text:
At Any Price (film)
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At Any Price
Theatrical release poster
Directed by
Ramin Bahrani
Produced by
Ramin Bahrani
Pamela Koffler
Justin Nappi
Teddy Schwarzman
Kevin Turen
Christine Vachon
Written by
Ramin Bahrani
Hallie Elizabeth Newton
Starring
Dennis Quaid
Zac Efron
Kim Dickens
Heather Graham
Clancy Brown
Music by
Dickon Hinchliffe
Cinematography
Michael Simmonds
Edited by
Douglas Aibel
Production
companies
Big Indie Pictures
Black Bear Pictures
Cineric
Killer Films
Noruz Films
Treehouse Pictures
Distributed by
Sony Pictures Classics
Release date
August 30, 2012 (2012-08-30) (Venice)
April 24, 2013 (2013-04-24) (United States)
Running time
104 minutes[1]
Country
United States
Language
English
Box office
$487,455[2]
At Any Price is a 2012 American drama film directed by Ramin Bahrani and written by Bahrani and Hallie Newton. The film, starring Dennis Quaid and Zac Efron, was selected to compete for the Golden Lion at the 69th Venice International Film Festival,[3] and later screened as an official selection at both the Telluride Film Festival and the 2012 Toronto Film Festival.[4] Sony Pictures Classics purchased the film and it was released in the United States on April 24, 2013.
Contents
[hide]
1 Plot
2 Cast
3 Critical reception
4 References
5 External links
Plot[edit]
This section needs an improved plot summary. (April 2017)
In the competitive world of modern agriculture, ambitious Henry Whipple (Dennis Quaid) wants his rebellious son Dean (Zac Efron) to help expand his family's farming empire. However, Dean has his sights set on becoming a professional race car driver. When a high-stakes investigation into their business is exposed, father and son are pushed into an unexpected crisis that threatens the family's entire livelihood.
Cast[edit]
Dennis Quaid as Henry Whipple
Zac Efron as Dean Whipple
Kim Dickens as Irene Whipple
Heather Graham as Meredith Crown
Clancy Brown as Jim Johnson
Ben Marten as Brad Johnson
Chelcie Ross as Byron
Red West as Cliff Whipple
Maika Monroe as Cadence Farrow
Sophie Curtis as Aubrey
Critical reception[edit]
At Any Price received mixed reviews. The film holds a 51% rating based on 91 reviews on review aggregator website Rotten Tomatoes with the reported consensus "At Any Price features a terrific performance from Dennis Quaid, and it offers further evidence of Ramin Bahrani's unique eye for detail, but film is weighted down by an overly melodramatic story."[5] On Metacritic, the film has a 60 out of 100 rating based on 32 critics, indicating "mixed or average reviews".[6]
Film critic Roger Ebert gave the film 4 out of 4 stars, praising Bahrani for delving deep into the plot with layers and themes that communicate effectively and singling out Dennis Quaid's performance as his best as "a flawed man with selfish values, a man for whom business success has seemed desirable no matter what its human cost."[7] Stephen Holden of The New York Times said that the performances of Quaid and Efron help deviate the film away from its credit straining plot twist, saying that they "drive them home in a movie that sticks to your ribs and stays in your head."[8] Noel Murray of The A.V. Club gave the film a "C–", finding it a disappointment with its complex farmland plot being wasted with performances and dialogue "at the level of a Founders’ Day pageant". Holden also noted that Bahrani's intention of making a mainstream film with substance will detract his usual audience, saying that "He’s treating them like dolts by making a film that holds to the corniest aspects of Hollywood storytelling, interrupted by bullet points."[9]
References[edit]
Jump up ^ "At Any Price (18)". British Board of Film Classification. September 1, 2015. Retrieved September 1, 2015.
Jump up ^ "At Any Price". Box Office Mojo. Retrieved 2013-05-06.
Jump up ^ "Venezia 69". la Biennale di Venezia. Retrieved 2012-07-26.
Jump up ^ Evans, Ian (2012). "At Any Price TIFF premiere gallery". Digital Hit Entertainment. Retrieved 2013-01-19.
Jump up ^ "At Any Price (2012)". Rotten Tomatoes. Flixster. Retrieved September 2, 2015.
Jump up ^ "At Any Price". Metacritic. CBS Interactive. Retrieved September 2, 2015.
Jump up ^ Ebert, Roger (April 25, 2013). "At Any Price". Retrieved October 10, 2015.
Jump up ^ Holden, Stephen (April 23, 2013). "'At Any Price,' Directed by Ramin Bahrani". The New York Times. Retrieved October 10, 2015.
Jump up ^ Murray, Noel (April 25, 2013). "At Any Price". The A.V. Club. Retrieved October 10, 2015.
External links[edit]
Official website
At Any Price on IMDb
At Any Price at Box Office Mojo
At Any Price at Rotten Tomatoes
At Any Price at Metacritic
[hide]
v
t
e
Films directed by Ramin Bahrani
Man Push Cart (2005)
Chop Shop (2007)
Goodbye Solo (2008)
Plastic Bag (2009)
At Any Price (2012)
99 Homes (2014)
Fahrenheit 451 (2018)
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Tehran Conference
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the World War II meeting of Allied leaders. For other uses, see Tehran Conference (disambiguation).
Tehran Conference
The "Big Three" at the Tehran Conference
Left to right: Joseph Stalin, Franklin D. Roosevelt and Winston Churchill.
Date
28 November 1943 (1943-11-28) to 1 December 1943 (1943-12-01)
Location
Soviet embassy, Tehran, Iran
Also known as
Tehran Summit
Participants
Winston Churchill (Prime Minister: United Kingdom),
Franklin D. Roosevelt (President: United States)
Joseph Stalin (Premier: Soviet Union)
Outcome
Consensus to open a second front against Nazi Germany by 1 May 1944
The Tehran Conference (codenamed Eureka[1]) was a strategy meeting of Joseph Stalin, Franklin D. Roosevelt, and Winston Churchill from 28 November to 1 December 1943, after the Anglo-Soviet Invasion of Iran. It was held in the Soviet Union's embassy in Tehran, Iran. It was the first of the World War II conferences of the "Big Three" Allied leaders (the Soviet Union, the United States, and the United Kingdom). It closely followed the Cairo Conference which had taken place on 22–26 November 1943, and preceded the 1945 Yalta and Potsdam conferences. Although the three leaders arrived with differing objectives, the main outcome of the Tehran Conference was the Western Allies' commitment to open a second front against Nazi Germany. The conference also addressed the 'Big Three' Allies' relations with Turkey and Iran, operations in Yugoslavia and against Japan, and the envisaged post-war settlement. A separate protocol signed at the conference pledged the Big Three to recognize Iran's independence.
