text:
Valley of the Dolls
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For other uses, see Valley of the Dolls (disambiguation).
Valley of the Dolls
First Hardcover Edition
Author
Jacqueline Susann
Country
United States
Language
English
Published
1966 (Bernard Geis Associates)
Media type
Print (Hardback & Paperback)
Pages
442 pp (hardcover edition)
ISBN
978-0802135193
Preceded by
Every Night, Josephine!
Followed by
The Love Machine
Valley of the Dolls is the first novel by American writer Jacqueline Susann. Published in 1966, the book was the biggest selling novel of its year.[1] To date, it has sold more than 31 million copies,[2] making it one of the best-selling works in publishing history.[3]
Contents
[hide]
1 Plot summary
2 Background
3 Reception
4 Adaptations
5 Notes
6 References
7 External links
Plot summary[edit]
The novel tells the story of three young women who become fast friends in the turbulent post-war worlds of Broadway and Hollywood: Anne Welles, a reserved New England beauty who sees New York as the romantic city of her dreams; Neely O'Hara, an ebullient vaudevillian with a talent she doesn't fully understand; and Jennifer North, a sweet-natured showgirl who wants only to be loved. As life becomes difficult, each woman grows increasingly dependent on "dolls," the amphetamines and barbiturates which, for a time, seem to help.
Crossing their paths are such people as Helen Lawson, a brilliant but ruthless Broadway legend; Lyon Burke, a magnetic but self-centered theatrical attorney; Tony Polar, a child-like but sexually aggressive pop singer; Kevin Gillmore, a powerful but lovesick cosmetics tycoon; and Ted Casablaca, a potent but opportunistic fashion designer.
Over the course of twenty eventful years (1945–1965), each of the women strives to ascend the Mount Everest of her dreams, only to find herself back in the valley of the dolls.
Background[edit]
Susann had apparently been thinking about the novel for some time. Some years earlier, she had begun a show business novel, Underneath the Pancake, with her friend, actress Beatrice Cole (c. 1910–1999).[4] Later, she considered writing a novel about drug usage in show business to be called The Pink Dolls.[5]
Valley of the Dolls is widely considered to be a roman a clef, with its characters based on such famous figures as Judy Garland, Carole Landis, Dean Martin, and Ethel Merman.[6] In 1973, after publication of her third novel, Susann said, "They can keep calling it that [roman a clef]. It'll only make my books sell, I don't care."[7] Susann insisted that she began each book with a theme: "Then I start asking, what kind of a personality? And because I have a good ear, I unconsciously pick up certain people."[7]
Susann dedicated the book to her poodle, Josephine, and to her husband, Irving Mansfield.[8]
Reception[edit]
The book was published by Bernard Geis Associates on February 10, 1966, and "took off like a Cape Canaveral space shot." [9]
Although Publishers Weekly, in an advance review, called the novel "big, brilliant and sensational" (if "poorly written"),[10] the book received largely negative reviews. Gloria Steinem panned the book in The New York Herald Tribune [11] as did the reviewer in The New York Times.[12] Time magazine called it the "Dirty Book of the Month," and said, "it might more accurately be described as a highly effective sedative, a living doll."[13]
Despite the poor reviews, the book was a commercial juggernaut. On May 8, 1966, in its ninth week on the list, the book reached #1 on the New York Times Best Seller List, where it remained for 28 consecutive weeks.[14] With a total of 65 weeks on the list, the book became the best selling novel of 1966.[1] By the time of Susann's death in 1974, it had entered the Guinness Book of World Records as the best selling novel in publishing history, with more than 17 million copies sold.[15] By 2016, the book had sold more than 31 million copies.[2]
Adaptations[edit]
In 1967 the book was adapted into a film of the same name, directed by Mark Robson (Peyton Place), and starring Barbara Parkins (as Anne), Patty Duke (Neely), Paul Burke (Lyon), Sharon Tate (Jennifer), and Susan Hayward (Helen). The movie was written by Helen Deutsch (National Velvet) and Dorothy Kingsley (Seven Brides for Seven Brothers), and produced by Robson and David Weisbart. Reviews were scathing,[16] but the film was an enormous box-office hit, becoming the sixth most popular of the year with $44 million at the domestic box office.[17] Susann, who had a cameo as a news reporter, hated the film, reportedly telling director Robson that it was "a piece of shit."[18]
The novel was adapted for television in 1981 as Jacqueline Susann's Valley of the Dolls, a mini-series executive-produced by Susann's widower Irving Mansfield and directed by Walter Grauman. This version stars Catherine Hicks, Lisa Hartman, and Veronica Hamel. In 1994 a late-night, syndicated television soap opera, Valley of the Dolls, ran for one season and 65 episodes. The premise was a loose adaptation of the novel.[19] BBC Radio 4 broadcast a 15-episode dramatisation scripted by Yvonne Antrobus over three weeks in August and September 2005. It was part of the Woman's Hour programme's ongoing fifteen-minute daily drama slot,[20] and has been rebroadcast several times on BBC Radio 4 Extra in three 70-minute omnibus episodes.[21]
Notes[edit]
References[edit]
^ Jump up to: a b The 20th-Century American Bestsellers Database: 1960s. University of Virginia, via Publishers Weekly, 2016. Retrieved January 10, 2017.
