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Lyric poetry
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Henry Oliver Walker's 1896 Lyric Poetry in the Library of Congress's Thomas Jefferson Building
Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person.[1] The term derives from a form of Ancient Greek literature, the lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a lyre.[2] The term owes its importance in literary theory to the division developed by Aristotle between three broad categories of poetry: lyrical, dramatic, and epic.
Contents
1 Meters
2 History
2.1 Antiquity
2.1.1 Greece
2.1.2 Rome
2.1.3 China
2.2 Medieval verse
2.3 16th century
2.4 17th century
2.5 18th century
2.6 19th century
2.7 20th century
3 References
4 Further reading
Meters[edit]
Much lyric poetry depends on regular meter based either on number of syllables or on stress. The most common meters are as follows:
Iambic – two syllables, with the short or unstressed syllable followed by the long or stressed syllable.
Trochaic – two syllables, with the long or stressed syllable followed by the short or unstressed syllable. In English, this metre is found almost entirely in lyric poetry.[3]
Pyrrhic – Two unstressed syllables
Anapestic – three syllables, with the first two short or unstressed and the last long or stressed.
Dactylic – three syllables, with the first one long or stressed and the other two short or unstressed.
Spondaic – two syllables, with two successive long or stressed syllables.
Some forms have a combination of meters, often using a different meter for the refrain.
History[edit]
Antiquity[edit]
Alcaeus and Sappho depicted on an Attic red-figure calathus c. 470 BC[4]
Greece[edit]
Main article: Greek lyric
For the ancient Greeks, lyric poetry had a precise technical meaning: verse that was accompanied by a lyre, cithara, or barbitos. Because such works were typically sung, it was also known as melic poetry. The lyric or melic poet was distinguished from the writer of plays (although Athenian drama included choral odes, in lyric form), the writer of trochaic and iambic verses (which were recited), the writer of elegies (accompanied by the flute, rather than the lyre) and the writer of epic.[5] The scholars of Hellenistic Alexandria created a canon of nine lyric poets deemed especially worthy of critical study. These archaic and classical musician-poets included Sappho, Alcaeus, Anacreon and Pindar. Archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms to a triad, including strophe, antistrophe (metrically identical to the strophe) and epode (whose form does not match that of the strophe).[6]
Rome[edit]
Among the major extant Roman poets of the classical period, only Catullus (N° 11, 17, 30, 34, 51, 61) and Horace (Odes) wrote lyric poetry, which however was no longer meant to be sung but instead read or recited. What remained were the forms, the lyric meters of the Greeks adapted to Latin. Catullus was influenced by both archaic and Hellenistic Greek verse and belonged to a group of Roman poets called the Neoteroi ("New Poets") who spurned epic poetry following the lead of Callimachus. Instead, they composed brief, highly polished poems in various thematic and metrical genres. The Roman love elegies of Tibullus, Propertius, and Ovid (Amores, Heroides), with their personal phrasing and feeling, may be the thematic ancestor of much medieval, Renaissance, Romantic, and modern lyric poetry, but these works were composed in elegiac couplets and so were not lyric poetry in the ancient sense.[7]
China[edit]
Main article: Classical Chinese poetry
During China's Warring States period, the Songs of Chu collected by Qu Yuan and Song Yu defined a new form of poetry that came from the exotic Yangtze Valley, far from the Wei and Yellow River homeland of the traditional four-character verses collected in the Book of Songs. The varying forms of the new Chu ci provided more rhythm and greater latitude of expression.[9]
Medieval verse[edit]
Originating in 10th-century Persian, a ghazal is a poetic form consisting of couplets that share a rhyme and a refrain. Formally, it consists of a short lyric composed in a single meter with a single rhyme throughout. The central subject is love. Notable authors include Hafiz, Amir Khusro, Auhadi of Maragheh, Alisher Navoi, Obeid e zakani, Khaqani Shirvani, Anvari, Farid al-Din Attar, Omar Khayyam, and Rudaki. The ghazal was introduced to European poetry in the early 19th century by the Germans Schlegel, Von Hammer-Purgstall, and Goethe, who called Hafiz his "twin".[10]
Lyric in European literature of the medieval or Renaissance period means a poem written so that it could be set to music—whether or not it actually was. A poem's particular structure, function, or theme might all vary.[11] The lyric poetry of Europe in this period was created by the pioneers of courtly poetry and courtly love largely without reference to the classical past.[12] The troubadors, travelling composers and performers of songs, began to flourish towards the end of the 11th century and were often imitated in successive centuries. Trouvères were poet-composers who were roughly contemporary with and influenced by the troubadours but who composed their works in the northern dialects of France. The first known trouvère was Chrétien de Troyes (fl. 1160s–80s). The dominant form of German lyric poetry in the period was the minnesang, "a love lyric based essentially on a fictitious relationship between a knight and his high-born lady".[13] Initially imitating the lyrics of the French troubadours and trouvères, minnesang soon established a distinctive tradition.[13] There was also a large body of medieval Galician-Portuguese lyric.[14] Hebrew singer-poets of the Middle Ages included Yehuda Halevi, Solomon ibn Gabirol, and Abraham ibn Ezra.
