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One Ring
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"Ring-bearer" and "The One Ring" redirect here. For the attendant in a wedding ceremony, see Page boy (wedding attendant). For the role-playing game, see The One Ring Roleplaying Game.
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The One Ring
Artist's representation of the One Ring
Plot element from the Lord of the Rings franchise
First appearance
The Hobbit (1937)
Created by
J. R. R. Tolkien
Genre
Fantasy
In-story information
Type
Magical ring
Function
Invisibility
Power augmentation
Will domination
Control over other Rings of Power
Specific traits and abilities
Plain gold ring; glowing inscription appears when ring is placed in flames
Affiliation
Sauron
Isildur
Déagol
Sméagol / Gollum
Bilbo Baggins
Frodo Baggins
Samwise Gamgee
Celebrimbor
The One Ring is an artefact that appears as the central plot element in J. R. R. Tolkien's The Lord of the Rings (1954–55). It is described in an earlier story, The Hobbit (1937), as a magic ring of invisibility. In the sequel, The Lord of the Rings, Tolkien ascribes to the Ring a darker character, with malevolent power going far beyond conferring invisibility: it was created by Sauron the Dark Lord as part of his design to win dominion over Middle-earth. The Lord of the Rings concerns the quest to destroy the Ring to keep Sauron from fulfilling his design.
Contents
1 Literature
1.1 Description
1.2 Appearance
1.2.1 Inscription
1.3 Ring-bearers
1.4 Internal history
1.5 Powers
1.6 Fate of the Ring-bearers
2 Symbolism
3 Adaptations
4 See also
5 Notes
6 References
Literature[edit]
In The Lord of the Rings and the posthumously published The Silmarillion, Tolkien provides a detailed internal development from the forging of the Ring to its destruction. In the fictional context of Middle-earth, these events take place during several thousand years in the Second and Third Age of Arda.
Description[edit]
The One Ring was forged by the Dark Lord Sauron during the Second Age to gain dominion over the free peoples of Middle-earth. In disguise as Annatar, or "Lord of Gifts", he aided the Elven smiths of Eregion and their leader Celebrimbor in the making of the Rings of Power. He then forged the One Ring himself in the fires of Mount Doom.[1]
Sauron intended it to be the most powerful of all Rings, able to rule and control those who wore the others. Since the other Rings were themselves powerful, Sauron was obliged to place much of his own power into the One to achieve his purpose.[2]
Creating the Ring simultaneously strengthened and weakened Sauron's power. On the one hand, as long as Sauron had the Ring, he could control the power of all the other Rings, and thus he was significantly more powerful after its creation than before;[3] and putting such a great portion of his own power into the Ring ensured Sauron's continued existence so long as the Ring existed. On the other hand, by binding his power within the Ring, Sauron became dependent on it—without it, his power was significantly diminished.[1][3]
Appearance[edit]
The Ring seemed to be made simply of gold, but it was impervious to damage. It could be destroyed only by throwing it into the pit of the volcanic Mount Doom where it was originally forged. Unlike other rings, the One Ring was not susceptible to dragon fire.[4] Like some lesser rings forged by the Elves as "essays in the craft"—but unlike the other Rings of Power—the One Ring bore no gem. Its identity could be determined by a little-known but simple test: when placed in a fire, it displayed a fiery Tengwar inscription in the Black Speech of Mordor, with two lines from a rhyme of lore describing the Rings:
Three Rings for the Elven-kings under the sky,
Seven for the Dwarf-lords in their halls of stone,
Nine for Mortal Men doomed to die,
One for the Dark Lord on his dark throne
In the Land of Mordor where the Shadows lie.
One Ring to rule them all, One Ring to find them,
One Ring to bring them all and in the darkness bind them
In the Land of Mordor where the Shadows lie.
The lines inscribed on the Ring (in boldface above) were pronounced by Sauron when he forged the Ring. The Elven smiths heard him chanting them, and thereupon became aware of his purpose and took off their own Rings to foil his plan.
A person wearing the Ring would enter a shadowy world revealing the physical world from a different aspect, from which physical objects were harder to see. The wearer was mostly invisible to ordinary beings, such as Men, but visible to the Nazgûl. The Ring dimmed the wearer's sight, while at the same time sharpening the other senses.
The enigmatic Tom Bombadil appeared to be unaffected by the Ring and to have some power over it; when he wore the Ring, it did not make him invisible, and Frodo could not become invisible to him by wearing the Ring. Also, Tom played with the Ring like a conjurer borrowing someone's watch for a trick, seemingly making it disappear and reappear.
The Ring slowly but inevitably corrupted its bearer, regardless of the bearer's initial intent. For this reason the Wise, including Gandalf, Elrond, and Galadriel, refused to wield it themselves, but determined instead that it should be destroyed. The corrupting power of the ring was apparently stronger on individuals more inclined to evil and selfishness: it took almost immediate hold of the greedy Sméagol as soon as he saw it, and corrupted Boromir after a few months of near proximity, while its effects were only starting to be seen in the well-meaning Bilbo after his sixty years' possession.
The Ring had the ability to change size. As well as adapting to fingers of varying size, from Sauron's to Frodo's, it sometimes suddenly expanded to escape from its wearer.[5]
Inscription[edit]
The words of the ring-inscription are in Black Speech, a language devised by Sauron and used in the land of Mordor. The inscription reflects the One Ring's power to control the other Rings of Power. The writing uses Elvish letters (tengwar), in a mode (i.e. orthography) adapted to the Black Speech.
Normally the One Ring appeared perfectly plain and featureless, but when heated its inscription appeared in fiery letters. A drawing of the inscription and a translation provided by Gandalf appears in Book I, Chapter 2 of The Fellowship of the Ring, "The Shadow of the Past".
Gandalf speaks the words in Black Speech in Book II, Chapter 2, "The Council of Elrond":
Ash nazg durbatulûk, ash nazg gimbatul,
Ash nazg thrakatulûk agh burzum-ishi krimpatul.
Translated, the words mean:
One ring to rule them all, one ring to find them,
One ring to bring them all and in the darkness bind them.
When Isildur took the Ring from Sauron's hand, it was burning hot, so the letters were legible. Isildur was able to transcribe the inscription before it faded as the Ring cooled. This transcription survived in a document Isildur left in Gondor before marching north to the Gladden Fields, where he was killed and the Ring lost.
Gandalf learned of the Ring's inscription when he read Isildur's account. When Gandalf subsequently heated the ring that Bilbo Baggins had left to Frodo, the inscription reappeared. The wizard then had no doubt that Frodo's ring was the One Ring. When Gandalf recited the inscription in Black Speech at the Council of Elrond, everyone trembled:
The change in the wizard's voice was astounding. Suddenly it became menacing, powerful, harsh as stone. A shadow seemed to pass over the high sun, and the porch for a moment grew dark. All trembled, and the Elves stopped their ears.
The first Ballantine paperback edition of The Fellowship of the Ring printed the inscription upside-down. Some recent editions[6] accidentally omit the first half of the translation in Book I, Chapter 2. This error was corrected in the 50th Anniversary edition.
Ring-bearers[edit]
The term Ring-bearer is used in The Lord of the Rings to describe a person who has possessed the One Ring. The term is also used to refer to bearers of other Rings of Power.
In The Lord of the Rings, Frodo Baggins was appointed Ring-bearer by the Council of Elrond in Rivendell. His task was to carry the One Ring from Rivendell to the Crack of Doom in Mordor and to destroy it before Sauron or his servants could recover it. During this journey, Frodo's companion Samwise Gamgee also carried the ring briefly while Frodo was held captive in the Tower of Cirith Ungol. Near the onset of this journey the Ring was handled also by Tom Bombadil, upon whom the Ring had no apparent effect, and by Gandalf, who cast it into Frodo's fireplace to verify that it was the One Ring.
