text:
A Hard Rain's a-Gonna Fall
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"A Hard Rain's a-Gonna Fall"
Song by Bob Dylan
from the album The Freewheelin' Bob Dylan
Released
May 27, 1963
Recorded
December 6, 1962
Genre
Folk
Length
6:55
Label
Columbia Records
Songwriter(s)
Bob Dylan
Producer(s)
John Hammond
The Freewheelin' Bob Dylan track listing
show
13 tracks
Side one
"Blowin' in the Wind"
"Girl from the North Country"
"Masters of War"
"Down the Highway"
"Bob Dylan's Blues"
"A Hard Rain's a-Gonna Fall"
Side two
"Don't Think Twice, It's All Right"
"Bob Dylan's Dream"
"Oxford Town"
"Talkin' World War III Blues"
"Corrina, Corrina"
"Honey, Just Allow Me One More Chance"
"I Shall Be Free"
"A Hard Rain's a-Gonna Fall" is a song written by Bob Dylan in the summer of 1962 and recorded later that year for his second album, The Freewheelin' Bob Dylan. Its lyrical structure is thematically complex and modeled after the question and answer form of traditional ballads such as "Lord Randall".
The song is characterized by dark symbolist imagery and a message communicating injustice, suffering, pollution, and warfare. Dylan has stated that all of the lyrics were taken from the initial lines of songs that "he thought he would never have time to write."[1] Nat Hentoff quoted Dylan as saying that he immediately wrote the song in response to the Cuban Missile Crisis,[2] although in his memoir, Chronicles: Volume One, Dylan attributed his inspiration to the feeling he got when reading microfiche newspapers in the New York Public Library: "After a while you become aware of nothing but a culture of feeling, of black days, of schism, evil for evil, the common destiny of the human being getting thrown off course. It’s all one long funeral song."[3][page needed]
Contents
1 History
2 Analysis and reception
3 Live performance
4 Covers
5 Other media
6 See also
7 Notes
8 References
9 External links
History[edit]
Dylan originally wrote "A Hard Rain's a-Gonna Fall" in the form of a poem. The first iteration of the lyrics were written on a typewriter in the shared apartment of Dylan's friends Wavy Gravy and singer Tom Paxton, within Greenwich Village, New York City.[4] Significant edits occurred after this time, for instance, an earlier draft which appeared in both Sing Out and Broadside folk magazines contained "a highway of golden with nobody on it" rather than the final lyric "a highway of diamonds".
On September 22, 1962, Dylan appeared for the first time at Carnegie Hall as part of an all-star hootenanny.[5][6] His three-song set marked the first public performance of "A Hard Rain's a-Gonna Fall,"[7] a complex and powerful song built upon the question-and-answer refrain pattern of the traditional British ballad "Lord Randall", published by Francis Child.
One month later, on October 22, U.S. President John F. Kennedy appeared on national television to announce the discovery of Soviet missiles on the island of Cuba, initiating the Cuban Missile Crisis. In the sleeve notes on the Freewheelin' album, Nat Hentoff would quote Dylan as saying that he wrote "A Hard Rain" in response to the Cuban Missile Crisis:[2] "Every line in it is actually the start of a whole new song. But when I wrote it, I thought I wouldn't have enough time alive to write all those songs so I put all I could into this one." In actuality, Dylan had written the song more than a month before the crisis broke.
The song was recorded in a single take at Columbia Records' Studio A on December 6, 1962.
Analysis and reception[edit]
Folk singer Pete Seeger interpreted the line "When the home in the valley meets the damp dirty prison" as referring to when a young person suddenly wants to leave his home, but then qualified that by saying, "People are wrong when they say 'I know what he means.'"[8]
While some have suggested[9] that the refrain of the song refers to nuclear fallout, Dylan disputes that this was a specific reference. In a radio interview with Studs Terkel in 1963, Dylan said:
"No, it's not atomic rain, it's just a hard rain. It isn't the fallout rain. I mean some sort of end that's just gotta happen ... In the last verse, when I say, 'the pellets of poison are flooding the waters,' that means all the lies that people get told on their radios and in their newspapers."[10]
In No Direction Home, Martin Scorsese's documentary on Dylan, the Beat poet Allen Ginsberg talks about the first time he heard Dylan's music:
"When I got back from India, and got to the West Coast, there's a poet, Charlie Plymell - at a party in Bolinas — played me a record of this new young folk singer. And I heard "Hard Rain," I think. And wept. 'Cause it seemed that the torch had been passed to another generation. From earlier bohemian, or Beat illumination. And self-empowerment."[11]
Author Ian MacDonald described "A Hard Rain" as one of the most idiosyncratic protest songs ever written.[12]
Live performance[edit]
Although Dylan may have first played the song to friends, "A Hard Rain's a-Gonna Fall" was formally premiered at Carnegie Hall on September 22, 1962, as part of a hootenanny organized by Pete Seeger. Seeger recalled: "I had to announce to all the singers, 'Folks, you're gonna be limited to three songs. No more. 'Cause we each have ten minutes apiece.' And Bob raised his hand and said, 'What am I supposed to do? One of my songs is ten minutes long.'"[13]
Dylan featured the song regularly in concerts in the years since he premiered it, and there have been several dramatic performances. An October 1963 performance at Carnegie Hall was released on The Bootleg Series Vol. 7: No Direction Home, while another New York City performance, recorded one year later, appeared on The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall. Dylan performed the song in August 1971 at The Concert for Bangladesh, organized by George Harrison and Ravi Shankar. The concert was organized for East Pakistan refugee relief (now independent Bangladesh) after the 1970 Bhola cyclone and during the 1971 Bangladesh Liberation War. On December 4, 1975, at the Forum de Montreal, Canada,[14] Dylan recorded an upbeat version of the song, which appears on The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue album. On May 23, 1994, Dylan performed the song at "The Great Music Experience" festival in Japan, backed by a 90-piece symphony orchestra conducted by Michael Kamen.[15] At the end of 2007, Dylan recorded a new version of "A Hard Rain's a-Gonna Fall" exclusively for Expo Zaragoza 2008 world fair, scheduled to open on June 8, 2008, to highlight the Expo theme of "water and sustainable development". As well as choosing local-band Amaral to record a version of the song in Spanish, Dylan's new version ended with a few spoken words about his "being proud to be a part of the mission to make water safe and clean for every human being living in this world."[16][17]
Patti Smith performed the song with orchestral accompaniment at the Nobel Prize Award Ceremony on December 10, 2016, to commemorate Dylan receiving the Nobel Prize in Literature.[18]
Covers[edit]
Pete Seeger: We Shall Overcome (Pete Seeger album) (1963); World of Pete Seeger (1973); We Shall Overcome: Complete Carnegie Hall Concert (1989); The Best of Broadside 1962–1988 (2000)
Joan Baez: Farewell Angelina (1965); The First 10 Years (1970); Live -Europe '83: Children of the Eighties (1983); Rare, Live & Classic (1993)
Rod MacKinnon: Folk Concert Down Under (1965)
Leon Russell: Leon Russell and The Shelter People (1971); The Songs of Bob Dylan (1993); Retrospective (1997)
Bryan Ferry: These Foolish Things (1973); Street Life (1986); More Than This: The Best of Bryan Ferry (1999)
The Staple Singers: Use What You Got (1973)
Nana Mouskouri: Le ciel est noir - Nana Mouskouri au Théâtre des Champs-Élysées (1974 live release); À Paris (1979 live release); Le Ciel est Noir - Les 50 Plus Belles Chansons de Nana Mouskouri (2007 release); Rendez-Vous (2011 release, recorded as a duet with Canadian singer Garou).