^ Jump up to: a b Symonds, Alexandria. 'Valley of the Dolls,' by the numbers. T: The New York Times Style Magazine. February 9, 2016. Retrieved January 10, 2017.
Jump up ^ Best Seller. Encyclopedia Britannica. February 23, 2011. Retrieved January 10, 2017.
Jump up ^ Seaman, Barbara. Lovely Me: The Life of Jacqueline Susann. 2nd ed. (New York: Seven Stories Press, 1996), p. 197.
Jump up ^ Seaman. Lovely Me, p. 251-252.
Jump up ^ Collins, Amy Fine. Once Was Never Enough. Vanity Fair, January 2000. Retrieved January 5, 2017.
^ Jump up to: a b Kasindorf, Martin. Jackie Susann Picks Up the Marbles. The New York Times, August 12, 1973. Retrieved January 5, 2017.
Jump up ^ Susann, Jacqueline. Valley of the Dolls. (New York: Bernard Geis Associates, 1966).
Jump up ^ Daniels, Mary. Susann's Best Love Story a Private Affair. Chicago Tribune. August 15, 1976. Retrieved January 10, 2017.
Jump up ^ Mansfield, Irving and Jean Libman Block. Life with Jackie. (New York: .tam Books, 1983), p. 132.
Jump up ^ Seaman, Lovely Me, p. 314.
Jump up ^ Fremont-Smith, Eliot. Thank You, Franz Kafka! The New York Times. February 4, 1966. Retrieved January 10, 2017.
Jump up ^ Books: Dirty Book of the Month. Time. April 22, 1966. Retrieved January 10, 2017.
Jump up ^ Adult New York Times Best Seller Lists for 1966. Hawes Publications. [n.d.] Retrieved January 10, 2017.
Jump up ^ Johnston, Laurie. Jacqueline Susann Dead at .; Novelist Wrote 'Valley of Dolls'. The New York Times. September 23, 1974. Retrieved January 9, 2017.
Jump up ^ Seaman. Lovely Me, p. 349.
Jump up ^ Top Grossing Films of 1967. Listal. June 24, 2012. Retrieved January 13, 2017.
Jump up ^ Green, David B. This Day in Jewish History 1974: Jacqueline Susann, Who Knew What You Really Want to Read, Dies. Haaretz. September 21, 2016. Retrieved January 13, 2017.
Jump up ^ Gardner, Eriq (March 16, 2012). "Lawsuit Threatens Lee Daniels' 'Valley of the Dolls' TV Series". The Hollywood Reporter.
Jump up ^ Radio Listings
Jump up ^ BBC Radio omnibus edition catalogue entry
External links[edit]
Valley of the Dolls The official website, run by the estate of Jacqueline Susann.
[hide]
v
t
e
Jacqueline Susann
Books
Every Night, Josephine! (1963)
Valley of the Dolls (1966)
The Love Machine (1969)
Once Is Not Enough (1973)
Dolores (1976)
Yargo (1979)
Adaptations
Valley of the Dolls (1967)
The Love Machine (1971)
Once Is Not Enough (1975)
Valley of the Dolls (TV series, 1994)
Related articles
Isn't She Great
Jacqueline Susann's Open Door
Just This Once
Irving Mansfield
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Lara Croft: Tomb Raider
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the 2001 film starring Angelina Jolie. For the 2018 film starring Alicia Vikander, see Tomb Raider (film). For the character, see Lara Croft.
Lara Croft: Tomb Raider
Theatrical release poster
Directed by
Simon West
Produced by
Lawrence Gordon
Lloyd Levin
Colin Wilson
Screenplay by
Patrick Massett
John Zinman
Story by
Sara B. Cooper
Mike Werb
Michael Colleary
Based on
Tomb Raider
by Core Design
Starring
Angelina Jolie
Jon Voight
Iain Glen
Noah Taylor
Daniel Craig
Music by
Graeme Revell
Cinematography
Peter Menzies Jr.
