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Partition of Bengal (1905)
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The decision to effect the Partition of Bengal (Bengali: বঙ্গভঙ্গ) was announced in 7 July 1905 by the Viceroy of India, Lord Curzon. The partition took place on 16 October 1905 and separated the largely Muslim eastern areas from the largely Hindu western areas. The Hindus of West Bengal who dominated Bengal's business and rural life complained that the division would make them a minority in a province that would incorporate the province of Bihar and Orissa.[1] Hindus were outraged at what they recognised as a "divide and rule" policy,[2] where the colonisers turned the native population against itself in order to rule, even though Curzon stressed it would produce administrative efficiency. The partition animated the Hindus and led the Muslims to form their own national organisation on communal lines. Bengal was reunited in 1911 in an effort to appease Bengali sentiment.
Contents
[hide]
1 Background
2 Partition
3 Political crisis
4 Re-unification
5 Aftermath
6 Significance
7 See also
8 Notes
9 Further reading
10 External resources
Background[edit]
The provincial state of Bengal had an area of 189,000 mi2 and a population of nearly 78.5 million. It comprised to West Bengal with a Hindu majority and East Bengal and Assam with a Muslim majority. It included the Hindi-speaking regions of Bihar, the Odia-speaking regions of Odisha as well as the Assamese-speaking region of Assam, making it a huge administrative entity. Moreover, the capital, Calcutta, was also the capital of the entire British India. With the growing efforts of the Indian National Congress to secure the independence of India, Lord Curzon decided to address both these problems by partitioning Bengal into two entities, which would result in a Muslim-majority in the eastern half, and a Hindu-majority in the western half. This he hoped would reduce the administrative pressures and divide the population on religious grounds, quelling the Indian Independence Movement.
Partition[edit]
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The government announced the idea for partition in January 1904. The idea was opposed by Henry John Stedman Cotton, Chief Commissioner of Assam (1896–1902).
The partition was made on 16 October, by Viceroy Curzon. The former province of Bengal was divided into two new provinces "Bengal" (comprising western Bengal as well as the province of Bihar and Orissa) and Eastern Bengal and Assam with Dacca as the capital of the latter.[3] Partition was promoted for administrative reasons since Bengal was geographically as large as France and had a significantly larger population. Curzon stated the eastern region was neglected and under-governed. By splitting the province, an improved administration could be established in the east, where subsequently, the population would benefit from new schools and employment opportunities.
The partition was generally supported by the Muslims of East Bengal by both their poor economic conditions in East Bengal and the perceived dominance of the Hindu businessmen and landlords in West Bengal over the governance of Bengal. Most of the factories and mills in Bengal were established in and around Calcutta, while many sources of raw materials for these factories were in East Bengal. Furthermore, most of the educational institutions of the Province were in Calcutta, including the lone university in Bengal.
The scars resulting from the partition of Bengal have never completely healed and can still be seen today.
Given below is the proclamation of partition:
"The Governor-General is pleased to constitute the territories at present under the administration of the Chief Commissioner of Assam to be for the purposes of the Indian Councils Act 1861... a province to which the provisions of that Act touching the making of laws and regulations for the peace and good order of the presidencies of Fort St. George and Bombay shall be applicable and to direct that the said province shall be called and known as the province of Eastern Bengal and Assam.... The Governor-General in Council is pleased to specify the sixteenth day of October, 1905 as the period at which the said provisions shall take effect and 15th as the number of councilors whom the Lieutenant-Governor may nominate for his assistance in making laws and regulations. The Governor-General in Council is further pleased to declare and appoint that upon the constitution of the said province of Eastern Bengal and Assam, the districts of Dacca, Mymensingh, Faridpur, Backergunge, Tippera, Noakhali, Chittagong, the Chittagong Hill Tracts, Rajashahi, Dinajpur, Jalpaiguri, Rangpur, Bogra, Pabna, and Malda which now form part of the Bengal Division of the Presidency of Fort William shall cease to be subject to or included within the limits of that Division, and shall thenceforth be subject to and included within the limits of the Lieutenant-Governorship of the province of Eastern Bengal and Assam."
The reason behind the partition that was officially announced was that the Bengal province was too large to be administered by a single governor and so it would be partitioned on administrative purpose. The real reason behind the partition was political and not administrative. East Bengal was dominated by the Muslims and West Bengal by the Hindus. Partition was yet another part of the divide and rule policy. The following excerpts from Curzon's letter of 2 February 1905 to St. John Brodrick, Secretary of State for India, give an idea of his aims in partitioning Bengal:
"Calcutta is the centre from which the Congress Party is manipulated throughout the whole of Bengal, and indeed the whole of India. Its best wire pullers and its most frothy orators all reside here. The perfection of their machinery, and the tyranny which it enables them to exercise are truly remarkable. They dominate public opinion in Calcutta; they affect the High Court; they frighten the local Government, and they are sometimes not without serious influence on the Government of India. The whole of their activity is directed to creating an agency so powerful that they may one day be able to force a weak government to give them what they desire. Any measure in consequence that would divide the Bengali-speaking population; that would permit independent centres of activity and influence to grow up; that would dethrone Calcutta from its place as the center of successful intrigue, or that would weaken the influence of the lawyer class, who have the entire organisation in their hands, is intensely and hotly resented by them. The outcry will be loud and very fierce, but as a native gentleman said to me – 'my countrymen always howl until a thing is settled; then they accept it'."
Political crisis[edit]
Partition sparked an extremely major political crisis along religious lines. Hindu resistance exploded as the Indian National Congress began the Swadeshi movement that included boycotting British goods and public institutions, meetings and processions, forming committees, propaganda through press, and diplomatic pressure. Hitherto untouched sections of Indian society participated in these movements, providing base for later movements. Richness of the movement extended to culture, science and literature. Masses were educated for a bolder form of politics and colonial hegemony was undermined. The Muslims in East Bengal hoped that a separate region would give them more control over education and employment, hence, they opposed those movements.[4] Rabindranath Tagore wrote Banglar Mati Banglar Jol as a rallying cry for proponents of annulment of Partition.[5]
Opposition to the partition was supported by Sir Henry John Stedman Cotton who had been Chief Commissioner of Assam, but Curzon was not to be moved. Later, Cotton, now Liberal MP for Nottingham East coordinated the successful campaign to oust the first lieutenant- governor of East Bengal, Sir Bampfylde Fuller.