Edie Brickell and New Bohemians: Born on the Fourth of July (soundtrack) (1989)
Barbara Dickson: Don't Think Twice, It's Alright (1992)
Melanie: Silence Is King (1993)
Mugison Covered this song as the opening of his aldrei for ég suður concert 2008
Aviv Geffen Geshem Kaved Omed Lipol (in Hebrew: גשם כבד עומד ליפול)
Andy Hill: It Takes a Lot to Laugh (2000)
Guitarist Bill Frisell plays an instrumental version on his live release "East/West" (2005)
Jason Mraz: Listen to Bob Dylan: A Tribute (2005)
Faust: "Nodutgang" (compilation) (2006)
Ann Wilson (lead singer of Heart): Hope & Glory (2007 solo release) (with Rufus Wainwright & Shawn Colvin)
Les Fradkin covered it as part of his 2007 release "12"
Robert Křesťan: Dylanovky (2007)
Amaral made a Spanish version for EXPO Zaragoza 2008 called Llegará la tormenta (The storm will arrive)
The Dead performed a live version at the Verizon Center in Washington, D.C. on April 14, 2009.
Furthur performed the song at concerts in California and Massachusetts during their 2010 tour.
Robert Plant & The Band Of Joy at an April 8, 2011, show in Louisville, KY.[19]
Ernst Jansz have translated the song in the Dutch: Zware regen. From his CD Dromen van Johanna (Visions of Johanna)
Jimmy Cliff: Sacred Fire EP (2011)
Walk off the Earth: A Hard Rain's a Gonna Fall - Marshall and Sarah Blackwood (2011)
Tom Russell with Lucinda Williams and Calexico: Mesabi (2011)
Widespread Panic occasionally performs the song in the arrangement of Leon Russell's version
Jamie Hartman with Rosi Golan: III (2012)
Dead & Company performed the song occasionally on their 2016 summer tour.
Patti Smith performed the song on 2016 Nobel Prize Ceremony.[20]
Laura Marling covered the song for the season four finale of Peaky Blinders.[21]
Kurt Elling: The Questions (2018)
Bob Weir and Phil Lesh performed it on their Bobby and Phil DuoTour at Radio City Music Hall , New York City, March2, 2018.

Leon Russel also performed a superb version of A Hard Rain's a Gonna Fall - it is on his greatest hits album entitled Retrospective
Other media[edit]
Photographer Mark Edwards took a series of photographs illustrating the lyrics of the song which were exhibited in many locations such as the United Nations headquarters. These were published in a book in 2006.[22][23]
See also[edit]
List of Bob Dylan songs based on earlier tunes
Notes[edit]
Jump up ^ Overbye, Dennis (2013-07-01). "Timeless Questions About the Universe". The New York Times. ISSN 0362-4331. Retrieved 2018-05-24.
^ Jump up to: a b Friedman, Jonathan C. (ed.) (2013). The Routledge History of Social Protest in Popular Music. London: Routledge. p. 151. ISBN 9780415509527. CS1 maint: Extra text: authors list (link)
Jump up ^ Dylan, Bob (2004). Chronicles: Volume One. Simon & Schuster. ISBN 0-7432-2815-4.
Jump up ^ "100 Greatest Bob Dylan Songs". Rolling Stone. Retrieved 2018-05-24.
Jump up ^ Marqusee, Mike (2005). Wicked Messenger: Bob Dylan and the 1960s. Seven Stories Press. pp. 64f. ISBN 1-58322-686-9.
Jump up ^ Shelton, Robert (2003). No Direction Home: The Life and Music of Bob Dylan. Da Capo Press. p. 152. ISBN 0-306-81287-8.
Jump up ^ It was the final song performed in the set. It followed a rendition of "As Long as the Grass Shall Grow", which consisted of music written by Dylan and lyrics by the noted Native American poet/singer/songwriter Peter LaFarge, recounting the US government's violation of its longstanding treaty with the Seneca nation in upstate New York.
Jump up ^ Gilliland 1969, show 31, track 4, 9:20.
Jump up ^ "'A Hard Rain's A-Gonna Fall...'". This Day in Quotes. May 27, 2014. Retrieved 6 June 2016.
Jump up ^ Reprinted in Cott (ed.), Dylan on Dylan: The Essential Interviews, pp. 7–9.
Jump up ^ Ginsberg, Allen (2005). No Direction Home (DVD). Paramount Pictures.
Jump up ^ Phillips, Jerry; Anesko, general editor; Michael; adviser; authors, contributor; Karen Meyers, Erik V. R. Rangno, principal (2010). Contemporary American Literature (1945–present) (2nd ed.). New York: Chelsea House. p. 34. ISBN 1604134895.
Jump up ^ Heylin 2003, p. 102.
Jump up ^ Set Lists:Forum de Montreal Archived April 10, 2013, at the Wayback Machine. Bobdylan.com
Jump up ^ Vigoda, Arlene (May 24, 1994). "Born To Be Wilde". USA Today. Retrieved July 24, 2013.
Jump up ^ Llewellyn, Howell (November 23, 2007). "Dylan reworks "Hard Rain's" for Spanish expo". Reuters. Retrieved November 24, 2007.
Jump up ^ "Expo Zaragoza 2008". Expo web site. Archived from the original on 3 December 2007. Retrieved December 2, 2007.
Jump up ^ "Patti Smith stumbles then delivers at Bob Dylan-less Nobel ceremony". USA Today. December 10, 2016.
Jump up ^ Robert Plant & The Band of Joy 4/8/11 Louisville Palace on YouTube
Jump up ^ Patti Smith - A Hard Rain's A-Gonna Fall (ceremonia Nobel 2016) on YouTube
Jump up ^ SCHATZ, LAKE. "Laura Marling covers Bob Dylan's "A Hard Rain's a-Gonna Fall"". cos. 2017 Consequence of Sound. Retrieved 29 December 2017.
Jump up ^ Mark Edwards; Lloyd Timberlake; Bob Dylan. "Hard rain: our headlong collision with nature".
Jump up ^ "Hard Rain proves tough to weather", Rocky Mountain News, January 16, 1998
References[edit]
Cott, Jonathan, ed. (2006). Dylan on Dylan: The Essential Interviews. Hodder & Stoughton. ISBN 0-340-92312-1.
Gilliland, John (1969). "Ballad in Plain D: An introduction to the Bob Dylan era" (audio). Pop Chronicles. University of North Texas Libraries.
Harvey, Todd (2001). The Formative Dylan: Transmission & Stylistic Influences, 1961–1963. The Scarecrow Press. ISBN 0-8108-4115-0.
Heylin, Clinton (1996). Bob Dylan: A Life In Stolen Moments: Day by Day 1941–1995. ISBN 0-7119-5669-3.
Heylin, Clinton (2003). Bob Dylan: Behind the Shades Revisited. Perennial Currents. ISBN 0-06-052569-X.
Sounes, Howard (2001). Down The Highway: The Life Of Bob Dylan. Grove Press. ISBN 0-8021-1686-8.
External links[edit]
Lyrics at Bob Dylan's official website
hide
v
t
e
The Freewheelin' Bob Dylan
Songs
Side one
"Blowin' in the Wind"
"Girl from the North Country"
"Masters of War"
"Down the Highway"
"Bob Dylan's Blues"
"A Hard Rain's a-Gonna Fall"
Side two
"Don't Think Twice, It's All Right"
"Bob Dylan's Dream"
"Oxford Town"
"Talkin' World War III Blues"
"Corrina, Corrina"
"Honey, Just Allow Me One More Chance"
"I Shall Be Free"
Supporting tours
Bob Dylan England Tour 1965
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Complement system
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
This article is about an aspect of the immune system. For other uses, see Complement.
