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Fear and Loathing in Las Vegas (film)
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Fear and Loathing in Las Vegas
Theatrical release poster
Directed by
Terry Gilliam
Produced by
Patrick Cassavetti
Laila Nabulsi
Stephen Nemeth
Screenplay by
Terry Gilliam
Tony Grisoni
Alex Cox
Tod Davies
Based on
Fear and Loathing in Las Vegas
by Hunter S. Thompson
Starring
Johnny Depp
Benicio del Toro
Music by
Ray Cooper
Cinematography
Nicola Pecorini
Edited by
Lesley Walker
Production
company
Rhino Films
Summit Entertainment
Distributed by
Universal Pictures
Release date
May 22, 1998 (1998-05-22)
Running time
118 minutes
Country
United States
Language
English
Budget
$18.5 million
Box office
$13.7 million
Fear and Loathing in Las Vegas is a 1998 American psychedelic satirical[1] road film adapted from Hunter S. Thompson's novel of the same name. It was co-written and directed by Terry Gilliam, starring Johnny Depp as Raoul Duke and Benicio del Toro as Dr. Gonzo. The two embark on an initially assigned journey with journalistic purpose which turns out to be an exploration of the Las Vegas setting under the effect of psychoactive substances.
The film received mixed reviews from critics and was a financial failure, but has since become a cult film due in large part to its release on DVD, including a Special Edition released by The Criterion Collection.
Contents
1 Plot
2 Cast
2.1 Cameos
3 Production
3.1 Development
3.2 Casting
3.3 Writing
3.4 Writers credit dispute with WGA
3.5 Filming
3.6 Cinematography
3.7 Soundtrack
3.8 Track listing
4 Release
4.1 Home media
5 Reception
5.1 Box office
5.2 Critical response
5.3 Cult status
5.4 Awards
6 See also
7 References
8 External links
Plot[edit]
In 1971, Raoul Duke and Dr. Gonzo speed across the Nevada desert. Duke, under the influence of mescaline, complains of a swarm of giant bats, before going through the pair's inventory of psychoactive drugs. Shortly afterward, the duo stop to pick up a young hitchhiker, and explain what they are doing. Duke has been assigned by an unnamed magazine to travel to Las Vegas and cover the Mint 400 motorcycle race. However, they have also decided to take advantage of the trip by purchasing a large number of drugs and renting a red Chevrolet Chevelle convertible. The young man soon becomes terrified of the antics of the duo and flees on foot. Trying to reach Vegas before the hitchhiker can go to the police, Gonzo gives Duke part of a sheet of Sunshine Acid, then informs him that there is little chance of making it before the drug kicks in. By the time they reach the strip, Duke is in the full throes of his trip, and barely makes it through the check-in, all the while hallucinating that the hotel clerk is a moray eel, and that his fellow bar patrons are lizards in the depths of an orgy.
The next day, Duke arrives at the race, and heads out with his photographer, a man by the name of Lacerda. During the coverage, Duke becomes irrational and believes that they are in the middle of a battlefield, so he fires Lacerda and returns to the hotel. After consuming more mescaline, as well as huffing diethyl ether, Duke and Gonzo arrive at the Bazooko Circus casino, but leave shortly afterwards, the chaotic atmosphere frightening Gonzo. Back in the hotel room, Duke leaves a knife-wielding Gonzo unattended, and tries his luck at a quick round of Big Six. When Duke returns, he finds that Gonzo, after consuming a full sheet of LSD, has trashed the room, and is sitting fully clothed in the bathtub, attempting to pull the tape player in with him, as he wants to hear the song better. He pleads with Duke to throw the machine into the water when the song "White Rabbit" peaks. Duke agrees, but instead throws a grapefruit at Gonzo's head before running outside. Gonzo later confronts him violently, but claims to have only wanted to mutilate, rather than murder, Duke.
The next morning, Duke awakens to an exorbitant room service bill, and no sign of Gonzo (who has returned to Los Angeles while Duke slept), and attempts to leave town. As he nears Baker, California, a highway patrolman pulls him over for speeding, and advises him to sleep at a nearby rest stop. Duke instead heads to a payphone and calls Gonzo, learning that he has a suite in his name at the Flamingo Las Vegas so he can cover a district attorney's convention on narcotics. Duke checks into his suite, only to be met by an LSD-tripping Gonzo, and a young girl by the name of Lucy he has brought with him. Gonzo explains that Lucy has come to Las Vegas to meet Barbra Streisand, and that he gave her LSD on the plane not realizing she had never taken it before. Sensing the trouble this could get them into, Duke convinces Gonzo to ditch Lucy in another hotel before her trip wears off.
Gonzo accompanies Duke to the D.A.'s convention, and the pair discreetly snort cocaine as the guest speaker delivers a comically out-of-touch speech about "marijuana addicts" before showing a brief film. Unable to take it, Duke and Gonzo flee back to their room, only to discover that Lucy has called. Their trips mostly over, Gonzo deals with Lucy over the phone (pretending that he is being savagely beaten by thugs), as Duke attempts to mellow out by trying some of Gonzo's stash of adrenochrome. However, the trip spirals out of control, and Duke is reduced to an incoherent mess before he blacks out.
After an unspecified amount of time passes, Duke wakes up to a complete ruin of the once pristine suite. After discovering his tape recorder, he attempts to remember what has happened. As he listens, he has brief memories of the general mayhem that has taken place, including a heated encounter with a waitress at a diner, convincing a distraught cleaning woman that they are police officers investigating a drug ring, and attempting to buy an orangutan.
Duke drops Gonzo off at the airport, after missing the entrance, driving across the tarmac and pulling up right next to the plane, before returning to the hotel one last time to finish his article. Duke then speeds back to Los Angeles.