Re-unification[edit]
Due to these political protests, the two parts of Bengal were reunited on 12 December 1911. A new partition which divided the province on linguistic, rather than religious grounds followed, with the Hindi, Oriya and Assamese areas separated to form separate administrative units: Bihar and Orissa Province was created to the west, and Assam Province to the east. The administrative capital of British India was moved from Calcutta to New Delhi as well.
Aftermath[edit]
In 1909, separate elections were established for Muslims and Hindus. Before this, many members of both communities had advocated national solidarity of all Bengalis. With separate electorates, distinctive political communities developed, with their own political agendas. Muslims, too, dominated the Legislature, due to their overall numerical strength of roughly twenty two to twenty eight million. Nationally, Hindus and Muslims began to demand the creation of two independent states, one to be formed in majority Hindu and one in majority Muslim areas.[6]
In 1947, Bengal was partitioned for the second time, solely on religious grounds, as part of the Partition of India following the formation of the nations India and Pakistan.[7] In 1955, East Bengal became East Pakistan, and in 1971 became the independent state of Bangladesh after a successful war of independence with West Pakistan.[8]
Significance[edit]
The partition left a significant impact on the people of Bengal as well as the political scene of the Indian subcontinent. This event also created a sense of political awareness among the Muslims of East Bengal. To mollify the people of East Bengal, Lord Curzon declared that a university as a center of excellence would be established in Dacca (which would later be named as University of Dhaka) and formed a committee in this regard consisting Khwaja Salimullah, A. K. Fazlul Huq and others. The decision was severely criticised by some Hindu leaders in West Bengal. The most significant impact of this event was greater communal dissonance between the Hindus and Muslims of Bengal.
See also[edit]
West Bengal
Partition of Bengal (1947)
Notes[edit]
Jump up ^ Encyclopædia Britannica, "the creation of the barrier" http://www.britannica.com/EBchecked/topic/60754/partition-of-Bengal
Jump up ^ Bipan Chandre Lal, "History of Modern India", ISBN 978-81-250-3684-5, pp. 248–249
Jump up ^ David Gilmour, Curzon: Imperial Statesman (1994), pp. 271–3
Jump up ^ Gordon Johnson, "Partition, Agitation and Congress: Bengal 1904 To 1908," Modern Asian Studies, (May 1973) 7#3, pp. 533–588
Jump up ^ The heritage of Bangla patriotic songs
Jump up ^ Judith M. Brown, Modern India (1985), pp. 184, 366
Jump up ^ Haimanti Roy, "Partition of Contingency? Public Discourse in Bengal, 1946–1947," Modern Asian Studies, (November 2009), 43#6, pp. 1355–1384
Jump up ^ Judith M. Brown, Modern India (1985), p. 366
Further reading[edit]
Edwardes, Michael. High Noon of Empire: India under Curzon (1965)
McLane, John R.. "The Decision to Partition Bengal in 1905," Indian Economic and Social History Review, July 1965, 2#3, pp. 221–237
External resources[edit]
Ahmed, Sufia (2012). "Partition of Bengal, 1905". In Islam, Sirajul; Jamal, Ahmed A. Banglapedia: National Encyclopedia of Bangladesh (Second ed.). Asiatic Society of Bangladesh.
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Super Bowl LII halftime show
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Super Bowl LII halftime show
Date
February 4, 2018
Location
Minneapolis, Minnesota, U.S.
Venue
U.S. Bank Stadium
Headliner
Justin Timberlake
Special guests
The Tennessee Kids, University of Minnesota Marching Band
Sponsor
Pepsi
Director
Hamish Hamilton
Producer
Ricky Kirshner
Super Bowl halftime show chronology
LI
(2017) LII
(2018) LIII
(2019)
The Super Bowl LII Halftime Show (officially known as the Pepsi Super Bowl LII Halftime Show) took place on February 4, 2018 at U.S. Bank Stadium in Minneapolis, Minnesota, as part of Super Bowl LII. Justin Timberlake was the featured performer, as confirmed by the National Football League (NFL) on October 22, 2017.[1] It was televised nationally by NBC.
Contents
[hide]
1 Synopsis
2 Background
3 Development
4 Critical response
5 Commercial reception
6 Setlist
7 See also
8 References
9 External links
Synopsis[edit]
Timberlake with dancers during the halftime performance
Timberlake during halftime show
Timberlake performing "Suit & Tie" with the University of Minnesota Marching Band
The show began with Jimmy Fallon introducing Justin Timberlake, followed by a video screen depicting Timberlake performing "Filthy" in a club setting below the field level of the stadium. He then walked up a staircase and appeared on a ramp stage extending outward into the field, descending into a series of stages surrounded by a crowd. Timberlake proceeded to move through the crowd performing "Rock Your Body" with a troupe of female backup dancers, abruptly stopping short of the end of the song and shifting to "Señorita" on a small stage with his backing dancers. Upon reaching the main stage, he performed a number of songs, including "SexyBack", "My Love", and "Cry Me a River", which featured a dance break mid-field. Upon reaching the next stage, Timberlake performed his hit song "Suit & Tie" as the University of Minnesota Marching Band, wearing black tuxedos, played backup instrumentals and marched out to meet him.[2]
The Stadium and the city of Minneapolis were shown to be lit purple during Timberlake's tribute to Prince
Dancers fill the field during Timberlake's performance of "Can't Stop the Feeling!"