Frodo inherited the Ring from his uncle Bilbo Baggins. In Tolkien's earlier novel, The Hobbit, Bilbo found the Ring in the caverns beneath the Misty Mountains. It had been lost in the caverns by Gollum, who used the invisibility it conferred to hunt orcs to eat. Gollum, a hobbit previously known as Sméagol, had kept the Ring for hundreds of years. He had murdered his friend Déagol to get the Ring shortly after Déagol found it in the river Anduin. Many centuries earlier the Ring had betrayed Isildur and fallen from his finger into the Anduin as he was eluding orcs—who killed him when he became visible. Isildur in turn had cut the Ring from the hand of Sauron, who had made the Ring and let much of his power flow into it. Sauron was the Ring's true master, and the only being who could bend it completely to his will.
Though Déagol and Gandalf had handled the Ring, the only individuals ever to wear it were Sauron, Isildur, Sméagol/Gollum, Bilbo, Frodo, Tom Bombadil, and Samwise. None but Bilbo, Frodo, and Samwise are actually called "Ring-bearers" in any of Tolkien's works. As Ring-bearers, they were granted passage to the Undying Lands, though Sam lived in the Shire for many years after the departure of Bilbo and Frodo before making the journey himself.
Internal history[edit]
Further information: Timeline of Arda
After its original forging (about S.A. 1600) Sauron waged the War of the Elves and Sauron against the Elves and all who opposed him. Sauron invaded and destroyed Eregion, and killed Celebrimbor, the maker of the three rings of the Elves. However, King Tar-Minastir of Númenor sent a great fleet to Middle-earth, and with this aid Gil-galad destroyed Sauron's army and forced Sauron to return to Mordor.
In S.A. 3261, Ar-Pharazôn, the last and most powerful king of Númenor, landed at Umbar at the head of an immense army to do battle with Sauron. The sheer size and might of the Númenórean army was enough to force Sauron's armies to flee. Sauron surrendered to Ar-Pharazôn and was taken back to Númenor as a prisoner. Tolkien, in a letter written in 1958 (#211) wrote that the surrender was both "voluntary and cunning" so he could gain access to Númenor. Sauron was able to use the Númenóreans' fear of death as a way to turn them against the Valar, and manipulate them into worshipping his master, Morgoth, and performing human sacrifice.
Although Sauron's body was destroyed in the Fall of Númenor, his spirit was able to travel back to Middle-earth and wield the One Ring in his renewed war against the Last Alliance of Elves and Men between S.A. 3429 and 3441. Tolkien emphasized that Sauron used his ring in Númenor to gain complete control over its people; and while Sauron's body perished in the Fall, the Ring somehow made it back to Middle-earth. Tolkien wrote, "I do not think one need boggle at this spirit carrying off the One Ring, upon which his power of dominating minds now largely depended." (letter #211).
Sauron was killed again by Gil-galad and Elendil at the end of the Last Alliance. The Ring was cut from Sauron's hand by Elendil's son, Isildur, on the slopes of Mount Doom. Though counselled to destroy the Ring, he was swayed by its power and kept it safe instead, "as weregild for my father, and my brother". A few years later, Isildur was ambushed by orcs by the River Anduin near the Gladden Fields; he put on the Ring to escape, but it slipped from his finger as he swam across the river, and, suddenly visible, he was killed by the orcs. Since the Ring indirectly caused Isildur's death, it was known in Gondorian lore as "Isildur's Bane".
The Ring remained hidden on the river bed for almost two and a half millennia, until it was discovered on a fishing trip by a Stoor hobbit named Déagol. His friend and relative Sméagol, who had gone fishing with him, was immediately ensnared by the Ring's power and demanded that Déagol give it to him as a "birthday present"; when Déagol refused, Sméagol strangled him and took it for himself. The Ring corrupted his body and mind, turning him into the creature known as Gollum. The Ring, which Sauron had endowed with a will of its own, manipulated Gollum into hiding in a cave under the Misty Mountains near Mirkwood, where Sauron was beginning to resurface. There Gollum remained for nearly 500 years, until the Ring tired of him and fell off his finger as he was hunting an orc.
As is told in The Hobbit, Bilbo found the Ring shortly afterward while lost in the tunnels near Gollum's lair. When The Hobbit was written, Tolkien had not yet conceived of the Ring's sinister history. Thus, in the first edition of The Hobbit, Gollum offers to surrender the Ring to Bilbo as a reward for winning the Riddle Game. When Tolkien revised the nature of the Ring for The Lord of the Rings, he realized that the Ring's grip on Gollum would never permit him to give it up willingly. Tolkien therefore revised the second edition of The Hobbit: after losing the Riddle Game to Bilbo, Gollum went to get his "Precious" (as he always called it) so he could kill and eat Bilbo, but flew into a rage when he found the Ring missing. Deducing from Bilbo's last question—"What have I got in my pocket?"—that Bilbo had found the Ring, Gollum chased him through the caves, not realizing that the hobbit had discovered the Ring's powers of invisibility and was following him to the cave's exit. Bilbo escaped Gollum and the goblins by remaining invisible, but when he rejoined Gandalf and the dwarves he was travelling with, he decided not to tell them that the Ring had made him invisible. In fact he told them a story that closely followed the first edition of The Hobbit: that Gollum had given him the Ring and showed him the way out. Gandalf was not convinced and later forced the real story from Bilbo; he was thus immediately suspicious of the Ring.
Gollum eventually left the Misty Mountains to track down and reclaim the Ring. He wandered for decades, and was drawn to Mordor, where he was captured by Sauron's forces. He was interrogated by Sauron himself, who learned that the Ring had been found and was currently held by one "Baggins" in the land of "Shire".
In T.A. 3001, the Ring was beginning to strain Bilbo, leaving him feeling "stretched-out and thin", and so he decided to leave the Shire, intending to pass the Ring to his adopted heir Frodo Baggins. He briefly gave in to the Ring's power, even calling it "my precious"; alarmed, Gandalf spoke harshly to his old friend to persuade him to give it up, which Bilbo eventually did, becoming the first Ringbearer to surrender it willingly.
By this time Sauron had regained much of his power, and the Dark Tower in Mordor had been rebuilt. Gollum, released from Mordor, was captured by Gandalf and Aragorn, and from him Gandalf learned that Sauron now knew where to find the Ring. To prevent Sauron from reclaiming his Ring, Frodo and eight other companions set out from Rivendell for Mordor in an attempt to destroy the Ring in the fires of Mount Doom. During the quest, Frodo gradually became more and more susceptible to the Ring's power, and feared that it was going to corrupt him. When he and his faithful companion Samwise Gamgee discovered Gollum on their trail and "tamed" him into guiding them to Mordor, Frodo began to feel a strange bond with the wretched, treacherous creature, while Gollum warmed to Frodo's kindness and made at least some effort to keep his promise. Gollum eventually gave in to the Ring's temptation, however, and betrayed them to the spider Shelob. Believing Frodo to be dead, Sam bore the Ring himself for a short time and experienced the temptation it induced; he wore it briefly twice, but never succumbed to it.
Sam rescued Frodo from a band of orcs at the Tower of Cirith Ungol. The hobbits, followed by Gollum, eventually arrived at Mount Doom, where Frodo was overcome by the Ring's power and claimed it for himself. At that moment, however, Gollum attacked him and bit off his finger, taking back the Ring. Gollum was too close to the edge: as he gloated over his prize he fell into the fires of Mount Doom, taking the Ring with him, thus destroying it and Sauron's power.
