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History of deaf education in the United States
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The history of deaf education in the United States began in the early 1800s when the Cobbs School of Virginia,[1] an oral school, was established by William Bolling and John Braidwood, and the Connecticut Asylum for the Deaf and Dumb, a manual school, was established by Thomas Hopkins Gallaudet and Laurent Clerc.[1] When the Cobbs School closed in 1816, the manual method, which used American Sign Language, became commonplace in deaf schools for most of the remainder of the century. In the late 1800s, schools began to use the oral method, which only allowed the use of speech, as opposed to the manual method previously in place. Students caught using sign language in oral programs were often punished. The oral method was used for many years until sign language instruction gradually began to come back into deaf education.
Contents
1 Early history
1.1 Early oral education in the United States
1.2 Early manual education in the United States
2 Change from predominantly manual education to oral education
3 Early 20th century
3.1 Instructors
4 Late 20th century
4.1 Deaf President Now
4.2 Instructors
5 Today
5.1 Bilingual-bicultural education
5.1.1 Residential programs
5.2 Auditory-oral and auditory-verbal education
5.3 Mainstreaming and inclusion
6 See also
7 References
8 Further reading
Early history[edit]
Before the 1800s, few, if any, educational opportunities existed for deaf children in America. Some wealthy families sent their children to Europe's schools, but many non-high class children had no access to education.[2]
Early oral education in the United States[edit]
In the eighteenth and early nineteenth centuries, many wealthy colonists sent their deaf children to Europe to receive schooling.[3] The best known deaf educational institution was the Braidwood Academy in Edinburgh, Scotland, established in 1760 by Thomas Braidwood as the "Academy for the Deaf and Dumb."[4] The Braidwood Academy was an expensive private oral school that was very secretive about its methods, only sharing their methodology with a few select people.[4]
The Bolling family, who lived in Virginia, were the most prominent colonists to send their deaf children to the Braidwood Academy.[3] Thomas Bolling and his wife Elizabeth Gay (who was also his first cousin) had three deaf children, John, Mary, and Thomas Jr., as well as at least two hearing children.[5][6] John was the first of the three children to go to the Braidwood Academy in 1771, with Mary and Thomas Jr. arriving later.[4] The three Bolling children arrived back in the United States in 1783; however, they became ill shortly after arriving home, and John died on October 11, 1783.[7] Because of this, it cannot be determined how effective the ten years of oral instruction he received were.[7] Mary and Thomas Jr. lived for at least another four decades, and comments about Thomas Jr. noted that he was a "miracle of accomplishments."[7]
The next generation of hearing Bollings had deaf children, and they wanted their children to be educated in the United States.[6] William, the last child of Thomas and Elizabeth, married his first cousin Mary, who bore five children, two of whom were deaf.[6] The couple's first deaf child, William Albert, drove his father's desire to create a school for the deaf in America.[6] William Bolling met John Braidwood, a descendant of Thomas Braidwood, after he arrived in America in 1812.[6][8] Bolling invited Braidwood to stay in his home as Braidwood sorted out a more permanent living arrangement.[8] Braidwood discussed with Bolling his desire to open a school similar to the Braidwood Academy in America.[8] After many setbacks, the Cobbs School was established in 1815.[9][10] It closed about a year and a half later, in the fall of 1816, when Braidwood's personal problems caused him to leave the school and Bolling could no longer financially maintain it.[10]
Early manual education in the United States[edit]
A sculpture of Thomas Hopkins Gallaudet and Alice Cogswell located on the Gallaudet University campus
In 1812 in New England, Thomas Hopkins Gallaudet met a little girl named Alice Cogswell, who inspired him to create a school for the deaf in the United States. In 1815, he traveled to Europe to gain insight on their methods of teaching deaf students.[11] He attempted to learn from the Braidwood system, but the administrators wanted him to sign a contract, remain at the school for several years to be trained in oralism, and agree to keep the teaching methods of the school a secret; Gallaudet refused this.[11] He attended a lecture in France by Abbé Sicard showcasing two successful pupils of Paris' National Institution for Deaf-Mutes, Jean Massieu and Laurent Clerc. Gallaudet spent several months at the school, and he convinced Clerc, a thirty-year-old assistant teacher, to return with him to Hartford, Connecticut. Back in America, they established the Connecticut Asylum for the Deaf and Dumb, which was later named the American School for the Deaf, in 1817. Gallaudet was the director, and Clerc was the first deaf teacher in America. Alice Cogswell was one of the first seven students.[12]
For most of the remainder of the century, education of deaf children using sign language, a practice known as manualism, continued to grow. Approximately forty percent of all teachers were deaf.[13] More than thirty schools for the deaf were opened, the majority of which were manual. William Willard was the first deaf superintendent in America and founded Indiana School for the Deaf in 1843.[13][14] Gallaudet College (now Gallaudet University) was founded in Washington, D.C in 1864 with Thomas Gallaudet's son, Edward Miner Gallaudet, as the school's superintendent.[15][16] Edward Miner Gallaudet strongly believed in the use of sign language and had a number of arguments with Alexander Graham Bell, an oralist.[17]
Before the 1860s and before the American Civil War, manual language was very popular among the Deaf community and also supported by the hearing community.[18] The hearing community viewed deafness as “[isolating] the individual from the Christian community”.[18] At the time, the people of the United States were fairly religious (notably Christian), and the hearing-advantaged believed that sign language opened deaf individuals' minds and souls to God.[18] Through this, the hearing community believed that manualism brought deaf people closer to God and opened deaf people to the gospel, which brought manualism general acceptance.
Prior to the 1860s, the American hearing community viewed manualism, sign language, as an art, and naturally beautiful.[18] They also thought of deaf people who signed as being like the Romans because of the pantomimes that are a part of the language.[18]
Change from predominantly manual education to oral education[edit]
By the end of the American Civil War in the late 1860s, the argument for “Survival of the Fittest” was applied to the issue of education for the deaf as a result of a Darwinist perspective of Evolution.[18] This movement brought manualists arguing their view that signs were closer to nature because the first thing babies learn to do is gesture, which is akin to sign language.[18] To the Deaf community, manualism was at the time considered a gift from God.[18] During this particular time in the United States, oralism was coming about which gave some a negative view of manualism because, it was argued, it was not a natural language.[18]
Support for oralism gained momentum in the late 1860s and the use of manualism started to decrease. Many in the hearing community were now in favor of the evolutionary perspective, which depicted deaf people who used manual language akin to “lower animals”.[18] Some hearing people viewed speech as what separated humans from animals, which in turn caused manual language to be viewed as unhumanlike.[18] The first schools for oralism opened in the 1860s were called The New York Institution for the Improved Instruction of Deaf Mutes and The Clarke Institution for Deaf-Mutes (now the Clarke Schools for Hearing and Speech).