In Italy, Petrarch developed the sonnet form pioneered by Giacomo da Lentini and Dante's Vita Nuova. In 1327, according to the poet, the sight of a woman called Laura in the church of Sainte-Claire d'Avignon awoke in him a lasting passion, celebrated in the Rime sparse ("Scattered rhymes"). Later, Renaissance poets who copied Petrarch's style named this collection of 366 poems Il Canzoniere ("The Song Book"). Laura is in many ways both the culmination of medieval courtly love poetry and the beginning of Renaissance love lyric.
A bhajan or kirtan is a Hindu devotional song. Bhajans are often simple songs in lyrical language expressing emotions of love for the Divine. Notable authors include Kabir, Surdas, and Tulsidas.
Chinese Sanqu poetry was a Chinese poetic genre popular from the 12th-century Jin Dynasty through to the early Ming. Early 14th-century playwrights like Ma Zhiyuan and Guan Hanqing were well-established writers of Sanqu. Against the usual tradition of using Classical Chinese, this poetry was composed in the vernacular.[15]
16th century[edit]
In 16th-century Britain, Thomas Campion wrote lute songs and Sir Philip Sidney, Edmund Spenser, and William Shakespeare popularized the sonnet.
In France, La Pléiade—including Pierre de Ronsard, Joachim du Bellay, and Jean-Antoine de Baïf—aimed to break with earlier traditions of French poetry—particularly Marot and the grands rhétoriqueurs—and began imitating classical Greek and Roman forms such as the odes. Favorite poets of the school were Pindar, Anacreon, Alcaeus, Horace, and Ovid. They also produced Petrarchan sonnet cycles.
Spanish devotional poetry adapted the lyric for religious purposes. Notable examples were Teresa of Ávila, John of the Cross, Sor Juana Inés de la Cruz, Garcilaso de la Vega, and Lope de Vega. Although better known for his epic Os Lusíadas, Luís de Camões is also considered the greatest Portuguese lyric poet of the period.
In Japan, the naga-uta ("long song") was a lyric poem popular in this era. It alternated five and seven-syllable lines and ended with an extra seven-syllable line.
17th century[edit]
Lyrical poetry was the dominant form of 17th-century English poetry from John Donne to Andrew Marvell.[16] The poems of this period were short. Rarely narrative, they tended towards intense expression.[16] Other notable poets of the era include Ben Jonson, Robert Herrick, George Herbert, Aphra Behn, Thomas Carew, John Suckling, Richard Lovelace, John Milton, Richard Crashaw, and Henry Vaughan. A German lyric poet of the period is Martin Opitz; in Japan, this was the era of the noted haiku-writer Matsuo Bashō.
