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Totalitarianism
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"Totalistic" redirects here. For other uses, see totalism.
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Adolf Hitler
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Totalitarianism is a political system in which the state recognizes no limits to its authority and strives to regulate every aspect of public and private life wherever feasible.[1] A distinctive feature of totalitarian governments is an "elaborate ideology, a set of ideas that gives meaning and direction to the whole society".[2]
Totalitarianism is the most extreme form of authoritarianism.
The concept was first developed in the 1920s by the Weimar German jurist, and later Nazi academic, Carl Schmitt, and Italian fascists. Schmitt used the term, Totalstaat, in his influential work on the legal basis of an all-powerful state, The Concept of the Political (1927).[3] The concept became prominent in Western political discourse as a concept that highlights similarities between Fascist states and the Soviet Union.[4][5][6][7][8]
Contents
[hide]
1 Etymology
1.1 Early concepts and use
2 Differences between authoritarian and totalitarian regimes
3 Cold War-era research
4 Criticism and recent work with the concept
5 Totalitarianism in architecture
6 See also
7 References
8 Further reading
9 External links
Etymology[edit]
Benito Mussolini
The notion of totalitarianism as a "total" political power by the state was formulated in 1923 by Giovanni Amendola, who described Italian Fascism as a system fundamentally different from conventional dictatorships.[9] The term was later assigned a positive meaning in the writings of Giovanni Gentile, Italy’s most prominent philosopher and leading theorist of fascism. He used the term “totalitario” to refer to the structure and goals of the new state, which were to provide the “total representation of the nation and total guidance of national goals.”[10] He described totalitarianism as a society in which the ideology of the state had influence, if not power, over most of its citizens.[11] According to Benito Mussolini, this system politicizes everything spiritual and human: "Everything within the state, nothing outside the state, nothing against the state."[9]
Early concepts and use[edit]
Mao Zedong
Kim Il-sung
One of the first to use the term "totalitarianism" in the English language was the Austrian writer Franz Borkenau in his 1938 book The Communist International, in which he commented that it united the Soviet and German dictatorships more than it divided them.[12] The label "totalitarian" was twice affixed to the Hitler regime during Winston Churchill's speech of October 5, 1938[13] before the House of Commons in opposition to the Munich Agreement, by which France and Great Britain consented to Nazi Germany's annexation of the Sudetenland. Churchill was then a backbencher MP representing the Epping constituency. In a radio address two weeks later Churchill again employed the term, this time applying the concept to "a Communist or a Nazi tyranny."[14]
The leader of the historic Spanish reactionary[15] conservative party called the Spanish Confederation of the Autonomous Right declared his intention to "give Spain a true unity, a new spirit, a totalitarian polity..." and went on to say "Democracy is not an end but a means to the conquest of the new state. When the time comes, either parliament submits or we will eliminate it."[16]
The British author George Orwell made frequent use of word totalitarian and its cognates in multiple essays published in 1940, 1941 and 1942, seeing fit to insert the expression into essays whose principal subject was Charles Dickens, Rudyard Kipling, H.G. Wells, Henry Miller or twopenny color postcards. It should come as no surprise that by the time he published the famous essay Why I Write in mid-1946, opposition to totalitarian thought and government had come to play such a prominent role in Orwell's political identity that he was able to say:
The Spanish war and other events in 1936-37 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it.[17]
During a 1945 lecture series entitled The Soviet Impact on the Western World (published as a book in 1946), the pro-Soviet British historian E. H. Carr claimed that "The trend away from individualism and towards totalitarianism is everywhere unmistakable", and that Marxism–Leninism was by far the most successful type of totalitarianism, as proved by Soviet industrial growth and the Red Army's role in defeating Germany. Only the "blind and incurable" could ignore the trend towards totalitarianism, said Carr.[18]
Karl Popper, in The Open Society and Its Enemies (1945) and The Poverty of Historicism (1961), articulated an influential critique of totalitarianism: in both works, he contrasted the "open society" of liberal democracy with totalitarianism, and argued that the latter is grounded in the belief that history moves toward an immutable future in accordance with knowable laws.
Syngman Rhee, who would later become the first President of South Korea, used the term "totalitarianism" in his book Japan Inside Out (1941) to categorize the Japanese rule over many Asian nations against the democratic world, where individuals are of greater importance than the society itself. The description would also be seen as ironic by many in South Korea, considering the nation was plagued by instability and riots against its own dictatorial and totalitarian governments starting with Rhee's rule. Isabel Paterson, in The God of the Machine (1943), used the term in connection with the Soviet Union and Nazi Germany.[citation needed]
In The Origins of Totalitarianism, Hannah Arendt argued that Nazi and State communist regimes were new forms of government, and not merely updated versions of the old tyrannies. According to Arendt, the source of the mass appeal of totalitarian regimes is their ideology, which provides a comforting, single answer to the mysteries of the past, present, and future. For Nazism, all history is the history of race struggle; and, for Marxism, all history is the history of class struggle. Once that premise is accepted, all actions of the state can be justified by appeal to Nature or the Law of History, justifying their establishment of authoritarian state apparatus.[19] Arendt also argued that what distinguishes totalitarian states from other types of government, such as fascism, was that totalitarian states used state terror against even those citizens who did not act in opposition to the state.
In addition to Arendt, many scholars from a variety of academic backgrounds and ideological positions have closely examined totalitarianism. Among the most noted commentators on totalitarianism are Raymond Aron, Lawrence Aronsen, Franz Borkenau, Karl Dietrich Bracher, Zbigniew Brzezinski, Robert Conquest, Carl Joachim Friedrich, Eckhard Jesse, Leopold Labedz, Walter Laqueur, Claude Lefort, Juan Linz, Richard Löwenthal, Karl Popper, Richard Pipes, Leonard Schapiro, and Adam Ulam. Each one of these describes totalitarianism in slightly different ways. They all agree, however, that totalitarianism seeks to mobilize entire populations in support of an official state ideology, and is intolerant of activities which are not directed towards the goals of the state, entailing repression or state control of business, labour unions, churches or political parties.
