
A novelisation of the film, written by Troy Kennedy Martin and Ken Wlaschin, was published by Sphere Books in 1969. The book contains numerous differences to the film: for example there is a rival group of German gangsters called the Hamburg Syndicate who try to obtain Beckerman's plans for the robbery, Croker and the three minis travel to Italy by yacht, and Professor Peach is rescued by the gang after he is arrested. The ending of the novel is also significantly different. The bus successfully crosses the border into Switzerland and two days later the gang and the gold arrive on a beach near Dover in a landing craft where they are met by Mr. Bridger and Luigi Altabani. Mr. Bridger tells Charlie Croker that they have come to an agreement to "divide Europe" and that the gold must be given back to the Italians.
Since 2000, there have been two remakes of the film. The first was released in 2003 and also called The Italian Job, set in Los Angeles and starring Mark Wahlberg as Charlie Croker. It features Donald Sutherland as John Bridger, played as more of a father figure to Croker. It employs the updated Mini Cooper for a chase towards the end. An official Bollywood remake of the 2003 film, called Players, was released in 2012.[31]
There is a video game based on the 1969 film, released for the PlayStation game console in 2001 and Microsoft Windows in 2002 and published by Rockstar Games.
Michael Caine's performance and 'bloody doors' line has been parodied in several British comedies, and in a music video for Pick a Part That's New by Stereophonics.
Large portions of the car chase scenes were lifted directly from the film for use in the MacGyver episode "Thief of Budapest" (Series 1, Ep 3) with the main characters setting up the story with three Minis visible at the start of the episode. Most of the end of the episode is footage from The Italian Job.[32]
The film was also the subject of a play, Bill Shakespeare's "The Italian Job", written by Malachi Bogdanov, who used lines from Shakespeare plays to tell the story. It was performed in 2003 at the Edinburgh Fringe Festival.[33]
As part of a celebration of British culture at 2012 Summer Olympics, which were held in Great Britain, a replica of the bus was made and was exhibited balanced on the edge of the roof of The De La Warr Pavilion in Bexhill-on-Sea.[34] The famous dialogue and car blowing up scene were shown at the closing ceremony.[35]
In September 2016, NBC and Paramount Television began work on a TV series inspired by the original and the remake.[36]
See also[edit]
The Italian Job (2003 film)
The Italian Bob
Heist film
References[edit]
^ Jump up to: a b "On This Day: The Italian Job". Art & Hue. 5 June 2018. Retrieved 5 June 2018.
Jump up ^ "The Film – Soundtrack". The Italian Job.com. Retrieved 9 September 2007.
Jump up ^ "November 2004: Issue 95". Total Film. Future Publishing. Archived from the original on 29 March 2006. Retrieved 29 May 2006.
Jump up ^ Paterson, Michael (10 March 2003). "Caine takes top billing for the greatest one-liner on screen". The Daily Telegraph. Telegraph Media Group. Retrieved 8 February 2009.
Jump up ^ "As If: 312 (Italian Job)". TV.com. CBS Interactive. Retrieved 4 January 2009.
Jump up ^ "The Simpsons: The Italian Bob". TV.com. CBS Interactive. Archived from the original on 28 March 2009. Retrieved 4 January 2009.
Jump up ^ "MacGyver: 103 (Thief of Budapest)". TV.com. CBS Interactive. Retrieved 4 January 2009.
Jump up ^ "The Italian Job". The Italian Job. 27 October 2017. Retrieved 8 November 2017.
Jump up ^ "Cars – Mini Coopers". The Italian Job.com. Retrieved 11 July 2018.
Jump up ^ Smith, Mark. "'Hang on a minute lads, I've got a great idea!' Brexit, crisis management and sensemaking". The Conversation. Retrieved 19 October 2018.
^ Jump up to: a b c d e The Making of The Italian Job' on IMDb
^ Jump up to: a b "Caine reveals Italian Job ending". BBC News. BBC. 29 November 2008. Retrieved 11 August 2009.
Jump up ^ Press Office (20 October 2008). ""Italian Job" cliff-hanger solution sought". Royal Society of Chemistry. Retrieved 11 July 2018.
Jump up ^ Adams, Stephen (23 January 2009). "Cliffhanger climax to The Italian Job solved after 40-year wait". The Daily Telegraph. Telegraph Media Group. Retrieved 11 July 2018.
Jump up ^ http://iopscience.iop.org/article/10.1088/1361-6552/aad787
Jump up ^ "Mews News". Lurot Brand. Spring 2010. Archived from the original on 21 September 2013. Retrieved 19 September 2013.
Jump up ^ https://goo.gl/maps/sNCidc999BQ2
Jump up ^ "The "Italian Job" Miura". Cheshire Classic Cars. Archived from the original on 26 February 2016. Retrieved 29 October 2016. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "Hisotical Gold Charts and Data". Kitco. Retrieved 29 May 2006.
Jump up ^ Reed, Chris (2003). Complete Classic Mini 1959–2000. Croydon: Motor Racing Publications. ISBN 9781899870608.
Jump up ^ Kuris, Jeremy (25 March 2002). "USAF Serial Number Search Results". Aircraft Serial Number Search. Retrieved 26 November 2010.
Jump up ^ "The Italian Job (1969)". Rotten Tomatoes. Fandango Media. Retrieved 11 July 2018.
^ Jump up to: a b Travers, James. "The Italian Job (1969)". Films de France. Retrieved 16 October 2011.
Jump up ^ Huggins, Nik (15 May 2009). "The Italian Job (1969)". Future Movies. Retrieved 11 July 2018.
Jump up ^ "The Italian Job". TV Guide. Retrieved 16 October 2011.