Edited by
Dallas S. Puett
Glen Scantlebury
Production
company
Mutual Film Company
Lawrence Gordon Productions
Eidos Interactive
Distributed by
Paramount Pictures
Release date
June 15, 2001 (2001-06-15) (United States)
June 28, 2001 (2001-06-28) (Germany)
July 6, 2001 (2001-07-06) (United Kingdom)
October 6, 2001 (2001-10-06) (Japan)
Running time
100 minutes
Country
Germany
Japan
United Kingdom
United States[1]
Language
English
Budget
$115 million[2]
Box office
$274.7 million[2]
Lara Croft: Tomb Raider (also known as simply Tomb Raider) is a 2001 action-adventure film based on the Tomb Raider video game series featuring the character Lara Croft, portrayed by Angelina Jolie. An international co-production between the United States, the United Kingdom, Japan and Germany, it was directed by Simon West and revolves around Lara Croft trying to obtain ancient artifacts from the enemy, the Illuminati.
The film was released on June 15, 2001, and received generally negative reviews from critics for its stylized action and bland plot, although Angelina Jolie was praised for her performance. Tomb Raider was the highest-grossing film on its opening weekend. A sequel, titled Lara Croft: Tomb Raider – The Cradle of Life, was released in 2003.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Financing
3.3 Casting
3.4 Filming
4 Release
4.1 Reception
4.2 Box office performance
4.3 Awards and nominations
5 Music
5.1 Soundtrack
5.2 Score
6 Sequel and reboot
7 See also
8 Notes
9 References
10 External links
Plot[edit]
This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (January 2018) (Learn how and when to remove this template message)
In pursuit of a diamond, Lara Croft battles a large robot in an Egyptian tomb; she disables it by ripping out its circuits. The diamond, revealed to be a memory card, is inserted into a laptop computer inside the robot to play music. The fight took place in a practice area of Lara's home and the robot was programmed by her technical assistant Bryce to challenge her in combat. The first phase of a planetary alignment, culminating in a solar eclipse, arrives. In Venice, the Illuminati search for a key that will rejoin halves of "The Triangle", which must be completed by the final phase. Manfred Powell, an Illuminati member, assures that they are almost ready, but actually has no idea of the location.
Hillary, Lara's butler, tries to interest her in several projects, but on account of the anniversary of her father's disappearance, Lara is not interested. She dreams of her father telling her about the alignment and an object linked to it, the Triangle of Light, and awakens to a clock ticking. Lara finds the clock and Bryce discovers a strange device hidden inside. Lara consults a clock expert friend of her father's, Wilson, who claims no knowledge of the clock or the Triangle when Lara mentions a possible connection. Wilson gives Lara's name to Powell in regards of the clock. Lara encounters Alex West, a fellow tomb raider with unscrupulous methods and for-profit attitude.
Lara shows Powell photographs of the clock; she later points out to Bryce that Powell was lying about his knowledge. That night, armed commandos invade the house and steal the clock despite Lara's attempts to fend them off. The next morning, a letter from her father, arranged to arrive after the beginning of the alignment, explains that the clock is the key to retrieve the halves of the Triangle of Light, an object of phenomenal destructive power which grants its wielder power over time and space. The Triangle destroyed the city it was housed in after misuse of its power. It was then separated in half; one was hidden in a Cambodian tomb, the other in the ruined city, now part of modern-day Siberia. Her father urges her to find and destroy both halves before the Illuminati can find it.
Ta Keo at Angkor.
In Cambodia, West figures out part of the puzzle on how to retrieve the triangle half. However, West is incorrect and Lara figures out the true puzzle, informing West and Powell that what they thought was the correct holder for the key was but a reflection. She reminds Powell that they only have so many seconds before the opportunity is gone for another 5,000 years. Powell, realizing West was wrong and that Lara is right, and that she is the only one who can solve the puzzle, throws her the clock. Lara proves she is right as she inserts the key and the half of the triangle is revealed. Before everyone can leave, the liquid metal which came out with the piece brings the statues in the temple to life and attacks the team killing some members. Lara is left to fight off and destroy a huge six-armed guardian statue which is the last one to come to life. She successfully defeats it and leaves the temple by diving through a waterfall. She then travels to a Buddhist town where a young monk welcomes her. After a worship service, an aged monk who serves as the chief gives Lara some tea and as they converse, he reminds her to get a much needed rest to continue her father's mission, implying that that monk might have been Lara's father's acquaintance.
She and Powell arrange to meet in Venice, since each of them has what the other needs to finish the Triangle. Powell proposes a partnership to find the Triangle, and informs Lara that her father was a member of the Illuminati, which she vehemently denies. Though hesitant at first, she, along with Bryce, meets with Powell for the trip to Siberia.
Entering the tomb, the teams discover a giant model of the solar system, which activates as the alignment nears completion. Lara retrieves the last half of the Triangle, but when Powell tries to complete it, the halves will not fuse. He realizes that Lara knows the solution to the puzzle, and kills West in order to persuade her to complete the Triangle to save both West's life and her father's. Lara reluctantly complies, and they then struggle for control of the Triangle, with Lara prevailing and saving West's life.
