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Genres: Documentary star: Jehnny Beth, Damon Albarn year: 2019 liked It: 279 votes HD Server HD Server HD Server Gorillaz: Reject False Icons Focused on the life of the band and their collaborators over the 3 vital years in which they developed critically acclaimed albums, ‘Humanz’ and ‘The Now Now’, and undertook their most ambitious world tour to date. Views: 5 Genre: Documentary,  Music Director: Denholm Hewlett Actors: D. R. A. M., Damon Albarn, Jamie Hewlett, Jamie Principle, Jean Michel Jarre, Little Simz, Peven Everett, Pusha T, Romye Robinson, Vince Staples Country: N/A Duration: 95 Quality: 4K Release: 2019 IMDb: N/A.

 

I really don't understand the negativity towards this fun sendoff. A documentary can be a number of things, and some people will expect them to be a certain way. This was never meant to be some monumental film for Gorillaz, rather it is a celebration of the last two albums and their accompanying world tour. It gave me a renewed appreciation for Humanz, with a closer look at its initial production. I even listened to all of The Now Now after this, my summer 2018 soundtrack. Everybody that worked on these projects and performed together all seemed to be like a big family. The talented people that made these albums possible are featured. Damon and Jamie were really funny, too. You get to see some interesting behind the scenes action at the making of the music, and even for Jamie's sketches that would become official artwork for the band. While the title Reject False Icons does not really relate to the mantra/idea from Demon Days, the festival in LA looked amazing. I guess that some expected much more from the Gorillaz brand in a weird way. Denholm's Director's Cut was uploaded onto YouTube in three parts, which was a nice gift at the end of the year for the niche fan base. A part of his style was to have most of the film in black and white, with the concerts being in color to show off the light show of the stages and energy of the performers. While not groundbreaking in any way, this will appeal much more to Gorillaz fans such as myself.

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Gorillaz, reject false icons, damon albarn, jamie hewlett, denholm hewlett Damon Albarn, Jamie Hewlett, Vince Staples, Jean Michel Jarre, De La Soul, D. R. A. M., Pusha T, Peven Everett, Little Simz, Jamie Principle, Yasiin Bey Click the link below to watch full or download. Happy watching:) Link: Release Date: Dec 16, 2019 Runtime: minutes Genres: Documentary Production Company: Trafalgar Film Productions Ltd. Written by Watch Full Movie and TV Series Welcome to a place where words matter. On Medium, smart voices and original ideas take center stage - with no ads in sight. Watch Follow all the topics you care about, and we’ll deliver the best stories for you to your homepage and inbox. Explore Get unlimited access to the best stories on Medium — and support writers while you’re at it. Just $5/month. Upgrade.

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Genres: Comedy, Fantasy. runtime: 1 hours 50 min. countries: UK. 3,2 / 10. 20741 Votes. Directors: Tom Hooper. Cats playing. Me: trying to sleep Youtube : wanna watch random cat giving birth. Catskill mountains. I love 😺 🐱🐱. 1:20 mèo hiếm m.n ơi!😱. Cats cast. 505 customer reviews There was a problem filtering reviews right now. Please try again later. June 20, 2018 Format: Prime Video Verified Purchase This is my pet Ringtail Lemurs favorite movie (yes he has a favorite movie, and doggo actor)! He particularly likes the beagle. We have seen this probably 50 times. He still loves it. I can still tolerate it. Everyone wins. April 4, 2009 Format: DVD Verified Purchase The premise of the movie is clever. Dogs and cats can talk, think, build machines, and are in general as clever or more clever than we humans, but they just keep it all hidden. And they are in perpetual conflict against each other. The plot is that a human (Jeff Goldblum) is on the verge of discovering a cure for dog allergies, and the cats want to reverse it an make all humans allergic to dogs. It's rather silly, and just furnishes a backdrop against which to show doghouses with sophisticated electronics, ninja cats, and other aspects of the cat vs. dog conflict. Tobey McGuire (Spiderman) voices the protagonist dog, a puppy accidentally inserted into the conflict. Alex Baldwin, Joe Pantoliano, and Susan Sarandon do some of the other dogs. One of the great voices of our age, Charleton Heston is the leader of the dogs, but his part is brief. Sean Hayes gives a nice, over-the-top, supervillianesque performance as the cat antagonist, and Jon Lovitz does a good turn as his assistant. In general the animal voices are the highlight of the movie, along with the continually funny joke of the dogs possessing technology and intelligence about which we humans have no clue. Elizabeth Perkins and Jeff Goldblum lead the cast of humans. Perkins is passable, but this is not one of Goldblum's better efforts. It's really the animal's show. I found the parts with the humans to be pretty boring. The movie contains some good moments with the animals, though, such as the the Russian Blue cat operative breaking into the human's house. It balances out as something worth a watch for a Saturday afternoon popcorn movie, but probably not something you're going to drag out and watch every year or three. June 11, 2014 Format: DVD Verified Purchase The premise is interesting, the cast is decent (even Jeff Goldblum), and it's kind of a fun movie. It's just not really my thing. I will admit that the interactions between Tinkles, the main antagonist of the film, voiced by Sean Hayes, and his right-hand cat, Calico, voiced by Jon Lovitz, were driving/ransom video scene were especially funny. But the laughs were few and far between. I'm sure younger kids will get more out of this and good for them. But even with Alec Baldwin and Toby McGuire as the leads, it's just not my thing. That's really all I've got to say on that. Enjoy. July 19, 2019 Format: Prime Video Verified Purchase Love this movie. Have watched this series many times with my daughter & now with my granddaughter. October 27, 2019 Format: Prime Video Verified Purchase The sound was warped and sounded horrible. You couldn’t understand anything anyone was saying! A complete waste money! Very disappointed!! August 29, 2019 Format: Prime Video Verified Purchase I enjoyed watching this with Olivia my 6yr old granddaughter. It's a cute and funny movie September 20, 2001 Format: DVD Verified Purchase This is a movie for anyone who wants to just sit back and get in some good laughs. Sure, it's slapstick, but that doesn't mean it's not truly funny and original. By the number of guffaws I heard in the theater when I saw the film, I wasn't the only one who enjoyed it. The inept cat characters were a complete gas - poor Mr. Tinkles (the "Blofeld" of the evil cat underworld) needed to do a better job of recruiting goons. The doggie gags were perhaps expected but still funny (e. g., Butch with his head hanging out the window of the rocket sled). As one reviewer wisely suggest - at LEAST rent this movie, then you may decide (like me) that you simply MUST have a copy for your private collection. October 11, 2019 Format: Prime Video Verified Purchase Love watching this movie with my 5 yr old granddaughter. You will, too! Highly recommend! There are 505 customer reviews and 541 customer ratings.

Am I the only one who doesnt even have a cat but still watching this. Im only watching cuz I have foot fetishs. I just wanna hug every cat who feels this way. Ohhhh so cute cat.

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I LOVE THE GAME AND THE CAT but the blue cat is out but the red cat is my favorite pet. Cats and dogs movie. My god every single thing in all of you is fun is so much laughter bro I from Brazil. Thanks for watching everyone. Turn on closed captioning to read Michaels commentary. Cats read. Cats and dogs funny videos. Cats and cosplay. 1:25 the cat kept saying “no no no.

Cats cafe prague. Cats andrew lloyd webber. Cats web. Cats movie review. If you are fan of the Musical you might actually enjoy this more than the other reviews might lead you to imagine.
Remember the reason this has little or no plot is that the estate of TS Eliot insisted that the musical (and therefore the movie) stick to the original Old Possum's Book of Practical Cats, published in 1939.
So, given that massive limitation, this does a reasonable job of creating a movie version of what is essentially a musical poem.
The set is clearly designed to give a theatrical stage feel, as is the choreography and scenery chewing dramatics.
Yes, of course the CGI is weird. It is there to justify the fact that this is a movie, because real costumes would have simply replicated the stage play.
In summary, given that this exists - it probably shouldn't - then it is what I expected. The songs are not all clearly audible (yes I watched this in a cinema with all the mod cons) there are some very strange dubbing moments too.

One was enough to want to kick your own cat (who you love very much) in the face multiple times. When I got home, I couldn't look at my cat for hours. Cats army. Girls who meowed in elementary school unite.

Cats movie. Enthusiastic man 53. Clever designer 21. Rebel Wilson always plays a character with the same personality. He kept saying hp instead of damage. Wen I see this my brother says all the time ‘This is creepy take it awayy. He is so cute I mean the cat. African Cats African Cats captures the real-life love, humor and determination of the majestic kings of the savanna. The story features Mara, an endearing lion cub who strives to grow up with her mother’s strength, spirit and wisdom; Sita, a fearless cheetah and single mother of five mischievous newborns; and Fang, a proud leader of the pride who must defend his family from a once banished lion. Duration: 89 min Quality: HD Release: 2011 IMDb: 7. 6.

Cats breeds. I get what they were trying to do for this movie but the execution was frankly horrifying. The look of the cat costumes kept drawing me out of the movie and full into the uncanny valley. Say what you want about the music and the songs, the costumes and how everything was scaled to the actors being cat sized just didn't work.
The stage show was much better. See that if you can. Avoid this at all costs. Did we miss tt reaction. 1:57 was very cute. Just before I went to see this film I had a vision that cats was a terribly put together film where the run time consisted of songs after songs and no dialogue in between for background information. That was precisely what I didn't get. Instead the film was well crafted AMAZING visual effects and the best acting in a musical I have ever seen.
All jokes aside I found this film awful to the point I had to gouge me eyes out! Yes this film had pretty good songs and a great musical score, which is mainly why I'm rating it a 5/10, the songs weren't memorable apart from the song memory which I have heard before on a tv show. There wasn't really a plot to the film that stood out to me and the visual effects for the humanised cats were so bad that throughout the film I could see the feet from them jumping all over the place instead of on the floor like it should be! The thing that could of made me won't to rate cats higher was if Tom Hooper (the director) had them in costumes like the musical instead of spending millions of pounds so that people can make a meme out of it.
Overall if you liked the musical then you would probably like the film, up until the point were you have to be high or drunk. The fact that Tom Hooper made amazing and Oscar worthy films in the past like Les Miserable and the king's speech makes me want to believe that a good director will never stay a good director.

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I don't want them to change a single thing. This is the cringe I didn't know I needed. Why? How? Nope. How? Why. br> That is why I prefer anime cat girls over this furry nightmare. Cat: AAAAAAAARRRRAAAAAAGGGAAAAAAA The subtitles: “According to all known laws of aviation, there is no way that a bee should be able to fly. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyways. Because bees don't care what humans think is impossible.”.

Cats song. I remember how they took the mustard I bought at a deli. the “security” official looked at me with the most hateful expression just because I had a small jar of mustard in my backpack... They are so cute so funny and lovely too. Thanks and take care.

Not gonna lie, cat did a good job. A bit slow, but you managed to keep the house pest free

 

 

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  • rating: 6 of 10 Stars
  • Brief: Satire about the world of the super-rich
  • Release date: 2019
  • genre: Drama, Comedy

 