18th century[edit]
In the 18th century, lyric poetry declined in England and France. The atmosphere of literary discussion in the English coffeehouses and French salons was not congenial to lyric poetry.[17] Exceptions include the lyrics of Robert Burns, William Cowper, Thomas Gray, and Oliver Goldsmith. German lyric poets of the period include Johann Wolfgang von Goethe, Novalis, Friedrich Schiller, and Johann Heinrich Voß. Kobayashi Issa was a Japanese lyric poet during this period. In Diderot's Encyclopédie, Louis chevalier de Jaucourt described lyric poetry of the time as "a type of poetry totally devoted to sentiment; that's its substance, its essential object".[18]
19th century[edit]
Benjamin Haydon's 1842 portrait of William Wordsworth
In Europe, the lyric emerged as the principal poetic form of the 19th century and came to be seen as synonymous with poetry.[19] Romantic lyric poetry consisted of first-person accounts of the thoughts and feelings of a specific moment; the feelings were extreme but personal.[20]
The traditional sonnet was revived in Britain, with William Wordsworth writing more sonnets than any other British poet.[19] Other important Romantic lyric writers of the period include Samuel Taylor Coleridge, John Keats, Percy Bysshe Shelley, and Lord Byron. Later in the century, the Victorian lyric was more linguistically self-conscious and defensive than the Romantic forms had been.[21] Such Victorian lyric poets include Alfred Lord Tennyson and Christina Rossetti.
Lyric poetry was popular with the German reading public between 1830 and 1890, as shown in the number of poetry anthologies published in the period.[22] According to Georg Lukács, the verse of Joseph von Eichendorff exemplified the German Romantic revival of the folk-song tradition initiated by Goethe, Herder, and Arnim and Bretano's Des Knaben Wunderhorn.[23]
France also saw a revival of the lyric voice during the 19th century.[24] The lyric became the dominant mode of French poetry during this period.[25] For Walter Benjamin, Charles Baudelaire was the last example of lyric poetry "successful on a mass scale" in Europe.[26]
In Russia, Aleksandr Pushkin exemplified a rise of lyric poetry during the 18th and early 19th centuries.[27] The Swedish "Phosphorists" were influenced by the Romantic movement and their chief poet Per Daniel Amadeus Atterbom produced many lyric poems.[28] Italian lyric poets of the period include Ugo Foscolo, Giacomo Leopardi, Giovanni Pascoli, and Gabriele D'Annunzio. Spanish lyric poets include Gustavo Adolfo Bécquer, Rosalía de Castro, and José de Espronceda. Japanese lyric poets include Taneda Santoka, Masaoka Shiki, and Ishikawa Takuboku.
20th century[edit]
Further information: 20th century lyric poetry
Play media
Recited Portuguese lyric poetry
In the earlier years of the 20th century rhymed lyric poetry, usually expressing the feelings of the poet, was the dominant poetic form in the United States,[29] Europe, and the British colonies. The English Georgian poets such as A. E. Housman, Walter de la Mare, and Edmund Blunden used the lyric form. The Bengali poet Rabindranath Tagore was praised by William Butler Yeats for his lyric poetry; Yeats compared him to the troubadour poets when the two met in 1912.[30]
The relevance and acceptability of the lyric in the modern age was, though, called into question by modernist poets such as Ezra Pound, T. S. Eliot, H.D., and William Carlos Williams, who rejected the English lyric form of the 19th century, feeling that it relied too heavily on melodious language, rather than complexity of thought.[31] After World War II, the American New Criticism returned to the lyric, advocating a poetry that made conventional use of rhyme, meter and stanzas, and was modestly personal in the lyric tradition.[32] Lyric poetry dealing with relationships, sex and domestic life constituted the new mainstream of American poetry in the late 20th century following the confessional poets of the 1950s and ’60s such as Sylvia Plath and Anne Sexton.[33]
References[edit]
Jump up ^ Scott, Clive, Vers libre : the emergence of free verse in France, 1886–1914 Clarendon Press, Oxford ISBN 9780198151593
Jump up ^ Miller, Andrew. Greek Lyric: An Anthology in Translation/books?id=80MpjrOfTH8C&pg=PR12 pp. xii ff]. Hackett Publishing (Indianapolis), 1996. ISBN 978-0872202917.