At that time the teaching of manual language was restricted because the American Hearing Society saw deaf people who used it as different, as foreigners, or as a group with a separate language that was a threat to the hearing society.[18] Members of the hearing community who were in favor of oralism took offense to deaf people having their own group identity and refusing to integrate within the greater community.[17]
Oralists believed that the manual language made deaf people different, which in turn led them to believe that deaf people were abnormal. Oralists believed that the teaching of oralism allowed deaf children to be more normal.[17] Oralists strongly believed that deaf children should put as much effort as possible into learning how to live in spite of their disabilities, thus promoting the teaching of lip reading, mouth movements, and use of hearing technology.[17] Oralists also argued that if deaf people continued the use of manual language as their form of communication, they would never integrate within the rest of society.[17]
Alexander Graham Bell with a group of deaf students from the Scott Circle School, 1883
A model figure for oralism and against the usage of sign language was Alexander Graham Bell, who created the Volta Bureau in Washington, D.C. to pursue the studies of deafness. Two other Americans who encouraged the founding of oralist schools in the United States were Horace Mann and Samuel Gridley Howe, who travelled to Germany to see their oral schools and who wished to model them.[17]
In 1880, an event called the Second International Congress on Education of the Deaf (which, despite the name, was actually the first) took place. The Second International Congress was an international meeting of deaf educators from at least seven countries. There were five delegates from America and around 164 delegates total in attendance. The Congress was planned and organized by a committee created by the Pereire Society, a group that was against sign language. More than half of the people invited were known oralists; therefore, the Congress was biased and most, if not all, of the resolutions that were voted on by the delegates gave results in favor of the oral method. Many of the resolutions were worded in ways that supported the oral method, such as "Considering the incontestable superiority of speech over signs in restoring the deaf-mute to society, and in giving him a more perfect knowledge of language,/Declares –/That the Oral method ought to be preferred that of signs for the education and instruction of the deaf and dumb".[19] Until the 1890s, deaf education in the United States was limited to children, but Lillie Eginton Warren and her assistant, Edward B. Nichie, expanded the teaching to adults.[20]
Early 20th century[edit]
After the Congress, deaf education in America changed. Manualists, those who advocated for sign language usage, were effectively "kicked out" and replaced with teachers who used the pure oral method. Deaf teachers were removed from the profession and replaced with hearing ones. Most schools switched to the oral method or were created as oral schools in the first place, and few manual schools remained in existence. The work of deaf educators in the oralist schools, who were mostly women, was to prepare the deaf children for life in the hearing world, which required them to learn English, speech, and lipreading.[17] All students that were sent to the oral schools were forced to use the oral method, and oralist schools restricted the deaf students' use of American Sign Language (ASL) in class and in public. Students in pure oral programs were not allowed to sign in class and were also forbidden to sign in dormitories. Students caught signing were punished, but students continued to learn sign from each other anyway.[21][22] One type of punishment used on deaf students was to force them to wear white gloves that were tied together to prevent them from using signs.[21] Those who were not successful under the oral method after several years were transferred to manual classes and considered "oral failures" who would never know anything or be able to make it in the world.[22] Some consider this the "Dark Age of Oralism".[22]
Edith Mansford Fitzgerald opposed these views, as a deaf woman who felt that the oralist methods had stunted her learning.[23] In 1926, she published a book, entitled Straight Language for the Deaf: A System of Instruction for Deaf Children was published in 1926 and was widely influential in the field of deaf education.[24] Her Fitzgerald Key at one point was used in around 75% of the institutes teaching the deaf.[25]
Instructors[edit]
In the early 20th century there was an increase of instructors who were deaf in many schools for the deaf. In America one of the biggest debates the deaf community had with the institutions was whether to hire more instructors who were deaf instead of hearing. Part of the reason why parents of students who are deaf wanted instructors who were deaf was to allow their children to have a role model, by allowing more instructors who were deaf allowing their children to see a possible future for themselves through their instructors.[26]
Late 20th century[edit]
The almost exclusive use of the pure oral method in deaf education continued well into the twentieth century. Then, during the late 1960s, Roy Kay Holcomb coined the term "Total Communication".[22][27] This term described an educational philosophy he popularized where the child could use the communication method that worked best for them given their needs. If a child learned better with American Sign Language or an English sign system, they were taught using that method. If a different method worked better with another child, they received their instruction that way.[22][27] Some schools using the oral method changed to Total Communication; others just added sign into their existing program or simply allowed children to sign amongst themselves without punishment. Often, the "sign languages" used in oral programs were constructed Manually Coded English (MCE) systems such as Seeing Essential English or Signing Exact English or were ASL signs in English word order. The programs used these systems in order to use them with speech in a practice known as Sign Supported Speech or Simultaneous Communication.
Deaf President Now[edit]
Main article: Deaf President Now
In 1988, Gallaudet University students decided that they would take matters of their education into their own hands. The sixth president of Gallaudet had announced in late 1987 that he would be resigning his position as president.[28] By early 1988, the committee that selected the candidates had narrowed it down to three finalists, two of which, Dr. Harvey Corson and Dr. I. King Jordan, were deaf, and one of which, Dr. Elisabeth Zinser, was hearing.[29] On March 6, it was announced hastily through press release (even though the selection committee was supposed to come on campus) that Zinser, the only hearing candidate, had become the seventh president of the university.[30] There had been rallies beforehand for a deaf president (most notably on March 1), but on the 6th, the rallying changed into protest. Students and faculty went on marches, made signs, and gave demonstrations.[30] The students locked the gates to the university and refused let the school open until Zinser resigned.[31] Under intense pressure from the students protesting, Zinser resigned on the fifth day of the protest, March 10.[30] Many students decided to stay on campus instead of going on Spring Break, which was scheduled to begin on March 11.[30] Two days later, on March 13 Jane Spilman resigned and was replaced by Phil Bravin as chair of the Board of Trustees, a taskforce was created to figure out how to achieve a 51% majority of deaf people on the Board of Trustees, and no one received any punishment for being in the protest.[30] I. King Jordan was named eighth president—and first deaf president—of Gallaudet University.
Deaf President Now changed deaf education. Before the protest, a select few deaf people held doctorates; however, since the protest, the number of deaf people pursuing and earning advanced degrees has steadily increased.[32] Also, schools for the deaf across America have had “mini DPNs” where students demanded deaf superintendents and senior administrators.[32] In addition, collegiate programs were created in other countries that did not previously have them (such as Japan, Sweden, and South Africa).[32] Deaf President Now not only affected deaf education in America, but it also affected deaf education worldwide.
In 1990, cochlear implants were approved for children two years of age and up.[33] This drastically changed education for deaf children. More children than ever were migrated out of bilingual-bicultural residential schools and into oral schools and mainstream programs with no extra supports. Parents were not encouraged to sign with their children because it was feared that it would slow down their speech, even though research has shown that the opposite is true.[citation needed] This move from residential schools to day schools and mainstreaming has caused many residential programs to downsize.
Instructors[edit]
In the most recent years the deaf community has been fighting hard for more instructors who are deaf in the public school system. In 1991 Carlsbad Unified School District parents went to the school board to complain about the lack of any instructors who are deaf. Many parents stated that their children are not getting the best education they could be getting because of the lack of representation of instructors who are deaf. However, the department head of the deaf education program says his instructors are trained for deaf and hard of hearing students. Many parents felt that having the background of understanding of deaf education is vastly different from being a person who is deaf.[34]
Today[edit]
See also: Deaf education
Today, there are a few different methods used in the education of deaf children in the United States.
All deaf students, regardless of placement, receive an Individualized Education Program (IEP) that outlines how the school will meet the student’s individual needs. The Individuals with Disabilities Education Act (IDEA) requires that students with special needs be provided with a Free Appropriate Public Education in the Least Restrictive Environment that is appropriate to the student's needs. Government-run schools provide deaf education in varying degrees of settings ranging from full inclusion to schools for the deaf.[35]
Bilingual-bicultural education[edit]
Main article: Bilingual-bicultural education
The Alumni Hall, the middle and high school at Indiana School for the Deaf, a bilingual-bicultural school
In this educational method, deafness is not seen as a medical issue; it is instead seen as a cultural issue.[36] In the bilingual-bicultural program, it is advocated that children who are deaf be taught ASL as a first language, then be taught written and/or spoken English as a second language.[36][37] Bilingual-bicultural programs emphasize that English and ASL are equal languages, and they work to help children develop age-appropriate levels of fluency in both languages.[37] The bilingual-bicultural approach holds the belief that deaf children are visual learners as opposed to auditory learners,[36] and therefore, academic content should be fully accessible to all deaf students (i.e. not contingent on spoken receptive/expressive skills, which may vary across students), so academic content is delivered in ASL and/or written English.[citation needed] Since it is not possible to simultaneously produce grammatically correct, fluent American Sign Language and spoken English, only one language is used at a time. Because there is no risk in learning sign language, the bilingual-bicultural approach mitigates the risk of language deprivation (a condition that arises when children have limited access to both spoken and sign language).[citation needed] Many bilingual-bicultural schools have dormitories, and deaf children can either commute to the school daily or stay in a dormitory as part of the residential program and visit their families on weekends and/or holidays and school vacations.