Cast[edit]
Johnny Depp as Raoul Duke
Benicio del Toro as Dr. Gonzo
Tobey Maguire as The Hitchhiker
Ellen Barkin as The Waitress at North Star Cafe
Gary Busey as The Highway Patrolman
Christina Ricci as Lucy
Mark Harmon as The Magazine Reporter at Mint 400
Cameron Diaz as The Blonde TV Reporter
Katherine Helmond as The Desk Clerk at Mint Hotel
Michael Jeter as Dr. Ron Bumquist
Craig Bierko as Lacerda
Lyle Lovett as The Road Person
Flea as Hippie
Cameos[edit]
Christopher Meloni as Sven, Flamingo Hotel Clerk
Harry Dean Stanton as The Judge
Troy Evans as Police Chief
Debbie Reynolds (voice only) as Herself
Jenette Goldstein as Alice the Maid
Verne Troyer as Wee Waiter
Gregory Itzin as Mint Hotel Clerk
Laraine Newman as Frog-Eyed Woman
Penn Jillette as Bazooko Circus Barker
Hunter S. Thompson as himself
Production[edit]
Development[edit]
Animator/filmmaker Ralph Bakshi tried to convince a girlfriend of Thompson's to let him do Fear and Loathing in Las Vegas as an animated film, done in the style of Ralph Steadman's illustrations for the book. Bakshi is quoted as saying:
Hunter had given the rights to a girlfriend of his. I spent three days with her trying to talk her into me animating it – she wanted to make a live-action of it – I kept telling her that a live-action would look like a bad cartoon but an animated version would be a great one. She had a tremendous disdain for animators because it wasn't considered the top of Hollywood. Hunter also could not make her change her mind. So she made the pic with Johnny Depp (who is a great actor), and got the film I told her she would get – it would have been more real in a cartoon using Steadman's drawings.[2]
In January 1976, Texas Monthly announced that Larry McMurtry had signed a contract to write a screenplay for a film adaptation.[3] Martin Scorsese and Oliver Stone each tried to get the film off the ground, but were unsuccessful and moved on.[4]
Rhino Films began work on a film version as early as 1992.[5] Head of Production and the film's producer Stephen Nemeth originally wanted Lee Tamahori to direct, but he wasn't available until after the January 1997 start date.[5] Depp wanted Bruce Robinson to direct, but he was "unavailable... by choice".[6] Rhino appealed to Thompson for an extension on the film rights but the author and his lawyers denied the extension. Under pressure, Rhino countered by green-lighting the film and hiring Alex Cox to direct within a few days.[5] According to Nemeth, Cox could "do it for a price, could do it quickly and could get this movie going in four months."[5]
Rhino hired Terry Gilliam and was granted an extension from Thompson but only with the stipulation that the director made the film. Rhino did not want to commit to Gilliam in case he didn't work out.[5] Thompson remembers, "They just kept asking for more [time]. I got kind of agitated about it, because I thought they were trying to put off doing it. So I began to charge them more... I wanted to see the movie done, once it got started."[5] The studio threatened to make the film with Cox and without Depp and del Toro. The two actors were upset when producer Laila Nabulsi told them of Rhino's plans.[5] Universal Pictures stepped in to distribute the film and Depp and Gilliam were paid $500,000 each but the director still did not have a firm deal in place. In retaliation, Depp and Gilliam locked Rhino out of the set during filming.[5]
Casting[edit]
During the initial development to get the film made, Jack Nicholson and Marlon Brando were originally considered for the roles of Duke and Gonzo but they both grew too old.[7] Afterward, Dan Aykroyd and John Belushi were considered for the duo, but that fell apart when Belushi died. John Malkovich was later considered for the role of Duke, but he grew too old as well. At one point John Cusack was almost cast (Cusack had previously directed the play version of Fear and Loathing in Las Vegas, with his brother playing Duke).[8] However, after Hunter S. Thompson met with Johnny Depp he became convinced that no one else could play him. When Cox and Davies started writing the screenplay, Depp and del Toro committed to starring in the film.[5]
Gilliam said in an interview that his films are actor-led, the performance of the two characters in Fear and Loathing is hyper realistic but truthful: "I am interested in real people in bizarre, twisted environments that force them to act... to react against."[9]
Dr. Gonzo is based on Thompson's friend Oscar Zeta Acosta, who disappeared sometime in 1974.[10] Thompson changed Acosta's ethnic identity to "Samoan" to deflect suspicion from Acosta, who was in trouble with the Los Angeles County Bar Association. He was the "Chicano lawyer" notorious for his party binges.
The lead actors undertook extraordinary preparations for their respective roles. Del Toro gained more than 45 pounds (18 kg) in nine weeks before filming began, and extensively researched Acosta's life.[10][11] In the spring of 1997, Depp moved into the basement of Thompson's Owl Farm home and lived there for four months, doing research for the role as well as studying Thompson's habits and mannerisms.[12] The actor went through Thompson's original manuscript, mementos and notebooks that he kept during the actual trip.[12] Depp remembers, "He saved it all. Not only is [the book] true, but there's more. And it was worse."[13] Depp even traded his car for Thompson's red Chevrolet Caprice convertible, known to fans as The Great Red Shark, and drove it around California during his preparation for the role.[14] Many of the costumes that Depp wears in the film are genuine articles of clothing that Depp borrowed from Thompson, and the writer himself shaved Depp's head to match his own natural male pattern baldness.[12] Other props, such as Duke's cigarette filter (a TarGard Permanent Filter System), Hawaiian shirts, hats, a patchwork jacket, a silver medallion (given to him by Oscar Acosta) and IDs, belonged to Thompson.[14]
Writing[edit]
Cox started writing the screenplay with Tod Davies, a UCLA Thompson scholar. During pre-production, Cox and producer Laila Nabulsi had "creative differences" and she forced Rhino to choose between her and Cox.[5] She had an arrangement with Thompson to produce the film and the studio fired Cox and paid him $60,000 in script fees. Thompson's disapproval of the Cox/Davies script treatment is documented in the film Breakfast with Hunter.
The decision was made to not use the Cox/Davies script, which gave Gilliam only ten days to write another.[15] Gilliam has stated in an interview "When we were writing the script, we really tried not to invent anything. We sort of cannibalized the book."[16] The director enlisted the help of Tony Grisoni and they wrote the script at Gilliam's home in May 1997. Grisoni remembers, "I'd sit at the keyboard, and we'd talk and talk and I'd keep typing."[15] One of the most important scenes from the book that Gilliam wanted to put in the film was the confrontation between Duke and Dr. Gonzo and the waitress of the North Star Coffee Lounge. The director said, "This is two guys who have gone beyond the pale, this is unforgivable – that scene, it's ugly. My approach, rather than to throw it out, was to make that scene the low point."[17]
Initially, the studio wanted Gilliam to update the book for the 1990s, which he considered, "And then I looked at the film and said, 'No, that's apologizing. I don't want to apologize for this thing. It is what it is.' It's an artifact. If it's an accurate representation of that book, which I thought was an accurate representation of a particular time and place and people."[18] Terry Gilliam, while speaking to Sight & Sound magazine, highlighted if he had updated the movie to the 1990s it would just "be a story about two people going to excess". By keeping it set in the 70's, using the backdrop of the Vietnam War and a perceived loss of the American dream, offers reasoning to the characters actions.[19]
Writers credit dispute with WGA[edit]