Contents
[hide]
1 Prelude
2 Proceedings
2.1 Dinner meeting
2.2 Decisions
3 Results
4 Alleged assassination plot
5 See also
6 References
6.1 Citations
6.2 Bibliography
6.3 Primary sources
7 Further reading
8 External links
Prelude[edit]
As soon as the German-Soviet war broke out in June 1941, Churchill offered assistance to the Soviets, and an agreement to this effect was signed on 12 July 1941.[2] Delegations had traveled between London and Moscow to arrange the implementation of this support and when the United States joined the war in December 1941, the delegations met in Washington as well. A Combined Chiefs of Staff committee was created to coordinate British and American operations as well as their support to the Soviet Union. The consequences of a global war, the absence of a unified Allied strategy and the complexity of allocating resources between Europe and Asia had not yet been sorted out, and soon gave rise to mutual suspicions between the Western Allies and the Soviet Union.[2] There was the question of opening a second front to alleviate the German pressure on the Soviet Red Army on the Eastern Front, the question of mutual assistance (where both Britain and the Soviet Union were looking towards the United States for credit and material support and there was tension between the United States and Britain since Washington had no desire to prop up the British Empire in the event of an Allied victory).[2] Also, neither the United States nor Britain were prepared to give Stalin a free hand in Eastern Europe and, lastly, there was no common policy on how to deal with Germany after Hitler. Communications regarding these matters between Churchill, Roosevelt, and Stalin took place by telegrams and via emissaries—but it was evident that direct negotiations were urgently needed.[2]
Stalin was reluctant to leave Moscow and was unwilling to risk journeys by air,[3] while Roosevelt was physically disabled and found travel difficult. Churchill was an avid traveller and, as part of an ongoing series of wartime conferences, had already met with Roosevelt five times in North America and twice in Africa and had also held two prior meetings with Stalin in Moscow.[2] In order to arrange this urgently needed meeting, Roosevelt tried to persuade Stalin to travel to Cairo. Stalin turned down this offer and also offers to meet in Baghdad or Basra, finally agreeing to meet in Tehran in November 1943.[2]
Proceedings[edit]
Teheran, Iran, Dec. 1943—Front row: Marshal Stalin, President Roosevelt, Prime Minister Churchill on the portico of the Russian Embassy—Back row: General H.H. Arnold, Chief of the U.S. Army Air Force; General Alan Brooke, Chief of the Imperial General Staff; Admiral Cunningham, First Sea Lord; Admiral William Leahy, Chief of staff to President Roosevelt, during the Teheran Conference
The conference was to convene at 16:00 on 28 November 1943. Stalin arrived well before, followed by Roosevelt, brought in his wheelchair from his accommodation adjacent to the venue. Roosevelt, who had traveled 7,000 miles (11,000 km) to attend and whose health was already deteriorating, was met by Stalin. This was the first time that they had met. Churchill, walking with his general staff from their accommodations nearby, arrived half an hour later.[4] According to Charles Bohlen, translator for FDR, FDR was accompanied by Averell Harriman and Harry Hopkins. Stalin was accompanied by Molotov and Voroshilov. Churchill brought Anthony Eden and Lord Ismay, and his translator was Major Arthur Birse.
The Shah of Iran, shortly after his father's forced abdication during the Anglo-Soviet Invasion of Iran, meeting with American president Franklin D. Roosevelt during the Conference
The Shah of Iran (center), pictured to the right of Joseph Stalin at the Tehran Conference (1943)
Play media
Footage from the Cairo and Teheran conferences
As Stalin had been advocating for a second front since 1941, he was very pleased and felt that he had accomplished his principal goal for the meeting. Moving on, Stalin agreed to enter the war against Japan once Germany was defeated.
Stalin pressed for a revision of Poland’s eastern border with the Soviet Union to match the line set by British Foreign Secretary Lord Curzon in 1920. In order to compensate Poland for the resulting loss of territory, the three leaders agreed to move the German-Polish border to the Oder and Neisse rivers. This decision was not formally ratified, however, until the Potsdam Conference of 1945.[5]
The leaders then turned to the conditions under which the Western Allies would open a new front by invading northern France (Operation Overlord), as Stalin had pressed them to do since 1941. Up to this point Churchill had advocated the expansion of joint operations of British, American, and Commonwealth forces in the Mediterranean, as Overlord in 1943 was physically impossible due to a lack of shipping, which left the Mediterranean and Italy as viable goals for 1943. It was agreed Overlord would occur by May 1944; Stalin agreed to support it by launching a concurrent major offensive on Germany's eastern front to divert German forces from northern France.[6]
Iran and Turkey were discussed in detail. Roosevelt, Churchill, and Stalin all agreed to support Iran's government, as addressed in the following declaration:
The Three Governments realize that the war has caused special economic difficulties for Iran, and they all agreed that they will continue to make available to the Government of Iran such economic assistance as may be possible, having regard to the heavy demands made upon them by their world-wide military operations, and to the world-wide shortage of transport, raw materials, and supplies for civilian consumption.[7]
In addition, the Soviet Union was required to pledge support to Turkey if that country entered the war. Roosevelt, Churchill and Stalin agreed that it would also be most desirable if Turkey entered on the Allies' side before the year was out.