Powers[edit]
The Ring's primary power was control of the other Rings of Power and domination of the wills of their users.[7] The Ring also conferred power to dominate the wills of other beings whether they were wearing Rings or not—but only in proportion to the user's native capacity. In the same way, it amplified any inherent power its owner possessed.[7]
A mortal wearing the Ring became effectively invisible except to those able to perceive the non-physical world, with only a thin, shaky shadow discernible in the brightest sunlight.[7] The Ring would also extend the life of a mortal possessor indefinitely by preventing natural aging. Gandalf explained that it does not "grant new life", but that the possessor merely "continues" until life becomes unbearably wearisome. However, the Ring could not protect its bearer from destruction; Gollum perished in the Crack of Doom while in possession of the Ring, and even Sauron himself could not preserve his body from destruction during the downfall of Númenor. Likewise, the Ring could not protect its bearer from physical harm; Frodo was seriously injured by the Witch-king on Weathertop, and lost a finger when Gollum bit it off—on both occasions while wearing the Ring. Sauron himself suffered the death of his physical body at the hands of Gil-galad and Elendil while wearing the Ring. Like the Nine Rings, the One Ring could physically corrupt mortals who wear it for extended periods of time, eventually transforming them into wraiths. Hobbits were more resistant to this process than Men: Gollum, who possessed the ring for five-hundred years did not become wraith-like because he did not wear the ring often after taking it to the tunnels of the Misty Mountains.[8]
The Ring might also have given its wielder the ability to read minds, as Galadriel suggested to Frodo when he wondered why he could not read the thoughts of others as she did.
Within the land of Mordor where it was forged, the Ring's power increased so significantly that even without wearing it the bearer could draw upon it, and could acquire an aura of terrible power. When Sam encountered an orc in the Tower of Cirith Ungol while holding the Ring, he appeared to the orc as a powerful warrior cloaked in shadow "[holding] some nameless menace of power and doom." The orc was so terrified that it fled. Similarly at Mount Doom, when Frodo and Sam were attacked by Gollum, Frodo grabbed the Ring and appeared as "a figure robed in white... [that] held a wheel of fire." Frodo told Gollum "in a commanding voice" that "If you touch me ever again, you shall be cast yourself into the Fire of Doom," a statement fulfilled when Gollum fell into Mount Doom with the Ring. Although the Ring was certainly invoked with this statement, it is unclear whether Frodo was prophesying (Frodo had previously seen less sinister visions while in possession of the Ring), or if Frodo was actively laying a curse upon Gollum.
As the Ring contained a large part of Sauron's power, it was endowed with a malevolent sentience of sorts. While separated from Sauron, the Ring would strive to return to him by manipulating its bearer to claim ownership of it, or by abandoning the bearer at an opportune moment.[9] For example, it slipped from Isildur's finger during the ambush at Gladden Fields; moments later he was killed by orcs, leaving the Ring's whereabouts unknown to Sauron's enemies. It also slipped off Gollum's finger when the time was right for it to be brought back into the world at large. Warned by Bilbo of the Ring's tendency to slip off, Frodo carried the Ring on a chain.
To master all of the Ring's capabilities, a Ring wielder would need a disciplined and well-trained mind, a strong will, and great native power. Those with weaker minds, such as Hobbits and lesser Men, would gain little benefit from the Ring, let alone realize its full potential. Even for someone with the necessary strength, it would have taken time to master the Ring's power to the point where he was strong enough to overthrow Sauron.[9] The prospect of mastery is the main appeal that the Ring holds for those who come in contact with it. The Ring appears as a symbol of hope, offering the power to defeat Sauron and bring peace to the world. Yet in the end, its inherent malevolence would twist its bearer into another Dark Lord as evil as Sauron, regardless of one's intentions at the outset.
Despite its power, the Ring did not render its bearer omnipotent. Three times Sauron suffered military defeat while bearing the Ring, first by Gil-galad in the War of Sauron and the Elves, again by Ar-Pharazôn when Númenórean power so overawed his armies that they deserted him, and again at the end of the Second Age with his personal defeat by Gil-galad and Elendil. Tolkien indicates, however, that such a defeat would not have been possible in the waning years of the Third Age, when the strength of the free peoples was greatly diminished. There were no remaining heroes of the stature of Gil-galad, Elendil, or Isildur; the strength of the Elves was fading and they were departing to the Blessed Realm; the Dwarves had been driven out of Moria and would have been unwilling to concentrate their strength in any event; and the Númenórean kingdoms had either declined or been destroyed, and had few allies.
Fate of the Ring-bearers[edit]
Of the several bearers of the One Ring, three were still alive following the Ring's destruction, the hobbits Bilbo Baggins, Frodo Baggins, and Samwise Gamgee. Bilbo, having borne the Ring longest of the three, had reached a very advanced age for a hobbit. Frodo suffered both physical and psychological scars from his strenuous quest to destroy the Ring. Samwise, having only briefly kept the Ring, was affected the least and simply carried on a normal life following the Ring's destruction.
In consideration of the trials the Ring-bearers had endured, special dispensation was granted them by the Valar to travel to the Undying Lands, where it was hoped they could find rest and healing. At the close of The Return of the King, Bilbo and Frodo embark for the voyage to the West along with Galadriel, Elrond, and many of their folk, as well as Gandalf. Near the end of his life, Samwise is also said to have been taken to the Undying Lands, after living in the Shire for many years and raising a large family.
Tolkien emphasized that the restorative sojourn of the Ring-bearers in the Undying Lands would not have been permanent. As mortals, subject to the Gift of Men, they would eventually die and leave the world of Eä.[10]
Symbolism[edit]
Tolkien wrote the following about the idea behind the One Ring: "I should say that it was a mythical way of representing the truth that potency (or perhaps potentiality) if it is to be exercised, and produce results, has to be externalized and so as it were passes, to a greater or lesser degree, out of one's direct control." (Letter #211, 1958).
Tolkien always strongly held that The Lord of the Rings was not allegorical, particularly in reference to political events of his time such as World War II or the Cold War. At the same time he conceded "applicability" as being within the "freedom" of the reader,[11] and indeed many people have been inclined to view the One Ring as a symbol or metaphor. The notion of a power too great for humans to safely possess is an evocative one, and already in the 1930s there were technologies available to suggest the idea. By the time the work was published, though not when most of it was written, the existence of nuclear power and nuclear weapons were common knowledge, and the Ring was often taken as symbolic of them.[12] However, Tolkien specifically rejected the idea of the One Ring being an allegory of nuclear weapons and noted that, had that been his intention, the book would not have ended with the Ring being destroyed but rather with an arms race in which various powers would try to obtain such a Ring for themselves - creating a bleak world in which such creatures as the Hobbits would be trampled underfoot and have little hope of survival.
The effect of the Ring and its physical and spiritual after-effects on Bilbo and Frodo are obsessions that have been compared with drug addiction; actor Andy Serkis who played Gollum in the film trilogy cited drug addiction as an inspiration for his performance.[13]
Parallels have been drawn between the literary device of Tolkien's Cursed Ring and the titular ring in Richard Wagner's Der Ring des Nibelungen.[14] Tolkien dismissed critics' direct comparisons to Wagner, telling his publisher, "Both rings were round, and there the resemblance ceases."[15] According to Humphrey Carpenter's biography of Tolkien, the author held Wagner's interpretation of the relevant Germanic myths in contempt.[16] In the contrary sense, some critics hold that Tolkien's work borrows so liberally from Wagner that Tolkien's work exists in the shadow of Wagner's.[14] Others, such as Tom Shippey[17] and Gloriana St. Clair,[18] attribute the resemblances to the fact that Tolkien and Wagner have created homologue works based in the same sources. However, Shippey and other researchers have written on an intermediary position, stating that both the authors, indeed, used the same source materials but that Tolkien was, in fact, indebted to some of the original developments, insights and artistic uses made upon those sources that first appeared in Wagner, and sought to improve upon them.[19][20]
Adaptations[edit]
The One Ring in Peter Jackson's films.