Residential programs[edit]
A residential program is an educational program in which a student lives at a school for the deaf during the week and goes home on weekends or holidays instead of commuting to the school daily. In residential programs, deaf children are fully immersed in Deaf culture. At a residential school, all students are deaf or hard of hearing, so deaf students are not looked at as different. They have "a common heritage,… a common language,… and a set of customs and values".[38] People at deaf schools help pass on "Deaf folklore and folklife (jokes, legends, games, riddles, etc.)" from one generation to the next.[38] Deaf parents of deaf children often send their children to residential schools so that they may participate in the Deaf community and culture. Hearing parents are often a bit more reluctant because they do not want to be separated from their children.[38] The first deaf woman to hold the position of superintendent of a residential school for the deaf in the U.S. was Gertrude Galloway.[39]
Auditory-oral and auditory-verbal education[edit]
Main articles: Auditory-verbal therapy and Oralism
Hubbard Hall is the main schoolbuilding at the Northampton campus of Clarke Schools for Hearing and Speech, an oral school.
The auditory-oral and auditory-verbal methods, sometimes referred to collectively as listening and spoken language, are forms of oral education.[40] These methods are based on the belief that a deaf child can learn to listen and speak and that families do not need to learn sign language or cued speech.[41][42] These methods are presented as communication options, and they rely on a large amount of parental involvement.[41][42] Children who use this option may be placed in a continuum of educational placements including oral schools, such as Clarke Schools for Hearing and Speech, self-contained classrooms for deaf students in public schools, or mainstream classrooms with hearing students.[41][42][43] Though some deaf children can learn to use hearing devices to speak and understand language, that is not the case for all deaf children.[44] Therefore auditory-oral only education puts children at risk of language deprivation: a condition that arises when children have limited access to both spoken and sign language. Unlike children who receive auditory-oral-only education, deaf children who use both signed and spoken language speak as well as their hearing counterparts.[45][46]
Mainstreaming and inclusion[edit]
Two interpreters working for a school
Main articles: Mainstreaming (education) and Inclusion (education)
This educational method is what occurs when a deaf child attends public school in regular classes for at least part of the school day.[47] Students may receive accommodations such as itinerant teachers, interpreters, assistive technology, notetakers, and aides.[48][49] Inclusion can have benefits including daily interaction with hearing students and the opportunity to live at home, but it can also have drawbacks such as isolation and limited availability of support.[48]
See also[edit]
Deaf culture
Education of the deaf
History of deaf education
History of sign language
Schools for the deaf in the United States
Second International Congress on Education of the Deaf
References[edit]
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Jump up ^ Crouch, Barry A.; Greenwald, Brian H. (2007). "Hearing with the Eye: The Rise of Deaf Education in the United States". In Van Cleve, John Vickrey. The Deaf History Reader (Anthology). Washington, D.C.: Gallaudet University Press. pp. 33–36. ISBN 978-1-56368-359-6.
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^ Jump up to: a b Crouch, Barry A.; Greenwald, Brian H. (2007). "Hearing with the Eye: The Rise of Deaf Education in the United States". In Van Cleve, John Vickrey. The Deaf History Reader (Anthology). Washington, D.C.: Gallaudet University Press. p. 39. ISBN 978-1-56368-359-6.
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^ Jump up to: a b c Baker, Sharon; Baker, Keith (August 1997). "Educating Children Who Are Deaf or Hard of Hearing: Bilingual-Bicultural Education. ERIC Digest #E553". Education Resources Information Center. ERIC Clearinghouse on Handicapped and Gifted Children. Retrieved 23 January 2011.
^ Jump up to: a b Marschark, Marc; Lang, Harry G; Albertini, John A. (2002). Educating Deaf Students. New York: Oxford University Press. p. 145.
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Jump up ^ Lund, Emily (2016-04-01). "Vocabulary Knowledge of Children With Cochlear Implants: A Meta-Analysis". Journal of Deaf Studies and Deaf Education. 21 (2): 107–121. doi:10.1093/deafed/env060. ISSN 1081-4159. PMC 4886318  . PMID 26712811.
Jump up ^ Davidson, K.; Lillo-Martin, D.; Pichler, D. Chen (2014-04-01). "Spoken English Language Development Among Native Signing Children With Cochlear Implants". Journal of Deaf Studies and Deaf Education. 19 (2): 238–250. doi:10.1093/deafed/ent045. ISSN 1081-4159. PMC 3952677  . PMID 24150489.
Jump up ^ Hassanzadeh, S. (2012-10-01). "Outcomes of cochlear implantation in deaf children of deaf parents: comparative study". The Journal of Laryngology & Otology. 126 (10): 989–994. doi:10.1017/S0022215112001909. ISSN 0022-2151.
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Jump up ^ "School Placement Considerations for Students Who are Deaf and Hard of Hearing". Hands and Voices. 2005. Retrieved 23 January 2011.
Further reading[edit]
A.A.P.T.S.D. The Association Review: 1906, Philadelphia, Penn.: American Association to Promote the Teaching of Speech to the Deaf. Retrieved from the Internet Archive, June 7, 2012. Note: this annual review contains extensive material on deaf education worldwide. It has been inadvertently listed on the Internet Archive as The Association Review: 1899, although some metadata correctly identifies it as from the year 1906.
Edwards, R. A .R. (2012). Words Made Flesh: Nineteenth-Century Deaf Education and the Growth of Deaf Culture. New York: New York University Press. ISBN 978-0-8147-2402-6.
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The First Wives Club
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This article is about the 1996 film. For the musical, see First Wives Club (musical). For the South Korean television series, see First Wives' Club.
The First Wives Club
Directed by
Hugh Wilson
Produced by
Scott Rudin
Screenplay by
Robert Harling
Based on
The First Wives Club
by Olivia Goldsmith
Starring
Diane Keaton
Bette Midler
Goldie Hawn
Maggie Smith
Dan Hedaya
Victor Garber
Stephen Collins
Bronson Pinchot
Marcia Gay Harden
Stockard Channing
Narrated by
Diane Keaton
Music by
Marc Shaiman
Cinematography
Donald E. Thorin
Edited by
John Bloom
Distributed by
Paramount Pictures
Release date
September 20, 1996
Running time
103 minutes
Country
United States
Language
English
Budget
$30 million[1]
Box office
$181 million[1]
The First Wives Club is a 1996 American comedy film, based on the best-selling 1992 novel of the same name by Olivia Goldsmith. Narrated by Diane Keaton, it stars Keaton, Goldie Hawn, and Bette Midler as three divorced women who seek revenge on their ex-husbands who left them for younger women. Stephen Collins, Victor Garber and Dan Hedaya co-star as the husbands, and Sarah Jessica Parker, Marcia Gay Harden and Elizabeth Berkley as their lovers, with Maggie Smith, Bronson Pinchot and Stockard Channing also starring. Scott Rudin produced and Hugh Wilson directed; the film was distributed by Paramount Pictures.[2]
The film became a surprise box-office hit following its North American release, eventually grossing $181,490,000 worldwide, mostly from its domestic run, despite receiving mixed reviews.[1] It developed a cult following particularly among middle-aged women,[3] and the actresses' highest-grossing project of the decade helped revitalize their careers in film and television. Composer Marc Shaiman was nominated for an Academy Award for Best Original Music Score,[2] while Hawn was awarded a Blockbuster Entertainment Award and both Midler and Parker received Satellite Award nominations for their portrayals.[2]
Contents
[hide]
1 Plot
2 Cast
3 Development
3.1 Writing
3.2 Casting
3.3 Production
4 Reception
4.1 Box office
5 Further developments
5.1 Sequel
5.2 On stage
5.3 TV series
6 Awards and nominations
7 Soundtracks
8 References
9 External links
Plot[edit]
At Middlebury College in 1969, four young friends, Annie MacDuggan, Elise Elliot, Brenda Morelli, and Cynthia Swann, are graduating. Excited for the future and the potential it holds, the girls enthusiastically make a champagne toast celebrating their graduation as well as their friendship. As graduation gifts, valedictorian Cynthia presents the girls with matching Bulgari pearl necklaces. As the graduates take a commemorative picture of the four of them (presumably for the last time), Cynthia makes Annie, Brenda and Elise promise that they will always be there for each other throughout the remainder of their lives.