Jump up ^ Stephen Adams, Poetic Designs: an introduction to meters, verse forms, and figures of speech, Broadview Press, 1997, p55. ISBN 1-55111-129-2
Jump up ^ Staatliche Antikensammlungen (Inv. 2416)
Jump up ^ Bowra, Cecil. Greek Lyric Poetry: From Alcman to Simonides, p. 3. Oxford University Press (Oxford), 1961.
Jump up ^ Halporn, James & al. The Meters of Greek and Latin Poetry, p. 16. Hackett Publishing, 1994. ISBN 0-87220-243-7.
Jump up ^ Bing, Peter & al. Games of Venus: An Anthology of Greek and Roman Erotic Verse from Sappho to Ovid. Routledge (New York), 1991.
^ Jump up to: a b 袁行霈 [Yuán Xíngpèi] & al. 《中国文学史》 [Zhōngguó Wénxué Shǐ, A History of Chinese Literature], Vol. 1, p. 632 Archived 4 October 2013 at the Wayback Machine.. 高等教育出版社 [Gāoděng Jiàoyù Chūbǎn Shè] (Beijing), 1992. ISBN 9787040164794. Accessed 14 July 2013. (in Chinese)
Jump up ^ 「《史记·屈原贾生列传》…形成悲愤深沉之风格特征。」[8]
Jump up ^ Thym, Jurgen & al. Of Poetry and Song: Approaches to the Nineteenth-Century Lied, p. 221. University of Rochester Press (Rochester), 2010.
Jump up ^ Shaw, Mary. The Cambridge Introduction to French Poetry, pp. 39–40. Cambridge University Press (Cambridge), 2003. ISBN 0-521-00485-3.
Jump up ^ Kay, Sarah & al. A Short History of French Literature, pp. 15–16. Oxford University Press (Oxford), 2006. ISBN 0-19-815931-5.
^ Jump up to: a b Johnson, Sidney & al. Medieval German Literature: A Companion, p. 224–25. Routledge, 2000. ISBN 0-415-92896-6.
Jump up ^ Tavani, Giuseppe. Trovadores e Jograis: Introdução à poesia medieval galego-portuguesa. Caminho (Lisbon), 2002. (in Portuguese)
Jump up ^ 「抒情性文学…的创作开创了元代理学家诗文创作的先河。」[8]
^ Jump up to: a b Corns, Thomas. The Cambridge Companion to English Poetry, Donne to Marvell, p. xi. Cambridge University Press (Cambridge), 1993. ISBN 0-521-42309-0.
Jump up ^ Sir Albert Wilson in J. O. Lindsay's The New Cambridge Modern History, p. 73. Cambridge University Press (Cambridge), 1957. ISBN 0-521-04545-2.
Jump up ^ "Lyric Poetry". University of Michigan Library. Retrieved 1 April 2015.
^ Jump up to: a b Christopher John Murray, Encyclopedia of the Romantic Era, 1760–1850, Taylor & Francis, 2004, p700. ISBN 1-57958-422-5
Jump up ^ Stephen Bygrave, Romantic Writings, Routledge, 1996, pix. ISBN 0-415-13577-X
Jump up ^ E. Warwick Slinn in Joseph Bristow, The Cambridge Companion to Victorian Poetry, Cambridge University Press, p56. ISBN 0-521-64680-4
Jump up ^ Eda Sagarra and Peter Skrine, A Companion to German Literature: From 1500 to the Present, Blackwell Publishing, 1997, p149. ISBN 0-631-21595-6
Jump up ^ Lukács, György. German Realists in the Nineteenth Century, p. 56. MIT Press (Cambridge), 1993. ISBN 0-262-62143-6.
Jump up ^ Prendergast, Christopher. Nineteenth-Century French Poetry: Introductions to Close Reading, p. 3. Cambridge University Press (Cambridge), 1990. ISBN 0-521-34774-2.
Jump up ^ Prendergast (1990), p. 15.
Jump up ^ Pensky, Max. Melancholy Dialectics: Walter Benjamin and the Play of Mourning, p. 155. University of Massachusetts Press (Boston), 1993. ISBN 1-55849-296-8.