In the 1981 BBC Radio serial of The Lord of the Rings, the Nazgûl chant the Ring-inscription; it is also recited by them in part during Peter Jackson's The Hobbit, specifically during the film The Battle of the Five Armies.
In The Lord of the Rings film trilogy, the wearer of the Ring is always portrayed as moving through a shadowy realm where everything is distorted. In the book, neither Bilbo Baggins nor Frodo Baggins ever mentioned anything about this while using the Ring, but when Sam puts on the Ring at the end of The Two Towers he does experience something similar to this. Sam never wore the Ring on screen in Jackson's films. The actual Ring for the movies was designed and created by Jens Hansen Gold & Silversmith in Nelson, New Zealand, and was based on a simple wedding ring.
See also[edit]
Middle-earth portal
Ring of Gyges
Ring of the Nibelung
Notes[edit]
^ Jump up to: a b Tolkien, J. R. R. (1954), The Fellowship of the Ring, The Lord of the Rings, Boston: Houghton Mifflin (published 1987), "The Shadow of the Past", ISBN 0-395-08254-4
Jump up ^ Tolkien, J. R. R. (1977), Christopher Tolkien, ed., The Silmarillion, Boston: Houghton Mifflin, "Of the Rings of Power and the Third Age", p. 287–288, ISBN 0-395-25730-1
^ Jump up to: a b Carpenter, Humphrey, ed. (1981), The Letters of J. R. R. Tolkien, Boston: Houghton Mifflin, "Letter 131", p. 153, ISBN 0-395-31555-7
Jump up ^ J.R.R. Tolkien, The Lord of the Rings, "The Shadow of the Past", p. 61 (Houghton Mifflin, 50th Anniversary Edition, Boston & New York, 2004).
Jump up ^ J R R Tolkien: The Lord of the Rings. George Allen & Unwin, London, 1968. ISBN 0-04-823087-1. Page 60.
Jump up ^ For example, The Fellowship of the Ring, ISBN 0-618-00222-7, from the Houghton-Mifflin boxed paperback set of 1999.
^ Jump up to: a b c Carpenter 1981, #131 pg 152
Jump up ^ Tolkien, J.R.R. The Lord of the Rings. p. 57.
^ Jump up to: a b Carpenter 1981, #246 pg 332
Jump up ^ Letters, Number 246, p. 328.
Jump up ^ Carpenter 1981, #203
Jump up ^ Carpenter 1981, #226
Jump up ^ "Andy Serkis BBC interview". BBC News. March 21, 2003. Retrieved January 6, 2010
^ Jump up to: a b Alex Ross, "The Ring and the Rings> Wagner vs Tolkien", The New Yorker, December 22, 2003
Jump up ^ Carpenter 1981, #229
Jump up ^ Carpenter, Humphrey (1977), Tolkien: A Biography, New York: Ballantine Books, ISBN 0-04-928037-6
Jump up ^ Tom Shippey, The Road to Middle-earth, page 296
Jump up ^ "CMU Libraries: Book: Tolkien's Cauldron". Shelf1.library.cmu.edu. 2001-10-11. Retrieved 2011-11-16.
Jump up ^ "Project MUSE - Tolkien Studies - Roots and Branches: Selected Papers on Tolkien (review)". Muse.jhu.edu. Retrieved 2011-11-16.
Jump up ^ Roots and Branches
References[edit]
Carpenter, Humphrey, ed. (1981), The Letters of J. R. R. Tolkien, Boston: Houghton Mifflin, ISBN 0-395-31555-7
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Tia Carrere
From Wikipedia, the free encyclopedia
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This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2009) (Learn how and when to remove this template message)
Tia Carrere
Tia Carrere attending Susan G. Komen's 8th Annual Fashion for the Cure event – Hollywood, California on September 24, 2009.
Born
(1967-01-02) January 2, 1967 (age 50)
Waimanalo, Hawaii, U.S.
Occupation
Actress, model, singer, voice actress
Years active
1985-present
Spouse(s)
Elie Samaha (1992–2000; divorced)
Simon Wakelin (2002–2010; divorced)
Children
1
Parent(s)
Alexander Janairo
Audrey Duhinio Janairo
Website
www.tiacarrere.com
Musical career
Genres
Hawaiian
Instruments
Vocals
Years active
1993-present
Labels
Daniel Ho Creations
Associated acts
Daniel Ho
Althea Rae Janairo (born January 2, 1967), known professionally as Tia Carrere, is an American actress, model, voice actress, and singer who obtained her first big break as a regular on the daytime soap opera General Hospital.
She played Cassandra Wong in the feature films Wayne's World and Wayne's World 2, Juno Skinner in True Lies, Nani in Lilo & Stitch, its sequel films and Lilo & Stitch: The Series, Queen Tyr'ahnee in Duck Dodgers, and Sydney Fox in the television series Relic Hunter.
She appeared as a contestant in the second season of Dancing with the Stars and the fifth season of The Celebrity Apprentice.
Contents
[hide]
1 Early life and education
2 Film and television career
3 Music career
4 Personal life
5 Filmography
5.1 Film
5.2 Television
5.3 Video games
6 Film and TV awards and nominations
7 Discography
7.1 Studio albums
8 References
9 External links
Early life and education[edit]
Carrere was born in Honolulu, Hawaii. She is the daughter of Audrey Duhinio Janairo, a computer supervisor, and Alexander Janairo, a banker.[1] According to Carrere, she is of Filipino,[which?] Chinese[which?] and Spanish ancestry.[2] She can speak Hawaiian Pidgin fluently.[3]
Carrere attended Sacred Hearts Academy, an all-girls school.[4] She longed to be a singer as a child.[4] Although she was eliminated during the first round of her 1985 Star Search appearance at the age of 17, she was spotted by a local producer while shopping at a Waikiki grocery store and was cast in the movie Aloha Summer, which he produced and had a cameo in.[5]
Film and television career[edit]
Following this success, Carrere returned to Los Angeles, and after working several months as a model, landed her first role in the American television series Airwolf in early 1985. Her first major breakthrough was in the daytime soap opera General Hospital. She played the role of Jade Soong Chung from 1985 to 1987. She also had a guest appearance on Tour of Duty and The A-Team, which was supposed to lead to her joining the cast; her General Hospital obligations prevented her from joining the team. Her character was dropped after one episode, and was never mentioned again. She also made guest appearances on the shows MacGyver ("The Wish Child") as a karate instructor, and a different assassin character in a later episode ("Murderer's Sky"), on Anything But Love as the adopted daughter of Marty Gold (Richard Lewis), and Married... with Children as Piper Bauman, a rival of Kelly Bundy, who attempted to steal a modeling job from her.
After appearing in the 1991 action films Harley Davidson and the Marlboro Man and Showdown in Little Tokyo, she emerged into the public spotlight when cast as Cassandra, a rock singer and love interest of Mike Myers' character Wayne in Wayne's World (1992)—a role she reprised the next year in Wayne's World 2. A trained singer, Carrere performed all of her own songs in the first film, and the Wayne's World soundtrack features her vocals. She turned down a role in Baywatch to audition for Wayne's World. In 1992, People named her to its annual "50 most beautiful people" list.
Other roles in prominent films include the parts of smuggler Juno Skinner in True Lies (a 1994 Arnold Schwarzenegger action film), a mixed African-Japanese computer expert in Rising Sun (a thriller written by Michael Crichton starring Sean Connery and Wesley Snipes), robber Gina Walker in The Immortals (1995), and secretary Victoria Chappell in High School High (a 1996 parody). She also starred as Ari, a space marine-turned-pirate in the 1995 adventure/puzzle game The Daedalus Encounter. She also starred as the evil witch/queen in the 1997 Universal Films picture Kull the Conqueror, co-starring with Kevin Sorbo and starred in late 90's M&M's commercials as herself.