Despite accepting the above arrangements, Stalin dominated the conference. He used the prestige of the Soviet victory at the Battle of Kursk to get his way. Roosevelt attempted to cope with Stalin's onslaught of demands, but was able to do little except appease Stalin. Churchill argued for the invasion of Italy in 1943, then Overlord in 1944, on the basis that Overlord was physically impossible in 1943 due to lack of shipping and it would be unthinkable to do anything major until it could be launched.[8]
Churchill proposed to Stalin a moving westwards of Poland, which Stalin accepted, which gave the Poles industrialized German land to the west and gave up marshlands to the east, while providing a territorial buffer to the Soviet Union against invasion.
Dinner meeting[edit]
Before the Tripartite Dinner Meeting of 29 November 1943 at the Conference, Churchill presented Stalin with a specially commissioned ceremonial sword (the "Sword of Stalingrad", made in Sheffield), as a gift from King George VI to the citizens of Stalingrad and the Soviet people, commemorating the Soviet victory at Stalingrad. When Stalin received the sheathed sword, he took it with both hands and kissed the scabbard. (He then handed it to Marshal Kliment Voroshilov, who mishandled it, causing the sword to fall to the ground.)[9]
Without American production the United Nations could never have won the war.
—  Joseph Stalin, during the dinner at the Tehran Conference.[10]
Stalin proposed executing 50,000–100,000 German officers so that Germany could not plan another war. Roosevelt, believing Stalin was not serious, joked that "maybe 49,000 would be enough". Churchill, however, was outraged and denounced "the cold blooded execution of soldiers who fought for their country". He said that only war criminals should be put on trial in accordance with the Moscow Document, which he himself had written. He stormed out of the room, but was brought back in by Stalin who said he was joking. Churchill was glad Stalin had relented, but thought Stalin was testing the waters.[11]
Decisions[edit]
The declaration issued by the three leaders on conclusion of the conference on 1 December 1943, recorded the following military conclusions:
The Yugoslav Partisans should be supported by supplies and equipment and also by commando operations.[12]
It would be desirable if Turkey should come into war on the side of the Allies before the end of the year.[12]
The leaders took note of Stalin's statement that if Turkey found herself at war with Germany, and as a result Bulgaria declared war on Turkey or attacked her, the Soviet Union would immediately be at war with Bulgaria. The Conference further took note that this could be mentioned in the forthcoming negotiations to bring Turkey into the war.[12]
The cross-channel invasion of France (Operation Overlord) would be launched during May 1944, in conjunction with an operation against southern France. The latter operation would be undertaken in as great a strength as availability of landing-craft permitted. The Conference further took note of Joseph Stalin's statement that the Soviet forces would launch an offensive at about the same time with the object of preventing the German forces from transferring from the Eastern to the Western Front.[12]
The leaders agreed that the military staffs of the Three Powers should keep in close touch with each other in regard to the impending operations in Europe. In particular it was agreed that a cover plan to mislead the enemy about these operations should be concerted between the staffs concerned.[12]
Political decision... Stalin and Churchill discussed the future borders of Poland and settled on the Curzon line in the east and the Oder-Neisse line in the west. FDR had asked to be excused from any discussion of Poland out of consideration for the effects of any decision on Polish voters in the USA and the upcoming 1944 election.[13]
Results[edit]
The Yugoslav Partisans were given full Allied support, and Allied support to the Yugoslav Chetniks was halted (they were believed to be cooperating with the occupying Germans rather than fighting them). The Communist Partisans under Tito took power in Yugoslavia as the Germans gradually retreated from the Balkans in 1944–45.[14]
Turkey's president conferred with Roosevelt and Churchill at the Cairo Conference in November 1943, and promised to enter the war when his country was fully armed. By August 1944 Turkey broke off relations with Germany. In February 1945, Turkey declared war on Germany and Japan, which may have been a symbolic move that allowed Turkey to join the future United Nations.[15][16]
The invasion of France on 6 June 1944 took place about as planned, and the supporting invasion of southern France also took place (Operation Dragoon). The Soviets launched a major offensive against the Germans on 22 June 1944 (Operation Bagration).
Alleged assassination plot[edit]
Main article: Operation Long Jump
According to Soviet reports, German agents planned to kill the Big Three leaders at the Tehran Conference, but called off the assassination while it was still in the planning stage. Western intelligence dismissed the existence of this plot. Otto Skorzeny, the alleged leader of the operation, claimed that Hitler had dismissed the idea as unworkable before planning had even begun. Nevertheless, the topic continues to be a theme of certain Russian historians.[17][18]
See also[edit]
World War II portal
List of World War II conferences
List of Soviet Union–United States summits
Teheran 43
References[edit]
Citations[edit]
Jump up ^ Churchill, Winston Spencer (1951). The Second World War: Closing the Ring. Houghton Mifflin Company, Boston. p. 642.
^ Jump up to: a b c d e f Service, Robert (2005). Stalin: A Biography. Cambridge, MA: Harvard University Press. pp. 459–60. ISBN 978-0-674-01697-2.
Jump up ^ Tolstoy, Nikolai (1981). Stalin's Secret War. Holt, Rinehart and Winston. p. 57.
Jump up ^ Overy, Richard (1996). Why the Allies Won. New York: W.W. Norton & Company. pp. 245–246. ISBN 978-0-393-03925-2.
Jump up ^ Office of the Historian (2016). "The Tehran Conference, 1943". Milestones 1937–1945. U.S. Department of State.
Jump up ^ "Milestones: 1937–1945". Office of the Historian. US Department of State. Retrieved 7 June 2014.
Jump up ^ Declaration of the Three Powers Regarding Iran—1 December 1943
Jump up ^ McNeill, American, Britain and Russia (1953). p. 353.
Jump up ^ Beevor, Antony. Stalingrad. ISBN 978-0-14-024985-9.
Jump up ^ "One War Won". TIME. 13 December 1943.
Jump up ^ Robert Gellately (2013). Stalin's Curse: Battling for Communism in War and Cold War. Oxford U.P. pp. 177–178.
^ Jump up to: a b c d e Staff of Senate Committee on Foreign Relations and the Department of State (1950). A Decade of American Foreign Policy : Basic Documents, 1941–49. Washington, D.C.: U.S. Gov. Printing Office.