In the present time, the four friends eventually lose touch with one another, as evident when Cynthia (Stockard Channing) is tearfully gazing at the picture of the four of them on that graduation day. Now wealthy and living in a luxurious penthouse, she gives her maid her own Bulgari pearl necklace (matching the three she gave to her friends on graduation day), and has the maid mail letters to them. She later walks outside of the balcony of her penthouse in a floor length fur coat, a cigarette and a drink, and then commits suicide by jumping to her death after learning through the tabloids that her ex-husband Gil (whom Cynthia made wealthy through her connections, according to narrator Annie) married his much younger mistress the day before.
Cynthia's suicide is subsequently splashed all over the news. The surviving three former friends, shocked by the tragic event, all attend her funeral. After the funeral, the three friends reconnect over a long lunch to catch-up on their lives post-graduation. As it turns out, Cynthia's former friends aren't doing much better. Annie (Diane Keaton) is separated, suffering extreme self-esteem issues, and going through therapy with her husband. Brenda (Bette Midler) is divorced, left for a younger woman, depressed, and struggling financially. Elise (Goldie Hawn), whose husband also left her for a younger woman, is now an aging alcoholic movie actress who has become a plastic-surgery addict to keep her career afloat.
Shortly after Cynthia's funeral, at which the three remaining friends are reunited for the first time since college, Annie's husband, Aaron (Stephen Collins), leaves her for her younger therapist (Marcia Gay Harden) and asks her for a divorce after spending a night together (and leading Annie to believe it would reconcile them); Brenda has a rather unpleasant encounter at a clothing store with her ex, Morty (Dan Hedaya) and his younger and rather hateful mistress Shelly (Sarah Jessica Parker), and Elise finds out that her soon-to be ex-husband, Bill (Victor Garber), is requesting alimony and half of their marital assets claiming that Elise owes her fame to him. Also, during a meeting with a director for a possible leading lady movie role, she discovers that she is only to play the lead female's mother; she later learns the lead female is Bill's current girlfriend.
Shortly thereafter, the three friends receive the letters that Cynthia mailed to them before her suicide. After each one reads her letter from Cynthia, and feeling that they have been taken for granted by their husbands, the women decide to create the First Wives Club, aiming to get revenge on their exes. Annie's lesbian daughter Chris (Jennifer Dundas) also gets in on the plan by asking for a job at her father's advertising agency so she can supply her mother with inside information, as payback for Aaron's unfairness toward Annie.
Brenda finds out through her uncle Carmine (Philip Bosco), who has Mafia connections, that Morty is guilty of income tax fraud, while Annie makes a plan to revive her advertising career and buy out Aaron's partners. Elise starts to liquidate all of the marital assets her and Bill collected during their marriage, agreeing to split the proceeds of the liquidation between the two of them. However, as their plan moves through, things start to fall apart when they find out that Bill has no checkered past and nothing for them to use against him. Elise, feeling sorry for herself, gets drunk, which only results in her and Brenda hurling vicious insults at each other, and the women drift apart. When Annie starts thinking about closing down the First Wives Club, her friends come back, saying that they want to see this to the end, and Bill hasn't done anything blatantly wrong, but only as far as he knows. As a result, the wives manage to uncover information revealing that Bill's mistress (Elizabeth Berkley) is actually a minor.
Deciding that revenge would make them no better than their husbands, they instead use these situations to push their men into funding the establishment of a nonprofit organization dedicated to aiding abused women, in memory of their college friend Cynthia. The film ends with a celebration at the new Cynthia Swann Griffin Crisis Center for Women. Annie narrates that Elise started a relationship with a cast member in her new, successful play, that Brenda and Morty reconciled their differences and got back together, and that when Aaron tried to get back together with her, Annie told him to "drop dead". While outside the center Bill meets Shelly and the two start to flirt. The film concludes with the three women joyfully singing Lesley Gore's hit "You Don't Own Me". This sequence was choreographed by Patricia Birch and her assistant choreographer was Jonathan Cerullo.
Cast[edit]
Diane Keaton as Annie MacDuggan-Paradis, the vehicle for the film's sporadic voice-over and its central character; an anxious and slightly neurotic housewife, saddled with self-esteem problems, attempting to save her marriage with estranged husband Aaron – much to her daughter's dismay. After Aaron sleeps with her and then leaves her for her young therapist, she decides to band together with Brenda and Elise to form the First Wives Club. Annie learns the Aaron is having problems with his advertising firm partners through the help of her daughter, and buys them out at the end of the film; making her the larger owner of Aaron's firm.
Adria Tennor as Young Annie
Bette Midler as Brenda Morelli-Cushman, a wise-cracking Sicilian-Jewish single mother who helped set her husband Morty on his feet financially, before he left her for his younger employee Shelly, cheating her out of an equitable settlement. She later blackmails Morty to get ownership of his business, but also gives him another chance to work out their marriage.
Michele Brilliant as Young Brenda
Goldie Hawn as Elise Eliot-Atchison, a former one-time Oscar-winning actress, now an alcoholic and heavy smoker relegated to B movies due to her 'unprofitable' age. Her husband, Bill, who left her for another woman, is suing for alimony and insisting that all of their joint assets be sold and the profits divided between them. She liquidates their assets by selling them to Annie for a very low amount, and Annie auctions them so she can buy out her husband's partners. Elise also blackmails Bill about dating a minor.
Dina Spybey as Young Elise
Maggie Smith as Gunilla Garson Goldberg, a wealthy New York City society leader who helps the First Wives Club along with their schemes because she was once a first wife, as well as a "second, third and fourth wife", according to Annie.
Sarah Jessica Parker as Shelly Stewart, Morty's dim-witted but manipulative fiancée. It's indicated throughout the film that Shelly believes a position in high society can be obtained through money and the protagonists exploit her social-climbing attitude for their revenge. This is Parker's second film with Midler as her co-star, the first being the 1993 Disney film Hocus Pocus.
Dan Hedaya as Morton 'Morty' Cushman, Brenda's ex-husband, an electronics tycoon, who takes advantage of his former wife's having signed an out-of-court settlement - just to finance his girlfriend Shelly's extravagant taste. He's later blackmailed into giving Brenda a substantial amount of his money when she and her Uncle Carmine obtain proof of Morty's criminal activity. This later causes him to apologize to Brenda when he realizes Shelly only loved him because of his money.
Stephen Collins as Aaron Paradis, Annie's conflicted husband and CEO of an advertising agency, who leaves his wife for their therapist, Leslie Rosen.
Marcia Gay Harden as Dr. Leslie Rosen, Aaron's short-time affair, who is the therapist for both Annie and Aaron. Leslie has been "helping" Annie with her self-esteem problems.
Victor Garber as Bill Atchison, a successful film producer, who rose to fame through Elise's connections and eventually left her in favor of a young starlet.
Elizabeth Berkley as Phoebe LaVelle, an up-and-coming actress, living with Bill. She presumably tells him that she is twenty-one, but Elise investigates and reveals to Bill that she is sixteen years old and a high school dropout.
Eileen Heckart as Catherine MacDuggan, Annie's 'controlling' mother. By the end of the film, she tells Annie that she is proud of her and that she doesn't need anyone to make her happy.
Bronson Pinchot as Duarto Felice, Brenda's boss and (according to Annie) "one of the ten worst interior decorators in New York." He poses as a famous interior designer to help the First Wive's Club sneak into Morty and Shelly's apartment.
Stockard Channing as Cynthia Swann-Griffin, a college friend of the three main protagonists, who commits suicide after her husband, Gil, leaves her and marries his young mistress three days after their divorce is finalized.