Jump up ^ Jakobson, Roman. Selected Writings, p. 282. Walter de Gruyter, 1981. ISBN 90-279-7686-4.
Jump up ^ Richardson, William & al. Literature of the World: An Introductory Study, p. 348. Kessinger Publishing, 2005. ISBN 1-4179-9433-9.
Jump up ^ MacGowan, Christopher. Twentieth-Century American Poetry, p. 9. Blackwell Publishing, 2004. ISBN 0-631-22025-9.
Jump up ^ Foster, Robert. W.B. Yeats: A Life, p. 496. Oxford University Press (Oxford). ISBN 0-19-288085-3.
Jump up ^ Beach, Christopher. The Cambridge Introduction to Twentieth-Century American Poetry, p. 49. Cambridge University Press (Cambridge), 2003. ISBN 0-521-89149-3.
Jump up ^ Fredman, Stephen. A Concise Companion To Twentieth-Century American Poetry, p. 63. Blackwell Publishing, 2005. ISBN 1-4051-2002-9.
Jump up ^ Beach (2003), p. 155.
Further reading[edit]
Wikisource has the text of the 1911 Encyclopædia Britannica article Lyrical poetry.
Wilhelm, James J., (editor), Lyrics of the Middle Ages : an anthology, New York : Garland Pub., 1990. ISBN 0-8240-7049-6
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The Others (2001 film)
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
The Others
Theatrical release poster
Directed by
Alejandro Amenábar
Produced by
Fernando Bovaira
José Luis Cuerda
Sunmin Park
Written by
Alejandro Amenábar
Starring
Nicole Kidman
Fionnula Flanagan
Christopher Eccleston
Elaine Cassidy
Eric Sykes
Alakina Mann
James Bentley
Music by
Alejandro Amenábar
Cinematography
Javier Aguirresarobe
Edited by
Nacho Ruiz Capillas
Production
companies
Canal+
Cruise/Wagner Productions
Las Producciones del Escorpion
Distributed by
Warner Sogefilms (Spain)
Dimension Films (US)
Mars Distribution (France)
Lucky Red (Italy)
Release date
August 10, 2001 (2001-08-10) (US)
September 7, 2001 (2001-09-07) (Spain)
September 14, 2001 (2001-09-14) (Italy)
December 26, 2001 (2001-12-26) (France)
Running time
104 minutes[1]
Country
Spain
United States
France
Italy
Language
English
French
Budget
$17 million[2]
Box office
$209.9 million[2]
The Others (Spanish: Los Otros) is a 2001 supernatural gothic horror film with psychological horror elements. It was written, directed, and scored by Alejandro Amenábar. It stars Nicole Kidman and Fionnula Flanagan. The film is partly based on The Turn of the Screw.
The film won eight Goya Awards, including awards for Best Film and Best Director. This was the first English-language film ever to receive the Best Film Award at the Goyas (Spain's national film awards), without a single word of Spanish spoken in it. The Others was nominated for six Saturn Awards including Best Director and Best Writing for Amenábar and Best Performance by a Younger Actor for Alakina Mann,[3] and won three: Best Horror Film, Best Actress for Kidman and Best Supporting Actress for Fionnula Flanagan. Kidman was also nominated for a Golden Globe Award for Best Actress in Drama and a BAFTA Award for Best Actress in a Leading Role, with Amenábar being nominated for a BAFTA Award for Best Original Screenplay, a rare occurrence for a horror film.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Release
4.1 Box office
4.2 Critical reception
4.3 Accolades
5 In popular culture
6 See also
7 References
8 External links
Plot[edit]
Grace Stewart occupies a remote country house in the Channel Islands and one day awakens from a harsh nightmare in the immediate aftermath of World War II. She lives with her two young children, Anne and Nicholas, who have an uncommon disease characterized by photosensitivity. Grace hires three new servants—the aging Mrs. Bertha Mills, elderly gardener Edmund Tuttle, and a mute girl named Lydia. Mills explains that she had previously worked in the house many years ago. Later, Anne tells Mills that "mummy went mad" after the previous servants left. Nicholas disagrees and argues that "nothing happened". Grace requests Mills not to trust everything that the children say.