Scheme of the complement system
The complement system is a part of the immune system that enhances (complements) the ability of antibodies and phagocytic cells to clear microbes and damaged cells from an organism, promotes inflammation, and attacks the pathogen's cell membrane. It is part of the innate immune system,[1] which is not adaptable and does not change over the course of an individual's lifetime. The complement system can, however, be recruited and brought into action by antibodies generated by the adaptive immune system.
The complement system consists of a number of small proteins found in the blood, synthesized by the liver, which circulate as inactive precursors (pro-proteins). When stimulated by one of several triggers, proteases in the system cleave specific proteins to release cytokines and initiate an amplifying cascade of further cleavages. The end result of this complement activation or complement fixation cascade is stimulation of phagocytes to clear foreign and damaged material, inflammation to attract additional phagocytes, and activation of the cell-killing membrane attack complex. Over 30 proteins and protein fragments make up the complement system, including serum proteins, and cell membrane receptors. They account for about 10% of the globulin fraction of blood serum.[citation needed]
Three biochemical pathways activate the complement system: the classical complement pathway, the alternative complement pathway, and the lectin pathway.[2]
Contents
[hide]
1 History
2 Functions
3 Overview
3.1 Classical pathway
3.2 Alternative pathway
3.3 Lectin pathway
3.4 Complement protein fragment nomenclature
3.5 Viral inhibition
3.6 Review
4 Activation of complements by antigen-associated antibody
5 Regulation
6 Role in disease
6.1 Complement deficiency
6.2 Deficiencies in complement regulators
6.3 Diagnostic tools
7 Modulation by infections
8 References
History[edit]
In 1888, George Nuttall found that sheep blood serum had mild killing activity against the bacterium that causes anthrax. The killing activity disappeared when he heated the blood.[3] In 1891, Hans Ernst August Buchner, noting the same property of blood in his experiments, named the killing property "alexin," which means "to ward off" in Greek.[4] By 1884, several laboratories had demonstrated that serum from guinea pigs that had recovered from cholera killed the cholera bacterium in vitro. Heating the serum destroyed its killing activity. Nevertheless, the heat-inactivated serum, when injected into guinea pigs exposed to the cholera bacteria, maintained its ability to protect the animals from illness. Jules Bordet, a young Belgian scientist in Paris at the Pasteur Institute, concluded that this principle has two components, one that maintained a "sensitizing" effect after being heated and one (alexin) whose toxic effect was lost after being heated. The heat-stable component was responsible for immunity against specific microorganisms, whereas the heat-sensitive component was responsible for the non-specific antimicrobial activity conferred by all normal sera. In 1899, Paul Ehrlich renamed the heat-sensitive component "complement."[3]
Ehrlich introduced the term "complement" as part of his larger theory of the immune system. According to this theory, the immune system consists of cells that have specific receptors on their surface to recognize antigens. Upon immunisation with an antigen, more of these receptors are formed, and they are then shed from the cells to circulate in the blood. These receptors, which we now call "antibodies," were called by Ehrlich "amboceptors" to emphasise their bifunctional binding capacity: They recognise and bind to a specific antigen, but they also recognise and bind to the heat-labile antimicrobial component of fresh serum. Ehrlich, therefore, named this heat-labile component "complement," because it is something in the blood that "complements" the cells of the immune system. Ehrlich believed that each antigen-specific amboceptor has its own specific complement, whereas Bordet believed that there is only one type of complement. In the early 20th century, this controversy was resolved when it became understood that complement can act in combination with specific antibodies, or on its own in a non-specific way.[citation needed]
Functions[edit]
Membrane Attack Complex (Terminal Complement Complex C5b-9)
Complement triggers the following immune functions:[5]
Phagocytosis – by opsonizing antigens. C3b has most important opsonizing activity
Inflammation – by attracting macrophages and neutrophils
Membrane attack – by rupturing cell wall of bacteria
Overview[edit]
Most of the proteins and glycoproteins that constitute the complement system are synthesized by hepatocytes. But significant amounts are also produced by tissue macrophages, blood monocytes, and epithelial cells of the genitourinary system and gastrointestinal tract. The three pathways of activation all generate homologous variants of the protease C3-convertase. The classical complement pathway typically requires antigen-antibody complexes for activation (specific immune response), whereas the alternative pathway can be activated by spontaneous C3 hydrolysis, foreign material, pathogens, or damaged cells. The mannose-binding lectin pathway can be activated by C3 hydrolysis or antigens without the presence of antibodies (non-specific immune response). In all three pathways, C3-convertase cleaves and activates component C3, creating C3a and C3b, and causes a cascade of further cleavage and activation events. C3b binds to the surface of pathogens, leading to greater internalization by phagocytic cells by opsonization.
In the alternative pathway, C3b binds to Factor B. Factor D releases Factor Ba from Factor B bound to C3b. The complex of C3b(2)Bb is a protease which cleaves C5 into C5b and C5a. C5 convertase is also formed by the Classical Pathway when C3b binds C4b and C2a. C5a is an important chemotactic protein, helping recruit inflammatory cells. C3a is the precursor of an important cytokine (adipokine) named ASP (although this is not universally accepted [6]) and is usually rapidly cleaved by carboxypeptidase B. Both C3a and C5a have anaphylatoxin activity, directly triggering degranulation of mast cells as well as increasing vascular permeability and smooth muscle contraction.[6] C5b initiates the membrane attack pathway, which results in the membrane attack complex (MAC), consisting of C5b, C6, C7, C8, and polymeric C9.[7] MAC is the cytolytic endproduct of the complement cascade; it forms a transmembrane channel, which causes osmotic lysis of the target cell. Kupffer cells and other macrophage cell types help clear complement-coated pathogens. As part of the innate immune system, elements of the complement cascade can be found in species earlier than vertebrates; most recently in the protostome horseshoe crab species, putting the origins of the system back further than was previously thought.
Reaction Cascade of the Complement System: Classical, Alternative and Lectin Pathway, Amplification Loop, Terminal Pathway, and Membrane Attack Complex.
Classical pathway[edit]
Main article: Classical complement pathway
The classical and alternative complement pathways
The classical pathway is triggered by activation of the C1-complex. The C1-complex is composed of 1 molecule of C1q, 2 molecules of C1r and 2 molecules of C1s, or C1qr2s2. This occurs when C1q binds to IgM or IgG complexed with antigens. A single pentameric IgM can initiate the pathway, while several, ideally six, IgGs are needed. This also occurs when C1q binds directly to the surface of the pathogen. Such binding leads to conformational changes in the C1q molecule, which leads to the activation of two C1r molecules. C1r is a serine protease. They then cleave C1s (another serine protease). The C1r2s2 component now splits C4 and then C2, producing C4a, C4b, C2a, and C2b(catalyze C4). C4b and C2a bind to form the classical pathway C3-convertase (C4b2a complex), which promotes cleavage of C3 into C3a and C3b. C3b later joins with C4b2a to make C5 convertase (C4b2a3b complex).