Differences between authoritarian and totalitarian regimes[edit]
The term "authoritarian regime" denotes a state in which the single power holder – an individual "dictator", a committee or a junta or an otherwise small group of political elite – monopolizes political power. "[The] authoritarian state ... is only concerned with political power and as long as that is not contested it gives society a certain degree of liberty."[20] Authoritarianism "does not attempt to change the world and human nature."[20]
In contrast, a totalitarian regime attempts to control virtually all aspects of the social life, including the economy, education, art, science, private life, and morals of citizens. "The officially proclaimed ideology penetrates into the deepest reaches of societal structure and the totalitarian government seeks to completely control the thoughts and actions of its citizens."[9] It also mobilizes the whole population in pursuit of its goals. Carl Joachim Friedrich writes that "a totalist ideology, a party reinforced by a secret police, and monopoly control of [...] industrial mass society" are the three features of totalitarian regimes that distinguish them from other autocracies.[20]
Cold War-era research[edit]
The political scientists Carl Friedrich and American geostrategist Zbigniew Brzezinski were primarily responsible for expanding the usage of the term in university social science and professional research, reformulating it as a paradigm for the Soviet Union as well as fascist regimes. Friedrich and Brzezinski argue that a totalitarian system has the following six, mutually supportive, defining characteristics:
Elaborate guiding ideology.
Single mass party, typically led by a dictator.
System of terror, using such instruments as violence and secret police.
Monopoly on weapons.
Monopoly on the means of communication.
Central direction and control of the economy through state planning.
Totalitarian regimes in Germany, Italy and the Soviet Union had initial origins in the chaos that followed in the wake of World War I and allowed totalitarian movements to seize control of the government, while the sophistication of modern weapons and communications enabled them to effectively establish what Friedrich and Brzezinski called a totalitarian dictatorship.
The German historian Karl Dietrich Bracher, whose work is primarily concerned with Nazi Germany, argues that the "totalitarian typology" as developed by Friedrich and Brzezinski is an excessively inflexible model, and failed to consider the “revolutionary dynamic” that Bracher asserts is at the heart of totalitarianism.[21] Bracher maintains that the essence of totalitarianism is the total claim to control and remake all aspects of society combined with an all-embracing ideology, the value on authoritarian leadership, and the pretence of the common identity of state and society, which distinguished the totalitarian "closed" understanding of politics from the "open" democratic understanding.[21] Unlike the Friedrich-Brzezinski definition Bracher argued that totalitarian regimes did not require a single leader and could function with a collective leadership, which led the American historian Walter Laqueur to argue that Bracher's definition seemed to fit reality better than the Friedrich-Brzezinski definition.[22]
In his book The True Believer, Eric Hoffer argues that mass movements like Stalinism, fascism, and Nazism had a common trait in picturing Western democracies and their values as decadent, with people "too soft, too pleasure-loving and too selfish" to sacrifice for a higher cause, which for them implies an inner moral and biological decay. He further claims that those movements offered the prospect of a glorious future to frustrated people, enabling them to find a refuge from the lack of personal accomplishments in their individual existence. The individual is then assimilated into a compact collective body and "fact-proof screens from reality" are established.[23]
Criticism and recent work with the concept[edit]
Further information: Collective leadership and History of the Soviet Union (1964–1982)
Some social scientists have criticized the approach of Carl Joachim Friedrich and Zbigniew Brzezinski, arguing that the Soviet system, both as a political and as a social entity, was in fact better understood in terms of interest groups, competing elites, or even in class terms (using the concept of the nomenklatura as a vehicle for a new ruling class).[24] These critics pointed to evidence of popular support for the regime and widespread dispersion of power, at least in the implementation of policy, among sectoral and regional authorities. For some followers of this 'pluralist' approach, this was evidence of the ability of the regime to adapt to include new demands. However, proponents of the totalitarian model claimed that the failure of the system to survive showed not only its inability to adapt but the mere formality of supposed popular participation.
Historians of the Nazi period who are inclined towards a functionalist interpretation of the Third Reich, such as Martin Broszat, Hans Mommsen and Ian Kershaw, have been hostile or lukewarm towards the totalitarianism concept, arguing that the Nazi regime was too disorganized to be considered totalitarian.[25]
In the field of Soviet history, the totalitarian concept has been disparaged by the "revisionist" school, some of whose more prominent members are Sheila Fitzpatrick, Jerry F. Hough, William McCagg, Robert W. Thurston, and J. Arch Getty.[26] Though their individual interpretations differ, the revisionists have argued that the Soviet state under Joseph Stalin was institutionally weak, that the level of terror was much exaggerated, and that—to the extent it occurred—it reflected the weaknesses rather than the strengths of the Soviet state.[26] Fitzpatrick argued that since to the extent that there was terror in the Soviet Union, it provided for increased social mobility, and therefore most people in the Soviet Union supported Stalin's purges as a chance for a better life rather than feeling that they were trapped in a terrorized society.[27][28]
Writing in 1987, Walter Laqueur said that the revisionists in the field of Soviet history were guilty of confusing popularity with morality, and of making highly embarrassing and not very convincing arguments against the concept of the Soviet Union as a totalitarian state.[29] Laqueur argued that the revisionists' arguments with regard to Soviet history were highly similar to the arguments made by Ernst Nolte regarding German history.[29] Laqueur asserted that concepts such as modernization were inadequate tools for explaining Soviet history while totalitarianism was not.[30]
François Furet used the term "totalitarian twins"[31] in an attempt to link Stalinism[32] and Nazism.[33]
Totalitarianism in architecture[edit]
Non-political aspects of the culture and motifs of totalitarian countries have themselves often been labeled innately "totalitarian". For example, Theodore Dalrymple, a British author, physician, and political commentator, has written for City Journal that brutalist structures are an expression of totalitarianism given that their grand, concrete-based design involves destroying gentler, more-human places such as gardens.[34] In 1949, author George Orwell described the Ministry of Truth in Nineteen Eighty-Four as an "enormous, pyramidal structure of white concrete, soaring up terrace after terrace, three hundred metres into the air". Columnist Ben Macintyre of The Times wrote that it was "a prescient description of the sort of totalitarian architecture that would soon dominate the Communist bloc".[35]
Another example of totalitarianism in architecture is the Panopticon, a type of institutional building designed by English philosopher and social theorist Jeremy Bentham in the late eighteenth century. The concept of the design is to allow a watchman to observe (-opticon) all (pan-) inmates of an institution without their being able to tell whether or not they are being watched. It was invoked by Michel Foucault, in Discipline and Punish, as metaphor for "disciplinary" societies and their pervasive inclination to observe and normalise.[citation needed]
See also[edit]
Absolute monarchy
Authoritarianism
Autocracy
Dictatorship
Ideocracy
Imperialism
Inverted totalitarianism
List of totalitarian regimes
One-party state
Police state
State collapse
Strongman (politics)
Total institution
Totalitarian democracy
References[edit]
Jump up ^ Conquest, Robert (1999). Reflections on a Ravaged Century. p. 74. ISBN 0-393-04818-7.
