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The Crossing (TV series)
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The Crossing
Created by
Jay Beattie
Dan Dworkin
Starring
Steve Zahn
Natalie Martinez
Sandrine Holt
Opening theme
"Letting the Cables Sleep" by Bush
Composer(s)
Robert Duncan
Country of origin
United States
Original language(s)
English
No. of seasons
1
No. of episodes
4 (list of episodes)
Production
Executive producer(s)
Matt Olmstead
Jason T. Reed
Jay Beattie
Dan Dworkin
Matthew Fernandes
Arthur Spanos
Vanessa Wong
David Von Ancken
Running time
42 minutes
Production company(s)
Dworkin/Beattie
Brick Moon
ABC Studios
Distributor
Disney–ABC Domestic Television
Release
Original network
ABC
Original release
April 2, 2018 (2018-04-02) – present (present)
External links
Website
The Crossing is an American science fiction thriller series that airs on ABC and CTV. The series debuted on April 2, 2018.[1] On March 20, 2018, ABC released the pilot episode on their website.[2] The series is filmed in British Columbia, Canada.
Contents
[hide]
1 Premise
2 Cast
3 Production
4 Episodes
5 Reception
5.1 Critical response
5.2 Ratings
6 See also
7 Notes
8 References
9 External links
Premise[edit]
Refugees fleeing a war seek asylum in an American town—but they claim to be from America, 180 years in the future.[3] Moreover, at least one of the refugees exhibits apparently superhuman powers that may make them a threat.[4]
Cast[edit]
Steve Zahn as Sheriff Jude Ellis[5]
Natalie Martinez as Reece[6]
Sandrine Holt as Agent Emma Ren[7]
Tommy Bastow as Marshall
Rob Campbell as Paul[8]
Rick Gomez as Nestor Rosario
Marcuis W. Harris as Caleb
Grant Harvey as Roy Aronson[5]
Jay Karnes as Craig Lindauer[5]
Simone Kessell as Rebecca[9]
Kelley Missal as Hannah[10]
Luc Roderique as Bryce Foster[11]
Bailey Skodje as Leah[12]
John D'Leo as Will
Georgina Haig as Dr. Sophie Forbin[13]
Production[edit]
Set in the fictional town of Port Canaan, Oregon and in Seattle, the series was filmed in coastal areas of British Columbia and in the city of Vancouver, British Columbia in 2017. The beach where the refugees arrive is near Ucluelet on Vancouver Island[14] while the sheriff's office and some other locations were filmed in and around the village of Britannia Beach, north of Vancouver.[15] The Oceanic Plaza in Vancouver was the setting for the Seattle offices of the show's Homeland Security and other scenes were filmed in and around the city. Additional shooting locations in BC were in Steveston, British Columbia and in New Westminster.[16] Filming in Vancouver started in July and wrapped in late November, 2017.[17]
Episodes[edit]
No.
Title [1]
Directed by
Written by
Original air date
U.S. viewers
(millions)
1
"Pilot" Rob Bowman Dan Dworkin & Jay Beattie April 2, 2018 (2018-04-02)[a] 5.40[19]
People are deep underwater in the ocean. A woman pushes a child toward the surface and disappears below. Sheriff Jude Ellis is called to the beach to investigate a body that washed ashore. Upon arriving, he and his deputy discover more bodies on the beach and hundreds more in the water. There are a total of 47 survivors, all claiming to be fleeing a war 180 years in the future. They heard of a way to bend time to get to "The Long Peace". They were running from Apex, a race of more evolved humans with extraordinary abilities that took over all governments and began exterminating normal humans. FBI Agent Emma Ren takes charge and restricts the sheriff's access. The woman shown previously is rescued by fishermen, sees a televised report of only dead washing ashore (an FBI cover story), ambushes Jude and orders him to take her to the dead. She does not find the girl she tried to help. Jude tells her the child is alive. When armed security agents close in, the woman overpowers both of them and Jude and escapes, revealing herself to be an Apex by her incredible physical abilities. She later appears in Jude's home, where he learns that her name is Reece and that she is looking for her daughter, Leah. Thomas, a survivor, claims that their group was not the first to cross. He meets Ren's boss, Craig Lindauer, the deputy head of Homeland Security, but to his horror recognizes Lindauer as part of the earlier migration.
2
"A Shadow Out of Time" David Von Ancken Dan Dworkin & Jay Beattie April 9, 2018 (2018-04-09) 4.48[20]
Reece and Leah's backstory is told in a series of flashbacks. In 2187, Reece and another armed Apex agent search a building for "Commons", non-mutated humans. Inside they find a dead man, killed by the incurable disease Apex created to wipe out normal humanity. They also discover a healthy baby. Reece's partner prepares to shoot the infant, per standard procedure, but Reece kills him and raises the baby in secret. When Leah is a young girl, she contracts the disease. Reece buys black market medical help; the man gives Leah some of Reece's blood in the hope that Reece's Apex immunity can help Leah fight the disease. When Reece's superiors find out about Leah and confront Reece, she shoots them and flees. In the present, Jude makes a bargain with her: he will help her find Leah in exchange for her leaving town. He tries to arrange a meeting between Reece and Ren, but Ren notifies Lindauer, who sends heavily armed men. Reece is shot, but gets away. Meanwhile, Leah is found to have the disease and is quickly quarantined.
3
"Pax Americana" Ken Girotti Michael Narducci April 16, 2018 (2018-04-16) 4.09[21]
Reece is tracked in the forest by Lindauer's heavily armed men, but she easily neutralizes them. She kills the head of the search team when he, thinking he has her incapacitated, reveals he is an earlier migrant. Roy, a guard, is attracted to survivor Hannah. Luke threatens to expose Hannah's past to the others unless she cooperates with him. She sneaks out of camp in the back of Roy's pickup truck. At a concert, part of the town's "Harborfest" celebration, Hannah meets Marshall. After a while, she spots a young man who looks exactly like the guy in the photo in her lost locket. Roy finds Hannah and takes her back, with Jude's help. Jude is enjoying Harborfest with his son Oliver, who was dropped off by Oliver's mother. When Jude is called away to check out a dead body (Reece's victim), Oliver disappears. Lindauer recruits Thomas, then sends virologist Dr. Sophie Forbin to find out all she can about the disease, but states that saving Leah's life is not a priority. After speaking with Forbin, Ren starts to suspect that Lindauer has a hidden agenda. She reaches out to Jude, but he no longer trusts her.