Alternative pathway[edit]
Main article: Alternative complement pathway
The alternative pathway is continuously activated at a low level, analogous to a car engine at idle, as a result of spontaneous C3 hydrolysis due to the breakdown of the internal thioester bond (C3 is mildly unstable in aqueous environment). The alternative pathway does not rely on pathogen-binding antibodies like the other pathways.[2] C3b that is generated from C3 by a C3 convertase enzyme complex in the fluid phase is rapidly inactivated by factor H and factor I, as is the C3b-like C3 that is the product of spontaneous cleavage of the internal thioester. In contrast, when the internal thioester of C3 reacts with a hydroxyl or amino group of a molecule on the surface of a cell or pathogen, the C3b that is now covalently bound to the surface is protected from factor H-mediated inactivation. The surface-bound C3b may now bind factor B to form C3bB. This complex in the presence of factor D will be cleaved into Ba and Bb. Bb will remain associated with C3b to form C3bBb, which is the alternative pathway C3 convertase.[citation needed]
The C3bBb complex is stabilized by binding oligomers of factor P (Properdin). The stabilized C3 convertase, C3bBbP, then acts enzymatically to cleave much more C3, some of which becomes covalently attached to the same surface as C3b. This newly bound C3b recruits more B, D and P activity and greatly amplifies the complement activation. When complement is activated on a cell surface, the activation is limited by endogenous complement regulatory proteins, which include CD35, CD46, CD55 and CD59, depending on the cell. Pathogens, in general, don't have complement regulatory proteins (there are many exceptions, which reflect adaptation of microbial pathogens to vertebrate immune defenses). Thus, the alternative complement pathway is able to distinguish self from non-self on the basis of the surface expression of complement regulatory proteins. Host cells don't accumulate cell surface C3b (and the proteolytic fragment of C3b called iC3b) because this is prevented by the complement regulatory proteins, while foreign cells, pathogens and abnormal surfaces may be heavily decorated with C3b and iC3b. Accordingly, the alternative complement pathway is one element of innate immunity.[citation needed]
Once the alternative C3 convertase enzyme is formed on a pathogen or cell surface, it may bind covalently another C3b, to form C3bBbC3bP, the C5 convertase. This enzyme then cleaves C5 to C5a, a potent anaphylatoxin, and C5b. The C5b then recruits and assembles C6, C7, C8 and multiple C9 molecules to assemble the membrane attack complex. This creates a hole or pore in the membrane that can kill or damage the pathogen or cell.[citation needed]
Lectin pathway[edit]
Main article: Lectin pathway
The lectin pathway is homologous to the classical pathway, but with the opsonin, mannose-binding lectin (MBL), and ficolins, instead of C1q. This pathway is activated by binding of MBL to mannose residues on the pathogen surface, which activates the MBL-associated serine proteases, MASP-1, and MASP-2 (very similar to C1r and C1s, respectively), which can then split C4 into C4a and C4b and C2 into C2a and C2b. C4b and C2b then bind together to form the classical C3-convertase, as in the classical pathway. Ficolins are homologous to MBL and function via MASP in a similar way. Several single-nucleotide polymorphisms have been described in M-ficolin in humans, with effect on ligand-binding ability and serum levels. Historically, the larger fragment of C2 was named C2a, but it is now referred to as C2b.[8] In invertebrates without an adaptive immune system, ficolins are expanded and their binding specificities diversified to compensate for the lack of pathogen-specific recognition molecules.
Complement protein fragment nomenclature[edit]
Immunology textbooks have used different naming assignments for the smaller and larger fragments of C2 as C2a and C2b. The preferred assignment appears to be that the smaller fragment be designated as C2a: as early as 1994, a well known textbook recommended that the larger fragment of C2 should be designated C2b.[9] However, this was amplified in their 1999 4th edition, to say that:[10] "It is also useful to be aware that the larger active fragment of C2 was originally designated C2a, and is still called that in some texts and research papers. Here, for consistency, we shall call all large fragments of complement b, so the larger fragment of C2 will be designated C2b. In the classical and lectin pathways the C3 convertase enzyme is formed from membrane-bound C4b with C2b."[10]
This nomenclature is used in another literature:[11] "(Note that, in older texts, the smaller fragment is often called C2b, and the larger one is called C2a for historical reason.)"[12] The assignment is mixed in the latter literature, though. Some sources designate the larger and smaller fragments as C2a and C2b respectively[13][14][15][16][17][18][19][20][21] while other sources apply the converse.[9][10][22][23][24] However, due to the widely established convention, C2b here is the larger fragment, which, in the classical pathway, forms C4b2b (classically C4b2a). It may be noteworthy that, in a series of editions of Janeway's book, 1st to 7th, in the latest edition[20] they withdraw the stance to indicate the larger fragment of C2 as C2b.
Viral inhibition[edit]
Fixation of the MBL protein on viral surfaces has also been shown to enhance neutralization of viral pathogens.[25]
Review[edit]
Activation pathway
Classic
Alternative
Lectin
Activator Ag-Ab Complex spontaneous hydrolysis of C3 MBL-Mannose Complex
C3-convertase C4b2a C3bBb C4b2b
C5-convertase C4b2a3b C3bC3bBb C4b2b3b
MAC development C5b+C6+C7+C8+C9
Activation of complements by antigen-associated antibody[edit]
In the classical pathway, C1 binds with its C1q subunits to Fc fragments (made of CH2 region) of IgG or IgM, which has formed a complex with antigens. C4b and C3b are also able to bind to antigen-associated IgG or IgM, to its Fc portion.[11][17][20]
Such immunoglobulin-mediated binding of the complement may be interpreted as that the complement uses the ability of the immunoglobulin to detect and bind to non-self antigens as its guiding stick. The complement itself can bind non-self pathogens after detecting their pathogen-associated molecular patterns (PAMPs),[20] however, utilizing specificity of the antibody, complements can detect non-self enemies much more specifically.
Some components have a variety of binding sites. In the classical pathway, C4 binds to Ig-associated C1q and C1r2s2 enzyme cleaves C4 to C4b and 4a. C4b binds to C1q, antigen-associated Ig (specifically to its Fc portion), and even to the microbe surface. C3b binds to antigen-associated Ig and to the microbe surface. Ability of C3b to bind to antigen-associated Ig would work effectively against antigen-antibody complexes to make them soluble.[citation needed]
Regulation[edit]
The complement system has the potential to be extremely damaging to host tissues, meaning its activation must be tightly regulated. The complement system is regulated by complement control proteins, which are present at a higher concentration in the blood plasma than the complement proteins themselves. Some complement control proteins are present on the membranes of self-cells preventing them from being targeted by complement. One example is CD59, also known as protectin, which inhibits C9 polymerisation during the formation of the membrane attack complex. The classical pathway is inhibited by C1-inhibitor, which binds to C1 to prevent its activation.[citation needed]
C3-convertase can be inhibited by Decay accelerating factor (DAF), which is bound to erythrocyte plasma membranes via a GPI anchor.[citation needed]
Role in disease[edit]
Complement deficiency[edit]
Main article: Complement deficiency
It is thought that the complement system might play a role in many diseases with an immune component, such as Barraquer-Simons Syndrome, asthma, lupus erythematosus, glomerulonephritis, various forms of arthritis, autoimmune heart disease, multiple sclerosis, inflammatory bowel disease, paroxysmal nocturnal hemoglobinuria, atypical hemolytic uremic syndrome and ischemia-reperfusion injuries,[26][27] and rejection of transplanted organs.[28]
The complement system is also becoming increasingly implicated in diseases of the central nervous system such as Alzheimer's disease and other neurodegenerative conditions such as spinal cord injuries.[29][30][31]
Deficiencies of the terminal pathway predispose to both autoimmune disease and infections (particularly Neisseria meningitidis, due to the role that the membrane attack complex ("MAC") plays in attacking Gram-negative bacteria).[32]
Infections with N. meningitidis and N. gonorrhoeae are the only conditions known to be associated with deficiencies in the MAC components of complement.[33] 40-50% of those with MAC deficiencies experience recurrent infections with N. meningitidis.[34]
Deficiencies in complement regulators[edit]
Mutations in the complement regulators factor H and membrane cofactor protein have been associated with atypical hemolytic uremic syndrome.[35][36] Moreover, a common single nucleotide polymorphism in factor H (Y402H) has been associated with the common eye disease age-related macular degeneration.[37] Polymorphisms of complement component 3, complement factor B, and complement factor I, as well as deletion of complement factor H-related 3 and complement factor H-related 1 also affect a person's risk of developing age-related macular degeneration.[38] Both of these disorders are currently thought to be due to aberrant complement activation on the surface of host cells.