Juliehera Destefano as Young Cynthia
Jennifer Dundas as Christine "Chris" Paradis, Annie's lesbian and feminist daughter, who resents her father for what he is putting her mother through. She gets a job working at her father's advertising firm to spy on him for Annie. This is the second film in which Dundas plays Keaton's daughter, having previously done so in Mrs. Soffel.
Ari Greenberg as Jason Cushman, Brenda's son, who is caught in an emotional battle between his parents.
Philip Bosco as Uncle Carmine Morelli, Brenda's paternal uncle and part of her family's Sicilian Mafia connections. He is the one who informs Brenda that Morty committed had his stores stocked with stolen electronics.
Timothy Olyphant as Brett Artounian, a movie director who is interested in casting Elise as the main character's aging mother in his new movie.
Ivana Trump as herself (special guest appearance).
Kathie Lee Gifford as herself (special guest appearance).
Ed Koch and Gloria Steinem as party guests (special guest appearances).
James Naughton as Gil Griffin, Cynthia's ex-husband (special guest appearance).
Heather Locklear as Gil's new wife (special guest appearance).
Edward Hibbert as Maurice, a barman serving Elise as she drowns her sorrows
J. K. Simmons as Federal Marshal
Rob Reiner as Dr. Morris Packman
Gregg Edelman as Mark Loest
Debra Monk as Jilted Lover
Kate Burton as Woman in Bed
Walter Bobbie as Man in Bed
Development[edit]
Writing[edit]
The film project originally belonged to Sherry Lansing, who bought the unpublished manuscript of the novel in 1991, after many publishers had rejected it, and handed it over to producer Scott Rudin when she became CEO of Paramount Pictures in 1992.[4] "It was one of the single best ideas for a movie I've ever heard," she said in a 1996 interview with The New York Times. "The situation of a woman getting left for a younger version of herself was far too common. But we didn't want a movie about women as victims. We wanted a movie about empowerment."[4] Rudin consulted Robert Harling to write the screenplay, whose script was reworked by Paul Rudnick when Harling left to direct 1996's The Evening Star, the sequel to the 1983 drama Terms of Endearment. Rudnick, however, felt the final script was "incomprehensible":[5] "To figure out the structure of that movie would require an undiscovered Rosetta Stone," he told The New York Times.[6]
Casting[edit]
Diane Keaton was the first actress reported to have landed one of the starring roles, having previously worked with Rudin on the film Mrs. Soffel (only to later work with him again in Marvin's Room), followed by Bette Midler who had originally auditioned for the "more glamorous role" of Elise.[7] Although Rudin originally intended to cast Jessica Lange in the latter role, the team decided to rewrite the character of the book in favour of a "glitzier" version which eventually went to eleventh-hour addition Goldie Hawn.[2] Actor Mandy Patinkin dropped out shortly before shooting started and was replaced by Stephen Collins when he decided to leave the project in favour of his musical ambitions,[8] while Dan Hedaya won the role of Morty over Hector Elizondo.[9] Elizabeth Berkley only took her part to "work with the best actresses around,"[10] and Timothy Olyphant, who had impressed with local stage work, made his screen debut as director Brett Artounian in the film.[9]
Cameos of note include Ivana Trump (who famously stated in the film, "Don't get mad, get everything."), Gloria Steinem, and Kathie Lee Gifford as themselves, as well as author Olivia Goldsmith, director Hugh Wilson as a commercial director, and Heather Locklear as the younger lover of James Naughton's character Gil.[11] Additionally, Jon Stewart was hired to play the lover of Goldie Hawn's character Elise; however, he never actually made it to the film. "I played her boyfriend and apparently they felt that that was not inherently part of the storyline and so she broke up with me before the movie started," he joked on Larry King Live in 2006.[12]
Production[edit]
Principal photography took place over three months at the Kaufman Astoria Studios in Queens, New York City between December 4, 1995,[13] and March 19, 1996. Among the 60 sites showcased on screen are Christie's auction house, the Bowery Bar, a suite at The Waldorf-Astoria Hotel, Café des Artistes, the King Cole Bar at the St. Regis Hotel, Frank E. Campbell's funeral home, and Barneys.[14] Other familiar sites include the Chrysler Building, the NoHo neighborhood, both 5th and 7th Avenues, Riverside Drive, and Central Park.[15]
Production designer Peter Larkin took much inspiration from Hollywood's romantic comedies of the 1930s, incorporating a post-Great Depression view on style and luxury, widely popularized through these films. "Those sets looked better than real New York penthouses and nightclubs ever could," he said upon creation. "In this film I wanted settings that had that kind of striking nature."[15]
Reception[edit]
The film has received mixed reviews by critics. The review aggregator website Rotten Tomatoes reported that 41% of critics gave the film a positive rating, based on 34 reviews, with an average score of 5.4/10.[16] On Metacritic, which uses a normalized rating system, the film holds a 58/100 rating, indicating "mixed or average reviews" based on 21 critics.[17]
Edward Guthmann of the San Francisco Chronicle called that the film a "terrific comedy" and "a glamorous revenge romp, a 9 to 5 mixed with Auntie Mame", giving "each star the opportunity to do her best work in a long, long time." He added that "what's surprising isn't that each of them is so delightfully good but that they work together so well."[18] In his review for Variety, Leonard Klady found that director "Hugh Wilson wisely gets out of the way of his performers, providing a simple glossy look enhanced by cameraman Donald Thorin, designer Peter Larkin and the costumes of Theoni V. Aldredge". He noted that "with its combination of comic zingers and star turns, [the] pic shapes up as one of the more commercial fall [1996] entries", that "at its core, is a celebration of its star trio as consummate performers. In that respect, First Wives Club is a highly enjoyable movie romp."[19]
Janet Maslin from The New York Times remarked that the film "freely overhauls the amusing beach book by Olivia Goldsmith, eliminating the sex, adding more slapstick and tailoring the leading roles to suit three divas in starring roles." While she felt that "Bette Midler, Diane Keaton and Goldie Hawn make a spirited, surprisingly harmonious trio," reeling off "one-liners with accomplished flair, even when the film turns silly and begins to, pardon the expression, sag", she found that the film fared "better with sight gags and quick retorts than with plot development".[20] Roger Ebert, writing for the Chicago Sun-Times gave The First Wives Club two out of four stars. He declared the film "heavy on incident but light on plot", filled with "heartfelt talks with slapstick and sitcom situations."[21] Owen Gleiberman, writer for Entertainment Weekly, wrote that "paced like a Chris Farley movie and photographed like a denture-cream commercial, The First Wives Club is the sort of overbright plastic-package comedy that tends to live or die by its jokes, its farcical audacity — anything but its 'conviction'." He gave the film a C+ rating.[22]
Box office[edit]
The film's Total Lifetime Grosses for the Worldwide box office are $181.5 million. At the Domestic North American box office, the film has a Total Lifetime Gross of $105.5 million. The film has a Foreign Total Lifetime Gross of $76 million.[23]
At the Domestic North American box office, the film reached the Rank of Number 1, making $18.9 million in its opening weekend over September 20–22, 1996, and the film remained at the Number 1 position for three consecutive weeks.[24]
In the Yearly Chart for Domestic North American Box Office 1996, The First Wives Club is ranked at Number 11, and in the Yearly PG Rated 1996 Chart, the film is ranked at Number 1. On the Worldwide Yearly Chart 1996, the film is ranked at Number 11.[23]
Further developments[edit]
Sequel[edit]
For years there have been rumors of a sequel to the film.[25] Although columnists Stacy Jenel Smith and Marilyn Beck reported in a 2002 article that producer Scott Rudin would refuse to work on a sequel, the actresses have made various statements to the contrary. In a Chicago Sun-Times interview in 2003, Keaton expressed her readiness to appear in a second film.[26] A year later, writer Paul Rudnick reportedly started writing a draft,[25] entitled Avon Ladies of the Amazon,[27] and in 2005, Midler confirmed to USA Today that there was indeed a manuscript but that "the strike kept it from happening."[28] However, as Hawn declared in a 2006 interview with the New York Daily News, Paramount Pictures declined the trio's services due to their demand for an increase in fees: "I got a call from the head of the studio, who said, 'Let's try to make it work. But I think we should all do it for the same amount of money.' Now, if there were three men that came back to do a sequel, they would have paid them three times their salary at least." On February 25, 2011, Goldie Hawn posted a picture on Twitter of the three at a lunch confirming that they had all signed on for a sequel, and the next day re-tweeted a message from Bravo TV confirming this again.[29] In 2016, Hawn confirmed that Netflix was working on a sequel, though she also admitted that "the script isn’t working.”[30]
On stage[edit]
A musical stage version of the film opened at The Old Globe Theater in San Diego, California on July 17, 2009, in previews, through August 23, 2009,[31] prior to a projected Broadway engagement. The book was by Rupert Holmes, with a score by the "one-time only reunited" Holland-Dozier-Holland songwriting team from 1960s Motown soul music fame. Francesca Zambello directed the San Diego production.[32][33] The creators and Zambello were engaged for the project in 2006.[34] An industry reading of the musical was held in February 2009, with principals Ana Gasteyer, Carolee Carmello and Adriane Lenox.[35]
The principal cast in the San Diego production originally included Karen Ziemba as Annie, Adriane Lenox as Elise, Barbara Walsh as Brenda, John Dossett as Aaron, Kevyn Morrow as Bill, Brad Oscar as Morty, Sara Chase as Trophy Wife, and Sam Harris as Duane. Lisa Stevens choreographed, with scenic design by Peter J. Davison and costumes by Paul Tazewell.[36] On June 16, 2009, Lenox dropped out of the production due to health concerns and was replaced by Sheryl Lee Ralph.[37][38] The production's tryout received mixed to negative reviews,[39] but the production sold approximately 29,000 tickets in its 5-week run.[citation needed] The ticket demand was so strong early on that the show's run was extended an extra week prior to its opening night.