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Greedy meme. Greedfall companions. Greed game show. What Kind Greed Full Movie HD Greed Free Download Stream Greed, Watch& Greed' Full&Movie&Online&Stream. Greedy grandma game. Greed 2019. Greed movie 2020. Greed Theatrical release poster Directed by Erich von Stroheim Produced by Erich von Stroheim Abe Lehr Irving Thalberg Written by Erich von Stroheim Contractually credited: June Mathis Based on McTeague by Frank Norris Starring Gibson Gowland ZaSu Pitts Jean Hersholt Music by William Axt Cinematography Ben F. Reynolds William H. Daniels Edited by Erich von Stroheim and Frank Hull (42- reel and 24-reel versions) Rex Ingram and Grant Whytock (18-reel version) June Mathis and Joseph W. Farnham (10-reel version) Production company The Goldwyn Company–Metro-Goldwyn Distributed by Metro-Goldwyn-Mayer Release date December 4, 1924 Running time 462 minutes (original cut) 140 minutes (original release) 239 minutes (reconstruction) Country United States Language Silent film English intertitles Budget $665, 603 Box office $274, 827 Greed is a 1924 American silent film, written and directed by Erich von Stroheim and based on the 1899 Frank Norris novel McTeague. It stars Gibson Gowland as Dr. John McTeague, ZaSu Pitts as Trina Sieppe, his wife, and Jean Hersholt as McTeague's friend and eventual enemy Marcus Schouler. The film tells the story of McTeague, a San Francisco dentist, who marries his best friend Schouler's girlfriend Trina. Greed was one of the few films of its time to be shot entirely on location, with Stroheim shooting approximately 85 hours of footage before editing. Two months alone were spent shooting in Death Valley for the film's final sequence, and many of the cast and crew became ill. Stroheim used sophisticated filming techniques such as deep-focus cinematography and montage editing. He considered Greed to be a Greek tragedy, in which environment and heredity controlled the characters' fates and reduced them to primitive bêtes humaines (human beasts), a naturalistic concept in the vein of Zola. During editing on Greed, the production company merged into Metro-Goldwyn-Mayer, putting Irving Thalberg in charge of the film's post-production. Thalberg had fired Stroheim a few years earlier at Universal Pictures. Originally almost eight hours long, Greed was edited against Stroheim's wishes to about two-and-a-half hours. Only twelve people saw the full-length 42-reel version, now lost; some of them called it the greatest film ever made. Stroheim later called Greed his most fully realized work and was hurt both professionally and personally by the studio's re-editing of it. [1] The uncut version has been called the "holy grail" for film archivists, amid repeated false claims of the discovery of the missing footage. In 1999, Turner Entertainment created a four-hour version of Greed that used existing stills of cut scenes to reconstruct the film. Greed was a critical and financial failure upon its initial release, but, by the 1950s, it began to be regarded as one of the greatest films ever made; filmmakers and scholars have noted its influence on subsequent films. Plot summary [ edit] I never truckled, I never took off the hat to fashion and held it out for pennies. By God, I told them the truth. They liked it or they didn't like it. What had that to do with me? I told them the truth; I knew it for the truth then and I know it for the truth now. —Frank Norris, quoted from his essay "The True Reward of the Novelist", in a title card at the beginning of Greed. [2] John McTeague is a miner working in Placer County, California. A traveling dentist calling himself Dr. "Painless" Potter visits the town, and McTeague's mother begs Potter to take her son on as an apprentice. Potter agrees and McTeague eventually becomes a dentist, practicing on Polk Street in San Francisco. Marcus Schouler brings Trina Sieppe, his cousin and intended fiancée, into McTeague's office for dental work. Schouler and McTeague are friends and McTeague gladly agrees to examine her. As they wait for an opening, Trina buys a lottery ticket. McTeague becomes enamored with Trina and begs Schouler for permission to court Trina. After seeing McTeague's conviction, Schouler agrees. Trina eventually agrees to marry McTeague and shortly afterwards her lottery ticket wins her $5, 000. [a] Schouler bitterly claims that the money should have been his, causing a rift between McTeague and Schouler. After McTeague and Trina wed, they continue to live in their small apartment with Trina refusing to spend her $5, 000. Trina and McTeague have a relationship that moves from romance to tragedy. Schouler leaves the city to become a cattle rancher. Before he goes, he secretly, in order to ruin his former friend, reports McTeague for practicing dentistry without a license. McTeague is ordered to shut down his practice or face jail. Even though she has saved over $200 in addition to the original $5, 000 from the lottery ticket, Trina is unwilling to spend her money. Money becomes increasingly scarce, with the couple forced to sell their possessions. McTeague finally snaps and bites Trina's fingers in a fit of rage. Later, he goes fishing to earn money, taking Trina's savings (now totaling $450). Trina's bitten fingers become infected and have to be amputated. To earn money she becomes a janitor at a children's school. She withdraws the $5, 000 from the bank to keep it close to her, eventually spreading it on her bed so she can sleep on it. McTeague then returns, having spent the money he took, and asks Trina for more. The following day McTeague confronts Trina at the school. After a heated argument McTeague beats Trina to death and steals her $5, 000. Now an outlaw, McTeague returns to Placer County and teams up with a prospector named Cribbens. Headed towards Death Valley, they find a large quantity of quartz and plan to become millionaires. Before they can begin mining, McTeague senses danger and flees into Death Valley with a single horse, the remaining money and one water jug. Several marshals pursue him, joined by Schouler. Schouler wants to catch McTeague personally and rides into Death Valley alone. The oppressive heat slows McTeague's progress. Schouler's progress is also beginning to wane when he spies McTeague and moves in to arrest him. After a confrontation, McTeague's horse bolts and Schouler shoots it, puncturing the water container. The water spills onto the desert floor. The pair fight one last time, with McTeague proving the victor; however, Schouler has handcuffed himself to McTeague. The film ends with McTeague left in the desert with no horse and no water, handcuffed to a corpse and unable to reach the remaining money. Sub-plots [ edit] Von Stroheim's original edit contained two main sub-plots that were later cut. The point of these sub-plots was to contrast two possible outcomes of Trina and McTeague's life together. The first depicted the lives of the junkman Zerkow and Maria Miranda Macapa, the young Mexican woman who collects junk for Zerkow and sold Trina the lottery ticket. Maria often talks about her imaginary solid gold dining set with Zerkow, who becomes obsessed by it. Eventually, believing she has riches hidden away, Zerkow marries her. He often asks about it, but she gives a different answer each time he mentions it. Zerkow does not believe her and becomes obsessed with prying the truth from her. He murders her and after having lost his mind, leaps into San Francisco Bay. The second sub-plot depicts the lives of Charles W. Grannis and Miss Anastasia Baker. Grannis and Baker are two elderly boarders who share adjoining rooms in the apartment complex where Trina and McTeague live. Throughout their time at the apartment complex, they have not met. They both sit close to their adjoining wall and listen to the other for company, so they know almost everything about each other. They finally meet and cannot hide their long-time feelings for each other. When they reveal their love, Grannis admits he has $5, 000, making him just as rich as Trina. But this makes little difference to them. Eventually, they marry and a door connects their rooms. Cast [ edit] Gibson Gowland as Dr. John McTeague, a dentist ZaSu Pitts as Trina Sieppe, McTeague's wife Jean Hersholt as Marcus Schouler, McTeague's friend Prologue Jack Curtis as McTeague's father Tempe Pigott as McTeague's mother Florence Gibson as a hag Erich von Ritzau as Dr. 'Painless' Potter, a travelling dentist Sieppe Family Chester Conklin as Hans 'Popper' Sieppe, Trina's father Silvia Ashton as 'Mommer' Sieppe, Trina's mother Austen Jewell as August Sieppe, Trina's younger brother Oscar Gottell as Max Sieppe, Trina's younger brother Otto Gottell as Moritz Sieppe, Trina's younger brother Joan Standing as Selina, Trina's cousin Max Tyron as Uncle Rudolph Oelbermann, Trina's uncle Subplots Dale Fuller as Maria Miranda Macapa, Zerkow's wife Cesare Gravina as Zerkow, a junkman Frank Hayes as Charles W. Grannis, proprietor of the Modern Dog Hospital Fanny Midgley as Miss Anastasia Baker, Grannis' neighbor and later wife Friends and Neighbors at Polk Street Hughie Mack as Mr. Heise, the harness maker E. 'Tiny' Jones as Mrs. Heise J. Aldrich Libbey as Mr. Ryer Reta Revela as Mrs. Ryer S. S. Simon as Joe Frenna Hugh J. McCauley as the photographer William Mollenhauer as the palmist Others William Barlow as the Minister Lon Poff as the man from the lottery company James F. Fulton as Cribbens, a prospector James Gibson as a Deputy Jack McDonald as the sheriff of Placer County Erich von Stroheim as the balloon vendor [3] Production [ edit] I intended to show men and women as they are all over the world, none of them perfect, with their good and bad qualities, their noble and idealistic sides and their jealous, vicious, mean and greedy sides. I was not going to compromise. I felt that after the last war, the motion picture going public had tired of the cinematographic 'chocolate éclairs' which had been stuffed down their throats and which had in a large degree figuratively ruined their stomachs with this overdose of Saccharose in pictures. Now, I felt, they were ready for a large bowl of plebeian but honest corned beef and cabbage'. —Erich von Stroheim. [4] Background and writing [ edit] Greed is based on the American author Frank Norris 's 1899 novel McTeague: A Story of San Francisco. Stroheim's interest in McTeague can be traced back to January 1920, when he told a journalist that he wanted to film the novel. [5] He had lived in San Francisco in the early 1910s, living there in poverty like that of the story's characters. [6] He eventually moved to Los Angeles, and worked his way up in the film industry from extra to acting in villainous or aristocratic roles in films [7] By 1919, Stroheim had finally become a successful director in his own right at Universal Film Manufacturing Company, although one with a reputation of going over budget and over schedule. [8] Upon the appointment of Irving Thalberg as general manager at Universal, Stroheim's defiance of commercial and industrial norms was no longer tolerated. After Thalberg's prior shutdown of Foolish Wives in 1921 (which had been shooting nonstop for eleven months), and after six weeks of filming on Merry-Go-Round, Stroheim was finally fired from the studio on October 6, 1922. This was a step unprecedented in Hollywood, heralding a new era in which the producer and the studio would hold artistic control over actors and directors. [9] However, by this time Stroheim had received several offers of contracts with other studios, even before being fired from Universal. He had met with executives of the Goldwyn Company on September 14, 1922, less than a month before, and he formally signed with them in late November. [10] Erich von Stroheim in 1920, the year he first publicly expressed interest in adapting the novel McTeague Stroheim chose his new studio because of the level of artistic freedom he was offered, which he had been denied at Universal under Thalberg. Since March of that year, Goldwyn had been run by Abe Lehr, who publicly promised that "each director will have his own staff and will be given every facility in putting into production his own individuality and personality. " [5] Stroheim signed a one-year, three-feature deal with Goldwyn on November 20, 1922. The deal stipulated that each feature would be between 4, 500 and 8, 500 feet (1, 400 and 2, 600 m) long, [11] cost no more than $175, 000 and be completed in fourteen weeks. It also promised von Stroheim $30, 000 for each completed film. [12] Lehr initially hired Stroheim in order to film a big-budget version of the operetta The Merry Widow, which the producer saw as a guaranteed hit; Stroheim, however, convinced Lehr to let him make Greed first, promising low costs. [13] A press release of February 1923 said that although Stroheim had "run rather freely to large sets in the past, [he] seems to have reformed—or surrendered—for it is announced that he will not build any sets at all. " [13] Stroheim wrote a highly detailed 300-page script that contained camera movements, composition and tint cues. [14] Among the changes that he made to Norris's novel was giving McTeague the first name of John and omitting Norris's anti-Semitism. [15] McTeague had been filmed once before as Life's Whirlpool, a five-reel short by William A. Brady 's World Pictures, starring Broadway star Holbrook Blinn as McTeague, which had been released in 1916. [6] Film critics disliked this version and Stroheim later criticized Blinn's performance. [16] According to film historian Kevin Brownlow, Life's Whirlpool was also shot on location in Death Valley. [17] Stroheim was known for his meticulous perfectionism and attention to detail, [18] as well as his insolence towards studio executives. [19] Working on Greed, Stroheim set out to make a realistic film about everyday people and rejected the Hollywood tropes of glamor, happy endings and upper-class characters. [20] Before shooting began, Stroheim told a reporter: It is possible to tell a great story in motion pictures in such a way that the spectator forgets he is looking at beauteous Gertie Gefelta, the producer's pet and discovers himself intensely interested, just as if he were looking out of a window at life itself. He will come to believe that what he is gazing at is real—a cameraman was present in the household and nobody knew it. They went on in their daily life with their joys, fun and tragedies and the camera stole it all, holding it up afterward for all to see. [21] In early January 1923 Stroheim arrived in San Francisco, where he scouted locations and finished writing the shooting script. While researching for Greed, he attended society functions in town and met many friends of Frank Norris, including his brother Charles and his sister-in-law Kathleen. [22] To capture the authentic spirit of the story, Stroheim insisted on filming on location in San Francisco, the Sierra Nevada mountains, the Big Dipper Mine in Iowa Hill, [23] and Death Valley. [24] He rented some of the actual buildings that had inspired scenes in the novel. [25] Other locations included Cliff House and San Francisco Bay. [14] Norris had similarly scouted settings for his novel and chose the upstairs of a building on the corner of Polk and California street as McTeague's dentist office, as well as many of the saloons and lunch counters in the area. [26] Stroheim discovered that many of the locations that Norris had described, such as Polk Street, had been destroyed in the 1906 San Francisco earthquake, but he was able to find suitable period locations on Hayes and Laguna streets. [27] For authenticity, Stroheim had no sets built in San Francisco and only redecorated existing locations, such as saloons, butcher shops, and wooden shacks, thus saving on construction costs. [14] Despite the strict conditions of Stroheim's initial contract, Goldwyn approved the lengthy shooting script before filming began. Production Manager J. J. Cohn later explained that "they thought they could control him when the time comes. " [28] Casting [ edit] Scene of the film Souls for Sale, showing Stroheim directing Jean Hersholt in a screen test for Greed. With