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Baba O'Riley
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"Teenage Wasteland" redirects here. For the films, see Teenage Wasteland (film) or Sleepaway Camp III: Teenage Wasteland.
"Baba O'Riley"
Single by The Who
from the album Who's Next
B-side
"My Wife"
Released
23 October 1971 (1971-10-23)[1]
Format
7-inch single
Recorded
May 1971,
Olympic Studios, London, England[2]
Genre
Hard rock[3]
Length
5:08
Label
Polydor
Songwriter(s)
Pete Townshend
Producer(s)
The Who
Associate producer:
Glyn Johns
Executive producers:
Kit Lambert
Chris Stamp
Pete Kameron
The Who singles chronology
"Let's See Action"
(1971) "Baba O'Riley"
(1971) "Behind Blue Eyes"
(1971)
"Let's See Action"
(1971) "Baba O'Riley"
(1971) "Behind Blue Eyes"
(1971)
Who's Next track listing
show
9 tracks
Side one
"Baba O'Riley"
"Bargain"
"Love Ain't for Keeping"
"My Wife"
"The Song Is Over"
Side two
"Getting in Tune"
"Going Mobile"
"Behind Blue Eyes"
"Won't Get Fooled Again"
"Baba O'Riley", a song by the British rock band The Who, is the opening track to the band's studio album Who's Next, and was issued in Europe as a single on 23 October 1971, coupled with "My Wife".
Roger Daltrey sings most of the song, with Pete Townshend singing the middle eight: "Don't cry/don't raise your eye/it's only teenage wasteland". The song's title is a combination of the names of two of Townshend's philosophical and musical influences: Meher Baba and Terry Riley.
"Baba O'Riley" appears in Time magazine's list of the All-Time 100 Songs, Rolling Stone's list of "The 500 Greatest Songs of All Time", and the Rock and Roll Hall of Fame as one of the 500 Songs That Shaped Rock and Roll.
It also features on live albums: Who's Last, Live from Royal Albert Hall, Live from Toronto, and Greatest Hits Live. In concert Daltrey plays the violin solo on harmonica.
Contents
[hide]
1 Background and composition
2 Recording and release
3 Reception and legacy
4 Personnel
5 Charts
5.1 Certifications
6 References
7 External links
Background and composition[edit]
Townshend originally wrote "Baba O'Riley" for his Lifehouse project, a rock opera that was to be the follow-up to the Who's 1969 opera, Tommy. In Lifehouse, the song would be sung at the beginning by a Scottish farmer named Ray, as he gathers his wife Sally and his two children to begin their exodus to London. When Lifehouse was scrapped, eight of the songs were salvaged and recorded for the Who's 1971 album Who's Next, with "Baba O'Riley" as the lead-off track.
Townshend stated in an interview that "'Baba O'Riley' is about the absolute desolation of teenagers at Woodstock, where audience members were strung out on acid and 20 people had brain damage. The irony was that some listeners took the song to be a teenage celebration: 'Teenage Wasteland, yes! We're all wasted!'"[4]
The "Baba O'Riley" title combines the names of Meher Baba and Terry Riley, two of Townshend's philosophical and musical mentors.[5] The song is often mistakenly called "Teenage Wasteland", after the phrase repeated in the song. "Teenage Wasteland" was in fact a working title for the song in its early incarnations as part of the Lifehouse project, but eventually became the title for a different but related song by Townshend, which is slower and features different lyrics.[6] A demo of "Teenage Wasteland" is featured on Lifehouse Chronicles, a six-disc set of music related to the Lifehouse project, and on several Townshend compilations and videos.
The song uses a I-V-IV chord progression and is composed in the key of F major. However, it was recorded using the European "A" which is 446 HZ rather than the standard 440 HZ.[7]
Recording and release[edit]
"Baba O'Riley"'s backing track was derived from the Lifehouse concept, where Townshend wanted to input the vital signs and personality of Meher Baba into a synthesiser, which would then generate music based on that data. When this idea fell through, Townshend instead recorded a Lowrey Berkshire Deluxe TBO-1 organ using its marimba repeat feature as the backing track.[8] This modal approach was inspired by the work of minimalist composer Terry Riley.
The song was derived from a nine-minute demo, which the band reconstructed.[9] "Baba O'Riley" was initially 30 minutes in length, but was edited down to the "high points" of the track for Who's Next.[10] The other parts of the song appeared on the third disc of Townshend's Lifehouse Chronicles as "Baba M1 (O'Riley 1st Movement 1971)" and "Baba M2 (2nd Movement Part 1 1971)".
"Baba O'Riley" was released in November 1971, as a single in several European countries. However, in the United Kingdom and the United States, it was released only as part of the album Who's Next.
Reception and legacy[edit]
The Who performing "Baba O'Riley" live at Manchester Arena in 2014
"Baba O'Riley" appears at No. 349 on Rolling Stone's list of "The 500 Greatest Songs of All Time".[11] The song is in the Rock and Roll Hall of Fame as one of the 500 Songs That Shaped Rock and Roll.[12] The band Pearl Jam regularly plays a cover of the song during concerts, and a readers' poll in Rolling Stone awarded this cover as #8 in their Greatest Live Cover Songs.[13]
During live performances, Roger Daltrey plays the studio violin part on harmonica.