When the film approached release, Gilliam learned that the Writers Guild of America (WGA) would not allow Cox and Davies to be removed from the credits even though none of their material was used in the production of the film. According to WGA rules, Gilliam and Grisoni had to prove that they wrote 60% of their script. The director said, "But there have been at least five previous attempts at adapting the book, and they all come from the book. They all use the same scenes."[20] Gilliam remarked in an interview, "The end result was we didn't exist. As a director, I was automatically deemed a 'production executive' by the guild and, by definition, discriminated against. But for Tony to go without any credit would be really unfair."[21] David Kanter, agent for Cox and Davies, argued, "About 60 percent of the decisions they made on what stays in from the book are in the film – as well as their attitude of wide-eyed anarchy."[21] According to the audio commentary by Gilliam on the Criterion Collection DVD, during the period where it appeared that only Cox and Davies would be credited for the screenplay, the film was to begin with a short scene in which it is explained that no matter what is said in the credits, no writers were involved in the making of the film. When this changed in early May 1998 after the WGA revised its decision and gave credit to Gilliam and Grisoni first and Cox and Davies second, the short was not needed.[17] Angered over having to share credit, Gilliam publicly burned his WGA card at a May 22 book signing on Broadway.[22][17]
Filming[edit]
According to Gilliam, there was no firm budget in place when filming started.[23] He felt that it was not a well-organized film and said, "Certain people didn't... I'm not going to name names but it was a strange film, like one leg was shorter than the other. There was all sorts of chaos."[15] While Depp was on location in Los Angeles, he got a phone call from comedian Bill Murray who had played Thompson in Where the Buffalo Roam. He warned Depp, "Be careful or you'll find yourself ten years from now still doing him… Make sure your next role is some drastically different guy."[24]
Shooting on location in Las Vegas began on August 3, 1997 and lasted 56 days. The production ran into problems when they wanted to shoot in a casino. They were only allowed to film between two and six in the morning, given only six tables to put extras around and insisted that the extras really gamble."[15] Exterior shots of the Bazooko Casino were filmed in front of the Stardust hotel/casino with the interiors constructed with a Warner Bros. Hollywood soundstage.[25] To get the period look of Vegas in the 1970s, Gilliam and Pecorini used rear-projection footage from the old television show, Vega$. According to the cinematographer, this footage heightened the film's "already otherworldly tone an extra notch."[25]
Cinematography[edit]
Nicola Pecorini was hired based on an audition reel he sent Gilliam that made fun of the fact that he had only one eye (he lost the other to retinal cancer).[25] According to Pecorini, the look of the film was influenced by the paintings of Robert Yarber that are "very hallucinatory: the paintings use all kinds of neon colors, and the light sources don't necessarily make sense."[25] According to Gilliam, they used him as a guide "While mixing our palette of deeply disturbing fluorescent colors."[26]
For the desert scenes, Pecorini wanted a specific, undefined quality without a real horizon to convey the notion that the landscape never ended and to emphasize "a certain kind of unreality outside the characters' car, because everything that matters to them is within the Red Shark."[25] For the scene where Duke hallucinates a lounge full of lizards, the production was supposed to have 25 animatronic reptiles but they only received seven or eight.[25] The production used motion-control techniques to make it look like they had a whole room of them and made multiple passes with the cameras outfitting the lizards with different costumes each time.[25]
During production, it was Gilliam's intention that it should feel like a drug trip from beginning to end. He said in an interview, "We start out at full speed and it's WOOOO! The drug kicks in and you're on speed! Whoah! You get the buzz – it's crazy, it's outrageous, the carpet's moving and everybody's laughing and having a great time. But then, ever so slowly, the walls start closing in and it's like you're never going to get out of this fucking place. It's an ugly nightmare and there's no escape."[14] To convey the effects of the various drugs, Gilliam and Pecorini assembled a list of "phases" that detailed the "cinematic qualities" of each drug consumed.[25] For ether, Pecorini said they used a "loose depth of field; everything becomes non-defined"; for adrenochrome, "everything gets narrow and claustrophobic, move closer with lens"; mescaline was simulated by having "colors melt into each other, flares with no sources, play with color temperatures"; for amyl nitrite, the "perception of light gets very uneven, light levels increase and decrease during the shots"; and for LSD, "everything extremely wide, hallucinations via morphs, shapes, colors, and sound."[25]
Pecorini and Gilliam decided they wanted the film to be shot wide-angle but because of the small budget they couldn't afford the downfalls of anamorphic lenses so they paired the Arriflex 535, Arri BL-4S and the Arri 35-iii with a set of Zeiss Standard Primes and Kodak's 250D Vision 5246 filmstock in order to achieve the saturated look the film has.[27]
Soundtrack[edit]
Fear and Loathing in Las Vegas (Music from the Motion Picture)
Soundtrack album by Various artists
Released
May 19, 1998 (1998-05-19)
Genre
Rock
Length
61:00
Label
Geffen
Professional ratings
Review scores
Source
Rating
AllMusic link
The music belongs to the psychedelic rock and classic rock genre. The soundtrack contains songs used in the film with sound bites of the film before each song. Most of the music is present in the soundtrack with a few exceptions: the Lennon Sisters' version of "My Favorite Things" from The Sound of Music which plays at the beginning of the picture, Jefferson Airplane "Somebody to Love" which is heard during a flashback, Debbie Reynolds "Tammy", Perry Como "Magic Moments", Beck, Bogert & Appice "Lady", Tom Jones "It's Not Unusual", Frank Sinatra "You're Getting to Be a Habit with Me", Combustible Edison "Spy vs Spy", the Out-Islanders "Moon Mist" from Polynesian Fantasy, Robert Goulet "My Love, Forgive Me", and a recording of "Ball and Chain" by Janis Joplin.
The Rolling Stones song "Jumping Jack Flash" is heard at the conclusion of the film as Thompson drives out of Las Vegas. Gilliam could not pay $300,000 (half of the soundtrack budget) for the rights to "Sympathy for the Devil" by the Rolling Stones, which plays a prominent role in the book.[5]
The Dead Kennedys rendition of "Viva Las Vegas" is heard at the very end of the closing credits.
Track listing[edit]
No.
Title
Performed by
Length
1. "Combination of the Two" Big Brother and the Holding Company 5:47
2. "One Toke Over the Line" Brewer & Shipley 3:43
3. "She's a Lady" Tom Jones 2:53
4. "For Your Love" The Yardbirds 2:36
5. "White Rabbit" Jefferson Airplane 3:13
6. "A Drug Score – Part 1 (Acid Spill)" Tomoyasu Hotei & Ray Cooper 0:52
7. "Get Together" The Youngbloods 5:41
8. "Mama Told Me Not to Come" Three Dog Night 3:51
9. "Stuck Inside of Mobile with the Memphis Blues Again" Bob Dylan 7:27
10. "Time Is Tight" Booker T. & the MG's 3:29
11. "Magic Moments" Perry Como 3:04
12. "A Drug Score – Part 2 (Adrenochrome, the Devil's Dance)" Tomoyasu Hotei & Ray Cooper 2:27
13. "Tammy" Debbie Reynolds 3:03
14. "A Drug Score – Part 3 (Flashbacks)" Tomoyasu Hotei & Ray Cooper 2:26
15. "Expecting to Fly" Buffalo Springfield 4:17
16. "Viva Las Vegas" Dead Kennedys 3:23
Total length: 61:00
Release[edit]
Fear and Loathing in Las Vegas underwent preview test screenings – a process that Gilliam does not enjoy. "I always get very tense in those (test screenings), because I'm ready to fight. I know the pressure from the studio is, 'somebody didn't like that, change it!'"[13] The filmmaker said that it was important to him that Thompson like the film and recalls the writer's reaction at a screening, "Hunter watched it for the first time at the premiere and he was making all this fucking noise! Apparently it all came flooding back to him, he was reliving the whole trip! He was yelling out and jumping on his seat like it was a roller coaster, ducking and diving, shouting 'SHIT! LOOK OUT! GODDAMN BATS!' That was fantastic – if he thought we'd captured it, then we must have done it!"[14] Thompson himself stated, "Yeah, I liked it. It's not my show, but I appreciated it. Depp did a hell of a job. His narration is what really held the film together, I think. If you hadn't had that, it would have just been a series of wild scenes."[28]