the exception of Jean Hersholt, all of the main actors in Greed were regulars of Stroheim's earlier films, a group dubbed the "Stroheim Stock Company". [29] Gibson Gowland had previously appeared in Blind Husbands and returned to the U. from Scotland for the role of John McTeague. Cesare Gravina, who played the junkman Zerkow, and Dale Fuller, the lottery-ticket seller Maria, had both appeared in Foolish Wives and would later appear in The Merry Widow. Other actors in Stroheim's Stock Company included Sidney Bracey, Mae Busch, George Fawcett, Maude George, Hughie Mack and George Nichols. [29] Trina was the most difficult role to cast, and ZaSu Pitts was hired at the last minute, [14] after Stroheim had rejected both Claire Windsor and Colleen Moore. [30] Pitts had previously acted only in comedic roles; Greed was her first dramatic part. The actress later appeared in both The Wedding March and Hello, Sister! Stroheim said that Pitts was "the greatest psychopathological actress in the American cinema" and that "she should not be in comedy, for she is the greatest of all tragediennes. " [31] Stroheim had met casually with Jean Hersholt to discuss the role of Marcus Schouler, but he was initially reluctant to cast him. However, after Hersholt adjusted his appearance and wardrobe to more closely resemble Schouler, Stroheim changed his mind on the spot. [32] With the exception of Gowland, Stroheim shot extensive screen tests of all the other actors at Goldwyn with cinematographer Paul Ivano. [33] A scene from the Goldwyn film Souls for Sale is thought to be behind-the-scenes footage of Stroheim directing Greed, but it actually depicts him directing Hersholt during one of these screen tests. [34] Filming [ edit] Filming began in San Francisco on March 13, 1923, [27] and lasted until late June. [35] Despite the initial contract between von Stroheim and Goldwyn, Lehr agreed to double the film's budget to $347, 000 three days after shooting began. [36] Von Stroheim had already worked twenty-hour days for over two months of pre-production and collapsed on set after a few days of filming. He remained in good health for the remainder of the shoot. [27] This was not the only mishap on set; during scenes shot at San Francisco Bay, Cesare Gravina got double pneumonia, making von Stroheim bitterly ashamed that Gravina's entire performance was later cut from the film, despite the actor's dedication to the role. [37] Hersholt was knocked out by Gowland during the picnic scene (later cut) in which McTeague and Schouler fight, and Pitts was almost run over by a trolley. [38] In late May, Lehr visited von Stroheim on the set and praised the footage that he had seen, saying that "it has atmosphere, color and realism that could not possibly have been reproduced in the studio. " [35] One scene that von Stroheim re-shot at the studio's insistence depicted a younger McTeague in his apprenticeship with Potter. In the scene McTeague is too embarrassed to examine the teeth of a young woman and Potter has to take over. A thinly disguised ZaSu Pitts portrayed the woman so that the audience would see a resemblance to Trina, but the studio insisted that the scene was confusing and von Stroheim agreed to re-shoot it. [35] Von Stroheim also conceded his original vision when shooting the bar confrontation between McTeague and Schouler. The director wanted to have a knife thrower actually throw a real knife at Gibson Gowland's head. Von Stroheim was overruled by Gowland himself, who refused to allow such a dangerous stunt. A special-effect shot was used instead. [39] The Death Valley scenes, including this final sequence, were filmed over two months during midsummer, in harsh conditions. After filming in San Francisco wrapped in late June, the production traveled to Death Valley. Most Hollywood films that required desert scenes settled for the local Oxnard dunes north of Los Angeles, but von Stroheim insisted on authenticity. [21] Death Valley had no roads, hotels, gas stations or running water and was occupied by tarantulas, scorpions and venomous snakes. The nearest populated area to the shoot was 100 miles (160 km) away and insurance coverage was denied. [40] Filming in Death Valley lasted for two months during midsummer, allowing actors Gowland and Hersholt time to grow the beards necessary for the sequence. [41] Some members of the production reported temperatures between 91 and 161 °F (33 and 72 °C), but the highest temperature officially recorded in Death Valley during the period was 123 °F (51 °C). [42] Of the 43 members of the cast and crew who worked on the Death Valley sequence, 14 became ill and were sent back to Los Angeles. [43] While shooting, crew members would collapse of heat exhaustion every day. Hersholt spent a week in the hospital after shooting was completed, suffering from internal bleeding. [40] Hersholt claimed to have lost 27 pounds (12 kg), [43] and was covered in blisters by the end of filming. Despite the hardship Hersholt said that he considered it the best role of his career. [44] In order to motivate Hersholt and Gibson during the scene where they fight, von Stroheim yelled at them, "Fight, fight! Try to hate each other as you both hate me! " [44] Throughout filming, von Stroheim brought musicians on set to help create mood for the actors. He continued to use this for the Death Valley scenes with a harmonium and violin player. [45] A theme, inspired by the music of Ruggero Leoncavallo, was composed and played throughout production. Other music used included the popular songs " Nearer, My God, to Thee ", " Hearts and Flowers ", " Oh Promise Me ", and "Call Me Thine Own". [46] Filming moved to Placer County, California on September 13 and continued for less than a month. The Big Dipper Mine had been closed for ten years, so von Stroheim convinced the Goldwyn Company to lease and renovate it for filming. While first visiting Placer County during pre-production, von Stroheim had met Harold Henderson, a local resident and fan of Norris whose brother had worked in the mine in the 1890s. Von Stroheim hired Henderson to oversee the renovation of the mine and other locations in Iowa Hill. Von Stroheim also wanted to restore the local cemetery for a newly invented scene depicting McTeague's mother's funeral, but the Goldwyn Company turned down this proposal. Inside the mine, von Stroheim usually shot at night between 9 pm and 6 am. [47] Cinematographer William H. Daniels later said that von Stroheim insisted on descending 3, 000 feet (900 m) underground for realism, even though the setting would have looked exactly the same at 100 feet (30 m). [48] Filming was completed on October 6, 1923, [14] after 198 days. [49] Despite his original contract stipulating that all films be under 8, 500 feet (2, 600 m), von Stroheim shot a total of 446, 103 feet (135, 972 m) of footage for the film, running approximately 85 hours. [50] Style [ edit] The wedding scene made innovative use of deep-focus cinematography, despite challenges with the lighting. Stroheim's biographer Arthur Lennig compared the director's visual style to that of pioneering filmmaker D. W. Griffith, but felt that "unlike Griffith, who viewed scenes as though through a fourth wall, Stroheim shot from many sides and from different angles; he also used deep-focus, meaningful foregrounds and effective camera movement. " [51] Greed ' s lighting included high contrast, chiaroscuro techniques with pools or shafts of lights illuminating an otherwise dark space. Examples of this technique include the scene where McTeague begs Trina for money in a pool of moonlight and the merry-go-round scene in which characters alternate between appearing only as dark silhouettes and being fully lit. [52] Daniels was especially proud of the wedding scene, which has a funeral procession visible through the window and was difficult to light properly. [53] Greed has often been praised for its use of deep-focus cinematography, seventeen years before its more-famous application in Citizen Kane. [54] Daniels sometimes used incandescent lights instead of studio arc lights, due to the constraints of his locations. [55] He later said that Stroheim "was one of the first to insist on no make-up for men, on real paint on the walls which were shiny, real glass in the windows, pure white on sets and in costumes... everything up to then had been painted a dull brown" to mask the scratches on worn-down film prints. [56] Although not officially credited, Ernest B. Schoedsack worked on the picture as a camera operator. [57] Stroheim favored "Soviet-style" montage editing. Greed often uses dramatic close-ups and cuts instead of long takes. One exception to this is the scene in which Schouler becomes angry with McTeague and breaks his pipe, which was shot in one long, unbroken take. Stroheim also used symbolic cross-cutting for dramatic effect, such as his use of animals in the film and a shot of a train when McTeague and Trina first kiss. [58] In 1932 film theorist Andrew Buchanan called Stroheim a montage director, stating that "each observation would be captured in a 'close-up' and at leisure, he would assemble his 'shots' in just the order which would most forcibly illustrate the fact. " [59] In the 1950s film critic André Bazin praised Stroheim's use of mise en scène and noted his "one simple rule for directing. Take a close look at the world, keep on doing so and in the end it will lay bare for you all its cruelty and ugliness. " [59] Despite Stroheim's reputation as a perfectionist, Greed contains anachronisms. In the scenes on Polk Street, the main characters are clothed in 1890s fashions, but the extras wear 1920s clothing. Stroheim did his best to avoid such historical mistakes; he shot only those buildings that were from the era Greed was set in, and he kept motor vehicles out of sight while filming. Daniels stated that, despite his desire for authenticity, Stroheim sometimes had walls knocked out of real locations to achieve a desired camera position. [60] Themes [ edit] Frank Norris's novel belongs to the literary school of naturalism founded by French author Émile Zola. [61] McTeague depicts the fate of its lower-class characters in terms of heredity and their environment, [62] with the belief that "man's nature, despite free will, is determined by genetic and environmental factors" [61] and that heredity controls fate, despite efforts at upward mobility. [63] This literary style was influenced by Charles Darwin and portrayed characters whose higher states of being, the rational and compassionate, are in conflict with their lower states, the bête humaine (human beast). [63] McTeague was first published in 1899 and was inspired by an October 1893 murder case in which Patrick Collins, a poor husband with a history of beating his wife Sarah, finally stole her money and stabbed her to death at her San Francisco workplace. Sarah Collins worked at the Lest Norris kindergarten, which was financed by Norris's family. [6] [64] Von Stroheim did not see Greed as political and told a journalist that he considered it to be like a Greek tragedy. Despite the characters' struggles with poverty and class, von Stroheim followed the naturalist technique of portraying characters whose lives are driven by fate and their inner nature. Von Stroheim employed variations of this theme in his other films, which often involved a commoner falling in love with an aristocrat or royal. [38] In the wedding banquet scene, Trina's mother grotesquely devours her food. One of the cinematic techniques by which von Stroheim portrayed naturalism was animal symbolism. [65] In Greed McTeague is associated with a canary, only briefly mentioned in the novel. [66] Von Stroheim altered Norris's original ending and has McTeague release the canary in Death Valley. [67] McTeague buys Trina a female canary as a wedding gift and early in their marriage von Stroheim cuts from a shot of them kissing to birds fluttering wildly in their cage. [68] Another scene with animal imagery includes cross-cutting between a cat attempting to pounce on the canaries in the scene where Schouler bids goodbye to McTeague and Trina without telling them that he has informed on McTeague. [66] Dogs, cats and monkeys are associated with various supporting characters. [65] Von Stroheim also used the naturalist technique of giving characters specific objects, gestures or phrases that repeat throughout the film as a visual leitmotif. For example, Trina tugs on her lips and McTeague fiddles with his birdcage. [69] Throughout his career von Stroheim used grotesque imagery and characters. This is most apparent in the wedding-banquet scene, which includes a midget, a hunchback, a woman with buck teeth and a boy on crutches. [70] The wedding guests violently and crudely devour their meal like animals. This scene was unlike any other in films of that period, which treated meals with dignity and a sense of communion. [71] Other instances of grotesque imagery include Trina's fingers becoming infected and amputated. [72] Von Stroheim contrasted love scenes between McTeague and Trina with their ugly, lower-class environment, such as the sewer with the dead rat and a garbage truck driving by as they kiss. [73] As in his other films, von Stroheim used Christian imagery and symbols, such as crosses and churches. [74] Trina first shows signs of greed on Easter Sunday and is murdered by McTeague on Christmas Eve. Christmas Eve was often depicted in von Stroheim's films and was close to the date of his father's death. [75] Lennig asserted that the character of McTeague's father (who was only briefly mentioned in the novel) is based on von Stroheim's own father, while McTeague's mother is a tribute to von Stroheim's mother, to whom Greed is dedicated. [76] Von Stroheim stated that he considered all of his good qualities to have come from his mother and all of his bad qualities to have come from his father. [77] Editing [ edit] Initial editing [ edit] Editing Greed took almost a year and von Stroheim's contract did not include payment for his post-production work. [78] He and his chief film cutter Frank Hull worked on the film for several months before completing a rough cut. [79] Von Stroheim was indecisive during editing. He felt restricted by his contract's limitation on the length of the film. [49] Von Stroheim colored certain scenes with gold tinting by using the Handschiegl Color Process, in which individual frames are hand colored with stencils. [80] Von Stroheim credited himself in the beginning titles with "Personally directed by Erich von Stroheim. " [81] Other than studio personnel, only twelve people saw the original 42-reel [b] version of Greed at a special screening in January 1924; [24] they included Harry Carr, Rex Ingram, Aileen Pringle, Carmel Myers, Idwal Jones, Joseph Jackson, Jack Jungmeyer, Fritz Tidden, Welford Beaton, Valentine Mandelstam, and Jean Bertin. [82] After the screening Jones, Carr and Ingram all agreed that they had just seen the greatest film ever made and that it was unlikely that a better film would ever be made. [83] Carr wrote a review of the advance screening where he raved that he "saw a wonderful picture the other day—that no one else will ever see... I can't imagine what they are going to do with it. It is like Les Miserables. Episodes come along that you think have no bearing on the story, then 12 or 14 reels later it hits you with a crash. For stark, terrible realism and marvelous artistry, it is the greatest picture I have ever seen. But I don't know what it will be like when it shrinks to 8 reels. " [84] Jonathan Rosenbaum suggested that Carr was most likely referring to a cut sequence early in the film that introduced all of the characters who lived in McTeague's building. The forty-minute scene depicted what the tenants did on a Saturday afternoon, and established cinematic atmosphere without furthering the plot. Rosenbaum compared the cut sequence to novels of the 19th century and to the first few hours of Jacques Rivette 's Out 1. [85] Jones publicly praised the advance screening and compared Greed to The Cabinet of Dr. Caligari and Dr. Mabuse the Gambler. [84] However, Welford Beaton of The Film Spectator disliked the 42-reel version