The Tubes performed the song on 9 September 1978, at the Knebworth Festival in tribute to Keith Moon, who had died two days earlier.[14]
"Baba O'Riley" was used as the theme song for the popular television series CSI: NY (2004–13); with each CSI series using a Who song as its theme.[15] The live version of the song from the album Who's Last plays in the opening segment of the Miami Vice episode "Out Where the Buses Don't Run" (season two, 1985).[16] One of the working titles of That '70s Show (1998–2006) was "Teenage Wasteland," a reference to the repeated lyric in the song.[17] The song was also used in trailers for A Bug's Life (1998), American Beauty (1999), Resident Evil: Retribution (2012), and The Peanuts Movie (2015).[18] The song was also used in the beginning of the 2012 movie Premium Rush. The song has also been used in episode 14 of season one in the TV series House and in episode 10 of season one in the TV series The Newsroom. A remixed version of this song, re-done by Alan Wilkis, appears in the 2012 remake of Need for Speed: Most Wanted, as well as the Family Guy season 13 episode "Quagmire's Mom", the third Robot Chicken: Star Wars special and episode 11 of season one of Superstore. The song is featured in an episode of Joe Pera Talks With You "Joe Pera Reads You the Church Announcements" on Adult Swim.
Since 2003, "Baba O'Riley" has been played during player introductions for the Los Angeles Lakers during home games at the Staples Center.[19] The song is played prior to live UFC events during a highlight package showing some of the most famous fights in the mixed martial arts company's history.[20] It is also the official theme song of competitive eater Joey Chestnut.[21]
At both the opening and closing ceremonies of the 2012 London Olympics, the track "The Road Goes On Forever" by High Contrast is used during a countdown to the start of the proceedings, this song samples "Baba O'Riley" with a higher tempo as a 120bpm dance track.[22] "Baba O'Riley" was then performed by the Who as their first number during the last musical segment at the closing ceremony, with Daltrey singing a changed lyric of "Don't cry/Just raise your eye/There's more than teenage wasteland".[23] "Baba O'Riley" is also used as the pregame music at Sanford Stadium and is played right before kickoff at every University of Georgia home football game. It is also played at halftime of most New England Patriots home games, leading up to the second-half kickoff. It is also the entrance music for the New York Rangers at Madison Square Garden.
Personnel[edit]
Roger Daltrey – lead vocals, harmonica (live versions only)
Pete Townshend – Lowrey organ, piano, guitar, co-lead vocals
John Entwistle – bass
Keith Moon – drums
Dave Arbus – violin
Charts[edit]
Chart (1972)
Peak position
Dutch Singles Chart 11[1]
Certifications[edit]
Region
Certification
Certified units/Sales
United Kingdom (BPI)[24]
Gold 500,000
*sales figures based on certification alone
^shipments figures based on certification alone
References[edit]
^ Jump up to: a b "Baba O'Riley". ung Medien / hitparade.ch. Retrieved 28 November 2011.
Jump up ^ Who's Next 1995 Remastered Liner Notes Page 17
Jump up ^ John Atkins (1 February 2000). The Who on Record: A Critical History, 1963-1998. McFarland. p. 158. ISBN 978-0-7864-4097-9.
Jump up ^ Guitar World Vol. 30 No. 9 pg. 76
Jump up ^ The Who: The Ultimate Collection (Media notes). The Who. MCA Records. 2002. p. 12.
Jump up ^ Lifehouse Chronicles box set
Jump up ^ "Baba O'Riley Guitar Lesson – The Who". TheGuitarLesson.com. Retrieved 26 November 2014.
Jump up ^ "Pete's Equipment, Lowrey Berkshire Deluxe TBO-1".
Jump up ^ Who's Next 1995 Remastered Liner Notes Page 17
Jump up ^ "The Hypertext Who " Article Archive — The Who Puts the Bomp (1971)". Thewho.net. Retrieved 4 January 2012.
Jump up ^ "The RS 500 Greatest Songs of All Time". Rolling Stone. 2006-12-09. Archived from the original on 2006-08-15. Retrieved 2009-08-14.
Jump up ^ "500 Songs That Shaped Rock and Roll". Archived from the original on 2008-07-07. Retrieved 2008-07-09.
Jump up ^ "Readers' Poll: The Greatest Live Cover Songs". Rolling Stone. Retrieved 2013-09-01.
Jump up ^ "Baba O'Riley / The Kids Are Alright - The Tubes with Todd Rundgren". YouTube. 9 September 1978. Retrieved 16 November 2016.
Jump up ^ Duboff, Josh (2010-02-07). "The Who Performs CSI Medley". New York The song was also used in the Fourth Season of One Tree Hill the song plays in the thirteenth episode "Pictures of You". Retrieved 2013-09-01.
Jump up ^ * Moore, Allen F. (2003). Analyzing Popular Music. Cambridge University Press. p. 67. ISBN 052177120X.
Jump up ^ "DVD Verdict Review - That '70s Show: Season One". Retrieved 18 September 2012.
Jump up ^ "The Peanuts Movie Trailer: An Underdog and His Dog". Slashfilm.com. 2015-06-16. Retrieved 2016-10-03.
Jump up ^ McMenamin, Dave (2010-10-04). "London Called, But Lakers Don't Figure to Be Back Any Time Soon". ESPN. Retrieved 2012-01-04.
Jump up ^ "Q&A with local MMA announcer Ray Flores". Post-Tribune. 2011-08-23. Retrieved 2012-03-09.
Jump up ^ Heilpern, John (July 2011). "The Fastest Mouth on Earth". Vanity Fair. Retrieved 2013-09-01.
Jump up ^ "High Contrast's Olympic Story: Part 3 - Highly Contrasting". highlycontrasting.com.
Jump up ^ "Did Roger Daltrey Forget the Lyrics to "Baba O'Riley"?". CBS News. 13 August 2012. Retrieved 2012-08-15.