Producers announced November 11, 2009, that Francesca Zambello withdrew as director, and they would secure a new director prior to any Broadway run.
The originating producers, Jonas Neilson and Paul Lambert, teamed with Elizabeth Williams and John Frost, and have since brought on Simon Phillips to direct.[40][41]
A newly adapted version of First Wives Club The Musical began previews at Chicago's Oriental Theatre on February 17, 2015, with the opening on March 11 and running through March 29. The production aimed for Broadway in the 2015-2016 season.[42] The new production is directed by Simon Phillips, choreographed by David W. Connolly, and has a new book written by Linda Bloodworth-Thomason.[43] The newly adapted version features new songs by the composers Holland-Dozier-Holland, the trio that wrote lots of Motown hits during the 60s.[43] The show also contains a few of their classic hits, such as "Reach Out...I'll Be There," "Stop! In the Name of Love" and "I Can't Help Myself (Sugar Pie, Honey Bunch)."[44][45] Faith Prince, Christine Sherrill, and Carmen Cusack lead the cast as Brenda, Elise, and Annie respectively.[46] Complete casting was announced in January 2015.[45][47]
TV series[edit]
TV Land announced in March 2016 that it had ordered a pilot for a television adaptation of the film, to be written by Rebecca Addelman and executive produced by Jenny Bicks and Karen Rosenfelt. However, the network failed to pick up the pilot.[48] The project went to the Paramount Network for redevelopment in early 2017.[49] In October 2017, Girls Trip's Tracy Oliver was tapped to write the series.[50]
Awards and nominations[edit]
Wins
National Board of Review Awards: Best Acting by an Ensemble
Blockbuster Entertainment Awards: Favorite Actress − Comedy (Goldie Hawn)
ASCAP Film and Television Music Awards: Top Box Office Films (Marc Shaiman)
Nominations
Academy Awards: Best Original Score (Marc Shaiman)
Artios Awards: Best Casting for Feature Film, Comedy (Ilene Starger)
Satellite Awards: Best Actress − Musical or Comedy (Bette Midler), Best Supporting Actress − Musical or Comedy (Sarah Jessica Parker)
American Film Institute recognition:
AFI's 100 Years...100 Laughs − Nominated[51]
Soundtracks[edit]
The official soundtrack titled Music From The Motion Picture The First Wives Club...And Then Some was released on September 17, 1996, shortly before the film's premiere. It peaked at number 90 on the Billboard 200 chart.[52]
"Wives and Lovers" by Dionne Warwick − 2:55
"A Beautiful Morning" by The Rascals − 2:33
"Over and Over" by Puff Johnson − 4:43
"Piece of My Heart" by Diana King − 3:41
"Game of Love" by Brownstone − 4:45
"Love Is On the Way" by Billy Porter − 4:22
"Sisters Are Doin' It for Themselves" by Eurythmics and Aretha Franklin − 5:53
"Think" by Aretha Franklin − 2:17
"Heartbreak Road" by Dionne Farris − 3:51
"I Will Survive" by Chantay Savage − 6:13
"Moving on Up" by M People − 3:56
"I'm Still Standing" by Martha Wash − 4:02
"You Don't Own Me" by Bette Midler, Goldie Hawn and Diane Keaton − 2:31
The film's original score, composed by Marc Shaiman, was also released on November 26, 1996.
"Cynthia" − 2:14
"Annie" − 0:46
"Elise" − 0:47
"Brenda" − 0:45
"Bad News" − 0:51
"Wham, Bam, Divorce Me Ma'am" − 1:23
"Letter to Three Wives" − 1:56
"The First Wives Club" − 1:48
"Gathering Information" − 1:55
"Setting Up Shop" − 1:11
"Tea Time with Gunilla" − 2:53
"Duarto Makes His Entrance" − 0:41
"The Big Break In" − 5:17
"Phone Tag" − 0:59
"The Auction" − 1:58
"Operation Hell Hath No Fury" − 4:45
"The Unveiling" − 0:56
References[edit]
^ Jump up to: a b c "The First Wives Club (1996) - Financial Information".
^ Jump up to: a b c d "Awards for The First Wives Club (1996)". Internet Movie Database. Retrieved 2009-08-14.
Jump up ^ Elizabeth Gleick. "Hell Hath No Fury" Time magazine. Retrieved on 1996-10-07.
^ Jump up to: a b Weinraub, Bernard (September 24, 1996). "Appeal of a Woman's Revenge". The New York Times. Retrieved May 25, 2010.
Jump up ^ ZA@PLAY - FILM: Men behaving coyly 19/02/98 Archived February 10, 2008, at the Wayback Machine.
Jump up ^ Bruni, Frank (September 11, 1997). "AT HOME WITH: Paul Rudnick; You Want Gay Role Models? How About a Joke First". The New York Times. Retrieved May 25, 2010.
Jump up ^ McLeod, Pauline. "BETTE: MY FIRST FOR REVENGE; BETTE MIDLER KNOWS EXACTLY HOW TO GET EVEN WITH A CHEATING MAN . . BUT TELLS PAULINE McLEOD WHY SHE'LL NEVER JOIN THE FIRST WIVES CLUB". Sunday Mirror. thefreelibrary.com. Retrieved 2018-03-10.
Jump up ^ Michael, Dennis (1995-12-02). "The Hollywood Minute". CNN. Retrieved 2009-08-16.
^ Jump up to: a b Archerd, Army (1995-11-05). "Only dirt in Carradine autobio is on him". Variety. Retrieved 2009-08-16.
Jump up ^ "Five Questions with...Elizabeth Berkley"[permanent dead link], Chicago Sun-Times, October 31, 2002
Jump up ^ "The First Wives Club". 20 September 1996 – via IMDb.
Jump up ^ "Oscars Host Stewart Axed From First Wives Club". 1 March 2006.
Jump up ^ 'The First Wives Club' Starts Production In New York City; Film Stars Bette Midler, Goldie Hawn And Diane Keaton - Pr Newswire - Highbeam Research Archived May 17, 2011, at the Wayback Machine.