Timberlake proceeded to walk up to a white grand piano while performing "Until the End of Time", then segued into "I Would Die 4 U" as a tribute to Minneapolis-native Prince. A video of Prince performing the song played in the background, projected onto on a large multi-story sheet. An aerial shot showed downtown Minneapolis covered in purple lighting that morphed into Prince's trademark Love Symbol, with the stadium at the center. He then returned to the main stage to perform "Mirrors", as hundreds of dancers and members of the marching band performed choreography with large mirrors, creating bright reflections in the broadcast and across the roof of the stadium. Timberlake closed the show with "Can't Stop the Feeling!", entering the stands at the conclusion of the song.[3][4]
For the first time since the Super Bowl XLVI halftime show in Indianapolis in 2012, no pyrotechnics were used throughout the performance. The show relied mostly on lasers and video screens for visual effects.[5]
Background[edit]
Field being set up for Timberlake's performance
In July 2017, multiple media outlets reported that Britney Spears was in talks to perform at Halftime, but Pepsi quickly denied it a few days later. During August and September 2017, several publications informed that Timberlake was the frontrunner to performer at the Super Bowl LII halftime, first along with his frequent-collaborator Jay-Z as co-headliner, and then as the solo performer.[6] A spokesperson from the NFL stated at the time, "along with Pepsi, we know that we will put on a spectacular show. When it is time to announce her name we will do it. Or his name. Or their names."[7] The NFL confirmed the announcement on October 22 with a video starring Timberlake and Jimmy Fallon.[8]
This was Timberlake's third appearance in a Super Bowl halftime show. As a member of NSYNC, Timberlake appeared in the Super Bowl XXXV (2001) halftime show, and as a guest artist in the Super Bowl XXXVIII (2004), which performance featured a controversial incident where Timberlake accidentally exposed one of Janet Jackson's breasts on national television, described as a wardrobe malfunction. The Parents Television Council penned an open letter to Timberlake asking to keep the performance "family-friendly." While the organization acknowledged that Timberlake apologized for the 2004 incident, they asked him to stay true to his word, saying "we are heartened by your response that the events of 2004 are not going to happen in 2018," as the singer stated in a prior interview that "we are not going to do that again."[9]
In an interview with Billboard, Pepsi executives expressed:
We are all big fans of Justin Timberlake. We’ve kind of felt that Justin deserves, and has for a number of years, to be the main artist for the halftime show because previously he wasn’t the main artist. It was just about the timing. To be honest, we have discussed Justin for the last number of years for coming and doing halftime, and this year just felt really right to us. He is hands down one of the greatest entertainers currently alive, it was a no-brainer. We know he’s gonna bring it.[10]
The Halftime Show included a remembrance for Indianapolis Colts linebacker Edwin Jackson, who died just hours before Super Bowl LII after being struck by a vehicle.
Development[edit]
The U.S. Bank Stadium, where Super Bowl and the halftime show was held.
During the performance, Timberlake wore an outfit designed by Stella McCartney, which consists of "alter nappa fringed jacket with a shirt, featuring a landscape artwork by British artist Martin Ridley," according to a press release. Also part of the look is a Prince of Wales-check and camouflage splatter-print suit and matching jacket. As usual for McCartney, these pieces were made from animal-free leather and organic cotton.[11][12]
Timberlake stated in a press conference that there would be no guest musicians in the halftime show and that the event would focus solely on himself and his backing band, the Tennessee Kids.[13] Regarding the Prince tribute, the performance's creative visual lead, Fireplay's Nick Whitehouse, told Rolling Stone:
Paying tribute to Prince was something JT highlighted as an important moment for this show, and we spent quite a bit of time ensuring this moment would be true to his legacy. Ultimately, Justin decided that the only person who could do Prince justice is Prince. The band held 50-hours worth of rehearsals in preparation for the show.[14]
Prince had previously stated he did not want to be included in new music after death in a 1998 interview, citing The Beatles' "Free as a Bird" as an example of a practice he considered to be "demonic." His family granted permission to use Prince's likeness on the condition that it not be used in a hologram, and they approved of the final result.[15][2] Sheila E, a former bandmate of Prince's who was involved in negotiations over the use of his likeness, stated that "a bigger company" (she declined to specify whether it was Pepsi or the NFL) had insisted on including the Prince apparition and that the notion was not originally Timberlake's idea.[16]
Despite the lack of an individual guest artist, the more than 300-member University of Minnesota Marching Band was featured in the show. The band's drumline, brass, and saxophone sections pre-recorded and performed with Timberlake during his performance of "Suit & Tie." The upper woodwind and auxiliary sections led drill formations and held large mirrors during Timberlake’s performance of his song "Mirrors", and acted as fans and dancers throughout other portions of the show, including the club scene at the show's opening. All members of the band were featured on the field in the show's finale, "Can't Stop the Feeling!". The band had previously performed in the halftime show of Super Bowl XXVI.[4]
Critical response[edit]