Mutations in the C1 inhibitor gene can cause hereditary angioedema, a genetic condition resulting from reduced regulation of bradykinin by C1-INH.[citation needed]
Paroxysmal nocturnal hemoglobinuria is caused by complement breakdown of RBCs due to an inability to make GPI. Thus the RBCs are not protected by GPI anchored proteins such as DAF.[39]
Diagnostic tools[edit]
Diagnostic tools to measure complement activity include the total complement activity test.[40]
The presence or absence of complement fixation upon a challenge can indicate whether particular antigens or antibodies are present in the blood. This is the principle of the complement fixation test.
Modulation by infections[edit]
Recent research has suggested that the complement system is manipulated during HIV/AIDS, in a way that further damage the body.[41]
References[edit]
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Jump up ^ Galvan, M. D.; Luchetti, S.; Burgos, A. M.; Nguyen, H. X.; Hooshmand, M. J.; Hamers, F. P. T.; Anderson, A. J. (2008). "Deficiency in Complement C1q Improves Histological and Functional Locomotor Outcome after Spinal Cord Injury". Journal of Neuroscience. 28 (51): 13876–88. doi:10.1523/JNEUROSCI.2823-08.2008. PMC 2680920  . PMID 19091977.
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show
v
t
e
complement system
Pathways
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A
Activators/enzymes
Early
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C1q
C1r
C1s
C4
C4a
C4b
C2
L: MASP1/MASP2
MBL
A: Factor B
Factor D
Factor P/Properdin
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C3
C3a
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C5
C5a
C5b
C3-convertase
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Late
MAC
C5b
C6
C7
C8
C9
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CLA: C1-inhibitor
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CL: C4BP
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The Red Violin
From Wikipedia, the free encyclopedia
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The Red Violin
Directed by
François Girard
Produced by
Niv Fichman
Written by
Don McKellar
François Girard
Starring
Carlo Cecchi
Irene Grazioli
Jean-Luc Bideau
Greta Scacchi
Jason Flemyng
Sylvia Chang
Colm Feore
Don McKellar
Samuel L. Jackson
Music by
John Corigliano
Cinematography
Alain Dostie
Edited by
Gaëtan Huot
Production
company
New Line Cinema International
Channel 4
Mikado Film
Rhombus Media
Sidecar Films & TV
Telefilm Canada
CITY-TV
Distributed by
Odeon Films
Lionsgate
Release date
September 10, 1998 (1998-09-10) (TIFF)
Running time
131 minutes
Country
Canada
Italy
United Kingdom
Language
Italian
German
French
Mandarin
English
Romani
Budget
$15 million[1]
Box office
$10 million[2]
The Red Violin (French: Le Violon Rouge) is a 1998 Canadian drama film directed by François Girard and starring Samuel L. Jackson, Carlo Cecchi and Sylvia Chang. It spans four centuries and five countries as it tells the story of a mysterious red-coloured violin and its many owners. The instrument, made in Cremona in 1681 with a future forecast by tarot cards, makes its way to Montreal in 1997, where an appraiser identifies it and it goes to auction. The film was an international co-production among companies in Canada, Italy, and the United Kingdom.
The screenplay was written by Don McKellar, who also acts, and Girard, inspired by a historic 1720 Stradivarius violin nicknamed the "Red Mendelssohn". The film was shot in Austria, Canada, China, England and Italy and features a soundtrack by John Corigliano, with solos performed by violinist Joshua Bell.
After premiering in the Venice Film Festival, it received some positive reviews and grossed $10 million in the U.S. box office. It received numerous honours, including the Academy Award for Best Original Score and eight Genie Awards, including Best Motion Picture.
Contents
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
3.3 Music
4 Release
5 Reception
5.1 Box office
5.2 Critical reception
5.3 Accolades
6 Legacy
7 References
7.1 Bibliography
8 External links
Plot[edit]
The Moon tarot card
Cremona, 1681 (Language: Italian)
Nicolò Bussotti is a violin-maker whose wife, Anna Rudolfi, is pregnant. Anna asks her servant Cesca to foretell her unborn child's future. Cesca cannot determine the future of someone not born, but she does offer to read Anna's future using tarot cards. The first, The Moon, signifies that Anna will live a long life.
In the meantime, Nicolò has fashioned a new violin. He is about to varnish it when he finds that both she and the child have died. Distraught, Nicolò returns to his shop and begins to varnish the violin. The violin then makes its way to an orphanage in Austria.
The Hanged Man tarot card
Vienna, 1793 (Language: German and French)
Cesca turns over the second card, The Hanged Man, which means disease and suffering for those around Anna.
At the orphanage, the violin comes into the possession of Kaspar Weiss, a young but brilliant violin prodigy. The monks at the orphanage ask a violin instructor, Poussin, to adopt the boy to further his development. Poussin brings Weiss and the violin to Vienna. They learn that Prince Mannsfeld is visiting Vienna and is looking for a prodigy to accompany him back to Prussia, promising a generous reward. Poussin puts Weiss through a strict practice regimen. However, the regimens and "Poussin Meter" (a primitive metronome) take a toll on Weiss' heart defect. On the day of the recital, as he starts playing, Weiss's heart gives out from the stress and he collapses, dead.
Weiss is buried at the orphanage he grew up in. When Poussin inquires about the violin, the monks explain that they buried it with Weiss. The violin is later stolen by grave robbers travelling in a gypsy procession, who take it to England.
Oxford, late 1890s (Language: English and Romani)
The Devil tarot card
Cesca's third card is The Devil and she explains that Anna will meet a handsome and intelligent man that will seduce her.
Frederick Pope comes across the gypsy procession setting up camp on his estate, as a gypsy woman plays the violin. He offers his hospitality in exchange for the violin. Frederick finds great praise in his public concerts with the violin as well as his compositions, with his lover Victoria Byrd serving as his carnal muse. Victoria, a writer, announces to Frederick that she needs to travel to Russia to research a novel she is working on.
While Victoria is absent, Frederick loses his inspiration to compose and degenerates. When Victoria does not receive his letters for a full week, she resolves to return immediately. But when she arrives, she finds him in the arms of a new muse, the violinist gypsy woman. In a moment of rage, Victoria shoots the violin, grazing its neck and detaching its strings and tailpiece, before storming out.
Frederick's final letter to Victoria states that he will be committing suicide and that he is leaving his entire estate to her. The violin ends up in the hands of Frederick's Chinese servant, who returns to Shanghai and sells it to an antiques dealer, who repairs the damage. The instrument is sold to a young woman with her daughter during the 1930s.
Justice tarot card
Shanghai, late 1960s (Language: Mandarin)
Cesca predicts the fourth card, Justice, means tough times ahead, featuring a trial and persecution, where Anna shall be guilty.
In the chaos of China's Cultural Revolution, any ideas or items deemed "bourgeois" are denounced and should be destroyed. One target for public denunciation and self-criticism is a music teacher named Zhou Yuan, who is berated for his fondness for Western classical music. A political officer, Xiang Pei, successfully defends Zhou. Xiang then returns to her residence and retrieves the Red Violin, given as a gift from her mother. Several Red Guards raid Xiang's apartment after learning of its existence, finding nothing.
Xiang arrives at Zhou's house and pleads with him to take the violin to keep it safe. He relents and vows to keep it hidden, while Xiang leaves to face possible prosecution from Communist Party officials. Years later, Chinese police enter Zhou's home to find his dead body amid a "sanctuary" of dozens of musical instruments. Upon this discovery, the present-day Chinese government ships these items to Montreal for appraisal and sale at auction.