Jump up ^ "British single certifications – The Who – Baba O'Riley". British Phonographic Industry. Retrieved 5 July 2018. Select singles in the Format field. Select Gold in the Certification field. Enter Baba O'Riley in the search field and then press Enter.
External links[edit]
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Who's Next
Songs
Side one
"Baba O'Riley"
"Bargain"
"Love Ain't for Keeping"
"My Wife"
"The Song Is Over"
Side two
"Getting in Tune"
"Going Mobile"
"Behind Blue Eyes"
"Won't Get Fooled Again"
Supporting tours
The Who Tour 1971
The Who Tour 1972
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Classic Albums: The Who – Who's Next
My Generation
A Quick One
The Who Sell Out
Tommy
Who's Next
Quadrophenia
The Who by Numbers
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It's Hard
Endless Wire
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A Quiet Place (film)
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
A Quiet Place
Theatrical release poster
Directed by
John Krasinski
Produced by
Michael Bay
Andrew Form
Brad Fuller
Screenplay by
Bryan Woods
Scott Beck
John Krasinski
Story by
Bryan Woods
Scott Beck
Starring
Emily Blunt
John Krasinski
Millicent Simmonds
Noah Jupe
Music by
Marco Beltrami
Cinematography
Charlotte Bruus Christensen
Edited by
Christopher Tellefsen
Production
companies
Platinum Dunes
Distributed by
Paramount Pictures
Release date
March 9, 2018 (2018-03-09) (SXSW)
April 6, 2018 (2018-04-06) (United States)
Running time
90 minutes[1]
Country
United States
Language
American Sign Language
English
Budget
$17–21 million[2][3]
Box office
$431.7 million[4]
A Quiet Place is a 2018 American horror film directed by John Krasinski, who stars with Emily Blunt, his real-life wife. The film is produced by Michael Bay's company, Platinum Dunes, which is also run by Andrew Form and Bradley Fuller. Scott Beck and Bryan Woods began working on the story in 2014, and Paramount Pictures bought their spec script in 2017. Krasinski then joined as a director and wrote a new draft of the script. Principal photography took place later in the year in upstate New York. In A Quiet Place, a family must live life in silence while hiding from creatures which hunt by sound.
A Quiet Place premiered at South by Southwest on March 9, 2018, and was released in the United States on April 6, 2018, by Paramount Pictures. It became a major box office hit, grossing $331 million worldwide and received acclaim from critics, who praised its originality, atmosphere, as well as the acting and directing, calling it a "smart, wickedly frightening good time".[5] A sequel is currently in development.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development and writing
3.2 Filming
3.3 Sound and music
3.4 Use of sign language
3.5 Creature design
4 Marketing
5 Release
5.1 Premiere
5.2 Box office forecast
5.3 Theatrical run
6 Critical reception
7 Commentary and themes
8 Home media
9 Sequel
10 See also
11 References
12 External links
Plot[edit]
Over three months in 2020, most of Earth's human population has been wiped out by sightless creatures with hypersensitive hearing and a seemingly impenetrable armored shell that attack anything that makes noise. The Abbott family— wife Evelyn, husband Lee, congenitally deaf daughter Regan, and sons Marcus and Beau—silently scavenge for supplies in a deserted town. While out in the open, the family communicates with American Sign Language. Four-year-old Beau is drawn to a battery-operated space shuttle toy, but his father takes it away. Regan returns the toy to Beau, who also takes the batteries his father removed. Beau activates the shuttle when the family is walking home through the woods, near a bridge. Its noise makes him an instant target for a nearby creature, and he is swiftly killed.
A year later, Regan still struggles with guilt over her brother's death, Evelyn is in the final stages of pregnancy, and Lee is fruitlessly trying to make radio contact with the outside world. Lee attempts to upgrade Regan's cochlear implant to restore her hearing, but the device fails. Later, Lee takes Marcus to a nearby river to teach him to fish while Regan visits the memorial to Beau at the bridge where he was killed. Lee explains to Marcus that they will always be safe from the creatures so long as louder sounds mask their audible movements. Alone at the house, Evelyn goes into labor earlier than expected. While making her way to their house basement, she steps on a large nail. In pain, she accidentally drops a glass picture frame and alerts a nearby creature. Evelyn flips a switch that changes the exterior house lights to red as a danger signal to the others, and struggles to remain silent during her contractions.
Arriving at the farm and seeing the lights, Lee instructs Marcus to set off fireworks as a diversion. He finds Evelyn hiding in the bathroom with their newborn son. The baby starts crying, attracting a creature, and they narrowly avoid another attack on the way to the specially modified barn basement. Lee leaves to find the other children, after promising Evelyn he will protect them. Evelyn falls asleep but wakes to discover that the barn basement is flooded with water from a broken pipe and that a creature is stalking her.
Regan hurries back to the farm. She and Marcus take refuge atop a grain silo, lighting a fire to alert their father to their whereabouts. However, they run out of lighter fluid and the fire dies down, causing Lee to assume that they are not there. A hatch door gives way and Marcus falls into the silo. He sinks into the corn and nearly suffocates, but Regan jumps in and saves him. They avoid further danger by clinging to the fallen silo door and survive a subsequent creature attack by hiding under it. Regan's repaired cochlear implant reacts to the proximity of the creature by emitting a piercingly loud high-frequency sound that drives the creature away. The children escape from the silo and reunite with Lee.
The creature returns and Lee attacks it with a Pulaski, while Marcus and Regan hide in a pickup truck. Lee is wounded and Marcus shouts, attracting the creature to the truck. Lee uses sign language to tell Regan and Marcus that he loves them before sacrificing himself by yelling to draw the creature away from his children. Regan and Marcus roll the truck down a hill to escape and reunite with Evelyn and the baby at the farmhouse.