Jump up ^ "Government and Law". Volume Library 1. The Southwestern Company. 2009. p. 11.
Jump up ^ Schmitt, Carl (1927). The Concept of the Political (German: Der Begriff des Politischen) (1996 University of Chicago Press ed.). Rutgers University Press. p. 22. ISBN 0-226-73886-8.
Jump up ^ Defty, Brook (2007). Britain, America and Anti-Communist Propaganda 1945–1953. Chapters 2–5. The Information Research Department.
Jump up ^ Achim Siegel, The totalitarian paradigm after the end of Communism: towards a theoretical reassessment, 1998, p. 200 "Concepts of totalitarianism became most widespread at the height of the Cold War. Since the late 1940s, especially since the Korean War, they were condensed into a far-reaching, even hegemonic, ideology, by which the political elites of the Western world tried to explain and even to justify the Cold War constellation"
Jump up ^ Nicholas Guilhot, The democracy makers: human rights and international order, 2005, p. 33 "The opposition between the West and Soviet totalitarianism was often presented as an opposition both moral and epistemological between truth and falsehood. The democratic, social, and economic credentials of the Soviet Union were typically seen as "lies" and as the product of a deliberate and multiform propaganda...In this context, the concept of totalitarianism was itself an asset. As it made possible the conversion of prewar anti-fascism into postwar anti-communism
Jump up ^ David Caute, Politics and the novel during the Cold War, 2009, pp. 95–99
Jump up ^ George A Reisch, How the Cold War transformed philosophy of science: to the icy slopes of logic, 2005, pp. 153–54
^ Jump up to: a b c Pipes 1995, p. 243
Jump up ^ Payne, Stanley G., Fascism: Comparison and Definition (UW Press, 1980), p. 73
Jump up ^ Gentile, Giovanni and Benito Mussolini in "La dottrina del fascismo" (1932)
Jump up ^ Nemoianu, Virgil, "Review of End and Beginnings" pp. 1235–38 from MLN, Volume 97, Issue #5, December 1982, p.1235.
Jump up ^ Churchill, Winston, Speech to the House of Commons, October 5, 1938: "We in this country, as in other Liberal and democratic countries, have a perfect right to exalt the principle of self-determination, but it comes ill out of the mouths of those in totalitarian states who deny even the smallest element of toleration to every section and creed within their bounds." "Many of those countries, in fear of the rise of the Nazi power, ... loathed the idea of having this arbitrary rule of the totalitarian system thrust upon them, and hoped that a stand would be made."
Jump up ^ Churchill, Winston, Radio Broadcast to the United States and to London, October 16, 1938
Jump up ^ Mann, Michael (2004). Fascists. New York: Cambridge University Press. p. 331. ISBN 9780521831314.
Jump up ^ Paul Preston. The Spanish Civil War: reaction, revolution and revenge. 3rd edition. W. W. New York, New York: Norton & Company, Inc, 2007. 2006 pp. 64.
Jump up ^ Orwell, George, "Why I Write", Gangrel (Summer) 1946.
Jump up ^ Laqueur, Walter, The Fate of the Revolution, New York: Scribner, 1987, p. 131.
Jump up ^ Dana Richard Villa (2000), The Cambridge Companion to Hannah Arendt. Cambridge University Press, pp. 2–3. ISBN 0-521-64571-9
^ Jump up to: a b c Radu Cinpoes, Nationalism and Identity in Romania: A History of Extreme Politics from the Birth of the State to EU Accession, p. 70.
^ Jump up to: a b Kershaw, Ian The Nazi Dictatorship: Problems and Perspectives of Interpretation, London: Arnold; New York p. 25.
Jump up ^ Laqueur, Walter The Fate of the Revolution: Interpretations of Soviet history from 1917 to the Present, New York: Scribner's, 1987 p. 241
Jump up ^ Eric Hoffer, The True Believer: Thoughts on the Nature of Mass Movements, Harper Perennial Modern Classics (2002), ISBN 0-06-050591-5, pp. 61, 163
Jump up ^ Laqueur, Walter, The Fate of the Revolution: Interpretations of Soviet history from 1917 to the Present (New York: Scribner's, 1987) pp. 186–89, 233–34
Jump up ^ Lorenz, Chris, "Broszat, Martin" in Boyd, Kelly, ed., The Encyclopedia of Historians and Historical Writing, vol. 1 (London: Fitzroy Dearborn Publishers, 1999) pp. 143–44; Kerhsaw, Ian, The Nazi Dictatorship Problems and Perspectives of Interpretation (London: Arnold Press, 2000) pp. 45–46; Menke, Martin, "Mommsen, Hans" in Boyd, Kelly, ed., The Encyclopedia of Historians and Historical Writing, vol. 2, (London: Fitzroy Dearborn Publishing, 1999) pp. 826–27
^ Jump up to: a b Laqueur, Walter The Fate of the Revolution: Interpretations of Soviet history from 1917 to the Present (New York: Scribner's, 1987) pp. 225–27
Jump up ^ Laqueur, Walter, The Fate of the Revolution: Interpretations of Soviet history from 1917 to the Present (New York: Scribner's, 1987) pp. 225, 228
Jump up ^ Fitzpatrick, Sheila, Everyday Stalinism: Ordinary Life in Extraordinary Times: Soviet Russia in the 1930s (New York: Oxford University Press, 1999)
^ Jump up to: a b Laqueur, Walter The Fate of the Revolution: Interpretations of Soviet history from 1917 to the Present (New York: Scribner's, 1987) p. 228
Jump up ^ Laqueur, Walter The Fate of the Revolution: Interpretations of Soviet history from 1917 to the Present (New York: Scribner's, 1987) p. 233
Jump up ^ "Furet, borrowing from Hannah Arendt, describes Bolsheviks and Nazis as totalitarian twins, conflicting yet united." Singer, Daniel, The Nation (April 17, 1995)
Jump up ^ "The totalitarian nature of Stalin's Russia is undeniable." Singer, Singer,The Nation
Jump up ^ "The government of Nazi Germany was a fascist, totalitarian state." Grobman, Gary M.
Jump up ^ Theodore Dalrymple (Autumn 2009). "The Architect as Totalitarian". City Journal. Retrieved January 5, 2010.
Jump up ^ Ben Macintyre (March 30, 2007). "Look on those monuments to megalomania, and despair". The Times. Retrieved January 5, 2010.