Jump up ^ Bohlen, Charles E. Witness to History, 1929-1969. W. W. Norton & Company, Inc. 1973
Jump up ^ McNeill, America, Britain, and Russia: their co-operation and conflict, 1941–1946 (1953) 388–90
Jump up ^ Erik J. Zurcher, Turkey: A Modern History (3rd ed. 2004) pp 203–5
Jump up ^ A. C. Edwards, "The Impact of the War on Turkey," International Affairs (1946) 22#3 pp. 389–400 in JSTOR
Jump up ^ Юрий Львович Кузнец: Тегеран-43 : Крах операции "Длин. прыжок. ЭКСМО, Moskau 2003, ISBN 5-8153-0146-9
Jump up ^ Dolgopolov, Nikolai (January 2007). Triple jeopardy: the Nazi plan to kill WWII leaders in Tehran. RIA Nowosti vom 4.
Bibliography[edit]
Best, Geoffrey. Churchill: A Study in Greatness. London: Hambledon and London, 2001.
"Cold War: Teheran Declaration." CNN. 1998. 26 March 2006.
Feis, Herbert. Churchill-Roosevelt-Stalin (Princeton U.P. 1967), pp. 191–279
Foster, Rhea Dulles. "The Road to Tehran: The Story of Russia and America, 1781 – 1943." — Princeton, New Jersey: Princeton University Press, 1944. — 279 p.
Hamzavi, A. H. "Iran and the Tehran Conference," International Affairs (1944) 20#2 pp. 192–203 in JSTOR
McNeill, Robert. America, Britain, & Russia: their co-operation and conflict, 1941–1946 (1953) 348-68
Mastny, Vojtech. "Soviet War Aims at the Moscow and Teheran Conferences of 1943," Journal of Modern History (1975) 47#3 pp. 481–504 in JSTOR
Mayle, Paul D. Eureka Summit: Agreement in Principle & the Big Three at Tehran, 1943 (1987, U of Delaware Press) 210p.
Primary sources[edit]
Miscellaneous No. 8 (1947) "Military Conclusions of the Tehran Conference. Tehran, 1 December 1943." British Parliamentary Papers. By Royal Command. CMD 7092 Presented by the Secretary of State for Foreign Affairs to Parliament by Command of His Majesty.
Further reading[edit]
Leighton, Richard M. (2000) [1960]. "Chapter 10: Overlord Versus the Mediterranean at the Cairo-Tehran Conferences". In Kent Roberts Greenfield. Command Decisions. United States Army Center of Military History. CMH Pub 70-7.
External links[edit]
Wikimedia Commons has media related to Tehran Conference.
Wikisource has original text related to this article:
Tehran Conference
Encyclopædia Britannica, Teheran Conference
United States Department of State
[hide]
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Conferences
U.S.-British Staff Conference (1941)
Atlantic Conference (1941)
First Moscow Conference (1941)
Arcadia Conference (1941– 1942)
Second Washington Conference (1942)
Second Moscow Conference (1942)
Third Washington Conference (1943)
First Quebec Conference (1943)
Third Moscow Conference (1942)
Cairo Conference (1943)
Casablanca Conference (1943)
Tehran Conference (1943)
Second Cairo Conference (1943)
Commonwealth Prime Ministers' Conference (1944)
Dumbarton Oaks Conference (1944)
Second Quebec Conference (1944)
Fourth Moscow Conference (1944)
Bretton Woods Conference (1944)
Malta Conference (1945)
Yalta Conference (1945)
United Nations Conference on International Organization (1945)
Potsdam Conference (1945)
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Moscow Peace Treaty (1940)
Tripartite Pact (1940)
Anglo-Soviet Agreement (1941)
Armistice of Saint Jean d'Acre (1941)
German–Turkish Treaty of Friendship (1941)
Paris Protocols (1941)
Anglo-Soviet Treaty of 1942 (1942)
Armistice of Cassibile (1943)
Cairo Declaration (1943)
Declaration of the Four Nations (1943)
Sino-American New Equal Treaty (1943)
Sino-British New Equal Treaty (1943)
Moscow Armistice (1944)
Nuremberg Charter (1945)
Potsdam Agreement (1945)
Potsdam Declaration (1945)
United Nations Charter (1945)
Paris Peace Treaties (1947)
Treaty of San Francisco (1951)
Organizations
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[show]
v
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History
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Overviews
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Rob Knox
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
For the American record producer, see Rob Knox (producer).
Rob Knox
Born
Robert Arthur Knox
(1989-08-21)21 August 1989
Kent, England
Died
24 May 2008(2008-05-24) (aged 18)
Sidcup, London, England, UK
Occupation
Actor
Years active
2000–2008
Robert Arthur Knox (21 August 1989 – 24 May 2008) was an English actor who portrayed the character of Marcus Belby in the film Harry Potter and the Half-Blood Prince,[1] and had signed to appear in the planned film Harry Potter and the Deathly Hallows.[2]
Having studied at Beths Grammar School, Bexley, Knox began acting aged 11, gaining small roles in British television shows like The Bill, After You've Gone and Trust Me, I'm a Teenager. His first cinematic appearance was as an extra in King Arthur (2004).
Knox died after being stabbed outside a bar in Sidcup, Southeast London, in May 2008, when he intervened in a fight to protect his brother. His murder attracted widespread attention in the British press, and his assailant, Karl Norman Bishop, was subsequently sentenced to life imprisonment, with a minimum 20-year non-parole period.[3] An annual film festival, the Rob Knox Film Festival, was created in Knox's name to commemorate him, by the Rob Knox Foundation which helps fund training for young local people in the arts.