Fear and Loathing in Las Vegas debuted at the 1998 Cannes Film Festival[29] and Gilliam said, "I'm curious about the reaction... If I'm going to be disappointed, it's because it doesn't make any waves, that people are not outraged."[30]
Home media[edit]
By the time Fear and Loathing was released as a Criterion Collection DVD in 2003, Thompson showed his approval of the Gilliam version by recording a full-length audio commentary for the film and participating in several DVD special features.[31]
On an audio commentary track in the Criterion edition of the DVD, Gilliam expresses great pride in the film and says it was one of the few times where he did not have to fight extensively with the studio during the filming.[32] Gilliam chalks this up to the fact that many of the studio executives read Thompson's book in their youth and understood it could not be made into a conventional Hollywood film. However, he does express frustration with the advertising campaign used during its initial release, which he says tried to sell it as wacky comedy.[32] The film was later released by Universal Studios on HD DVD and, subsequently, Blu-ray; Criterion released the film on Blu-ray on April 26, 2011.[33]
Reception[edit]
Box office[edit]
The film opened in wide release on May 22, 1998 and grossed $3.3 million in 1,126 theaters on its first weekend. The film went on to gross $10.6 million, well below its budget of $18.5 million.[34] However, the movie reignited interest in Thompson's novel. Vintage Press reported an initial reprint of 100,000 copies to tie in with the film's release, but demand was higher than expected and forced the novel to go back to print a further five times.[35]
Critical response[edit]
Gilliam wanted to provoke strong reactions to his film as he said in an interview, "I want it to be seen as one of the great movies of all time, and one of the most hated movies of all time."[13] Fear and Loathing in Las Vegas polarized critics; it currently has a 49% approval rating on Rotten Tomatoes, with the site's critical consensus reading, "Visually creative, but also aimless, repetitive, and devoid of character development."[36]
In The New York Times, Stephen Holden wrote, "Even the most precise cinematic realizations of Mr. Thompson's images don't begin to match the surreal ferocity of the author's language."[37] Stephen Hunter, in his review for the Washington Post, wrote, "It tells no story at all. Little episodes of no particular import come and go...But the movie is too grotesque to be entered emotionally."[38] Mike Clark, of USA Today, found the film, "simply unwatchable."[39] In The Guardian, Gaby Wood wrote, "After a while, though, the ups and downs don't come frequently enough even for the audience, and there's an element of the tedium usually found in someone else's druggy experiences."[40] Roger Ebert found the film disgraceful, giving it one star out of four and calling it "a horrible mess of a movie, without shape, trajectory or purpose–a one joke movie, if it had one joke. The two characters wander witlessly past the bizarre backdrops of Las Vegas (some real, some hallucinated, all interchangeable) while zonked out of their minds. Humor depends on attitude. Beyond a certain point, you don't have an attitude, you simply inhabit a state."[41]
Gene Siskel's "thumbs-up" review at the time also noted the film successfully captured the book's themes into film, adding "What the film is about and what the book is about is using Las Vegas as a metaphor for – or a location for – the worst of America, the extremes of America, the money obsession, the visual vulgarity of America."[42] Michael O'Sullivan gave the film a positive review in the Washington Post. "What elevates the tale from being a mere drug chronicle is the same thing that lifted the book into the realm of literature. It's the sense that Gilliam, like Thompson, is always totally in command of the medium, while abandoning himself utterly to unpredictable forces beyond his control."[43] Empire magazine voted the film the 469th greatest film in their "500 Greatest Movies of All Time" list.[44]
Cult status[edit]
Since the film's release on home media, including The Criterion Collection Special Edition, the film had attained cult status. This led to the film being re-screened at various cinemas such as The Prince Charles Cinema in Leicester Square, London and a special screening from original VHS tape at Swordtail Studio London in 2016.[45]
The increased attention for the film has also led to some news outlets to reconsider the mixed original reception of the film; Joe Queenan of The Guardian remarked that for many, "No, Fear and Loathing in Las Vegas is not breathtakingly self-indulgent and just plain awful; it is actually jaw-droppingly great. Those of you who do not share this opinion are idiots."[46] Scott Tobias of The A.V. Club argued in his more recent review of the film that "the film would have had a greater impact had it been produced at the time, when Brewster McCloud proved that anything was possible, but short of a time machine, Gilliam does what he can to bring the era back to life.".[47]
Awards[edit]
The film was nominated for a variety of awards that both praised and condemned it. Terry Gilliam was nominated for the Palme d'Or at the Cannes Film Festival 1998 while Johnny Depp won the best foreign actor award from the Russian Guild of Film Critics in 1998.
However Depp and Del Toro were also nominated by the Stinkers Bad Movie Awards for worst on-screen couple, and during the same awards Del Toro's portrayal of Dr. Gonzo was also nominated for the worst supporting actor.
See also[edit]
Gonzo journalism
Where the Buffalo Roam
List of films featuring hallucinogens
References[edit]
Jump up ^ "Know Fear". Las Vegas Sun.
Jump up ^ Ralph Bakshi (2005-03-24). "Your thoughts on the passing of Hunter S. Thompson". Ralph Bakshi Forum. Retrieved 2011-10-29.
Jump up ^ West, Richard (January 1976). "Texas Monthly Reporter". Texas Monthly. Retrieved 2011-08-29.
Jump up ^ David Morgan (1999). "The Making of Fear and Loathing in Las Vegas". Retrieved 2006-12-15.
^ Jump up to: a b c d e f g h i j k Ebner, Mark (January 1998). "Fear and Bleating in Las Vegas: Hunter Thompson Goes Hollywood". Premiere.
Jump up ^ "Johnny Depp and Director Bruce Robinson THE RUM DIARY Interview". 26 October 2011. Retrieved 10 July 2017.
Jump up ^ Nathan Lee (2006-05-12). "Fear and Loathing in Las Vegas". The New York Times. Retrieved 2007-01-04. (registration required)
Jump up ^ Laila Nabulsi. Fear and Loathing in Las Vegas audio commentary (DVD).
Jump up ^ clamenza33 (2008-09-21), Terry Gilliam Interview - Fear & Loathing, retrieved 2017-02-19
^ Jump up to: a b Doss, Yvette C (June 5, 1998). "The Lost Legend of the Real Dr. Gonzo". Los Angeles Times.
Jump up ^ Elias, Justine (June 1998). "Behind the Scenes: Terry Gilliam". Us Weekly.
^ Jump up to: a b c Brinkley, Douglas (June 1998). "Johnny, Get Your Gun". George. pp. 96–100, 109–110.
^ Jump up to: a b c McCracken, Elizabeth (June 1998). "Depp Charge". ELLE.
^ Jump up to: a b c d Holden, Michael John Perry, Bill Borrows (December 1998). "Fear and Loathing". Loaded.
^ Jump up to: a b c d Gale, David (June 1998). "Cardboard Castles and Chaos". Icon. pp. 102–105.
Jump up ^ clamenza 33 (September 21, 2008).'Terry Gilliam Interview - Fear & Loathing'.Youtube. Real to Reel interview. Retrieved from:https://www.youtube.com/watch?v=e4QOU8wS7jI
^ Jump up to: a b c Smith, Giles (May 25, 1998). "War Games". The New Yorker. pp. 74–79.
Jump up ^ Rowe, Douglas J (May 29, 1998). "Terry Gilliam Can Fly Without Acid". Associated Press.
Jump up ^ Macabe, Bob (1998). "Chemical Warfare". Sight and Sound. 8: 6–8 – via Sight and Sound digital archive.