Further reading[edit]
Hannah Arendt, The Origins of Totalitarianism (1958, new ed. 1966)
John A. Armstrong, The Politics of Totalitarianism (New York: Random House, 1961)
Peter Bernholz, "Ideocracy and totalitarianism: A formal analysis incorporating ideology." Public Choice 108, 33–75, 2001
Peter Bernholz, "Ideology, sects, state and totalitarianism. A general theory". In: H. Maier and M. Schaefer (eds.): Totalitarianism and Political Religions, Vol. II (Routledge, Abingdon Oxon and New York, 2007), 246–70
Franz Borkenau The Totalitarian Enemy, London, Faber and Faber 1940
Karl Dietrich Bracher “The Disputed Concept of Totalitarianism,” pp. 11–33 from Totalitarianism Reconsidered edited by Ernest A. Menze (Port Washington, N.Y. / London: Kennikat Press, 1981), ISBN 0804692688.
Michel Foucault, The Birth of Biopolitics (in particular March 7, 1979 course)
Carl Friedrich and Z. K. Brzezinski, Totalitarian Dictatorship and Autocracy (2nd ed. 1967)
Zhelyu Zhelev, The Fascism, 1982
Guy Hermet, with Pierre Hassner and Jacques Rupnik, Totalitarismes (Paris: Éditions Economica, 1984)
Abbott Gleason Totalitarianism: The Inner History Of The Cold War, New York: Oxford University Press, (1995), ISBN 0195050177
Jeane Kirkpatrick, Dictatorships and Double Standards: Rationalism and reason in politics (1982)
Walter Laqueur The Fate of the Revolution Interpretations of Soviet History From 1917 to the Present, London: Collier Books, (1987) ISBN 002034080X.
Juan Linz and Alfred Stepan, Problems Of Democratic Transition And Consolidation: Southern Europe, South America, And Post-Communist Europe, Baltimore: Johns Hopkins UP, (1996), ISBN 0801851572.
Ludwig von Mises, Omnipotent Government: The Rise of the Total State and Total War (1944)
Ewan Murray. Shut Up: Tale of Totalitarianism (2005)
Stanley G. Payne, A History of Fascism (Routledge, 1996)
Richard Pipes (1995), Russia Under the Bolshevik Regime, New York: Vintage Books, Random House Inc., ISBN 0394502426 .
Robert Jaulin L'Univers des totalitarismes (Paris : Loris Talmart, 1995)
Rudolf Rocker. Nationalism and Culture. 1937
Giovanni Sartori, The Theory of Democracy Revisited (Chatham, N.J: Chatham House, 1987)
Wolfgang Sauer, "National Socialism: totalitarianism or fascism?" The American Historical Review, Volume 73, Issue #2 (December 1967): 404–24.
Leonard Schapiro, Totalitarianism (London: The Pall Mall Press, 1972)
Marcello Sorce Keller, “Why is Music so Ideological, Why Do Totalitarian States Take It So Seriously”, Journal of Musicological Research, XXVI (2007), no. 2–3, pp. 91–122
J. L. Talmon, The Origins of Totalitarian Democracy, (1952)
Slavoj Žižek, Did Somebody Say Totalitarianism? (London: Verso, 2001)
External links[edit]
Look up totalitarianism in Wiktionary, the free dictionary.
"Totalitarianism". Internet Encyclopedia of Philosophy.
Totalitarianism[dead link] – Article on the origin and meaning of the term; gives many 20th century examples and contrasts with authoritarianism.
Totalitarianism at Wikiquote – Short list of quotations containing the word totalitarian and its congnates.
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NDL: 00574613
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Public trust
From Wikipedia, the free encyclopedia
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For the New Zealand crown entity, see Public Trust (New Zealand).
Public office is a public trust
The concept of the public trust relates back to the origins of democratic government and its seminal idea that within the public lies the true power and future of a society; therefore, whatever trust the public places in its officials must be respected. One of the reasons that bribery is regarded as a notorious evil is that it contributes to a culture of political corruption in which the public trust is eroded. Other issues related to political corruption or betrayal of public trust are lobbying, special interest groups and the public cartel.
Contents
[hide]
1 Use in the Philippines
2 See also
3 References
4 External links
Use in the Philippines[edit]
See also: Impeachment in the Philippines
In the Philippines, "betrayal of public trust" is one of the impeachable offenses. In Francisco, Jr. vs. Nagmamalasakit na mga Manananggol ng mga Manggagawang Pilipino, Inc., the Supreme Court of the Philippines ruled that the definition of "betrayal of public trust" is "a non-justiciable political question which is beyond the scope of its judicial power" under the Constitution.[1] It did not prescribe which branch of government has the power to define it, but implies that Congress, which handles impeachment cases, has the power to do so.
See also[edit]
Public trust doctrine
References[edit]
Jump up ^ Francisco, Jr. v. Nagmamalasakit na mga Manananggol ng mga Manggagawang Pilipino, Inc. , 415 SCRA 44, 105 (Supreme Court 2003).
External links[edit]
Wikiquote has quotations related to: Public trust

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An Officer and a Gentleman
From Wikipedia, the free encyclopedia
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For the musical, see An Officer and a Gentleman (musical).
An Officer and a Gentleman
Theatrical release poster
Directed by
Taylor Hackford
Produced by
Martin Elfand
Douglas Day Stewart
Written by
Douglas Day Stewart
Starring
Richard Gere
Debra Winger
David Keith
Louis Gossett Jr.
Music by
Jack Nitzsche
Cinematography
Donald E. Thorin
Edited by
Peter Zinner
Production
company
Lorimar Productions
Distributed by
Paramount Pictures
Release date
August 13, 1982 (1982-08-13)
Running time
122 minutes
Country
United States
Language
English
Budget
$6 million[1]
Box office
$131 million[2]
An Officer and a Gentleman is a 1982 American romantic drama film[3] starring Richard Gere, Debra Winger and Louis Gossett Jr., who won the Academy Award for Best Supporting Actor for the film. It tells the story of Zack (Gere), a United States Navy Aviation Officer Candidate who is beginning his training at Aviation Officer Candidate School. While Zack meets his first true girlfriend during his training, a local young woman named Paula (Winger), he also comes into conflict with the hard-driving Marine Corps Gunnery Sergeant (Gossett Jr.), the drill instructor training his class. Also starring Phillip J. Salmon in his first role.