The upside-down Death tarot card
Montréal, 1997 (Language: English and French)
The final card, Death, Cesca sees not as predicting death, but, due to its upside-down positioning, as rebirth.
Morritz arrives in Montreal as an appraiser for the violins sent by the Chinese government. Almost immediately, he notices the Red Violin and believes it may be the legendary last violin of Nicolò Bussotti. He has restorer Evan Williams perform some work on it, while sending samples of the varnish to a lab at the University of Montreal. At the same time, he purchases a copy of the Red Violin from a private collection in London, the closest copy to the original available.
When the results of the varnish tests arrive, Morritz is shocked to learn that the violin's varnish contains human blood. Nicolò had carried his wife's body to his shop after her death and slit her wrist to collect blood for making the red paint. He admits to the auction manager, Leroux, that he has the Red Violin.
As he prepares to fly home, Morritz stops by the auction house "Duval's", with the London copy in hand. As the auction for the previous lot ends, Morritz switches the Red Violin for the London copy, which is sold for $2.4 million. Morritz calls his wife at home in New York City and asks to speak to his daughter, telling her he has a special present for her upon his return.
Cast[edit]
Jean-Luc Bideau has a prominent role in the Vienna scenes.
Cremona
Carlo Cecchi – Nicolò Bussotti
Irene Grazioli – Anna Rudolfi Bussotti
Anita Laurenzi – Cesca
Samuele Amighetti – Boy
Vienna
Christoph Koncz – Kaspar Weiss
Jean-Luc Bideau – Georges Poussin
Clotilde Mollet – Antoinette Poussin
Arthur Denberg – Prince Mannsfeld
Oxford
Greta Scacchi and Sylvia Chang star in the Oxford and Shanghai segments, respectively.
Jason Flemyng – Frederick Pope
Greta Scacchi – Victoria Byrd
Eva Marie Bryer – Sara
Joshua Bell – Orchestra member: First violin (cameo)
Shanghai
Sylvia Chang – Xiang Pei (& Xiang Pei's mother)
Tao Hong – Chen Gang
Liu Zifeng – Zhou Yuan
Han Xiaofei – Ming
Wang Xiaoshuai – one of the four cops (cameo)
Montreal
Samuel L. Jackson and screenwriter Don McKellar play major roles in the Montreal scenes.
Samuel L. Jackson – Charles Morritz
Colm Feore – Auctioneer
Monique Mercure – Madame Leroux
Don McKellar – Evan Williams
Ireneusz Bogajewicz – Ruselsky
Julian Richings – Nicolas Olsberg
Marvin Mill – Limousine Driver
Russell Yuen – Older Ming
Sandra Oh – Madame Ming
Rémy Girard – Customs Agent
Production[edit]
Development[edit]
The film was inspired by one of the violins of Antonio Stradivari, the 1721 Red Mendelssohn, which features a unique red stripe on its top right side.[3][4] By the time the film was made, the Red Mendelssohn was owned by Elizabeth Pitcairn, heiress to the PPG fortune, whose grandfather purchased it for her 16th birthday for $1.7 million at auction at Christie's London.[3][4] Despite rumours and the film, the Red Mendelssohn is varnished with burgundy rather than blood.[3] Stradivarius used red varnish on numerous other violins from 1704 to 1720, the so-called "golden period", and other red-coloured violins besides the Red Mendelssohn survived.[5]
Director François Girard opted to make a film about a violin due to his belief that "Making film is making music".[6] The concept of a history of a violin was the starting point, with Girard not initially realizing the project would call for five languages or an unusually large budget.[7] His screenplay, written with Don McKellar, sees the eponymous instrument travel over greater distances, while the years separating each segment become shorter. This suggests a musical structure, though Girard said this was not planned and only developed as he and McKellar continued to write.[6]
Girard and McKellar proposed their story and project to various Hollywood companies, but were unwilling to give up creative control,[8] or to limit the number of languages spoken in the film, as U.S. companies requested.[9] As a result, they produced the film with Rhombus Media.[8]
Filming[edit]
The film is an international co-production, allowing for a larger budget to be accumulated from various sources, making The Red Violin one of the most costly Canadian films produced to date.[10] Its final budget was $15 million.[1] Girard and McKellar employed a few crew members from their previous film, Thirty Two Short Films About Glenn Gould (1993), including cinematographer Alain Dostie, editor Gaétan Huot and actor Colm Feore.[11]
The co-production also allowed for shooting in Canada, China and around Europe,[10] including the cities of Vienna, Shanghai and Montreal.[12] Girard, McKellar and producer Niv Fichman went location scouting at the beginning of production, visiting Prague and Hong Kong and meeting writers who helped correct foreign-language dialogue. Ultimately, they decided they needed to film in Vienna and Shanghai to properly depict those cities.[13] In Cremona, Italy, Girard visited violin-making schools and met some people who made the instruments, recruiting some as extras.[14]
The most challenging part was securing permission from the government of China to simulate the Cultural Revolution in Shanghai, with Fichman travelling to China seven times before the government allowed shooting, which took place only five days later.[8] Shooting in Shanghai took place on Hong Zhen Old Street in the Hongkou District.[15] Hundreds of Chinese police, with guns, closed the streets where shooting took place, due to the 450 extras loudly calling for revolution. Fichman claimed "there was the possibility that we were going to cause a riot".[8] The action in the Montreal segments was the most complex, which Girard said put the greatest strain on himself and the cast.[16] Filming completed after six months,[8] with shooting on 60 of those days.[13]
Music[edit]
Joshua Bell performed the violin for the film score.