Timberlake’s performance received mixed reviews.[17] In a positive review, Bruce R. Miller of Sioux City Journal wrote "Timberlake is a masterful live performer – which made Sunday's Super Bowl performance about the only sure bet," he continued commenting the performer "did a lot of infectious dancing and managed to play with the crowd like no other." Although it did not have a moment that "stuck," he considered the Prince tribute the best moment of the show.[18] In a similarly positive review, Taylor Weatherby of Billboard said "there is no denying that Timberlake absolutely rocked his first headlining [halftime]", further adding "Timberlake's halftime show was undeniably mesmerizing. From starting in the concourse to making his way into the crowd (and making #SelfieKid an instant superstar) for the ending." She also considered it "is made for a TV experience" rather than for the public in the stadium, mainly for the sound quality difficulties, but also criticized him for including Rock Your Body in the set list.[19] From the same magazine, Nina Braca wrote "his moves were on point,"[17] and Andrew Ubterberger said two things were "relatively certain" about the performance. "most of America would love it, and most of the Internet would hate it," and added Timberlake was "in a situation that was both a can't-lose and a can't-win. It would've been virtually impossible for him to please the critics he'd alienated over the last couple years."[20] Also from Billboard, Andrew Unterberge wrote, "Timberlake's audio was somewhat lacking throughout...but the choreography, live-band energy and song selection were all pretty impeccable".[21]
Chris Willman of Variety stated that, "Timberlake turned in a more enjoyably physical performance than just about anybody else who's done the Bowl show… and if it was more a feat of athleticism than aestheticism, you can’t say that’s entirely inappropriate for the occasion."[22] Willman also wrote that the show, "wasn't one for the ages, but was impressive as a show of athleticism"[22]
Jon Caramanica of The New York Times wrote that Timberlake's performance was, "heavy on dance spectacle, light on vocal authority".[23] Daniel Fienberg of The Hollywood Reporter called the show, "energetic, but also entirely lacking in live excitement." Feinberg criticized the show for largely lacking spontaneity and live vocals. Feinberg wrote that Timberlake delivered, "one of the most over-planned, least surprising performances imaginable."[24] Darren Franich of Entertainment Weekly graded Timberlake's performance a "C", calling it, "dutiful, and empty". Franich faulted Timberlake for playing too safe with his performance.[25] Similarly, Fran Guan of Vulture.com wrote, "Technically speaking, Timberlake’s set was a testament to precision". Guan, however, criticized Timberlake's performance from lacking in personality, and regarded his performance as unmemorable.[26]
The Guardian gave Timberlake 3 out of 5 stars, calling his performance forgettable but flashy.[27] In an interview with NPR, Ann Powers said that "the entire performance was shrouded in the sense of Timberlake not being right for this moment — and the Janet Jackson controversy haunted it."[28] Daniel D’Addarrio of Time.com gave the performance a negative review, criticizing Timberlake for singing Cry Me A River in addition to Rock Your Body, calling the song’s lyrics about an evil promiscuous woman out of step with the national mood, and said that the only message from Timberlake’s performance was that he loves his back catalog[29] Deadline felt "but you could see the motions more than you felt the music."[30] Chris Richards of The Washington Post regarded Timberlake’s performance as, “unambiguously underwhelming”.[31]
USA Today and Vulture compared Timberlake's performance unfavorably to Prince's own 2007 halftime show.[32][26] Amanda Petrusich of The New Yorker wrote that Timberlake’s decision to omit the end of "Rock Your Body" (which was performed during the controversial 2004 halftime) felt, “less like an apology than yet more spineless deflection”.[33] However, Andrew Unterberge of Billboard considered Timberlake's decision to cut the song short to be wise.[21] Timberlake's Stella McCartney-designed outfit received negative reviews, with some critics regarding it as "tacky".[17][24][19][21] The LA Times also gave a very critical review, one which also stated that Timberlake had nothing to say in his performance, and said that it lacked soul and meaning.[34] The Digital Journal gave him 2/5 stars and called it lackluster.[35]
Commercial reception[edit]
The Super Bowl LII halftime show was seen by 106.6 million television viewers in the United States, 9% less than Lady Gaga's in 2017. It had higher average viewership than the game itself, and the decline for the halftime show was roughly in line with that of the game as a whole, which had lost 7% compared to the previous year.[36]
According to initial sales reports from Nielsen Music, sales of the songs Timberlake performed during the halftime show gained 534% in the United States on February 4, the day of the Super Bowl, compared to Feb. 3, while his streams on Spotify gained 214%.[37][38] Janet Jackson likewise gained 150% on Spotify.[39]
Setlist[edit]
Timberlake performing alongside a video projection of Prince
"Filthy"
"Rock Your Body"
"Señorita"
"SexyBack" (with elements of "Supplies")
"My Love"
"Cry Me a River" (with elements of "Kashmir")
"Suit & Tie" (with elements of "Pusher Love Girl") (featuring the University of Minnesota Marching Band)
"Until the End of Time"
"I Would Die 4 U" (along with a pre-recorded video of Prince, displayed on a projection screen)
"Mirrors"
"Can't Stop the Feeling!"
See also[edit]
2018 in American television
References[edit]
Jump up ^ Schad, Tom (October 22, 2017). "Justin Timberlake Headline Super Bowl LII Halftime Show". USA Today. Retrieved October 22, 2017.
^ Jump up to: a b "No hologram, but still a Prince tribute in Justin Timberlake's halftime show". Star Tribune. Retrieved February 5, 2018.
Jump up ^ NFL (February 4, 2018), Justin Timberlake’s FULL Pepsi Super Bowl LII Halftime Show! | NFL Highlights, retrieved February 5, 2018
^ Jump up to: a b "U of M Marching Band steals the halftime show". KARE. Retrieved 2018-02-06.
Jump up ^ "Justin Timberlake and everything but the football – Super Bowl half-time show as it happened". Guardian. 5 February 2018. Retrieved 6 February 2018.
Jump up ^ "Super Bowl halftime show: Here's who Justin Timberlake's guest performers might be". CBS Sports. February 4, 2018. Retrieved February 4, 2018.
Jump up ^ Boren, Cindy (September 27, 2017). "Justin Timberlake reportedly 'finalizing' deal to headline Super Bowl LII halftime show". Chicago Tribune. Retrieved February 3, 2018.
Jump up ^ "Justin Timberlake Headlines Pepsi Super Bowl LII Halfitme Show". National Football League. October 22, 2017. Retrieved October 22, 2017.
Jump up ^ Aniftos, Rania (January 30, 2018). "The Parents Television Council Pens Open Letter to Justin Timberlake Asking to Keep Super Bowl Performance Appropriate'". Billboard. Retrieved February 4, 2018.
Jump up ^ Weatherby, Taylor (February 3, 2018). "Justin Timberlake Set to Deliver 'Mesmerizing' Super Bowl Halftime Show: Pepsi Execs Reveal It's 'Justin at His Best'". Billboard. Retrieved February 3, 2018.
Jump up ^ Sebra, Matt (February 2, 2018). "Justin Timberlake Finally Gets the Super Bowl Halftime Show Outfit He Deserves". GQ. Retrieved February 2, 2018.