Contents
1 Early life and career
2 Harry Potter
3 Death
3.1 Murder
3.2 Arrest and trial of Karl Bishop
4 Filmography
5 References
6 External links
Early life and career[edit]
Knox was born to Colin and Sally Knox in 1989. He was a pupil at Beths Grammar School, Bexley. He had been acting since the age of 11, and his first credited role was a small part in an episode of the ITV police drama The Bill and he also appeared in the Channel 4 reality show Trust Me, I'm a Teenager, and the BBC comedy After You've Gone. He had previously appeared as an extra in a number of productions. The first film Knox appeared in was King Arthur in 2004. He also appeared on Tonight with Trevor McDonald.[2][4]
Harry Potter[edit]
In 2007, casting began for the role of Marcus Belby in Harry Potter and the Half-Blood Prince, the film adaptation of British author J.K. Rowling's best-selling novel and the sixth installment of the Harry Potter film series.[5]
Knox posthumously starred in Harry Potter and the Half-Blood Prince (2009).[1]
Although his character does not appear in the seventh novel, Knox had signed on to reprise his role as Marcus in the final installment of the Harry Potter film series, Harry Potter and the Deathly Hallows.[2] The film was divided into two parts for financial and scripting reasons;[6][7] Part 1 was released in November 2010, with the second part in July 2011.[8]
Death[edit]
Murder[edit]
Knox died at the age of 18 after he was stabbed outside the Metro Bar in Sidcup, South East London, on 24 May 2008. He had intervened in a fight to protect his 17-year-old brother Jamie, who was being threatened by two men, one of whom was armed with two knives.[9][10][11] Warner Bros. released a statement concerning his death: "We are all shocked and saddened by this news and at this time our sympathies are with his family".[9]
Arrest and trial of Karl Bishop[edit]
Karl Norman Bishop (born 1987 in Lewisham,[12] Southeast London),[13] from Carlton Road, Sidcup, was charged with the murder.[2] He was taken into custody, and remained there until his trial, which began in February 2009.[14] Bishop was found guilty of murder on 4 March 2009,[15][16] and received a life sentence with a minimum of twenty years before being considered for parole.[17] Police reported that he showed no remorse for the crime.[18]
Filmography[edit]
Film
Year
Film
Role
Notes
2004 King Arthur extra Uncredited
2009 Harry Potter and the Half-Blood Prince Marcus Belby Released posthumously (final film role)
Television
Year
Title
Role
Notes
The Bill Unknown 1 episode
Trust me I'm a Teenager Himself
2007 After You've Gone Josh (2 episodes)
References[edit]
^ Jump up to: a b "More Potter film casting revealed". Newsround. 19 December 2007. Retrieved 19 December 2007.
^ Jump up to: a b c d Brown, David (26 May 2008). "Family of murdered Robert Knox speak out". Kent: Times Online. Retrieved 27 May 2008.
Jump up ^ http://news.sky.com/story/675396/actors-killer-smirks-as-hes-jailed-for-life
Jump up ^ Sanderson, Daniel; Aye Maung, Carole. "Harry Potter star stabbed to death how does harry feel". News of the World. Archived from the original on 26 May 2008. Retrieved 27 May 2008.
Jump up ^ Buchanan, Jason (2009). "Overview of Harry Potter and the Half-Blood Prince". Allmovie. Retrieved 14 May 2010.
Jump up ^ Jack Malvern (14 March 2008). "Longer spell at box office for Harry Potter". The Times.
Jump up ^ Olly Richards (14 March 2008). "Potter Producer Talks Deathly Hallows". Empire. Retrieved 14 March 2008.
Jump up ^ Boucher, Geoff (12 March 2008). "Final 'Harry Potter' book will be split into two movies". The Los Angeles Times. Retrieved 12 March 2008.
^ Jump up to: a b "Potter film actor killed in fight". BBC News. 24 May 2008. Retrieved 24 May 2008.
Jump up ^ Teenage Harry Potter Actor Rob Knox Dies After Being Stabbed In Bar Fight In Sidcup[dead link]
Jump up ^ Harry Potter actor killed in Sidcup knife attack – Telegraph
Jump up ^ Births England and Wales 1984–2006
Jump up ^ "Harry Potter Actor's Murder: Man In Court", News.Sky.com, 27 May 2008
Jump up ^ "SIDCUP: Man to stand trial for murder of Harry Potter actor Rob Knox", ThisIsLocalLondon.com 6 February 2009
Jump up ^ 'Potter actor's parents' anguish' BBC News, 4 March 2009
Jump up ^ Bannerman, Lucy. "Karl Bishop guilty of killing Harry Potter actor Robert Knox" The Times, 5 March 2009
Jump up ^ 'Life term for Potter actor killer' BBC News, 5 March 2009
Jump up ^ "Actor accused showed 'no remorse'". BBC News. 20 February 2009.
External links[edit]
Robert Knox on IMDb
Robert Knox Foundation
Retrieved from "https://en.wikipedia.org/w/index.php?title=Rob_Knox&oldid=860741524"
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Othello (character)
From Wikipedia, the free encyclopedia
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Othello
Othello character
"Othello and Desdemona in Venice" by Théodore Chassériau (1819–56)
Created by
William Shakespeare
Information
Family
Desdemona (wife)
Other name(s)
The Moor
Othello is a character in Shakespeare's Othello (c. 1601–1604). The character's origin is traced to the tale "Un Capitano Moro" in Gli Hecatommithi by Giovanni Battista Giraldi Cinthio. There, he is simply referred to as the Moor.
Othello is a brave and competent soldier of advanced years and Moorish background in the service of the Venetian Republic. He elopes with Desdemona, the beautiful daughter of a respected Venetian senator. After being deployed to Cyprus, Othello is manipulated by his Ancient (pronounced Ensign) Iago into believing Desdemona is an adulteress. Othello murders her and, upon discovering Iago's deceit, kills himself.
Othello was first mentioned in a Revels account of 1604 when the play was performed on 1 November at Whitehall Palace with Richard Burbage almost certainly Othello's first interpreter. Modern notable performers of the role include Paul Robeson, Orson Welles, Richard Burton, James Earl Jones, Laurence Fishburne, Laurence Olivier, and Avery Brooks.
Contents
[hide]
1 Role
2 Sources
3 Race
4 20th-century Othellos
5 Performance history
6 References
7 External links
Role[edit]
Othello is a Moorish prince living in Venice, as an ambassador of the Moors. After time in Venice, Othello is appointed general in the Venetian Army. His officer Iago tricks him into believing that his wife Desdemona is having an affair with his Lieutenant, Michael Cassio. Othello kills his wife out of jealousy by strangling her, only to realize that his wife was faithful after Emilia reveals the truth, at which point he commits suicide.