Carrere at the premiere for Up in May 2009
From 1999 to 2002, Carrere starred as archeology professor Sydney Fox in Relic Hunter, a syndicated action-adventure series strongly reminiscent of the Indiana Jones and Tomb Raider films and video games. At this time, Carrere was featured in men's magazine Maxim. Relic Hunter lasted for a total of three contracted television seasons. Carrere then provided the voice of Lilo's sister Nani in the animated film Lilo & Stitch (2002) and its spinoffs, as well as the voice of Queen Tyr'ahnee from the 2003 Duck Dodgers animated series. She also provided the voice of Snookie in the 2005 animated film Aloha, Scooby-Doo!.[6]
She participated as a contestant on the popular reality show Dancing with the Stars, and eventually placed sixth overall. Carrere later participated in the fifth season of The Celebrity Apprentice and was axed in the fifth week of the show.
Carrere posed nude for the January 2003 issue of Playboy. The photos were republished in the German December 2006 issue of the magazine. Recently, she has appeared as a guest star on a number of television shows, including Back to You, Nip/Tuck, and Warehouse 13. She has also appeared in several episodes of season six of Curb Your Enthusiasm as Richard Lewis' girlfriend.
Music career[edit]
Filipino American Library Spirit Awards
Carrere has continued to nurture her singing career. In 1993, her first solo album, Dream, produced by Matt Prinz, was released, and went platinum in the Philippines. That same year, she was featured on the soundtrack of Batman: Mask of the Phantasm, performing the ending theme, "I Never Even Told You". Her second album, Hawaiiana, was released in June 2007 and takes Carrere back to her Hawaiian roots with four-time Grammy Award-winning record producer Daniel Ho accompanying her on classic solo slack-key guitar and ukulele. The album was nominated for a 2008 Grammy Award under the category Best Hawaiian Music Album.
In 2009, she acted as co-host for the pre-Grammy Awards telecast online event alongside Wayne Brady.[7]
She won a Grammy Award in 2009 for her third album 'Ikena, which was also produced by Ho, and was a finalist at the 2010 for He Nani, the third album she had recorded with Ho as her producer.
In 2011, she won another Grammy Award (Best Hawaiian Music Album) for her album Huana Ke Aloha.
Personal life[edit]
Carrere married film producer Elie Samaha in 1992.[5] In 1999, she was accused of having an affair with then Toronto Maple Leaf Tie Domi, who was also married.[8] Samaha and Carrere divorced in February 2000.[9]
On November 30, 2002, she married photojournalist Simon Wakelin. They have a daughter, Bianca, born September 25, 2005. On April 2, 2010, Carrere filed for divorce in person at Los Angeles County Superior Court. According to court documents she cited irreconcilable differences as the reason for the divorce and asked for sole physical custody of their daughter Bianca.[10] Their divorce was finalized in August 2010, with the two of them reportedly sharing custody of Bianca.[11] She lives in Los Angeles.
Filmography[edit]
Film[edit]
Zombie Nightmare (1986) – Amy
Aloha Summer (1988) – Lani Kepoo
Fine Gold (1989)
The Road Raiders (1989) – Cyanne
Fatal Mission (1990)
Instant Karma (1990)
Harley Davidson and the Marlboro Man (1991) – Kimiko
Showdown in Little Tokyo (1991) – Minako Okeya
Little Sister (1992)
Intimate Stranger (1992)
Wayne's World (1992) – Cassandra Wong
Rising Sun (1993) – Jingo Asakuma
Quick (1993) – Janet Sakamoto
Wayne's World 2 (1993) – Cassandra Wong
Hostile Intentions (1994) – Nora
Treacherous (1994)
True Lies (1994) – Juno Skinner
My Teacher's Wife (1995) – Vicky Mueller
The Immortals (1995)
Jury Duty (1995) – Monica Lewis
Hollow Point (1996) – Diane Norwood
High School High (1996) – Victoria Chapell
Top of the World (1997) – Rebecca Mercer
Kull the Conqueror (1997) – Akivasha
20 Dates (1998) – Herself
Dogboys (1998) – D.A. Jennifer Dern
Scar City (1998) – Candy
Merlin: The Return (1999) – Dr. Joan Maxwell
Meet Prince Charming (1999) – Samantha Feld
Five Aces (1999) – Karen Haggerty
The Night of the Headless Horseman (1999) – Katrina Van Tassel (voice)
Lilo & Stitch (2002) – Nani Pelekai (voice)
Stitch! The Movie (2003) – Nani Pelekai (voice)
Torn Apart (2004) – Vicki Westin
Back in the Day (2005) – Loot
Aloha, Scooby-Doo! (2005) – Snookie, Local Woman #1 (voice)
Lilo & Stitch 2: Stitch Has a Glitch (2005) – Nani Pelekai (voice)
Supernova—The Day the World Catches Fire (2005) – Lisa Delgado
Leroy & Stitch (2006) – Nani Pelekai (voice)
Dark Honeymoon (2008) – Miranda
Wild Cherry (2009) – Ms. Haumea
Hard Breakers (2009) – Jodie
You May Not Kiss the Bride (2010) – Lani
Collision Course (2013) – Kate Parks
Asteroid vs. Earth (2014) – Marissa Knox
Gutshot Straight (2014) – Leanne
Pirate's Code: The Adventures of Mickey Matson (2014) - Kelly
Showdown in Manila (2016) - Mrs. Wells
Television[edit]
Cover Up (1985) – Philippines Contestant
Airwolf (1985) – Kiki Tinabi
General Hospital (1985–1987) – Jade Soong Chung, R.N.
The A-Team (1986) – Tia
Tour of Duty (1987)
Noble House (1988) – Venus Poon
MacGyver (1986, 1988) – Lisa Chan, Tiu
Anything But Love (1989) – Cey
Friday the 13th: The Series (1990) – Michiko Tanaka
Quantum Leap (1990) – Chu-Hoi
Married... with Children (1990) – Piper Bauman
Tales from the Crypt (1992) – Scarlett
Natural Enemy (TV Movie) (1997) Christina D'Amelio
Relic Hunter (1999–2002) – Sydney Fox
Duck Dodgers (2003–2005) – Queen Tyr'ahnee, Flight Attendant, Cheerleader, Cosmetics Manager, Lieutenant O'Hara (voice)
Lilo & Stitch: The Series (2003–2006) Nani Pelekai (voice)
Megas XLR (2004) – Darklos (voice)
Johnny Bravo (2005) – Beautiful Woman, Female Elephant, Woman (voice)
American Dragon: Jake Long (2005) – Yan Yan (voice)
Dancing with the Stars season 2
The O.C. (2006) – Dean Torres
Curb Your Enthusiasm (2007) – Cha Cha
Nip/Tuck (2007) – Mistress Dark Pain
Back to You (2007) – Maggie
CSI: Miami (2009) – Jacqueline Parsons
Warehouse 13 (2010) – Agent Kate Logan
Combat Hospital (2011) – Jessica Draycott
Scooby-Doo! Mystery Incorporated (2011–2013) – Judy Reeves, Old Daphne, Waitress, Sullen Female Farmer, Amy (voice)
The Celebrity Apprentice (2012) – Herself
In Plain Sight (2012) – Lia Hernandez
Taken for Ransom (2013) – Michelle Gaines
The Birthday Boys (2013) – Herself
Family Guy (2016) – Hawaiian Woman
Video games[edit]
The Daedalus Encounter (1995) – Ari Matheson
Saints Row (2006) – Lin (voice)
Saints Row IV (2013) – Lin (voice)
Film and TV awards and nominations[edit]
Year
Association
Category
Nominated work
Result
1992 MTV Movie Awards Most Desirable Female Wayne's World Nominated
1994 ShoWest Award Female Star of Tomorrow Wayne’s World Won
1995 MTV Movie Awards Best Dance Sequence True Lies Nominated
Saturn Award Best Supporting Actress True Lies Nominated
2001 ALMA Award Outstanding Lead Actress in a Syndicated Drama Series Relic Hunter Nominated
Discography[edit]
Studio albums[edit]
Dream (1993)
Hawaiiana (2007)[12]
'Ikena (with Daniel Ho, 2008)[13]
He Nani (with Daniel Ho, 2009)[14]
Huana Ke Aloha (2010)[15]
References[edit]
Jump up ^ "Tia Carrere Biography (1965—)". Film Reference.