When odd events occur at the house, Grace begins to fear there are unknown others present. Anne claims to have seen a group of people in the house several times: a man, woman, an old woman and a child called Victor, who have claimed that "the house is theirs". After Grace hears footsteps and unknown voices, she orders the house to be searched. Grace finds a 19th-century so-called "book of the dead", which is a photo album of mourning portrait photos of deceased family members, with some missing pages. Grace asks Mills about when she last worked in the house. Mills says that many were evacuated due to an outbreak of tuberculosis.
At night, Grace witnesses a piano playing itself and becomes convinced that the house may be haunted. Convinced that something unholy is in the house, Grace runs outside in search of the local priest to bless the house. Before leaving, Grace instructs Tuttle to check a small nearby cemetery to see if there was a family buried there who had a little boy named Victor. Tuttle covers the gravestones with autumn leaves, under the orders of Mills, who comments that Grace thinks the house is haunted. Outside, Grace discovers her husband Charles, who she thought had been killed in the war. Charles greets his children after a long absence, but is distant during the short time he spends at the house.
Later, Grace has a vision of an elderly woman and attacks her. Grace soon learns that she has actually attacked Anne, who retreats to her father. Charles later asks Grace what happened "that day". Grace claims that she does not know but recalls that the servants left without giving notice and without her husband there, she could not leave the house and she did not know what came over her. Following Grace's attack, Anne tells Nicholas that Grace went mad in the same way that she did "that day". Nicholas denies recollection of that day. Charles says he must leave for the front even though Grace claims that the war is over. Charles weeps when Grace thinks that he wanted to leave her, and the two embrace then lie motionless together in bed. The next morning he is gone again.
The children wake up screaming as all the curtains have disappeared. Grace moves the children into a room and blocks out the light. Grace accuses the servants of removing the curtains and banishes them. After leaving, an annoyed Mills asks Tuttle to uncover the gravestones. That night, as Grace searches for the curtains, the children sneak outside and Anne discovers a graveyard and realizes that these are the servants' graves from years past. Simultaneously, Grace finds a torn out photograph from the photo album of portraits of the dead, and is horrified to see it is of her three servants. The servants appear and try to speak to the children, who retreat. Grace locks out the servants and tells the children to hide upstairs in the bedroom. From outside, Mills reveals that the three servants died of tuberculosis more than 50 years ago and that the living and the dead should learn to live together. Hearing the children scream as they face the elderly woman, Mills tells Grace to go upstairs and talk to the intruders.
Grace discovers that the old woman, described by Anne as an intruder, is in fact acting as a medium in a séance with Victor's parents. The medium asks what happened to Anne and Nicholas. The children's answers are written down by the medium and read out by a man. It is revealed that Grace smothered the children to death with a pillow on the day she "went mad". The children scream that they are not dead. Grace, in denial, shakes the séance table and rips the medium's papers. Victor's family sees only the table shaking and the papers being ripped; they are convinced to vacate the house.
Grace, now largely realizing herself as being the spirit which the séance tried to contact, regains her memories of the end of the war years: stricken with grief without her husband, and isolated alone with the children, Grace lost her mind and in psychosis killed her children. Realizing what she had done, she then shot herself. Later, when she "awoke" and heard her children's laughter, she assumed God had granted her family a second chance at life. Grace questions whether they are now alive and Mills says that Lydia also wondered this before becoming mute. Similarly, it was only Charles' spirit that came to visit them before departing. Anne asks if they are in Limbo and Grace cannot answer with certainty.
Mills tells Grace that they will learn to get along with future intruders. The children, no longer photosensitive as they are deceased, can enjoy playing in the sunlight. Although the property is again put up for sale, Grace and the children continue to inhabit the house.