4
"The Face of Oblivion" Tara Nicole Weyr Evan Bleiweiss April 23, 2018 (2018-04-23) 4.08[22]
When Jude calls Oliver's phone, Reece answers. She wants to exchange his child for hers in four hours. Jude contacts Ren, who informs him that Leah is dying of a highly infectious disease. Jude pressures Forbin to go with him to the exchange point. After they apprise Reece of the situation, Forbin offers to take Oliver's place. Jude returns home to find his son alive and well. Meanwhile, Hannah's dark secret comes to light: she became an Apex collaborator after they caught and tortured her father. A survivor named Paul asks a guard to locate a woman from the earlier migration: his wife. The guard turns over his drawing over to Ren, who identifies and goes to question the woman. The woman claims Paul joined a cult, but when Ren sees a photograph on the wall showing a gathering in which Lindauer is present, the woman shoots her.
5
"Ten Years Gone" Jeffrey Hunt[23] Rebecca Sonnenshine[23] April 30, 2018 (2018-04-30) TBD
6
"LKA" Hanelle Culpepper[24] Vivian Tse[24] May 7, 2018 (2018-05-07) TBD
7
"Some Dreamers of the Golden Dream" TBA TBA May 14, 2018 (2018-05-14) TBD
Reception[edit]
Critical response[edit]
On the review aggregator website Rotten Tomatoes, the series has an approval rating of 69% based on 16 reviews, with an average rating of 6.1/10.[25] Metacritic, which uses a weighted average, assigned a score of 59 out of 100 based on 12 critics, indicating "mixed or average reviews".[26]
Ratings[edit]
No.
Title
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)
1 "Pilot" April 2, 2018 0.9/3 5.40[19] 0.7 2.97 1.6 8.37[27]
2 "A Shadow Out of Time" April 9, 2018 0.8/3 4.48[20] 0.6 2.80 1.4 7.28[28]
3 "Pax Americana" April 16, 2018 0.7/3 4.09[21] TBD TBD TBD TBD
4 "The Face of Oblivion" April 23, 2018 0.7/3 4.08[22] TBD TBD TBD TBD
See also[edit]
The Refugees (TV series) Hispano-britanic serie (2015)
The 4400
Notes[edit]
Jump up ^ The first episode was released online on March 19, 2018.[18]
References[edit]
^ Jump up to: a b "Shows A-Z - the crossing on abc". The Futon Critic. Retrieved April 10, 2018.
Jump up ^ "ABC Releases The Pilot Episode of Its Upcoming New Drama THE CROSSING". Broadway World. March 19, 2018. Retrieved March 20, 2018.
Jump up ^ Dove, Steve (May 11, 2017). ""The Crossing" Coming Soon to ABC". ABC. Retrieved November 14, 2017.
Jump up ^ ABC Television Network (2017-07-31), The Crossing - Trailer, retrieved 2018-04-02
^ Jump up to: a b c Petski, Denise (March 13, 2017). "'The Crossing': Jay Karnes, Simone Kessell & Grant Harvey Join ABC Drama Pilot". Deadline. Retrieved March 13, 2017.
Jump up ^ "Natalie Martinez as Reece". ABC. Retrieved March 28, 2018.
Jump up ^ "Sandrine Holt as Emma Ren". ABC. Retrieved March 30, 2018.
Jump up ^ Andreeva, Nellie (March 9, 2017). "Steve Zahn To Topline 'The Crossing' ABC Drama Pilot; Rob Campbell Also Cast". Deadline. Retrieved March 9, 2017.
Jump up ^ "Simone Kessell as Rebecca". ABC. Retrieved March 28, 2018.
Jump up ^ "Kelley Missal as Hannah". ABC. Retrieved March 28, 2018.
Jump up ^ "Luc Roderique as Bryce Foster". ABC. Retrieved March 28, 2018.
Jump up ^ "Bailey Skodje as Leah". ABC. Retrieved March 28, 2018.
Jump up ^ "Georgina Haig as Dr. Sophie Forbin". ABC. Retrieved March 28, 2018.
Jump up ^ Bailey, Andrew (March 17, 2017). "TV pilot 'The Crossing' filmed in Ucluelet". Westerlynews.ca. Retrieved March 17, 2017.
Jump up ^ "Notice of film production: Britannia Beach". Squamish-Lillooet Regional District. March 15, 2017. Retrieved March 15, 2017.
Jump up ^ "Where is The Crossing filmed? Locations for the new ABC series". Atlasofwonders.com. Retrieved April 5, 2018.
Jump up ^ Takeuchi, Craig (November 20, 2017). "Filming in Vancouver: That's a wrap for Sirens, The Crossing, Six - as Riverdale goes on hold". insidevancouver.ca. Retrieved November 20, 2017.
Jump up ^ "ABC Releases The Pilot Episode of Its Upcoming New Drama THE CROSSING". Broadway Worldwide. March 19, 2018. Retrieved March 21, 2018.
^ Jump up to: a b Porter, Rick (April 3, 2018). "'The Crossing' adjusts down: Monday final ratings". TV by the Numbers. Retrieved April 3, 2018.
^ Jump up to: a b Porter, Rick (April 10, 2018). "'American Idol' and 'Kevin Can Wait' adjust up: Monday final ratings". TV by the Numbers. Retrieved April 10, 2018.
^ Jump up to: a b Porter, Rick (April 17, 2018). "'The Voice' and 'American Idol' adjust up, 'Good Girls' adjusts down: Monday final ratings". TV by the Numbers. Retrieved April 17, 2018.
^ Jump up to: a b Porter, Rick (April 24, 2018). "'The Resident' adjusts up: Monday final ratings". TV by the Numbers. Retrieved April 24, 2018.
^ Jump up to: a b "(#105) "Ten Years Gone"". The Futon Critic. Retrieved April 19, 2018.
^ Jump up to: a b "(#106) "LKA"". The Futon Critic. Retrieved April 25, 2018.
Jump up ^ "The Crossing: Season 1". Rotten Tomatoes. Retrieved April 12, 2018.
Jump up ^ "The Crossing (2018) Reviews". Metacritic. Retrieved April 2, 2018.
Jump up ^ Porter, Rick (April 19, 2018). "'Will & Grace' finale, 11 other shows double in week 28 broadcast Live +7 ratings". TV by the Numbers. Retrieved April 19, 2018.
Jump up ^ Porter, Rick (April 26, 2018). "'New Girl' premiere doubles in week 29 broadcast Live +7 ratings". TV by the Numbers. Retrieved April 26, 2018.
External links[edit]
Official website
The Crossing on IMDb
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Cool Hand Luke
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the film. For other uses, see Cool Hand Luke (disambiguation).