Jump up ^ Karmali, Sarah (February 2, 2018). "Justin Timberlake to wear Stella McCartney at the Super Bowl". Harper's Bazaar. Retrieved February 2, 2018.
Jump up ^ "Super Bowl 2018 Justin Timberlake press conference highlights". People. Retrieved February 3, 2018.
Jump up ^ Legaspi, Althea (February 5, 2018). "Super Bowl LII: Watch Justin Timberlake Honor Prince in Halftime Spectacle". Rolling Stone. Retrieved February 5, 2018.
Jump up ^ Wilstein, Matt (February 5, 2018). "Prince's Family Approves of Justin Timberlake Super Bowl Halftime Tribute". The Daily Beast. Retrieved February 5, 2018.
Jump up ^ "Sheila E. says Justin Timberlake wasn't behind Prince hologram idea". TMZ. February 10, 2018. Retrieved February 10, 2018.
^ Jump up to: a b c Braca, Nina (February 5, 2018). "From 'Cry Me a River' to 'Can't Stop the Feeling!,' Justin Timberlake's 10 Best Live Performances: Critic's Picks". www.billboard.com. Billboard. Retrieved February 6, 2018.
Jump up ^ Miller, Bruce R. (February 4, 2018). "REVIEW: Justin Timberlake does a great Super Bowl job, even without NSYNC". Sioux City Journal. Retrieved February 6, 2018.
^ Jump up to: a b Weatherby, Taylor (February 4, 2018). "Justin Timberlake's Super Bowl Halftime Show: 5 Takeaways From Seeing It In Person". Billboard. Retrieved February 6, 2018.
Jump up ^ Unterberger, Andrew (February 5, 2018). "Justin Timberlake Plays the Hits, Largely Avoids Controversy With Sigh-of-Relief Super Bowl LII Halftime Performance". Billboard. Retrieved February 5, 2018.
^ Jump up to: a b c Unterberge, Andrew (February 4, 2018). "Justin Timberlake Plays the Hits, Largely Avoids Controversy With Sigh-of-Relief Super Bowl LII Halftime Performance". www.billboard.com. Billboard. Retrieved February 8, 2018.
^ Jump up to: a b Willman, Chris (February 4, 2018). "Halftime Review: Justin Timberlake Emerges Fumble-Free After Bad Pre-Game PR". Variety. Retrieved February 4, 2018.
Jump up ^ Caramanica, Jon (February 4, 2018). "Justin Timberlake Plays It Safe, Seeking Super Bowl Redemption". www.nytimes.com. New York Times. Retrieved February 8, 2018.
^ Jump up to: a b Feinberg, Daniel (February 4, 2018). "Critic's Notebook: Justin Timberlake's Super Bowl Halftime Performance Is Light on Singing, Spontaneity". The Hollywood Reporter. Retrieved February 8, 2018. More than one of |website= and |work= specified (help)
Jump up ^ Franich, Darren (February 4, 2018). "Justin Timberlake's Super Bowl halftime show was dutiful, and empty: EW review". www.ew.com. Entertainment Weekly. Retrieved February 8, 2018.
^ Jump up to: a b Guan, Fran (February 5, 2018). "It Was His Halftime Show, But Justin Timberlake Was the Least Memorable Musician at the Super Bowl". www.vulture.com. New York Magazine. Retrieved February 8, 2018.
Jump up ^ Nevins, Jake (February 5, 2018). "Justin Timberlake's Super Bowl performance: a forgettable but flashy medley of hits". the Guardian.
Jump up ^ "As The Pop World Seeks Accountability, Justin Timberlake Seems Lost In The Woods".
Jump up ^ "Justin Timberlake Was a Man in the Weeds at His Super Bowl Halftime Show". Time.
Jump up ^ Patten, Dominic (February 5, 2018). "Justin Timberlake's Botched Super Bowl Halftime Show Return Not Princely – Review".
Jump up ^ Richards, Chris (February 4, 2018). "This is how Justin Timberlake lost the Super Bowl". www.washingtonpost.com. Washington Post. Retrieved February 5, 2018.
Jump up ^ McDermott, Maeve (February 5, 2018). "Compared with Prince's, Justin Timberlake's halftime show was a wimpy joke". www.usatoday. USA Today. Retrieved February 6, 2018.
Jump up ^ Petrusich, Amanda (February 4, 2018). "Justin Timberlake's Super Bowl Halftime Show, Reviewed". www.newyorker.com. The New Yorker. Retrieved February 6, 2018.
Jump up ^ Wood, Mikael. "Justin Timberlake had nothing to say at the Super Bowl and wouldn't stop saying it". latimes.com.
Jump up ^ "Review: Justin Timberlake lackluster at Super Bowl halftime performance (Includes first-hand account)". February 8, 2018.
Jump up ^ Patten, Dominic. "Eagles' 1st Super Bowl Win Draws 103.4M Viewers, Smallest Audience In Nine Years – Update". Deadline. Penske Business Media. Retrieved 5 February 2018.
Jump up ^ Caufield, Keith (February 5, 2018). "Justin Timberlake's Super Bowl Halftime Show Spurs 534% Sales Gain". Billboard. Retrieved February 5, 2018.
Jump up ^ Krzaczek, Katie (February 5, 2018). "Super Bowl Bump: Justin Timberlake Streams Jump 214 Percent on Spotify". Billboard. Retrieved February 5, 2018.
Jump up ^ "Janet Jackson's Spotify Streams Surge After Super Bowl LII". February 5, 2018.
External links[edit]
Media related to Super Bowl LII halftime show at Wikimedia Commons
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Thelma & Louise
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Thelma & Louise
Theatrical release poster
Directed by
Ridley Scott
Produced by
Ridley Scott
Mimi Polk Gitlin
Written by
Callie Khouri
Starring
Susan Sarandon
Geena Davis
Harvey Keitel
Brad Pitt
Music by
Hans Zimmer
Cinematography
Adrian Biddle
Edited by
Thom Noble
Production
company
Pathé
Percy Main Productions
Star Partners III Ltd.