Lara then finds herself in a strange alternate existence facing her father Lord Richard Croft (Jon Voight). He explains that it is a "crossing" of time and space, and urges her to destroy the Triangle instead of using it to save his life. She leaves her father and returns to the chamber, where time is slowly running backwards from the point where Powell killed West. Croft takes the knife he threw into West's chest and reverses it, then destroys the Triangle, which returns time to its normal flow and directs the knife into Powell's shoulder. The chamber begins to self-destruct. As everyone turns to leave, Powell reveals to Lara that he murdered her father and stole his pocket watch with a picture of Lara's mother inside as a trophy. Lara and Powell engage in a hand-to-hand fight. Lara kills him, retrieves the pocket watch, and escapes as the chamber crumbles.
At the mansion, Hilly and Bryce are shocked to see Lara wearing a dress. She goes into the garden to her father's memorial, then returns inside, where Bryce has a reprogrammed SIMON, ready to challenge Lara once again. Hillary reveals a silver tray holding Lara's pistols, which she takes with a smile.
Cast[edit]
Angelina Jolie as Lara Croft
Rachel Appleton as Young Lara
Jon Voight as Lord Richard Croft
Daniel Craig as Alex West
Iain Glen as Manfred Powell
Noah Taylor as Bryce Turing[3]
Richard Johnson as the Distinguished Gentleman
Chris Barrie as Hillary
Julian Rhind-Tutt as Mr. Pimms
Leslie Phillips as Wilson
Robert Philips as Julius, assault team leader
Production[edit]
Development[edit]
Tomb Raider went through many drafts and several writers, which resulted in production delays. In 1998, writer Brent V. Friedman, who had co-written Mortal Kombat: Annihilation the year before, penned an unproduced Tomb Raider script. Producer and screenwriter Steven E. de Souza, who wrote and directed the 1994 video game film Street Fighter, penned an early draft of the Tomb Raider script in 1999, but it was rejected by Paramount. The final draft of the script was attributed to five writers, including director Simon West.
Financing[edit]
Lara Croft was financed through Tele München Gruppe (TMG), a German tax shelter. The tax law of Germany allowed investors to take an instant tax deduction even on non-German productions and even if the film has not gone into production. By selling them the copyright for $94 million and then buying it back for $83.8 million, Paramount Pictures made $10.2 million. The copyright was then sold again to Lombard Bank, a British investment group and a further $12 million was made. However, to qualify for Section 48 tax relief, the production must include some UK filming and British actors, which was acceptable for a film partially set in the United Kingdom. Presales to distributors in Japan, Britain, France, Germany, Italy and Spain made a further $65 million. Showtime paid $6.8 million for premium cable television rights. In total, $94 million was put together.[4]
The deal between Eidos, Tomb Raider's publisher, and Paramount Pictures was structured so Eidos received royalties.
Casting[edit]
The announcement of the film generated significant discussion about who would be cast to play Lara Croft. Numerous actresses (and non-actresses) were rumoured to be on the shortlist to play her and countless others declared their interest in the role,[5] most notably Jennifer Love Hewitt, Famke Janssen, Jennifer Lopez, Rhona Mitra, Elizabeth Hurley, Ashley Judd, Sandra Bullock, Catherine Zeta-Jones, Diane Lane, Demi Moore and Denise Richards, with many considering the latter the favourite to win the role.[5][6][7] British glamour models Linsey Dawn McKenzie and Jordan were also rumored by some tabloids[which?] be in the running for the part.[citation needed]
The casting of Jolie was controversial among many fans of the Tomb Raider series, who felt she wasn't physically appropriate enough to play the large-breasted heroine; others complained about an American actress being hired to play a British character; others cited Jolie's tattoos and well-publicised controversial personal life.[7] Director Simon West dismissed these concerns and said, in reference to Jolie's penchant for sexual knife play, "it was always Angelina. I mean, Lara sleeps with knives and doesn't take shit from anybody. That's [Angelina] down to a tee."[7] Jolie wore a padded bra to increase her bust size when playing Lara. As she explained to NY Rock in June 2001: "C'mon, I'm not so flat chested to begin with. When I wear a tight T-shirt, I look a certain way. So it wasn't like we had to completely change me. You know, we just had to enhance me a little. I'm a 36C. Lara, she's a 36D. And in the game, she's a double D, so we took her down some. But we did give her a bit of padding there. For me, it was simply one size. So it was like having a padded bra. But no, I am not flat chested anyway. So we still made it Lara Croft, but we didn't go to any extremes. And Lara doesn't apologize for herself, and for having that, you know, recognizable shape. So I'm not going to apologize for her either."[8][9]
The film marked the feature film debut of television actor Chris Barrie, known for his role of Arnold Rimmer in the BBC science fiction comedy series Red Dwarf. Iain Glen, a Scot, adopted an English accent as Powell, while English actor Daniel Craig adopts an American accent for the role of Alex West. Jolie, being American herself, takes on an English accent. Jon Voight, Angelina Jolie's father, plays Richard Croft, Lara's father in the film.