Cool Hand Luke
Theatrical release poster by Bill Gold
Directed by
Stuart Rosenberg
Produced by
Gordon Carroll
Screenplay by
Donn Pearce
Frank R. Pierson
Based on
Cool Hand Luke
by Donn Pearce
Starring
Paul Newman
George Kennedy
J. D. Cannon
Robert Drivas
Lou Antonio
Strother Martin
Jo Van Fleet
Music by
Lalo Schifrin
Cinematography
Conrad Hall
Edited by
Sam O'Steen
Distributed by
Warner Bros.-Seven Arts
Release date
November 1, 1967 (1967-11-01)
Running time
126 minutes
Country
United States
Language
English
Budget
$3.2 million[1]
Box office
$16,217,773[2]
Cool Hand Luke is a 1967 American prison drama film directed by Stuart Rosenberg,[3] starring Paul Newman and featuring George Kennedy in an Oscar-winning performance. Newman stars in the title role as Luke, a prisoner in a Florida prison camp who refuses to submit to the system.
The film, set in the early 1950s, is based on Donn Pearce's 1965 novel of the same name. Pearce sold the story to Warner Bros., who then hired him to write the script. Due to Pearce's lack of film experience, the studio added Frank Pierson to rework the screenplay. Newman's biographer Marie Edelman Borden states that the "tough, honest" script drew together threads from earlier movies, especially Hombre, Newman's earlier film of 1967. The film has been cited by Roger Ebert as an anti-establishment film which was shot during the time of the Vietnam War, in which Newman's character endures "physical punishment, psychological cruelty, hopelessness and equal parts of sadism and masochism." His influence on his prison mates and the torture that he endures is compared to that of Jesus, and Christian symbolism is used throughout the film, culminating in a photograph superimposed over crossroads at the end of the film in comparison to the crucifixion. Filming took place on the San Joaquin River Delta, and the set, imitating a southern prison farm, was built in Stockton, California. The filmmakers sent a crew to Tavares Road Prison in Tavares, Florida, to take photographs and measurements.
Upon its release, Cool Hand Luke received favorable reviews and became a box-office success. The film cemented Newman's status as one of the era's top box-office actors, while the film was described as the "touchstone of an era." Newman was nominated for the Academy Award for Best Actor, George Kennedy won the Academy Award for Best Supporting Actor, Pearce and Pierson were nominated for the Academy Award for Best Adapted Screenplay, and the score by Lalo Schifrin was also nominated for the Best Original Score. In 2005, the United States Library of Congress selected it for the National Film Registry, considering it to be "culturally, historically, or aesthetically significant." It has a 100% rating on the review aggregator website Rotten Tomatoes. The quotation used by the prison warden (Strother Martin) in the film, which begins with "What we've got here is failure to communicate," was listed at No. 11 on the American Film Institute's list of the 100 most memorable movie lines.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Script
3.2 Casting
3.3 Filming
3.4 Soundtrack
4 Themes
4.1 Christian imagery
4.2 Use of traffic signs and signals
4.3 "Failure to communicate"
5 Release and reception
5.1 Legacy
6 See also
7 Footnotes
8 References
9 External links
Plot[edit]
Decorated war veteran Lucas "Luke" Jackson (Paul Newman), is arrested for cutting the "heads" off parking meters (cutting the meters off their poles) one drunken night. He is sentenced to two years in prison and sent to a Florida chain gang prison run by a stern warden, the Captain (Strother Martin), and a stoic rifleman, Walking Boss Godfrey (Morgan Woodward), whose eyes are always covered by a pair of mirrored sunglasses. Carr (Clifton James) the floorwalker, tells the rules to the new set of prisoners, with any violations resulting in spending the night in "the box," a small square room with limited air and very little room to move.
Luke refuses to observe the established pecking order among the prisoners and quickly runs afoul of the prisoners' leader, Dragline (George Kennedy). When the pair have a boxing match, the prisoners and guards watch with interest. Although Luke is severely outmatched by his larger opponent, he refuses to acquiesce. Eventually, Dragline refuses to continue the fight. Luke's tenacity earns the prisoners' respect and draws the attention of the guards. Later, Luke wins a poker game by bluffing with a hand worth nothing. Luke comments that "sometimes, nothing can be a real cool hand", prompting Dragline to nickname him "Cool Hand Luke".
Luke and the chain gang finish paving the road
After a visit from his sick mother, Arletta (Jo Van Fleet), Luke becomes more optimistic about his situation. He continually confronts the Captain and the guards, and his sense of humor and independence prove to be both contagious and inspiring to the other prisoners. Luke's struggle for supremacy peaks when he leads a work crew in a seemingly impossible but successful effort to complete a road-paving job in less than one day. The other prisoners start to idolize him after he makes and wins a spur-of-the moment bet that he can eat fifty hard-boiled eggs in one hour.
One day, Luke picks up a deadly rattlesnake from the grassy ditch and holds it up for Boss Godfrey to shoot with his rifle. Luke tosses the snake to the boss as a joke, before he hands him his walking cane. Dragline advises Luke to be more careful about his actions pertaining to the "man with no eyes." A rainstorm causes everyone to prematurely end their work. Before he joins the other prisoners in the truck, Luke shouts to God, testing him. On that same evening, Luke receives a letter stating that his mother has died.
After news of his mother's death reaches Luke, the Captain, anticipating that Luke might attempt to escape in order to attend his mother's funeral, has him locked in the prison punishment box. After being released from the box, receiving word that his mother's burial is completed and being told to forget about her, Luke is determined to escape. Under the cover of a Fourth of July celebration, he makes his initial escape attempt. He is later recaptured by local police and returned to the chain gang, but not before one of the bloodhounds sent after him dies from strain caused by struggling through barbed-wire fences. After his capture and return, the Captain has Luke fitted with leg-irons and delivers a warning speech to the other inmates, explaining, "What we've got here is failure to communicate. Some men you just can't reach. So you get what we had here last week, which is the way he wants it. Well, he gets it. I don't like it any more than you men."
A short time later, Luke escapes again by using string to shake a bush and distract the guards, visiting a nearby house where he uses an axe to remove his shackles. To keep the guard dogs from following his scent, he spreads curry powder and chili powder across the ground to send them into sneezing fits and overload their sensitive sense of smell. While free, Luke mails Dragline a magazine that includes a photograph of him with two beautiful women. He is soon recaptured, beaten, returned to the prison camp, and fitted with two sets of leg irons. Luke is warned by the Captain that if he ever attempts to escape again, he will be killed on the spot. Luke is now annoyed by the other prisoners fawning over the magazine photo and reveals it to be a fake. At first, the other prisoners are angry, but after a long stay in the box, when Luke is forced to eat a huge serving of rice, they come to help him finish it.
As punishment for his escape, he is forced to repeatedly dig a grave-sized hole in the prison camp yard, fill it back in, and then be beaten. The prisoners observe his persecution, singing spirituals. Finally, as the other prisoners watch from the windows of the bunkhouse, an exhausted Luke collapses in the hole, begging God for mercy and pleads with the bosses not to hit him again. Believing Luke is finally broken, the Captain stops the punishment. Boss Paul warns Luke that he will be killed if ever he runs away again, which Luke promises in tears not to do. The prisoners begin to lose their idealized image of Luke, and one tears up the photograph of Luke with the women.