and criticized its excessive use of close-ups. [84] Some scenes, like this one, were gold tinted by Von Stroheim himself, hand coloring individual frames with stencils. Many sources claim that the 42-reel version was only ever intended to be a rough cut, [84] and that Von Stroheim chose to cut it down to 24 reels by March 18, 1924, [21] [59] with the intention of screening it with intermissions over two nights. [40] The director had difficulty cutting the film down, telling his friend Don Ryan, "I could take out sequences and thus get the job over in a day. That would be child's play. But I can't do it. It would leave gaps that could only be bridged through titles. When you do such a thing you have illustrated subtitles instead of a motion picture. " [84] Von Stroheim later claimed that at this time the Goldwyn Company wanted him to shoot a scene of McTeague waking up in his dentist chair, showing the entire film to have been a bad dream. [84] While von Stroheim was editing the 24-reel cut June Mathis, who was the head of the Goldwyn Story Department, had made her own 13-reel version of Greed by January 21, 1924. She ordered even more cuts to be made on January 29, but then left for Rome in early February to oversee the production of Ben-Hur and was uninvolved in the film's editing for several months. [86] After having completed the 24-reel [c] cut of Greed, von Stroheim told Goldwyn executives that he could not cut another frame. [40] Goldwyn producers thought that this version was still too long and told him to cut it to a more manageable length. Von Stroheim then sent the film to his friend, director Rex Ingram, who turned it over to his editor, Grant Whytock. [40] Whytock had worked with von Stroheim on The Devil's Pass Key and was familiar with the director's style and tastes. Whytock initially proposed that it be split in two, with one 8-reel film ending with the wedding and a second 7-reel film ending at Death Valley. Whytock eventually cut the film down to 18 reels. [d] His only major cut was the entire subplot of Zerkow and Maria, which he thought was "very distasteful". [87] Otherwise he simply cut down scenes and cut out 1, 200 feet (400 m) of quick "flash" shots that only lasted a few frames. However, Whytock's version of Greed retained the prologue and other subplots, as well as much of the humor that was later cut out of it. [87] Whytock and Ingram screened their version of Greed to studio executives, who responded favorably to it but worried that the tragic ending would be hard to sell to the public. [86] Ingram then sent the 18-reel version to von Stroheim and told him, "If you cut one more frame I shall never speak to you again. " [88] On April 10, 1924, the Goldwyn Company officially agreed to merge with Metro Pictures, putting von Stroheim's nemesis Thalberg directly in charge of Greed. [89] Von Stroheim and Louis B. Mayer had a lengthy confrontation over the film's editing, which according to both men ended with von Stroheim claiming that all women were whores and Mayer punching him. [e] [91] Mayer disliked the film because of its lack of glamor, optimism or morality and considered it to be a guaranteed flop. [92] Studio editing [ edit] MGM executives screened Greed at full length once to meet contractual obligations. Idwal Jones, a San Francisco critic, attended the all-day screening and wrote that while some of the scenes were compelling, Stroheim's desire that "every comma of the book [be] put in" was ultimately negative. [93] MGM then took control and re-edited it. The studio ordered June Mathis to cut it down further; [94] she assigned the job to an editor named Joseph W. Farnham. Farnham was a well-known "titles editor", who patched scenes together using title cards to keep continuity. His contributions to Greed include the notorious title cards " Such was McTeague " and " Let's go over and sit on the sewer ", which were snickered at for years. [95] Eventually Farnham reduced Greed to 10 reels, [f] [96] totaling 10, 607 feet (3, 233 m). [3] Von Stroheim said that the film "was cut by a hack with nothing on his mind but his hat. " [40] He later bitterly lamented that Greed was made before the financial success of Eugene O'Neill 's four-hour play Strange Interlude in 1928. [88] Von Stroheim angrily disowned the final version, blaming Mathis for destroying his masterpiece. [97] One week before Greed ' s release the New York State Motion Picture Committee (which censored films) demanded several more cuts on moral grounds. These cuts included the administration of ether in the dental scenes and certain instances of foul language. Although these cuts were made to prints that were screened in New York State, the footage was kept in many other prints. [95] Difference between von Stroheim's cut and MGM's cut [ edit] The main cuts to Greed were the elimination of its two sub-plots and other entire sequences, while individual scenes were often not touched. [98] [99] Commenting about the cuts made in the film to the Los Angeles Times, Thalberg stated: This whole story is about greed—a progressive greed. It is the story of the way greed grew in Trina's heart until it obsessed her. I found that the junk dealer's greed was so much greater than hers that it almost destroyed the theme. His intense greed drowned out Trina's greed just as a steam whistle drowns out a small street noise. Instead of hurting the picture, throwing out this junk dealer's story made the picture stronger. [100] Thalberg also stated that he "took no chances in cutting it. We took it around to different theaters in the suburbs, ran it at its enormous length, and then we took note of the places at which interest seemed to droop. " [100] Individual scenes or sequences that were cut include McTeague and Trina's early, happy years of marriage, the sequence showing McTeague and Trina eventually moving into their shack, [99] the family life of the Sieppe family before Trina's marriage, the prologue depicting McTeague's mother and father at the Big Dipper mine and McTeague's apprenticeship. Other cuts included the more suggestive and sexual close-up shots depicting McTeague and Trina's physical attraction to each other, the scenes after McTeague has murdered Trina and roams around San Francisco and Placer County, additional footage of Death Valley, additional footage of Trina with her money, and a more gradual version of Trina's descent into greed and miserly obsession. [101] Reception [ edit] Release and critical reviews [ edit] Greed premiered on December 4, 1924 at the Cosmopolitan Theatre in Columbus Circle, New York City, which was owned by William Randolph Hearst. [82] Frank Norris had once worked for Hearst as a foreign correspondent during the Spanish–American War and Hearst praised Greed, calling it the greatest film he had ever seen. [102] Hearst's newspapers promoted the film, [95] but MGM did very little advertising. [24] At the time of the release von Stroheim was in Los Angeles, having begun production on The Merry Widow on December 1. [21] In May 1926 Greed was released in Berlin, where its premiere famously caused a riot at the theater that may have been instigated by members of the then-fledgling Nazi party. [80] Greed received mostly negative reviews. The trade paper Harrison's Report said that "[i]f a contest were to be held to determine which has been the filthiest, vilest, most putrid picture in the history of the motion picture business, I am sure that Greed would win. " [103] Variety Weekly called it "an out-and-out box office flop" only six days after its premiere and claimed that the film had taken two years to shoot, cost $700, 000 and was originally 130 reels long. [104] The review went on to say that "nothing more morbid and senseless, from a commercial picture standpoint, has been seen on the screen for a long, long time" and that despite its "excellent acting, fine direction and the undoubted power of its story... it does not entertain. " [105] In its December 1924 – January 1925 issue, Exceptional Photoplays called it "one of the most uncompromising films ever shown on the screen. There have already been many criticisms of its brutality, its stark realism, its sordidness. But the point is that it was never intended to be a pleasant picture. " [106] In the February 1925 issue of Theatre Magazine, Aileen St. John-Brenon wrote that "the persons in the photoplay are not characters, but types—they are well selected, weighed and completely drilled. But they did not act; they do not come to life. They perform their mission like so many uncouth images of miserliness and repugnant animalism. " [105] Mordaunt Hall of the New York Times gave the film a mostly positive review in regards to the acting and directing while criticizing how it was edited, writing that MGM "clipped this production as much as they dared... and are to be congratulated on their efforts and the only pity is that they did not use the scissors more generously in the beginning. " [107] In a Life Magazine article, Robert E. Sherwood also defended MGM's cutting of the film and called von Stroheim "a genius... badly in need of a stopwatch. " [80] Iris Barry of the Museum of Modern Art (MoMA) disliked the tinting, saying "a not very pleasing yellow tinge is smudged in. " [80] A March 1925 review in Pictureplay magazine stated, "perhaps an American director would not have seen greed as a vice. " [108] A more favorable review came from Richard Watts, Jr. of the New York Herald Tribune, who called Greed "the most important picture yet produced in America... It is the one picture of the season that can hold its own as a work of dramatic art worthy of comparison with such stage plays as What Price Glory? and Desire Under the Elms. " [80] The April 20, 1925 edition of The Montreal Gazette claimed it "impresses as a powerful film" and described the "capacity audience" screening as "one of the few pictures which are as worthy of serious consideration... which offer a real and convincing study of life and character and that secure their ends by artistic and intellectual means rather than by writing down to the level of the groundlings. " The review went on to describe the direction as "masterly", citing "its remarkable delineation of character development and the subtle touches which convey ideas through vision rather than the written word, an all too-rare employment of the possibilities of the cinema play as a distinct branch of art capable of truthful and convincing revelation and interpretation of life's realities. " [109] A review in Exceptional Photoplays stated that "Mr. von Stroheim has always been the realist as Rex Ingram is the romanticist and Griffith the sentimentalist of the screen, and in Greed he has given us an example of realism at its starkest. Like the novel from which the plot was taken, Greed is a terrible and wonderful thing. " [110] Box office [ edit] Greed was a financial disappointment. [24] On its initial run, it earned $224, 500 in the United States, $3, 063 in Canada and $47, 264 in other markets. In total it earned $274, 827. [111] Von Stroheim's biographer Arthur Lennig stated that according to MGM's records the final cost of Greed was $546, 883. [20] Another biographer, Richard Koszarski, stated that its final cost was $665, 603: $585, 250 for the production, $30, 000 for von Stroheim's personal fee, $54, 971 for processing and editing, $53, 654 for advertising and $1, 726 for Motion Picture dues. [111] Arthur Lennig asserted that MGM's official budget for Greed was suspiciously high for a film with no stars, no built sets, a small crew and inexpensive film stock. Lennig suspects that MGM averaged the film's cost with the more expensive The Merry Widow in order to prevent von Stroheim from getting a percentage of the more profitable film. [20] The Merry Widow ended up being a hit and earned more profits than Greed had lost; [112] it cost $614, 961 but earned $996, 226 on its initial run. [111] Legacy [ edit] In his final years, von Stroheim said that "of all my films, only Greed was a fully realized work; only Greed had a total validity. " [113] In 1926 a British foundation of arts and sciences requested a copy of the original version of Greed to keep in their archive, but their request was denied by MGM. [114] Henri Langlois screened the studio version of Greed for von Stroheim in 1950. Von Stroheim said, "It was for me an exhumation. It was like opening a coffin in which there was just dust, giving off a terrible stench, a couple of vertebra and a piece of shoulder bone. " [1] He went on to say that "It was as if a man's beloved was run over by a truck, maimed beyond recognition. He goes to see her in the morgue. Of course, he still loves her but it's only the memory of her that he can love—because he doesn't recognize her anymore. " [113] In the early 1950s Greed ' s reputation began to grow and it appeared on several lists of the greatest films ever made. In 1952 at the Festival Mondial du Film et des Beaux Arts de Belgique, Greed was named the fifth greatest film ever made, with such directors as Luchino Visconti, Orson Welles, Luis Buñuel and Billy Wilder voting for it. Later in 1952 Sight and Sound magazine published its first list of the "ten greatest films ever made". Greed was tied for 7th place on that list, with such critics as Andre Bazin, Lotte Eisner, Curtis Harrington, Penelope Houston and Gavin Lambert voting for it. [115] In 1962 it was tied for 4th on the same list. Since 1972 it has failed to reach a spot on the top ten. [114] The Cinémathèque royale de Belgique released a list of "the most important and misappreciated American films of all time" in 1978. Greed was third on its list after Citizen Kane and Sunrise: A Song of Two Humans. [114] In a University of Southern California list of the "50 Most Significant American Films" made by the school's Performing Arts Council, Greed was listed as number 21. [116] In 1991 Greed was selected for preservation in the United States National Film Registry by the Library of Congress as "culturally, historically, or aesthetically significant". [117] Among those who have praised Greed over the years are Sergei Eisenstein; [118] Joseph von Sternberg, who said, "We were all influenced by Greed "; [78] Jean Renoir, who called it "the film of films"; [119] and Ernst Lubitsch, who called von Stroheim "the only true 'novelist'" in films. [120] More recently Guillermo del Toro called it "a perfect reflection of the anxiety permeating the passage into the 20th century and the absolute dehumanization that was to come", [121] and Norbert Pfaffenbichler said that "the last shot of the movie is unforgettable. " [122] American writer, filmmaker, philosopher and political activist, Susan Sontag named Greed as one of her favorite films. [123] Jonathan Rosenbaum has stated that Greed was a major influence on the style and content of many films. Stroheim's shots filming the sun predated Akira Kurosawa 's better-known uses of the technique in Rashomon (1950). Rosenbaum compared specific shot set-ups in Greed to shots in King Vidor 's The Crowd, Jean Renoir's Le Crime de Monsieur Lange, Orson Welles's The Magnificent Ambersons, Howard Hawks ' To Have and Have Not and Michelangelo Antonioni 's L'Avventura. In addition, he likened certain plot elements or characters in Greed to John Huston 's The Treasure of the Sierra Madre (1948), Alfred Hitchcock 's Rear Window (1954), Claude Chabrol 's Les Bonnes Femmes (1960) and Elaine May 's Mikey and Nicky (1975). Rosenbaum singled out Stroheim's influence on May, an American director, with Mikey and Nicky centering on the disintegration of a friendship over money and sex, and including grotesque elements and characters caught between innocence and corruption. Rosenbaum also asserts that Orson Welles' use of satirical caricatures in all of his films is in "the spirit of von Stroheim". [124] The two films most commonly compared to Greed are Huston's The Treasure of the Sierra Madre and Welles' The Magnificent Ambersons. Rosenbaum believes that besides Huston's film ending with gold being lost in the desert and similarities between Trina's descent into madness with Fred C. Dobbs own obsessions, the two films have little else in common. The