Jump up ^ McCabe, Bob (December 1998). "One on One". Empire. pp. 120–123.
^ Jump up to: a b Willens, Michele (May 17, 1998). "How Many Writers Does it Take...?". The New York Times.
Jump up ^ "Dreams: Gilliam burns his WGA card - Pictures!". Smart.co.uk. Retrieved 2017-02-17.
Jump up ^ Houpt, Simon (May 21, 1998). "Going Gonzo with Fear and Loathing". The Globe and Mail. pp. D1–D2.
Jump up ^ Brinkley, Douglas (July 26, 1998). "Road to Ruin". Sunday Mail.
^ Jump up to: a b c d e f g h i Pizzello, Stephen (May 1998). "Gonzo Filmmaking". American Cinematographer. pp. 30–41.
Jump up ^ Pizzello, Stephen (May 1998). "Unholy Grail". American Cinematographer. pp. 42–47.
Jump up ^ "Gonzo Filmmaking - page 2". www.theasc.com. Retrieved 2017-02-18.
Jump up ^ Johnston, Ian (December 1998). "Just Say No". Neon. pp. 44–49.
Jump up ^ "Festival de Cannes: Fear and Loathing in Las Vegas". festival-cannes.com. Retrieved 2009-09-29.
Jump up ^ Kirkland, Bruce (May 17, 1998). "The Gonzo Dream: The Long, Strange Trip of Filming Hunter S. Thompson's '"Fear and Loathing in Las Vegas". Toronto Sun.
Jump up ^ "Fear and Loathing in Las Vegas". Criterion Collection. Retrieved 2008-01-24.
^ Jump up to: a b Gilliam, Terry. "Fear and Loathing in Las Vegas DVD audio commentary". Criterion Collection.
Jump up ^ "Fear and Loathing in Las Vegas". The Criterion Collection. Retrieved 18 February 2017.
Jump up ^ "Fear and Loathing in Las Vegas". Box Office Mojo. Retrieved 2008-01-24.
Jump up ^ Maryles, Daisy (1998). "A second helping for fear and loathing". The Publishers Weekly. 245: 24.
Jump up ^ Fear and Loathing in Las Vegas at Rotten Tomatoes
Jump up ^ Holden, Stephen (May 22, 1998). "A Devotedly Drug-Addled Rampage Through a 1971 Vision of Las Vegas". The New York Times.
Jump up ^ Hunter, Stephen (May 22, 1998). "Fear and Loathing". Washington Post.
Jump up ^ Clark, Mike (May 22, 1998). "Fear is a Bad Trip for the '90s". USA Today.
Jump up ^ Wood, Gabby (November 13, 1998). "Night of the Hunter". The Guardian.
Jump up ^ Ebert, Roger (22 May 1998). "Fear and loathing in Las Vegas". Roger Ebert.com. Retrieved 18 February 2017.
Jump up ^ Siskel, Gene (May 22, 1998). "Siskel & Ebert Review". Siskel & Ebert. Retrieved 2010-08-10.
Jump up ^ O'Sullivan, Michael (May 22, 1998). "Fear: Worth the Trip". Washington Post.
Jump up ^ "500 Greatest Movies of All Time". Empire. Retrieved 2009-09-29.
Jump up ^ "Fear and Loathing in Las Vegas - VHS Cinema Film Screening". EventBite. 13 December 2016. Retrieved 14 February 2017.
Jump up ^ "Cult films: just bad movies in a good disguise?". The Guardian. 19 June 2014. Retrieved 12 February 2017.
Jump up ^ "Looking back at Terry Gilliam's Fear And Loathing In Las Vegas". The A.V. Club. 24 February 2011. Retrieved 12 February 2017.
External links[edit]
Wikiquote has quotations related to: Fear and Loathing in Las Vegas (film)
Fear and Loathing in Las Vegas on IMDb
Fear and Loathing in Las Vegas at AllMovie
Fear and Loathing in Las Vegas at Box Office Mojo
Fear and Loathing in Las Vegas at Rotten Tomatoes
Fear and Loathing in Las Vegas at Metacritic
Fear and Loathing in Las Vegas: A Pint of Raw Ether and Three Reels of Film an essay by J. Hoberman at the Criterion Collection
Wide Angle/Closeup: Fear and Loathing script analysis – Compares Gilliam/Grisoni and Cox/Davies screenplays
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Feature films
Monty Python and the Holy Grail (1975)
Jabberwocky (1977)
Time Bandits (1981)
Brazil (1985)
The Adventures of Baron Munchausen (1988)
The Fisher King (1991)
12 Monkeys (1995)
Fear and Loathing in Las Vegas (1998)
The Brothers Grimm (2005)
Tideland (2005)
The Imaginarium of Doctor Parnassus (2009)
The Zero Theorem (2013)
The Man Who Killed Don Quixote (2018)
Short films
Story Time (1968)
Miracle of Flight (1974)
The Crimson Permanent Assurance (1983)
The Legend of Hallowdega (2010)
The Wholly Family (2011)
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Bibliography
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Generation of Swine
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Kingdom of Fear
Hey Rube
Fear and Loathing at Rolling Stone
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Buy the Ticket, Take the Ride: Hunter S. Thompson on Film (2006)
Gonzo: The Life and Work of Dr. Hunter S. Thompson (2008)
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Raoul Duke
Uncle Duke
Spider Jerusalem
Gonzo journalism
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Smith & Wesson Model 10
From Wikipedia, the free encyclopedia
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Smith & Wesson Model 1899 Military & Police
Lend-Lease M&P dating from World War II, missing lanyard ring
Type
Service revolver
Place of origin
United States
Service history
In service
1899-Present
Used by
See Users
Wars
World War I
Easter Rising
Irish War of Independence
World War II
Korean War
Vietnam War
Gulf War
The Troubles
other conflicts
Production history
Designed
1899
Manufacturer
Smith & Wesson
Produced
1899–present
Variants
38 M&P
M&P Model 1902
Model of 1905
Victory Model
Model 10
Specifications
Weight
~ 34 oz (907 g) with standard 4" (102 mm) barrel (unloaded)
Barrel length
2 inches (51 mm)
2.5 inches (64 mm)
3 inches (76 mm)
4 inches (100 mm)
5 inches (130 mm)
6 inches (150 mm)
Cartridge
.38 Long Colt
.38 Special
.38/200 (.38 S&W)
Action
Double action
Muzzle velocity
1,000 feet per second (300 m/s) (.38 Special)
685 feet per second (209 m/s) (.38/200)
Feed system
6-round cylinder
Sights
Blade front sight, notched rear sight
The Smith & Wesson Model 10, previously known as the Smith & Wesson .38 Hand Ejector Model of 1899, the Smith & Wesson Military & Police or the Smith & Wesson Victory Model, is a revolver of worldwide popularity. It was the successor to the Smith & Wesson .32 Hand Ejector Model of 1896 and was the first Smith & Wesson revolver to feature a cylinder release latch on the left side of the frame like the Colt M1889. In production since 1899, it is a six-shot double-action revolver with fixed sights. Over its long production run it has been available with barrel lengths of 2 in (51 mm), 3 in (76 mm), 4 in (100 mm), 5 in (130 mm), and 6 in (150 mm). Barrels of 2.5 inches (64 mm) are also known to have been made for special contracts.[1] Some 6,000,000 of the type have been produced over the years, making it the most popular centerfire revolver of the 20th century.[2]
S&W model 10 snubnose
Contents
1 History
1.1 Victory Model
1.2 Post-World War II models
2 Model 10 Variants
2.1 .357 Magnum variations
2.2 .38 S&W variations
3 Use
4 Replacement
5 Users
6 See also
7 References
8 External links
History[edit]
In 1899, the United States Army and Navy placed orders with Smith & Wesson for two to three thousand Model 1899 Hand Ejector revolvers chambered for the M1892 .38 Long Colt U.S. Service Cartridge. With this order, the Hand Ejector Model became known as the .38 Military and Police model.[3] That same year, in response to reports from military sources serving in the Philippines on the relative ineffectiveness of the new cartridge, Smith & Wesson began offering the Military & Police in a new chambering, .38 S&W Special (a.k.a. .38 Special), a slightly elongated version of the .38 Long Colt cartridge with greater bullet weight (158 grains) and powder charge increased from 18 to 21 grains of gunpowder.[3]
In 1902 the .38 Military & Police (2nd Model) was introduced, featuring substantial changes.[1] These included major modification and simplification of the internal lockwork and the addition of a locking underlug on the barrel to engage the previously free-standing ejector rod. Barrel lengths were 4, 5, 6, and 6.5 inches with a rounded butt. Serial numbers for the Military & Police ranged from number 1 in the series to 20,975. Most of the early M&P revolvers chambered in .38 Special appear to have been sold to the civilian market.[3] By 1904, S&W was offering the .38 M&P with a rounded or square butt, and 4-, 5-, and 6.5-inch barrels.