Sources[edit]
"Othello and Desdemona" by Alexandre-Marie Colin, 1829
Othello has its source in the 1565 tale "Un Capitano Moro" from Gli Hecatommithi by Giovanni Battista Giraldi Cinthio. While no English translation of Cinthio was available in Shakespeare's lifetime, it is probable that Shakespeare knew both the Italian original and Gabriel Chappuy's 1584 French translation. Cinthio's tale may have been based on an actual incident occurring in Venice about 1508.[1] It also resembles an incident described in the earlier tale of "The Three Apples", one of the stories narrated in the One Thousand and One Nights (Arabian Nights).[2] Desdemona is the only named character in Cinthio's tale, his other characters being identified as the Moor, the squadron leader, the ensign, and the ensign's wife.
While Shakespeare closely followed Cinthio's tale in composing Othello, he departed from it in some details, particularly in the tale's depiction of Desdemona's death. In Cinthio, the Moor commissions his ensign to bludgeon Desdemona to death with a sand-filled stocking. In gruesome detail, Cinthio follows each blow, and, when the lady is dead, the Moor and his ensign place her lifeless body upon her bed, smash her skull, and then cause the cracked ceiling above the bed to collapse upon her, giving the impression the falling rafters caused her death. The two murderers escape detection. The Moor then misses his wife greatly, and comes to loathe the sight of his ensign. He demotes him, and refuses to have him in his company. The ensign then seeks revenge by disclosing to "the squadron leader" (the tale's Cassio counterpart), the Moor's involvement in Desdemona's death. The two men denounce the Moor to the Venetian Seignory. The Moor is arrested, transported from Cyprus to Venice, and tortured, but refuses to admit his guilt. He is condemned to exile; Desdemona's relatives eventually put him to death. The ensign escapes any prosecution in Desdemona's death but engages in other crimes and dies after being tortured.[3]
Race[edit]
Portrait of Abd el-Ouahed ben Messaoud, ambassador of Ahmad al-Mansur to Queen Elizabeth I in 1600, sometimes claimed as an inspiration for Othello.[4]
Portrait of Leo Africanus, another possible inspiration for Othello[5]
There is no consensus over Othello's race. E. A. J. Honigmann, the editor of the Arden Shakespeare edition concluded that Othello's race is ambiguous. "Renaissance representations of the Moor were vague, varied, inconsistent, and contradictory. As critics have established, the term 'Moor' referred to dark-skinned people in general, used interchangeably with similarly ambiguous terms as 'African', "Ethiopian' and even 'Indian' to designate a figure from Africa (or beyond).[6][7] Various uses of the word 'black' (for example, "Haply for I am black") are insufficient evidence for any accurate racial classification, Honigmann argues, since 'black' could simply mean 'swarthy' to Elizabethans. In 1911, James Welton argued more evidence points to him being Sub-Saharan, though Shakespeare's intention is unknown.[8] He cites Brabantio's description of Othello's "sooty bosom," a racial stereotype during this time, and Othello's contrast between his "begrimed" features and purity of the goddess Diana. He argues that interpretations attempting to change Othello from "black to brown" were due to racial prejudice during Reconstruction in the US and notes that Othello is described using similar language to Aaron in Titus Andronicus.[9] Virginia Mason Vaughan suggests that the racial identity of the character of Othello fit more clearly as a man from Sub-Saharan Africa than from North Africa (Barbary) as north Africans were more easily accepted into society. She states that by 1604, accounts of Othello as deriving from further south were not uncommon.[10] She notes Rodrigo's description of Othello having "thick lips" was a racial stereotype used by 16th century explorers for southern Africans.[11] Modern-day readers and theatre directors lean away from a North African Moorish interpretation[12] but Shakespeare's textual references are unclear. Iago twice uses the word "Barbary" or "Barbarian" to refer to Othello, seemingly referring to the Barbary coast inhabited by the "tawny" Moors. Roderigo calls Othello "the thicklips", which seems to refer to European conceptions of Sub-Saharan African physiognomy, but Honigmann counters that, as these comments are all intended as insults by the characters, they need not be taken literally.[13]
Michael Neill, editor of the Oxford Shakespeare edition, notes that the earliest critical references to Othello's colour, (Thomas Rymer's 1693 critique of the play, and the 1709 engraving in Nicholas Rowe's edition of Shakespeare), assume him to be a black man, while the earliest known North African interpretation was not until Edmund Kean's production of 1814.[14] Honigmann questions the view that Abd el-Ouahed ben Messaoud ben Mohammed Anoun, Moorish ambassador of the Arab King of Barbary to Queen Elizabeth I in 1600, was one inspiration for Othello. He stayed with his retinue in London for several months and occasioned much discussion, and thus might have inspired Shakespeare's play, written only a few years afterwards. The exact date that Othello was written is unknown, though sources indicate that it was written between 1601 and 1610, sometime after the Moorish delegation.[15]
Othello and Iago (1901)
Othello is referred to as a "Barbary horse" (1.1.113), a "lascivious Moor" (1.1.127), and "the devil" (1.1.91). In III.III he denounces Desdemona's supposed sin as being "black as mine own face". Desdemona's physical whiteness is otherwise presented in opposition to Othello's dark skin; V.II "that whiter skin of hers than snow". Iago tells Brabantio that "an old black ram / is tupping your white ewe" (1.1.88). In Elizabethan discourse, the word "black" could suggest various concepts that extended beyond the physical colour of skin, including a wide range of negative connotations.[16][17]