Magnificent Ambersons and Greed both have characters who struggle with class differences that lead to their downfall. Ambersons was famously edited down drastically by its studio and the cut footage is now lost. Rosenbaum goes on to state that Greed influenced the methods in which novels are adapted into films and filmmakers like Welles, Huston and Bill Forsyth followed von Stroheim's example by re-arranging the plot and adding new scenes to their films while still remaining faithful to the intentions of the original novels. [125] The 1994 Jonathan Lynn film Greedy pays tribute to the film by giving the main characters the last name McTeague. [126] Attempts to reconstruct the uncut version of Greed without use of the lost footage first began in 1958. At the Brussels International Exposition, the Cinémathèque royale de Belgique named Greed as one of the twelve greatest films ever made and simultaneously published von Stroheim's original, uncut script for Greed, which came directly from von Stroheim's personal copy preserved by his widow Denise Vernac. [127] This publication led to three separate books that all used von Stroheim's script in order to reconstruct the original version of the film and compare it to the released version: a French book edited by Jacques-G. Perret in 1968 and two versions edited by Joel Finler and Herman G. Weinberg, both in 1972. Weinberg's book utilized 400 individual stills and production photos to reconstruct the uncut version of Greed, the first time that images from the uncut version were publicly available. [128] In 1999, Turner Entertainment (the film's current rights holder) decided to recreate, as closely as possible, the original version by combining the existing footage with over 650 still photographs of the lost scenes (many of which had been used in Weinberg's book), [129] in accordance with an original continuity outline written by von Stroheim. All materials were provided by the Margaret Herrick Library. [129] This restoration runs almost four hours. It was produced by film preservationist Rick Schmidlin and edited by Glenn Morgan. [130] [131] Schmidlin restored many characters and sub-plots from the original version. A new musical score was composed by Robert Israel. The reconstruction cost $100, 000 to produce. Schmidlin called the finished product "a reconstruction of Von Stroheim's lost narrative. " [132] It premiered at the 1999 Telluride Film Festival and was later screened at the Venice Film Festival and the Pordenone Silent Film Festival before being aired on Turner Classic Movies on December 5, 1999. [133] Film critic Todd McCarthy called the restored version of Greed a triumph. [130] Roger Ebert called Greed a masterpiece and said that the restored Schmidlin cut illustrates the "prudish sensibilities [that] went into MGM's chop job. " [93] Rosenbaum praised the project, but claimed it could only be considered a "study version". [134] The reconstruction won a special citation from the Los Angeles Film Critics Association Awards. [135] Myths and misconceptions [ edit] Stroheim was known to exaggerate events from his life and create myths about himself, such as his fictitious aristocratic origins and military record in Austria. [136] He claimed that shortly after having moved to the US in the early 1910s, he had found a copy of McTeague in a motel in New York and had read it in one sitting. He also said that wanting to adapt the book inspired him to make a career in filmmaking. [83] Georges Sadoul later stated that Stroheim had first read the novel in 1914, while living in poverty in Los Angeles. [17] Claims that Stroheim's original cut was a completely unabridged version of McTeague are not accurate. Stroheim's 300-page script was almost as long as the original novel, but he rethought the entire story and invented new scenes, as well as extensively elaborating existing ones. [137] In the Norris novel, McTeague's back story in Placer County and relationships with his father, mother and Potter were remembered as a flashback and took two paragraphs. In Stroheim's original Greed, this sequence took up the first hour of the film and was not a flashback. [138] Stroheim also modernized the novel's time span to between 1908 and 1923, a quarter-century later than the novel. [137] Greed has sometimes been said to be over 100 reels long. Stroheim said that his initial edit was 42 reels, although several of the people who saw this cut remembered it as being anywhere from 42 to 47 reels. [139] Grant Whytock remembered the edited version that Stroheim initially sent to him as between 26 and 28 reels. [87] MGM's official studio files list the original cut of the film at 22 reels. [140] As recently as 1992, former MGM Story Editor Samuel Marx erroneously claimed that the original version of Greed was 70 reels. [141] June Mathis is credited with co-writing the script due to her work on the 10-reel version. Mathis was the head of the Story Department at MGM and her contract stipulated that she would receive writing credit for all MGM films. She did not actually write any part of the screenplay. [25] She is said to have changed its title from McTeague to Greed during post-production; [142] however, a publicity still of the cast and crew taken during production clearly indicates that it was titled Greed before the MGM merger even took place. [143] The film's working title was " Greedy Wives ", a nod towards Stroheim's previous film Foolish Wives; this working title never was considered as the film's actual title. [12] The original version of Greed has been called the "holy grail" for film archivists. [21] Various reports of the original version being uncovered have proved to be unfounded. Among these "sightings" are a claim that a copy existed in a vault in South America that only was screened once a year for invited guests on New Year's Eve. Another claim was that a copy in the possession of a Texan millionaire was sold to Henri Langlois of Cinémathèque Française. Other claims include that a film society in Boston held a private screening of a print found by a World War II veteran in Berlin from a tip by Emil Jannings, that David Shepherd of the American Film Institute had found a copy at a garage sale, and that the head of a film society in Redwood City, California owned "the longest existing version of Greed (purchased in Europe). " Stroheim himself once stated that Benito Mussolini owned a personal copy of the film. [144] Stroheim's son Joseph von Stroheim once claimed that when he was in the Army during World War II, he saw a version of the film that took two nights to fully screen, although he could not remember exactly how long it was. [145] There were also reports that MGM had retained a copy of the original version. Iris Barry of the Museum of Modern Art claimed that a copy was locked in the MGM vaults, although Thalberg denied it. It was also reported that John Houseman had a private screening at MGM and that MGM owned two copies stored in a vault in a Utah salt mine. [144] Lotte Eisner once claimed that in the 1950s and 1960s, several cans of films labeled "McTeague" were found in MGM's vaults and destroyed by executives who did not know that it was footage from Greed. [146] MGM executive Al Lewin said that several years after the film's release Stroheim asked him for the cut footage. Lewin and editor Margaret Booth searched MGM's vault but could not find any missing footage. [147] See also [ edit] List of fiction works made into feature films List of films cut over the director's opposition List of incomplete or partially lost films List of longest films Notes [ edit] ^ Approximately $75, 000 in 2019 dollars according to the Bureau of Labor Statistics. ^ It is traditional to discuss the length of theatrical motion pictures in terms of " reels ". The standard length of a 35 mm motion picture reel is 1, 000 feet (300 meters). This length runs approximately 11 minutes at sound speed (24 frames per second) and slightly longer at silent film speed (which may vary from approximately 16 to 22 frames per second). Therefore the 42-reel version of Greed was 462 minutes (8 hours) at 24 fps, 551 minutes (9 hours) at 20 fps and longer at other speeds. ^ 264 minutes (4 hours and 20 minutes) at 24 fps and 315 minutes (5 hours and 15 minutes) at 20 fps. ^ 198 minutes (3 hours and 20 minutes) at 24 fps and 236 minutes (3 hours and 56 minutes) at 20 fps. ^ In a remarkably similar story, screen actor John Gilbert once told Mayer that his own mother was a whore and Mayer allegedly chased him with a knife. [90] ^ 110 minutes (1 hour and 50 minutes) at 24 fps. References [ edit] Citations [ edit] ^ a b Weinberg 1972, pp. 17–18. ^ Lennig 2000, pp. 187–188. ^ a b Koszarski 1983, p. 327. ^ Finler 1972, p. 7. ^ a b Lennig 2000, p. 188. ^ a b c Lennig 2000, p. 186. ^ Lennig 2000, pp. 25–58. ^ Lennig 2000, p. 122. ^ Wakeman 1987, p. 1073; Lennig 2000, p. 188. ^ Koszarski 1983, p. 114. ^ Lennig 2000, pp. 189–190. ^ a b Koszarski 1983, p. 116. ^ a b Lennig 2000, p. 189. ^ a b c d e Lennig 2000, p. 190. ^ Rosenbaum 1993, p. 31. ^ Koszarski 1983, pp. 116–117. ^ a b Rosenbaum 1993, p. 20. ^ Lennig 2000, pp. 8–9. ^ Lennig 2000, p. 2. ^ a b c Lennig 2000, p. 217. ^ a b c d e Wakeman 1987, p. 1074. ^ Curtiss 1971, p. 164; Koszarski 1983, p. 122. ^ Koszarski 1983, pp. 156–159. ^ a b c d Finler 1972, p. 29. ^ a b Finler 1972, p. 16. ^ Rosenbaum 1993, p. 16. ^ a b c Koszarski 1983, p. 124. ^ Koszarski 1983, p. 127. ^ a b Finler 1972, pp. 17–18. ^ Curtiss 1971, p. 165. ^ Finler 1972, p. 17; Koszarski 1983, p. 119; Wakeman 1987, p. 1074. ^ Finler 1972, pp. 22–23. ^ Koszarski 1983, p. 119. ^ Koszarski 1983, p. 122. ^ a b c Koszarski 1983, p. 135. ^ Rosenbaum 1993, pp. 21, 37. ^ Finler 1972, p. 27. ^ a b Koszarski 1983, p. 129. ^ Finler 1968, p. 52. ^ a b c d e f Finler 1972, p. 18. ^ Koszarski 1983, p. 136. ^ "View Data". National Climatic Data Center. Archived from the original on December 20, 2013. Retrieved December 28, 2012. ^ a b Finler 1972, p. 23. ^ a b Finler 1972, p. 24. ^ Lennig 2000, p. 81. ^ Curtiss 1971, p. 173. ^ Koszarski 1983, pp. 138–139. ^ Finler 1972, p. 26. ^ a b Koszarski 1983, p. 140. ^ Lennig 2000, p. 215. ^ Lennig 2000, p. 219. ^ Lennig 2000, pp. 76, 202. ^ Finler 1972, p. 26; Lennig 2000, p. 77. ^ Lennig 2000, p. 206. ^ Koszarski 1983, p. 134. ^ Lennig 2000, p. 77. ^ Weinberg 1972, p. 21. ^ Lennig 2000, pp. 75–76, 202. ^ a b c Koszarski 1983, p. 142. ^ Rosenbaum 1993, p. 22. ^ a b Lennig 2000, p. 187. ^ Wakeman 1987, p. 1073. ^ a b Koszarski 1983, p. 118. ^ Rosenbaum 1993, pp. 16-18. ^ a b Lennig 2000, pp. 195–196. ^ a b Lennig 2000, p. 198. ^ Lennig 2000, p. 214. ^ Lennig 2000, pp. 198, 200. ^ Finler 1968, pp. 31, 38. ^ Lennig 2000, pp. 87–88. ^ Lennig 2000, pp. 204–206. ^ Lennig 2000, p. 211. ^ Lennig 2000, p. 95. ^ Lennig 2000, p. 91. ^ Lennig 2000, p. 90. ^ Lennig 2000, p. 193. ^ Lennig 2000, p. 194. ^ a b Weinberg 1972, p. 15. ^ Finler 1972, p. 29; Koszarski 1983, p. 326. ^ a b c d e Koszarski 1983, p. 147. ^ Rosenbaum 1993, p. 41. ^ a b Weinberg 1972, p. 13. ^ a b Finler 1972, p. 14. ^ a b c d e f Koszarski 1983, p. 141. ^ Rosenbaum 1993, p. 29. ^ a b Koszarski 1983, p. 144. ^ a b c Koszarski 1983, p. 143. ^ a b Finler 1972, p. 28. ^ Koszarski 1983, pp. 142–143. ^ Flamini 1994, pp. 85-86. ^ Rosenbaum 1993, p. 38. ^ Curtiss 1971, p. 178. ^ a b Ebert, Roger (December 12, 1999). "Greed (1925)". Chicago Sun-Times. Chicago: Sun-Times Media Group. Archived from the original on December 23, 2010. Retrieved December 1, 2010. ^ Unterburger, Amy L. ; Foster, Gwendolyn Audrey (1999). The St. James Women Filmmakers Encyclopedia: Women on the Other Side of the Camera. Visible Ink Press. p.  270. ISBN   1-57859-092-2. ^ a b c Koszarski 1983, p. 145. ^ Koszarski 1983, pp. 144–145. ^ Ward Mahar, Karen (2006). Women Filmmakers in Early Hollywood. JHU Press. p.  200. ISBN   0-8018-8436-5. ^ Finler 1972, p. 11. ^ a b Finler 1972, p. 12. ^ a b Vieira 2010, p. 47. ^ Finler 1972, pp. 19–20. ^ Curtiss 1971, p. 181. ^ Koszarski 1983, p. 146. ^ Finler 1972, p. 31. ^ a b Lennig 2000, p. 218. ^ Finler 1972, p. 32. ^ Hall, Mordaunt (December 5, 1924). "Greed (1924)". The New York Times. New York City: The New York Times Company. Retrieved January 19, 2013. ^ Rosenbaum 1993, p. 36. ^ " ' Greed' Impresses as Powerful Film". The Gazette. Montreal: Postmedia Network. April 20, 1925. Retrieved January 16, 2013. ^ Vieira 2010, p. 48. ^ a b c Koszarski 1983, p. 173. ^ Finler 1972, p. 10. ^ a b Weinberg 1972, p. 18. ^ a b c Koszarski 1983, p. 148. ^ Rosenbaum 1993, p. 50. ^ Rosenbaum 1993, p. 51. ^ "National Film Registry". Library of Congress. National Film Preservation Board. Archived from the original on April 19, 2012. Retrieved July 14, 2012. ^ Weinberg 1972, p. 10. ^ Weinberg 1972, p. 16. ^ Weinberg 1972, p. 17. ^ "Guillermo del Toro". British Film Institute. Archived from the original on June 16, 2014. Retrieved June 11, 2014. ^ "Norbert Pfaffenbichler". Archived from the original on July 14, 2014. Retrieved June 11, 2014. ^ "Susan Sontag's 50 Favorite Films (and Her Own Cinematic Creations)". Open Culture. December 4, 2012. ^ Rosenbaum 1993, pp. 52–58. ^ Rosenbaum 1993, pp. 58-59. ^ Ebert, Roger (March 4, 1994). "Greedy". Archived from the original on April 21, 2007. Retrieved October 1, 2013. ^ Finler 1972, p. 6; Weinberg 1972, p. 15. ^ Rosenbaum 1993, pp. 25–26. ^ a b Rosenbaum, Jonathan (November 26, 1999). "Fables of the Reconstruction: The 4-Hour GREED". The Chicago Reader. Archived from the original on December 19, 2013. Retrieved April 8, 2014. ^ a b McCarthy, Todd (September 7, 1999). "Review: 'Greed ' ". Variety. Archived from the original on April 7, 2014. Retrieved April 2, 2014. ^ Steffen, James. "Greed". Turner Classic Movies. Retrieved September 9, 2012. ^ "Restored 'Greed' Comes To Turner Classic Movies". The Seattle Times. December 5, 1999. Retrieved March 28, 2014. ^ Mills, Michael (1999). "Resurrection on Polk Street". ~Greed~ Von Stroheim's Silent Movie Classic. Archived from the original on April 11, 2000. Retrieved September 22, 2016. ^ 2013 Greater St. Louis Humanities Festival — Greed Screening. Mississippi Humanities Council. April 6, 2013. Rosenbaum asserts this around 43 minutes in. Retrieved January 22, 2016 – via YouTube. ^ "25th Annual Los Angeles Film Critics Association Awards". The Los Angeles Film Critics Association. Archived from the original on October 6, 2014. Retrieved June 6, 2014. ^ Lennig 2000, p. xii. ^ a b Lennig 2000, p. 191. ^ Lennig 2000, p. 192. ^ Rosenbaum 1993, p. 24. ^ Rosenbaum 1993, p. 25. ^ Rosenbaum 1993, p. 10. ^ Weinberg 1972, p. 41. ^ Weinberg 1972, p. 30. ^ a b Weinberg 1972, p. 9. ^ Koszarski 1983, p. 149. ^ Rosenbaum 1993, pp. 38–39. ^ Flamini 1994, p. 56. Bibliography [ edit] Curtiss, Thomas Quinn (1971). Von Stroheim. New York, New York: Farrar, Straus and Giroux. ISBN   978-0-374-28520-3. Finler, Joel W. (1972). Greed. A Film. New York: Lorrimer Publishing Ltd. ISBN   978-0-900855-45-0. Finler, Joel W. (1968). Stroheim. Berkeley, California: University of California Press. ASIN   B003G8IMK8. Flamini, Roland (1994). Thalberg: The Last Tycoon and the World of M-G-M. New York: Crown Publisher, Inc. ISBN   0-517-58640-1. Koszarski, Richard (1983). The Man You Loved to Hate: Erich von Stroheim and Hollywood. Oxford, England: Oxford University Press. ISBN   978-0-19-503239-0. Lennig, Arthur (2000). Lexington, Kentucky: The University Press of Kentucky. ISBN   978-0-8131-2138-3. Rosenbaum, Jonathan (1993). London: BFI Publishing. ISBN   978-0-85170-358-9. Vieira, Mark A. (2010). Irving Thalberg: Boy Wonder to Producer Prince. Los Angeles: University of California Press. ISBN   978-0-520-26048-1. Wakeman, John (1987). World Film Directors, Volume 1. New York: The H. Wilson Company. ISBN   978-0-8242-0757-1. Weinberg, Herman G. The Complete Greed of Erich Von Stroheim: a reconstruction of the film in 348 still photos following the original screenplay plus 52 production stills. New York: ARNO Press. ISBN   978-0-405-03925-6. External links [ edit] Greed on IMDb Greed at the TCM Movie Database Greed at AllMovie Greed at Rotten Tomatoes Greed on iTunes Greed is available for free download at the Internet Archive (130 min) Zasu Pitts oriented lobby poster.