Regan, who was not allowed in the house basement previously, sees her father's notes on the creatures and on his experimentation with several different implants. When the creature returns to invade the basement, Regan places the boosted implant on a nearby microphone, magnifying the feedback to ward off the creature. Painfully disoriented, the creature exposes the flesh beneath its armored head, and Evelyn shoots the creature in the head with a shotgun, destroying its head and killing it. The family views a CCTV monitor, showing two creatures attracted by the noise of the shotgun blast approaching the house. With their newly acquired knowledge of the creatures' weakness, the members of the family arm themselves and prepare to fight back.
Cast[edit]
Emily Blunt as Evelyn Abbott, a doctor, wife of Lee, and the mother to their three children, Regan, Marcus, and Beau. Krasinski describes her character as wanting to ensure that their children "be fully-formed, fully-thinking people".
John Krasinski, as Lee Abbott, an engineer, husband of Evelyn, and the father of Regan, Marcus, and Beau. Krasinski described his character as a survivalist who focuses on getting his family through each day.[6]
Millicent Simmonds as Regan Abbott, Lee and Evelyn's deaf daughter, and Marcus and Beau's sister. Krasinski said he sought a deaf actress, "... for many reasons, I didn't want a non-deaf actress pretending to be deaf. Most importantly though, because a deaf actress would help my knowledge and my understanding of the situations tenfold. I wanted someone who lives it and who could teach me about it on set."[6]
Noah Jupe as Marcus Abbott, the oldest son of Lee and Evelyn, and Regan and Beau’s brother. Krasinski noticed Jupe in the 2016 miniseries The Night Manager and later saw an early screening of the 2017 film Suburbicon to evaluate Jupe's performance.[6]
Cade Woodward as Beau Abbott, the younger son of Lee and Evelyn.
Ezekiel & Evangelina Cavoli as newborn Baby Abbott.
Production[edit]
Development and writing[edit]
A Quiet Place is a production of Sunday Night and Platinum Dunes;[7] it was produced on a budget of $17 million.[8] Krasinski wrote the screenplay with story co-writers Scott Beck and Bryan Woods. Beck and Woods grew up together in the US state of Iowa, and had watched numerous silent films in college. By 2013, they began working on the story that would lead to the film. They used their experience growing up close to farmland as the basis, including a grain silo setting as a place considered dangerous in their upbringing. They initiated their approach with a 15-page proof of concept.[9] Initially, the writers had considered developing the film into a Cloverfield installment, but after pitching their ideas to the studio collectively, all of those involved decided to keep the film its own entity.[10]
In January 2016, Beck and Woods began writing A Quiet Place in earnest.[11] Krasinski read their spec script the following July.[12] The concept of parents protecting their children appealed to him, especially as his second child with actress Emily Blunt had just been born.[6] Blunt encouraged him to direct the film.[12] By March 2017, Paramount had bought Beck and Woods's spec script. The studio hired Krasinski to rewrite the script and direct the film, which was his third directorial credit and his first for a major studio.[13] Krasinski cited cinematic influences including Alien (1979), No Country for Old Men (2007), and In the Bedroom (2001) when writing a new draft.[14] Initially, Blunt did not want to be cast in the film but after reading it on the plane, she immediately told her husband "I need to do it."[12] He agreed, and they were both cast in the starring roles.[13]
Filming[edit]
The Springtown Truss Bridge on the Wallkill Valley Rail Trail, used as a location in the film
Production took place from May to November 2017 in Dutchess and Ulster counties in upstate New York. Filmmakers spent their budget locally, including a purchase of 20 tons of corn, which they hired local farmers to grow. Some filming took place on a soundstage in the town of Pawling in Dutchess County, as well as on-location in the county's city of Beacon.[15] Filming also took place on the Wallkill Valley Rail Trail in New Paltz of Ulster County, using the Springtown Truss Bridge.[16] Outside Dutchess and Ulster counties, filming took place on Main Street in Little Falls in Herkimer County, New York.[17]
Sound and music[edit]
During filming, the crew avoided making noise so diegetic synchronized sounds (e.g., the sound of rolling dice on a game board) could be recorded; the sounds were amplified in post-production. A traditional musical score was also added, which Krasinski justified in wanting audiences to remain familiar with watching a mainstream film, and not feel like part of a "silence experiment".[18]
Supervising sound editors Erik Aadahl and Ethan Van der Ryn worked on A Quiet Place. For scenes from the perspective of the deaf daughter, sound was removed to put greater focus on the visual. They also advised on organizing shots to reflect the creatures' perspective, like showing them notice a sound, then showing what was causing the sound. Composer Marco Beltrami provided the sound editors music to work with in a way that would not interfere with the sound design throughout the film.[19]
In the film, creatures are blind and communicate through clicking sounds. Aadahl and Van der Ryn said they were inspired by animal echolocation, such as that employed by bats. The sound of feedback, normally avoided by sound editors, was woven into the story at a loudness level that would not bother audiences too much.[20]
Use of sign language[edit]
Since the characters communicate in American Sign Language to avoid making sound, filmmakers hired deaf mentor Douglas Ridloff to teach ASL to the actors and to be available to make corrections. The filmmakers also hired an ASL interpreter for deaf actress Simmonds, so that spoken and signed language could be interpreted back and forth on set.[21] Simmonds, who grew up with ASL, helped teach her fellow actors to sign.[22] She said of the need to practice ASL, "In the movie, we've been signing together for years and years. So it should look fluent."[23] She observed that the way the others used their sign language reflected their characters' motivations; the father had short and brief signs that showed his survival mentality, while the mother had more expressive signs as part of her wanting her children to experience more than survival.[24] Krasinski said Simmonds's character was "a little bit of the warrior princess, the black sheep in the family", and that she used "signing that's very defiant, it's very teenage defiant".[25]