Cast[edit]
Nicole Kidman as Grace Stewart
Fionnula Flanagan as Bertha Mills
Christopher Eccleston as Charles Stewart
Elaine Cassidy as Lydia
Eric Sykes as Edmund Tuttle
Alakina Mann as Anne Stewart
James Bentley as Nicholas Stewart
Alexander Vince as Victor Marlish
Keith Allen as Mr. Marlish
Michelle Fairley as Mrs. Marlish
Renée Asherson as the Old Lady
Production[edit]
The production crew visited Penshurst Place in Kent to film at the Lime Walk in the gardens. The Lime Walk was used in the scene where Grace Stewart (Nicole Kidman) went looking for a priest in the thick fog and instead met her husband who had returned from the war.[4] Filming locations are, among other spots, Palacio de los Hornillos in Las Fraguas, Northern Spain, and in Madrid.[5]
Release[edit]
Box office[edit]
The Others was released August 10, 2001 in 1,678 theaters in the United States and Canada and grossed $14 million its opening weekend, ranking fourth at the box office. It stayed in fourth for three more weeks, expanding to more theaters. During the weekend of September 21–23, it was second at the box office, grossing $5 million in 2,801 theaters.[6] The film, which cost $17 million to produce, eventually grossed $96.5 million in the United States and Canada and $113.4 million in other countries, for a worldwide total gross of $209.9 million.[2]
Critical reception[edit]
Many critics praised the performances of the stars especially Nicole Kidman as Grace Stewart. On the review aggregator Rotten Tomatoes, 83% of critics gave the film positive reviews, based on 148 reviews; the website's consensus stated "The Others is a spooky thriller that reminds us that a movie doesn't need expensive special effects to be creepy."[7] On Metacritic, the film had an average score of 74 out of 100, based on 29 reviews.[8] Roger Ebert gave the film two and a half stars out of four, praising that "...Alejandro Amenábar has the patience to create a languorous, dreamy atmosphere, and Nicole Kidman succeeds in convincing us that she is a normal person in a disturbing situation and not just a standard-issue horror movie hysteric." However, he noted that "in drawing out his effects, Amenábar is a little too confident that style can substitute for substance."[9]
Although the film deals primarily with the spiritual interaction of ghosts with each other rather than with living humans, William Skidelsky of The Observer has suggested that it was inspired by the 1898 novella The Turn of the Screw written by Henry James.[10]
Accolades[edit]
Goya Awards:
Best Cinematography (Javier Aguirresarobe)
Best Director (Alejandro Amenábar)
Best Editing (Nacho Ruiz Capillas)
Best Film
Best Production Design
Best Production Supervision
Best Original Screenplay (Alejandro Amenábar)
Best Sound
Kansas City Film Critics Circle Awards:
Best Actress (Nicole Kidman)
London Film Critics:
Best Actress of the Year (Nicole Kidman)
Online Film Critics:
Best Actress (Nicole Kidman)
Best Original Screenplay (Alejandro Amenábar)
Saturn Awards:
Best Actress (Nicole Kidman)
Best Supporting Actress (Fionnula Flanagan)
Best Horror Film
In popular culture[edit]
Scary Movie 3 includes parodies of scenes from the film, particularly the famous "I am your daughter" sequence.
Hum Kaun Hai and Anjaane: The Unknown are Hindi remakes of The Others
Spanish Movie is a parody film that spoofs several successful Spanish horror/drama films, primarily The Others but also The Orphanage, Pan's Labyrinth, REC, and others.
Australian Band Elora Danan wrote a song about the film called "Thank God for Their Growth in Faith and Love" (a line seen on the children's blackboard in a later scene) which was a track on their debut EP We All Have Secrets.
Electronic music artist Venetian Snares uses a sample from the film in the song "Children's Limbo" on the album Find Candace.
Simpsons' Treehouse of Horror XXV includes a segment spoofing the film in which the Simpsons are haunted by their former selves from The Tracey Ullman Show.
See also[edit]
List of ghost films
References[edit]
Jump up ^ "THE OTHERS (12)". British Board of Film Classification. September 4, 2001. Retrieved September 21, 2015.
^ Jump up to: a b c "The Others (2001)". Box Office Mojo. Retrieved 2007-10-26.