Luke defies the authorities for the last time
Seemingly broken, and again working on the chain gang, Luke stops working to give water to a prisoner. Watched by the disappointed prisoners, he runs to one of the trucks to take Boss Godfrey's rifle to him. After Boss Godfrey shoots a snapping turtle, Luke retrieves it from a slough for him, complimenting the boss for his shot. Luke takes one last stab at freedom when he is ordered to take the turtle to the truck. He steals the dump truck, as well as the keys to the other trucks. In the excitement of the moment, Dragline jumps in the dump truck and joins Luke in his escape. Later, after abandoning the truck, Luke tells Dragline that they should part ways. Dragline agrees and leaves. Luke enters a church, where he talks to God and blames Him for sabotaging him so he cannot win in life. Moments later, police cars arrive. Dragline walks in and tells Luke that the police and bosses have promised not to hurt Luke if he surrenders peacefully. But Luke, feeling that his life is no longer worth living, walks to a window facing the police and mocks the Captain by repeating the first part of his speech ("What we've got here is a failure to communicate."). He is immediately shot in the neck by Boss Godfrey. Dragline carries Luke outside, then charges at Boss Godfrey and attempts to strangle him until he is beaten and subdued by the other guards. In tears, Dragline implores Luke to live. The local police want to take Luke to a nearby hospital, but the Captain tells them to take him to the prison hospital instead, a long enough distance that Luke's chances of survival are slim. As the captain's car drives away, it crushes Boss Godfrey's glasses. After Luke's implied death, Dragline and the other prisoners reminisce about him. In the final scene, the prison crew is seen working near a rural intersection close to where Luke was shot. Dragline is now wearing leg irons, and there is a new Walking Boss. As the camera zooms out, the torn photograph of Luke grinning with the two women is superimposed on a bird's eye view of the cross-shaped road junction.
Cast[edit]
Paul Newman as Lucas "Luke" Jackson
George Kennedy as Dragline
Strother Martin as the Captain
Jo Van Fleet as Luke's mother, Arletta
Joy Harmon as The Girl (Lucille)
Morgan Woodward as Boss Godfrey
Luke Askew as Boss Paul
Robert Donner as Boss Shorty
Clifton James as Carr
John McLiam as Boss Keen
Andre Trottier as Boss Popler
Charles Tyner as Boss Higgins
J.D. Cannon as Society Red
Lou Antonio as Koko
Robert Drivas as Loudmouth Steve
Marc Cavell as Rabbitt
Richard Davalos as Blind Dick
Warren Finnerty as Tattoo
Dennis Hopper as Babalugats
Wayne Rogers as Gambler
Harry Dean Stanton as Tramp
Ralph Waite as Alibi
Anthony Zerbe as Dog Boy
Buck Kartalian as Dynamite
Joe Don Baker as Fixer
Production[edit]
Script[edit]
Pearce, a merchant seaman who later became a counterfeiter and safe cracker, wrote the novel Cool Hand Luke, about his experiences working on a chain gang while serving in a Florida prison. He sold the story to Warner Bros. for US$80,000 and received another US$15,000 to write the screenplay.[4] After working in television for over a decade, Rosenberg chose it to make it his directorial debut in cinema. He took the idea to Jalem Productions, owned by Jack Lemmon.[5] Since Pearce had no experience writing screenplays, his draft was reworked by Frank Pierson. Conrad Hall was hired as the cinematographer,[6] while Paul Newman's brother, Arthur, was hired as the unit production manager.[7] Newman's biographer Marie Edelman Borden states that the "tough, honest" script drew together threads from earlier movies, especially Hombre, Newman's earlier film of 1967.[8] Director Stuart Rosenberg altered the original ending in the script, adding "an upbeat ending that would reprise the protagonist's (and Paul Newman's) trademark smile."[9]
Casting[edit]
Paul Newman's character, Luke, is a decorated war veteran who is sentenced to serve two years in a Florida rural prison. He constantly defies the authorities of the facility, becoming a leader among the prisoners, as well as escaping multiple times.[10] While the script was being developed, the leading role was initially considered for Jack Lemmon or Telly Savalas. Newman asked to play the leading role after hearing about the project. In order to develop his character, he traveled to West Virginia, where he recorded local accents and surveyed people's behavior.[6] George Kennedy turned in an Academy Award-winning performance as the leader of the prisoners, Dragline, who fights Luke, and comes to respect him.[11] During the nomination process, worried about the box office success of Camelot and Bonnie and Clyde, Kennedy invested US$5,000 in trade advertising to promote himself. Kennedy later stated that thanks to the award his salary was "multiplied by ten the minute (he) won," also adding "the happiest part was that I didn't have to play only villains anymore."[12]
Strother Martin, known for his appearances in westerns,[13] was cast as the Captain, a prison warden who is depicted as a cruel and insensitive leader, severely punishing Luke for his escapes.[14] The role of Luke's dying mother, Arletta, who visits him in prison, was passed to Jo Van Fleet after it was rejected by Bette Davis.[15] Morgan Woodward was cast as Boss Godfrey, a laconic, cruel and remorseless prison officer who Woodward described as a "walking Mephistopheles."[16] He was dubbed "the man with no eyes" by the inmates for his mirrored sunglasses.[17] The blonde Joy Harmon was cast for the scene where she teases the prisoners in washing her car after her manager, Leon Lance, contacted the producers. She auditioned in front of Rosenberg and Newman wearing a bikini, without speaking.[18]
Filming[edit]
Filming took place on the San Joaquin River Delta.[7] The set, imitating a southern prison farm, was built in Stockton, California.[6] The filmmakers sent a crew to Tavares Road Prison in Tavares, Florida to take photographs and measurements, where Pearce had served his time.[19] The structures that were built in Stockton included barracks, a mess hall, the warden's quarters, a guard shack and dog kennels. The trees on the set were decorated with spanish moss that the producers took to the area.[7] The construction soon attracted the attention of a county building inspector who confused it with migrant worker housing and ordered it "condemned for code violations."[6] The opening scene where Newman cuts the parking meters was filmed in Lodi, California.[7] Meanwhile, the scene in which Luke is chased by bloodhounds and other exteriors were shot in Jacksonville, Florida, at Callahan Road Prison. Luke was played by a stunt actor, using dogs from the Florida Department of Corrections.[19]
Rosenberg wanted the cast to internalize life on a chain gang and banned the presence of wives on set. After Joy Harmon arrived on location, she remained for two days in her hotel room, and wasn't seen by the rest of the cast until shooting commenced.[20] Despite the directors' intentions, the scene was ultimately filmed separately.[7] Rosenberg instructed an unaware Harmon of the different movements and expressions he wanted.[20] Originally planned to be shot in half a day, Harmon's scene took three. For the part of the scene featuring the chain gang, Rosenberg substituted a teenage cheerleader, who wore an overcoat.[7]
Soundtrack[edit]
Main article: Cool Hand Luke (soundtrack)
The Academy Award nominated original score was composed by Lalo Schifrin, who created tunes with a background in popular music and jazz.[21] While some of the tracks include the use of guitars, banjos and harmonicas, others include trumpets, violins, flutes and piano.[22]
An edited version of the musical cue from the Tar Sequence (where the inmates are energetically paving the road) has been used for years as the theme music for local television stations' news programs around the world, mostly those owned and operated by ABC in the United States. Although the music was written for the film, it became more familiar for its association with television news, in part because its staccato melody resembles the sound of a telegraph.[23]
Themes[edit]
Christian imagery[edit]