Jump up ^ "BrainyQuote".
Jump up ^ Ryan, Tim (June 17, 2002). "Carrere, Lee lend voices to make Disney history". Honolulu Star-Bulletin. Retrieved 17 October 2016.
^ Jump up to: a b Brian Beruschy (May 20, 2007). "Introducing Tia Carrere: Hawaiian Songstress and Fan of B on Hawaii". B on Hawaii. Retrieved June 4, 2015.
^ Jump up to: a b James Brady (June 4, 1995). "In Step with Tia Carrere". Toledo Blade. Retrieved August 20, 2010.
Jump up ^ Mattern, Joanne (August 15, 2010). Hawaii: Past and Present. The Rosen Publishing Group. p. 32. ISBN 978-1-4358-9479-2. Retrieved April 29, 2012.
Jump up ^ "Tia Carrere – Grammy Fascinating Fact: – Contactmusic News". www.contactmusic.com. Retrieved October 10, 2010.
Jump up ^ "What's In The Leanne Domi Divorce Document?". CityNews Toronto.
Jump up ^ "Tia Carrere Gives Birth to Baby Girl". PEOPLE.com. Retrieved February 28, 2015.
Jump up ^ "Tia Carrere Files For Divorce". TMZ.com. Retrieved April 2, 2010.
Jump up ^ "'Wayne's' star finalizes divorce". Toronto Sun. August 19, 2010. Retrieved August 20, 2010.
Jump up ^ "hawaiiana". Tia Carrere. Retrieved February 28, 2015.
Jump up ^ "`ikena". Tia Carrere. Retrieved February 28, 2015.
Jump up ^ "He Nani". Tia Carrere. Retrieved February 28, 2015.
Jump up ^ "Huana Ke Aloha". Tia Carrere. Retrieved February 28, 2015.
External links[edit]
Wikimedia Commons has media related to Tia Carrere.
Official website
Tia Carrere on IMDb
Tia Carrere at the TCM Movie Database
Tia Carrere at AllMovie
Tia Carrere at Rotten Tomatoes
Authority control
WorldCat Identities
VIAF: 85738146
LCCN: no96000899
ISNI: 0000 0000 7823 8845
GND: 134766660
BNF: cb13957336p (data)
MusicBrainz: 9d8ba385-c80b-429b-9d45-c4059100e5bc
IATH: w6g166mb
Retrieved from "https://en.wikipedia.org/w/index.php?title=Tia_Carrere&oldid=799819859"
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United States v. Paramount Pictures, Inc.
From Wikipedia, the free encyclopedia
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This article needs attention from an expert in U.S. Supreme Court cases. Please add a reason or a talk parameter to this template to explain the issue with the article. WikiProject U.S. Supreme Court cases may be able to help recruit an expert. (November 2008)
United States Supreme Court case
United States v. Paramount Pictures, Inc.
Supreme Court of the United States
Argued February 9–11, 1948
Decided May 3, 1948
Full case name
United States v. Paramount Pictures, Inc. et al.
Citations
334 U.S. 131 (more)
68 S. Ct. 915; 92 L. Ed. 1260; 1948 U.S. LEXIS 2850; 77 U.S.P.Q. (BNA) 243; 1948 Trade Cas. (CCH) ¶ 62,244
Prior history
Injunction granted, 66 F. Supp. 323 (S.D.N.Y. 1946)
Holding
Practice of block booking and ownership of theater chains by film studios constituted anti-competitive and monopolistic trade practices.
Court membership
Chief Justice
Fred M. Vinson
Associate Justices
Hugo Black · Stanley F. Reed
Felix Frankfurter · William O. Douglas
Frank Murphy · Robert H. Jackson
Wiley B. Rutledge · Harold H. Burton
Case opinions
Majority
Douglas, joined by Vinson, Black, Reed, Murphy, Rutledge, Burton
Concur/dissent
Frankfurter
Jackson took no part in the consideration or decision of the case.
Laws applied
Sherman Antitrust Act; 15 U.S.C. § 1, 2
Wikisource has original text related to this article:
United States v. Paramount Pictures, Inc.
United States v. Paramount Pictures, Inc., 334 U.S. 131 (1948),[1] (also known as the Hollywood Antitrust Case of 1948, the Paramount Case, the Paramount Decision or the Paramount Decree)[2] was a landmark United States Supreme Court antitrust case that decided the fate of movie studios owning their own theatres and holding exclusivity rights on which theatres would show their films. It would also change the way Hollywood movies were produced, distributed, and exhibited.[citation needed] The Court held in this case that the existing distribution scheme was in violation of the antitrust laws of the United States, which prohibit certain exclusive dealing arrangements.
The case is important both in U.S. antitrust law and film history. In the former, it remains a landmark decision in vertical integration cases; in the latter, it is responsible for putting an end to the old Hollywood studio system.
Contents
1 Background
2 Decision
2.1 Douglas
2.2 Frankfurter
3 Consequences
4 See also
5 References
6 Further reading
Background[edit]
The legal issues originated in the silent era, when the Federal Trade Commission began investigating film companies for potential violations under the Sherman Antitrust Act of 1890.
The major film studios owned the theaters where their motion pictures were shown, either in partnerships or outright. Thus specific theater chains showed only the films produced by the studio that owned them. The studios created the films, had the writers, directors, producers and actors on staff (under contract), owned the film processing and laboratories, created the prints and distributed them through the theaters that they owned: In other words, the studios were vertically integrated, creating a de facto oligopoly. By 1945, the studios owned either partially or outright 17% of the theaters in the country, accounting for 45% of the film-rental revenue.
Ultimately, this issue of the studios' allegedly illegal trade practices led to all the major movie studios being sued in 1938 by the U.S. Department of Justice.[2] As the largest studio, Paramount was the primary defendant, but all of the other Big Five (Loew's (MGM), Warner Bros., 20th Century Fox, RKO Pictures) and Little Three (Universal Studios, Columbia Pictures, United Artists) were named, as well as numerous subsidiaries and executives from each company.[3] Separate cases were also filed against large independent chains, including the 148-theater Schine.[4]
The federal government's case was settled with a consent decree in 1940,[5][6] which allowed the government to reinstate the lawsuit if, by November 1943, it had not seen a satisfactory level of compliance. Among other requirements, the consent decree included the following conditions:
The Big Five studios could no longer block-book short film subjects along with feature films (known as one-shot, or full force, block booking);
The Big Five studios could continue to block-book features, but the block size would be limited to five films;
Blind buying (buying of films by theater districts without seeing films beforehand) would now be outlawed and replaced with "trade showing," special screenings every two weeks at which representatives of all 31 theater districts in the United States could see films before they decided to book a film; and
The creation of an administration board to enforce these requirements.