Main article: The Red Violin (soundtrack)
Girard was not a true musician, mainly working with it as a film director.[17] The film score was written by composer John Corigliano, with every violin solo in the film performed by violinist Joshua Bell.[1] The conductor was Esa-Pekka Salonen.[18] The score is mainly of the Chaconne genre,[19] while the ostensibly Romani music was also actually written by Corigliano.[20] Bell said he was eager to join the film crew, citing his enthusiasm for Corigliano's work and his use of form. Corigliano, looking for a romantic musical performance, also referred to Bell as the ideal choice for a musician, calling him "an aristocrat as a violinist".[1] Girard stated Bell and Corigliano were involved from the outset, and reviewed every version of the screenplay as it was in development.[21]
Much of the score had to be written before principal photography, which is rare in film.[1] Since the violin movements seen in the film had to match Corigliano's music, real-life child prodigy Christoph Koncz was cast. However, Girard tied up two musicians to actor Jason Flemyng to help him give his performance as a violinist, the "Octopus" method.[8][22] After shooting completed, Corigliano finished "Anna's theme".[23]
Release[edit]
The Red Violin premiered at the Venice Film Festival in early September 1998, where it received standing applause.[8] It opened in the Toronto International Film Festival in September 1998.[24] It was also screened in international film festivals in London and Tokyo.[12]
Odeon Films gave The Red Violin a wider release in Canada on 13 November 1998.[25] A limited release followed in the United Kingdom on 9 April 1999.[26] and the film opened in the United States on 11 June 1999,[1] distributed by Lions Gate Entertainment.[12]
Reception[edit]
Box office[edit]
By February 1999, The Red Violin had grossed $2 million in Canada, surpassing the previous year's winner of the Genie Award for Best Motion Picture, The Sweet Hereafter.[27] By August 1999, the film grossed $6 million in the United States, which Lions Gate Entertainment declared "a huge success for a specialty film." It was the distributor's most successful Canadian film of the year.[12]
The film finished its run having made US$10 million in the United States.[28] In Canada, it finished with a gross of $3,378,800, making it one of most seen English Canadian films in national box-office history.[29] It was not a major hit overseas.[30]
Critical reception[edit]
Canadian Maclean's critic Brian D. Johnson, referencing Thirty Two Short Films About Glenn Gould, wrote "The Red Violin amounts to more than Five Short Films About a Fiddle", crediting Corigliano's music for supplying intensity and the story for making the eponymous violin into its own interesting character.[24] Roger Ebert called the film "heedlessly ambitious", possessing "the kind of sweep and vision that we identify with elegant features from decades ago".[31] For The Guardian, Jonathan Romney wrote that "as flawed movies go, it's elegant, entertaining and quite breathtakingly ambitious."[32] Stephen Holden wrote in The New York Times that the film did not live up to its score.[33] Entertainment Weekly gave the film a B, with Lisa Schwarzbaum writing the fictional violin surpassed all real fiddles in colourful pedigree, and finding the storytelling interesting.[34] The Washington Post critic Stephen Hunter assessed the score to be the strongest element of the film, and the story to be intriguing and occasionally "macabre".[35] Xan Brooks' The Independent review compared the production design unfavourably to a BBC work for students.[26] Laura Kelly of the Sun-Sentinel called the film "praise-worthy".[36] In The San Francisco Gate, Bob Graham accepted the film's ambition and judged Samuel L. Jackson to be cool in the role, in a very different way than in Pulp Fiction (1994).[37] In National Review, Jay Nordlinger praised Corigliano's soundtrack but criticized Girard's direction and film.[38]
In Queen's Quarterly, Maurice Yacowar analyzed the film as presenting the characters of Kaspar, Xian, Peng and Morritz as manifestations of different aspects of Bussoti's passions, while the characters of Poussin and bidder Ruselsky wanted to use the instrument to further their own interests. Yacowar concluded the film "explores passions directed outwards."[39] In the Canadian Journal of Film Studies, Brenda Longfellow criticized the film for materialism and depicting "the sacrifice of a woman on the altar of art."[39] In 2002, readers of Playback voted The Red Violin the third best Canadian film ever.[28] As of July 2016, the film holds a 74% "Fresh" rating on the review aggregator website Rotten Tomatoes, with an average rating of 7.2/10, based on 40 reviews.[40]
Accolades[edit]
Composer John Corigliano was previously nominated for the Academy Award for Best Original Score for the 1980 film Altered States before winning for The Red Violin.[41] He won over American Beauty, which he had considered the front-runner before the ceremony.[18]
At the Genie Awards, Don McKellar was effectively competing against himself as a screenwriter of both Last Night and The Red Violin.[42] The Red Violin dominated the awards, with eight wins.[43] The film also competed in the 1st Jutra Awards, launched to honour the Cinema of Quebec. Due to the international production and amount of English, numerous English Canadians accepted awards.[44]
Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)
Academy Awards 26 March 2000 Best Original Score John Corigliano Won [45]
Chicago Film Critics Association 13 March 2000 Best Original Score Nominated [46]
Genie Awards 4 February 1999 Best Motion Picture Niv Fichman Won [43]
Best Direction François Girard Won
Best Screenplay Don McKellar and François Girard Won
Best Cinematography Alain Dostie Won
Best Art Direction Francois Seguin Won
Best Editing Gaétan Huot Nominated
Best Music John Corigliano Won
Best Sound Claude La Haye, Jo Caron, Bernard Gariepy Strobl and Hans Peter Stroble Won
Best Sound Editing Marcel Pothier, Jérôme Décarie, Carole Gagnon, Antoine Morin and Jacques Plante Nominated
Best Costume Design Renée April Won
Golden Globes 23 January 2000 Best Foreign Language Film The Red Violin Nominated [47]
Jutra Awards 7 March 1999 Best Film Niv Fichman and Daniel Iron Won [48]
Best Direction François Girard Won
Best Screenplay François Girard and Don McKellar Won
Best Actress Sylvia Chang Nominated
Best Supporting Actor Colm Feore Won
Best Supporting Actress Monique Mercure Nominated
Best Art Direction François Séguin and Renée April Won
Best Cinematography Alain Dostie Won
Best Editing Gaétan Huot Won
Best Sound Claude La Haye, Marcel Pothier, Hans Peter Strobl and Guy Pelletier Won
Best Score John Corigliano Won
Online Film Critics Society 2000 Best Foreign Language Film The Red Violin Nominated [49]
Satellite Awards 16 January 2000 Best Costume Design Renée April Nominated [50]
Tokyo International Film Festival 1998 Best Artistic Contribution Award François Girard Won [51]
Toronto Film Critics Association 16 December 1998 Best Canadian Film The Red Violin Runner-up [52]
Legacy[edit]
Corigliano adapted his score into a concert, Concerto for Violin and Orchestra (The Red Violin), performed in Baltimore, Dallas and Atlanta from 2003 to 2004. In 2005, it was performed at the San Francisco Ballet. He later wrote another adaptation, The Red Violin: Chaconne for Violin and Orchestra.[41]
After the film's release, Red Mendelssohn owner Elizabeth Pitcairn also learned its Chaconne, which she called "spooky", adding "that's when the violin can tell its own story; that's when it can actually speak".[53] Pitcairn brought the "Red Violin" to the Prince George Symphony Orchestra in 2012.[54]
References[edit]
^ Jump up to: a b c d e f Grove, Jeff (July–August 1999). "The Saga of The Red Violin". American Record Guide: 20.
Jump up ^ "Le Violon rouge (1999) - Financial Information". The Numbers. Retrieved 4 March 2017.
^ Jump up to: a b c Stoltie 2012, p. 207.
^ Jump up to: a b Fletcher, Suzanne. "History of the "Red Mendelssohn" Stradivarius". Elizabeth Pitcairn Productions. Archived from the original on 8 February 2013. Retrieved 13 May 2013.
Jump up ^ Sosnoff, Martin (19 April 2016). "Run Your Money Like It's The Red Violin". Forbes. Retrieved 7 March 2017.
^ Jump up to: a b Türschmann 2013, p. 185.
Jump up ^ Baldassarre 2003, p. 63.
^ Jump up to: a b c d e f g Johnson, Brian D. (14 September 1998). "A violin rhapsody in red". Maclean's. Vol. 111 no. 37. p. 59.
Jump up ^ Türschmann 2013, p. 191.
^ Jump up to: a b Haenni 2014, p. 578.
Jump up ^ Jones 2002, p. 347.
^ Jump up to: a b c d Jones, Nicola; Jones, Deborah; Williams, Leigh Anne (9 August 1999). "Playing The Red Violin". Time. Vol. 154 no. 6 (Canadian ed.). p. 56.
^ Jump up to: a b Kaufman, Anthony (9 June 1999). "INTERVIEW: From 32 Shorts to 1 Epic, François Girard Travels with 'The Red Violin'". Indiewire. Retrieved 3 March 2017.
Jump up ^ Baldassarre 2003, p. 64-65.
Jump up ^ Block 2014, p. 44.
Jump up ^ Baldassarre 2003, p. 66.
Jump up ^ Allen, Jamie (6 July 1999). "'Red Violin' is Girard's four-year love affair". CNN. Retrieved 3 March 2017.
^ Jump up to: a b Ng, David (17 February 2015). "John Corigliano remembers surprise Oscar win for 'The Red Violin'". The Los Angeles Times. Retrieved 4 March 2017.
Jump up ^ Schoenbaum 2012, p. 582.
Jump up ^ Türschmann 2013, p. 187.
Jump up ^ Smith, Ken (6 June 1999). "Truly Playing the Part". The Los Angeles Times. Retrieved 3 March 2017.
Jump up ^ SMITH, KEN (1999-06-06). "Truly Playing the Part". Los Angeles Times. ISSN 0458-3035. Retrieved 2017-08-14.
Jump up ^ Grove, Jeff (July–August 1999). "The Saga of The Red Violin". American Record Guide: 21.