Pierson included in his draft explicit religious symbolism.[4] The film contains several elements based on Christian themes, including the concept of Luke as a Saint who wins over the crowds and is ultimately sacrificed.[24] Newman's character of Luke is portrayed as a "Jesus-like redeemer figure."[25] After winning the egg-eating bet, Luke lies exhausted on the table in the position of Jesus as depicted on his crucifixion. After learning about the death of his mother, Luke sings "Plastic Jesus."[26] Greg Garrett also compares Luke to Jesus, in that like Jesus, he was not physically threatening to society because of his actions, and like Jesus' crucifixion, his punishment was "out of all proportion."[27]
Luke challenges God during the rainstorm on the road, telling him to do anything to him. Later, while he is digging and filling trenches and confronted by the guards, an inmate performs the spiritual "No Grave Gonna Keep my Body Down."[27] Toward the end of the film, Luke speaks to God, evoking the conversation between God and Jesus at the Garden of Gethsemane, depicted in the Gospel of Luke.[27] Following Luke's talk, the film depicts Dragline as a Judas, who delivers Luke to the authorities, trying to convince him to surrender.[28] In the final scene, Dragline eulogizes Luke. He explains that despite Luke's death, his actions succeeded in defeating the system.[24] The closing shot shows inmates working on crossroads with the repaired photo of Luke and the two women superimposed.[26][29]
Use of traffic signs and signals[edit]
Different traffic signs are used throughout the film, complementing the actions of the characters during the scenes. At the beginning, while Luke cuts the heads off the parking meters, the word "Violation" appears. Stop signs are also seen. Instances include the road-paving scene and the last scene, where the road meets at a cross section. Traffic lights turn from green to red in the background at the time Luke is arrested, while at the end, when he is fatally wounded, a green light in the background turns to red.[30]
"Failure to communicate"[edit]
After beating Luke to the ground, the Captain delivers the statement.
What we've got here is failure to communicate. Some men you just can't reach. So you get what we had here last week. Which is the way he wants it. Well, he gets it. And I don't like it any more than you men.[31]
After writing the line, Pierson worried that the phrase was too complex for the warden. To explain its origin, he created a backstory that was included in the stage directions. Pierson explained that in order to advance in the Florida prison system, officers had to take criminology and penology courses at the state university, showing how the warden might know such words.[32] Strother Martin later clarified that he felt the line was the kind that his character would very likely have heard or read from some "pointy-headed intellectuals" who had begun to infiltrate his character's world under the general rubric of a new, enlightened approach to incarceration.[33] Some authors believe that the quotation was a metaphor for the ongoing Vietnam War conflict which was taking place during the filming,[34] and others have applied it towards corporations and even teenagers.[35] The quotation was listed at number 11 on the American Film Institute's list of the 100 most memorable movie lines.[36] An audio sample of the line is included in the Guns N' Roses songs "Civil War" and "Madagascar."[37]
Release and reception[edit]
Cool Hand Luke opened on November 1, 1967 at Loew's State Theatre in New York City. The proceeds of the premiere went to charities.[38] The film became a box-office success,[39] grossing US$16,217,773 in domestic screenings.[40] Kennedy won the Academy Award for Best Supporting Actor. Newman was nominated for the Academy Award for Best Actor, while Pearce and Pierson were nominated for the Academy Award for Best Adapted Screenplay and Schiffrin was nominated for the Academy Award for Best Original Score.[41]
Rosenberg was nominated for best director by the Writers Guild of America and Conrad Hall was nominated for best cinematography by the National Society of Film Critics.
Variety described Newman's performance as "excellent," noting the supporting cast as "versatile and competent."[42] The New York Times praised the film, remarking that Pearce and Pierson's "sharp script," Rosenberg's "ruthlessly realistic and plausible" staging and direction and Newman's "splendid" performance with an "unfaultable" cast, "elevates" it among other prison films.[43]
Rotten Tomatoes gives the film a 100% "Certified Fresh" approval rating based on 45 reviews, with an average of 8.8 out of 10. The site's consensus is that "Though hampered by Stuart Rosenberg's direction, Cool Hand Luke is held aloft by a stellar script and one of Paul Newman's most indelible performances."[44] Empire rated it five stars out of five, declaring the movie one of Newman's best performances.[45] Slant rated the film three stars out of four. It described Newman's role as "iconic," also praising its cinematography and sound score.[46] Allmovie praised Newman's performance as "one of the most indelible anti-authoritarian heroes in movie history."[47]
The Paul Newman smile, the reason why the movie works according to Roger Ebert
Critic Roger Ebert included the film in his review collection The Great Movies, rating it four stars out of four.[17] Ebert stated that it was a "great" film and also an anti-establishment one during the time of the Vietnam War. He believed that the film was a product of its time and that no major film company would be interested in producing a film of such "physical punishment, psychological cruelty, hopelessness and equal parts of sadism and masochism" today. He praised the cinematography, capturing the "punishing heat" of the location, and stated that "the physical presence of Paul Newman is the reason this movie works: The smile, the innocent blue eyes, the lack of strutting," which no other actor could have produced as effectively.[48]
Contrary to the general consensus, Newman's biographer Lawrence J. Quirk thought that it was one of Newman's weaker performances, stating "For once, even Newman's famed charisma fails him, for in Cool Hand Luke he completely lacks the charm that, say, Al Pacino in Scarecrow effortlessly exhibits when he plays a screw-up who also winds up (briefly) incarcerated."[49] However, Quirk added that Newman's performance was stronger in the second half and said that "to be fair to Newman, he was trying his damnedest to play an impossible part, since Luke is a convict's rationalization fantasy and never a real character."[50] Some authors have criticized the film's depiction of prison life at the time. In a review entitled "Sheer Beauty in the Wrong Place," Life, while praising the film's photography, criticized the influence of the visual styles in the depictions of the prison camp. The magazine declared that the landscapes turned it into "a rest camp (in which) the men are getting plenty of sleep, food and healthy outdoor exercise," that despite the presence of the guards showed that there were "worse ways to pay one's debt with society."[51] Ron Clooney also remarked that prisons "were not hotels and certainly not the stuff of Cool Hand Luke movies."[52]
Legacy[edit]
In 2003, AFI's 100 Years...100 Heroes & Villains rated Luke as the number 30 greatest hero in American cinema,[53] and three years later, AFI's 100 Years...100 Cheers: America's Most Inspiring Movies rated Cool Hand Luke number 71.[54] In 2006, Luke was ranked 53rd in Empire magazine's "The 100 Greatest Movie Characters."[55] The movie solidified Newman's status as a box-office star, while the film is considered a touchstone of the era.[56] In 2005, the United States Library of Congress deemed the film to be "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry.[57]
The book was adapted into a West End play by Emma Reeves. It opened at London's Aldwych Theatre starring Marc Warren, but closed after less than two months, following poor reviews.[58] The show was chosen by The Times both as "Critic's Choice" and "What the Critics Would Pay To See."[59]
An episode of the TV show The Dukes of Hazzard entitled "Cool Hands Luke and Bo" was shown with Morgan Woodward playing "Colonel Cassius Claiborne" the boss of a neighboring county and warden of its prison farm. He wears the trademark shades of Boss Godfrey throughout the episode.