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Very enjoyable drama about an couple whose marriage is strained and break up and the effects on each and their grown son. Some humour but a serious film. Performances are first class and as usual Annette Bening is outstanding. John O'Connor (Gods Own Country) also is a stand out. Hope psychology pdf. Excelente música de laorquesta carameloademás muy guapas todas saluditos desde México. Hope gap. 1:32 cute hug🕵️‍♂️🕵️‍♂️🕵️‍♂️❣️. Hope gap movie. The hope gap. It was nice while it lasted. Hope gap plot. Hope gap 2020. Fun fact: when mr Rogers went to see koko the immediately went to take his shoes off. Hope gap to birling gap sussex map.

It's really interesting ❤. Hope gap synopsis. Hope gospel mission menomonie wisconsin. Hope gap movie reviews. Laik si la as escuchado en noviembre 2019🍻😎 Idia Perra🍻🥺🐕. Hermosa. 👍😊🌹🌹🌹🌹🌹🌹🌹🌹🌹. Sword Art Online Cover of the first light novel featuring Kirito (left) and Asuna (right). ソードアート・オンライン ( Sōdo Āto Onrain) Genre Adventure, [1] science fiction [2] Novel series Written by Reki Kawahara Published by Self-published Original run 2002 – 2008 Light novel Written by Reki Kawahara Illustrated by abec Published by ASCII Media Works English publisher NA Yen Press Demographic Male Imprint Dengeki Bunko Original run April 10, 2009 – present Volumes 23 ( List of volumes) Manga Sword Art Online Sword Art Online: Aincrad Sword Art Online: Fairy Dance Sword Art Online: Girls Ops Sword Art Online: Progressive Sword Art Online: Phantom Bullet Sword Art Online: Calibur Sword Art Online: Mother's Rosario Sword Art Online: Project Alicization Anime television series Directed by Tomohiko Itō Produced by Kazuma Miki Shinichirō Kashiwada Music by Yuki Kajiura Studio A-1 Pictures Licensed by AUS Madman Entertainment NA Aniplex of America UK Manga Entertainment Original network Tokyo MX, GTV, GYT, tvk, TV Saitama, TV Aichi, RKB, HBC, MBS, AT-X, Chiba TV, BS11 English network AU ABC Me NA Aniplex Channel PH TV5 US Adult Swim ( Toonami) Original run July 8, 2012 – December 23, 2012 Episodes 25 ( List of episodes) Light novel Sword Art Online: Progressive Written by Reki Kawahara Illustrated by abec Published by ASCII Media Works English publisher NA Yen Press Demographic Male Imprint Dengeki Bunko Original run October 10, 2012 – present Volumes 6 ( List of volumes) Anime television film Sword Art Online: Extra Edition Directed by Tomohiko Itō Produced by Kazuma Miki Shinichirō Kashiwada Written by Reki Kawahara Munemasa Nakamoto Music by Yuki Kajiura Studio A-1 Pictures Licensed by AUS Madman Entertainment NA Aniplex of America Original network Tokyo MX, BS11 Released December 31, 2013 Runtime 100 minutes Anime television series Sword Art Online II Directed by Tomohiko Itō Produced by Kazuma Miki Shinichirō Kashiwada Yōsuke Futami Music by Yuki Kajiura Studio A-1 Pictures Licensed by AUS Madman Entertainment NA Aniplex of America UK Anime Limited Original network Tokyo MX, GTV, GYT, tvk, TVS, CTC, TVA, MBS, TVQ, TVh, AT-X, BS11 English network PH TV5 US Adult Swim ( Toonami) Original run July 5, 2014 – December 20, 2014 Episodes 24 ( List of episodes) Light novel Sword Art Online Alternative: Clover's Regret Written by Watase Souichirou Illustrated by Ginta Published by ASCII Media Works Demographic Male Imprint Dengeki Bunko Original run November 10, 2016 – present Volumes 3 ( List of volumes) Anime television series Sword Art Online: Alicization (1–24) Sword Art Online: Alicization – War of Underworld (25–) Directed by Manabu Ono Produced by Masami Niwa Takaaki Yuasa Yōsuke Futami Misato Aoki Kaoru Adachi Ryūtarō Kawakami Music by Yuki Kajiura Studio A-1 Pictures Licensed by AUS Madman Entertainment NA Aniplex of America UK Anime Limited Original network Tokyo MX, GYT, GTV, BS11, MBS, AT-X, TV Aichi English network US Adult Swim ( Toonami) Original run October 6, 2018 – present Episodes 36 ( List of episodes) Other Sword Art Online Alternative Gun Gale Online (spin-off) Sword Art Online The Movie: Ordinal Scale (film) Video games Sword Art Online: End World Sword Art Online: Infinity Moment Sword Art Online: Hollow Fragment Sword Art Online: Code Register Sword Art Online: Progress Link Sword Art Online: Lost Song The Black Swordsman Sword Art Online: Memory Defrag Sword Art Online: Hollow Realization Accel World vs. Sword Art Online: Millennium Twilight Sword Art Online: Fatal Bullet Sword Art Online: Integral Factor Sword Art Online VR: Lovely Honey Days Sword Art Online Arcade: Deep Explorer Sword Art Online: Alicization Lycoris Anime and manga portal Sword Art Online ( Japanese: ソードアート・オンライン, Hepburn: Sōdo Āto Onrain) is a Japanese light novel series written by Reki Kawahara and illustrated by abec. The series takes place in the near future and focuses on protagonist Kazuto "Kirito" Kirigaya and Asuna Yuuki as they play through various virtual reality MMORPG worlds. Kawahara originally wrote the series as a web novel on his website from 2002 to 2008. The light novels began publication on ASCII Media Works ' Dengeki Bunko imprint from April 10, 2009, with a spin-off series launching in October 2012. The series has spawned nine manga adaptations published by ASCII Media Works and Kadokawa. The novels and seven of the manga adaptations have been licensed for release in North America by Yen Press. An anime television series produced by A-1 Pictures, known simply as Sword Art Online, aired in Japan between July and December 2012, with a television film Sword Art Online: Extra Edition airing on December 31, 2013, and a second season, titled Sword Art Online II, airing between July and December 2014. An animated film titled Sword Art Online The Movie: Ordinal Scale featuring an original story by Kawahara premiered in Japan and Southeast Asia on February 18, 2017, and was released in the United States on March 9, 2017. A spin-off anime series titled Sword Art Online Alternative Gun Gale Online premiered in April 2018, while a third season titled Sword Art Online: Alicization premiered in October 2018. A live-action series will be produced by Netflix. Six video games based on the series have been released for multiple consoles. Sword Art Online has received widespread commercial success, with the light novels having over 20 million copies sold worldwide. The light novel series had good reviews, mainly on later arcs, while other series like Progressive were praised since the beginning. The anime series has received mixed to positive reviews, with praise for its animation, musical score and exploration of the psychological aspects of virtual reality, but criticisms for its pacing and writing. Synopsis [ edit] Setting [ edit] The light novel series spans several virtual reality worlds, beginning with the game, Sword Art Online ( SAO), which is set in a world known as Aincrad. Each world is built on a game engine called the World Seed, which was initially developed specifically for SAO by Akihiko Kayaba, but was later duplicated for ALfheim Online ( ALO), and later willed to Kirito, who had it leaked online with the successful intention of reviving the virtual reality industry. Plot [ edit] In 2022, a virtual reality massively multiplayer online role-playing game (VRMMORPG) called Sword Art Online ( SAO) is released. With the NerveGear, a helmet that stimulates the user's five senses via their brain, players can experience and control their in-game characters with their minds. Both the game and the NerveGear were created by Akihiko Kayaba. On November 6, 10, 000 players log into SAO ' s mainframe cyberspace for the first time, only to discover that they are unable to log out. Kayaba appears and tells the players that they must beat all 100 floors of Aincrad, a steel castle which is the setting of SAO, if they wish to be free. Those who suffer in-game deaths or forcibly remove the NerveGear out-of-game will suffer real-life deaths. One of the players, named Kazuto "Kirito" Kirigaya, is one of 1, 000 testers in the game's previous closed beta. With the advantage of previous VR gaming experience and a drive to protect other beta testers from discrimination, he isolates himself from the greater groups and plays the game alone, bearing the mantle of "beater", a portmanteau of "beta tester" and "cheater". As the players progress through the game Kirito eventually befriends a young girl named Asuna Yuuki, forming a relationship with and later marrying her in-game. After the duo discover the identity of Kayaba's secret ID, who was playing as the leader of the guild Asuna joined in, they confront and destroy him, freeing themselves and the other players from the game. In the real world, Kazuto discovers that 300 SAO players, including Asuna, remain trapped in their NerveGear. As he goes to the hospital to see Asuna, he meets Asuna's father Shouzou Yuuki who is asked by an associate of his, Nobuyuki Sugou, to make a decision, which Sugou later reveals to be his marriage with Asuna, angering Kazuto. Several months later, he is informed by Agil, another SAO survivor, that a figure similar to Asuna was spotted on "The World Tree " in another VRMMORPG cyberspace called Alfheim Online ( ALO). Assisted in-game by his cousin Suguha "Leafa" Kirigaya and Yui, a navigation pixie (originally an AI from SAO), he quickly learns that the trapped players in ALO are part of a plan conceived by Sugou to perform illegal experiments on their minds. The goal is to create the perfect mind-control for financial gain and to subjugate Asuna, whom he intends to marry in the real world, to assume control of her family's corporation. Kirito eventually stops the experiment and rescues the remaining 300 SAO players, foiling Sugou's plans. Before leaving ALO to see Asuna, Kayaba, who has uploaded his mind to the Internet using an experimental and destructively high-power version of NerveGear at the cost of his life, entrusts Kirito with The Seed – a package program designed to create virtual worlds. Kazuto eventually reunites with Asuna in the real world and The Seed is released onto the Internet, reviving Aincrad as other VRMMORPGs begin to thrive. Soon after, at the prompting of a government official investigating strange occurrences in VR, Kazuto takes on a job to investigate a series of murders involving another VRMMORPG called Gun Gale Online ( GGO), the AmuSphere (the successor of the NerveGear), and a player called Death Gun. Aided by a female player named Shino "Sinon" Asada, he participates in a gunfight tournament called the Bullet of Bullets (BoB) and discovers the truth behind the murders, which originated with a player who participated in a player-killing guild in SAO. Through his and Sinon's efforts, two suspects are captured, though the third suspect, Johnny Black, escapes. Kazuto is later recruited to test an experimental FullDive machine, Soul Translator (STL), which has an interface far more realistic and complex than the previous machine he had played, to help develop an artificial intelligence for the Ministry of Defense (MOD) named A. L. I. C. E. He tests the STL by entering a virtual reality cyberspace created with The Seed package, named UnderWorld (UW). In the UW, the flow of time proceeds a thousand times faster than in the real world, and Kirito's memories of what happens inside are restricted. However, when Black injures Kazuto with suxamethonium chloride, the MOD recovers Kazuto and places him back into the STL to preserve his mind while attempts are made to save him. During his time in UnderWorld, Kirito befriends Alice Zuberg and joins her in fighting threats like Administrator and the invaders of the Dark Territory that are allied with its giants, goblins, ogres, and orcs. Meanwhile, it is revealed that UnderWorld was created as part of an experiment to create artificial intelligence that could be used for military purposes. Production [ edit] Reki Kawahara wrote the first volume in 2001 as a competition entry for the 2002 ASCII Media Works Dengeki Game Novel Prize ( 電撃ゲーム小説大賞, Dengeki Game Shōsetsu Taishō, now Dengeki Novel Prize), but refrained from submitting it as he had exceeded the page limit; he instead published it as a web novel under the pseudonym Fumio Kunori. [3] Over time, he added three further main arcs and several short stories, which like the first arc Aincrad, were later adapted into the light novels. [4] [5] [6] In 2008, he participated in the competition again by writing Accel World, this time winning the Grand Prize. Aside from Accel World, he was requested to get his earlier work, Sword Art Online, published by ASCII Media Works. [3] He agreed and withdrew his web novel versions. [6] For the protagonist Kirito, Kawahara was asked if Kirito's personality and character were based on his own; he answered that he usually does not put aspects of himself into his characters, [7] and jokingly remarked: "but if I had to say there was a point of similarity between Kirito and myself, it is the fact that neither of us are good at forming parties. We [both] tend to play solo in these games a lot. " [8] He also noted that the female characters in the story were not based on anyone he knew in the real world, stating: "I don't usually make a character, setting, or anything before I start writing. As I write the story, the girls become what they are now. So, somehow, I don't know exactly, but somehow, my subliminal idea or some hidden emotion creates the characters to be strong and capable. " [7] He added that he wrote the series to demonstrate that he views online gaming not as a social ill or escape from real life, but rather decided to show games in a more positive light in his light novels. [7] Kawahara also noted that the character of Asuna might have been created a little too perfectly. [8] Media [ edit] Light novels [ edit] After Kawahara's request for Sword Art Online to be published was approved, [3] he started working with illustrator abec on the light novel series. The first volume was published in print on April 10, 2009, [9] and 20 volumes have been published as of September 8, 2017. [10] The first eight volumes of the light novel series told the story arcs for Sword Art Online, Alfheim Online, and Gun Gale Online. The Alicization story arc was covered by volumes 9 through 18, while volumes 19 and 20 told a side story called Moon Cradle. Kawahara plans on writing "one more big arc" called Sword Art Online: Unital Ring that will go "back to the real world, " and it is the first arc not based on the original web novel. The Unital Ring story arc began in volume 21, which was released in Japan on December 7, 2018. [11] Kawahara also writes the Sword Art Online: Progressive series, which