Metro-Goldwyn-Mayer
Distributed by
Metro-Goldwyn-Mayer
Release date
May 24, 1991 (1991-05-24)
Running time
129 minutes
Country
United States
Language
English
Budget
$16.5 million
Box office
$45.4 million (North America)[1]
Thelma & Louise is a 1991 American road film directed by Ridley Scott and written by Callie Khouri. It stars Geena Davis as Thelma and Susan Sarandon as Louise, two friends who embark on a road trip with disastrous consequences. The supporting cast include Harvey Keitel, Michael Madsen, and Brad Pitt, whose career was launched by the film.
The film became a critical and commercial success, receiving six Academy Award nominations and winning one for Best Original Screenplay for Khouri. Scott was nominated for Best Director, and both Sarandon and Davis were nominated for Best Actress. At its release the film stirred controversy. At the intersection of several genres, it is now considered a classic. It influenced other films and artistic works, and became a landmark of feminist film. In 2016, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Reception
4.1 General
4.2 Feminism
4.3 Awards and honors
5 Soundtrack
6 See also
7 References
8 Further reading
9 External links
Plot[edit]
Best friends Thelma Dickinson and Louise Sawyer set out for a weekend vacation at a fishing cabin in the mountains, to take a break from their dreary lives in Arkansas. Thelma, a ditzy housewife, is married to a disrespectful and controlling man, Darryl, while sharp-tongued Louise works as a waitress in a diner, and is on-off dating a musician, Jimmy, who spends most of his time on the road.
On the way they stop for a drink at a roadhouse bar where Thelma meets and dances with a flirtatious stranger, Harlan. When he takes her outside to the parking lot to get some fresh air, he starts kissing her and taking her clothes off without her consent. Thelma resists but Harlan hits her, and then starts raping her. Louise finds them and threatens to shoot Harlan with the gun that Thelma brought with her. Harlan stops but as the women walk away, he yells that he should've continued the rape and insults them. Angry, Louise responds by shooting him dead, and the pair flee the scene.
At a motel, they discuss how to handle the situation. Thelma wants to go to the police but Louise fears they won't be believed and be subsequently charged for murder. They decide to go on the run, but Louise demands they travel from Oklahoma to Mexico without going through Texas. Something happened to Louise in Texas several years earlier and Thelma suspects it was exactly what had happened with Harlan but Louise adamantly refuses to discuss it. Heading west, the women come across an attractive young drifter, J.D., who Thelma quickly falls for, and she convinces Louise to let him hitch a ride with them. Louise then contacts Jimmy and asks him to wire transfer her life savings to her. When she goes to pick up the money, she finds that Jimmy has come to see her to deliver the money in person, and the two spend the night together. Jimmy proposes to Louise but she refuses. Meanwhile, Thelma invites J.D. to her room, and they sleep together. She then learns he is a thief who has broken parole.
The following morning, Thelma leaves J.D. in her motel room while she meets Louise downstairs for breakfast and, when they return, they discover J.D. has stolen Louise's life savings and fled. Louise is distraught, so a guilty Thelma takes charge and later robs a nearby convenience store using the tactics she learned from listening to J.D. Meanwhile, the FBI are getting closer to catching the fugitives after witnesses at the bar saw Louise's 1966 Ford Thunderbird convertible speeding out of the parking lot the night of the shooting. Their whereabouts are also questioned by the owner of the fishing cabin after the women failed to arrive for the weekend. Arkansas State Police Investigator Hal Slocumb leads the investigation and questions both J.D. and Jimmy, and taps into the phone line at Darryl's house. He discovers that Louise had been raped years earlier in Texas, so sympathizes with her situation and understands why they didn't report Harlan's murder to the authorities. During a couple of brief phone conversations with Louise, he expresses his sympathy and pledges to protect her, but is unsuccessful in his attempts to persuade her to surrender.
Thelma tells Louise she understands if she wants to go back home, knowing she has Jimmy waiting for her, but explains she can't go back to Darryl. Louise promises they will keep going together. The pair are later pulled over by a New Mexico state trooper for speeding. Knowing he will soon discover they are wanted for murder and armed robbery, Thelma holds him at gunpoint and locks him in the trunk of his police car, while Louise takes his gun and ammunition. They drive away from the scene and spend the next few nights heading further west. On the road, they encounter a foul-mouthed truck driver who repeatedly makes obscene gestures at them. They pull over and demand an apology from him, but when he refuses, they fire at the fuel tanker he is driving, causing it to explode.
Thelma and Louise are finally cornered by the authorities only one hundred yards from the edge of the Grand Canyon. Hal arrives on the scene, but he is refused the chance to make one last attempt to talk the women into surrendering. Rather than be captured and spend the rest of their lives in jail, Thelma proposes that they "keep going". Louise asks Thelma if she is certain, and Thelma says yes. They kiss, then Louise steps on the accelerator, and they ride the car over the cliff to their deaths.
Cast[edit]
Susan Sarandon as Louise Elizabeth Sawyer
Geena Davis as Thelma Yvonne Dickinson
Harvey Keitel as Detective Hal Slocumb
Michael Madsen as Jimmy Lennox
Christopher McDonald as Darryl Dickinson
Stephen Tobolowsky as Max
Brad Pitt as J.D.