Simmonds said that for a scene in which her character fights with her father in sign language, she suggested for the daughter to rebel rather than cower as in the script. She also said that at the end of the film, the script originally had the father sign to his daughter "I love you", but she suggested for him to follow with "I've always loved you" to make up for their arguing earlier in the film.[26]
The producers Andrew Form and Bradley Fuller said they initially planned not to provide on-screen subtitles for sign-language dialogue with "context clues", but realized that for the scene in which the deaf daughter and her hearing father argue about the modified hearing aid, subtitles were necessary. The producers subsequently added subtitles for all sign-language dialogue in the film. Producer Brad Fuller said, "And I think once you put one subtitle in, you subtitle the whole movie. You don't take liberties like, 'Oh they probably know what I love you is, but we don't subtitle it.' It's just gonna live everywhere and that's the world we live by."[27]
Creature design[edit]
Production designer Jeffrey Beecroft headed the creature design, and special effects supervisor Scott Farrar created the creatures. The director wanted the creatures to look like they had evolved to no longer need eyes, and to be "somewhat humanoid" in nature. Farrar said the initial creature design showed them with rhinoceros-like horns out of their faces, later redesigned. Vanity Fair reported, "The team immediately set about pulling references; prehistoric fish, black snakes, and bats, particularly their movement patterns. Inspiration was also drawn from bog people: cadavers that have been mummified in peat, turning the skin black and giving it a sagging, leathery look."[28]
Marketing[edit]
Paramount Pictures released the first trailer for A Quiet Place in November 2017.[29] It aired a 30-second commercial for the film during the US football playoff Super Bowl LII on February 4, 2018.[30] Of the seven trailers that aired during the playoff, A Quiet Place and Red Sparrow were shown during the pregame and had the lowest views and social conversations. A Quiet Place had 149,000 views on YouTube, 275,000 videos on Facebook, and 2,900 social conversations.[31][32] On February 12, 2018, Krasinski appeared on The Ellen DeGeneres Show to present the full trailer for A Quiet Place.[33]
Release[edit]
Premiere[edit]
A Quiet Place premiered at the South by Southwest Film Festival as the opening-night film on March 9, 2018.[34] It was selected from 2,458 submissions,[35] and earned "raves" from critics, according to IndieWire.[36] Following its premiere, the film experienced social media growth to under 52 million views across multiple platforms, outpacing Get Out (2017), which had 46.9 million views.[8]
Box office forecast[edit]
The Tracking Board reported on March 14, "The stellar reviews out of SXSW, coupled with the fact that there isn't anything like it in the marketplace, should help it stand out among its bigger-budget competition."[37] Deadline Hollywood said on March 15 that the film was projected to gross around $20 million in its opening weekend.[8] Variety reported on March 27 that the film "is tracking to open between" $16 million and $30 million,[38] which reached a basement of low-$20 million by the week of its release.[39]
BoxOffice initially estimated on February 9, 2018 that A Quiet Place would gross $17 million in its opening weekend, and that it would gross a total of $60 million in the United States.[40] By March 30, it increased its estimate to an opening weekend gross of $27.5 million and a US total gross of $85 million.[41] The magazine said the film's trailer was well-received online and that it appeared frequently in previews for Star Wars: The Last Jedi. BoxOffice wrote, "The horror genre has also shown a knack for over-performing against expectations at the box office in recent years, setting this release up for potential success." It added that A Quiet Place would have to compete against another horror film, Truth or Dare, which would be released the following weekend.[40] The magazine's staff drew "very favorable" comparisons between A Quiet Place and the 2016 films 10 Cloverfield Lane and Don't Breathe.[42]
Theatrical run[edit]
A Quiet Place was first commercially released in theaters in the first week of April 2018 in multiple territories, including North America.[43] As of July 13, 2018, A Quiet Place has grossed $187.6 million in the United States and Canada, and $144.1 million in other territories, for a worldwide total of $331.7 million.[44]
Paramount Pictures released the film in 3,508 theaters in the United States and Canada on April 6, 2018, alongside Blockers, Chappaquiddick, and The Miracle Season.[45] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, while PostTrak reported filmgoers gave it an 81% overall positive score and a 63% "definite recommend".[46] The film made $19 million on its first day (including $4.3 million from Thursday night previews at 2,750 theaters), increasing weekend projections to $47 million. Unlike most horror films, which are front-loaded on Friday and suffer drops the rest of the weekend, A Quiet Place made $19.1 million on Saturday. It went on to debut to $50.2 million, topping the box office and marking the biggest opening for a Paramount film since Star Trek Beyond in July 2016.[46] To that point, it was second biggest domestic debut of 2018, behind Black Panther.[47]
The film made $32.9 million in its second weekend, dropping 34% (better than the 50+% that horror films normally see) and finishing second at the box office, behind newcomer Rampage ($35.7 million).[48] The hold represented the second-best-ever second weekend for a scary movie behind It.[49] The film regained the top spot the following week, grossing $20.9 million (a 36% drop),[50] but dropped back down to second place the following weekend behind newcomer Avengers: Infinity War with $10.7 million.[51]