The .38 S&W Military & Police Model of 1905 4th Change, introduced 1915, incorporated a passive hammer block and enlarged service sights that quickly became a standard across the service revolver segment of the industry. Heat treating of cylinders began in 1919.[4]
The 1st Model M&P of 1899, six-inch barrel. The ejector rod is free-standing, without the under-barrel latch of later models
Smith & Wesson 1905 4th change 1915 Target model. "NRA"Slow Fire at 25 yards. This one left the factory in 1929 and was sent with ten others to a firm in Buenos Aires. The hammer was added later and is in the general form of the King Gun Shop modification usually intended for the timed and rapid fire portions of the NRA course.
The lockwork of the first model differed substantially from subsequent versions. The trigger return spring is a flat leaf rather than the coil spring-powered slide used in variations dating from 1905 onwards.
The M&P 1905 Fourth Change variant (1915). The lock mechanism remained principally unchanged after this model.
Victory Model[edit]
The S&W Model 10 military revolvers produced from 1942 to 1944 had serial numbers with a "V" prefix, and were known as the Smith & Wesson Victory Model. It is noteworthy that early Victory Models did not always have the V prefix. During World War II over 570,000 of these pistols were supplied to the United Kingdom, Canada, Australia, New Zealand, and South Africa under the Lend-Lease program, chambered in the British .38/200 caliber already in use in the Enfield No 2 Mk I Revolver and the Webley Mk IV Revolver. Most Victory Models sent to Britain were fitted with 4-inch or 5-inch barrels, although a few early versions had 6-inch barrels.[5][6]
The Victory Model was used by United States forces during World War II, being chambered in the well-known and popular .38 Special cartridge. The Victory Model was a standard-issue sidearm for United States Navy and Marine Corps aircrews, and was also used by security guards at factories and defense installations throughout the United States during the war.[7]
Some of these revolvers remained in service well into the 1990s with units of the United States Armed Forces, including the United States Air Force and the Coast Guard. Until the introduction of the Beretta M9 9mm pistol in 1990, U.S. Army helicopter crew members and female military police officers were equipped with .38 caliber Victory Model revolvers. Criminal Investigation Division agents were issued .38 caliber revolvers with two inch barrels. The Victory Model remained in use with Air National Guard tanker and transport crews as late as Operation Desert Storm in 1991, and with United States Navy security personnel until 1995.[8]
Some Lend-Lease Victory Model revolvers originally chambered for the British .38/200 were returned to the United States and rechambered to fire the more popular and more powerful .38 Special ammunition, and such revolvers are usually so marked on their barrels. Rechambering of .38-200 cylinders to .38 Special results in oversized chambers, which may cause problems. Lee Harvey Oswald was carrying a re-chambered Victory Model when he was apprehended on November 22, 1963.[9]
The finish on Victory Models was typically a sandblasted and parkerized finish, which is noticeably different from the higher-quality blue or nickel/chrome finishes usually found on commercial M&P/Model 10 revolvers. Other distinguishing features of the Victory Model revolver are the lanyard loop at the bottom of the grip frame, and the use of smooth (rather than checkered) walnut grip panels. However some early models did use a checkered grip, most notably the pre-1942 manufacture.[10]
Post-World War II models[edit]
After World War II, Smith & Wesson returned to manufacturing the M&P series. Along with cosmetic changes and replacement of the frame fitting grip with the Magna stocks, the spring-loaded hammer block safety gave way to a cam-actuated hammer block that rode in a channel in the side plate (Smith 1968). In 1957, Smith & Wesson adopted the convention of using numeric designations to distinguish their various models of handguns, and the M&P was renamed the Model 10.[8]
The M&P/Model 10 has been available in both blued steel finish and nickel finish for most of its production run. The model has also been offered throughout the years with both the round butt and square butt, i.e., grip patterns. Beginning with the Model 10-5 series in the late 1960s, the tapered barrel and its trademark 'half moon' front sight (as shown in the illustrations on this page) were replaced by a straight bull barrel and a sloped milled ramp front sight. Late model Model 10s are capable of handling any .38 Special cartridge produced today up to and including +P+ rounds.[8]
As of 2012[update] the Model 10 was available only in a 4-inch barrel model, as was its stainless steel (Inox) counterpart, the Smith & Wesson Model 64.[11]
Model 10 Variants[edit]
Model
Year
Modifications
10 1957 Introduction
10-1 1959 Heavy barrel introduced
10-2 1961 Change extractor rod thread for standard barrel
10-3 1961 Change extractor rod thread for heavy barrel, change front sight width from 1/10" to 1/8"
10-4 1962 Eliminate trigger-guard screw on standard barrel frame
10-5 1962 Change sight width from 1/10” to 1/8” on standard barrel
10-6 1962 Eliminate trigger-guard screw on heavy-barrel frame
10-7 1977 Change gas ring from yoke to cylinder for standard barrel
10-8 1977 Change gas ring from yoke to cylinder for heavy barrel
10-9 1988 Replace yoke retention system, radius stud package, floating hand hammer nose bushing for standard barrel
10-10 1988 Replace yoke retention system, radius stud package, floating hand hammer nose bushing for heavy barrel
10-11 1997 MIM hammer/trigger and floating firing pin for standard barrel
10-12 1997 MIM hammer/trigger + floating firing pin for heavy barrel
10-13 2002 Limited production 1899 commemorative edition
10-14 2002 Internal lock added
10-14 2010 Discontinued
10-14 2012 Reintroduce as part of the Classic LIne
.357 Magnum variations[edit]
After a small prototype run of Model 10-6 revolvers in .357 Magnum caliber, Smith & Wesson introduced the Model 13 heavy barrel in carbon steel and then the Model 65 in stainless steel. Both revolvers featured varying barrel weights and lengths—generally three and four inches with and without underlugs (shrouds). Production dates begin in 1974 for the Model 13 and end upon discontinuation in 1999. The Model 65 was in production from 1972-1999.[1] Both the blued and stainless models were popular with police and FBI, and a variation of the Model 65 was marketed in the Lady Smith line from 1992 to 1999.