covers Kirito's adventures on the first few floors of Aincrad. The first volume of Progressive was released on October 10, 2012, [12] and six volumes have been released as of May 10, 2018. [13] The first volume of a light novel series based on Sword Art Online titled Sword Art Online Alternative Gun Gale Online, written by Keiichi Sigsawa with illustrations by Kouhaku Kuroboshi, was published by ASCII Media Works on December 10, 2014. [14] An original 100-page prequel novel to Sword Art Online The Movie: Ordinal Scale written by Kawahara, titled Hopeful Chant, was released to people who watched the film in Japan during March 4–10, 2017. [15] At their Japan Expo USA panel, Yen Press announced the rights to publish the light novels; the first volume was released on April 22, 2014. [16] [17] Yen Press later announced their license of the Sword Art Online: Progressive series, which is scheduled for release in 2015. [18] The novels are also published in China, Taiwan, South Korea, Thailand and Vietnam, [19] with future plans for publications in France, [20] Germany, Italy, Austria, Switzerland and others. [19] There are a number of dōjinshi (fan works) written by Kawahara under the pseudonym Fumio Kunori, titled Sword Art Online Material Edition ( ソードアート・オンライン・マテリアル・エディション). [21] An 80-page assemblage of some of the Material Edition volumes was published on February 13, 2011; [22] the latest release is Material Edition volume 25 on November 23, 2017. The author has also created some other dōjinshi including Lisbeth Edition, Silica Edition and Pina Edition under cooperation with Kurusu Tatsuya from [23] [24] It is reported that these dōjinshi gain traction from the involvement of the original author in its creation process, as well as from supplying more details on characters from the original work. [23] Manga [ edit] There are ten manga adaptations of the series, all written by Reki Kawahara and published by ASCII Media Works. Sword Art Online: Aincrad ( ソードアート・オンライン アインクラッド), illustrated by Tamako Nakamura, was serialized in Dengeki Bunko Magazine between the September 2010 and May 2012 issues. Two tankōbon volumes of Aincrad were released on September 27, 2012. [25] [26] A comedy four-panel manga, titled Sword Art Online. ( そーどあーと☆おんらいん。) and illustrated by Jūsei Minami, began serialization in the September 2010 issue of Dengeki Bunko Magazine. The first volume of Sword Art Online. was released on September 27, 2012. [27] A third manga, titled Sword Art Online: Fairy Dance ( ソードアート・オンライン フェアリィ・ダンス) and illustrated by Hazuki Tsubasa, began serialization in the May 2012 issue of Dengeki Bunko Magazine. The first volume of Fairy Dance was released on October 27, 2012; [28] the third volume was released on June 27, 2014. [29] The Aincrad and Fairy Dance manga have been acquired for release in North America by Yen Press. [16] The first volume of Aincrad was published on March 25, 2014. [17] A spin-off manga starring Lisbeth, Silica, and Leafa, titled Sword Art Online: Girls Ops ( ソードアート・オンライン ガールズ・オプス) and illustrated by Neko Nekobyō, began serialization in the July 2013 issue of Dengeki Bunko Magazine. [30] Girls Ops was licensed by Yen Press in November 2014, the first volume of which was released on May 19, 2015. [31] [32] A manga adaption of Sword Art Online: Progressive, illustrated by Kiseki Himura, began serialization in the August 2013 issue of Dengeki G's Magazine. The manga ended serialization in the magazine's May 2014 issue and was transferred to Dengeki G's Comic starting with the June 2014 issue. [33] The Progressive manga adaption has been licensed by Yen Press, with the first two volumes released in January and April 2015, respectively. [18] [34] A sixth manga, titled Sword Art Online: Phantom Bullet and illustrated by Kōtarō Yamada, had its first chapter serialized in the May 2014 issue of Dengeki Bunko Magazine, with following chapters being digitally serialized on Kadokawa's Comic Walker website. A seventh manga, titled Sword Art Online: Calibur and illustrated by Shii Kiya, was serialized in Dengeki G's Comic between the September 2014 and July 2015 issues. [35] A single compilation volume was released on August 10, 2015. [36] An eighth manga, titled Sword Art Online: Mother's Rosario and also by Tsubasa, is based on the seventh volume of the novel series and began serialization in the July 2014 issue of Dengeki Bunko Magazine. [37] A ninth manga, an adaptation of Sword Art Online Alternative Gun Gale Online, began serialization in the November 2015 issue of Dengeki Maoh. [38] A tenth manga, titled Sword Art Online: Project Alicization and illustrated by Kōtarō Yamada, based on the Alicization arc of the light novel series, began serialization in the September 2016 issue of Dengeki Bunko Magazine. [39] Anime [ edit] An anime adaptation of Sword Art Online was announced at Dengeki Bunko Autumn Festival 2011, along with Reki Kawahara's other light novel series, Accel World. [40] The anime is produced by Aniplex and Genco, animated by A-1 Pictures and directed by Tomohiko Ito with music by Yuki Kajiura. [41] The anime aired on Tokyo MX, tvk, TV Saitama, TV Aichi, RKB, HBC and MBS between July 7 and December 22, 2012, and on AT-X, Chiba TV and BS11 at later dates. [42] The series was also streamed on Crunchyroll and Hulu. [43] The anime is adapted from the first four novels and parts of volume eight. The anime has been licensed in North America by Aniplex of America [44] and an English-language dub premiered on Adult Swim 's Toonami from July 27, 2013 [45] to February 15, 2014. The series was released by Aniplex of America in four DVD and Blu-ray sets, with special extras on the BD sets, between August 13 and November 19, 2013. [46] Manga Entertainment released the first series on BD/DVD in the United Kingdom in December 2013, [47] whilst Madman Entertainment released the series in Australia [48] and the English-language version began airing on ABC3 on June 7, 2014. [49] Sword Art Online has been available on Netflix in North America since March 15, 2014. [50] A year-end special, titled Sword Art Online Extra Edition, aired on December 31, 2013. The special recapped the previously aired anime series and included some new footage. [51] [52] Extra Edition was streamed worldwide a few hours after its airing in Japan. The two-hour-long special was available on Daisuki worldwide except for French-speaking areas, as well as China and Korea. Daisuki offered subtitles in various languages such as English, Spanish, Portuguese, Italian, and German. English-speaking countries, Mexico, Central and South America could also watch the stream on Crunchyroll. Extra Edition was also simulcast in Korea on Aniplus cable channel and in China on the LeTV streaming website. French-speaking countries could watch on the Wakanim streaming website. The Blu-ray Disc and DVD of Extra Edition was released on April 23, 2014 in Japan. [55] The limited edition included a Yui character song titled "Heart Sweet Heart" by Kanae Itō and an original side story written by Kawahara titled "Sword Art Online Niji no Hashi" ( ソードアート・オンライン 虹の橋, Sword Art Online Rainbow Bridge). [55] At the end of the special, the anime television series was confirmed for a second season, titled Sword Art Online II, which premiered on July 5, 2014. [56] [57] The first 14 episodes of the second season are an adaptation of volumes five and six the light novels that cover the Phantom Bullet arc. [58] Episodes 15 to 17 cover the Calibur arc from volume 8 of the novels, with episodes 18 to 24 covering volume 7 of the novels, the Mother's Rosario arc. Premiere screening events of the second season were held in the United States, France, Germany, Hong Kong, Taiwan, Korea and Japan before the television premiere between June 29 and July 4, 2014. [59] [60] [61] At Katsucon, it was announced that the English dub of the second season would air on Toonami beginning March 28, 2015. [62] An animated film titled Sword Art Online The Movie: Ordinal Scale, featuring an original story by Kawahara set after the events of Sword Art Online II, premiered in Japan and Southeast Asia on February 18, 2017, and was released in the United States on March 9, 2017. [63] [64] [65] [66] The third season of Sword Art Online, titled Sword Art Online: Alicization, and a spin-off anime, titled Sword Art Online Alternative Gun Gale Online, were announced in 2017. [67] Sword Art Online Alternative Gun Gale Online, animated by 3Hz, premiered in April 2018. [68] [69] Sword Art Online: Alicization aired from October 6, 2018 to March 30, 2019, [70] with a one-hour world premiere which aired in Japan, the United States, Australia, France, Germany, Russia and South Korea on September 15, 2018. [71] The English dub of the third season premiered on February 9, 2019 on Toonami. [72] The season was originally announced to air for four cours, and adapt from the novel's ninth volume, Alicization Beginning, to the eighteenth volume, Alicization Lasting. [73] However, the season ended at episode 24 on March 30, 2019 (completing the fourteenth volume of the novel, Alicization Uniting), and continued on October 12, 2019 with a second part titled War of Underworld. [74] [75] The second half of the War of Underworld series will continue in April 2020. [76] Music [ edit] Yuki Kajiura composed the soundtrack for the Sword Art Online anime, which was later released in the limited edition of the anime's fourth and seventh Blu-ray and DVD volumes. [77] [78] The first volume of the second season's soundtrack was bundled with the limited edition of the season's third and seventh Blu-ray and DVD volumes. [79] [80] For the first 14 episodes of season one, the opening theme song is "Crossing Field" by LiSA, [81] and the ending theme song is "Yume Sekai" ( ユメセカイ, lit. "Dream World") by Haruka Tomatsu. [82] From episode 15 onward, the opening theme is "Innocence" by Eir Aoi and the ending theme is "Overfly" by Luna Haruna. [83] [84] The main theme for Sword Art Online: Extra Edition is "Niji no Oto" ( 虹の音, Sound of the Rainbow) by Aoi. [83] For the second season, the first opening theme is "Ignite" by Aoi, and the first ending theme is "Startear" by Haruna. [85] The second opening theme is "Courage" by Tomatsu, [86] and the second ending theme is "No More Time Machine" by LiSA, with the third ending theme being "Shirushi" ( シルシ), also by LiSA. [87] The song "Catch the Moment" by LiSA is used as the theme song to Sword Art Online: Ordinal Scale. [88] For the third season, the first opening theme is "Adamas" by LiSA, and the first ending theme is "Iris" ( アイリス) by Aoi. [89] The second opening theme is "Resister" by Asca and the second ending theme is "Forget-me-not" by ReoNa, with episode 19 featuring "Niji no Kanata ni" ( 虹の彼方に, Beyond the Rainbow), also sung by ReoNa. [90] For the second part of the third season, the first opening theme is "Resolution" by Tomatsu, and the first ending theme is "unlasting" by LiSA. [91] [92] The third part's opening theme will be performed by ReoNa. [93] A number of character songs were included in the Blu-ray and DVD volume releases of the anime. These were collected into two compilation albums: Sword Art Online Song Collection, which included character songs released in the season one volumes, was released on August 27, 2014, [94] while Sword Art Online Song Collection II, which included character songs released in the season two volumes, was released on March 22, 2017. [95] Video games [ edit] A stage event at the Dengeki Bunko Autumn Festival 2011 revealed that Reki Kawahara's light novels would get video game adaptations. [96] The first Sword Art Online adaptation, titled Sword Art Online: Infinity Moment ( ソードアート・オンライン -インフィニティ・モーメント-, Sōdo Āto Onrain: Infiniti Mōmento), was published by Namco Bandai Games for the PlayStation Portable. [97] The game follows an alternate storyline, in which a glitch causes Kirito and the other players to remain in Sword Art Online despite defeating Heathcliff, and players from other VMMORPGs such as Leafa and Sinon get sucked into the game themselves. [98] The game was released in both regular and limited edition box sets on March 14, 2013. [99] Sword Art Online: Hollow Fragment is a PlayStation Vita game released in Japan on April 24, 2014. [100] [101] Sword Art Online: Hollow Fragment takes place in the same alternative storyline as Sword Art Online: Infinity Moment, [102] and it includes all content of "Floor Clearing" from that previous game [103] with the addition of new unexplored "Hollow Area" of Aincrad. [104] The protagonist Kirito will cross swords with a mysterious player who would become one of the key characters in the game. [104] The game sold 145, 029 physical retail copies within the first week of release in Japan, topping the Japanese software sales charts for that particular week. [105] The game had also been released in Taiwan by Namco Bandai Games Taiwan with Chinese and English subtitles. [106] A digital-only North American, European and Australian release was released in August 2014. A third video game developed by Artdink [107] and titled Sword Art Online: Lost Song was released in Japan on March 26, 2015 [108] on the PlayStation 3 and Vita platforms, [109] [110] with an English version being released in Asia. [111] The game's producer revealed in October 2014 that the game is an open-world action RPG featuring an original storyline, set within Alfheim Online, where characters are able to fly. [112] The game sold 139, 298 physical retail copies on the PlayStation Vita in addition to another 55, 090 units on the PlayStation 3 within its first week of release in Japan, ranking second and sixth place respectively within the Japanese software sales charts for that particular week, narrowly behind Bloodborne taking the top spot. [113] A fourth game titled Sword Art Online: Hollow Realization was released in Japan for the PS4, Vita, and Windows on October 27, 2016 [114] and worldwide on November 8, 2016 for the PS4 and Vita. [115] A social network game called Sword Art Online: End World was released for Japanese feature phones and smartphones on February 28, 2013 [116] [117] with more than 1 million registered users. [118] It was discontinued in September 2017. Another freemium game for Android and iOS titled Sword Art Online: Code Register launched in 2014, and over 3, 000, 000 users have downloaded the game. [119] Another game called Sword Art Online: Progress Link designed for the Mobage browser game platform on smartphones was released on February 10, 2015. [120] The game was terminated on July 29, 2016. Kirito, Asuna, Leafa, Yuuki and SAO Alternative: Gun Gale Online