Through its first two weeks of international release, the film had made $51.7 million, with its top markets being the United Kingdom ($9.2 million), Mexico ($5.1 million), Australia ($4.6 million), Brazil ($3.9 million), Indonesia ($3.4 million) and Taiwan ($1.9 million). It also debuted to $2.2 million in Russia, the biggest-ever opening for a Paramount horror film in the country.[52] In its third weekend overseas, it dip only 37% for a $15 million from 57 markets.[53] In its fourth weekend in international markets, it grossed $6.6 million.[53] As of May 20, 2018, the film's largest markets were United Kingdom ($16.3 million), Australia ($9.3 million), Mexico ($7.5 million) and Brazil ($6.9 million).[54][55] The film was released in China on May 18 and made $17.7 million from 8,731 screens in its opening weekend.[56]
Critical reception[edit]
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 95% based on 269 reviews, and an average rating of 8.1/10. The website's critical consensus reads, "A Quiet Place artfully plays on elemental fears with a ruthlessly intelligent creature feature that's as original as it is scary – and establishes director John Krasinski as a rising talent."[57] On Metacritic, the film has a weighted average score of 82 out of 100, based on 55 critics, indicating "universal acclaim".[58]
Writing for Rolling Stone, Peter Travers gave the film 3.5 out of 4 stars, saying, "The question Krasinski tackles is what defines a family and what's needed to preserve it? 'Who are we', asks Mom, 'if we can't protect our children?' The answers are worked out with satisfying complexity and genuine feeling, proving indeed that home is where family is. This new horror classic will fry your nerves to a frazzle."[59] The Hollywood Reporter's John DeFore described the film as "a terrifying thriller with a surprisingly warm heart" and said, "You might have to go back to Jeff Nichols' 2011 Take Shelter to find a film that has used the fantastic this well to convey the combination of fear and responsibility a good parent feels."[60]
Variety's Owen Gleiberman said, "A Quiet Place is a tautly original genre-bending exercise, technically sleek and accomplished, with some vivid, scary moments, though it's a little too in love with the stoned logic of its own premise."[7] Michael Phillips of the Chicago Tribune gave the film 2.5 out of 4 stars and said, "My favorite moment, an encounter between Regan and one of the monsters in a cornfield, plays with sound and image and tension, creatively. Other bits are more shameless...I don’t know if I’d call A Quiet Place enjoyable; it’s more grueling than cathartic."[61]
Horror author Stephen King praised the film in a post on Twitter, "A QUIET PLACE is an extraordinary piece of work. Terrific acting, but the main thing is the SILENCE, and how it makes the camera's eye open wide in a way few movies manage."[62]
Nick Allen of RogerEbert.com called A Quiet Place "Krasinski's breakthrough as a triple-threat entertainer, but it's been a long time coming...By no accident, he's tackled the horror genre while relying on the unique strength that can be seen throughout his acting work, and one that has made him relatable as an everyman across TV and film—expressive silence."[63]
Commentary and themes[edit]
Speaking of the political and social commentary the film encouraged, Krasinski said, "The best compliment you can get on any movie is that it starts a conversation. The fact that people are leaving and talking about anything is really fun—but certainly about deep stuff like that, is awesome."[64] Krasinski, who did not grow up with horror films, said that prior films of the genre such as Don't Breathe (2016) and Get Out (2017) that had societal commentary were part of his research. In addition to considering his film a metaphor for parenthood, he compared the premise to US politics in 2018, "I think in our political situation, that's what's going on now: You can close your eyes and stick your head in the sand, or you can try to participate in whatever's going on." He cited Jaws (1975) as an influence, with how the protagonist police officer moved from New York to an island to avoid frightening situations, and was forced to encounter one in his new location with shark attacks.[65]
Matthew Monagle of Film School Rejects said A Quiet Place seemed to be "the early frontrunner for the sparsely intellectual horror movie of the year", like previous films The Babadook (2014) and The Witch (2015). Monagle said Krasinski, who had directed two previous films, was "making an unusual pivot into a genre typically reserved for newcomers", and considered it to be part of a movement toward horror films layered "in storytelling, [with] character beats not typically found in a horror movie".[66] Tatiana Tenreyro, writing for Bustle, said while A Quiet Place was not a silent film, "It is the first of its kind within the modern horror genre for how little spoken dialogue it actually has." She said the rare moments of spoken dialogue "give depth to this horror movie, showing how the narrative defies the genre’s traditional films even further".[67]
Bishop Robert Barron was surprised by strikingly religious themes in the film. He likened the family's primitive, agrarian life of silence to monasticism, and commends their self-giving love. Barron noted the pervasive pro-life themes, especially in the choices of the parents, as Mrs. Abbott risks everything to give birth to a child, and her husband lays down his own life so that the children can live: what Barron sees as the ultimate expression of parental love.[68] Sonny Bunch of the Washington Post also commented and expanded on a pro-life message.[69]
Krasinski, who had recently become a new father, said in a conference interview "I was already in a state of terror about whether or not I was a good enough father," and added that the meaning of parenthood had been elevated for him by imagining being a father in a nightmare world, struggling to simply keep his children alive.[70] Jonathan Hetterly, writing in Shrinktank, saw the film's whole premise as a commentary on modern American paranoid parenting, saying that Krasinski "viewed the premise as a metaphor for a parent's worst fears".[71]
Krasinski himself has told CBS News “The scares were secondary to how powerful this could be as an allegory or metaphor for parenthood. For me, this is all about parenthood.”