The film was written by Douglas Day Stewart and directed by Taylor Hackford. Its title is an old expression from the Royal Navy and later from the U.S. Uniform Code of Military Justice's charge of "conduct unbecoming an Officer and a Gentleman" (from 1860). The film was commercially released in the U.S. on August 13, 1982. It was well received by critics, with a number calling it the best film of 1982. It also was a financial success, grossing $130 million[2] against a $6 million budget.[1]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Locations
3.2 Casting
3.3 Props
3.4 Ending
4 Release
5 Reaction
5.1 Box office
5.2 Reception
5.3 Awards
6 Soundtrack
6.1 Track Listing (Original Record)
7 Adaptations
8 See also
9 References
10 External links
Plot[edit]
Zachary "Zack" Mayo (Richard Gere) is preparing to report to Aviation Officer Candidate School (AOCS). As he is doing so, he has brief flashbacks of his childhood. After the death of his unnamed mother (who committed suicide), an adolescent Zack was sent to live with his only living relative, his father Byron Mayo (Robert Loggia), who is stationed in US Naval Base Subic Bay in the Philippines. The elder Mayo, a Navy Chief Petty Officer/Chief Boatswain's Mate, made no attempt to hide his heavy drinking and hiring of prostitutes from a young Zack. When Zack said he needed help, Byron said he did not ask to get married nor be a father, because he is always out on sea all the time. But seeing the look on his face, he decides to let him stay with him. Mostly Zack became a Navy brat and travelled with his father. The flashbacks advance to the present, where Zack has just graduated from college and informs his father he will be going to AOCS. Byron, who hates officers, tells Zack that his dream of becoming an officer is as unrealistic as hoping to become President. Despite his father's discouragement, Zack is determined to go through with his childhood dreams of becoming a Navy pilot as well as prove to him that he can make it and in the end Byron would have to "salute" Zack.
Upon arrival at AOCS, Zack and his fellow AOCs are shocked by the harsh treatment they receive from their head drill instructor, Marine Gunnery Sergeant Emil Foley (Louis Gossett Jr.). Foley makes it clear that the 13-week program is designed to eliminate OCs who are found to be mentally or physically unfit for commission as an ensign in the U.S. Navy, which will earn them flight training worth over $1,000,000. Foley warns the male candidates about the "Puget Sound Debs"—young women in the area who dream of marrying a Naval Aviator to escape their dull, local lives. Foley claims they scout the regiment for OCs, and will feign pregnancy or even stop using birth control to become pregnant to trap the men.
Zack becomes friends with fellow candidates Topper Daniels (David Caruso), Sid Worley (David Keith), Emiliano Santos Della Serra (Tony Plana), Lionel Perryman (Harold Sylvester), and Casey Seeger (Lisa Eilbacher). Zack and Sid meet two local young women—factory workers—at a Navy Ball. Zack begins a romantic relationship with Paula Pokrifki (Debra Winger) and Sid with Lynette Pomeroy (Lisa Blount).
Foley rides Zack mercilessly, believing he lacks motivation and is not a team player. When Zack's side business of selling pre-shined shoes and belt buckles is discovered, Foley hazes him for a weekend in an attempt to make him DOR ("Drop on Request", a Navy term for requesting termination of training[4]), but Zack refuses. Foley states Zack will be declared unfit, which frightens Zack into admitting he has no options in civilian life. Satisfied that Zack has come to a crucial self-realization and realizing what he's made of, Foley decides to let him stay. He punishes Zack by making him clean all the urinals, but does not recommend attrition. Henceforth, Zack starts behaving like a team player.
Zack and Paula spend the next weekend together, and she takes him home for dinner to meet her family. Her stepfather behaves strangely, and when Zack asks why, Paula shows him an old picture of her biological father. He was an AOC who had an affair with her mother but deserted her following his commissioning and refused to marry her when she became pregnant with Paula.
Zack is close to breaking the record time for negotiating the obstacle course, but Casey faces disqualification when she cannot negotiate the 12-foot-high wall (3.7 m). Zack abandons his attempt to break the course record in order to coach Casey over the wall, and she makes it.
Zack attends dinner with Sid and his parents and learns that Sid has a long-time girlfriend back home. Sid plans to marry her after he receives his commission. Meanwhile, Lynette has been dropping hints to Sid that she may be pregnant. Sid agonizes over this possibility, especially when Lynette tells him she will not have an abortion. After having a severe anxiety attack during a high-altitude simulation in a pressure chamber, Sid realizes he joined the officer training program out of a sense of obligation to his family, and he Drops On Request ("DOR"s, meaning he voluntarily resigns). He leaves the base without saying goodbye, so Zack and Paula go out to look for him.
Sid goes to Lynette's house and proposes marriage. She is elated until he tells her he DORed, and she would not be marrying a Naval Aviator after all. Disgusted, Lynette turns him down and admits she was never pregnant with his child. She says she thought he understood. She wants to marry an aviator, escape from her small town and live an exciting life overseas. She berates him for dropping out and gives back the engagement ring he bought her. Crushed, Sid goes to the motel where he and Lynette spent his free weekends, asks for their old room, and begins drinking.
Zack and Paula arrive at Lynette's shortly after Sid leaves and ask about Sid's whereabouts. Zack curses Lynette for trying to trick Sid, and he and Paula rush off to search for him. Zack goes to the motel and is heartbroken when he finds Sid has committed suicide out of grief. Paula tries to comfort Zack, but he rejects her and heads back to base with the intent to DOR himself. Foley will not let him quit so close to graduation and feels bad about what happened to Sid. Zack challenges Foley to an unofficial martial arts bout. Although Zack eventually appears to take control of the fight, Foley wins by kicking Zack in the groin and then tells him he can quit now if he still wishes to do so.
Zack shows up for graduation and is sworn into the Navy with his class. Following naval tradition, he receives his first salute from Foley in exchange for a US silver dollar. While tradition calls for the drill instructor to place the coin in his left shirt pocket, Foley places the coin in his right pocket, acknowledging that Zack was a special candidate. Zack thanks him for not giving up on him and tells him he would never have made it without the hardships Foley delivered. While leaving the base, he sees Foley initiating a set of new AOCs for AOCS who are in the same position he was 13 weeks prior.
Zack, now Ensign Mayo with orders to undertake flight training, seeks out Paula at the factory where she works and declares his love to her. He picks her up and walks out with her in his arms to the applause of her co-workers, including Lynette.