Filming[edit]
Filming took place from July 30 to November 30, 2000. Portions of the film were shot on location at Ta Prohm temple and Angkor Wat, Siem Reap, Cambodia. Tourists visiting Siem Reap are shown the Ta Prohm temple as "the Tomb Raider" temple.
Release[edit]
Reception[edit]
The film received generally negative reviews, earning a 20% approval rating on Rotten Tomatoes, with 29 out of 155 critics giving it a positive review with an average rating of 3.9/10. The general consensus is "Angelina Jolie is perfect for the role of Lara Croft, but even she can't save the movie from a senseless plot and action sequences with no emotional impact".[10] IGN gave the movie the lowest score, a 0.0 ("Disaster") rating, condemning everything from character performances to the ending. A positive review came from Roger Ebert, who awarded the film three out of four stars and said, "'Lara Croft Tomb Raider' elevates goofiness to an art form. Here is a movie so monumentally silly, yet so wondrous to look at, that only a churl could find fault."[11]
Box office performance[edit]
Tomb Raider was a box office success. The movie debuted at number one with $48.2 million, giving Paramount its second-best debut and the fifth-highest debut of 2001. It beat the opening record for a film featuring a female protagonist (($42.3) million for Scary Movie) as well as the opening record for a video game adaptation ($31 million for Pokémon: The First Movie), and is one of the highest grossing video game to film adaptations.[12][13] The movie has grossed a total of $274,703,340 worldwide. An updated adjusted boxoffice would bring the movie's box office around $350 million.[14]
Awards and nominations[edit]
The film was nominated for two MTV Movie Awards, these awards included: Best Female Performance and Best Fight scene, but the film lost to Moulin Rouge! and Rush Hour 2 respectively. The film was also nominated for Teen Choice Award for Choice Movie - Drama. Angelina Jolie was nominated for the Worst Actress Golden Raspberry Award for her role in the film, but she lost to Mariah Carey in Glitter.[15]
Music[edit]
Soundtrack[edit]
Lara Croft: Tomb Raider – Original Motion Picture Soundtrack
Soundtrack album by Various artists
Released
June 15, 2001[16]
Genre
Alternative rock
electronic
Length
69:01
72:14 (including the additional track)
Label
Elektra
WEA[16]
Singles from Lara Croft: Tomb Raider – Original Motion Picture Soundtrack
"Deep"
Released: 2001 (promotional)
Lara Croft: Tomb Raider is a 2001 soundtrack album to the film. The various artists soundtrack was released June 15, 2001. The Score was later released on June 25, 2001. The movie also featured the songs "Lila" by Vas and "Piano Concerto in F Minor" performed by Hae-Wong Chang. These were not featured on the soundtrack. Also used in the movie were elements of "Elevation (Influx Remix)" by U2. This was uncredited.
[show]Original Motion Picture Soundtrack
No.
Title
Music
Length
1. "Elevation" (Tomb Raider Mix) U2 3:36
2. "Deep" Nine Inch Nails 4:08
3. "Galaxy Bounce" The Chemical Brothers 4:45
4. "Get Ur Freak On" (Remix) Missy Elliott featuring Nelly Furtado 3:10
5. "Speedballin'" Outkast featuring Cee Lo Green[nb 1] and Joi 4:56
6. "Ain't Never Learned" Moby 3:46
7. "The Revolution" BT 4:17
8. "Terra Firma" (Lara's Mix) Delerium featuring Aude 5:06
9. "Where's Your Head At" Basement Jaxx 4:43
10. "Illuminati" Fatboy Slim featuring Bootsy Collins 3:14
11. "Absurd" (Whitewash Edit) Fluke 3:40
12. "Song of Life" Leftfield 7:03
13. "Edge Hill" Groove Armada 7:00
14. "Satellite" Bosco 3:39
15. "Devil's Nightmare" Oxide & Neutrino 6:04
[show]Additional track in some versions of the album[17]
No.
Title
Music
Length
16. "In Control" Die Toten Hosen 3:13
Score[edit]
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (September 2015) (Learn how and when to remove this template message)
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Lara Croft: Tomb Raider – Original Motion Picture Score
Soundtrack album by Graeme Revell
Released
June 25, 2001[16]
Genre
Film score
orchestral
Length
48 minutes
Label
Elektra
WEA[16]
For the first Tomb Raider film, Nathan McCree was hired, though the producers eventually decided that a feature-length film needed a feature-name composer. Therefore, they hired Michael Kamen, despite the fact that his score for the similarly cult X-Men the previous year failed to arouse the interest of many of the concept's followers. Kamen wrote and submitted a demo for Tomb Raider, but no feedback on that music was returned by the director or producers. Only during the process of recording a second demo did Kamen finally hear back from the Tomb Raider team, and by then, the lack of enthusiasm for the relationship on both sides caused Kamen to seek other projects that were more promising to him (namely, the HBO show Band of Brothers, requiring 10 hours of music). Thus, the producers of Tomb Raider were forced to hire another composer at the very last minute. The man hired for the last minute assignment was Graeme Revell.[18] He composed the soundtrack in less than two weeks.[19] He did not use the original Tomb Raider theme.