Jump up ^ Gerston, Jill (March 24, 1996). "FILM;A Sisterhood On Camera and Off". The New York Times.
^ Jump up to: a b "Die Produktion in Wort und Bild" [The Production: In Word and Image] (in German). Paramount. Retrieved 2015-03-10.
Jump up ^ "The First Wives Club (1996)". Rotten Tomatoes. Retrieved 2013-01-21.
Jump up ^ The First Wives Club at Metacritic
Jump up ^ Guthmann, Edward (1996-09-20). "Wives' Get Even and Even More". San Francisco Chronicle. Retrieved 2013-01-21.
Jump up ^ lady, Leonard (1996-09-15). "The First Wives Club". Variety. Retrieved 2013-01-21.
Jump up ^ Maslin, Janet (1996-09-20). "The First Wives Club". New York Times. Retrieved 2013-01-21.
Jump up ^ Ebert, Roger (1996-09-20). "The First Wives Club". Chicago Sun-Times. RogertEbert.com. Retrieved 2013-01-21.
Jump up ^ Ebert, Roger (1996-09-27). "The First Wives Club (1996)". Entertainment Weekly. EW.com. Retrieved 2013-01-21.
^ Jump up to: a b "The First Wives Club (1996) - Box Office Mojo". www.boxofficemojo.com.
Jump up ^ Brennan, Judy (September 30, 1996). "'First Wives' Are Really Enjoying the Last Laugh". Los Angeles Times. Retrieved 2010-12-13.
^ Jump up to: a b "First Wives Club To Reform".
Jump up ^ "Findarticles.com". [dead link]
Jump up ^ "THE KEATON CHRONICLES : WITH SUCCESS OF `FIRST WIVES,' SATISFACTION OF `MARVIN'S ROOM' AND PARENTHOOD, ACTRESS IS HITTING HER 50S GROUND RUNNING. - Free Online Library".
Jump up ^ "USATODAY.com".
Jump up ^ Goldie Hawn Is Tired Of Hollywood's Sexism - Starpulse Entertainment News Blog Archived January 24, 2008, at the Wayback Machine.
Jump up ^ Nepales, Ruben V. (2016-08-28). "Goldie Hawn explains why she stopped making films for 14 years". Philippine Daily Inquirer. Retrieved 2016-07-21.
Jump up ^ Jones, Kenneth. Musical First Wives Club Will Now Convene July 17 Toward July 31 Opening[permanent dead link]. Playbill.com, June 1, 2009
Jump up ^ Hebert, James. "Globe to be first to stage musical First Wives Club" Archived May 28, 2009, at the Wayback Machine., The San Diego Union-Tribune, September 5, 2008
Jump up ^ Jones, Kenneth."First Wives Club Musical Will Premiere in San Diego in 2009; Zambello Directs" Archived September 10, 2008, at the Wayback Machine., playbill.com, September 5, 2008
Jump up ^ Simonson, Robert."Rupert Holmes to Pen Book for First Wives Club Musical"[permanent dead link], playbill.com, May 26, 2006
Jump up ^ Jones, Kenneth. "Lenox, Carmello, Gasteyer, Oscar, Dossett, Harris and More Sing First Wives Club in NYC" Archived January 30, 2009, at the Wayback Machine., playbill.com, January 27, 2009
Jump up ^ Gans, Andrew. "Ziemba, Lenox and Walsh to Star in Old Globe's First Wives Club"[permanent dead link]. Playbill.com, May 15, 2009
Jump up ^ "Tell Us, Miss Jones: Sheryl Lee Ralph Will Be Part of First Wives Club" Archived June 19, 2009, at the Wayback Machine., playbill.com, June 16, 2009
Jump up ^ Jones, Kenneth. First Wives Club – The Musical Convenes July 17 at Old Globe[permanent dead link] playbill.com, July 17, 2009
Jump up ^ Critics have issues with 'First Wives'[permanent dead link]. Variety, August 3, 2009
Jump up ^ Hetrick, Adam. " 'The First Wives Club Musical' Confirms 2015 Chicago Pre-Broadway Premiere"[permanent dead link] playbill.com, June 30, 2014
Jump up ^ "Zambello Bows Out as Director of 'The First Wives Club' Musical" Archived November 15, 2009, at the Wayback Machine. playbill.com
Jump up ^ Hetrick, Adam. " First Wives Club Musical Eyes Broadway Run" Archived June 8, 2014, at the Wayback Machine. Playbill.com, June 4, 2014
^ Jump up to: a b "Faith Prince, Carmen Cusack and Christine Sherrill Form 'The First Wives Club' in New Musical, Starting Tonight in Chicago" Archived August 9, 2016, at the Wayback Machine. playbill.com, February 17, 2015
Jump up ^ "Broadway-Bound 'First Wives Club' Musical to Premiere at Chicago's Oriental Theater, Spring 2015; Linda Bloodworth Thomason on Book, Simon Phillips to Direct!" Archived August 11, 2016, at the Wayback Machine. broadwayworld, June 30, 2014
^ Jump up to: a b "Husbands of Broadway-Bound 'The First Wives Club' Cast; H.B. Barnum, Kenny Seymour Join Creative Team" Archived August 11, 2016, at the Wayback Machine. broadwayworld, January 7, 2015
Jump up ^ "Faith Prince, Christine Sherrill & Carmen Cusack Will Lead Broadway-Bound 'First Wives' Club' in Chicago" Archived August 11, 2016, at the Wayback Machine. broadwayworld.com, Retrieved November 5, 2014
Jump up ^ "Official Site" Archived May 6, 2016, at the Wayback Machine. firstwivesclubthemusical.com, accessed March 12, 2015
Jump up ^ Andreeva, Nellie (November 11, 2016). "TV Land Passes On 'The First Wives Club' Pilot, May Develop New Take On Movie". Deadline.com. Retrieved December 24, 2017.
Jump up ^ Andreeva, Nellie (March 30, 2017). "Kevin Kay Details Plans For the Paramount Network, Talks Future Of 'Nashville'". Deadline.com. Retrieved December 24, 2017.
Jump up ^ Andreeva, Nellie (October 2, 2017). "'First Wives Club': Tracy Oliver To Write New TV Series Reboot Of Movie For Paramount Network and Paramount TV". Deadline.com. Retrieved December 24, 2017.
Jump up ^ AFI's 100 Years...100 Laughs Nominees Archived July 27, 2015, at the Wayback Machine.