Nashville-based Christian alternative rock band Cool Hand Luke is named after the film.
See also[edit]
List of American films of 1967
List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website
Prisoner abuse
Footnotes[edit]
Jump up ^ Hannan, Brian (2016). Coming Back to a Theater Near You: A History of Hollywood Reissues, 1914–2014. Jefferson, North Carolina: McFarland & Company, Inc., pg. 178, ISBN 978-1-4766-2389-4.
Jump up ^ "Cool Hand Luke - Box Office Data, DVD and Blu-ray Sales, Movie News, Cast and Crew Information". The Numbers. Retrieved January 5, 2012.
Jump up ^ "Cool Hand Luke". Turner Classic Movies. Retrieved February 29, 2016.
^ Jump up to: a b Eagan, Daniel 2010, p. 628.
Jump up ^ Levy, Shawn 2009, p. 203.
^ Jump up to: a b c d Levy, Shawn 2009, p. 204.
^ Jump up to: a b c d e f Nixon, Rob 2010.
Jump up ^ Borden 2010, p. 45.
Jump up ^ Grant 2008, p. 178.
Jump up ^ Dimare, Phillip 2011, p. Cool Hand Luke, p. 106, at Google Books - Cool Hand Luke, p. 107, at Google Books.
Jump up ^ Debolt, Abbe; Baugess, James 2011, p. 152.
Jump up ^ Brown, Peter 1981, p. 190.
Jump up ^ McKay, James 2010, p. 178.
Jump up ^ Langman, Larry; Ebner, David 2001, p. 177.
Jump up ^ Reed, John Shelton 2003, p. 196.
Jump up ^ Burr, Sherri 2007, p. 19.
^ Jump up to: a b Ebert, Roger 2010, p. 102.
Jump up ^ Lisanti, Tom 2000, p. 114.
^ Jump up to: a b Florida Department of Corrections 2010.
^ Jump up to: a b Lisanti, Tom 2000, p. 115, 116.
Jump up ^ MacDonald, Laurence 2013, p. 228.
Jump up ^ MacDonald, Laurence 2013, p. 230.
Jump up ^ Allora, Jennifer; Ruf, Beatrix; Calzadilla, Guillermo 2009, p. 142.
^ Jump up to: a b Reinhartz, Adele 2012, p. 69 - 72.
Jump up ^ Greenspoon, Beau & Hamm 2000, p. 131.
^ Jump up to: a b Fairbanks, Brian 2005, p. 95.
^ Jump up to: a b c Garrett, Gregg 2007, p. 36 - 40.
Jump up ^ May, John 2001, p. 57.
Jump up ^ Hook, Sue Vander 2010, p. 56.
Jump up ^ Jarvis, Brian 2004, p. 184–187.
Jump up ^ "listen". Archived from the original on January 4, 2012. Retrieved May 1, 2012.
Jump up ^ Charlotte, Susan 1993, p. 308.
Jump up ^ Brode, Douglas 1990, p. 195.
Jump up ^ Nolte 2003, p. 285.
Jump up ^ DeMar, p. 87.
Jump up ^ AFI 2005.
Jump up ^ Rasmussen, Eric 1991, p. 74.
Jump up ^ Film Daily staff 1967, p. 195.
Jump up ^ Magill, Frank 1983, p. 755.
Jump up ^ Nash Information Services staff 2009.
Jump up ^ Nixon, Rob 2013.
Jump up ^ Variety staff 1966.
Jump up ^ Crowther, Bosley 1967.
Jump up ^ Rotten Tomatoes staff 2013.
Jump up ^ Empire Magazine staff 2005.
Jump up ^ Weber, Bill 2008.
Jump up ^ Doberman, Matthew 2009.
Jump up ^ "Cool Hand Luke". Rogerebert.com. Retrieved October 20, 2013.
Jump up ^ Quirk 2009, p. 154.
Jump up ^ Quirk 2009, p. 155.
Jump up ^ Schickel, Richard 1967, p. Cool Hand Luke, p. 10, at Google Books.
Jump up ^ Clooney 2011, p. 231.
Jump up ^ AFI 2003.
Jump up ^ AFI 2007.
Jump up ^ Empire Magazine staff 2 2005.
Jump up ^ DiLeo, John 2010, p. 73.
Jump up ^ Dewitt, Joanne 2011, p. 9.
Jump up ^ Trueman, Matt 2011.
Jump up ^ Purves, Libby 2011.
References[edit]
AFI (2003). "AFI's 100 Years...100 Heroes & Villains". American Film Institute.
AFI (2005). "AFI's 100 Years...100 Movie Quotes". American Film Institute.
AFI (2007). "AFI's 100 Years...100 Cheers". American Film Institute.
Allora, Jennifer; Ruf, Beatrix; Calzadilla, Guillermo (2009). Allora & Calzadilla. JRP Ringier. ISBN 978-3-03764-027-2.
Borden, Marian Edelman (November 1, 2010). Paul Newman: A Biography. ABC-CLIO. ISBN 978-0-313-38310-6.
Brode, Douglas (1990). The films of the sixties. Carol Publishing Group. ISBN 978-0-8065-0798-9.
Brown, Peter (1981). The real Oscar: the story behind the Academy Awards. Arlington House. ISBN 978-0-87000-498-8.