Timothy Carhart as Harlan Puckett
Jason Beghe as State Trooper
Marco St. John as Truck Driver
Production[edit]
Although the setting for the film is a fictional route between Arkansas and the Grand Canyon, the movie was filmed almost entirely in the states of California and Utah. The primary filming locations for the movie are rural areas around Bakersfield, California and Moab, Utah. The Grand Canyon scenes were actually filmed just south of Dead Horse Point State Park in Utah.[2]
Reception[edit]
General[edit]
The film was an overwhelming critical success. Metacritic lists a composite critical score of 88 out of 100.[3] Rotten Tomatoes rates Thelma & Louise 83% "Fresh". Janet Maslin of The New York Times had only praise for the film in her review: "Mr. Scott's Thelma and Louise, with a sparkling screenplay by the first-time writer Callie Khouri, is a surprise on this and many other scores. It reveals the previously untapped talent of Mr. Scott (best known for majestically moody action films like Alien, Blade Runner and Black Rain) for exuberant comedy, and for vibrant American imagery, notwithstanding his English roots. It reimagines the buddy film with such freshness and vigor that the genre seems positively new. It discovers unexpected resources in both its stars, Susan Sarandon and Geena Davis, who are perfectly teamed as the spirited and original title characters."[4] Roger Ebert also praised the film, but withheld a perfect score on the basis of "the last shot before the titles begin. It's a freeze frame that fades to white, which is fine, except it does so with unseemly haste... It's unsettling to get involved in a movie that takes 128 minutes to bring you to a payoff that the filmmakers seem to fear."[5]
The film was screened out of competition at the 1991 Cannes Film Festival.[6] After watching the film, singer-songwriter Tori Amos wrote "Me and a Gun", the story of her rape six years earlier, which she had told only a few people about before watching this film. Affected by a scene in the movie, Amos began sobbing publicly in a crowded movie theater and writing the lyrics to the song in her head.[7]
Argentinian singer and musician Fito Páez wrote a hit song called "Dos días en la vida" ("Two days in one lifetime") after watching this movie. The lyrics tell the story of the main characters, with verses played by singers Fabiana Cantilo (in the role of Thelma) and Celeste Carballo (Louise). It was one of the most successful singles from his 1992 album El amor después del amor.
The final scene, where the two embrace each other before driving off a cliff, has become iconic. Numerous homages and parodies of the scene have appeared, including alternate movie endings, cartoon parodies, video game "Easter Eggs", and as a tragic ending to television series, music videos and commercials.[clarification needed]
The film also received harsh and significant criticism from those who thought it was anti-male and that its depictions of men were unfairly negative.[8][9]
Feminism[edit]
Numerous critics and writers have remarked on the feminist overtones of Thelma & Louise. Film critic B. Ruby Rich praises the film as an uncompromising validation of women's experiences,[10] while Kenneth Turan calls it a "neo-feminist road movie".[11] In her essay "The Daughters of Thelma and Louise", Jessica Enevold argues that the movie constitutes "an attack on conventional patterns of chauvinist male behavior toward females". In addition, it "exposes the traditional stereotyping of male–female relationships" while rescripting the typical gender roles of the road movie genre.[12]
In her review for The Los Angeles Times, film critic Sheila Benson objects to the characterization of the film as feminist, arguing that it is more preoccupied with revenge and violence than feminist values.[13]
In an article commemorating the film's 20th anniversary in 2011, Raina Lipsitz called it "the last great film about women" and said that it heralded the achievements of women that caused 1992 to become "the year of the woman". However, she also said that women-themed films have since been losing ground.[14]
Awards and honors[edit]
Khouri won an Academy Award for Screenplay Written Directly for the Screen; Scott, Davis, Sarandon, cinematographer Adrian Biddle, and film editor Thom Noble were nominated for Oscars.
Award
Category
Nominee
Result
Boston Society of Film Critics Best Actress Geena Davis Won
British Society of Cinematographers Best Cinematography Award Adrian Biddle Nominated
Los Angeles Film Critics Association Best Actress Geena Davis Nominated
NBR Award Best Actress Susan Sarandon Won
Geena Davis
Top Ten Films Won
Saint Jordi Award Best Foreign Actress Susan Sarandon Nominated
Golden Spike Award Ridley Scott Won
(tied with The Adjuster)
Academy Award Best Original Screenplay Callie Khouri Won
Best Actress in a Leading Role Geena Davis Nominated
Susan Sarandon
Best Cinematography Adrian Biddle Nominated
Best Director Ridley Scott Nominated
Best Film Editing Thom Noble Nominated
BAFTA Award Best Actress Geena Davis Nominated
Susan Sarandon
Best Cinematography Adrian Bibble Nominated
Best Direction Ridley Scott Nominated
Best Editing Thom Noble Nominated
Best Film Ridley Scott
Mimi Polk Gitlin Nominated
Best Original Film Score Hans Zimmer Nominated
Best Screenplay – Original Callie Khouri Nominated
Bodil Award Best Non-European Film Ridley Scott Won
Chicago Film Critics Association Best Actress Geena Davis Nominated
Susan Sarandon
Best Director Ridley Scott Nominated
Best Picture Nominated
Best Screenplay Callie Khouri Nominated
César Award Best Foreign Film Ridley Scott Nominated
David di Donatello Award Best Foreign Actress Geena Davis Won
Susan Sarandon
Best Foreign Film Ridley Scott Nominated
DGA Award Outstanding Directorial Achievement in Motion Pictures Ridley Scott Nominated
Golden Globe Award Best Screenplay – Motion Picture Callie Khouri Won
Best Motion Picture – Drama Nominated
Best Performance by an Actress in a Motion Picture – Drama Geena Davis Nominated
Susan Sarandon
Silver Ribbon Best Female Dubbing Rossella Izzo
(voice of Louise) Won
Best Foreign Director Ridley Scott Nominated
Critics' Circle Film Awards Actress of the Year Susan Sarandon
(also for White Palace) Won
Director of the Year Ridley Scott Won
Film of the Year Won
MTV Movie Award Best Female Performance Geena Davis Nominated
Best On-Screen Duo Geena Davis
Susan Sarandon Nominated
NSFC Award Best Supporting Actor Harvey Keitel
(also for Bugsy and Mortal Thoughts) Won
Best Actress Susan Sarandon Nominated
Literary Award Screenplay Callie Khouri Won
Writers Guild of America Award Best Screenplay Written Directly for the Screen Won
The British Film Institute published a book[13] about the film in 2000, as part of a Modern Classics series. On the Writers Guild of America Award's 101 Best Screenplays List it made No. 72.[15] The film was ranked on the Australian program 20 to 1, in the episode Magnificent Movie Moments.