The CD was released through Elektra Entertainment, but as noted by Revell and after failed attempts to stop the pressings, the tracks were mislabeled. For example, the opening track includes both the Main Titles and Lara Croft at Home cues together. The resulting score was so poorly received[citation needed] that the composer himself issued an apology through his website.[20] The track list was later revised.[21]
[show]Original Motion Picture Score
No.
Title
Length
1. "Tomb Raider Main Titles" 3:14
2. "Lara Croft at Home" 2:13
3. "Powell and the Illuminati" 2:58
4. "Lara Dreams of Her Father" 1:46
5. "The Clock" 3:01
6. "Home Invasion" 3:59
7. "Alex West and Mr. Wilson" 4:05
8. "The Letter" 1:25
9. "Journey to Cambodia" 2:00
10. "Angkor Wat" 7:36
11. "Lara Battles Stone Monkeys" 3:32
12. "The Brahman" 1:31
13. "Siberia" 2:52
14. "The Planetary Alignment" 5:08
15. "Lara Defeats Powell" 3:38
[show]Original Motion Picture Score (revised)
No.
Title
Length
1. "Tomb Raider Main Titles/Lara Croft at Home" 3:14
2. "Powell and the Illuminati" 2:13
3. "Lara Dreams of Her Father" 2:58
4. "The Clock" 1:46
5. "Alex West and Mr. Wilson" 3:01
6. "Home Invasion" 3:59
7. "The Letter" 4:05
8. "Journey to Cambodia" 1:25
9. "Angkor Wat" 2:00
10. "Deep in the Temple" 7:36
11. "Lara Battles Stone Monkeys" 3:32
12. "The Brahman" 1:31
13. "Siberia" 2:52
14. "The Planetary Alignment" 5:08
15. "Lara Defeats Powell" 3:38
Sequel and reboot[edit]
Angelina Jolie returned in the sequel Lara Croft: Tomb Raider – The Cradle of Life. While it was viewed as a critical improvement over its predecessor, it did not repeat its financial success, grossing $156 million compared to the previous installment's $274 million.
In April 2016, MGM and GK Films announced a reboot of the film starring Alicia Vikander as Lara Croft with Roar Uthaug directing.[22][23] It was released March 16, 2018.
See also[edit]
List of films featuring eclipses
Notes[edit]
Jump up ^ Green's feature is not mentioned in the soundtrack credits
References[edit]
Jump up ^ "Lara Croft Tomb Raider". British Film Institute. London. Retrieved November 10, 2012.
^ Jump up to: a b "Lara Croft: Tomb Raider". Box Office Mojo. Retrieved June 19, 2014.
Jump up ^ Michael Jan Friedman, Tomb Raider Tech Manual (2001). Pocket Books. ISBN 0743423542
Jump up ^ Pradeep Thakur: Angelina Jolie: The World's Most Powerful Celebrity?, Morrisville (NC) [without date, p. 99.]
^ Jump up to: a b "EW.com answers your Tomb Raider burning questions". Entertainment Weekly. June 27, 2001. Retrieved December 27, 2017.
Jump up ^ Eila Mell (2005). "Casting Might-Have-Beens: A Film by Film Directory of Actors Considered for Roles Given to Others". Retrieved December 27, 2017.
^ Jump up to: a b c David Hughes (2003). "Tales From Development Hell: New Updated Edition". Retrieved December 27, 2017.
Jump up ^ "Angelina Jolie's most thrilling decision: Robbing her breasts of their cultural power". Salon. May 15, 2013. Retrieved December 27, 2017.
Jump up ^ "Angelina Jolie On Filling Lara Croft's Shoes and D-size Cups". NY Rocks. June 2001. Archived from the original on December 2, 2001. Retrieved December 27, 2017.
Jump up ^ "Lara Croft: Tomb Raider". Rotten Tomatoes. IGN Entertainment. Retrieved September 1, 2009.
Jump up ^ Ebert, Roger (June 15, 2001). "Lara Croft: Tomb Raider (review)". Chicago Sun-Times. Retrieved July 3, 2011.
Jump up ^ "Weekend Box Office". Box Office Guru. June 18, 2001. Retrieved February 18, 2013.