Home media[edit]
A Quiet Place was released on Digital HD on June 26, 2018, and on Blu-ray and DVD on July 10, 2018.[72]
Sequel[edit]
In April 2018, Paramount Chair and CEO Jim Gianopulos said a sequel to the film was "in the works".[73] Screenwriters Woods and Beck had previously stated that they had begun thinking of ideas and set pieces for a possible second film.[74]
See also[edit]
2010s portal
Film in the United States portal
Horror portal
Hudson Valley portal
Apocalyptic and post-apocalyptic fiction
List of films featuring the deaf and hard of hearing
List of horror films of 2018
Sign-language media
Films with little or no dialogue
The British Film Institute listed the following noteworthy films with little or no dialogue:[75]
The Thief (1952)
Les Vacances de Monsieur Hulot (1953)
The Naked Island (1960)
Le Bal (1983)
The Bear (1988)
The Triplets of Belleville (2003)
In the City of Sylvia (2007)
Le quattro volte (2010)
All Is Lost (2013)
Moebius (2013)
The Tribe (2014)
The Red Turtle (2016)
Mercury (2018)
References[edit]
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External links[edit]
Official website
A Quiet Place on IMDb
A Quiet Place at Rotten Tomatoes
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Vincenzo Peruggia
From Wikipedia, the free encyclopedia
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Vincenzo Peruggia
A police photograph of Vincenzo Peruggia in 1911.
Born
(1881-10-08)October 8, 1881
Dumenza, Varese, Italy
Died
October 8, 1925(1925-10-08) (aged 44)
Saint-Maur-des-Fossés, France
Nationality
Italian
Known for
theft of the Mona Lisa
Vincenzo Peruggia (October 8, 1881 – October 8, 1925) was an Italian thief, most famous for stealing the Mona Lisa on 21 August 1911. Born in Dumenza, Varese, Italy, he died in Saint-Maur-des-Fossés, France.[1]
Contents
[hide]
1 Theft
2 Later life and personal life
3 Death
4 Motivations
5 In art, entertainment, and media
6 References
7 Sources
8 External links
Theft[edit]
In 1911, Peruggia perpetrated what has been described as the greatest art theft of the 20th century. It was a police theory that the former Louvre worker hid inside the museum on Sunday, August 20, knowing the museum would be closed the following day. But, according to Peruggia's interrogation in Florence after his arrest,[2] he entered the museum on Monday, August 21 around 7 am, through the door where the other Louvre workers were entering. He said he wore one of the white smocks that museum employees customarily wore and was indistinguishable from the other workers. When the Salon Carré, where the Mona Lisa hung, was empty, he lifted the painting off the four iron pegs that secured it to the wall and took it to a nearby service staircase. There, he removed the protective case and frame. Some people report that he concealed the painting (which Leonardo painted on wood) under his smock. But Peruggia was only 5'3",[3] and the Mona Lisa measures approx. 21" x 30", so it would not fit under a smock worn by someone his size. Instead, he said he took off his smock and wrapped it around the painting, tucked it under his arm, and left the Louvre through the same door he had entered.[4]
Peruggia hid the painting in his apartment in Paris.[5] Supposedly, when police arrived to search his apartment and question him, they accepted his alibi that he had been working at a different location on the day of the theft.
After keeping the painting hidden in a trunk in his apartment for two years, Peruggia returned to Italy with it. He kept it in his apartment in Florence, Italy but grew impatient, and was finally caught when he contacted Alfredo Geri, the owner of an art gallery in Florence. Geri's story conflicts with Peruggia's, but it was clear that Peruggia expected a reward for returning the painting to what he regarded as its "homeland". Geri called in Giovanni Poggi, director of the Uffizi Gallery, who authenticated the painting. Poggi and Geri, after taking the painting for "safekeeping", informed the police, who arrested Peruggia at his hotel.[5] After its recovery, the painting was exhibited all over Italy with banner headlines rejoicing its return and then returned to the Louvre in 1913.
Later life and personal life[edit]
Peruggia was released from jail after a short time and served in the Italian army during World War I. He later married, had one daughter, Celestina, returned to France, and continued to work as a painter decorator using his birth name Pietro Peruggia.[1]
Death[edit]
He died on October 8, 1925 (his 44th birthday) in the town of Saint-Maur-des-Fossés, France. His death was not widely reported by the media; obituaries appeared mistakenly only when another Vincenzo Peruggia died in Haute-Savoie in 1947.[6]
Motivations[edit]
There are currently two predominanit theories regarding the theft of the Mona Lisa.
Patriotism
Peruggia said he did it for a patriotic reason: he wanted to bring the painting back for display in Italy[5] "after it was stolen by Napoleon". Although perhaps sincere in his motive, Vincenzo may not have known that Leonardo da Vinci took this painting as a gift for Francis I when he moved to France to become a painter in his court during the 16th century, 250 years before Napoleon's birth.
Experts have questioned the 'patriotism' motive on the grounds that—if 'patriotism' was the true motive—Peruggia would have donated the painting to an Italian museum, rather than have attempted to profit from its sale. The question of money is also confirmed by letters that Peruggia sent to his father after the theft. On December 22, 1911, four months after the theft, he wrote that Paris was where "I will make my fortune and that his (fortune) will arrive in one shot." [7] The following year (1912), he wrote: "I am making a vow for you to live long and enjoy the prize that your son is about to realize for you and for all our family."