American Film Institute lists
AFI's 100 Years...100 Movies – Nominated
AFI's 100 Years...100 Thrills – No. 76
AFI's 100 Years...100 Heroes and Villains: Thelma Dickinson & Louise Sawyer – No. 24 Heroes
AFI's 100 Years...100 Cheers – No. 78
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated
Soundtrack[edit]
Pete Haycock on slide guitar contributed to Thunderbird, the theme music for the film.[16] In addition to Glenn Frey's "Part of Me, Part of You", which became the film's primary theme song, the soundtrack included songs by Chris Whitley, Martha Reeves, Toni Childs, Marianne Faithfull, Charlie Sexton, Grayson Hugh, B.B. King, and Michael McDonald.
See also[edit]
Social bandit
References[edit]
Jump up ^ "Thelma and Louise (1991)". Box Office Mojo. 1991-08-06. Retrieved 2012-06-15.
Jump up ^ "Movies filmed in the Moab area". Moab Area Travel Council. Retrieved 2008-07-29.
Jump up ^ "Thelma & Louise Reviews, Ratings, Credits, and More". Metacritic. Retrieved 2012-06-15.
Jump up ^ "Thelma & Louise (1991)" The New York Times. May 24, 1991.
Jump up ^ Roger Ebert. "Thelma & Louise". Chicago Sun-Times.
Jump up ^ "Festival de Cannes: Thelma & Louise". festival-cannes.com. Retrieved 2009-08-12.
Jump up ^ "Chasing Away the Demons, 20/20 Interview with Tori Amos". Healthy Place Inc. 1999-02-15. Retrieved 2008-11-08.
Jump up ^ "Is This What Feminism Is All About?" Time, June 24, 1991.
Jump up ^ "Callie Khouri Answers Critics Of 'Thelma And Louise'" Chicago Tribune. July 7, 1991.
Jump up ^ Rich, B. Ruby (February 18, 2003). "Two for the Road". The Advocate: 48–49.
Jump up ^ Dunne, Michael (2001). Intertextual Encounters in American Fiction, Film, and Popular Culture. Bowling Green State University Popular Press. p. 89. ISBN 0-87972-848-5.
Jump up ^ Enevold, Jessica (2004). "The Daughters of Thelma and Louise". Gender, Genre & Identity in Women's Travel Writing. New York. pp. 73–95. ISBN 0-8204-4905-9.
^ Jump up to: a b Sturken, Marita (2000). Thelma and Louise. London: British Film Institute. p. 11. ISBN 0-85170-809-9.
Jump up ^ "'Thelma & Louise': The Last Great Film About Women" The Atlantic, August 31, 2011.
Jump up ^ Writers Guild of America, West: 101 list
Jump up ^ Pierre Perrone (November 22, 2013). "Pete Haycock: Guitarist with the Climax Blues Band who went on to write film music for John Badham and Franc Roddam". The Independent. Retrieved 27 March 2015.
Further reading[edit]
Fournier, Gina. Thelma & Louise and Women in Hollywood. McFarland & Co., Inc. Publishers, 2007
Cook, Bernie, editor. Thelma & Louise Live! The Cultural Afterlife of an American Film, The University of Texas Press, 2007
External links[edit]
Wikiquote has quotations related to: Thelma & Louise
Official website
Thelma & Louise on IMDb
Thelma & Louise at AllMovie
Thelma & Louise at the TCM Movie Database
Thelma & Louise at Rotten Tomatoes
Thelma & Louise at Box Office Mojo
Thelma & Louise at The Numbers
Thelma and Louise – Original Trailer on YouTube
[show]
v
t
e
Films directed by Ridley Scott
Feature films
The Duellists (1977)
Alien (1979)
Blade Runner (1982)
Legend (1985)
Someone to Watch Over Me (1987)
Black Rain (1989)
Thelma & Louise (1991)
1492: Conquest of Paradise (1992)
White Squall (1996)
G.I. Jane (1997)
Gladiator (2000)
Hannibal (2001)
Black Hawk Down (2001)
Matchstick Men (2003)
Kingdom of Heaven (2005)
A Good Year (2006)
American Gangster (2007)
Body of Lies (2008)
Robin Hood (2010)
Prometheus (2012)
The Counselor (2013)
Exodus: Gods and Kings (2014)
The Martian (2015)
Alien: Covenant (2017)
All the Money in the World (2017)
Other work
Boy and Bicycle (1965; short film)
1984 (1984; advertisement)
Unrealized projects
[show]
v
t
e
London Film Critics' Circle Award for Film of the Year
Apocalypse Now (1980)
Chariots of Fire (1981)
Missing (1982)
The King of Comedy (1983)
Paris, Texas (1984)
The Purple Rose of Cairo (1985)
A Room with a View (1986)
Hope and Glory (1987)
House of Games (1988)
Distant Voices, Still Lives (1989)
Crimes and Misdemeanors (1990)
Thelma & Louise (1991)
Unforgiven (1992)
The Piano (1993)
Schindler's List (1994)
Babe (1995)
Fargo (1996)
L.A. Confidential (1997)
Saving Private Ryan (1998)
American Beauty (1999)
Being John Malkovich (2000)
Moulin Rouge! (2001)
About Schmidt (2002)
Master and Commander: The Far Side of the World (2003)
Sideways (2004)
Brokeback Mountain (2005)
United 93 (2006)
No Country for Old Men (2007)
The Wrestler (2008)
A Prophet (2009)
The Social Network (2010)
The Artist (2011)
Amour (2012)
12 Years a Slave (2013)
Boyhood (2014)
Mad Max: Fury Road (2015)
La La Land (2016)
Authority control
WorldCat Identities
VIAF: 209897234
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SUDOC: 123287553
BNF: cb16169587v (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Thelma_%26_Louise&oldid=800945269"
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