The studios did not fully implement the consent decree, and in 1942 with Allied Theatre Owners proposed an alternate "Unity Plan". They proposed booking larger blocks of theatres with the caveat of allowing theaters to reject films.[7] This led to the formation of the Society of Independent Motion Picture Producers (SIMPP),[7] which also filed a lawsuit against Paramount Detroit Theaters, the first major lawsuit of producers against exhibitors. The government declined the Unity proposal and reinstated the 1943 lawsuit.[8] The case went to trial on October 8, 1945, one month and six days after the end of World War II.[2] The case was decided in favor of the studios, and the government immediately appealed.
The case reached the U.S. Supreme Court in 1948; their verdict went against the movie studios, forcing all of them to divest themselves of their movie theater chains.[1] This, coupled with the advent of television and the attendant drop in movie ticket sales, brought about a severe slump in the movie business, a slump that would not be reversed until 1972, with the release of The Godfather, the first modern blockbuster.
The Paramount decision is a bedrock of corporate antitrust law, and as such is cited in most cases where issues of vertical integration play a prominent role in restricting fair trade.
Decision[edit]
The Court ruled 7-1 in the government's favor, affirming much of the consent decree (Justice Robert H. Jackson took no part in the proceedings). William O. Douglas delivered the Court's opinion, with Felix Frankfurter dissenting in part, arguing the Court should have left all of the decree intact but its arbitration provisions.[1]
Douglas[edit]
Douglas's opinion reiterated the facts and history of the case and reviewed the District Court's opinion, agreeing that its conclusion was "incontestable".[1] He considered five different trade practices addressed by the consent decree:
Clearances and runs, under which movies were scheduled so they would only be showing at particular theatres at any given time, to avoid competing with another theater's showing;
Pooling agreements, the joint ownership of theaters by two nominally competitive studios;
Formula deals, master agreements, and franchises: arrangements by which an exhibitor or distributor allocated profits among theaters that had shown a particular film, and awarded exclusive rights to independent theatres, sometimes without competitive bidding;
Block booking, the studios' practice of requiring theaters to take an entire slate of its films, sometimes without even seeing them, sometimes before the films had even been produced ("blind bidding"), and
Discrimination against smaller, independent theaters in favor of larger chains.
Douglas let stand the District Court's sevenfold test for when a clearance agreement was a restraint of trade, as he agreed they had a legitimate purpose. Pooling agreements and joint ownership, he agreed, were "bald efforts to substitute monopoly for competition ... Clearer restraints of trade are difficult to imagine."[1]:149 He allowed, however, that courts could consider how an interest in an exhibitor was acquired and sent some other issues back to the District Court for further inquiry and resolution. He set aside the lower court findings on franchises so that they might be reconsidered from the perspective of allowing competitive bidding. On the block booking question, he rejected the studios' argument that it was necessary to profit from their copyrights: "The copyright law, like the patent statutes, makes reward to the owner a secondary consideration".[1]:158 The prohibitions on discrimination he let stand entirely.
Frankfurter[edit]
Frankfurter took exception to the extent to which his brethren had agreed with the studios that the District Court had not adequately explored the underlying facts in affirming the consent decree. He pointed to another recent Court decision, International Salt Co. v. United States that lower courts are the proper place for such findings of fact, to be deferred to by higher courts. Also, he reminded the Court that the District Court had spent fifteen months considering the case and reviewed almost 4,000 pages of documentary evidence: "I cannot bring myself to conclude that the product of such a painstaking process of adjudication as to a decree appropriate for such a complicated situation as this record discloses was an abuse of discretion."[1]:180 He would have modified the District Court decision only to permit the use of arbitration to resolve disputes.
Consequences[edit]
Movie studios previously charged low rents to exhibitors because they were owned by the studio. When the studios were forced to sell their theaters, the result was higher rental rates charged to exhibitors (rising from an average of approximately 35% to its current level of approximately 50%), so the studios could recoup their expenses.[citation needed] The inability to block-book an entire year's worth of movies caused studios to be more selective in the movies they made, resulting in higher production costs and dramatically fewer movies made. This caused studios to further raise the rates they charged theaters, since the volume of movies fell.[citation needed]
The court orders forcing the separation of motion picture production and exhibition companies are commonly referred to as the Paramount Decrees. Paramount Pictures Inc. was forced to split into two companies: the film company Paramount Pictures Corp. and the theater chain (United Paramount Theaters) which merged in 1953 with the American Broadcasting Company.[citation needed]
Consequences of the decision include:[citation needed]
More independent producers and studios to produce their film product free of major studio interference.
The beginning of the end of the old Hollywood studio system and its golden age.
The weakening of the (Hays) Production Code, since it saw the rise of independent and "art house" theaters which showed foreign or independent films made outside of its jurisdiction.
Following the decision, and with the rise of television, the major studios felt that the loss of their exclusive theatre arrangements would reduce the opportunity to re-release product from their film libraries. Paramount, for example, sold its pre-1950 sound feature film library to MCA, which created EMKA (today Universal Television) to manage this library. Other studios, such as 20th Century Fox or Warner Bros., also sold or leased their classic back catalogs to other companies such as Associated Artists Productions or National Telefilm Associates. By contrast, Walt Disney believed his film library was much more valuable than RKO had estimated it to be; in 1953, he formed a holding company that held rights to work he did prior to 1953 as well as distributed new material from his studio—that company became its own in-house distribution unit, Walt Disney Studios Motion Pictures. The growth of television in subsequent years has resulted in these supposedly "worthless" films earning billions of dollars in rentals from television stations and networks.[citation needed]
See also[edit]
Bigelow v. RKO Radio Pictures, Inc., 327 U.S. 251 (1946), where the Supreme Court held that major Hollywood distributors had engaged in an antitrust conspiracy preventing certain independent movie houses from showing first run films.
Buchwald v. Paramount
Leibovitz v. Paramount Pictures Corp.
Paramount Communications, Inc. v. QVC Network, Inc.
References[edit]
^ Jump up to: a b c d e f g United States v. Paramount Pictures, Inc., 334 U.S. 131 (1948).
^ Jump up to: a b c "The Hollywood Antitrust Case". 2005.
Jump up ^ "List of Original Defendants in the Paramount Case". 2005.
Jump up ^ "The Theater Monopoly Cases". 2005.
Jump up ^ "Part 3: The Consent Decree of 1940". 2005.
Jump up ^ "SHOW BUSINESS: Consent Decree". Time. November 11, 1940. Retrieved May 27, 2010.
^ Jump up to: a b "Independents Protest the United Motion Picture Industry (1942)". 2005.
Jump up ^ "The Government Reactivates the Paramount Case". 2005.
Further reading[edit]
Gil, Richard (2015). "Does Vertical Integration Decrease Prices? Evidence from the Paramount Antitrust Case of 1948". American Economic Journal: Economic Policy. 7 (2): 162–91. doi:10.1257/pol.20120245.
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One Day More
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
For the 2011 romantic comedy film, see One Day More (film).
"One Day More"
Song by Les Misérables Cast
Language
French, English
Published
1980
Recorded
1980 (French Cast recording)
1985 (London Cast recording)
1987 (Broadway Cast recording)
2012 (Film cast recording)
Genre
Musical, theatrical, show tune
Songwriter(s)
Claude-Michel Schönberg (music)
Alain Boublil (French lyrics)
Herbert Kretzmer (English lyrics)
Composer(s)
from the musical Les Misérables
"One Day More" is a song from the musical Les Misérables. The music was written by Claude-Michel Schönberg, original French lyrics by Alain Boublil and Jean-Marc Natel, with an English-language libretto by Herbert Kretzmer.[1] It is the final song of Act I and is one of the most famous and iconic songs of the musical.
It is a choral piece featuring many solos showcasing vocal performances by all of the main characters in the show (except for Fantine who had died already at this point of the story). The music is by Claude-Michel Schönberg, with orchestrations by John Cameron.