Ira Aldridge pioneered the prominence of black actors in the role, beginning in 1825 in London.[18] Othello was also frequently performed as an Arab Moor during the 19th century. In the past, Othello would often have been portrayed by a white actor in blackface. Black American actor Paul Robeson played the role from 1930 to 1959. Recent actors who chose to "blacken up" include Laurence Olivier (1965) and Orson Welles. Black English actor Wil Johnson, known for his roles in Waking the Dead and Emmerdale, played Othello on stage in 2004. Since the 1960s it has become commonplace to cast a black actor in the character of Othello, although the casting of the role now can come with a political subtext.[19] Patrick Stewart took the role in the Shakespeare Theatre Company's 1997 staging of the play [20][21] and Thomas Thieme, also white, played Othello in a 2007 Munich Kammerspiele staging at the Royal Shakespeare Theatre; both played without blackface, their performances critically acclaimed.[22][23]
20th-century Othellos[edit]
Paul Robeson and Uta Hagen (1943)
The most notable American production may be Margaret Webster's 1943 staging starring Paul Robeson as Othello and José Ferrer as Iago. This production was the first ever in America to feature a black actor playing Othello with an otherwise all-white cast (there had been all-black productions of the play before). It ran for 296 performances, almost twice as long as any other Shakespearean play ever produced on Broadway.[24] Although it was never filmed, it was the first nearly complete performance of a Shakespeare play released on records. Robeson played Othello in three separate productions between 1930 and 1959. He first played it opposite a cast that included Peggy Ashcroft as Desdemona and Ralph Richardson as Roderigo, and would return to it in 1959 at Stratford on Avon.[24]
The American actor William Marshall performed the title role in at least six productions. His Othello was called by Harold Hobson of the London Sunday Times "the best Othello of our time,"[25] continuing: "nobler than Tearle, more martial than Gielgud, more poetic than Valk. From his first entry, slender and magnificently tall, framed in a high Byzantine arch, clad in white samite, mystic, wonderful, a figure of Arabian romance and grace, to his last plunging of the knife into his stomach, Mr Marshall rode without faltering the play's enormous rhetoric, and at the end the house rose to him."[26] Marshall also played Othello in a jazz musical version, Catch My Soul, with Jerry Lee Lewis as Iago, in Los Angeles in 1968.[27] His Othello was captured on record in 1964 with Jay Robinson as Iago and on video in 1981 with Ron Moody as Iago. The 1982 Broadway staging starred James Earl Jones as Othello and Christopher Plummer as Iago.
"Othello"
Play media
James Earl Jones performs Othello's Act I, scene iii speech from Shakespeare Othello at the White House Evening of Poetry, Music, and the Spoken Word on 12 May 2009.
"Othello"
Audio only version
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When Laurence Olivier gave his acclaimed performance of Othello at the Royal National Theatre (UK) in 1964, he had developed a case of stage fright that was so profound that when he was alone onstage, Frank Finlay (who was playing Iago) would have to stand offstage where Olivier could see him to settle his nerves.[28] This performance was recorded complete on LP, and filmed by popular demand in 1965 (according to a biography of Olivier, tickets for the stage production were notoriously hard to get). The film version still holds the record for the most Oscar nominations for acting ever given to a Shakespeare film — Olivier, Finlay, Maggie Smith (as Desdemona) and Joyce Redman (as Emilia, Iago's wife) were all nominated for Academy Awards.
Actors have alternated the roles of Iago and Othello in productions to stir audience interest since the nineteenth century. Two of the most notable examples of this role swap were William Charles Macready and Samuel Phelps at Drury Lane (1837) and Richard Burton and John Neville at the Old Vic Theatre (1955). When Edwin Booth's tour of England in 1880 was not well attended, Henry Irving invited Booth to alternate the roles of Othello and Iago with him in London. The stunt renewed interest in Booth's tour. James O'Neill also alternated the roles of Othello and Iago with Booth.
White actors have continued to take the role. These include British performers Paul Scofield at the Royal National Theatre in 1980, Anthony Hopkins in the BBC Shakespeare television production (1981), and Michael Gambon in a stage production at Scarborough directed by Alan Ayckbourn in 1990. In 1997, Patrick Stewart took the role with the Shakespeare Theatre Company (Washington, D.C.) in a race-bending performance, in a "photo negative" production of a white Othello with an otherwise all-black cast. Stewart had wanted to play the title role since the age of 14, so he and director Jude Kelly inverted the play so Othello became a comment on a white man entering a black society.[20][21] Two Indian adaptations of Othello has been released. In 1997, Kaliyattam the Malayalam film adaptation starred Suresh Gopi playing the Othello part in the role of Kannan Perumalayan. In 2006, Omkara, the Bollywood version of Othello, Othello née Omkara 'Omi' Shukla was played by Ajay Devgan. In 2016, baritone and actor David Serero took the role in a Moroccan adaptation in New York.[29][30]
Performance history[edit]
Ira Aldridge
Edwin Booth
Avery Brooks
Richard Burbage
Richard Burton
Billy Crudup (as Ned Kynaston playing Othello in Stage Beauty)
Ajay Devgn (as Omkara Shukla in Omkara)
Chiwetel Ejiofor
Laurence Fishburne
Johnston Forbes-Robertson
Moses Gunn
John Gielgud
Anthony Hopkins
Emil Jannings
Wil Johnson
James Earl Jones
Raúl Juliá
Art Malik
William Marshall
John Neville
James O'Neill
Laurence Olivier
Mekhi Phifer (as Odin in O)
Paul Robeson
Tommaso Salvini
Paul Scofield
Patrick Stewart
Eamonn Walker
Orson Welles
Cyril Nri
Lenny Henry
Suresh Gopi (as Kannan Perumalayan in Kaliyattam)
Keith Hamilton Cobb
David Serero
John Boyega
References[edit]
Jump up ^ Shakespeare, William. Four Tragedies: Hamlet, Othello, King Lear, Macbeth. Bantam Books, 1988.
Jump up ^ Young, John G., M.D. "Essay: What Is Creativity?". Adventures in Creativity: Multimedia Magazine. 1 (2). Archived from the original on 20 August 2008. Retrieved 17 October 2008
Jump up ^ Bevington, David and Kate, translators. "Un Capitano Moro" in Four Tragedies: Hamlet, Othello, King Lear, Macbeth. Bantam Books, 1988.
Jump up ^ Virginia Mason Vaughan, Performing Blackness on English Stages, 1500-1800, Cambridge University Press, 2005, p. 59.
Jump up ^ Tom Verde. "A Man of Two Worlds". Armaco World. January/February 2008.