Jump up ^ "Video Game Adaptation Movies at the Box Office". Box Office Mojo. Retrieved February 18, 2013.
Jump up ^ "Lara Croft: Tomb Raider". Box Office Mojo. Retrieved 21 August 2013.
Jump up ^ Wilson, John (February 11, 2002). "22nd Annual Razzie Nominations Announced". Golden Raspberry Award Foundation. Retrieved February 9, 2015.
^ Jump up to: a b c d "Lara Croft: Tomb Raider - Original Motion Picture Score". Amazon.com. Retrieved August 6, 2014.
Jump up ^ https://www.discogs.com/Various-Lara-Croft-Tomb-Raider-Music-From-The-Motion-Picture/master/115360
Jump up ^ "Tomb Raider (Graeme Ravell)". Tomb Raider (Graeme Ravell). Film Tracks. 2013-07-07. Retrieved 2014-04-03.
Jump up ^ "TOMB RAIDER: Composer Graeme Revell - Creating a feature-film soundtrack in less than two weeks". TOMB RAIDER: Composer Graeme Revell - Creating a feature-film soundtrack in less than two weeks. mania.com. March 27, 2013. Archived from the original on April 4, 2015. Retrieved April 3, 2014.
Jump up ^ "Tomb Raider (Graeme Revell)". Filmtracks. 2001-06-26. Retrieved 2014-08-06.
Jump up ^ Castillo, Phil (July 29, 2002). "GraemeRevell.com NEWS". GraemeRevell.com. Archived from the original on August 10, 2001. Retrieved February 19, 2013.
Jump up ^ Kroll, Justin (28 April 2016). "Alicia Vikander to Play Lara Croft in 'Tomb Raider' Reboot". Variety. Retrieved 30 March 2017.
Jump up ^ McNary, Dave (July 7, 2016). "Alicia Vikander's 'Tomb Raider' Gets 2018 Release Date". Variety.
External links[edit]
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Chthonic
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This article is about the Greek deities. For the band, see Chthonic (band). For Cthulhu mythos creatures, see Chthonian (Cthulhu mythos). For other uses, see Chthon (disambiguation).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2015) (Learn how and when to remove this template message)
The Remorse of Orestes, where he is surrounded by the Erinyes, who were identified as chthonic beings, by William-Adolphe Bouguereau, 1862
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Chthonic (UK: /ˈkθɒnɪk/, US: /ˈθɒnɪk/ from Ancient Greek: χθόνιος, translit. khthonios [kʰtʰónios], "in, under, or beneath the earth", from χθών khthōn "earth")[1] literally means "subterranean", but the word in English describes deities or spirits of the underworld, especially in Ancient Greek religion. The Greek word khthon is one of several for "earth"; it typically refers to that which is under the earth,[2] rather than the living surface of the land (as Gaia or Ge does), or the land as territory (as khora χώρα does).[3]
Contents
[hide]
1 Chthonic Cults
2 Distinction from Olympian cults
2.1 Cult type versus function
2.2 Ambiguities in assignment
3 References in psychology and anthropology
4 References in structural geology
5 References
5.1 Citations
5.2 Bibliography
Chthonic Cults[edit]
Triptolemus standing between Demeter and Kore, relief from the National Archaeological Museum of Athens
Chthonic, a form of khthonie and khthonios, has a precise meaning in Greek; it refers primarily to the manner and method of offering sacrifices to a specific deity or deities, generally referred to as chthonic or chthonian deities. These include, but are perhaps not strictly limited to, Persephone and Hades in classical mythology.
Nocturnal ritual sacrifice was a common practice in many chthonic cults. When the sacrifice was a living creature, the animal was placed in a bothros (βόθρος, "pit") or megaron (μέγαρον, "sunken chamber").[4] In some Greek chthonic cults, the animal was sacrificed on a raised bomos (βωμός, "altar"). Offerings were usually burned whole or buried rather than being cooked and shared among the worshippers.[5]
In his book The Mycenaean World, John Chadwick argues that many chthonic deities may be remnants of the native Pre-Hellenic religion and that many of the Olympian deities may come from the Proto-Greeks who overran the southern part of the Balkan Peninsula in the late third millennium BC. He does, however, note that this may be somewhat of an overgeneralization and that the origins of chthonic and Olympian deities are probably much more complex.[6]
Distinction from Olympian cults[edit]
Cult type versus function[edit]
The myths associating the underworld chthonic deities and fertility were not exclusive. Myths about the later Olympian deities also described an association with the fertility and prosperity of Earth, such as Demeter and her daughter, Persephone, who both watched over aspects of the fertility of the land, but Demeter had a typically Olympian cult while Persephone had a chthonic one, possibly due to her association with Hades, by whom she had been captured.[7][8]
Also, Demeter was worshiped alongside Persephone with identical rites, and yet occasionally was classified as an "Olympian" in late poetry and myth. The absorption of some earlier cults into the newer pantheon versus those that resisted being absorbed is suggested as providing the later myths.[citation needed]
Ambiguities in assignment[edit]
The categories Olympian and chthonic were not, however, completely separate. Some Olympian deities, such as Hermes and Zeus, also received chthonic sacrifices and tithes in certain locations.[9] The deified heroes Heracles and Asclepius might be worshipped as gods or chthonic heroes, depending on the site and the time of origin of the myth.