Contents
1 History
2 Background
3 Composition
4 In popular culture
5 References
6 External links
History[edit]
Les Misérables was originally released as a French-language concept album, as French songwriter Alain Boublil had had the idea to adapt Victor Hugo's novel into a musical while at a performance of the musical Oliver! in London.[2] Having pitched the idea to French composer Claude-Michel Schönberg, the two developed a rough synopsis and worked up an analysis of each character's mental and emotional state, as well as that of an audience. Schönberg then began to write the music, while Alain Boublil began work on the text. According to Alain Boublil, "...I could begin work on the words. This I did—after myself deciding on the subject and title of every song—in collaboration with my friend, poet Jean-Marc Natel." A concept album with the title "Les Misérables: L'integrale" was developed, and the authors asked famous French singers to sing their roles on it.
The song, then titled "Demain" ("Tomorrow"), was sung by Maurice Barrier as Jean Valjean, Richard Dewitte as Marius, Fabienne Guyon as Cosette, Marie-France Dufour as Éponine, Michel Sardou as Enjolras, Jacques Mercier as Javert, Yvan Dautin as Thénardier, and Marie-France Roussel as Madame Thénardier. In the original Paris production from 1980, Demain was sung by Maurice Barrier as Jean Valjean, Gilles Buhlmann as Marius, Fabienne Guyon as Cosette, Marianne Mille as Éponine, Christian Ratellin as Enjolras, Yvan Dautin as Thénardier, Marie-France Roussel as Madame Thénardier, and Jean Vallée as Javert. The first English-language production of Les Misérables opened on the West End in London in October 1985, with Colm Wilkinson as Jean Valjean, Michael Ball as Marius, Rebecca Caine as Cosette, Frances Ruffelle as Éponine, David Burt as Enjolras, Roger Allam as Javert, Alun Armstrong as Thénardier and Susan Jane Tanner as Madame Thénardier.
The show — and the song — has been translated into twenty-one languages, including Japanese, Hebrew, Icelandic, Norwegian, Czech, Polish, Spanish, and Estonian, and there have been 31 cast recordings featuring the song.[3] The London cast version is Triple Platinum in the UK, for sales of more than 900,000, and Platinum in the U.S., for sales of more than one million. The Broadway cast version is Quadruple Platinum in the U.S. (more than four million sold), where four other versions have also gone Gold.[4]
Background[edit]
In the original musical show, the song occurs after "The Attack on Rue Plumet", in which Valjean, who is led to believe that Javert has finally discovered his whereabouts, decides to leave at once with Cosette, acting as a show-stopper finale to Act 1. In the 2012 film adaptation, the order of several songs is changed from the stage musical, and "One Day More" occurs just between Éponine's lamenting solo "On My Own" and the students' stirring anthem "Do You Hear the People Sing?".
In "One Day More", the main cast of the musical play, (except Fantine): Jean Valjean, Marius, Cosette, Éponine, Enjolras, Javert, and the Thénardiers, as well as a choral ensemble made up of Les Amis de l'ABC, sing as the June Rebellion dawns in Paris.
During the song, on the eve of the 1832 Paris Uprising, Valjean prepares to go into exile; Cosette and Marius sadly part in despair; Éponine mourns the loss of Marius; Enjolras encourages all of Paris to join the revolution as he and the other students prepare for the upcoming conflict; hearing Marius ponder whether to follow where Cosette is going or join the other students, Éponine takes Marius to where the other students are, and when the two reach them he tells Enjolras he will fight with them, while she secretly joins them as well; Javert briefs the soldiers under his command while he reveals his plans to spy on the students; and the Thénardiers hide underground and look forward to robbing the corpses of those who will be killed during the battle. Everyone ponders what "God in heaven has in store" for the new day.
Composition[edit]
The song is composed in the key of A major and is set to the tempo of Moderato at 86 bpm. One Day More is a choral piece featuring many solos from the main characters of the stage show, all of whom sing in a counterpoint style known as dramatic quodlibet, featuring parts by the ensemble. The song borrows motifs and themes from several songs from the first act.
Each character sings his/her part to a different melody at the same time (known as counterpoint), before joining for the final chorus:
Valjean picks up the melody of "Who Am I?" without any changes (A major, Bb major for high toned TVs)
Marius, Cosette and Éponine sing to the melody of "I Dreamed a Dream" with Éponine's taking the bridge ("But the tigers come at night", sung by Éponine as "One more day all on my own") (A major, B♭ major for high toned TVs, modulating to F♯ minor, G minor for high toned TVs)
Enjolras repeats the bridge melody of "I Dreamed a Dream" with Marius singing a countermelody. (E♭ major, E major for high toned TVs)
Javert sings to the already often-used theme from "Valjean Arrested, Valjean Forgiven" or "Fantine's Arrest", only slower and in a major key. (A major, Bb major for high toned TVs)
The Thénardiers sing to a slightly changed melody from "Master of the House" (A major, B♭ major for high toned TVs)
The revolutionaries repeat the bridge melody of "I Dreamed a Dream" with a countermelody that is only instrumental in Fantine's solo. (A major, B♭ major for high toned TVs)
At the end of the song, everyone sings the melody of "Who Am I?" (C major, D♭ major for high toned TVs)
In popular culture[edit]
In 1999, the song "La Resistance" from South Park: Bigger Longer and Uncut parodies the song as it encapsulates the songs themes of resistance and personal vendetta, along with depicting a combination of previous themes up to that point.[5][6]
In 2008, a parody of the song featuring Broadway stars was created to promote the election of Barack Obama.[7]
The song was also sung by Brian Nash, where he sang all 17 parts.
The song was also parodied in The Simpsons episode, "What to Expect When Bart's Expecting", from Season 25, as "Let Them Play!", and was sung by Homer Simpson (Dan Castellaneta), Bart Simpson (Nancy Cartwright), Fat Tony (Joe Mantegna) and Louie (Dan Castellaneta).
Key & Peele also parodied the song as "One at a Time".[8]
Nostalgia Critic along with others at Channel Awesome parodied this number as "One Big Song" during their 2013 review of the Les Misérables movie.[9]
Former Fox News Channel contributor and comedian Steven Crowder parodied the song with guests including Ben Shapiro, Dean Cain, and Milo Yiannopoulos as a recurring gag on Crowder's weekly Radio Show.
During The Magicians Season 2 Episode 9 "Lesser Evil", Margo enchants the royal aids and servants to back King Eliot in singing One Day More to build his confidence before a sword fight.
References[edit]
Jump up ^ "Les Misérables at IBDB.com". Retrieved 29 April 2009.
Jump up ^ Behr, Edward (1993). The Complete Book of Les Miserables. New York: Arcade Publishing. p. 51. ISBN 978-1-55970-156-3. Retrieved 2011-11-10.
Jump up ^ "Translations and Cast Recordings. LesMis.com". Archived from the original on 9 March 2009. Retrieved 6 May 2009.
Jump up ^ "Gold and Platinum RIAA.com". Archived from the original on 2 September 2008. Retrieved 19 November 2009.
Jump up ^ "Bored of Les Mis". Retrieved 11 December 2015.
Jump up ^ "R/Movies". Retrieved 11 December 2015.
Jump up ^ "Parody Video". Retrieved 22 October 2013.
Jump up ^ https://www.youtube.com/watch?v=__d2FMCtgi4
Jump up ^ http://channelawesome.com/nostalgia-critic-les-miserables-2012-musical-review/
External links[edit]
Les Misérables official website
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Les Misérables by Victor Hugo
Characters
Jean Valjean
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Film adaptations
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Les Misérables: Shōjo Cosette
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Songs from Les Misérables
"Do You Hear the People Sing?"
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Les Misérables: Highlights from the Motion Picture Soundtrack
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Fantine (1886 painting)
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