.38 S&W variations[edit]
From the Late 1940's to early 1960's Smith & Wesson made a Variation of the Model 10 chambered for .38 S&W called the Model 11[12] that was sent to British Commonwealth countries to supply their armies[12] and police forces.[13] they were also sent to Canada as well.[14]
Use[edit]
Spanish copy of Smith & Wesson's M&P as used by the Milice and chambered in 8mm French Ordance.
Many of the S & W Military & Police revolvers were captured and used by some of the police forces, such as the Austrian Police, during the occupation after World War II. It is incorrect to refer to them as "the Model 10" as model numbers were not introduced by Smith & Wesson until 1957. Note that, during First World War, copies (slightly undersized) of the Military & Police were produced in Eibar and Guernica (Spain), in 8mm 1892 caliber for the French armies; the Milice man on the right holds such a copy.
The weapon is currently[when?] used by French cash couriers and banks, Disciplined Services of Hong Kong, Myanmar Police Force officers and other Burmese paramilitary units, Peruvian National Police and other police units.
A few copies of Smith & Wesson Model 10 were produced in Israel by Israel Military Industries (IMI) as the Revolver IMI 9mm. The weapon was chambered in the 9mm Luger caliber, instead of .38 Special, the original caliber.[15][16] Also, Norinco of China has manufactured the NP50, which is a copy of the Smith & Wesson Model 64, since 2000.
Replacement[edit]
The S&W Model 10 revolver was a popular weapon before the semi-automatic pistol replaced the revolver in many police departments, as well as police units and armies.
Certain units of the Ireland's Gardaí (Irish Police) had replaced the Model 10 by the SIG Sauer P226 and Walther P99C semi-automatic pistols.
Victoria Police replaced the K frame model 10 with the M&P in .40 S&W.
New Zealand Police replaced the revolver with the Glock 17.[8]
New South Wales Police Force replaced the Model 10 with the Glock 22, Glock 23 and Glock 27.
The weapon was used by Norway's Home Guard until 1986 and the Norwegian Police Service until 2008, being replaced by the Heckler & Koch P30
Portugal police replaced the weapon by the Walther PP, subsequently by the Glock 19.[8]
Royal Malaysia Police used Model 10 as standard sidearm from early 1970 alongside Model 15 before it fully replaced by Beretta PX4 and Walther P99. It was used by Police Volunteer Reserve as standard sidearm and also by RELA Corps for training and self-defence purpose for their officers alongside with Smith & Wesson Model 36 2 inch barrel.[8]
The Model 10 was formerly the standard issue for many firearms-trained police officers in the United Kingdom and in many forces they were replaced by the Glock 17.[8]
The weapon was used by United States Army and United States Marine Corps, only to be replaced by the M1911A1 and the M9 pistols.[8]
Users[edit]
Afghanistan[17]
Algeria
Angola
Argentina[citation needed]
Armenia
Azerbaijan
Australia[18]
Austria
Bangladesh[citation needed]
Bolivia
Burundi
Cambodia
Cameroon
Canada- Various Police Forces.
Chile
China[8]
Colombia[17]
Congo-Brazzaville
Comoros
Costa Rica[8]
Croatia
Cuba[17]
Denmark
Djibouti
Egypt[19]
Equatorial Guinea
Eritrea
Ethiopia
Fiji
Finland
France[8]
Haiti
Hong Kong- Hong Kong Police Force.[8]
Hungary
Iceland- Armed officers of the Icelandic Police, Replaced by the Glock 17. The Icelandic Coast Guard has also used the Model 10 in the past.
India[17]
Indonesia[19]
Iran
Iraq[17]
Ireland- Armed units of the Garda Síochána (To be phased out).
Israel[8]
Jamaica
Japan - Used in some prefectural police headquarters since late 1940s.[20]
Jordan
Kazakhstan[citation needed]
Laos[19]
Latvia
Libya[19]
Lithuania
Macau
Macedonia
Madagascar[19]
Malaysia[8]
Malta[19]
Mexico
Mongolia[19]
Morocco
Mozambique
Myanmar
Namibia
Nepal
Netherlands
New Zealand[18]
Nigeria
Norway - standard firearm of Norwegian Police Service from 1981 until about 2007.
North Korea[17]
North Vietnam[17]
Pakistan
Peru[8]
Philippines[8]
Portugal[8]
Qatar
Saudi Arabia
South Africa[18]
South Korea[8]
South Vietnam[21][22]
Vietnam[8]
Thailand[8]
Turkey- Emniyet Genel Müdürlüğü (Turkish National Police).[23] Used between 1951 and the mid 1990s.
Uganda
United Kingdom - formerly a police-issue weapon.[8]
United States- Various Police Forces, Different prisons who had armed guards, Also used by the US Army.[8]
Zimbabwe[19]
See also[edit]
Colt Commando
Enfield No. 2
M1917 revolver
Service pistol
References[edit]
^ Jump up to: a b c Supica, Jim; Richard Nahas (2001). Standard Catalog of Smith & Wesson. Iola Wisconsin: Krause Publications. p. 1068.
Jump up ^ Boorman, Dean K., The History of Smith & Wesson Firearms (2002), p. 46: "The .38 in Military and Police Model 10 has historically been the mainstay of the Smith & Wesson Company, with some 6,000,000 of this general type produced to date. It has been described as the most successful handgun of all time, and the most popular centerfire revolver of the 20th Century."
^ Jump up to: a b c Cumpston, Mike (2003-01-16). "The First M&P". Gunblast.com. Retrieved 2008-05-02.
Jump up ^ Smith, W.H.B (1968). Book of Pistols and Revolvers (7th ed.). Harrisburg: Stackpole Books.
Jump up ^ Shore, C. (Capt), With British Snipers to the Reich, Paladin Press (1988), p. 55
Jump up ^ Dunlap, Roy, Ordnance Went Up Front, Samworth Press (1948), p. 142
Jump up ^ Ayoob, Massad (15 March 2010). Massad Ayoob's Greatest Handguns of the World. Iola, Wisconsin: Gun Digest Books. p. 71. ISBN 1-4402-1503-0.
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v Supica, Jim; Nahas, Richard (2007). Standard Catalog of Smith & Wesson. Iola, Wisconsin: F+W Media, Inc. pp. 141–143, 174, 210–211. ISBN 0-89689-293-X.
Jump up ^ Martin, Orlando (January 2010). JFK. Analysis of a Shooting: The Ultimate Ballistics Truth Exposed. Dog Ear Publishing. pp. 118–119. ISBN 978-1-60844-315-4.
Jump up ^ Hunter, Hunter (2009). "S&W Victory & Colt Commando Revolvers". American Rifleman. Fairfax, Virginia: National Rifle Association of America. 157 (6): 36–37. ISSN 0003-083X.