Burr, Sherri (2007). Entertainment law in a nutshell. Thomson/West. ISBN 978-0-314-17176-4.
Charlotte, Susan (1993). Creativity: Conversations With 28 Who Excel. Monumentum Books, LLC. ISBN 978-1-879094-11-6.
Clooney, Ron (2011). Mr. Mojo Risin' (Ain't Dead). Troubador Publishing Ltd. ISBN 978-1-84876-757-7.
Crowther, Bosley (1967). "Movie Review: 'Cool Hand Luke'". The New York Times. Retrieved August 27, 2013.
Debolt, Abbe; Baugess, James (2011). Encyclopedia of the Sixties: A Decade of Culture and Counterculture. ABC-Clio. ISBN 978-0-313-32944-9.
DeMar, Carol. It Takes a Backbone to Raise Terrific Kids. American Vision. ISBN 978-1-60702-167-4.
Dewitt, Joanne (2011). Inside the Walls of Butner Prison. Xlibris Corporation. ISBN 978-1-4568-5282-5.
DiLeo, John (2010). Tennessee Williams and Company: His Essential Screen Actors. Hansen Publishing Group, LLC. ISBN 978-1-60182-425-7.
Dimare, Phillip (2011). Movies in American History: An Encyclopedia: An Encyclopedia. ABC-Clio. ISBN 978-1-59884-297-5.
Doberman, Matthew (2009). "Cool Hand Luke". Allmovie. Rovi Corporation. Retrieved August 27, 2013.
Eagan, Daniel (2010). America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. Continuum. ISBN 978-0-8264-2977-3.
Ebert, Roger (2010). The Great Movies III. University of Chicago Press. ISBN 978-0-226-18211-7.
Empire Magazine staff (2005). "Cool Hand Luke". Empire. Bauer Consumer Media. Retrieved August 27, 2013.
Empire Magazine staff 2 (2005). "The 100 Greatest Movie Characters| 53. Luke | Empire". Empire. Bauer Consumer Media. Retrieved August 28, 2013.
Fairbanks, Brian (2005). I Saw That Movie, Too: Selected Film Reviews. Lulu.com. ISBN 978-1-4116-3535-7.
Film Daily staff (1967). "Cool Hand Luke to Open with Benefit November 1". The Film Daily. 131. Wid's Films and Film Folk Incorporated.
Florida Department of Corrections (2010). "Florida Corrections - Centuries of Progress 1966–1969". State of Florida.
Garrett, Gregg (2007). The Gospel According to Hollywood. Westminster John Knox Press. ISBN 978-0-664-23052-4.
Grant, Barry Keith (2008). American Cinema of the 1960s: Themes and Variations. Rutgers University Press. ISBN 978-0-8135-4219-5.
Greenspoon, Leonard; Beau, Bryan F. Le; Hamm, Dennis (November 1, 2000). The Historical Jesus Through Catholic and Jewish Eyes. Continuum. ISBN 978-1-56338-322-9.
Hook, Sue Vander (2010). How to Analyze the Roles of Paul Newman. ABDO. ISBN 978-1-61758-785-6. *
Jarvis, Brian (2004). Cruel and unusual: punishment and US culture. Pluto Press. ISBN 978-0-7453-1543-0.
Langman, Larry; Ebner, David (2001). Hollywood's Image of the South: A Century of Southern Films. Greenwood Publishing Group. ISBN 978-0-313-31886-3.
Levy, Shawn (2009). Paul Newman: A Life. Random House Digital, Inc. ISBN 978-0-307-46253-4.
Lisanti, Tom (2000). Fantasy Femmes of Sixties Cinema: Interviews with 20 Actresses from Biker, Beach, and Elvis Movies. McFarland. ISBN 978-0-7864-0868-9.
MacDonald, Laurence (2013). The Invisible Art of Film Music: A Comprehensive History. Scarecrow Press. ISBN 978-0-8108-8398-7.
Magill, Frank (1983). Magill's American film guide. 1. Salem Press. ISBN 978-0-89356-250-2.
May, John (2001). Nourishing Faith Through Fiction: Reflections of the Apostles' Creed in Literature and Film. Rowman & Littlefield. ISBN 978-1-58051-106-3.
McClure, Arthur (1971). The movies: an American idiom: readings in the social history of the American motion picture. Fairleigh Dickinson University Press. ISBN 978-0-8386-7824-4.
McKay, James (2010). Dana Andrews: The Face of Noir. McFarland. ISBN 978-0-7864-5676-5.
Nash Information Services staff (2009). "Cool Hand Luke - Box Office". Nash Information Services, LLC. Retrieved August 28, 2013.
Nixon, Rob (2013). "Trivia and fun facts about Cool Hand Luke". TCM. Turner Entertainment Networks, Inc. Retrieved August 27, 2013.
Nixon, Rob (2010). "Behind the camera on Cool Hand Luke". Turner Classic Movies.
Nolte, Scott (December 1, 2003). We Support You! Love, America. Xulon Press. ISBN 978-1-59160-431-0.
Purves, Libby (2011). "Cool Hand Luke at the Aldwych Theatre, WC2". The Times. London. Retrieved August 29, 2013.
Quirk, Lawrence J. (September 16, 2009). Paul Newman: A Life, Updated. Taylor Trade Publications. ISBN 978-1-58979-438-2.
Rasmussen, Eric (1991). The Blues and Gospel Impulses in the Rock Dialogic: Guns N' Roses and Bruce Springsteen. University of Wisconsin-Madison.
Reinhartz, Adele (2012). Bible and Cinema: Fifty Key Films. Routledge. ISBN 978-1-136-18399-7.
Reed, John Shelton (2003). Minding the South. University of Missouri Press. ISBN 978-0-8262-6453-4.
Rotten Tomatoes staff (2013). "Cool Hand Luke - Rotten Tomatoes". Rotten Tomatoes. Flixster, Inc. Retrieved August 28, 2013.
Schickel, Richard (1967). Sheer Beauty in the Wrong Place. Life. 63. Time Inc. ISSN 0024-3019.
Trueman, Matt (2011). "Cool Hand Luke's West End gamble fails as show closes early". The Guardian. London. Retrieved August 29, 2013.
Variety staff (1966). "Review: 'Cool Hand Luke'". Variety. Retrieved August 27, 2013.
Weber, Bill (2008). "Cool Hand Luke". Slant Magazine. Slantmagazine.com. Retrieved August 27, 2013.
External links[edit]
Wikimedia Commons has media related to Cool Hand Luke.