Cast[edit]
(in credits order)
Richard Gere as Aviation Officer Candidate Zack Mayo
Debra Winger as Paula Pokrifki
David Keith as AOC Sid Worley
Robert Loggia as Chief Petty Officer Byron Mayo (Zack's father)
Lisa Blount as Lynette Pomeroy
Lisa Eilbacher as AOC Casey Seeger
Louis Gossett Jr. as Gunnery Sergeant Emil Foley, USMC
Tony Plana as AOC Emiliano Della Serra
Harold Sylvester as AOC Lionel Perryman
David Caruso as AOC Topper Daniels
Victor French as Joe Pokrifki (Paula's stepfather)
Grace Zabriskie as Esther Pokrifki (Paula's mother)
Tommy Petersen as Young Zack
Elizabeth Rogers as Betty Worley
John Laughlin as Troy
Ed Begley Jr. as Altitude Chamber Instructor (voice)
Production[edit]
Locations[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2012) (Learn how and when to remove this template message)
The film was shot in late 1981 on the Olympic Peninsula of Washington, at Port Townsend and Fort Worden. The U.S. Navy did not permit filming at NAS Pensacola in the Florida panhandle, the site of the actual Aviation Officer Candidate School[5] in 1981. Deactivated U.S. Army base Fort Worden stood in for the location of the school, an actual Naval Air Station in the Puget Sound area, NAS Whidbey Island. However, that installation, which is still an operating air station today, was and is a "fleet" base for operational combat aircraft and squadrons under the cognizance of Naval Air Force Pacific, not a Naval Air Training Command installation.
A motel room in Port Townsend, The Tides Inn on Water Street (48°06′38″N 122°45′54″W / 48.1105°N 122.765°W / 48.1105; -122.765), was used for the film.[6] Today, there is a plaque outside the room commemorating this (although the room has been extensively refurbished in the interim). Some early scenes of the movie were filmed in Bremerton, with ships of the Puget Sound Naval Shipyard in the background.
The "Dilbert Dunker" scenes were filmed in the swimming pool at what is now Mountain View Elementary School (Port Townsend Jr High School during filming).[6] According to the director's commentary on the DVD, the dunking machine was constructed specifically for the film and was an exact duplicate of the actual one used by the Navy. As of 2010, Mountain View Elementary is closed and is now home to the Mountain View Commons, which holds the police station, food bank and the YMCA, the latter of which holds the pool.
The filming location of Paula Pokrifiki's house was 1003 Tremont in Port Townsend.[6] As of 2009, the house was shrouded by a large hedge, and the front porch had been remodeled. The neighboring homes and landscape look identical to their appearance in the film, including the 'crooked oak tree' across the street from the Pokrifiki home. This oak tree is visible in the scene near the end of the film in which Richard Gere returns to the home to request Paula's help in finding his friend Sid. In the film, the plot has Paula living a ferry ride away from the naval base. In reality, Paula's home is located approximately 8 blocks from Fort Worden.
Lynette Pomeroy's house was located on Mill Road, just west of the main entrance of the Port Townsend Paper Corp. mill. The house no longer exists, but the concrete driveway pad is still visible.
The interior of the USO building at Fort Worden State Park was used for the reception scene near the beginning of the film.
Battery Kinzie, scene of "I got nowhere else to go!"
The concrete structure used during the famous Richard Gere line "I got nowhere else to go!" is the Battery Kinzie located at Fort Worden State Park. The scene was filmed on the southwest corner of the upper level of the battery. The 'obstacle course' was constructed specifically for the film and was located in the grassy areas just south and southeast of Battery Kinzie.
The decompression chamber was one of the only sets constructed for the film and as of 2013, it is still intact in the basement of building number 225 of the Fort Worden State Park. It can be seen through the windows of the building's basement.
Building 204 of Fort Worden State Park was used as the dormitory and its porch was used for the film's closing 'silver dollar' scene.
The blimp hangar used for the famous fight scene between Louis Gossett Jr. and Richard Gere is located at Fort Worden State Park and as of 2013 is still intact, but has been converted into a 1200-seat performing arts center called the McCurdy Pavilion.
The filming location for the exterior of 'TJ's Restaurant' is located at the Point Hudson marina in Port Townsend. The space is now occupied by a company that makes sails. The fictional "TJ's" is an homage to the Trader Jon's bar in Pensacola, Florida, as a naval aviator hangout until it closed later in November 2003. For years, it was traditional for graduating Aviation Officer Candidate School classes to celebrate their commissioning at "Trader's."[citation needed]
Casting[edit]
Originally, folk music singer and occasional actor John Denver was signed to play Zack Mayo. But a casting process eventually involved Jeff Bridges, Christopher Reeve, and Richard Gere.[7][8] Gere eventually beat all the other actors for the part. John Travolta had turned down the role, as he did with American Gigolo (another Richard Gere hit).[8][9]
The role of Paula was originally given to Sigourney Weaver,[10] then to Anjelica Huston[10] and later to Jennifer Jason Leigh, who dropped out to do the film Fast Times at Ridgemont High instead.[11] Eventually, Debra Winger replaced Leigh for the role of Paula. Rebecca De Mornay,[11] Meg Ryan,[10] and Geena Davis[10] auditioned for the role of Paula.
In spite of the strong on-screen chemistry between Gere and Winger, the actors didn't get along during filming. Publicly, she called him a "brick wall" while he admitted there was "tension" between them. Thirty years later, Gere was complimentary towards Winger when he said that she was much more open to the camera than he was, and he appreciated the fact that she presented him with an award at the Rome Film Festival.[12]
Taylor Hackford kept Louis Gossett Jr. in separate living quarters from other actors during production; so, Gossett could intimidate them more during his scenes as drill instructor.[13] In addition, Gossett was advised by US Marine Corps Gunnery Sergeant Buck Welscher.[13]
Props[edit]
Richard Gere rides a 750cc T140E Triumph Bonneville. Two T140E Bonnevilles were supplied by Dewey's Cycle Shop in Seattle. One had Receipt no.16787 dated April 8, 1981, as sold to Paramount Pictures. In the United Kingdom, Paramount successfully linked with Triumph Motorcycles (Meriden) Ltd to do a mutual promotion. Triumph's then-chairman, John Rosamond, in his book Save The Triumph Bonneville! (Veloce 2009), states it was agreed cinemas showing the film would be promoted at their local Triumph dealer, and T140E Triumph Bonnevilles supplied by the dealer would be displayed in the cinema's foyers.