Put on trial, the court agreed, to some extent, that Peruggia committed his crime for patriotic reasons and gave him a lenient sentence. He was sent to jail for one year and 15 days, but was hailed as a great patriot in Italy and served only seven months in jail.[5]
Criminal conspiracy
Another theory emerged later. The theft may have been encouraged or masterminded by Eduardo de Valfierno, a con-man who had commissioned the French art forger Yves Chaudron to make copies of the painting so he could sell them as the missing original. The copies would have gone up in value if the original were stolen. This theory is based entirely on a 1932 article by former Hearst journalist Karl Decker in The Saturday Evening Post. Decker claimed to have known "Valfierno" and heard the story from him in 1913, promising not to print it until he learned of Valfierno's death. There is no external confirmation for this tale.[8]
In art, entertainment, and media[edit]
In Der Raub der Mona Lisa (1931), an early German soundfilm, he was portrayed by Willi Forst
In The Man Who Stole La Gioconda (2006), a television-miniseries he was portrayed by Alessandro Preziosi
In an April 1956 episode of the TV-show You Are There, called "The Recovery of the Mona Lisa (December 10, 1913)", Peruggia is played by Vito Scotti, who reprised the role in yet another TV-reconstruction of the famous theft, this time for the TV-show G.E. True. The episode was called "The Tenth Mona Lisa" and aired in March 1963.[9]
In Season 2, Episode 7 of the American produced television series Leverage, the theft of the Mona Lisa was quoted, and the duplicates of the painting that were created are referenced as a storytelling device
A similar con using duplicates painted by Leonardo himself is portrayed in the Doctor Who story "City of Death" (1979)
On 6 April 2010, the downloadable content pack "Kasumi's Stolen Memories" for the video game Mass Effect 2, had his name mentioned as the password to a villainous art thief's vault with a subsequent statement to the significance of the name.[10]
In the DLC "The Lair of the Shadow Broker", it is revealed that a squad member from the game, Kasumi Goto, is the current owner of the painting in the Mass Effect universe.
The story of Peruggia is recounted at the beginning of Chapter 12 in Daniel Silva's The Rembrandt Affair (Gabriel Allon), which was originally published in July 2010.
Art Historian Noah Charney's monograph, "The Theft of the Mona Lisa: On Stealing the Worlds Most Famous Painting" (2011, ARCA Publications), is an account of the theft and its ramifications.
In 2012, the full-length documentary Mona Lisa Is Missing (formerly The Missing Piece) was released. Directed by filmmaker Joe Medeiros, it tells the complete story of Vincenzo Peruggia's theft of the Mona Lisa, using original source documents from the French and Italian archives as well as interviews with Celestina Peruggia, the daughter of the thief [11]
In April 2013, Larry A. Thompson Entertainment optioned "Missing Mona Lisa," a screenplay by Mark Hudelson based on the Mona Lisa's theft.[12]
In the film The Art of the Steal (2013),[13] Guy de Cornet (played by Chris Diamantopoulos) narrates the story of Vincenzo Peruggia's stealing the painting
References[edit]
^ Jump up to: a b (in Italian) Mio padre, il ladro della Gioconda
Jump up ^ Extrait du Proces-Verbal de la confrontation de M. Vignolle avec Peruggia, Dec. 20. 1913, Archives Nationales, Paris
Jump up ^ Peruggia mugshot, January 25, 1909, Archives Nationales, Paris
Jump up ^ Mona Lisa Is Missing, 2013, Virgil Films, dir. Joe Medeiros
^ Jump up to: a b c d Chua-Eoan, Howard (March 1, 2007). "STEALING THE MONA LISA, 1911". The Top 25 Crimes of the Century. Time Magazine. Retrieved 2007-08-15.
Jump up ^ Who stole the Mona Lisa?, FT.com, August 2011
Jump up ^ Peruggia Letter Dec. 22, 1911, Archivio di Stato, Florence
Jump up ^ Nilsson, Jeff. "100 Years Ago: The Mastermind Behind the Mona Lisa Heist". Saturday Evening Post. Curtis Publishing. Retrieved 10 January 2014.
Jump up ^ "The Tenth Mona Lisa". IMDb.com. 31 March 1963. Retrieved 30 September 2017.
Jump up ^ Video on YouTube
Jump up ^ "The Missing Piece: Mona Lisa, Her Thief, the True Story". IMDb.com. 20 October 2012. Retrieved 30 September 2017.
Jump up ^ [1][dead link]
Jump up ^ "The Art of the Steal". IMDb.com. 20 June 2014. Retrieved 30 September 2017.
Sources[edit]
Hoobler, Dorothy and Thomas, The Crimes of Paris New York: Little, Brown, 2009, pp. 3–7, 305-314.
Kuper, Simon, "Who Stole the Mona Lisa? The World's Most Famous Art Heist, 100 Years On," Slate, Aug. 7, 2011.
Newsweek, "The Mona Lisa Thief," September 29, 1947, p. 97.
External links[edit]
Vanity Fair - May 2009. "Stealing Mona Lisa" by Dorothy and Thomas Hoobler
Saturday Evening Post: 100 Years Ago: The Mastermind Behind the Mona Lisa Heist
[hide]
v
t
e
Leonardo da Vinci's Mona Lisa
Subject
Lisa del Giocondo
Music
Mona Lisa (1915 opera)
"Mona Lisa" (1950 song)
"Mona Lisa Lost Her Smile" (1984 song)
"Lisa Mona Lisa" (1988 song)
"The Mona Lisa" (2013 song)
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The Theft of the Mona Lisa (1931)
The Mona Lisa Has Been Stolen (1966)
City of Death (1979)
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L.H.O.O.Q. (1919)
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I, Mona Lisa (2006)
The Smile (2008)
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Speculations about Mona Lisa
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1911 theft
Eduardo de Valfierno
Yves Chaudron
Vincenzo Peruggia
Other
"The Ballad of Mona Lisa"
Authority control
WorldCat Identities
VIAF: 255017832
BNF: cb123892052 (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Vincenzo_Peruggia&oldid=803155562"
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