protagonist LLENN appear in Dengeki Bunko: Fighting Climax, a fighting game by Sega featuring various characters from works published under the Dengeki Bunko imprint. [121] [122] [123] A browser game titled Sword Art Quest and its sequel smartphone game, Sword Art Quest II [124] provide challenges to users to upgrade their characters to receive rewards. [125] There is also a paid Android game titled SAO -Log Out- that users can download and play with characters from the series and obtain wallpapers from it. [126] A virtual reality massive multiplayer online game was in development by Kadokawa and IBM Japan, [127] but was only a demo and will not be released as a full game. An action role-playing game titled Accel World vs. Sword Art Online: Millennium Twilight was announced in October 2016. The game is a crossover with Accel World, published by Bandai Namco Entertainment for PlayStation 4, PlayStation Vita, [128] and Windows via Steam, [129] and was released to western audiences on July 7, 2017. [130] The Black Swordsman ( 黒衣剣士, 黑衣剑士) is a Chinese 3D role-playing game where the player can control 3D characters and experience Sword Art Online, ALfheim Online, and Gun Gale Online. It is developed by Yun Chang Game under Bandai Namco's supervision. [131] The game is being distributed and is operating under Bandai Namco Shanghai, Bandai Namco Entertainment and Qihoo 360 on Chinese platforms. [132] [133] The game was launched on Android in May 26, 2016 and on iOS in June 9, 2016 after a brief period of closed beta, [131] though it is officially still in an "open beta" phase. [134] Bandai Namco released Sword Art Online: Memory Defrag RPG for Android and iOS [135] in August 2016. It was released outside of Japan on January 24, 2017. [136] Featuring content from the anime series, Ordinal Scale, and some original shorts written for event characters, players are allowed to play solo and progress through the story, or join up with others online to farm special items, equipment, and materials. [137] Common events include ranked challenges against other players, floor clearing, character introductions and seasonal events. Players have the choice of spending real money to speed-up their progress. [138] A game based in Gun Gale Online, Sword Art Online: Fatal Bullet, was released for the PlayStation 4, Xbox One and Windows on February 23, 2018. [139] Bandai Namco Entertainment released the Sword Art Online VR: Lovely Honey Days mobile game for iOS and Android devices in Japan in October 2018. The game's first episode is free-to-play, while the second episode and so on can be purchased as additional content. [140] Bandai Namco released Sword Art Online Arcade: Deep Explorer in Japanese arcades on March 19, 2019. It is an exploration action RPG that supports up to three players in online co-op and it is the first arcade game in the Sword Art Online series. [141] [142] A video game based in the Underworld of Project Alicization, Sword Art Online: Alicization Lycoris, was announced by Bandai Namco for release on the PS4, Xbox One, and Windows. [143] The game is also the first game in the franchise to faithfully follow the canon storyline, adapting from Alicization Beginning, volume 9, to Alicization Lasting, volume 18. Live-action series [ edit] Sword Art Online Based on Sword Art Online by Reki Kawahara Written by Laeta Kalogridis Country of origin United States Original language(s) English Production Executive producer(s) Laeta Kalogridis David Ellison Dana Goldberg Marcy Ross Production company(s) Skydance Television Distributor Netflix Sword Art Online is a planned American live-action television adaptation of Sword Art Online. Skydance Television announced on August 2, 2016, that they had acquired the global rights to produce a live-action television adaptation of Reki Kawahara's Sword Art Online light novel series. [144] Laeta Kalogridis has been attached to write a script for the pilot, and will also serve as executive producer for the series alongside Skydance CEO David Ellison, Dana Goldberg, and Marcy Ross. [144] Skydance has stated their intent to "fast-track" the launch of the series, [144] along with plans to follow the TV series with the release of a Sword Art Online virtual reality experience. [145] [146] In February 2018, it was reported that the live-action series had been sold to Netflix. [147] Reception [ edit] According to Oricon, Sword Art Online was the top selling light novel series of 2012, with eight volumes figuring among the top selling light novels. [148] [149] It was ranked first in the 2012 and 2013 Kono Light Novel ga Sugoi! rankings, as well as top five placement in 2011, 2014, 2015, 2016, 2017, 2018 and top 10 in 2019. [150] [151] [152] [153] [154] It was also the second best selling light novel series in the first half of 2016 in Japan, selling 489, 374 copies. [155] Sword Art Online: Progressive sold 321, 535 copies in the same time period. [155] As of 2017, the series has an estimated 20 million copies in print worldwide. [156] Richard Eisenbeis of Kotaku hails Sword Art Online as the smartest series in recent years, praising its deep insight on the psychological aspects of virtual reality on the human psyche, its sociological views on creating a realistic economy and society in a massively multiplayer online game setting, and the writing staff's ability to juggle a wide variety of genres within the series. [157] Eisenbeis particularly noted how the romance between Kirito and Asuna is explored bringing "definition to exactly what love is like in a virtual world. " [157] However, at the time of this preliminary review, he had only watched the first 12 episodes of the series. [157] He has since gone on to review the second half of the series, lauding its excellent use of plot twists and praising its well-written and believable villain. However, he felt that some of the initial positive aspects of the series were lost in the second half, such as the focus on psychological repercussions and social interactions that could be realistically seen in an online game. Criticism was also levied towards the aspect of turning Asuna into a damsel in distress, stating that a female lead as strong as her was "reduced to nothing but the quest item the male lead is hunting for. " Eisenbeis closes his review of the series by stating in regards to the two halves, "Both, however, are enjoyable for what they are. " [158] Rebecca Silverman of Anime News Network has criticized the series as having pacing problems, logical gaps and "sloppy writing". [159] Theron Martin of Anime News Network criticized the story as struggling "to achieve and maintain the level of gravitas that life-or-death danger should have", while calling it unwilling to commit to Kirito's "lone wolf" image. [160] DeviceCritique explained that Sword Art Online influences the virtual reality market to grow, and referenced the Oculus Rift as a prime example of the starting point of virtual reality. It also praised Sword Art Online for exploring the psychological and social aspects of virtual reality gaming. [161] While the anime received more criticism in western media, the light novels received praise mainly in latter arcs like Mother's Rosario and Alicization. In the Alicization arc, Anime News Network reviewer Theron Martin praised many of the volumes, saying that the author's writing has improved and he says for volume 16 that while not his favorite, the volume does its job well. [162] The same reviewer also praised Sword Art Online for the same arc Alicization when it received an anime adaptation, with same praising for the second part of the arc on the anime called Alicization War of the Underworld, citing that, "The technical merits seem to be on the same level as the first half, including an amazing cabin design for Alice and Kirito's dwelling, some vibrant color work on the autumnal trees, and effective musical choices. Together they do an excellent job at conveying the various emotions present here: warmth, fear, frustration, and melancholy. Overall, this is a strong establishment episode for the next part of the story and about the best adaptation that could be hoped for of the relevant source material. " [163] Cultural impact [ edit] Kirito makes a cameo appearance in the eighth episode of the anime series Eromanga Sensei, with Yoshitsugu Matsuoka reprising his role. [164] Steven Spielberg 's 2018 film Ready Player One contains a reference to Sword Art Online. [165] Ernest Cline, the writer of 2011 novel Ready Player One, discussed Sword Art Online in an interview, noting how he met its writer Reki Kawahara at an event in Japan where they discussed how they independently developed similar ideas related to virtual reality. [166] It has also been noted that the Phantom Bullet (Gun Gale Online) arc released in print in 2010 depicts an early fictional battle royale game called Bullet of Bullets. [167] On June 12, 2015, the now-inactive Chinese Ministry of Culture listed Sword Art Online II among 38 anime and manga titles banned in China. [168] In September 2018, AbemaTV hosted an election for Sword Art Online. The character that received the most retweets would be crowned the winner and become the focus of a smartphone wallpaper. According to the poll, Yuuki Konno had the most votes, with 2, 243 points, followed by Shino Asada with 2, 145 points and Asuna Yuuki with 1, 345 points. [169] In the 2020 edition of Kono Light Novel ga Sugoi, Sword Art Online was voted by the public in an online poll and by a jury (critics, influencers, and other people related to the light novel industry) as the best light novel series of the 2010s, being the first in the ranking with 1, 728. 95 points. [170] References [ edit] ^ "Sword Art Online Vol. 1 Aincrad Part 1 (Eps 1-7)". Madman Entertainment. Archived from the original on January 21, 2018. Retrieved January 20, 2018. ^ "Sword Art Online 1: Aincrad (light novel)". Yen Press. Archived from the original on September 15, 2018. Retrieved September 15, 2018. ^ a b c Afterword of the first light novel volume ^ "Understanding Sword Art Online". 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Retrieved March 30, 2019. ^ a b c Goldberg, Lesley (August 2, 2016). "Japanese Novel and Anime Franchise Sword Art Online Being Adapted as Live-Action TV Series". The Hollywood Reporter. Archived from the original on August 2, 2016. Retrieved August 2, 2016. ^ Evans, Greg (August 2, 2016). "Skydance Media Acquires Global Live-Action Rights To 'Sword Art Online ' ". Deadline Hollywood. Archived from the original on August 3, 2016. Retrieved August 2, 2016. ^ " ' Sword Art Online' Live-Action Series Adds 'Lara Croft' Writers". ComicBook. September 28, 2017. Archived from the original on September 29, 2017. Retrieved September 28, 2017. ^ "Live-Action Sword Art Online Producer: Series Sold to Netflix, Will Have Asian Lead Actors". February 13, 2018. Archived from the original on February 14, 2018. Retrieved February 14, 2018. ^ "Top-Selling Light Novels in Japan by Series: 2012". December 3, 2012. Archived from the original on December 4, 2012. Retrieved December 3, 2012. ^ "Top-Selling Light Novels in Japan by Volume: 2012". Retrieved December 3, 2012. ^ Kono Light Novel ga Sugoi! 2011 (in Japanese). Takarajimasha. November 19, 2010. ISBN   978-4-7966-7963-3. ^ Kono Light Novel ga Sugoi! 2012 (in Japanese). November 19, 2011. ISBN   978-4-7966-8716-4. ^ Kono Light Novel ga Sugoi! 2013 (in Japanese). November 19, 2012. ISBN   978-4-8002-0357-1. ^ Kono Light Novel ga Sugoi! 2014 (in Japanese). November 20, 2013. ISBN   978-4-8002-1954-1. ^ Kono Light Novel ga Sugoi! 2015 (in Japanese). ISBN   978-4-8002-3373-8. ^ a b Loo, Egan (May 29, 2016). "Top-Selling Light Novels in Japan by Series: 2016 (First Half)". Archived from the original on July 10, 2019. Retrieved July 10, 2019. ^ Ressler, Karen (April 4, 2017). "Sword Art Online Light Novels Have 20 Million Copies in Print Worldwide". Retrieved March 26, 2018. ^ a b c Eisenbeis, Richard (September 28, 2012). " Sword Art Online Is the Smartest Anime I've Seen in Years (And It's Only Half-Done)". Univision Communications. Retrieved July 10, 2019. ^ Eisenbeis, Richard (December 26, 2012). " Sword Art Online ' s Second Half Isn't Quite as Brilliant as Its First". Retrieved July 10, 2019. ^ Silverman, Rebecca (September 9, 2013). " Sword Art Online Blu-Ray 1 – Aincrad Part 1 [Limited Edition]". Retrieved July 10, 2019. ^ Martin, Theron (August 28, 2012). " Sword Art Online episodes 1-6 streaming". Archived from the original on April 4, 2014. Retrieved January 19, 2014. ^ "Oculus Rift VR: One large step into Virtual reality". DeviceCritique. March 27, 2013. Archived from the original on March 5, 2014. Retrieved March 4, 2014. ^ "Sword Art Online Novel 16 – Alicization Exploding". May 29, 2019. Retrieved September 10, 2019. ^ "The Fall 2019 Anime Preview Guide Sword Art Online: Alicization War Of Underworld". October 12, 2019. Retrieved October 26, 2019. ^ " " Eromanga Sensei" Flame On "Sword Art Online" Proves To Be Too Hot For Anime". May 30, 2017. Archived from the original on May 2, 2018. Retrieved May 2, 2018. ^ "Ready Player One: Complete Easter Egg and Reference Guide". Den of Geek. April 2, 2018. Archived from the original on June 23, 2018. Retrieved April 3, 2018. ^ "Ernest Cline Interview: Ready Player One". Screen Rant. March 26, 2018. Archived from the original on April 3, 2018. Retrieved April 3, 2018. ^ " ' Gun Gale Online' Reveals Direct Tie-In To 'Sword Art Online ' ".. April 24, 2018. Retrieved April 16, 2019. ^ "China bans 38 anime & manga titles including Attack on Titan ". Special Broadcasting Service. June 12, 2015. Archived from the original on August 31, 2018. Retrieved August 31, 2018. ^ "Asuna is no longer Sword Art Online's 'Best Girl ' ". September 20, 2018. Archived from the original on October 8, 2018. Retrieved October 8, 2018. ^ "Kono Light Novel ga Sugoi! : Sword Art Online is the Light Novel of the Decade". November 26, 2019. Retrieved November 26, 2019. External links [ edit] Official anime website (in Japanese) Official North American website Sword Art Online (light novel) at Anime News Network 's encyclopedia.

 

 

 

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A Quiet Place Part II is a movie starring John Krasinski, Cillian Murphy, and Emily Blunt. Following the events at home, the Abbott family now face the terrors of the outside world. Forced to venture into the unknown, they realize stars: John Krasinski USA Release Year: 2020. Free Watch A Quiet Place part time jobs. Free watch a quiet place part ii release date.

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