Wikiquote has quotations related to: Cool Hand Luke
Cool Hand Luke at the American Film Institute Catalog
Cool Hand Luke on IMDb
Cool Hand Luke at the TCM Movie Database
Cool Hand Luke at AllMovie
Cool Hand Luke at Rotten Tomatoes
[hide]
v
t
e
Films directed by Stuart Rosenberg
Murder, Inc. (1960)
Question 7 (1961)
Cool Hand Luke (1967)
The April Fools (1969)
Move (1970)
WUSA (1970)
Pocket Money (1972)
The Laughing Policeman (1973)
The Drowning Pool (1975)
Voyage of the Damned (1976)
Love and Bullets (1979)
The Amityville Horror (1979)
Brubaker (1980)
The Pope of Greenwich Village (1984)
Let's Get Harry (1986)
My Heroes Have Always Been Cowboys (1991)
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A rose by any other name would smell as sweet
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"A rose by any other name would smell as sweet" is a popular reference to William Shakespeare's play Romeo and Juliet, in which Juliet seems to argue that it does not matter that Romeo is from her family's rival house of Montague, that is, that he is named "Montague". The reference is often used to imply that the names of things do not affect what they really are. This formulation is, however, a paraphrase of Shakespeare's actual language. Juliet compares Romeo to a rose saying that if he was not named Romeo he would still be handsome and be Juliet's love. This states that if he was not Romeo, then he would not be a Montague and she would be able to get married with no problem at all.
Contents
[hide]
1 Origin
2 Original texts
3 See also
4 References
Origin[edit]
In Act II, Scene II [1] of the play, the line is said by Juliet in reference to Romeo's house, Montague which would imply that his name means nothing and they should be together.
Juliet:
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
Romeo:
[Aside] Shall I hear more, or shall I speak at this?
Juliet:
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other word would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
Romeo:
I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
Original texts[edit]
Although it is one of the most famous quotes from the work of Shakespeare, no printing in Shakespeare's lifetime presents the text in the form known to modern readers: it is a skillful amalgam assembled by Edmond Malone, an editor in the eighteenth century.
Romeo and Juliet was published twice, in two very different versions. The first version of 1597, named "Q1", is believed to have been an unauthorised pirate copy or bad quarto provided to the printer by actors off the books: a memorial reconstruction. It may also, separately, represent a version of the play improved and trimmed after rehearsals for more dramatic impact.[2]
It runs:
’Tis but thy name that is mine enemy:
What’s Montague? It is not hand nor foot,
Nor arm, nor face, nor any other part.
What’s in a name? That which we call a rose,
By any other name would smell as sweet.
Q2, a superior 1599 printing, is believed to be a more official version printed from Shakespeare's original manuscript although perhaps not with Shakespeare's personal input. This is believed since there are textual oddities such as "false starts" for speeches that were presumably not clearly crossed out enough for the printer to spot.
It uses the text:
’Tis but thy name that is my enemy:
Thou art thyself, though not a Montague,
What’s Montague? It is not hand nor foot,
Nor arm nor face. O be some other name
belonging to a man!
What’s in a name? That which we call a rose,
By any other word would smell as sweet.
Malone reasoned that the awkward half-line of ‘belonging to a man’ could be reconnected into verse through correction with Q1. Modern editors have generally concurred.
See also[edit]
Law of identity
Rhetorical device
The Importance of Being Earnest
References[edit]
Wikisource has original text related to this article:
The Tragedy of Romeo and Juliet
Jump up ^ Romeo and Juliet on MIT's website
Jump up ^ Belsey, Catherine (2014). Romeo and Juliet Language and Writing. London: Bloomsbury Publishing. ISBN 9781472539441.
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Love Is All There Is (1996)
Rose by Any Other Name... (1997)
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"Love Story" (2008)
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New Moon (2006)
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text:
Semiconservative replication
From Wikipedia, the free encyclopedia
Jump to: navigation, search
A summary of the three postulated methods of DNA synthesis
Semiconservative replication describes the mechanism by which DNA is replicated in all known cells. It derives its name from the fact that this mechanism of transcription was one of three models originally proposed[1][2] for DNA replication:
Semiconservative replication would produce two copies that each contained one of the original strands and one new strand.
Conservative replication would leave the two original template DNA strands together in a double helix and would produce a copy composed of two new strands containing all of the new DNA base pairs.
Dispersive replication would produce two copies of the DNA, both containing distinct regions of DNA composed of either both original strands or both new strands.
The deciphering of the structure of DNA by Watson and Crick in 1953 suggested that each strand of the double helix would serve as a template for synthesis of a new strand. However, there was no way of knowing how the newly synthesized strands might combine with the template strands to form two double helical DNA molecules. The semiconservative model seemed most reasonable since it would allow each daughter strand to remain associated with its template strand. The semiconservative model was supported by the Meselson-Stahl experiment[2][3] and other even more revealing experiments that allowed for autoradiographic visualization of the distribution of old and new strands within replicated chromosomes.
Experimental evidence confirmed that two lines were observed, therefore offering compelling evidence for the semi-conservative theory.
Rate and accuracy[edit]
The rate of semiconservative DNA replication in a living cell was first measured as the rate of phage T4 DNA strand elongation in phage-infected E. coli.[4] During the period of exponential DNA increase at 37 °C, the rate of strand elongation was 749 nucleotides per second. The mutation rate per base pair per round of replication during phage T4 DNA synthesis is 2.4 x 10−8.[5] Thus semiconservative DNA replication is both rapid and accurate.
See also[edit]
Molecular Structure of Nucleic Acids
References[edit]
Jump up ^ Anthony J. F. Griffiths; et al. (1999). "8. The Structure and Replication of DNA". An Introduction to genetic analysis. San Francisco: W.H. Freeman. ISBN 0-7167-3520-2.
^ Jump up to: a b Meselson, M.; Stahl, F.W. (1958). "The Replication of DNA in Escherichia coli". PNAS. 44: 671–82. PMC 528642  . PMID 16590258. doi:10.1073/pnas.44.7.671.
Jump up ^ Meselson M, Stahl FW. (2007 ) Demonstration of the semiconservative mode of DNA duplication. In "Phage and the Origins of Molecular Biology" (editors Cairns J, Stent GS, Watson JD). Cold Spring Harbor Laboratory Press ISBN 9780879698003
Jump up ^ McCarthy D; Minner C; Bernstein H; Bernstein C (October 1976). "DNA elongation rates and growing point distributions of wild-type phage T4 and a DNA-delay amber mutant". J. Mol. Biol. 106 (4): 963–81. PMID 789903. doi:10.1016/0022-2836(76)90346-6.
Jump up ^ Drake JW; Charlesworth B; Charlesworth D; Crow JF (April 1998). "Rates of spontaneous mutation". Genetics. 148 (4): 1667–86. PMC 1460098  . PMID 9560386.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Semiconservative_replication&oldid=800109890"
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