Jump up ^ The MovieWeb Team (June 13, 2002). "The 2001 Saturn Awards". MovieWeb.
Jump up ^ Kent Film Office (17 March 2001). "Filmed in Kent: The Others (2001)". Retrieved 2014-12-12.
Jump up ^ "The Others (2001) Filming Locations - The Movie District". The Movie District. Retrieved 2017-11-19.
Jump up ^ "The Others (2001) - Weekend Box Office". Box Office Mojo. Retrieved 2007-10-26.
Jump up ^ "The Others - Rotten Tomatoes". Rotten Tomatoes. Retrieved 2007-10-26.
Jump up ^ "Others, The (2001): Reviews". Metacritic. Retrieved 2007-10-26.
Jump up ^ "The Others (2001)". Chicago Sun-Times. Retrieved 28 April 2010.
Jump up ^ Skidelsky, Will. "Classics corner: The Turn of the Screw," The Observer (29 May 2010).
External links[edit]
The Others on IMDb
The Others at Box Office Mojo
The Others at Rotten Tomatoes
The Others at Metacritic
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Films directed by Alejandro Amenábar
Thesis (1996)
Open Your Eyes (1997)
The Others (2001)
The Sea Inside (2004)
Agora (2009)
Regression (2015)
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Goya Award for Best Film
1980s
1986 Voyage to Nowhere
1987 El bosque animado
1988 Women on the Verge of a Nervous Breakdown
1989 Twisted Obsession
1990s
1990 ¡Ay Carmela!
1991 Lovers
1992 Belle Époque
1993 Everyone Off to Jail
1994 Running Out of Time
1995 Nobody Will Speak of Us When We're Dead
1996 Thesis
1997 The Lucky Star
1998 The Girl of Your Dreams
1999 All About My Mother
2000s
2000 El Bola
2001 The Others
2002 Mondays in the Sun
2003 Take My Eyes
2004 The Sea Inside
2005 The Secret Life of Words
2006 Volver
2007 Solitary Fragments
2008 Camino
2009 Cell 211
2010s
2010 Black Bread
2011 No Rest for the Wicked
2012 Blancanieves
2013 Living Is Easy with Eyes Closed
2014 Marshland
2015 Truman
2016 The Fury of a Patient Man
2017 The Bookshop
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Saturn Award for Best Horror Film
Blacula (1972)
The Exorcist (1973)
Young Frankenstein (1974/75)
Burnt Offerings (1976)
The Little Girl Who Lives Down the Lane (1977)
The Wicker Man (1978)
Dracula (1979)
The Howling (1980)
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Poltergeist (1982)
The Dead Zone (1983)
Gremlins (1984)
Fright Night (1985)
The Fly (1986)
The Lost Boys (1987)
Beetlejuice (1988)
Arachnophobia (1989/90)
The Silence of the Lambs (1991)
Bram Stoker's Dracula (1992)
Army of Darkness (1993)
Interview with the Vampire (1994)
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Scream (1996)
The Devil's Advocate (1997)
Apt Pupil (1998)
The Sixth Sense (1999)
Final Destination (2000)
The Others (2001)
The Ring (2002)
28 Days Later (2003)
Shaun of the Dead (2004)
The Exorcism of Emily Rose (2005)
The Descent (2006)
Sweeney Todd: The Demon Barber of Fleet Street (2007)
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v
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Henry James's The Turn of the Screw (1898)
Stage
The Innocents (1950 play)
The Turn of the Screw (1954 opera)
Films
The Innocents (1961)
The Nightcomers (1971, prequel)
Presence of Mind (1999)
In a Dark Place (2006)
The Turning (2019)
TV films
The Turn of the Screw (1974)
The Turn of the Screw (2009)
Authority control
WorldCat Identities
BNF: cb14295058f (data)
GND: 4701285-7
LCCN: n2003039410
SUDOC: 08768246X
VIAF: 316752000
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Others_(2001_film)&oldid=849845057"
Categories:
2001 films
American films
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2001 horror films
2000s ghost films
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Best Film Goya Award winners
Filicide in fiction
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Films directed by Alejandro Amenábar
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