Jump up ^ https://www.billboard.com/music/Soundtrack/chart-history/billboard-200/103
External links[edit]
Wikiquote has quotations related to: The First Wives Club
The First Wives Club on IMDb
The First Wives Club at Box Office Mojo
The First Wives Club at Rotten Tomatoes
First Wives Club The Musical Official Site
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Mariyappan Thangavelu
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Mariyappan Thangavelu
Personal information
Full name
Mariyappan Thangavelu
மாரியப்பன் தங்கவேலு
Born
(1995-06-28) 28 June 1995 (age 22)
Periavadagampatti, Salem district, Tamil Nadu, India
Sport
Country
India
Sport
Athletics
Event(s)
High Jump - T42
Achievements and titles
Paralympic finals
2016 Summer Paralympics: High Jump (T42) – Gold
Medal record[hide]
Representing India
Men's athletics
Paralympic Games
2016 Rio Paralympics High Jump (T42)
Mariyappan Thangavelu (born 28 June 1995)[1] is an Indian Paralympic high jumper. He represented India in the 2016 Summer Paralympic games held in Rio de Janeiro in the men's high jump T-42 category, winning the gold medal in the finals.[2][3] He is India's first Paralympian gold medallist since 2004. Tamil film director Aishwaryaa Dhanush is making a film about this life and achievements titled Mariyappan.[4]
On 25 January 2017, Government of India announced "Padma Shri" award for his contribution towards sports[5] and in the same year he was also awarded Arjuna Award.[6]
Contents
[hide]
1 Early life
2 Athletic career
3 Personal life
4 Awards and recognition
5 See also
6 References
Early life[edit]
Mariyappan was born in Periavadagampatti village, Salem district, Tamil Nadu, one of six children (four brothers and a sister). His father reportedly abandoned the family early on, and his mother, Saroja, raised her children as a single mother, carrying bricks as a labourer until becoming a vegetable seller, earning ₹100 (US$1.60) a day.[3] At the age of five, Mariyappan suffered permanent disability in his right leg when he was run over by a drunk bus driver while walking to school; the bus crushed his leg below the knee, causing it to become stunted.[7] Despite this setback, he completed secondary schooling; he says he "didn't see myself as different from able-bodied kids."[3]
Athletic career[edit]
Mariyappan enjoyed playing volleyball as a student; subsequently, his school physical education instructor encouraged him to try high jumping. In his first competitive event, aged 14, he placed second among a field of able-bodied competitors, after which he received strong encouragement from his classmates and others in Salem district. In 2013, his current coach Mr.Satyanarayana, supported by the Sports academy of India for differently-abled, first noticed his performance at the Indian national para-athletics championships, and formally took him on as a student in 2015, bringing him to Bengaluru for further coaching.[7]
In March 2016, Mariyappan cleared a distance of 1.78 m (5 ft 10 in) in the men's high jump T–42 event at the IPC Grand Prix in Tunisia, qualifying him for the Rio Paralympics.[7] At the Rio Paralympics, he won the gold medal in the men's high jump T–42 event, with a leap of 1.89 m (6 ft 2 in).[8]
Personal life[edit]
In 2015, Mariyappan completed a bachelor's degree in business administration from AVS College of Arts and Science. He plans to complete an MBA from the same institution.[8]
He has an elder sister Sudha and two younger brothers Kumar and Gopi.[8]
Awards and recognition[edit]
For the gold medal at the 2016 Summer Paralympics
Padma Shri (2017) - fourth highest Indian national honour[9]
₹2 crore (US$310,000) from the Government of Tamil Nadu[10]
₹75 lakh (US$120,000) from the Ministry of Youth Affairs and Sports[10]
₹30 lakh (US$47,000) from the Ministry of Social Justice and Empowerment[11]
₹15 lakh (US$23,000) from fund established by Sachin Tendulkar, various corporations.[12]
₹10 lakh (US$16,000) from Yash Raj Films[13]
₹10 lakh (US$16,000) from the Delhi Golf Club[14]
₹5 lakh (US$7,800) from NRI businessman Mukkattu Sebastian[15]
See also[edit]
Sharad Kumar, P.V.Sindhu
References[edit]
Jump up ^ C., Aprameya (10 September 2016). "Rio Paralympics: Who is history-maker Mariyappan Thangavelu?". OneIndia.com. Retrieved 10 September 2016.
Jump up ^ "Paralympics 2016 | Mariyappan Thangavelu wins India's first gold in Rio". 2016-09-10. Retrieved 2016-09-14.
^ Jump up to: a b c Stalin, J. Sam Daniel (10 September 2016). "Paralympian Mariyappan Thangavelu's Golden Leap From Poverty". NDTV Sports. Retrieved 10 September 2016.
Jump up ^ PTI. "SRK shares first look of Aishwaryaa Dhanush's next film". The Hindu. Retrieved 2017-01-02.
Jump up ^ "PadmaAwards-2017" (PDF).
Jump up ^ "National Sports Awards: Centre unveils list, cricket sensation Harmanpreet Kaur to receive Arjuna Award". Financial Express. 22 August 2017. Retrieved 22 August 2017.
^ Jump up to: a b c Chidananda, Shreedutta (20 May 2016). "It's not beyond me, even gold is possible: Mariyappan". The Hindu. Retrieved 10 September 2016.
^ Jump up to: a b c "Indians bag gold, bronze in men's high jump in Paralympics". The Hindu. 10 September 2016. Retrieved 10 September 2016.
Jump up ^ "Ministry of Home Affairs: Padma Awards 2017" (PDF). mha.nic.in. Retrieved 25 January 2017.
^ Jump up to: a b "Rio Paralympics: Jayalalithaa announces Rs 2 crore award for gold medallist Mariyappan Thangavelu". The Indian Express. 10 September 2016. Retrieved 10 September 2016.
Jump up ^ "Govt announces Rs 90L cash awards in total for Paralympics medal winners". Hindustan Times. 29 September 2016. Retrieved 1 October 2016.
Jump up ^ "India's Rio 2016 Paralympics medal winners felicitated". The Indian Express. 3 October 2016. Retrieved 3 October 2016.
Jump up ^ "Yash Raj Films to honour Indian Paralympic medal winners". Deccan Herals. 14 September 2016. Retrieved 14 September 2016.
Jump up ^ "Delhi Golf club announces Rs 50 lakh in cash awards for Rio Olympics and Paralympics winners". Firstpost Sports. 21 September 2016. Retrieved 1 October 2016.
Jump up ^ "NRI businessman announces cash prize for 2016 Rio paralympics heroes". News Nation. 18 January 2017. Retrieved 1 February 2017.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mariyappan_Thangavelu&oldid=814007490"
Categories:
Athletes (track and field) at the 2016 Summer Paralympics
Athletes from Tamil Nadu
People from Salem district
Tamil people
Indian high jumpers
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Agony (2018 video game)
From Wikipedia, the free encyclopedia
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Agony
Developer(s)
Madmind Studio
Publisher(s)
PlayWay
Engine
Unreal Engine 4
Platform(s)
Microsoft Windows, PlayStation 4, Xbox One
Release
WW: March 30th, 2018
[1]
Genre(s)
Survival horror
Agony is an upcoming survival horror video game developed by Madmind Studio and published by PlayWay. Players begin their journey as a tormented soul within the depths of Hell without any memories about their past. The special ability to control people on their path, and even possess simple minded demons, gives the player the necessary measures to survive in the extreme conditions they are in.[2]
Agony is set to be released worldwide on March 30, 2018. [1]
Contents
[hide]
1 Gameplay
2 Reception
3 Kickstarter
4 References
5 External links
Gameplay[edit]
The game is played from a first-person perspective. The player controls one of the Martyrs condemned to Hell. Unlike other Martyrs, the player possesses the unique ability to possess both other Martyrs and, later in the game, lesser and even higher demons, giving them access to special abilities. Using mechanics such as crouching and holding their breath, the player can avoid demons. Besides hiding, the player needs to solve puzzles in order to unlock new areas. There are available hidden statues that the player can collect, as well as paintings which are possible to discover.
Reception[edit]
First impressions of the game were positive. Gameranks rewarded Agony second place in their Top 10 Games from Gamescom 2016 rank.[3] The official gameplay trailer went viral.[4] The game's developers claimed on their Steam page Agony trailers on YouTube got over 6 million views.[5][6]
Kickstarter[edit]
In November 2016, the developers of Agony started their Kickstarter campaign to fund the creation of the game.[1] The Kickstarter campaign surpassed its goal and ended in December 2016.
References[edit]
^ Jump up to: a b "Agony". Kickstarter.
Jump up ^ "Playway - Agony". Playway.com.
Jump up ^ Gameranx (22 August 2016). "Top 10 NEW Games of Gamescom 2016" – via YouTube.
Jump up ^ Agony Game (16 August 2016). "Agony Official Gameplay Trailer" – via YouTube.
Jump up ^ "Agony on Steam".
Jump up ^ "'Agony' Resurfaces With a Hellish Intro Cinematic". Bloody Disgusting. 28 May 2016.
External links[edit]
Official website
Agony on IMDb
Retrieved from "https://en.wikipedia.org/w/index.php?title=Agony_(2018_video_game)&oldid=806015816"
Categories:
Crowdfunded video games
Horror video games
PlayStation 4 games
Survival video games
Xbox One games
Unreal Engine games
Kickstarter projects
Upcoming video games scheduled for 2018
Video games developed in Poland
Demon video games
Windows games
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This page was last edited on 19 October 2017, at 03:06.
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