Ending[edit]
Richard Gere balked at shooting the ending of the film, in which Zack arrives at Paula's factory wearing his naval dress whites and carries her off the factory floor. Gere thought the ending would not work because it was too sentimental. Director Taylor Hackford agreed with Gere until, during a rehearsal, the extras playing the workers began to cheer and cry. When Gere saw the scene later, with a portion of the score (that was used to write "Up Where We Belong") played at the right tempo, he said it gave him chills. Gere is now convinced Hackford made the right decision.[14] Screenwriter Michael Hauge, in his book Writing Screenplays That Sell, echoed this opinion: "I don't believe that those who criticized this Cinderella-style ending were paying very close attention to who exactly is rescuing whom."
Release[edit]
Two versions of the film exist. The original, an uncensored R-rated cut and edited-for-broadcast television cut (which first aired on NBC in 1986) are nearly identical. The main difference is that the nudity and a majority of the foul language are edited out when the film airs on regular television. However, the group marching song near the beginning of the film and Mayo's solo marching song are not voiceover edits; they are reshoots of those scenes for television. Also, the sex scene between Mayo and Paula is cut in half, and the scene where Mayo finds Sid's naked body hanging in the shower is also edited.
Reaction[edit]
Box office[edit]
An Officer and a Gentleman was an enormous box office success and went on to become the third-highest-grossing film of 1982, after E.T.: The Extra Terrestrial and Tootsie.[15] It grossed $3,304,679 in its opening weekend[16] and $129,795,554 overall at the domestic box office.[17] It sold an estimated 44 million tickets in the US.
Reception[edit]
An Officer and a Gentleman was well received by critics and is widely considered one of the best films of 1982.[18][19][20] The film holds an 81% "Fresh" rating on the review aggregate website Rotten Tomatoes, based on 27 reviews, with the consensus: "Old-fashioned without sacrificing its characters to simplicity, An Officer and a Gentleman successfully walks the fine line between sweeping romance and melodrama".[21] It received rave reviews from critics, most notably from Roger Ebert, who gave it four stars. Ebert described An Officer and a Gentleman as "a wonderful movie precisely because it's so willing to deal with matters of the heart...it takes chances, takes the time to know and develop its characters, and by the time this movie's wonderful last scene comes along, we know exactly what's happening, and why, and it makes us very happy."[22]
Rex Reed gave a glowing review where he commented: "This movie will make you feel ten feet tall!" The British film critic Mark Kermode, an admirer of Taylor Hackford observed, "It's a much tougher film than people remember it being; it's not a romantic movie, it's actually a movie about blue-collar, down-trodden people."
The film is recognized by American Film Institute in these lists:
2002: AFI's 100 Years...100 Passions—#29[23]
2004: AFI's 100 Years...100 Songs:
"Up Where We Belong"—#75[24]
2006: AFI's 100 Years...100 Cheers—#68[25]
Awards[edit]
Film Award wins:
Academy Award for Best Supporting Actor—Louis Gossett Jr.
Best Music, Original Song—"Up Where We Belong", Jack Nitzsche and Buffy Sainte-Marie (music), Will Jennings (lyrics). Producer Don Simpson complained, "The song is no good. It isn't a hit," and unsuccessfully demanded it be cut from the film. "Up Where We Belong" later became the number one song on the Billboard charts.
BAFTA Film Award for Best Original Song—"Up Where We Belong", Jack Nitzsche and Buffy Sainte-Marie (music), Will Jennings (lyrics)
Award of the Japanese Academy for Best Foreign Language Film
NAACP Image Award for Outstanding Motion Picture
Academy Award nominations:
Best Actress—Debra Winger
Best Music, Original Score
Best Film Editing
Best Writing, Screenplay Written Directly for the Screen.
Other Award wins:
"Up Where We Belong" vocalists Joe Cocker and Jennifer Warnes earned a Grammy Award for Best Pop Vocal Performance, Duo or Group [26]
Soundtrack[edit]
The soundtrack was released on August 13, 1982 and reached #38 on the Billboard 200, it stayed on the chart for 23 weeks and top 50 for one week.[27][28] The CD version doesn't include some of the instrumental selections that were available on the original record.[29]
"Up Where We Belong" was released as a single and became a global hit peaking at number one in the US, Canada, and Australia, and reaching the top 10 in many other countries.
Track Listing (Original Record)[edit]
Song
Lyrics by
Performed by
"Up Where We Belong" Will Jennings Joe Cocker and Jennifer Warnes
"Theme from 'An Officer and a Gentleman" Jack Nitzsche and Buffy Sainte-Marie Lee Ritenour
"Treat Me Right" D. Lubahn and Pat Benatar Pat Benatar
"Hungry for Your Love" Van Morrison Van Morrison
"Be Real" D. Sahm Sir Douglas Quintet
"Tush" B. Gibbons, D. Hill and F. Beard ZZ Top
"Tunnel of Love" M. Knopfler Dire Straits
"Feelings" Morris Albert Morris Albert
"Tie a Yellow Ribbon Round the Ole Oak Tree" Irwin Levine and L. Russell Brown
"Anchors Aweigh" Charles A. Zimmerman, George D. Lottman and Alfred Hart Miles
"Moon River" Henry Mancini and Johnny Mercer
"Big Money Dollars" John Thomas Lenox
"Gamelan Gong: Barong Dance" David Lewiston
"The Plains of Mindanao" Bayanihan 7
"Galan Kangin" Gong Kebyar, Sebatu
"Love Theme From 'An Officer And A Gentleman" Lee Ritenour Lee Ritenour
"The Morning After Love Theme" Jack Nitzsche Jack Nitzsche
Adaptations[edit]
The Takarazuka Revue adapted the movie as a musical in 2010 in Japan (Takarazuka Grand Theater; Tokyo Takarazuka Theater). The production was performed by Star Troupe and the cast included Reon Yuzuki as Zack Mayo, Nene Yumesaki as Paula Pokrifki and Kaname Ouki as Gunnery Sergeant Emil Foley.[30]
A stage musical, with book by Douglas Day Stewart and Sharleen Cooper Cohen and songs by Ken Hirsch and Robin Lerner, directed by Simon Phillips, opened on May 18, 2012 at the Lyric Theatre in Sydney, Australia.[31] The production received mixed reviews[32] and closed after six weeks.[33]
See also[edit]
Conduct unbecoming an officer and a gentleman
References[edit]
^ Jump up to: a b Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Lanham, Maryland: Scarecrow Press, p. 198, ISBN 978-0-8108-4244-1.
^ Jump up to: a b "Box Office Information for An Officer and a Gentleman". Box Office Mojo. Retrieved January 29, 2012.