Jump up ^ Emily C. Bartels, Making More of the Moor: Aaron, Othello, and Renaissance Refashionings of Race.
Jump up ^ "Moor, n2", The Oxford English Dictionary, 2nd edtn.
Jump up ^ James Welton Psychology of Education, University of California, 1911, p. 403.
Jump up ^ Welton, Psychology of Education (1911), p. 404.
Jump up ^ Virginia Mason Vaughan, Othello: A Contextual History, Cambridge University Press: 1996, pp. 51–52.
Jump up ^ Leo Africanus, "The inhabitants are extremely black, having great noses and blabber lips." The History and Description of Africa, Robert Brown, ed. Trans. John Pory, 3 vols (London: The Hakluyt Society, 1896), p. 830.
Jump up ^ E. A. J. Honigmann, ed. Othello. London: Thomas Nelson, 1997, p. 17.
Jump up ^ Honigmann, p. 15.
Jump up ^ Michael Neill, ed. Othello (Oxford University Press), 2006, pp. 45–47.
Jump up ^ Honigmann, pp. 2-3.
Jump up ^ Doris Adler, "The Rhetoric of Black and White in Othello", Shakespeare Quartertly, 25 (1974).
Jump up ^ Oxford English Dictionary, 'Black', 1c.
Jump up ^ Gates, Henry Louis (31 March 2014). "Who Was the 1st Black Othello?". The Root. p. 2. Retrieved 23 April 2016.
Jump up ^ Taylor, Paul (10 January 1996). "A tricky double act". The Independent. London. Retrieved 20 October 2010. Quoted in Hughes, Geoffrey (2009). Political Correctness: A History of Semantics and Culture (The Language Library). Oxford, England: Wiley-Blackwell. p. 231. ISBN 1-4051-5279-6.
^ Jump up to: a b "The Issue of Race and Othello". Curtain up, DC. Retrieved 2 May 2010.
^ Jump up to: a b "Othello by William Shakespeare directed by Jude Kelly". The Shakespeare Theatre Company. Retrieved 20 September 2008.
Jump up ^ Michael Billington, "Black or white? Casting can be a grey area", The Guardian (Theatre blog), 5 April 2007.
Jump up ^ Michael Billington, "Othello" (Theatre review), The Guardian, 28 April 2006.
^ Jump up to: a b Gary Jay Williams, Shakespeare in Sable: A History of Black Shakespearean Actors by Errol Hill (review), Shakespeare Quarterly, Vol. 37, No. 2 (Summer, 1986), pp. 276–278; Folger Shakespeare Library and George Washington University.
Jump up ^ Jet magazine, 30 June 2003.
Jump up ^ The Independent (London), 6 July 2003.
Jump up ^ Christgau, Robert. Any Old Way You Choose It, ISBN 0-8154-1041-7
Jump up ^ Laurence Olivier, Confessions of an Actor, Simon and Schuster (1982), p. 262.
Jump up ^ "DAVID SERERO starring as OTHELLO in a Moroccan Style this June in New York", The Culture News, 3 May 2016.
Jump up ^ "Sephardic OTHELLO to Open in June at Center for Jewish History", Broadway World, 17 May 2016.
External links[edit]
Quotations related to Othello at Wikiquote
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William Shakespeare's Othello
Characters
Othello
Desdemona
Iago
Cassio
Emilia
Bianca
Roderigo
Brabantio
Other characters
Source
Della descrittione dell’Africa (1550) by Leo Africanus
"Un Capitano Moro" from Gli Hecatommithi (1565) by Cintio
Opera and
ballet adaptations
Otello (1816; opera)
Otello (1887; opera)
Othello (1892; overture)
The Moor's Pavane (1949; ballet)
Othello (1998; ballet score)
Bandanna (1999; opera)
Films
1922
1951
1955
1965
1995
TV
1965
1981
1990
1994
2001
Stage adaptations
The Duke of Milan (1623)
Love's Sacrifice (1633)
Masquerade (1835)
Othello (1951)
Catch My Soul (US; 1969)
Catch My Soul (UK; 1970)
Desdemona (2011)
Film adaptations
Jubal (1956)
All Night Long (1962)
Catch My Soul (1974)
Kaliyattam (1997)
O (2001)
Eloise (2002)
Souli (2004)
Omkara (2006)
Jarum Halus (2008)
From Verdi
Otello (1906; film)
Othello Ballet Suite/Electronic Organ Sonata No. 1 (1967; ballet suite)
Otello (1986; film)
The Othello Syndrome (2008; album)
Art
Othello
Phrases
"Beast with two backs"
Related
Othello error
Filming Othello
Story within a story
Carnival (1921 film)
Carnival (1931 film)
The Deceiver (1931)
Men Are Not Gods (1936)
A Double Life (1947)
Saptapadi (1961)
The Dresser (1980 play)
The Dresser (1983 film)
Goodnight Desdemona (1988)
An Imaginary Tale (1990)
Red Velvet (2012 play)
The Dresser (2015 film)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Othello_(character)&oldid=845495874"
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text:
New York Human Rights Law
From Wikipedia, the free encyclopedia
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The New York Human Rights Law (NYHRL) is article 15 of the Executive Law (which is itself chapter 18 of the Consolidated Laws of New York) which prohibits discrimination on the basis of "age, race, creed, color, national origin, sexual orientation, military status, sex, marital status or disability" in employment, housing, education, credit, and access to public accommodations[1] The law was originally passed in 1945 as the Law Against Discrimination,[2] and was the first of its kind in the United States.[3] It is enforced by the New York State Division of Human Rights.
The Sexual Orientation Non-Discrimination Act passed in 2002 added "sexual orientation"; the Gender Expression Non-Discrimination Act is a bill proposed to add "gender identity or expression".
See also[edit]
New York City Human Rights Law
LGBT rights in New York
Law of New York
References[edit]
Jump up ^ N.Y. Executive Law §§291, 296-a (McKinney 2005)
Jump up ^ Holland v. Edwards, 282 A.D. 353, 357 (N.Y. App. Div. 1953)
Jump up ^ New York State Division of Human Rights

This human rights-related article is a stub. You can help Wikipedia by expanding it.
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