Jump up ^ Shideler, Dan (7 August 2011). Gun Digest 2012. Iola, Wisconsin: Gun Digest Books. p. 420. ISBN 1-4402-1447-6.
^ Jump up to: a b "Wiley Clapp: The .38 S&W—Isn't That Special?". www.americanrifleman.org. Retrieved 2018-08-09.
Jump up ^ "Info on s&w model 11 needed". smith-wessonforum.com. Retrieved 2018-08-09.
Jump up ^ "Anybody have a S&W Model 11 revolver?". forums.gunboards.com. Retrieved 2018-08-09.
Jump up ^ https://hebrewhammerblog.com/2015/05/12/the-mystery-of-the-imi-9mm-revolver/
Jump up ^ http://www.rockislandauction.com/detail/59/1817/i-m-i-israeli-mp#detail
^ Jump up to: a b c d e f g Cite error: The named reference Arnold2017 was invoked but never defined (see the help page).
^ Jump up to: a b c Arnold, David (28 February 2011). Classic Handguns of the 20th Century. Iola, Wisconsin: Gun Digest Books. p. 33. ISBN 1-4402-2640-7.
^ Jump up to: a b c d e f g h Cite error: The named reference Arnold2018 was invoked but never defined (see the help page).
Jump up ^ Sugiura, Hisaya (September 2015). "Pistols of the Japanese police in the postwar era". Gun Professionals. Hobby Japan: 72–79.
Jump up ^ http://www.nam-valka.cz/zbrane/sw38.html
Jump up ^ https://ospreypublishing.com/army-of-the-republic-of-vietnam-1955-75
Jump up ^ Schwing, Ned (5 November 2005). Standard Catalog of Military Firearms: The Collector's Price and Reference Guide. Iola, Wisconsin: Krause Publications. p. 323. ISBN 0-87349-902-6.
External links[edit]
Wikimedia Commons has media related to Smith & Wesson Model 10.
World Guns page
Smith & Wesson Model 10 at the Internet Movie Firearms Database
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Horace Smith
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text:
Bahamas at the Olympics
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Bahamas at the
Olympics
Flag of the Bahamas
IOC code
BAH
NOC
Bahamas Olympic Committee
Website
www.bahamasolympiccommittee.org
Medals
Gold
6
Silver
2
Bronze
6
Total
14
Summer appearances
1952
1956
1960
1964
1968
1972
1976
1980
1984
1988
1992
1996
2000
2004
2008
2012
2016
2020
The Bahamas first participated at the Olympic Games in 1952, and has sent athletes to compete in every Summer Olympic Games since then, except when they participated in the American-led boycott of the 1980 Summer Olympics. The nation has never participated in any Winter Olympic Games.
Bahamian athletes have won a total of fourteen medals, all in athletics and sailing.
The National Olympic Committee for Bahamas is the Bahamas Olympic Committee, and was created in 1952.
Contents
1 Medal tables
1.1 Medals by Summer Games
1.2 Medals by sport
2 List of medalists
3 Flagbearers
4 See also
5 External links
Medal tables[edit]
Medals by Summer Games[edit]
Games
Athletes
Gold Silver Bronze
Total
Rank
1952 Helsinki 7 0 0 0 0 –
1956 Melbourne 4 0 0 1 1 35
1960 Rome 13 0 0 0 0 –
1964 Tokyo 11 1 0 0 1 24
1968 Mexico City 16 0 0 0 0 –
1972 Munich 20 0 0 0 0 –
1976 Montreal 11 0 0 0 0 –
1980 Moscow did not participate
1984 Los Angeles 22 0 0 0 0 –
1988 Seoul 16 0 0 0 0 –
1992 Barcelona 14 0 0 1 1 54
1996 Atlanta 26 0 1 0 1 61
2000 Sydney 25 2 0 1 3 34
2004 Athens 22 1 0 1 2 52
2008 Beijing 25 0 1 1 2 64
2012 London 24 1 0 0 1 50
2016 Rio de Janeiro 28 1 0 1 2 50
2020 Tokyo future event
Total
6
2
6
14
64
Medals by sport[edit]
Sport
Gold
Silver
Bronze
Total
Athletics
5 2 5 12
Sailing
1 0 1 2
Totals (2 sports)
6 2 6 14
List of medalists[edit]
Medal
Name
Games
Sport
Event
Bronze Durward Knowles
Sloane Farrington 1956 Melbourne Sailing Star class
Gold Durward Knowles
Cecil Cooke 1964 Tokyo Sailing Star class
Bronze Frank Rutherford 1992 Barcelona Athletics Men's triple jump
Silver Debbie Ferguson
Eldece Clarke-Lewis
Chandra Sturrup
Savatheda Fynes
Pauline Davis-Thompson 1996 Atlanta Athletics Women's 4 × 100 metres relay
Gold Savatheda Fynes
Chandra Sturrup
Pauline Davis-Thompson
Debbie Ferguson
Eldece Clarke-Lewis 2000 Sydney Athletics Women's 4 × 100 metres relay
Gold Pauline Davis-Thompson 2000 Sydney Athletics Women's 200 metres
Bronze Avard Moncur
Troy McIntosh
Carl Oliver
Chris Brown
Timothy Munnings 2000 Sydney Athletics Men's 4 × 400 metres relay
Gold Tonique Williams-Darling 2004 Athens Athletics Women's 400 metres
Bronze Debbie Ferguson 2004 Athens Athletics Women's 200 metres
Silver Andretti Bain
Michael Mathieu
Andrae Williams
Chris Brown 2008 Beijing Athletics Men's 4 × 400 metres relay
Bronze Leevan Sands 2008 Beijing Athletics Men's triple jump
Gold Michael Mathieu
Ramon Miller
Chris Brown
Demetrius Pinder 2012 London Athletics Men's 4 × 400 metres relay
Gold Shaunae Miller 2016 Rio de Janeiro Athletics Women's 400 metres
Bronze Michael Mathieu
Alonzo Russell
Chris Brown
Steven Gardiner
Stephen Newbold 2016 Rio de Janeiro Athletics Men's 4 × 400 metres relay
Flagbearers[edit]
See also: List of flag bearers for the Bahamas at the Olympics
Summer Olympics
Games
Athlete
Sport
1972 Munich Mike Sands Athletics
1976 Montreal Mike Sands Athletics
1980 Moscow Did not participate
1984 Los Angeles Bradley Cooper Athletics
1988 Seoul Durward Knowles Sailing
1992 Barcelona
1996 Atlanta Frank Rutherford Athletics
2000 Sydney Pauline Davis-Thompson Athletics
2004 Athens Debbie Ferguson-McKenzie Athletics
2008 Beijing Debbie Ferguson-McKenzie Athletics
2012 London Chris Brown Athletics
2016 Rio de Janeiro Shaunae Miller Athletics
See also[edit]
Category:Olympic competitors for the Bahamas
External links[edit]
"Bahamas". International Olympic Committee.
"Results and Medalists — Bahamas". Olympic.org. International Olympic Committee.
"Olympic Medal Winners". International Olympic Committee.
"Bahamas". Sports-Reference.com.
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values: الباهاما في الألعاب الأولمبية – Arabic

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values: Bahamas nos Jogos Olímpicos – Portuguese

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