Jump up ^ Canby, Vincent (9 October 1969). "'Italian Job' and 'Ace High': Double Bill of Imports at Local Theaters". The New York Times. The New York Times Company. Retrieved 16 October 2011.
Jump up ^ "Cinema: Britannia Waives the Rules". Time. 19 September 1969. Retrieved 16 October 2011.
Jump up ^ Johns, Marjorie (1998). "Michael Caine in The Italian Job". Citizen Caine. Retrieved 12 June 2006.
Jump up ^ "The World's Top Twenty Films". Sunday Times. 27 September 1970 – via The Sunday Times Digital Archive.
Jump up ^ WENN (10 January 2011). "Michael Caine – The Italian Job Is Britain's Best Film". Contactmusic. Retrieved 16 October 2011.
Jump up ^ Bhushan, Nyay (23 November 2010). "India to Remake 'The Italian Job'". The Hollywood Reporter. Prometheus Global Media. Retrieved 11 July 2018.
Jump up ^ "#34: Thief of Budapest". The MacGyver Project.
Jump up ^ Lathan, Peter (2003). "Fringe 2003 Reviews (20)". The British Theatre Guide. Retrieved 11 July 2018.
Jump up ^ Goodenough, Tom (4 July 2012). "Meet the new Olympic coach". The Daily Mail. Associated Newspapers. Retrieved 13 August 2012.
Jump up ^ "London 2012 Olympic Games end with a party". Channel 4 News. Channel 4. 13 August 2012. Retrieved 13 August 2012.
Jump up ^ Andreeva, Nellie (28 September 2016). "'The Italian Job' Drama Series Inspired By Movies Set At NBC From Paramount TV". Deadline Hollywood. Penske Business Media. Retrieved 23 October 2016.
External links[edit]
Wikiquote has quotations related to: The Italian Job (1969 film)
The Italian Job on IMDb
The Italian Job at the TCM Movie Database
The Italian Job at Rotten Tomatoes
Welcome to TheItalianJob.com
Film Locations used in The Italian Job
The Italian Job (charity event)[1] website
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The Italian Job
Films
The Italian Job (1969)
The Italian Job (2003)
Players (2012)
Video games
The Italian Job (2001)
The Italian Job (2003)
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Films directed by Peter Collinson
The Penthouse (1967)
Up the Junction (1968)
The Long Day's Dying (1968)
The Italian Job (1969)
You Can't Win 'Em All (1970)
Fright (1971)
Straight On till Morning (1972)
Innocent Bystanders (1972)
The Man Called Noon (1973)
Open Season (1974)
And Then There Were None (1974)
The Spiral Staircase (1975)
Target of an Assassin (1976)
The Sell Out (1976)
Tomorrow Never Comes (1978)
The House on Garibaldi Street (1979)
The Earthling (1980)
Jump up ^ "The Italian Job (charity event)". The Italian Job (charity event).
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text:
Life's What You Make It (Hannah Montana song)
From Wikipedia, the free encyclopedia
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"Life's What You Make It"
Single by Hannah Montana
from the album Hannah Montana 2
Released
June 9, 2007
Format
Digital download
Recorded
2007
Genre
Pop rock
teen pop
bubblegum pop
power pop
Length
3:11
Label
Walt Disney
Songwriter(s)
Matthew Gerrard
Robbie Nevil
Hannah Montana singles chronology
"Nobody's Perfect"
(2007) "Life's What You Make It"
(2007) "We Got the Party"
(2007)
"Nobody's Perfect"
(2007) "Life's What You Make It"
(2007) "We Got the Party"
(2007)
"Life's What You Make It" is a single by Hannah Montana and is featured on the Disney Channel's Hannah Montana 2 soundtrack album. It premiered on Radio Disney on June 9, 2007. It was also performed at the Disney Channel Games 2007 concert. There is an official music video to this song, available on the Disney Channel website. A promotional music video is the performance of the song at the Hannah Montana 2 concert taping. Another promotional music video showed the concert performance from the Disney Channel Games opening ceremonies and some clips of the cast of Hannah Montana at Walt Disney World's Magic Kingdom. "Life's What You Make It" has peaked at number 7 on the iTunes Top Songs list.
The song debuted at number 25 on the U.S. Billboard Hot 100 in July 2007, in the same week that Hannah Montana 2: Meet Miley Cyrus debuted at number one on the album chart. The song was Hannah Montana's highest debut entry, later beaten by "He Could Be The One", which entered at number 10.[1]
A Hannah Montana DVD titled Life's What You Make It, was released on October 9, 2007.
Charts[edit]
Chart (2008) [2]
Peak
position
U.S. Billboard Hot 100 25
U.S. Billboard Pop 100 24
References[edit]
Jump up ^ Jonathan Cohen, "Rihanna, Shop Boyz Still Not Budging On Hot 100", Billboard.com, July 5, 2007.
Jump up ^ [1][dead link]
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Hannah Montana songs
Hannah Montana
"The Best of Both Worlds"
"Who Said"
"Pumpin' Up the Party"
"If We Were a Movie"
"I Got Nerve"
Hannah Montana 2
"Nobody's Perfect"
"Make Some Noise"
"Life's What You Make It"
"One in a Million"
Hannah Montana: The Movie
"You'll Always Find Your Way Back Home"
"Let's Do This"
"Let's Get Crazy"
Hannah Montana 3
"I Wanna Know You"
"Ice Cream Freeze (Let's Chill)"
"He Could Be the One"
"Supergirl"
Hannah Montana Forever
"Gonna Get This"
"Ordinary Girl"

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Categories:
2007 singles
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Songs written by Matthew Gerrard
Songs written by Robbie Nevil
Walt Disney Records singles
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values: Life's What You Make It (Hannah Montana) – Italian

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