Moreover, a few deities are not easily classifiable under these terms. Hecate, for instance, was typically offered puppies at crossroads – a practice neither typical of an Olympian sacrifice nor of a chthonic sacrifice to Persephone or the heroes – but because of her underworld roles, Hecate is generally classed as chthonic.
References in psychology and anthropology[edit]
In analytical psychology, the term chthonic has often been used to describe the spirit of nature within, the unconscious earthly impulses of the Self, that is one's material depths, not necessarily with negative connotations.[10] See also anima and animus or shadow.
The term chthonic also has connotations with regard to gender in cultural anthropology; del Valle's Gendered Anthropology describes the existence of "male and female deities at every level... men associated with the above, the sky, and women associated with the below, with the earth, water of the underground, and the chthonic deities".[11] This was by no means universal; in Ancient Egypt the main deity of the earth was the male god Geb, his female consort was Nut, otherwise known as the sky.[12] Greek mythology likewise has female deities associated with the sky, such as Dike, goddess of justice, who sits on the right side of Zeus as his advisor, and Eos, goddess of dawn – and Hades (a male) as god of the underworld.[citation needed]
References in structural geology[edit]
The term allochthon in structural geology is used to describe a large block of rock that has been moved from its original site of formation, usually by low angle thrust faulting. From the Greek "allo", meaning other, and "chthon", designating the process of the land mass being moved under the earth and connecting two horizontally stacked décollements and thus "under the earth".[13]
References[edit]
Citations[edit]
Jump up ^ Chthonios, Henry George Liddell, Robert Scott, A Greek–English Lexicon, at Perseus.
Jump up ^ Kearns, Emily (2011). Finkelberg, Margalit, ed. "Chthonic deities". The Homer encyclopedia. Wiley. Retrieved 4 May 2017.
Jump up ^ Elden, Stuart (9 September 2013). The birth of territory. University of Chicago Press. pp. 39–40. ISBN 9780226041285.
Jump up ^ Dillon 2002, p. 114.
Jump up ^ "The sacrifice for gods of the dead and for heroes was called enagisma, in contradistinction to thysia, which was the portion especially of the celestial deities. It was offered on altars of a peculiar shape: they were lower than the ordinary altar bomos, and their name was ischara, 'hearth'. Through them the blood of the victims, and also libations, were to flow into the sacrificial trench. Therefore they were funnel-shaped and open at the bottom. For this kind of sacrifice did not lead up to a joyous feast in which the gods and men took part. The victim was held over the trench with its head down, not, as for the celestial gods, with its neck bent back and the head uplifted; and it was burned entirely." (Source The Heroes of the Greeks, C. Kerenyi pub. Thames & Hudson 1978).
Jump up ^ Chadwick 1976, p. 85.
Jump up ^ "Gods and Goddesses of Ancient Greece - The British Museum". www.ancientgreece.co.uk. Retrieved 2017-05-01.
Jump up ^ "DEMETER - Greek Goddess of Grain & Agriculture". Theoi Greek Mythology. Retrieved 2017-05-01.
Jump up ^ "Which cities had chthonic Zeus cults?". mythology.stackexchange.com. Retrieved 2017-05-01.
Jump up ^ Jung, C. G. (2012-02-01). Man and His Symbols. Random House Publishing Group. ISBN 9780307800558.
Jump up ^ Teresa del Valle, Gendered Anthropology, Routledge, 1993, ISBN 0-415-06127-X, p. 108.
Jump up ^ Geraldine Pinch, "Handbook of Egyptian Mythology"' ABC-CLIO, ISBN 1-57607-242-8, p. 135.
Jump up ^ DiPietro, Joseph A. (December 21, 2012). Landscape Evolution in the United States: An Introduction to the Geography, Geology, and Natural History. Newnes. p. 343. ISBN 9780123978066. Retrieved 10 February 2016.
Bibliography[edit]
Chadwick, John (1976). The Mycenaean World. New York: Cambridge University Press. p. 85. ISBN 978-0-521-29037-1.
Dillon, Matthew (2002). Girls and Women in Classical Greek Religion. London: Routledge. ISBN 0415202728.
[show]
v
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Ancient Greek deities by affiliation
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deities
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[show]
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values: Хтонични божества – Bulgarian

values: Ελληνικές χθονικές θεότητες – Greek

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