^ Jump up to: a b Johnson, Brian D. (14 September 1998). "Firing up the festival". Maclean's. Vol. 111 no. 37. p. 58.
Jump up ^ Staff (30 November 1998). "Carlton Kids airs Bedtime Primetime Classics". Playback. Retrieved 4 March 2017.
^ Jump up to: a b Brooks, Xan (9 April 1999). "New Films". The Independent. Retrieved 4 March 2017.
Jump up ^ Jenish, D'Arcy (15 February 1999). "All smiles on Genie night". Maclean's. Vol. 112 no. 7. p. 52.
^ Jump up to: a b Dillon, Mark (2 September 2002). "Egoyan tops Canada's all-time best movies list". Playback. Retrieved 3 March 2017.
Jump up ^ Staff (15 April 2002). "Jump Cuts". Playback. Retrieved 3 March 2017.
Jump up ^ Pryke 2003, p. 439.
Jump up ^ Ebert, Roger (June 18, 1999). "The Red Violin". Chicago Sun Times.
Jump up ^ Romney, Jonathan (9 April 1999). "Sex and violins". The Guardian. Retrieved 3 March 2017.
Jump up ^ Holden, Stephen (11 June 1999). "FILM REVIEW; That Old Fiddle Sure Got Around". The New York Times. Retrieved 3 March 2017.
Jump up ^ Schwarzbaum, Lisa (18 June 1999). "The Red Violin". Entertainment Weekly. Retrieved 3 March 2017.
Jump up ^ Hunter, Stephen (21 April 1999). "'Red Violin': Three-Part Harmony". The Washington Post. Retrieved 3 March 2017.
Jump up ^ Kelly, Laura (25 June 1999). "Red Violin Will Be Music To Girard Fans". Sun-Sentinel. Retrieved 3 March 2017.
Jump up ^ Graham, Bob (18 June 1999). "Time-Traveling `Violin' Makes Haunting Music". The San Francisco Gate. Retrieved 3 March 2017.
Jump up ^ Nordlinger, Jay (12 July 1999). "Corigliano Scores". National Review. p. 57.
^ Jump up to: a b Jones 2002, p. 349.
Jump up ^ "The Red Violin (Le violon rouge)". Rotten Tomatoes. Flixster. Retrieved 13 May 2013.
^ Jump up to: a b Hill 2005, p. 59.
Jump up ^ Kirkland, Bruce (December 8, 1998). "McKellar vs. McKellar". Canoe.ca. Archived from the original on August 28, 2016. Retrieved August 13, 2016.
^ Jump up to: a b Binning, Cheryl (8 February 1999). "Violin tops Genies". Playback. Retrieved 3 March 2017.
Jump up ^ White, Murray (17 September 2000). "Where Films Made in English Can Seem a Cultural Betrayal". The New York Times. Retrieved 3 March 2017.
Jump up ^ "THE 72ND ACADEMY AWARDS 2000". Academy of Motion Picture Arts and Sciences. Retrieved 3 March 2017.
Jump up ^ Fingeret, Lisa (24 January 2000). "'American Beauty' Tops Chicago Critics' Nominees". Chicago Tribune. Retrieved 4 March 2017.
Jump up ^ "The Red Violin". Golden Globes. Retrieved 3 March 2017.
Jump up ^ Wise 2001, p. 270.
Jump up ^ "1999 Awards (3rd Annual)". Online Film Critics Society. Retrieved 4 March 2017.
Jump up ^ Playback Staff (23 July 2001). "Costumes: from tripe to chain mail". Playback. Retrieved 24 March 2017.
Jump up ^ Haenni 2014, p. 577.
Jump up ^ "Past Award Winners". Toronto Film Critics Association. Retrieved 3 March 2017.
Jump up ^ Charters, Murray (27 October 2007). "The red violin: a spooky story". Brantford Expositor. Retrieved 7 March 2017.
Jump up ^ "Elizabeth Pitcairn and her famous Red Violin come to Prince George". Canadian Broadcasting Corporation. 23 March 2012. Retrieved 7 March 2017.
Bibliography[edit]
Baldassarre, Angela (2003). "François Girard: The Red Violin". Reel Canadians: Interviews from the Canadian Film World. Toronto, Buffalo, Chicago and Lancaster: Guernica Editions. ISBN 1550711652.
Block, Marcelline (2014). "The Red Violin/Le Violin Rouge". World Film Locations: Shanghai. Bristol: Intellect Books. ISBN 1783201991.
Haenni, Sabine; Barrow, Sarah; White, John (15 September 2014). The Routledge Encyclopedia of Films. Routledge. ISBN 1317682610.
Hill, Brad (2005). American Popular Music: Classical. Infobase Publishing. ISBN 081606976X.
Jones, Eluned (2002). "Reconstructing the Past: Memory's Enchantment in The Red Violin". Canada's Best Features: Critical Essays on 15 Canadian Films. Amsterdam and New York: Rodopi. ISBN 9042015985.
Pryke, Kenneth G.; Soderlund, Walter C. (2003). Profiles of Canada (3rd ed.). Toronto: Canadian Scholars' Press Inc. ISBN 1551302268.
Schoenbaum, David (10 December 2012). The Violin: A Social History of the World's Most Versatile Instrument. New York and London: W. W. Norton & Company. ISBN 0393089606.
Stoltie, Annie (17 September 2012). Explorer's Guide Adirondacks: A Great Destination: Including Saratoga Springs (Seventh ed.). The Countryman Press. ISBN 1581577761.
Türschmann, Jörg (2013). "Canadian Cinema and European Culture: The Red Violin (François Girard, 1998)". Transnational Cinema in Europe. LIT Verlag Münster. ISBN 3643904789.
Wise, Wyndham (2001). Take One's Essential Guide to Canadian Film. Toronto, Buffalo and London: University of Toronto Press. ISBN 0802083986.
External links[edit]
The Red Violin on IMDb
The Red Violin at Metacritic
The Red Violin at Rotten Tomatoes
The Red Violin at Box Office Mojo
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Academy of Canadian Cinema & Television winners for Best Motion Picture
Canadian Film Awards
1949–1970 & 1975: Film of the Year
The Loon's Necklace (1949)
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After Prison, What? (1951)
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Gold (1956)
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City of Gold (1958)
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[no award] (1965)
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Canadian Film Awards
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À tout prendre (1964)
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no award (1974)
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J.A. Martin photographe (1977)
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Genie Awards
1980–2011
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Ticket to Heaven (1982)
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Le Déclin de l'empire américain (1987)
Un Zoo la nuit (1988)
Dead Ringers (1989)
Jésus de Montréal (1990)
Black Robe (1991)
Naked Lunch (1992)
Thirty Two Short Films About Glenn Gould (1993)
Exotica (1994)
Le Confessionnal (1995)
Lilies (1996)
The Sweet Hereafter (1997)
The Red Violin (1998)
Sunshine (1999)
Maelström (2000)
Atanarjuat: The Fast Runner (2001)
Ararat (2002)
Les Invasions barbares (2003)
Les Triplettes de Belleville (2004)
C.R.A.Z.Y. (2005)
Bon Cop, Bad Cop (2006)
Away from Her (2007)
Passchendaele (2008)
Polytechnique (2009)
Incendies (2010)
Monsieur Lazhar (2011)
Canadian Screen Awards
2012–present
Rebelle (2012)
Gabrielle (2013)
Mommy (2014)
Room (2015)
Juste la fin du monde (2016)
Maudie (2017)
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Films directed by François Girard
Thirty Two Short Films About Glenn Gould (1993)
The Red Violin (1998)
Silk (2007)
Boychoir (2014)
Hochelaga, Land of Souls (2017)
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Red_Violin&oldid=853506107"
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