Jump up ^ "An Officer and a Gentleman". Rolling Stone. Wenner Media LLC. May 22, 2013. Retrieved December 6, 2015.
Jump up ^ CNATRAINST 1542.98C: Drop on Request Archived February 28, 2014, at the Wayback Machine. Retrieved September 18, 2012
Jump up ^ "Fun Trivia".
^ Jump up to: a b c "An Officer and a Gentleman (1982)". Washington film locations. Retrieved August 27, 2016.
Jump up ^ Perlman, Jake (August 8, 2014). "Was Jeff Bridges really supposed to play Batman and Indiana Jones?". Entertainment Weekly. Retrieved June 6, 2015.
^ Jump up to: a b Omar, Aref (October 24, 2014). "TOP PICKS: Officers and gentlemen". New Straits Times. Retrieved June 6, 2015.
Jump up ^ Kinser, Jeremy (September 1, 2012). "Richard Gere Accepted American Gigolo Role Because of Gay Subtext". The Advocate. Retrieved June 6, 2015.
^ Jump up to: a b c d Naglazas, Mark (May 16, 2012). "Officer's stage salute". The West Australian. Retrieved June 6, 2015.
^ Jump up to: a b "An Officer and a Gentleman (Movie)". April 16, 2012. Retrieved June 6, 2015.
Jump up ^ http://filmfestivaltraveler.com/film-arts/film-arts-interviews/2071-actor-richard-gere-re-views-qan-officer-and-a-gentlemanq-a-his-career
^ Jump up to: a b Klemesrud, Judy (August 20, 1982). "The making of a new D.I.: Director separated Gossett, Gere to sustain intensity". The Lakeland Register. pp. 1–2C.
Jump up ^ "Gere begged director not to shoot romantic scene". PR Inside. April 29, 2007.
Jump up ^ "1982 Domestic Grosses". Box Office Mojo.com. Retrieved June 20, 2010.
Jump up ^ "Box Office and Business Information for An Officer and a Gentleman". IMDb.com. Retrieved June 20, 2010.
Jump up ^ "Box Office Information for An Officer and a Gentleman". Box Office Mojo.com. Archived from the original on June 20, 2010. Retrieved June 20, 2010.
Jump up ^ "The Greatest Films of 1982". AMC Filmsite.org. Archived from the original on July 24, 2010. Retrieved June 20, 2010.
Jump up ^ "The Best Movies of 1982 by Rank". Films101.com. Retrieved June 20, 2010.
Jump up ^ "Most Popular Feature Films Released in 1982". IMDb.com. Retrieved June 20, 2010.
Jump up ^ "An Officer and a Gentleman Movie Reviews, Pictures". Rotten Tomatoes. Archived from the original on June 14, 2010. Retrieved June 20, 2010.
Jump up ^ "An Officer and a Gentleman Movie Review". Chicago Sun-Times. Retrieved June 20, 2010.
Jump up ^ "AFI's 100 Years...100 Passions" (PDF). American Film Institute. Retrieved 2016-08-19.
Jump up ^ "AFI's 100 Years...100 Songs" (PDF). American Film Institute. Retrieved 2016-08-19.
Jump up ^ "AFI's 100 Years...100 Cheers" (PDF). American Film Institute. Retrieved 2016-08-19.
Jump up ^ "1982 Grammy Award Winners". Grammy.com. Retrieved May 30, 2013.
Jump up ^ "Album Chart for 1982-12-18 | Music Charts Archive". musicchartsarchive.com. Retrieved 2017-02-14.
Jump up ^ ""An Officer And A Gentleman" Album by Soundtrack | Music Charts Archive". musicchartsarchive.com. Retrieved 2017-02-14.
Jump up ^ "Track listing (CD) as seen on Amazon". Archived from the original on 2007-01-27. Retrieved February 14, 2017.
Jump up ^ "Takarazuka".
Jump up ^ Paul Chai, "Review: 'An Officer and a Gentleman'", Variety, May 22, 2012.
Jump up ^ "Review Roundup: An Officer and a Gentleman in Sydney", BroadwayWorld.com, May 20, 2012 (summary and links to other reviews).
Jump up ^ Adam Fulton, "Show won't go on: musical fails to deliver on world premiere fanfare", The Australian, June 12, 2016.
External links[edit]
Wikiquote has quotations related to: An Officer and a Gentleman
An Officer and a Gentleman on IMDb
An Officer and a Gentleman at the TCM Movie Database
An Officer and a Gentleman at AllMovie
Louis Gossett Jr. Wins Supporting Actor in An Officer and a Gentleman: 1983 Oscars on YouTube
An Officer and a Gentleman at Rotten Tomatoes
[show]
v
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Films directed by Taylor Hackford
Teenage Father (1978)
The Idolmaker (1980)
An Officer and a Gentleman (1982)
Against All Odds (1984)
White Nights (1985)
Hail! Hail! Rock 'n' Roll (1987)
Everybody's All-American (1988)
Blood In Blood Out (1993)
Dolores Claiborne (1995)
The Devil's Advocate (1997)
Proof of Life (2000)
Ray (2004)
Love Ranch (2010)
Parker (2013)
The Comedian (2016)
[show]
v
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NAACP Image Award for Outstanding Motion Picture
1972–2000
Lady Sings the Blues (1972)
Let's Do It Again (1976)
The Greatest (1978)
Fame (1980)
Bustin' Loose (1981)
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A Soldier's Story (1985)
The Color Purple (1986)
Lethal Weapon (1987)
Coming to America (1988)
Lean on Me (1989)
Glory (1990)
Boyz n the Hood (1992)
Sister Act (1993)
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A Time to Kill (1997)
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values: קצין וג'נטלמן – Hebrew

values:
interlanguage-link interwiki-he
display: none;

values:
interlanguage-link interwiki-nl
display: none;

values: 愛と青春の旅だち – Japanese

values:
interlanguage-link interwiki-no
display: none;

values:
interlanguage-link interwiki-pl
display: none;

values:
interlanguage-link interwiki-ro
display: none;

values: Офицер и джентльмен – Russian

values:
interlanguage-link interwiki-fi
display: none;

values:
interlanguage-link interwiki-sv
display: none;

values: Офіцер і джентльмен – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values:
interlanguage-link interwiki-vec
display: none;

values: All languages (initial selection from common choices by you and others)

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-An_Officer_and_a_Gentleman rootpage-An_Officer_and_a_Gentleman skin-vector action-view